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Contents

Welcome to Finale 2008!


All of Finale's documentation resources are at your fingertips. Notice the following volumes in the Table of Contents to your left:

Tutorials. These introduce you to how Finale works so you can get up and running right away.
Reference. This includes a detailed description of each of Finale's commands.
Encyclopedia. This "how to" resource is arranged alphabetically and by musical topic. Anything you don't find in the tutorials will be explained here.

Use the Index, Search, and Browse Sequence buttons to look through the entire contents of the Finale help. See How to use the Finale 2008 User Manual for details.

Upgrading users
For a list of interface changes since Finale 2007, see Finale 2008 Interface Changes.
For a list of new Finale 2008 features, see What's New .

Other resources
Visit http://finalemusic.com/support.aspx to view the Knowledge Base and access additional help.
Visit http://forum.makemusic.com to interact with the Finale community on our user forums.

Dialog Boxes Finale Encyclopedia


Menus Terms and Symbols
Main Tool Palette Glossary
Smart Shape Palette Customer Support
Simple Entry Keypad Keyboard Shortcuts

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How to Use the Finale 2008 User Manual

How to use the Finale 2008 User Manual


The entire contents of the Finale 2008 User Manual is HTML-based and designed for viewing with your computer's Internet browser. Here are some tips to help you
get the most out of Finale 2008's documentation resources.
The Navigation Pane appears to the left of the content window. Use the TOC, Index, Search, and Browse Sequences buttons to navigate to the desired topic, or find
topics using the Visual Index.

Select the button to show the Table of Contents. From here you can browse through an alphabetical list of Finale-
specific topics (dialog boxes, tools, menus etc.) under the "Reference" volume. Or, browse through a list of musical topics (e.g. "clefs," "grace notes," "music
spacing," etc.) under the "Encyclopedia" volume. The "Tutorials" volume includes the electronic version of the Installation and Tutorials manual.

Select the tab to display an alphabetical list of index entries. Enter your query in the text box to navigate to the
desired entry.

Select the tab and enter search keyword (or multiple keywords) into the text box to search the full text
of the Finale manual. The results are ordered by rank based on a variety of factors (number of occurrences in the topic, in the title, etc). Select the desired
topic from the list - the words used for the search are highlighted.

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How to Use the Finale 2008 User Manual

Use the text box above the content window to highlight specific text within the current topic.

You can remove the highlighting by clicking the button

Select the tab to display a list of topics arranged by subject. Use these lists for more comprehensive reading. If
you would like to learn all about Page Layout, for example, you might start at the top of the "Page Layout" browse sequence and work your way down the list.
If you know what it looks like but don't know the terminology, use the Visual Index. Roll your mouse cursor over an item and click to see its
description. Use the links for additional details.

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How to Use the Finale 2008 User Manual

To go back to the previous topic or forward use the buttons on your browser.
To adjust the text size in Internet Explorer, click Page, then Text Size - choose the desired size. The help system uses Internet
Explorer.

See Also:
Welcome to Finale 2008

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Finale 2008 Interface Changes

Finale 2008 Interface Changes

Finale 2008 includes several interface changes that provide a more intuitive and streamlined workflow environment. These changes include the consolidation of
functions into fewer tools and menus, and as a result, some commands have been moved, added, renamed, and/or moved to different locations. If you have upgraded
from Finale 2007, use the information here to reference the new location of these commands.

The New Selection Tool


The Selection Tool has inherited all functions previously encompassed by the Mass Edit Tool. Select regions of measures, copy, and edit music, apply plug-ins and
make other changes to score regions (or the full score)with the Selection Tool. Most commands previously under the Mass Edit Menu have been moved to the Edit
Menu and the new Utilities Menu. Others now also appear in the MIDI Menu (now called the MIDI/Audio Menu) and Mirror Menu. See the Finale 2008 Menu
Reference Chart below for details.
There are some notable changes regarding selection, copying, and filtering:

The Select Partial Measures command has been removed

Copy, paste, or insert measure settings by selecting a "stack"

Copy and Insert/Copy and Replace

Filtering
Modeless Editing Commands
The following changes mean less switching tools and more universal controls.

New Utilities Menu

Copy and edit with any tool that allows regional selection

Some commands are accessible in many tools


Tool-specific changes
The "Create a Movable Mid-Measure Clef" command has been removed from the Change Clef dialog box. The clef tool now accepts partial
measure highlighting. To add a mid-measure clef, start the highlighting where you want the clef to appear in the measure. Double-click to open the Change Clef
dialog where you can select the new clef.
You can now call dialogs by pressing Enter in addition to double clicking. For example in the Staff Tool, highlight a measure and press Enter to
open the Staff Attributes dialog box.
Double clicking the Staff Tool now adds a blank staff to the bottom of the score.

Finale 2008 Menu Reference Chart


Use the following key to identify any commands that have moved or changed names. (Commands that do not appear in this list have not changed since Finale 2007.)
New commands, menus, and submenus are marked with an asterisk (*).

Finale 2007 Menu Finale 2008 Menu


Finale 2007 Menu Finale 2008 Menu
Command Name Command Name

- - Edit *Paste Multiple

- - Edit *Copy All Items

- - *Utilities -

*(SmartFind and Paint


- - Edit
(submenu)

Add Measure Edit Add Measures

Add Measure Number


Add Enclosures Measure/Measure Numbers Measure
Enclosures

Apply Articulation Mass Edit Utilities ""

Apply Beat Spacing to Current Mass Edit/Music Spacing Utilities/Music Spacing ""
Part/Score
Apply Note Spacing to Current Mass Edit/Music Spacing Utilities/Music Spacing ""

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Finale 2008 Interface Changes

Part/Score

Apply SmartFind and Paint Mass Edit Edit/SmartFind and Paint ""

Apply Time Signature Spacing Mass Edit/Music Spacing Utilities/Music Spacing ""
to Current Part/Score

Articulation Assignments Mass Edit/Change Utilities/Change Articulations

Automatic Music Spacing Edit Program Options-Edit ""

Automatic Update Layout Edit Program Options-Edit ""

Break Measure/Multimeasure Rest Edit/Multimeasure Rest


""

Change (submenu) Mass Edit Utilities ""

Change Lowest Fret Mass Edit/Utilities Utilities/Change Lowest Fret

Check Accidentals Mass Edit/Utilities Utilities/Check Notation ""

Check Elapsed Time Mass Edit/Utilities Utilities/Check Notation ""

Check Ties Mass Edit/Utilities Utilities/Check Notation ""

Chord Assignments Mass Edit/Change Utilities/Change Chords

Clear Entries and Smart Mass Edit Edit Clear All Items
Shapes

Clear Items Mass Edit Edit Clear Selected Items

Convert Mirrors Mass Edit/Utilities Utilities/Check Notation ""

Create Measure/Multimeasure Rest Edit/Multimeasure Rest


""

Create for Parts/Score Measure/Multimeasure Rest Edit/Multimeasure Rest


""

Customize Palettes View Window

Delete Measure Edit Delete Measure Stack

Deselect SmartFind Source Mass Edit Edit/SmartFind and Paint ""


Region

Edit Measure/Multimeasure Rest Edit/Multimeasure Rest ""

Edit Measure Attributes Measure Edit ""

Edit Measure Number Regions Measure/Measure Numbers Document and Measure ""

Explode Music Mass Edit/Utilities Utilities ""

Fill With Rests Mass Edit/Utilities Utilities/Check Notation ""

Fit Music Mass Edit Utilities Fit Measures

Utilities/Check Notation/Stem
Freeze Stems Down Mass Edit/Utilities Down
Direction
Utilities/Check Notation/Stem
Freeze Stems Up Mass Edit/Utilities Up
Direction

Hide Numbers Measure/Measure Numbers Measure Hide Measure Numbers

Implode Music Mass Edit/Utilities Utilities ""

Import MIDI from Clipboard Edit Menu MIDI Menu ""

Insert Measure Edit Insert Measure Stack

Items to Copy Mass Edit Edit Edit Filter

Lock Systems Mass Edit Utilities ""

Measure Numbers Measure (submenu) Measure (Items loose in menu)

Dragging Copies Music

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Finale 2008 Interface Changes

Mirror Mass Edit *Mirror


Dragging Mirrors Music

Move/Copy Layers Mass Edit Edit ""

Multimeasure Rest (submenu) Measure Edit ""

Music Spacing (submenu) Mass Edit Utilities ""

Note Durations Mass Edit/Change Utilities/Change ""

Note Expression Assignments Mass Edit/Change Utilities/Change Note Expressions

Note Size Mass Edit/Change Utilities/Change ""

Noteheads Mass Edit/Change Utilities/Change ""

Rebar (submenu) Mass Edit Utilities ""

Rebeam (submenu) Mass Edit Utilities ""

Remove Manual Slur Mass Edit/Utilities Utilities/Check Notation ""


Adjustments
Utilities/Check Notation/Stem
Remove Stem Changes Mass Edit/Utilities Use Default Direction
Direction

Respell Notes Mass Edit/Utilities Utilities ""

Restore Measure Number


Restore Defaults Measure/Measure Numbers Measure
Defaults

Retranscribe Mass Edit MIDI ""

Scale View To View View Zoom

Set SmartFind Source Region Mass Edit Edit/SmartFind and Paint ""

Show Numbers Measure/Measure Numbers Measure Show Measure Numbers

Special Part Extraction Edit Document ""

Ties Mass Edit/Change Utilities/Change ""

Toolbars View/Customize Palettes Window/Toolbars Customize Toolbars

Transpose Mass Edit Utilities ""

Tuplets Mass Edit/Change Utilities/Change ""

Unlock Systems Mass Edit Utilities ""

Update Layout Edit Utilities ""

Update Smart Word Extensions


Edit Utilities ""
and Hyphens

Commands Removed from Finale


Edit/Select Partial Measures. Finale now offers partial measure selection at all times. See Selecting music.
Mass Edit/Copy and Replace. Finale now always uses the "Copy and Replace" behavior (now called Paste) when drag-copying unless the Insert modifier
(Alt) is used. This is identical to copying and pasting using the clipboard.
Mass Edit/Copy and Insert. Finale now always uses the "Copy and Replace" behavior (now called Paste) when drag-copying unless the Insert modifier (Alt)
is used. This is identical to copying and inserting using the clipboard.
Home Position. The Home Position menu item has been removed. To easily navigate to the Home Position, press the Home key.
Redraw Options. The Redraw Options menu command and Redraw Options dialog box have been removed. Recent technology and performance
improvements have replaced a need for these options.

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What's new

What's New in Finale 2008


Interface Enhancements offer a streamlined work environment with less switching tools and more universal menu commands specifically designed to help
you finish projects faster. For a detailed list of all the changes, see Finale 2008 Interface Changes.

A Powerful New Selection Tool has inherited all the functionality of the expired Mass Edit Tool. Adapted for selecting measure regions, the Selection
Tool is now Finale's universal editing utility. See Selection Tool.
Cut, Copy, Paste, and Insert Improvements allow unprecedented flexibility when choosing how, what, and where to copy. Plus, consistent results
whether drag-copying or using the clipboard, even between documents. See Copying Music.
Merge Multiple Scores automatically using the Score Merger. Consolidate multiple movements horizontally into a single document (even from different
instrumentations) or merge a collection of parts vertically into a full conductor's score. See To combine files with Score Merger.
Add An Audio Track to your score by either importing an audio file or recording a live performance with HyperScribe. See Audio.
New Garritan Sounds including saxophone, guitar, jazz bass, choir, marching percussion and many more. See Setup Wizard.
Human Playback updates provide even more support for Garritan products and Kontakt Player 2 as well as additional Instrument Techniques and an
enhanced dictionary. See Human Playback.
Playback using Garritan and SoundFont instruments simultaneously. See Setup Wizard.
HyperScribe improvements allow you to easily record first and second endings and offer more control of the recording tempo. See Recording with
HyperScribe.
Vista support allows you to install, register, and run Finale on Microsoft’s latest operating system.
Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™ Instruments - Ready with colored noteheads and an accompanying Boomwhackers
tubes SoundFont. See Setup Wizard and Document Options-Notes and Rests.
Document Styles allow you to formulate a custom medley of libraries and document settings, or choose from one of Finale's offerings, for integration with the
instrumentation of your choice in the Setup Wizard. See Setup Wizard and Document Styles.
Customize templates when you open them using the last two pages of the Setup Wizard. See Finale Score Templates.
Improved Scanning with MusicXML technology means better recognition. See Scanning.
Expanded MusicXML import and export offers higher quality formatting and page layout, as well as support for fretboards, metronome markings, piano
pedals and can now import the default music font. See File/MusicXML.
More Text Inserts including "Arranger," "Lyricist," and "Subtitle." These are recorded in Finale's New File Info dialog box and can also be defined
in Finale 2008's redesigned Setup Wizard. See Text inserts, File Info dialog box and Setup Wizard.
Expanded Setup Wizard Options allow you to select a Document Style, assign Document Styles to specific ensembles, and add additional score information
including Arranger, Lyricist, and Subtitle. See Setup Wizard.
Customize Zoom Percentages as you wish them to appear in the View Menu. See View Menu.
Updated Documentation provides the information you need quickly and easily. Finale's new User Manual features improved navigation, context-sensitivity,
and an interactive Visual Index. See How to Use the Finale 2008 User Manual.

What's New in Finale 2007


What's New in Finale 2006
What's New in Finale 2005
What's New in Finale 2004

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ADIALOG

Dialog Boxes

Accidental Octave Placement


Accidental Order and Amount
Accidental Settings
Add - Continuous Data
Add - Key Velocities
Add - Note Durations
Add Bookmark
Add Measures
Additional PostScript Information
Adjust Baselines
Adjust Page Range
Align Time Tags To Note Starts
Alter Feel - Key Velocities
Alter Feel - Note Durations
Alteration for Slot
Alternate Notation
Apply Articulation
Apply Music Spacing
Apply Staff Style
Arrowheads
Articulation Designer
Articulation Selection
Audio Clip Attributes
Audio Setup

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Encyclopedia

Using the Finale Encyclopedia

This section is a musical cookbook. To your left, the volumes you see beneath this topic house "how-to" instructions arranged alphabetically by musical situation. In
other words, you won't find Staff Tool, Page Layout dialog box, or HyperScribe listed as entries, because they are all terms you encounter only in Finale. To learn
about those and other Finale-specific topics, consult the "Reference" section on the Navigation Pane to your left.
Instead, this section contains entries for musical elements and situations, such as Beaming, Copying Music, Rehearsal letters and so on. After a brief introduction, each
entry includes at least one step-by-step tutorial; broader topics, like Rests, have several such tutorials. Following each instruction is an explanation of the step you just
took, a description of Finale's response to it, or a description of an available detour to another feature. The "how-tos" are devised so that, if you are in a hurry, you can
skip the editorial material and just follow the bulleted instructions step-by-step.
These steps assume some familiarity with Finale. In particular, they assume you have worked through most of the Installation and Tutorials Manual. Some of the
tutorials in this section are, in fact, pared-down versions of the tutorials in the Installation and Tutorials manual. In some circumstances, then, you may learn the most
by reviewing the same topic in both resources.
The Finale Encyclopedia is not meant to be a complete guide to Finale itself. Finale's flexibility allows for many approaches to a vast universe of musical styles.
Although we can't cover every possibility, we've tried to anticipate as many musical problems as we could.
You will find many links to reference material, the Visual Index, and other sources. Use the Back button on your browser to return to previously viewed topics. Also
note that all topics can be reached using the Table of Contents to your left, or by using the Search or Index functions.
Here's hoping that this musical cookbook will yield some delicious results!

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Menus

Menus

A set of eight menus always appears when you're using Finale. These menus contain standard file operations and editing commands that you need during your work,
as well as Finale settings that apply to your entire score.

File Menu
Edit Menu
Utilities Menu
View Menu
Document Menu
MIDI/Audio Menu
Plug-ins Menu
Window Menu
Help Menu

The following menus are associated with particular Finale tools. They only appear when the tool is selected. Click a tool to display its menu.

Chord Menu
Expression Menu
Graphics Menu
HyperScribe Menu
Lyrics Menu
Measure Menu
MIDI Tool Menu
Page Layout Menu
Repeat Menu
Shape Designer Menu
Simple Menu
Smart Shape Menu
Special Tools Menu
Speedy Menu
Staff Menu
Note Mover Menu
Search Menu
Text Menu
Transcription Menu
Time Tag Menu

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Terms and Symbols Contents

Terms and Symbols Contents

Symbols
Terms-A
Terms-B
Terms-C
Terms-D
Terms-E
Terms-F
Terms-G
Terms-H
Terms-I
Terms-J
Terms-K
Terms-L
Terms-M
Terms-N
Terms-O
Terms-P
Terms-Q
Terms-R
Terms-S
Terms-T
Terms-U
Terms-V
Terms-W
Terms-Z

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Main Tool Palette

Main Tool Palette

How to get there


The Main Tool Palette is almost always open on the screen. If it’s not, choose Main Tool Palette from the Window Menu.

What it does
This palette contains all of Finale’s primary tools, which you can rearrange or hide. You can move, resize, reshape, or hide the palette itself. You hold the mouse over
any of the tools to find out what the name of the tool is. Click on the name of the Tool in the picture below to view that section of the manual.

[Close box]. Click this small button at the upper-left corner of the palette to close the palette. Once it’s hidden, you make the palette reappear by choosing
Main Tool Palette from the Window Menu.
[Title bar]. Drag the strip across the top (or left) edge of the palette to move the entire palette to a new screen location.
[Sizable frame]. Click on the very edge of the palette and drag the sizable frame to reshape the entire palette. As you drag, the palette snaps into new
configurations: tall and thin, short and stout, square, and so on. If your monitor is wider than it is tall, for example, you might consider rotating the palette so that
it’s a short horizontal strip.

If you drag the resize box inward toward the upper-left corner, you hide tools. Drag the resize box outward again to bring them back into view.

[Tool icons]. See the individual tool for a complete discussion of each tool and what it does. In the meantime, note that you can rearrange the icons within the
palette. To do so, press shift and drag an icon into a new position; it will trade places with the icon onto which you drop it. Keep in mind, too, that you can save
these configurations of tools for quick access; see View MenuCustomize Toolbar dialog box for instructions. See the .

Articulation Tool
Click a note to attach a marking; click a handle to move or delete one.

Chord Tool
Choose an input method from the menu; click a note to add or edit chord symbols.

Clef Tool
Double-click a measure to insert a clef change.

Expression Tool
Double-click a measure, note or rest to attach text or a shape to one or more staves.

HyperScribe Tool
Set up menu, then click a measure and play, for an instant transcription.

Key Signature Tool


Double-click a measure to insert a key change.

Lyrics Tool
Use the menu to create or edit lyrics and position them in the score.

Measure Tool
Double-click a measure to set characteristics; drag to move a barline. Click or double-click the tool icon to add blank measures to the end of the score.

Page Layout Tool


Click the page to adjust margins or systems.

Repeat Tool
Double-click a measure to create repeats, ending brackets or text such as 'To Coda'.

Resize Tool
Click a note, to the left of a system or top left page corner to change its size.

Selection Tool

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Main Tool Palette

Double-click an object to go to its editing tool. Click and drag to move an object.

Simple Entry Tool


Click or use keystrokes to select values from the palette, and then use your mouse, computer keyboard, or a MIDI keyboard to enter notes.

Smart Shape Tool


Click a shape on the palette; double-click and drag to draw it in the score.

Speedy Entry Tool


Click a measure to edit or insert music, with or without a MIDI keyboard.

Staff Tool
Use the menu to add or edit staves -- names, transpositions, groups, brackets, etc.

Text Tool
Double-click to add text blocks. Use menus to change fonts, borders and so on.

Time Signature Tool


Double-click a measure to insert a meter change.

Tuplet Tool
Click the first note of a group to create or edit a triplet.

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Glossary

Glossary

Aftertouch
Alternate Notation
Background File
Baseline
Beat Chart
Bookbark
Channel
Clip Files
Continuous Data
EDU
EPS
ETF
EVPU
Frame
FTM
Handle
HyperScribe
Icons
Jazz Font
Key Velocity
Keyboard Equivalents
Landscape Orientation
Layers
Learned Chords
Libraries
Maestro
Metatool
MIDI
MIDI File
MIDI Time Code
Mirror
MUS
Nonstandard Key Signature
Note On - Note Off
Optimization
Patches
Petrucci
Plug-ins
Portrait Orientation
PostScript
PostScript Listing
Quantization
RAM
Shape Expression
Simple Entry Caret
Smart Shapes
Staff List
Staff Set
Tamburo
Text Block
Text Expression
TIFF
Tiling Pages
Time Tags
Track
True Type Fonts
Tuplets

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Glossary

Type 1 Fonts
Voice
Word Extension

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Smart Shape Palette

Smart Shape Palette

How to get there

Click the Smart Shape Tool . Choose Smart Shape Palette from the Window Menu, if it isn’t already selected.

What it does
This resizable, movable, reshapable, dockable palette contains icons representing slurs, crescendo hairpins, brackets, dashed and solid lines, and other intelligent, self-
stretching Smart Shapes.
Finale automatically determines the direction of measure-based Smart Shapes (though you can override the direction if you choose) by whether the cursor is above or
below the middle staff line.

[Control-menu box]. Double-click this white square to hide the palette. (Choosing Smart Shape Palette from the Window Menu– so that the check mark
disappears serves the same purpose.)
[Title bar]. Drag this strip – at the top or left side of the palette–to move the palette.
[Sizable frame]. This border functions like any sizable frame in a Windows program. Drag the sizable frame to resize the palette so that fewer tools icons
appear, or to reshape the palette. This frame can only be resized when floating, not docked.

Slur Tool • Dashed Curve Tool . Select these tools to create slurs and dashed slurs, respectively.

Decrescendo Tool • Crescendo Tool . Select these tools to create crescendos and decrescendos that move and break with your score.

Trill • Trill Extension Tool . Click one of these tools (with or without the Ÿ), then position the cursor in the measure where you want the trill
extension to begin. Double-click the mouse, holding down the button on the second click; drag to the right until the trill extension is the desired length.

8va •15ma Tool . Click one of these tools, then double-click and drag above a staff to enter an one octave up (8va) or two octaves up (15ma)
marking in the score; double-click and drag below a staff to enter an one octave down (8vb) or two octaves down (15mb) marking. Select Smart Shape Options
from the Smart Shape Menu to set the font and size for the symbols (for example, if you prefer using 8va and 15ma below the staff as well), and choose whether
symbols or numbers are used.

Double-Ended Bracket Tool • Dashed Double-Ended Bracket Tool • Single-Ended Bracket Tool • Dashed Single-

Ended Bracket Tool • Line Tool • Dashed Line Tool . Click one of these tools, then double-click and drag to enter the smart shape
in your score. When a bracket is placed under a staff, the ends of the bracket will point up. If the bracket is placed over the staff, the ends of the bracket will point
down. If you selected the Dashed Double-Ended Bracket Tool or the Dashed Single-Ended Bracket Tool, then the horizontal line will be dashed instead of solid.

Glissando Tool . Click this tool, then double-click a note and drag to create an angled glissando, or double-click a note to attach the glissando to that
note and the next. Use Smart Shape Options to edit the type of glissando and text used. See Smart Shape Options dialog box.

Guitar Bend Tool . Click this tool, then double-click and drag or double-click on the first note, or fret number in a tab staff, to create a bend shape. See
Guitar Bend Options dialog box and Guitar bends.

Bend Hat Tool . Click this tool, then double-click and drag or double-click on the first note to create a bend between notes or double-click a note to
attach the bend to that note and the next. (These are actually just a special case slur.)

Tab Slide Tool . Click this tool, then double-click and drag or double-click on the first note to create a slide between notes or double-click a note to
attach the slide to that notehead and the next.

Custom Line Tool . Ctrl-click this tool to select, edit or create a user-defined smart shape. See Smart Line Selection dialog box and Smart Line
Designer dialog box for more details.

See Also:
Slurs

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Customer Support

Customer Support

As a registered owner, you may call MakeMusic for technical support whenever you need help with Finale. There is no cost for this help (except for long-distance
charges). In addition to technical support benefits, you'll automatically receive company and product information from time to time, as well as official notification of all
future upgrades to your program.

Before you contact tech support, be sure to search the User Manual (under the Help Menu).

If you have a question about a specific tool, use the navigation pane to the left to find the desired topic using the TOC (Table of Contents), Index, Search, and Browse
order buttons to the lower left. See How to Use the Finale 2008 User Manual.

If you have a problem with connecting MIDI or printing with Finale for example, refer to the Setting up your MIDI System section of the Installation and Tutorials guide.

You can contact us through any of the following:

Internet
If you have an Internet connection, you can search through answers to some of our frequently asked questions, and communicate directly with MakeMusic Customer
Support by visiting https://support.makemusic.com. You may also visit http://forum.makemusic.com to engage in a forum discussion with other Finale users and
discover the latest news from MakeMusic.

Phone
(952) 937-9703 (long-distance charges may apply) 8:30 am to 5:00 pm (US Central Time) Monday through Friday

Mail
MakeMusic
7615 Golden Triangle Drive, Suite M
Eden Prairie, MN
55344-3848

FAX
(952) 937-9760

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Keyboard Shortcuts and Special Mouse Clicks

Keyboard Shortcuts and Special Mouse Clicks


Commands that are new or have changed in Finale 2008 are marked by a bullet (·).

File Menu Graphics Tool Page Layout Tool Special Tools Tool

Edit Menu Hand Grabber Tool Playback Staff Tool

Window Menu HyperScribe Tool Repeat Tool Text Tool

View Menu Transcription Mode Resize Tool Staff Tool

Utilities Menu Lyrics Tool Selection Tool Tuplet Tool

Articulation Tool Measure Tool Simple Entry Tool Zoom Tool

Chord Tool Mirror Tool Simple Entry Laptop General

Clef Tool Note mover Tool Smart Shape Tool

Expression Tool Ossia Tool Speedy Entry Tool

File Menu

Command Keyboard Shortcut or Mouse Click

Launch Window Ctrl-Shift-N

New (default new action) Ctrl-N

Open Ctrl-O

Close Ctrl-W

Close All Option-Command-W

Save Ctrl-S

Save All Option-Command-S

Print Score Ctrl-P

Quit Alt-F4-Q

Edit Menu

Command Keyboard Shortcut or Mouse Click

Undo Ctrl–Z

Redo Ctrl–Y

Undo/Redo List Ctrl-shift–Z

Cut Ctrl–X

Cut to Clip File Press Ctrl when choosing Cut

Copy (to the Clipboard) Ctrl–C

Copy to Clip File Press Ctrl when choosing Copy-C

Insert From Clip File Press Ctrl when choosing Insert

Insert and Filter Ctrl-Shift-I

Insert and Filter from Clip File Press Ctrl-Shift while choosing Insert

Paste Ctrl-V

· Paste Multiple (from the clipboard) Ctrl-Alt-V

Paste (paste from a Clip file) Press Ctrl when choosing Paste

· Paste Multiple using the one-click Highlight the source measures. Press Alt-Ctrl and click the destination
method measure. The Paste Multiple dialog box appears.
Shift-Ctrl-V. The Edit Filter dialog box appears where you can choose
· Paste and Filter
which items you would like to paste.
Press Shift-Ctrl while choosing Paste. The Edit Filter dialog box appears
· Paste and Filter from Clip Files
where you can choose which items you would like to paste.

· Delete Measure Stack Delete (with a stack selected)

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Keyboard Shortcuts and Special Mouse Clicks

Select All Ctrl-A

Update Layout and remove Ctrl-Shift-U


measure groupings

Clear All Items Backspace (Laptops Fn-6)

Set SmartFind Source Region Ctrl-F

Deselect SmartFind Source Region Ctrl-F

Utilities Menu

Command Keyboard Shortcut or Mouse Click

· Update Layout Ctrl-U

· Transpose Ctrl-6 through 9

· Program a Transposition Shift-Ctrl-6 through 9

· Lock Systems Ctrl-L (Or, with the Selection Tool selected, press L to lock Systems).

Ctrl-Shift-L (Or, with the Selection Tool selected, press U to unlock


· Unlock Systems
Systems).

· Apply Note Spacing Ctrl-4 (Or, with the Selection Tool selected, press 4)

· Apply Beat Spacing Ctrl-5 (Or, with the Selection Tool selected, press 5)

· Implode Music 1 (With Selection Tool selected)

· Explode Music 2 (With Selection Tool selected)

· Check Elapsed Time 3 (With Selection Tool selected)

Window Menu

Command Keyboard Shortcut or Mouse Click

Show/Hide Main Tool Palette Command–T

Switch between open windows Ctrl-Tab

Open/Close Mixer Ctrl-Shift-M

View Menu

Command Keyboard Shortcut or Mouse Click

Page View Ctrl-E

Scroll View Ctrl-E

Studio View Ctrl-Shift-E

End Position End key

Redraw Screen Ctrl–D

Zoom In Ctrl–+ or hold down Ctrl-Shift and right-click

Zoom Out Ctrl–- (minus) or hold down Ctrl-Shift and right-click

· Custom Zoom 2 Ctrl–2

· Custom Zoom 1 Ctrl–1

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Keyboard Shortcuts and Special Mouse Clicks

· Custom Zoom 3 Ctrl–3

View At X % Ctrl–0

View At Last Size Double-right-click on the score

Define a Staff Set Press Ctrl when choosing Staff Set (in Scroll View or Studio View)

Show/Hide Rulers Command-R

Change layers Alt-Shift-layer number (1-4)

General Keyboard Shortcuts

Command Keyboard Shortcut or Mouse Click

OK all open dialog boxes Ctrl-click the OK button

Cancel all open dialog boxes Ctrl-click the Cancel button

Apply a Metatool Press a number or letter and click the score

Program a Metatool Press shift-number or shift-letter

Program a keyboard equivalent for a tool Press shift-Function key (F2-F12)

Switch to a tool you’ve programmed Press Function key (F2-F12)

Select Yes or No in dialog boxes Type N for “No” and Y for “Yes”

Move to top of page/score Page Up

Move to bottom of page/score Page Down

Next or Previous Page (page view) Ctrl-Page Up or Ctrl-Page Down

Move forward screenfull of measures (scroll view) Ctrl-Page Up

Move backward screenfull of measures (scroll view) Ctrl-Page Down

Move to beginning of score (scroll view) Home

Move to end of score End

Change layers Alt-Shift-layer number

Articulation Tool

Command Keyboard Shortcut or Mouse Click

Click on, above, or below a note or rest that doesn’t have an articulation
Display the Articulation Selection dialog box attached, or click on a note whose articulation handles are visible, OR
drag-enclose a group of notes with or without articulations.

Select an articulation Click, or shift-click the handle.

Select the handle and press delete, or right-click the handle and select
Delete an articulation Delete from the contextual menu. Drag-enclose a group of notes while
holding delete to delete articulations on all the notes.

Double-click an articulation handle, or right-click the handle and select


Display the Articulation Designer dialog box Edit Articulation Definition from the contextual menu.

Highlight the note to which the articulation is assigned Alt-click and hold a handle of an articulation.

Chord Tool

Command Keyboard Shortcut or Mouse Click

Display positioning triangles Click the staff (but not on a note or rest)

Click a note with no chord symbol attached (With Manual Input selected in the Chord
Display the Chord Definition dialog box Menu), or double-click a chord symbol handle, or right-click the handle and select Edit
Chord Definition from the contextual menu.

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Keyboard Shortcuts and Special Mouse Clicks

Select the handle and press delete, or right-click the handle and select Delete from the
Delete a chord symbol contextual menu

Input chord symbols using MIDI keyboard With MIDI Input selected click a note and play chord on the MIDI keyboard

With One- or Two-Staff Analysis selected in the Chord Menu, click on a note in the
Analyze chord in one or two staves chord.

Select a Suffix (type into score mode) Type root followed by :0

Clef Tool

Command Keyboard Shortcut or Mouse Click

Display the Change Clef dialog box Double-click in a measure)

Select the region (if you want a mid-measure clef, select a part of a measure) and
· To change the clef for a region
then double click the highlighted region.
· To change the clef from a measure to the Double-click an unselected measure or a fully selected measure.
next clef change

Adjust the mid-measure clef position Drag the handle of the mid-measure clef

Select the handle and press delete, or right-click the handle and select Delete from
Delete a mid-measure clef the contextual menu.

Double-click the mid-measure clef’s handle and drag left or right, or right-click the
Change a mid-measure clef to another clef handle and select Edit Clef Definition.

Expression Tool

Command Keyboard Shortcut or Mouse Click

Display the Expression Selection dialog box Double-click on, above, or below a measure or note.

Click, or shift-click to select multiple handles or press Ctrl-A to select


Select an expression handle all available handles.

Move selected expressions Drag the selected handles

Press delete, or right-click the handle and select Delete from the
Delete selected expressions contextual menu.

Double-click an expression handle, or right-click the handle and select


Resize a shape expression
Edit Score Shape Expression Graphically from the contextual menu.

Double-click an expression handle (text expression), or right-click the


Display the Text Expression Designer dialog box handle and select Edit Text Expression Definition from the contextual
menu.

Ctrl-double-click an expression handle (shape expression), or right-


Display the Shape Expression Designer dialog box click the handle and select Edit Shape Expression Definition from the
contextual menu.

Shift-double-click an expression handle, or right-control-click the


Display the Measure or Note Expression Assignment handle and select Edit Expression Assignment from the contextual
dialog box menu.

Highlight the note/measure to which the expression is


Hold down Alt and click the expression’s handle.
attached

To quickly change one expression to another using Highlight the Expression handle and double-press the metatool key
metatool shortcuts corresponding to the expression you want to switch to

Graphics Tool

Command Keyboard Shortcut or Mouse Click

Align Left Ctrl-Shift- [ (left square bracket)

Center Horizontally Ctrl-Shift- ' (apostrophe)

Align Right Ctrl-Shift- ] (right square bracket)

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Keyboard Shortcuts and Special Mouse Clicks

Align Top Ctrl- - (minus)

Center Vertically Ctrl-Shift- = (equals)

Align Bottom Ctrl-Shift- - (minus)

Click in the Shape Designer display area, the Place Graphics dialog
Place a graphic in the Shape Designer
box appears

Select a graphic or graphics Click a graphic or drag-enclose graphics, shift-click a graphic

Display the Graphic Attributes dialog box Ctrl-Shift- T or dDouble-click a graphic

Place a graphic in the score Double-click in the score, the Place Graphics dialog box appears

Select a region containing the musical example to


Double-click and drag to enclose a region in Page View
export

Delete the selected graphics Press delete for one or more selected graphics

Adjust the graphic’s position in the score Drag a selected graphic

Resize the graphic horizontally or vertically Drag a graphic’s bounding handle

Hand Grabber Tool

Command Keyboard Shortcut or Mouse Click

Temporarily switch to Hand Grabber Tool Press the right-button (and drag in the score)

HyperScribe Tool

Command Keyboard Shortcut or Mouse Click

Indicate where to begin transcription Click a measure

End HyperScribe in the middle of a measure Ctrl-click anywhere on the score

Transcription Mode

Command Keyboard Shortcut or Mouse Click

Click a measure or Ctrl-click a measure if you had Transcribe in


Display the Transcription window Measures selected while transcribing

Transcribe a measure at a time Click a measure with Transcribe in Measures selected

Lyrics Tool

Command Keyboard Shortcut or Mouse Click

Click Assign lyrics one syllable at a time Click within the staff lines at the position of the note

Click Assign lyrics all at once Ctrl-click within the staff lines at the position of the first note

Click within the staff lines at the position of the sustained syllable with
Display a Word Extension handle Edit Word Extension selected from the Lyric Menu

Click within the staff lines at the position of the syllable with Adjust
Move Syllables Syllables selected from the Lyric Menu

Move to the previous or next verse, chorus or section. up arrow or down arrow using Type into Score

Left Justify syllable Ctrl- [ (left square bracket) (with Adjust Syllables Selected)

Right Justify syllable Ctrl- ] (right square bracket) (with Adjust Syllables Selected)

Center Justify syllable Ctrl- ' (apostrophe) (with Adjust Syllables Selected)

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Keyboard Shortcuts and Special Mouse Clicks

Align syllable block to the Left Ctrl-Shift- [ (left square bracket)

Center syllable block Horizontally Ctrl-Shift- ' (apostrophe)

Align syllable block to the Right Ctrl-Shift- ] (right square bracket)

Measure Tool

Command Keyboard Shortcut or Mouse Click

Ctrl-click the Measure Tool, or right-click the Measure Tool and select
Display the Add Measures dialog box Add Measures from the context menu

Double-click the Measure Tool, or right-click the Measure Tool and


Add single blank measure to the score select Add One Measure from the context menu

Double-click the top barline handle or measure, or right-click a handle


Display the Measure Attributes dialog box (or upper handle) and select Edit Measure Attributes from the
contextual menu.

Make the Measure wider or narrower Drag the top barline handle right or left

Click the second barline (or middle if there are three) handle, or right-
Display a beat chart
click the handle and select Edit Beat Chart from the contextual menu.

Click the third (bottom) barline handle, or right-click the handle and
Display a split-point bar select Edit Split Points from the contextual menu.

Move a beat horizontally in all staves Drag one of the lower handles in the beat chart

Move a beat and all subsequent beats horizontally in


Shift-drag one of the lower handles in the beat chart
all staves

Add another pair of beat positioning handles Double-click between two upper handles of a beat chart

Display the Beat Chart Element dialog box Double-click an upper handle in the beat chart

Delete a beat chart pair from the beat chart Click on an upper handle to select it and press delete

Right-click the handle and select Barlines, then the desired barline
Change a barline type (Normal, Double, Final, Solid, Dashed, Invisible, Tick) from the
contextual menu.

Display a handle on every measure number Click the Measure Tool

Display the Measure Number dialog box Shift-double-click on the Measure Tool.

Press backspace, or right-click the handle and select Restore Default


Reset measure number positioning Position from the contextual menu.

Press delete, or right-click the handle and select Delete from the
Delete a measure number contextual menu.

Move a measure number Drag the measure number’s handle

Double-click a measure number’s handle, or right-click the handle and


Display the Enclosure Designer dialog box select Edit Enclosure from the contextual menu.

Force a measure number to appear Ctrl-click a measure without a measure number

Force measure numbers on a measure in all staves of


Ctrl-shift-click on a measure
a staff system

right-click the handle and select remove a multimeasure rest from the
Remove a multimeasure rest contextual menu.

Mirror Tool

Command Keyboard Shortcut or Mouse Click

Display Mirror and Placeholder icons Click the Mirror Tool

Display the Placeholder dialog box Highlight a measure with notes or with a Placeholder icon

Display the Tilting Mirror dialog box Double-click an empty measure or a measure with a Mirror icon

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Keyboard Shortcuts and Special Mouse Clicks

Display the Mirror Attributes dialog box Shift-double-click a measure with a Mirror icon

Note Mover Tool

Command Keyboard Shortcut or Mouse Click

Display a handle on every notehead in the measure Click a measure

Select a handle or handles Click, shift-click, drag-enclose or shift-drag-enclose the handles

Press delete, or right-click the handle and select Delete from the
Delete selected notes (still in their original measure) contextual menu.

Drag a note or a group of notes to the end of the measure and the
Move or Copy notes to another measure selected action in the Note Mover Menu will take place

Drag a note or a group of notes to the beginning of the measure (if the
Copy notes to the beginning of a measure measure isn’t rhythmically full)

Ossia Tool

Command Keyboard Shortcut or Mouse Click

Display handles on every ossia measure Click the Ossia Tool in Page View

Display a handle on a measure-assigned Click the Ossia Tool in Scroll View and click the measure to which the Ossia
ossia measure measure is attached

In Page View, double-click anywhere on the document; In Scroll View click a


Display the Ossia Measure Designer dialog measure with no ossia measure attached, or double-click a measure with an
box ossia measure attached; Double-click a floating measure’s handle, or right-click
the handle and select Edit Ossia Definition from the contextual menu.

Select an ossia measure Click the ossia measure’s handle

Move a selected ossia measure Drag the handle

Press delete, or right-click the handle and select Delete from the contextual
Delete a selected ossia measure menu.

Shift-double-click a page-assigned floating measure’s handle, or right-click the


Display the Page Assignment for Ossia handle and select Edit Ossia Assignment from the contextual menu (in Page
Measure dialog box View).

Display the Measure Assignment for Ossia Shift-double-click a measure-assigned floating measure’s handle, or right-click
Measure dialog box the handle and select Edit Ossia Assignment from the contextual menu.

Page Layout Tool

Command Keyboard Shortcut or Mouse Click

Display Page and System margins Click the Page Layout Tool

Resize page, margins or system Drag a handle in Page View

Move a system Drag the system in Page View

Move a system without moving other systems Hold down Ctrl and drag the center of a staff system

Select handles Drag-enclose to select handles

Select all system handles Ctrl-A

Repeat Tool

Command Keyboard Shortcut or Mouse Click

Display the Repeat Menu Click the Repeat Tool

Display the Repeat Selection dialog box Double-click a selected repeat

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Keyboard Shortcuts and Special Mouse Clicks

Click on the handle and press delete, or right-click the handle and
Delete a text repeat, repeat barline select Delete from the contextual menu.

Move a text repeat Select the handle and drag.

Change the size of a repeat barline’s bracket Drag the repeat bracket handle up or down, left or right

Double-click a text repeat handle, or right-click the handle and select


Display the Repeat Designer dialog box Edit Repeat Definition from the contextual menu.

Display the Backward Repeat Bar Assignment dialog Double-click a repeat barline handle, or right-click the handle and
box select Edit Repeat Assignment from the contextual menu.

Double-click a repeat ending number handle, or right-click the handle


Display the Ending Repeat Bar Assignment dialog box
and select Edit Repeat Assignment from the contextual menu.

Shift-double-click a text repeat handle, or right-click the handle and


Display the Repeat Assignment dialog box select Edit Repeat Assignment from the contextual menu.

Resize Tool

Command Keyboard Shortcut or Mouse Click

Click on the notehead or right-click and select Resize Notehead from


Reduce or enlarge a notehead the contextual menu.

Click on the note stem or right-click and select Resize Note or Rest
Reduce or enlarge an entire note or beam group from the contextual menu.

In Page View, click to the left of the staff or right-click and select
Reduce or enlarge a staff Resize Staff from the contextual menu.

In Page View, click between any two staves in the system or right-
Reduce or enlarge a system click and select Resize System from the contextual menu.

In Page View, click the upper-left corner of the page or right-click and
Reduce or enlarge a page, or a range of pages select Resize Page from the contextual menu.

Selection Tool

Command Keyboard Shortcut or Mouse Click

Switch to Selection Tool Esc or Ctrl-shift-A.

Select an item Click on the item

Select the appropriate tool to edit item With item selected, double-click or press enter

Click on the item then press plus or minus to cycle through overlapping
Select between overlapping items items. Or, just clicking the mouse again cycles through the overlapping
items.

Display the Fit Measures dialog box Ctrl- M (Page View only)

Lock currently selected systems L (or, L with the Selection Tool selected)

Unlock currently selected systems U (or, U with the Selection Tool selected)

Click to select a full measure. Drag-enclose to select a region including


Select a measure or measures partial measures. To contrain to full measures, hold down Shift while drag-
enclosing.

· Extend a partial measure selection to include only full Double-click the selected region.
measures.

Press Shift-up arrow to extend selection up or Shift-down arrow to


extend selection down.
Double-click a selected measure to include the entire vertical
measure “stack” (that measure in all staves); The first double-click
selects a single full measure, and the second double-click selects

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Keyboard Shortcuts and Special Mouse Clicks

the measure stack; Shift-click on a staff above or below a selected


· Extend a selection of measures vertically region to extend selection to that staff.
Hold down shift and press Page Up to select all staves to the top
staff of the system.
Hold down shift and press Page Down to select all staves to the
bottom staff of the system.

While holding down Shift, press right arrow or left arrow to extend
selection to the next or previous note.
Press Shift-Ctrl and press the right arrow or left arrow to extend the
selection by full measures. (Choose to adjust the beginning of the
selected region by first pressing Shift left arrow. Choose to adjust the
end of the selected region by first pressing Shift right arrow.) If there
· Extend a selection of measure horizontally
are no notes in the measure, Finale selects the entire measure.
Hold down Shift and press the End key to select all measures to the
end of the score.
Hold down Shift and press the Home key to select all measures to
the beginning of the score.

Click to the left of a staff; Shift-click to the left of a staff to extend the
Select a staff or staves selection

Drag the region so it is superimposed on the beginning of another region,


which elements to be copied are selected in the Edit Menu before you
drag (See Edit Filter dialog box). The target region can include a portion
· Move or copy and paste a selected section of music of the source region. Or,
Ctrl-click the place where the selected elements should be copied or
moved to.

Hold down the Alt key and drag the region so a red (or green) Insertion
Cursor appears at the beginning of another region. Which elements to be
inserted are selected in the Edit Menu before you drag (See Edit Filter
· Move or copy and insert a selected section of music
dialog box). The target region can include a portion of the source region.
Inserting pushed subsequent notes in the staff to the right the duration of
the inserted material.

Drag the region so it is superimposed on the beginning of another region,


which elements and whether you are moving or copying are selected in
· Move or copy and paste specific items from a the Edit Menu before you drag (See Edit Filter dialog box). The target
selected section of music region can include a portion of the source region.
Ctrl-Shift-click the place where the selected elements should be copied or
moved to. Choose the items you want to copy and click OK.

Highlight the source region and press Ctrl-C to copy. Highlight the target
· Move or copy and paste a selected section of music
and press Alt-Ctrl-V. Enter the number of copies in the Paste Multiple
multiple times
dialog box and click OK.

· Select all (measure stack in all measures) Ctrl-A

Display the Clip dialog box Press Ctrl or shift while choosing Cut or Copy from the Edit Menu

Display the Paste dialog box Press Ctrl while choosing Paste in the Edit Menu

Clear selected music Select a region of music and press backspace

Delete selected measures Select a measure stack (double-click) and press backspace

Move selected measures to the previous or next staff Up arrow or down arrow
system

Cancel an operation Press esc

Select the measures you want to affect, then press 1 on your computer
Implode Music (displays the Implode Music dialog box) keyboard.

Drag-Implode Music for multiple staves (displays the


Press I while dragging selected measures to their destination.
Implode Music dialog box)

Drag-Explode Music for multiple staves (displays the


Hold down E while drag copying to the target region.
Explode Music dialog box)

· Respace notes, lyrics, and accidentals (Apply Beat With the Selection Tool, select the measures you want to affect, then

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Keyboard Shortcuts and Special Mouse Clicks

Spacing command) using the settings in Document press 5 on your computer keyboard. In all tools that allow regional
Options-Music Spacing selection, press Ctrl-5.

· Respace notes, lyrics, and accidentals (Apply Note With the Selection Tool, select the measures you want to affect, then
Spacing command) using the settings in Document press 4 on your computer keyboard. In all tools that allow regional
Options-Music Spacing selection, press Ctrl-4.

· Show elapsed time based on current tempo (displays Select the measures you want to affect, then press 3 on your computer
the Elapsed Time dialog box) keyboard.

With the Selection Tool, select the measures you want to affect, then
· Transpose (programmable) press any number between 6 and 9 on your computer keyboard. (Ctrl-6
through 9 without the Selection Tool selected.

· Program Transpositions Shift-Ctrl-6 through 9

Select or deselect the SmartFind Source Region Ctrl-F

Display the Apply SmartFind and Paint dialog box Ctrl-Shift-F

Simple Entry Tool

Command Keyboard Shortcut or Mouse Click

Accidental: Double Flat Shift- - (minus)

Accidental: Double Sharp Shift- =

Accidental: Flat -

Accidental: Sharp =

Accidental: Half Step Up Numpad +

Accidental: Half Step Down Numpad -

Accidental: Natural N

Accidental: Show/Hide courtesy accidental Ctrl-Shift- - (minus)

Add Interval: Unison through octave above 1 through 8

Add Interval: Ninth above Ctrl-Shift 9

Add Interval: Second through ninth below Shift-2 through 9

Add Pitch: A-G Shift-A through G

Add Pitch: At caret pitch Ctrl-Enter

Alt-A or Numpad * (and then the articulation metatool or press the


Add/Change Items: Articulation keystroke again to choose articulation)

Add/Change Items: Articulation-Sticky Ctrl-Alt-Shift-A or Ctrl-Numpad *

Add/Change Items: Clef Alt-C

Add/Change Items: Key Signature Alt-K

Add/Change Items: Time Signature Alt-T

Add/Change Items: Expression X or Alt-X

Change Pitch (caret or selected note): Step Down


Down arrow
Diatonically

Change Pitch (caret or selected note): Step Up


Up arrow
Diatonically

Change Pitch: Octave Down Diatonically Alt-Shift-down arrow

Change Pitch: Octave Up Diatonically AltOption-Shift-up arrow

Duration: 12864th through Double Whole Alt-Numpad 10-8 or Alt 10-8

Duration: 128th note Option-Shift ‘ or Option-0 (zero)

Duration: Augmentation Dot . (Decimal point in Numpad) or . (Period)

Duration: Tuplet - Create Default 9 or Numpad 9

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Keyboard Shortcuts and Special Mouse Clicks

Alt-Numpad 9 or Alt-9 (or Shift-click in a measure with the Simple


Duration: Tuplet - Create User-Defined Tuplet Tool chosen)

Enter Note: At Caret Pitch Enter or Return (with Simple Entry Caret active)

Enter Note: A-G A-G

Enter Rest Numpad 0, 0, Alt-Enter, Shift-Enter or Tab

Modify: Beam - Break /

Modify: Beam - Flat Alt-/

Modify: Beam - Use Default Shift-/

Modify: Change Pitch Enharmonically Alt-E

Modify: Delete Delete or Shift-Backspace

Modify: Grace Note Alt-G

Modify: Show/Hide H

Modify: Stem - Flip L

Modify: Stem - Use Default Shift-L

Modify: Tie to Next Note T or Numpad /

Modify: Tie to Previous Note Shift-T or Ctrl-Numpad /

Modify: Flip Tie Ctrl-F

Modify: Move note just entered with caret up


Alt-up arrow
diatonically

Modify: Move note just entered with caret down


Alt-down arrow
diatonically

Toggle note to rest (selected note or note just entered


R
with caret)

Navigation: Caret/Selection - Clear Backspace or Escape

Navigation: Caret - Step Down Down arrow

Navigation: Caret - Step Up Up arrow

Navigation: Caret - Octave Down Shift-Down arrow

Navigation: Caret - Octave Up Shift-Up arrow

Navigation: Selection - Down Ctrl-Down arrow

Navigation: Selection - Up Ctrl-Up arrow

Navigation: Selection - One Entry Left Left arrow

Navigation: Selection - One Entry Right Right arrow

Navigation: Selection - One Measure Left Ctrl-Left arrow

Navigation: Selection: One Measure Right Ctrl-Right arrow

Navigation: Selection: Select All Ctrl-A

Navigation: Switch Tool (and clear other selections) Double-click tool or quickly repeat tool selection keyboard shortcut

Selection: Select a note within a chord without clearing


Ctrl-shift-click the note or rest
previous selection (in entry)

Tool: Accidental - Flat Alt- - (Minus)

Tool: Accidental - Natural Alt- N[

Tool: Accidental - Sharp Alt- =

Tool: Augmentation Dot Ctrl- Numpad . (decimal point) or Shift-. (Period)

Tool: Eraser Alt-Backspace or Alt-Delete

Tool: Grace Note Ctr-G

Tool: 64th Note through Double Whole Note Numpad 1-8 (or Ctrl-Alt-Shift 1-8)

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Keyboard Shortcuts and Special Mouse Clicks

Tool: 128th Note Ctrl-Alt-Shift 0

Tool: 64th Rest through Double Whole Rest Ctrl-Numpad 1-8

Tool: Repitch Shift-‘ (Accent) or Ctrl-R

Tool: Toggle Note/Rest Alt-R

Tool: Tuplet Ctrl-9 or Ctrl-Numpad 9

Tool: Tie Alt-Numpad / or Ctrl-Shift-T

TAB-Add Note on String 1-9 Alt 1-9

TAB-Add Note on String: At Caret Pitch Ctrl-Enter

TAB-Add Note at Caret String Enter

TAB-Change Pitch: Increment Fret Number = or Numpad +

TAB-Change Pitch: Decrement Fret Number - or Numpad -

TAB-Change String: Down One Alt-down arrow

TAB-Change String: Up One Alt-up arrow

Ctrl-Shift 0-9 or Alt-Numpad 0-9 (type two numbers quickly for two
TAB-Change to Fret Number: 0-9 digit numbers)

TAB-Duration: 64th through Double Whole Ctrl-Alt 1-8

TAB-Duration: 128th Note Ctrl-Alt ‘ (Accent)

TAB-Duration: Augmentation Dot . (period) or Numpad . (decimal point)

TAB-Duration:Tuplet - Create Default Alt-0 or Ctrl-Alt 9 or Ctrl-Alt-Numpad 9

TAB-Duration:Tuplet - Create User Defined Shift-0

TAB-Enter Note on Fret 0-9 or A-K Numpad 0-9 or A-K

TAB-Enter Note on Fret 10-19 or L-U Ctrl-numpad 0-9 or L-Q

TAB-Enter Rest Tab or Shift-Enter or Alt-Enter

TAB-Modify: Delete Delete or Shift-Backspace

TAB-Modify: Grace Note Alt-G

TAB-Modify:Show/Hide Ctrl-H

TAB-Modify: Tie to Next Note T or Numpad /

TAB-Modify: Tie to Previous Note Shift-T or Ctrl-Numpad /

TAB-Modify: Toggle Note/Rest R or Shift-Spacebar

TAB-Navigation: Caret/Selection - Clear Backspace

TAB-Navigation: Move caret to string 1-9 1-9

TAB-Navigation: String Up Up arrow

TAB-Navigation: String Down Down arrow

TAB-Tool: Augmentation Dot Ctrl-Numpad . (decimal) or Shift-. (period)

TAB-Tool: Eraser Alt-Backspace or Alt-Delete

TAB-Tool: Grace Note Ctrl-G

TAB-Tool: Note - 64th through Double Whole Ctrl-Alt-Shift 1-8 or Ctrl-Alt-Numpad 1-8

TAB-Tool: Repitch Ctrl-R or Shift-‘ (Accent)

TAB-Tool: Tie Ctrl-Shift-T or Alt-Numpad /

TAB-Tool: Toggle Note/Rest Alt-R

TAB-Tool: Tuplet 0 or Ctrl-Alt-Numpad 0

Simple Entry Laptop Set


Laptop users: To use this set, from the Simple Menu, choose Simple Entry Options and then click Edit Keyboard Shortcuts. In the

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Keyboard Shortcuts and Special Mouse Clicks

Edit Keyboard Shortcuts dialog box, from the Name drop-down menu, choose “Laptop Shortcut Table”.

Command Keyboard Shortcut or Mouse Click

Accidental: Half Step Up =

Accidental: Half Step Down -

Accidental: Natural N

Accidental: Show/Hide courtesy accidental Ctrl-Shift--(minus)

Add Interval: 2nd through octave above F2 through F8

Add Interval: Ninth above Ctrl-Shift-F9

Add Interval: Second through ninth below Shift-F2 through F9

Add Interval: Ninth below Shift-F9

Add Pitch: A-G Shift-A through G

Add Pitch: At caret pitch Ctrl-Enter

Add/Change Items: Articulation ‘ (accent)

Add/Change Items: Articulation-Sticky Alt-Shift-‘ (accent)

Add/Change Items: Clef Alt-C

Add/Change Items: Key Signature Alt-K

Add/Change Items: Time Signature Alt-T

Add/Change Items: Expression Alt-X (or X)

Change Pitch (caret or selected note): Step Down


Alt-Down Arrow
Diatonically

Change Pitch (caret or selected note): Step Up


Alt-Up Arrow
Diatonically

Change Pitch: Octave Down Diatonically Alt-Shift-Down arrow

Change Pitch: Octave Up Diatonically Alt-Shift-Up Arrow

Duration: 128th through Double Whole AltOption-0 through 8

Duration: Augmentation Dot . (period)

Duration: Tuplet - Create Default 9

Duration: Tuplet - Create User-Defined Alt-9

Enter Note: At Caret Pitch Enter

Enter Note: A-G A through G

Enter Rest Alt-Enter (or Shift-Enter or Tab)

Modify: Beam - Break /

Modify: Beam - Flat Alt-/

Modify: Beam - Use Default Shift-/

Modify: Change Pitch Enharmonically Alt-E

Modify: Delete Delete

Modify: Grace Note Alt-G

Modify: Show/Hide H

Modify: Stem - Flip L

Modify: Stem - Use Default Shift-L

Modify: Tie to Next Note T

Modify: Tie to Previous Note Shift-T

Modify: Flip Tie Ctrl-Shift-F

Toggle note to rest (selected note or note just entered


R

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Keyboard Shortcuts and Special Mouse Clicks

with caret)

Navigation: Caret/Selection - Clear Backspace

Navigation: Caret - Step Down Down Arrow

Navigation: Caret - Step Up Up Arrow

Navigation: Caret - Octave Down Shift-Down Arrow

Navigation: Caret - Octave Up Shift-Up Arrow

Navigation: Selection - Down Ctrl-Down Arrow

Navigation: Selection - Up Ctrl-Up Arrow

Navigation: Selection - One Entry Left Left Arrow

Navigation: Selection - One Entry Right Right Arrow

Navigation: Selection: Select All Ctrl-A

Navigation: Switch Tool (and clear other selections) Double-click tool or quickly repeat tool selection keyboard shortcut

Selection: Select a note within a chord without clearing


Ctrl-shift-click the note or rest
previous selection (in entry)

Tool: Accidental - Flat Alt-- (minus)

Tool: Accidental - Natural Alt-N

Tool: Accidental - Sharp Alt-=

Tool: Augmentation Dot Shift-.

Tool: Eraser Alt-Backspace

Tool: Grace Note Ctrl-G

Tool: 128th Note through Double Whole Note Ctrl-Alt-Shift 0 through 8 (or with no selection, 0 through 8)

Tool: Repitch Ctrl-R or Shift-‘ (accent)

Tool: Toggle Note/Rest Alt-R

Tool: Tie Ctrl-Shift-T

Smart Shape Tool

Command Keyboard Shortcut or Mouse Click

Flip a selected Slur or Bend F

Flip a selected Slur or Bend (reverse linking behavior) Ctrl-F

Change a selected Slur or Bend back to Automatic Alt-Shift- F

Display handles on all smart shapes Click the Smart Shape Tool

Edit or Delete a Smart Shape Click the handle of the Smart Shape

Select all Smart Shapes on the page Ctrl-A

Change the slur’s ending or starting note Drag or nudge an endpoint handle

Change the slur’s arc height Drag or nudge a center curve handle

Move from any secondary (diamond) handle to another Tab

Hide secondary handles Esc

Move between primary SmartShape handles Tab

Change the slur’s arc height and angle Shift-drag a center curve handle

Change the slur’s arc and inset asymmetrically Drag or nudge an inner curve handle

Change the slur’s arc and inset symmetrically Ctrl-drag an inner curve handle

Create an inverted bracket with the hook pointing away

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Keyboard Shortcuts and Special Mouse Clicks

from the staff instead of toward the staff. It will also Ctrl-double-click and drag
change the text for an 8va or 15ma below the staff or
8vb or 15mb above the staff

Display the Smart Line Selection dialog box Ctrl-click the Custom Line Tool

Add an artificial harmonic (A.H.) A (Hold down A, then double-click and drag)

Add a bend curve B (Hold down B, then double-click and drag)

Add a dashed line D (Hold down D, then double-click and drag)

Add a trill extension E (Hold down E, then double-click and drag)

Add glissando without text F (Hold down F, then double-click and drag)

Add a glissando with text G (Hold down G, then double-click and drag)

Add a Hammer-on (H) H (Hold down H, then double-click and drag)

Add a Pull-off (P) 3 (Hold down 3, then double-click and drag)

Add a release (R) R (Hold down R, then double-click and drag)

Add a Bend (B) U (Hold down U, then double-click and drag)

Add a Hammer-on above slur or tie 2 (Hold down 2, then double-click and drag)

Add a solid line L (Hold down L, then double-click and drag)

Add a Palm Mute (P.M.) M (Hold down M, then double-click and drag)

Add a Natural Harmonic (N.H.) N (Hold down N, then double-click and drag)

Add a slur S (Hold down S, then double-click and drag)

Add a trill T (Hold down T, then double-click and drag)

Add a dashed slur V (Hold down V, then double-click and drag)

Add a TAB slide X (Hold down X, then double-click and drag)

Add a single-hooked dashed line Y (Hold down Y, then double-click and drag)

Add a double hooked dashed line Z (Hold down Z, then double-click and drag)

Add a 15ma or 15mb marking 1 (Hold down 1, then double-click and drag)

Add a bend hat 6 (Hold down 6, then double-click and drag)

Add an 8va or 8vb marking 8 (Hold down 8, then double-click and drag)

Add a single hooked line K (Hold down K, then double-click and drag)

Add a double-hooked line O (Hold down (letter) O, then double-click and drag)

Add a crescendo < (Hold down <, then double-click and drag)

Add a pedal down/pedal up marking P (Hold down P, then double-click and drag)

Add a custom line (as defined) C (Hold down C, then double-click and drag)

Add a decrescendo > (Hold down >, then double-click and drag)

Speedy Entry Tool

Command Keyboard Shortcut or Mouse Click

Display the Edit Frame dialog box Ctrl-click any measure that contains music

Remove note, rest or chord delete

Hide/show note or rest letter O or H

Add or remove accidental parentheses P

Jump to previous measure [ (left square bracket) or shift-left arrow

Jump to next measure ] (right square bracket) or shift-right arrow

Flip stem in opposite direction L

Restore stem direction to “floating” status Ctrl-L

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Keyboard Shortcuts and Special Mouse Clicks

Change to/from a grace note ; (semicolon) or G

Change to/from a slashed flagged grace note ` (accent) or ; (semicolon) or G

Voice 1/2 ' (apostrophe)

Switch to next layer shift–

Switch layers downward (from 1 to 4) shift-down arrow

Move editing frame down a staff shift-down arrow

Move editing frame up a staff shift-up arrow

Add or change note (64th–double whole note) 1–8

Add or change 128th note Ctrl-0 (zero)

shift-1 through shift-7 (on keyboard only) (with MIDI, while playing
Insert 64th note–whole note note)

Insert double whole note (without MIDI) shift–8 (on numeric keypad only)

Insert 128th note (without MIDI) Ctrl-shift-0 (zero) (in insert mode only)

Add 64th rest–whole rest (with MIDI) shift-1 through shift-7 without pressing note

Add rest (with or without MIDI) Ctrl-shift–option-1-7 (on keyboard only)

Add double whole rest (with MIDI) shift-8 (on numeric keypad only)

Add 128th rest (with MIDI) Ctrlshift-0 (zero)

Add a rest (with Hands-Free MIDI) play any three note cluster

Toggle Insert mode insert (or shift-0 (zero) Num Pad only)

Constrain dragging a note (horizontal/vertical) shift-drag

Begin a tuplet (duplet–octuplet) Ctrl-2 through Ctrl-8

Define a tuplet Ctrl-1

Raise by a half step + (plus) or shift-S

Lower by a half step – (minus) or shift-F

Raise by a half step (for entire measure) Ctrl- + (plus)

Lower by a half step (for entire measure) Ctrl- – (minus)

Flat note F

Sharp note S

Natural note N

Double-sharp X

Double-flat V

Previous note Left arrow

Next note Right arrow

Move to first note or rest in measure Ctrl-left arrow

Move just beyond last note or rest in measure Ctrl-right arrow

Down a step Down arrow

Up a step Up arrow

Remove note from chord backspace or shift-delete

Change single note to rest backspace or shift-delete or R

Tie/untie to next note = (equals) or T

Tie/untie to previous note Ctrl = (equals) or shift-T

Flip a tie Ctrl-F

Restore tie direction to automatic Ctrl-shift-F

Break/join beam from previous note / (backslash) or B

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Keyboard Shortcuts and Special Mouse Clicks

Restore default beaming Shift-B

Flatten a beam \ (forward slash) or M

Show/hide any accidental * (asterisk)

Show/hide a courtesy accidental A

Restore courtesy accidental to optional status Ctrl-* (asterisk)

Return a rest to its default position * (asterisk)

Exit measure and redraw/re-enter measure 0 (zero)

Flip a note to its enharmonic equivalent 9

Flip enharmonic throughout measure Ctrl-9 (cursor on first note in measure)

Add a dot . (period)

Add a note to a chord enter

Change a rest to a note enter

Specify a pitch, high C–B (without MIDI) Q-W-E-R-T-Y-U (with Caps Lock)

Specify a pitch, middle C–B (without MIDI) A-S-D-F-G-H-J (with Caps Lock)

Specify a pitch, low C–B (without MIDI) Z-X-C-V-B-N-M (with Caps Lock)

Raise all pitch keys an octave , (comma) (with Caps Lock)

Lower all pitch keys an octave I (letter I) (with Caps Lock)

Restore all pitch keys to normal register K (with Caps Lock)

Special Tools Tool

Command Keyboard Shortcut or Mouse Click

Display handles in the measure Click the Special Tool you want to use and click on the measure

Select a handle or handles Click, shift-click or drag-enclose, or Ctrl-A

Reset the note to its original state Press delete, or backspaceor shift-delete

Move selected items very slightly (nudge) Use the arrow keys

Flip a selected tie Ctrl-F

Restore tie direction to automatic Ctrl-shift-F

Staff Tool

Command Keyboard Shortcut or Mouse Click

Display the Staff Menu and handles Click the Staff Tool

Select a staff (or staves). Click a staff or a staff handle, or drag-enclose staff handles

Add the staff to the selection. If a staff is already


Shift-click a staff or a staff handle
selected, remove the staff from the selection.

Double-click a staff or a staff handle, or double-click a full or


Display the Staff Attributes dialog box. abbreviated staff name handle, or right-click the handle and select Edit
Staff Attributes from the contextual menu.

Add a staff without repositioning the lower staves to


Double-click in the score (in Scroll View)
make room for the new staff.

Insert a staff between staves, repositioning the lower


Shift-double-click below a staff in the score (in Scroll View)
staves to make room for the new staff.

· Add a staff to the bottom of the score Double-click the Staff Tool

Double-click a group handle, or double-click a bracket handle, or right-


control-click the group or bracket handle and select Edit Group
Display the Group Attributes dialog box.
Attributes from the contextual menu. right-click the staff handle and

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Keyboard Shortcuts and Special Mouse Clicks

select Add Group and Bracket from the contextual menu.

Select the staff handle and press shift-delete for selected staves, or
Delete the selected staves without repositioning the
right-click the handle and select Delete Staves and Reposition from the
remaining staves.
contextual menu.

Delete the selected staves and reposition the remaining Press delete for selected staves, or right-click the handle and select
staves. Delete Staves from the contextual menu.

Adjust the staff’s position only in the current staff Drag the staff’s lower handle in Page View. Note: If a staff system has
system (drag the top handle to adjust the position of been optimized using the Page Layout Tool, two handles will appear
the staff in all staff systems in Page View). on each staff in the optimized staff system.

Select a group (or groups). Click a group handle, or drag-enclose group handles

Add the group to the selection. If a group is already


Shift-click a group handle
selected, remove the group from the selection.

Ctrl-click a group handle, or right-click the handle and select Edit Full
Edit a full or abbreviated group name using the Edit Group Name or Edit Abbreviated Group Name from the contextual
Text window. menu.

Ctrl-shift-click a group handle, or right-click the handle and select


Position a group name using the Position Full Group
Position Full Group Name or Position Abbreviated Group Name from
Name or Position Abbreviated Group Name dialog box.
the contextual menu.

Revert the position of the group names to their default


Press backspace for selected groups
position.

Press delete for selected groups, or right-click the handle and select
Remove the selected group definitions. Delete Group from the contextual menu.

Adjust the position of a group name. Drag a group handle

Select a staff name (or names). Click a staff name handle, or drag-enclose staff name handles

Add the staff name to the selection. If a staff name is


already selected, remove the staff name from the Shift-click a full or abbreviated staff name handle
selection.

Ctrl-double-click a full or abbreviated staff name handle, or right-click


Edit a full or abbreviated staff name using the Edit Text the handle and select Edit Full Staff Name or Edit Abbreviated Staff
window. Name from the contextual menu

Position the selected staff name using the Position Full Ctrl-shift-click a full or abbreviated staff name handle, or right-control-
Staff Name or Position Abbreviated Staff Name dialog click the handle and select Position Full Staff Name or Position
box. Abbreviated Staff Name from the contextual menu.

Revert the position of the full or abbreviated staff name


Press backspace for a selected staff name handle
to its default position.

Adjust the position of the selected staff name. Drag a full or abbreviated staff name handle

Select a bracket (or brackets). Click a bracket handle, or drag-enclose several bracket handles

Add the bracket to the selection. If a bracket is already


Shift-click a bracket handle
selected, remove the bracket from the selection.

Press delete for selected brackets, or right-click the handle and select
Remove the selected brackets. Delete from the contextual menu.

Revert the selected brackets to their default length. Press backspace for selected brackets

Make a bracket taller or shorter. Drag a bracket handle vertically

Move a bracket closer to or away from bracketed


Drag a bracket handle horizontally
staves.

right-click the staff handle and select Select Clef from the contextual
Select a clef for the staff. menu.

Click the Staff Style bar and press Delete. Or, Select the measures,
· Remove Staff Styles from selected region.
right click and choose Clear Staff Styles.

Text Tool

Command Keyboard Shortcut or Mouse Click

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Keyboard Shortcuts and Special Mouse Clicks

Left Justify text in a text block Ctrl- [ (left square bracket)

Right Justify text in a text block Ctrl- ] (right square bracket)

Center Justify text in a text block Ctrl- ' (apostrophe)

Full Justify text in a text block Ctrl- ; (semicolon)

Forced Full Justify text in a text block Ctrl-Shift- ; (semicolon)

Bold Ctrl-Shift- B

Italic Ctrl-Shift- I

Underline Ctrl-Shift- U

Increase Point Size by one Ctrl-Shift- . (period)

Decrease Point Size by one Ctrl-Shift- , (comma)

Page Number Text Insert Ctrl-Shift- P

Sharp sign Text Insert Ctrl-Shift- S

Flat sign Text Insert Ctrl-Shift- F

Natural sign Text Insert Ctrl-Shift- N

Display Character Settings dialog box Ctrl-T

Display Line Spacing dialog box Ctrl-Shift-L

Align Text block to the Left Ctrl-Shift- [ (left square bracket)

Center Text block Horizontally Ctrl-Shift- ' (apostrophe)

Align Text block to the Right Ctrl-Shift- ] (right square bracket)

Align Text block to the Top Ctrl- - (minus)

Center Text block Vertically Ctrl-Shift- = (equals)

Align Text block to the Bottom Ctrl-Shift - (minus)

Display the Standard Frame dialog box Ctrl- M

Display the Custom Frame dialog box Ctrl-Shift- M

Ctrl-Shift- T or shift-double-click a text block handle, or right-click the


Display the Frame Attributes dialog box
handle and select Edit Frame Attributes from the contextual menu.

Display the Text Menu Click the Text Tool

Display handles on text blocks Click the Text Tool

Click a text block handle or drag-enclose text block handles, shift-click


Select a text block or text blocks a text block handle

Create an unbounded frame that expands as you enter


Double-click in the score
text

Create a bounded, fixed-size frame for text Double-click and drag in the score

Double-click a text block handle, or right-click the handle and select


Edit the text block Edit Text from the contextual menu.

Press delete for one or more selected text blocks, or right-click the
Delete the selected text blocks handle and select Delete from the contextual menu.

Adjust the text block’s position in the score Drag a selected text block handle

Tuplet Tool

Command Keyboard Shortcut or Mouse Click

Display positioning handles Click the first note of a tuplet

Position tuplet Drag a positioning handle

Press delete for selected tuplet, or right-click the handle and select
Delete tuplet Delete from the contextual menu.

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Keyboard Shortcuts and Special Mouse Clicks

Double-click a positioning handle or the first note in a group that you


Display the Tuplet Definition dialog box want to define as tuplets, or right-click the handle and select Edit
Tuplet Definition from the contextual menu.

Ctrl-Double-click the Tuplet Tool, or right-click the Tuplet Tool and


Display the Default Tuplet Visual Definition dialog box select Edit Tuplet Definition from the context menu

Zoom Tool

Command Keyboard Shortcut or Mouse Click

Zoom in Click the score or press Ctrl- +

Zoom out Ctrl-click the score or press Ctrl- -(minus)

Temporary switch to Zoom Tool: zoom in Shift-click the right-button

Temporary switch to Zoom Tool: zoom out Ctrl-Shift-click the right-button

Fill the screen with the selected area Drag-enclose an area

Playback

Command Keyboard Shortcut or Mouse Click

Begin/stop playing Alt-D-P or Alt-D-O

Begin playing (Playback Controls closed) from the


Spacebar–click in staff
measure clicked

Begin playing from the clicked measure in the clicked


Shift-spacebar–click in staff
staff only

Begin playing from measure one in all staves Spacebar–click to the left of a staff system

Begin playing from measure 1 for the clicked staff Spacebar-shift-click to the left of staff

“Scrub” onscreen music - all staves Ctrl-spacebar (and drag across music)

“Scrub” onscreen music - clicked staff only Ctrl-Shift-spacebar (and drag across music)

Shape Designer

Command Keyboard Shortcut or Mouse Click

Send to Back Command-B

Send to Front Command-F

Group Command-G

Ungroup Command-U

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Selection Tool

Selection Tool

The Selection Tool is Finale's universal editing tool. It can be used to select, move, delete, copy, paste, or otherwise edit any region of measures and virtually any
individual item in the score.
Click on a marking to select it, such as a lyric, slur or articulation. Once selected, you can move, nudge, edit or delete it. For more advanced editing, double-click to
switch to the appropriate tool. The Selection Tool works on Measures (Measure Tool/Edit Menu/Utilities Menu), Notes & Rests (Simple Entry), Smart Shapes,
Expressions, Articulations, Repeats, Lyrics, Chords & Fretboards, Text Blocks, Graphics, Brackets, Measure Numbers, Tuplets, Key and Time Signatures, Clefs,
Ossias, Staff and Group Names.
This tool is also used to select regions of your score (from a single note to the entire score) in order to edit all the selected music at once. For example, you can
change any selected measures’ spacing, measure widths, layer assignments, stem directions, beaming patterns, and so on. You can also rebeam, rebar, transpose, or
apply articulations to every note in any selected region.
You can use this tool to copy music from one place to another—even from one Finale document to another. You can also use this tool for erasing selected musical
elements from a region—such as articulations, chord symbols, lyrics, expressions, MIDI controller data, and so on—without disturbing the other existing elements of the
music in that region. See Erasing and Copying music.

Special mouse clicks

Keyboard Shortcuts

Contextual menus
Note: You can undo any Selection Tool operation by choosing Undo from the Edit Menu (Ctrl-Z)
immediately afterward.

See Also:
Main Tool Palette

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Edit Menu

Edit Menu

How to get there


The Edit Menu is one of Finale’s unchanging menus.

What it does
You can find an assortment of editing commands in the Edit Menu. Use the Edit Menu to cut, copy and
paste music and other items when you’re editing the document. Select a region with any tool that supports
measure selection and these commands are available.
Additional options can be accessed by pressing the Ctrl or Shift keys before displaying the menu. For
example, hold down Ctrlto copy files into the clipboard. The Cut, Copy, Insert and Paste commands change
to reflect the action that will occur (e.g. Cut changes to Cut to Clip File).
You can filter specific items for copying using the Edit Filter dialog box.
Note that some of these commands have keyboard equivalents (which are listed in the menu beside the
command names); as you become more familiar with Finale, you may want to start learning these keyboard
equivalents.

Undo
Redo
Undo/Redo Lists
=====================
Select All
Select Region
=====================
Cut
Copy
Insert
Paste
Paste Multiple
Use Filter
Edit Filter
=====================
Move/Copy Layers
=====================
Clear All Items
Clear Selected Items
=====================
SmartFind and Paint
Text Search and Replace
=====================
Add Measures
Insert Measure Stack
Delete Measure Stack
=====================
Multimeasure Rests
Edit Measure Attributes
=====================
Enharmonic Spelling
Measurement Units
Program Options

Edit Menu commands:


No
Ctrl
modifier

Cut Cut to Clip File

Copy Copy to Clip File

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Edit Menu

Insert Insert from Clip File

Paste Paste

See Also:
Menus

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Utilities Menu

Utilities Menu
How to get there
The Utilities Menu is one of Finale's unchanging menus.

What it does
The Utilities Menu is one of the most versatile menus in Finale. Its commands transform your
music in many powerful ways. Its commands work on selected regions as small as a single
beat, or as large as the entire score. All the commands described below work on partial or full-
measure selections, except as noted otherwise. Select a region with any tool that supports
measure selection and these commands are available.
Note that commands in the Utilities Menu that affect a selected region of music (such as Music
Spacing) can be interrupted. Simply press Escape to stop processing the command.

Transpose
Respell Notes
=====================
Fit Measures
Lock Systems
Unlock Systems
=====================
Music Spacing
Update Layout
Update Smart Word Extensions and Hyphens
=====================
Rebar
Rebeam
=====================
Explode Music
Implode Music
=====================
Apply Articulation
Check Notation
Stem Direction
=====================
Change

See Also:
Menus

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MIDI/Play Finale Through MIDI

MIDI/Audio Menu
How to get there
The MIDI/Audio Menu is one of Finale’s unchanging menus.

What it does
This menu contains items specific to your MIDI setup and usage.

Audio Track
Audio Setup
=====================
MIDI Setup
MIDI Thru
Tablature MIDI Channels
=====================
Play Finale Through VST
Play Finale Through MIDI
VST Setup
=====================
Click and Countoff
Quantization Settings
=====================
Import MIDI File Options
Export MIDI File Options
=====================
Export MIDI to Clipboard
Import MIDI from Clipboard
=====================
Send MIDI Sync
Send MTC
=====================
Retranscribe
Set Panning
Send MIDI Value
Start Playback
Stop Playback
All Notes Off
=====================
Reload MIDI Driver

See Also:
Menus

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Mirror Menu

Mirror Menu
How to get there

Choose the Mirror Tool . The Mirror Menu appear in the menu bar at the top of the screen.

What it does
In this copying mode, the copy you create is an intelligent copy (a mirror) of the source measure or measures. If you edit the notes or expression markings in the
source measures, the change is immediately reflected in the mirrored measures. To guarantee the measures stay identical, you are unable to edit or copy anything into
a measure which has a mirror applied to it. When you no longer want the measures to be mirrored, choose Dragging Copies Music from the Mirror Menu. See also
Convert Mirrors.
The process is exactly the same as any copying action: Select a source region of complete measures. Drag the first selected measure so that it’s superimposed on the
first target measure (or, if the target measure is offscreen, ctrl-shift-click it). Finale displays the Mirror Attributes dialog box, letting you specify a transposition, if you
want, and other aspects of the copy. (See Mirror Attributes dialog box.)
You can only create this kind of copy if the target measures are originally empty. Note also that you can’t deselect Copy Everything in the Edit Menu if you’re creating
a mirror; everything in the source measures will be copied to the target measures. (You can, however, tell Finale not to display certain elements of the music by
specifying them in the Don’t Draw section of the Mirror Attributes dialog box that appears).
The result is a copy that’s dynamically linked to the source measures. If you change any aspect of the source measures, the mirror automatically changes too. You
can change any settings you made in the Mirror Attributes dialog box as follows: click the Mirror Tool, then shift-click any mirror (identified by a mirror icon). Note, too,
that you can copy a mirrored measure in the usual way; if you’ve selected Dragging Mirrors Measures from the Mirror Menu, the target measures will themselves be a
mirror (of the mirror). If you’ve selected Dragging Copies Music, however, the mirror you’re copying will be turned into normal non-mirrored music.

Dragging Copies Music


Dragging Mirrors Measures

See Also:
Mirroring
Menus

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Change Clef

Change Clef

How to get there

Click the Clef Tool , then double-click any measure to enter a clef change at the beginning of the measure. To enter a mid-measure clef, highlight a region
beginning where you would like to enter the clef change, then double-click the highlighted region (or press Enter). See Selecting music. Or, in Simple Entry, select a
note, press Alt-Shift-C, and then Select.

What it does
In this dialog box you specify which clef you want to use and tell Finale whether you want it to occur at the beginning of the measure or somewhere in the middle.

Show Clef: When Needed • Never • Always. Select When Needed to display a courtesy clef if the clef is changing from the previous measure. Select
Never to hide the clef. Select Always to force the clef to display.

Tip: Use Never at the end of a first ending repeat to set the clef for the second ending without
displaying it.

Clef Size __%. This box is available only when you have selected Always Show Clef. Enter in the size of the new clef as a percent of full size.
Measure ___ Through ___ • Measure ___ Through End of Piece • Measure ___ To Next Clef Change. Using these text boxes, tell Finale what
range of measures you want to be affected by the clef change. Finale shows the measure you clicked in the text boxes; if you’re only changing a single measure,
you don’t need to adjust these settings.

If you want to change the measure you clicked through the end of the piece, select the middle option. If you want to change the measure you clicked until the
next measure of a different clef, click the lower option.

OK • Cancel. If you click the OK button, Finale places the clef you selected at the beginning of the specified measure and returns you to the score. Click
Cancel to return to the score without adding or editing a clef.

See Also:
Clefs
Clef Tool
Clef Designer dialog box

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Change Clef

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Copying music

Copying music
Finale offers a great deal of control over copying, including options for filtering specific elements, methods for both inserting and pasting (replacing), and the ability to copy
across documents. This section describes methods for copying music in Finale, and the choices you have when doing so.
For the remainder of this section, “source” refers to the original selected music, and “target” refers to the destination for the copied material. Also, unless specified otherwise,
"selection" refers to a region including full or partial measures less than a stack. Any tool that allows regional selection can be used to copy music, including the Selection Tool,
Staff Tool, Measure Tool, and others. For more details, see Selecting Music.
Whenever you copy music, you will need to choose whether you want to copy and paste or copy and insert.

Copying and pasting allows you to replace the music in the target region with the music from the source region. Pasting does not wipe out any measure settings, such
as measure-width information unless a stack is pasted (and Measure Settings are selected in the Edit Filter dialog box). When pasting any region other than a stack, all
note attached items and many measure attached items are replaced.
Copying and inserting allows you to introduce new beats or measures into the piece, pushing all existing music to the right. Inserting a selection nudges all
subsequent music the number of beats of the inserted material on the target staves only. When inserting any region less than a stack, the inserted beats can overflow into
the next measure requiring the music to be redistributed in all remaining measures of the piece. This is called Rebarring music, and Finale applies it automatically when
inserting regions less than a stack. Since stacks are always full measures, all staves, inserting a stack does not rebar music, but pushes all measures to the right intact
(increasing the length of the score the number of inserted measures).

After selecting a region of music, use one of the following methods to copy and paste or copy and insert.

Copying and pasting using the clipboard. This method allows you to easily copy/cut and paste to target regions outside of the visible area, or paste the same
material multiple times. See To copy and paste using the clipboard.
Copying and pasting by dragging. This method allows you to quickly copy and paste to target regions within the visible area, and also allows you to copy and paste
to target regions outside of the visible area. See To copy and paste by dragging.
Copying and pasting stacks. This method allows you to copy and paste any number of items in the Edit Filter dialog box including measure items like key signatures,
barline styles, and measure widths. A stack selection must include full measures and all staves. See To copy and paste stacks.
Copying and inserting using the clipboard. This method allows you to easily copy/cut and insert to target regions outside of the visible area, or insert the same
material multiple times. See To copy and insert using the clipboard.
Copying and inserting by dragging. This method allows you to quickly copy and insert to target regions within the visible area. See To copy and insert by dragging.
Copying and inserting stacks. This method allows you to insert full measures, all staves, including any number of items in the Edit Filter dialog box. See To copy and
insert stacks.

Note: To move measures from one system to another or make other changes to the measure layout, see
Measure layout.

To copy and paste using the clipboard


Using the clipboard is another way to copy (or cut) and paste music. When you paste, existing music is overwritten. This is the method commonly used when copying to a target
region outside of the visible area or across documents (see Copying across documents).
To copy using the clipboard:

1. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see
Selecting music.
2. Press Ctrl-C to copy or Ctrl-X to Cut. The music is loaded to the clipboard. If you chose to Cut the selection disappears. At this point, you can paste the copied
material anywhere—either elsewhere in the same document, or into another document. If you want to paste to another document, open the document now, using the Open
command in the File Menu. You can’t, however, directly paste music into other programs such as word processing or graphics programs. For details on exporting music
into another program, see Encapsulated PostScript (EPS) and Graphics Tool.
3. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, ensure
Edit Filter is unchecked under the Edit Menu.
4. Select a measure (or partial measure) that begins at the desired destination and press Ctrl-V to paste. Finale replaces whatever was in the target
measures, starting at the left-most edge of the selected region, with a copy of the music you originally selected (as shown here). Pasting does not introduce any new
measures into the “target” document, but replaces whatever was there with the contents of the Clipboard. (However, measures will be added on paste as needed if there
are fewer measures in the destination than in the source.

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Note: When clipboard-copying, Finale pastes the entire source content starting with the upper left destination
selection.

To paste multiple copies of the source material, press Alt-Ctrl-V to open the Paste Multiple dialog box where you can repeat the source material any number of times in the
score, horizontally or vertically.

To copy and paste by dragging


1. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, ensure
Edit Filter is unchecked under the Edit Menu.

2. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see
Selecting music.
3. Click and drag the source music so that it’s superimposed on the target measure(s).
4. When the black border surrounds the desired target region, release the mouse button to paste as shown below. Finale replaces whatever was in
the target measures, starting at the position of the cursor, with a copy of the music you originally selected. In other words, if you drag to beat three of a certain measure,
the selected music will begin at beat three. If the measure is empty, the music will appear at the nearest beat following the cursor.

If the first target measure is not on-screen, instead of dragging, do the following:

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1. With the source region selected, scroll until you see the desired target region.
2. While pressing ctrl, click the first target measure. The music appears in the target measure(s) with the same beat placement as the original (as shown
below).

Alternatively, you can hold down both ctrl and Shift as you click to open the Edit Filter dialog box which allows you to specify elements of the source region you want to include.
Also, you can hold down Ctrl and Alt to open the Paste Multiple dialog box which allows you to past additional copies of the source material.

To copy and paste stacks


Full measure stacks can be copied using the clipboard or by dragging, replacing existing music. You might copy and paste stacks to include additional measure items including
key signatures, measure widths, and barline styles. (See Edit Filter dialog box for details).
Copying and pasting stacks requires the following: The source region must consist of a stack, and the target must be valid for stack-pasting.
The source region selection must:

Include all staves.


Begin and end at a barline.

The destination region selection must:

Begin at a barline.
Include the top staff of the system.
Consist of the same amount or fewer staves. (Fewer is possible when copying across documents or with optimization. See Optimizing Systems).

When drag-copying, Finale displays a green border around the destination stack region if the region is eligible for stack-pasting (left). When dragging over a region that does not
start on a barline and/or include the top staff, Finale displays a black border around the destination region indicating it is not eligable for a stack paste (right). If you release the
mouse button in a region not eligible for stack pasting (black border), the music pastes normally and does not include measure-specific data.

To copy and paste stacks, use the above definitions for "source" and "target" regions while following the directions under either To copy and paste using the clipboard or To
copy and paste by dragging. While drag-copying, use the green border to confirm the target is a valid for stack-pasting.

To copy and insert using the clipboard


1. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, uncheck
Use Filter under the Edit Menu.

2. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see
Selecting music.

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Copying music

3. Press Ctrl-C. The music is loaded to the clipboard.


4. Select a measure (or partial measure) that begins at the desired destination and press Ctrl-I to insert. You indicate where you want the copied
material to appear by selecting the notes or measures just after it. So, if you want the copied music to appear between measures 3 and 4, click measure 4. Finale inserts
a copy of the selected music, nudging all subsequent notes in the staff (or staves) to the right the duration of the inserted material (see Rebarring music).

Note: Finale adds new measures to accommodate notes nudged beyond the final barline.

To copy and insert by dragging


1. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, uncheck
Use Filter under the Edit Menu.

2. With the Selection Tool selected, highlight a region of measures. Or, highlight a region with any tool that allows regional selection. For details, see
Selecting music.
3. While holding down the Alt key, click and drag the source music to position the vertical red line where you would like to insert.
4. Release the mouse button. Finale inserts a copy of the selected music starting at the position of the red insertion cursor, nudging
subsequent notes in the staff (or staves) to the right the duration of the inserted material. Finale inserts a copy of the selected music just before the
target region, nudging all subsequent notes in the staff (or staves) to the right the duration of the inserted material (see Rebarring music).

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To copy and insert stacks


Full measure stacks can also be inserted using the clipboard or by dragging, shifting all subsequent measures to the right in all staves. Rebar music does not apply when
inserting stacks because the subsequent music is nudged in full measure increments (so notes cannot be nudged across barlines).
In order to copy and insert a measure stack, the source region must include a stack selection.

To copy a measure stack using the clipboard:

1. Select a measure stack. A measure stack must include all staves and begin and end at a barline. See Selecting music.
2. Press Ctrl-C. The stack is loaded to the clipboard.
3. Select a region beginning on a barline on the top staff and press Ctrl-I to insert.

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Copying music

To copy a measure stack by dragging:

1. Select a measure stack. A measure stack must include all staves and begin and end at a barline. See Selecting music.
2. While holding down the Alt key, click and drag the source music to position the vertical insertion cursor at a barline on the top staff of the
target region. The insertion cursor changes color to green indicating an eligible location to insert as shown in the figure below.
3. Release the mouse button. Finale inserts a copy of the selected music starting at the position of the green line, nudging subsequent measures in the staff (or staves)
to the right the duration of the inserted material.

To specify what you want to copy


Generally, Finale includes all notes, entry items and measure items when you copy. However, by using Finale's filter you can specify which items you would like to copy—such
as chord symbols or articulations—with or without affecting the notes themselves. (To learn about selecting measure regions, see Selecting music). You can easily choose any
number of entry and measure items by doing the following:

1. Click the Selection Tool .


2. From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears. All measure and entry items appear in this dialog box. If you want to copy everything—
music, lyrics, measure widths, expression marks, and all—no action is necessary (all items are selected by default).
3. Uncheck any item you do not want to copy and click OK. Now, when you copy, only selected items appear in the target region. Notice Use Filter is now
checked under the Edit Menu. Uncheck this command to disable the filter and include all items while copying. (Technical note: Finale actually always includes all items
whenever you copy. The Edit Filter dialog box actually filters certain items from appearing when inserting or pasting. Therefore you could copy music, and subsequently
change your selection in the Edit Filter dialog box to specify what you would like to include in the target region.)

Note: Ctrl-Shift-click the target region to open the Edit Filter dialog box prior to pasting the selected music.

IMPORTANT: The settings in the Edit Filter dialog box are program-wide. That means these settings apply to
all documents, even after closing and restarting Finale. If you are unsure of previous settings be sure to review
this dialog box prior to copying to ensure it is set up as desired.

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To copy time signatures


In order to copy time signature changes along with the music you must select the full stack of measures. Time signatures always copy with Stack copying. See To copy and
paste stacks and To copy and insert stacks.

To copy across documents


All entry and measure items can be copied and pasted or inserted across documents using the clipboard or by dragging.

To make a copy of a document


These instructions assume that you’re running Finale. To duplicate a Finale document when you’re not in Finale, select the desired file using Explorer and choose Copy from the
File menu.

1. Open the document. Choose Save As from the File Menu. A dialog box appears, allowing you to name the copy. No two documents in the same folder may
have exactly the same name.
2. Click Save. The copy of the document is left on the screen, and the original is automatically closed without saving any changes.

To copy multiple passages of music to another document (using Clip Files)


Although you could use the clipboard to copy individual regions of music from one document to another (see To copy and paste using the clipboard), Finale’s Clip Files feature
gives you, in effect, multiple Clipboards, each containing a different passage of music. By making Clip Files, you can copy many sections from a single document before pasting
them, one by one, into a new document. These files are stored on your hard disk, where you can easily retrieve them for use in any document—a handy feature when you
want to re-use motifs. All items can be transferred from one document to another using Clip Files (see Edit Filter dialog box).

1. Specify the musical elements you would like to copy in the Edit Filter dialog box. See To specify what you want to copy. Or, to copy everything, ensure
Edit Filter is unchecked under the Edit Menu.
2. While pressing ctrl, choose Copy to Clip File from the Edit Menu. When you ctrl-Copy in this way, you tell Finale to place the copied material into a file of its
own, called a Clip File, instead of on the invisible Clipboard. A dialog box appears, asking you to name your Clipboard File.
3. Name the Clip File, and click Save (or press enter). Repeat the process with as many other sections as you want: select the region, choose Copy while pressing
ctrl, name and save the Clip File.
4. Choose Open from the File Menu, and select the target document (if it’s not already open).
5. If you want to insert the copied music between two existing measures, click the measure just after the insertion point. While pressing ctrl,
choose Insert from Clip File from the Edit Menu. Once again, the ctrl key tells Finale you intend to access a Clip File. When you choose Insert, the Paste dialog
box appears, displaying the names of the Clip Files you’ve created. Double-click the name of the desired Clip File.
6. If you want the copied music to replace (overwrite) the music in the target document, select the beginning of the target region.
7. While pressing ctrl, choose Paste from Clip File from the Edit Menu. A list box appears, displaying the names of the Clip Files you’ve created. Double-click
the name of the desired Clip File. If you want to Insert, instead of choosing Paste from Clip File, choose Insert from Clip File under the Edit Menu.

To combine files with Score Merger


Finale allows you to copy and paste or insert across documents just as you would copy within the same document. (See To copy and paste using the clipboard). You could use
these methods to merge two or more documents manually. However, if you would like to combine two or more separate files, such as several movements of a piece into a
single document, there are many additional considerations beyond the musical elements that can be copied including measure numbers, staff settings, staff lists, pagination, and
more.
Finale includes a tool called Score Merger specifically designed to allow you to combine several files into one automatically.
Note: Score Merger also allows you to merge files vertically. To combine several parts into a conductors score,
see To merge part files into a score with Score Merger.

1. From the File Menu, choose Score Merger. The Score Merger dialog box appears. See Score Merger dialog box.
2. Click Add Files. The "Select the files to merge" dialog box appears. Navigate to the files you would like to merge.
3. Select the files you would like to merge and click Open. Hold down Ctrl and click to select multiple files. The files appear in the Score Merger list box
alphabetically. Select a file and use the Move Up and Move Down buttons if you need to change the order.
4. Ensure the Merge These Files Into One File radio button is selected. The subsequent check boxes allow you to append the merged files to the current open
document, specify measure numbering, and customize how the staff merging is handled. If you check Edit Instrument Junction Between Files, you will be prompted to
review and/or edit the way Score Merger deals with instrument staves individually. See Instrument Junction dialog box for details.

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Copying music

5. Click Merge. Finale prompts you to choose a location for the merged file.
6. Select a destination for the merged file and click Save. Score Merger processes the files based on your settings. If Edit Instrument Junction Between Files was
checked, you are prompted with the instrument merging details for each file as it is merged. Make any desired changes and click Continue. When the merge is complete,
the Score Merger Report appears with an overview of the results as shown below.

7. Click Close. The Score Merger Report closes and the merged document appears in the active window ready for your review.

There are a few more details to bear in mind while merging files with Score Merger:

To insert the merged material at a selected region, the region must begin at beat one.
If the selection is at the beginning of a staff system, that system and the subsequent one will appear after the inserted files after the merge, starting on a new page. (Page
text and graphics remain attached to the initial page of the inserted files).
If the selection in the middle of a staff system, the system will be be split up, one piece before the inserted files, and the other after. Each piece is locked automatically.
Since there can only be one definition for entries/text inserts in the File Info dialog box, Score Merger resolves conflicts by retaining all File Info from the first merged file.
Text inserts such as Title, Composer, and Copyright that conflict with those in the first file are automatically converted to regular text blocks upon merge. For example, if
the title of file 1 is "Movement 1” and the title of file 2 is “Movement 2,” "Movement 1" is used for the Title insert in the merged file, and "Movement 2" is automatically
converted to a regular text block. (If an insert is the same text in all the merged files, Score Merger retains the insert without changing any to regular text.) Score Merger
uses the first file in the merge as a "template" for the rest of the document. In other words, other document-specific settings are automatically set to the first file in the
merger. See Document Settings and Program Settings.for a list of document-specific settings.
Expect to make some adjustments to the page layout and other properties after merging files using Score Merger. See Page layout.

To merge part files into a score with Score Merger


In addition to merging files horizontally, Score Merger can also consolidate several part documents into a single document in order to generate a conductor's score. Score
merger can automatically assign groups, MIDI channels, and deals with expressions and page layout.

Note: In order to use Score Merger to combine part files into a score, Special Part Extraction must be disabled
in the part files. See Document/Special Part Extraction.

1. From the File Menu, choose Score Merger. The Score Merger dialog box appears. See Score Merger dialog box.
2. Click Add Files. The "Select the files to merge" dialog box appears. Navigate to the files you would like to merge.
3. Select the files you would like to merge and click Open. Hold down Ctrl and click to select multiple files. The files appear in the Score Merger list box
alphabetically. Select a file and use the Move Up and Move Down buttons if you need to change the order.
4. Select the Merge These Parts Into One Score radio button.
5. Click Merge. Finale prompts you to choose a location for the merged file.
6. Select a destination for the merged file and click Save. Score Merger processes the files based on your settings. When the merge is complete, the Score
Merger Report appears with an overview of the results as shown below.

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7. Click Close. The Score Merger Report closes and the merged document appears in the active window ready for your review.

To copy markings based on a rhythmic match

1. Click the Selection Tool . Or, highlight a region with any tool that allows regional selection. For details, see Selecting music.
2. Select a region. Click or drag-enclose any region of music to select it.
3. The selection must occur on a single staff, not spanning multiple staves. Only rhythms and markings in the current layer of the source region are used for
the pattern matching and painting process.
4. From the Edit Menu, choose SmartFind and Paint > Set SmartFind Source. A outline box appears around the selected region. If you selected the wrong
region, choose Deselect SmartFind Source from the Edit Menu, and try again.
5. Optional: select a target region to paint. If no region is selected, SmartFind will assume you wish to scan the entire document. You may include partial measures
in your target region.
6. From the Edit Menu, choose SmartFind and Paint > Apply SmartFind and Paint. The SmartFind and Paint dialog box appears. See SmartFind and Paint
dialog box.
7. Check the box for the markings you want to copy. If you’ve already entered some markings into your document, you may wish to check “Delete Target Markings
Before Paint.” With this box checked, SmartFind will erase the markings before painting the new markings, so you get an exact duplicate. Note that checking this option
will only erase markings checked to paint. For example, if all markings to paint were checked except articulations, SmartFind would erase markings in the target but leave
articulations untouched. The checked marking types will be deleted regardless of whether the markings appear in the source region.
8. Click Find. SmartFind shows you the first match, if any. SmartFind will look for matches in all layers of the target region, regardless of the source layer. SmartFind will
search the first measure of the top staff selected to the last measure of the top staff in the region, then continue through layers, then down through the rest of the staves.
SmartFind will search for a match based on the rhythmic or note durations and therefore will consider tied notes. SmartFind will ignore grace notes, Voice 2 and mirrored
notes.
9. Click Paint to apply the markings to the match, or Paint All to apply the markings to all matches, or click Find Next to skip this match.
SmartFind copies the select markings from the source region onto the rhythmic match target region. Only the first note of a tied note will receive copied markings.
10. When you’re finished, click Cancel or Close. You return to the document.

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Audio

Audio
Finale's audio options include the ability to add an audio track to your document suited for either recording a live performance or inserting an external audio file.
Additionally, any document can be saved as an audio file using the same high-quality results you hear during playback.
Wave, AIFF, or mp3 files can be loaded into a Finale document's audio track. To add an audio track to a Finale document and add an audio file, see To import an
audio file (below). To record audio in real-time with HyperScribe, see To record an audio track. The Mixer controls and Studio View Staff Controls that are used for
controlling staff volume, panning, and other playback parameters also apply to audio tracks. See Studio View.

Note: Finale does not include any audio editing capabilities. To make changes to an audio file itself,
use an audio editing product. (Pro Tools, Sonar, and Cubase are examples of audio editing products).

You can save a Finale document as a standard Wave file (for burning to a CD), or as a compressed Mp3 (for storing on your computer or transfer over the Internet).
See To export an audio file (below). Finale generates the audio file based on the MIDI performance of the Finale document. For sound, Finale uses a General MIDI
SoundFont installed to the Finale/Component Files folder named “synthgms.sf2.” This file contains the sounds used to ‘record’ the audio file. To use a different General
MIDI SoundFont, from the MIDI/Audio Menu, choose MIDI Setup, click SoftSynth Settings, and then click Select to open a different SoundFont.
To burn audio files to a CD, follow instructions included with your CD burning software to organize the files into tracks and burn them to a recordable CD.

Note: Finale can use Native Instruments sounds when saving as audio, although the file is recorded in
real-time.

To import an audio file


1. From the View Menu, choose Studio View. Audio tracks are only visible in Studio View.
2. From the MIDI/Audio Menu, choose Audio Track, then Add Audio Track. An empty audio track appears beneath the TempoTap staff.
3. From the Audio/MIDI Menu, choose Audio Track, then Load Audio. The Open dialog box appears.
4. Navigate to the desired audio file and click Open. The Audio Clip Attributes dialog box appears where you can adjust the start point of the audio file in
the score, or specify at what point to begin/end the audio file (the portion you would like to play).

To export an audio file


1. Review playback. The audio file created by Finale is generated from the MIDI performance, so changes to the document’s MIDI data will apply to the
generated audio file.

IMPORTANT: Human Playback settings apply to saved audio files, so all generated audio files sound
the same as the document played from Finale. To use MIDI data added deliberately (with the MIDI
Tool for example), set Human Playback to None in the Playback Settings dialog box. To edit Finale’s
MIDI performance manually (instead of using Human Playback), you can use the MIDI or Expression
Tool. See MIDI Tool and Expressions.

To export a specific region, in the Playback Settings dialog box, check Observe Playback Region when saving to MIDI or audio file, and the specify the region
you would like to export in the options above.

2. Review playback. Your audio file will sound the same as playback in Finale.
3. From the File Menu, choose Save Special, and then Save As Audio File. The Save As Audio File dialog box appears. Here, you can choose to
generate a standard, or compressed audio file.
4. Choose the destination folder and click Save. Finale generates the audio file and saves it to the specified folder.

See Also:
To record an Audio Track

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Setup Wizard

Setup Wizard

How to get there


From the File Menu, choose New, then Document with Setup Wizard. Or, in the Launch Window, select Setup Wizard.

What it does
The Setup Wizard will help you to setup a Finale project with your own custom instrumentation, a title, composer, and other file information. It also offers a selection of
document styles that allow you to automatically begin with libraries of musical elements suited to a specific type of score.

Select an Ensemble List Box. If you would like to begin using a pre-set ensemble, choose one from this list. Note that if you choose one of these
ensembles you will be able to edit the instrumentation later in this wizard. If you would like to begin with a either a single staff or define a custom ensemble from
scratch, select None.
Select a Document Style List Box. From this list select the desired Document Style. A Document Style includes elements such as articulations,
expressions, chord symbols and other musical elements pertaining to a particular style of music. For example, the Jazz Band Document Style includes shakes
and other jazz articulations you might see in a jazz band score. Document styles also include the default music font (e.g. Maestro or Jazz) and page size. An
asterisk (*) next to a Document Style indicates the style is the default for the selected ensemble. You can click Always Use This Document Style with the Selected
Ensemble to set the selected ensemble to the selected Document Style. When you select an ensemble, the default Document Style is selected automatically.
See Document Styles.
Always Use This Document Style with the Selected Ensemble. Click this button to assign the currently selected document style as the default for the
currently selected ensemble. The default Document Style for the selected ensemble is adorned with an asterisk (*). When an ensemble is chosen in the
Ensemble List Box, its default Document Style is automatically selected. If you move or delete a Document Style the association is lost and an error message
warns you accordingly when selecting the ensemble. The associations can be changed at any time.
Score Page Size · Part Page Size; Portrait · Landscape. Use the Select Score Page Size drop-down menu to choose the page size you want to use
for the score; use the subsequent radio buttons to specify whether the score will be in portrait or landscape orientation. Use the identical Part Page Size controls
to specify these settings for linked parts (see Linked Parts). The page size information is stored in the text file pagesizes.txt and can be edited to your
specifications. See Configuring Pagesizes.txt in the Appendix.
Cancel · Next. Click Cancel to exit out of the Setup Wizard and return to Finale without creating a new document. Click Next to continue on to the next dialog
box in the Setup Wizard.

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Setup Wizard

Instrument Set. From this drop-down menu, choose an instrument set optimized for playback using one of Native Instruments’ sound libraries. For example, if
you select Garritan Personal Orchestra 2.0 Finale Edition, choices in the lists below update to instrument staves designed for playback using Finale’s built-in GPO
sounds. To assign GPO as your playback device, use the Native Instruments VST Setup dialog box. See Native Instruments VST Setup dialog box.
Families · Parts: Add · Remove. Select a certain instrumental family, and add the part selected from the Parts column. The parts that are selected will be
displayed in the list on the right. Parts will be added in Score order. If you want to Remove a part from the list on the right, highlight the part and click remove.
The family and part information is stored in the text file Instrument.txt and can be edited to your specifications. See Configuring Instrument.txt in the Appendix.
Add Vertical Space. Click this option to insert extra vertical space between instruments (above the currently selected instrument). A dashed line appears
indicating extra space. These extra space indicators can be moved up and down using the Score Order arrows just like regular instruments. The amount of extra
space is specified in Document Options-Staves.
Score Order · [Arrows]. You can choose to have your parts listed in Orchestral order or other standard order. If you prefer to have the parts in your score
listed in a different order, use the arrows to move the highlighted part up or down in the list on the right. The Score Order information is stored in the text file
Instrument.txt and can be edited to your specifications. See Configuring Instrument.txt in the Appendix.
Use a separate channel for each staff. Check this box to automatically assign each instrument to its own unique channel. Instruments will be assigned to
channels ascending from the top staff down starting with channel 1. This allows each staff to be set to a different MIDI patch or GPO instrument sound.
Generate Parts. Check this box to automatically create a linked part for each instrument chosen here. If your score does not require parts, uncheck this box to
minimize file size. See Linked Parts.
Save Current Ensemble · Save As New Ensemble. Click Save Current Ensemble to redefine the current ensemble to include the instrumentation
selected. Click Save As New Ensemble to open the Save Ensemble dialog box where you can choose a name for the new ensemble. The Save Ensemble dialog
box appears where you can enter a name for the new ensemble based on the current instrumentation. (Ensembles are recorded in the ensembles.txt file located
in the Finale/Component Files folder. See Configuring Ensembles.txt.)
Cancel · Back · Next. Click Cancel to exit out of the Setup Wizard without creating a new document. Click Back to return to the first page of the Setup
Wizard. Click Next to continue to the next page of the Setup Wizard.

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Setup Wizard

Title · Subtitle · Composer · Arranger · Lyricist · Copyright. Enter the Title, Subtitle, Composer, Arranger, Lyricist and Copyright information for your
piece here and Finale will automatically enter them into the document for you. Finale is using text inserts to accomplish this (a copyright symbol is added for you
automatically). If you want to change any of this later, the information is kept in the File Info dialog box. See File Info dialog box for more information. Note that
all of these text inserts allow line breaks except the Title insert.
Cancel · Back · Next. Click Cancel to exit out of the Setup Wizard without creating a new document. Click Back to return to the second page of the Setup
Wizard. Click Next to continue to the last page of the Setup Wizard.

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Setup Wizard

Select a Time Signature. Select a time signature from several common time signatures. Click on the ?/? button to create more unusual time signatures.
Select a Concert Key Signature. Use the scroll bar to select a key. Click the up arrow to add sharps or subtract flats; click the down arrow to add flats or
subtract sharps. Use the drop down menu to specify major or minor.
Specify Initial Tempo Marking. Check this box to have Finale place a tempo marking on the first measure. Type any tempo indication in the text field, such
as “Allegro”, “Vivace”, etc. This Measure Expression will affect the playback tempo. Click the quarter note to change the main beat duration and type a number in
the text box to specify the number of beats per minute. To edit the tempo marking later, see Expressions.
Specify Pickup Measures. Check this box to have Finale create a pickup measure before measure 1. Click on the note corresponding to the sum of the
pickup note or notes.
Number of Measures. Here, specify the number of measures for the new score. You can specify up to 1000 measures here (not including pickup measures).
New measures can be added or deleted at any time (See Edit Menu).
Cancel · Back · Finish. Click Cancel to exit out of the Setup Wizard without creating a new document. Click Back to return to the third page of the Wizard.
Click Finish and Finale will create your document based on your choices and the default file.

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Human Playback

Human Playback
Finale’s Human Playback feature, (developed by Robert Piéchaud), is a comprehensive utility designed to interpret virtually every aspect of your score including
articulations, expressions, hairpins, and other markings, and generate playback that simulates a live human performance. Human Playback will even ‘read’ text
expressions you add manually, such as "Faster", "calando", or even "zurückhaltend". (For a complete list of words Human Playback understands see Human Playback
Dictionary). By default, when you playback the score, Human Playback temporarily discards all existing MIDI data in favor of its own (then restores it when playback is
stopped). However, you can instruct Human Playback to incorporate MIDI data you have added manually in its interpretation by adjusting settings in the Human
Playback Preferences dialog box.
In addition to elements of the score itself, Human Playback bases its interpretation on one of several available styles including classical, baroque, and jazz. When you
start a new Finale document, Human Playback is on by default and set to the "Standard" playback style. Simply add some of the markings just mentioned and
playback the score to hear Human Playback at work. To customize Human Playback’s interpretation, do the following:

1. From the Window Menu, choose Playback Controls (if the Playback Controls are not already visible). The Playback Controls appear.
2. Click the Playback Settings button. The Playback Settings dialog box appears Controls expands, offering additional controls.
3. For Human Playback Style, select the style of the piece you are notating. For example, the Jazz style adds a swing feel to the piece. The Baroque
style performs articulations according to standard baroque performance standards. Or, choose Custom to view the Human Playback Custom Style dialog box
where you can create your own style.
4. Click OK to apply these settings Minimize the Playback Controls if desired.
5. Click the play button to review Human Playback’s interpretation. The score is processed, and performs the score based on Human Playback’s
interpretation. During this process, MIDI data is applied to the score temporarily, and then removed when playback stops.

If you want to make additional global settings for Human Playback, in the Playback Settings dialog box, click HP Preferences to open the Human Playback Preferences
dialog box where you can adjust program-wide settings. Here, you can instruct HP to use MIDI data you have already defined in the score (with the MIDI Tool,
Expression Tool etc.), adjust reverb settings, and make further adjustments to the way Human Playback interprets your score. See Human Playback Preferences dialog
box.
You can also apply Human Playback to a region of your score using the Apply Human Playback plug-in. When you do this, instead of only temporarily adding the MIDI
data, Human Playback adds it to a selected region of measures. (Then you can apply different setting to another region of measures, or even edit the MIDI data with
the MIDI Tool). To use the Apply Human Playback plug-in, set human Playback to None in the Playback Settings dialog box, then highlight a region of your score with
the Selection Tool and from the Plug-ins Menu, choose Playback > Apply Human Playback. See Apply Human Playback plug-in.

What's new in Human Playback for Finale 2008


Up-to-date for Garritan products and Kontakt Player 2, including Garritan Personal Orchestra, Jazz & Big Band, Marching Band, Stradivari Violin, and
Gofriller Cello.
Improved Techniques and management of Human Playback Preferences. Multiple selection of techniques, copy/paste, and import provide
additional compatibility with 3rd-party sound libraries (XSample, Vienna Symphonic Library, and others). See Human Playback Preferences dialog box.
An enhanced dictionary including English, French, Italian, German, Spanish, Dutch. Names for Contrabassoon, Crotales and Chimes have been added.
Human Playback now recognizes other Kontakt Player 2 libraries: Akoustik Piano, Bandstand, Elektrik Piano, Dan Dean Solo Strings Advanced,
Bluthner Digital Model One, Big Fish London Solo Strings KP2, Big Fish First Call Horns KP2, Virtual Drumline 2.5, Best Service Galaxy II. Note that there is no
specific Human Playback Preferences set for these libraries - Human Playback is simply able to track these libraries using "If Kontatk2 LIbrary Name contains"
technique filter (specically, Human Playback makes the link between internal Native Instruments vendor IDs and actual library names).
A new Base volume action has been added [-20...-1 default +1...+20].
A new Solo/Tutti technique pair has been added. Solo is tracked by Human Playback from expressions (or measure text blocks) containing "solo", "tutti",
"group", and "section" (of course, hidden text may be used). These techniques have been added to the default set.
The former Solo/Accompaniement Balance control (prefs/dynamics and volume) has been removed (since it has been integrated within
Instrument Techniques and Effects). The Relative Base Value for instrument Volume has been renamed Base Instrument Volume and works with a percentage
slider (relative). The default value is 75%.
A new "Mutiple filter" menu item has been added to the Filter area in Human Playback Preferences-Instrument Techniques and Effects). It is intended
to filter techniques for specific patch names, library names, midi channel, and so on. It works with labels with #library# and #patch#. For example,
"#library#FinaleGPO #patch#Viola KS" means "only if patch contains 'Viola KS' and library name contains 'FinaleGPO'.
New items in Instrument techniques: Mallet instruments and Contrabassoon.
Three new instruments in techniques: piccolo, english horn, and bass clarinet.

GPO and Human Playback


Human Playback includes enhanced capabilities when used with Finale’s integrated Garritan Personal Orchestra sounds (or the full version of Garritan Personal
Orchestra). One of these is the ability to apply patch changes automatically using keyswitch triggers. Several GPO instruments include multiple sounds, for example,
pizzicato and arco for strings. These alternate sounds are called ”Keyswitches.” HP interprets expression or Smart Shape text added to the score (such as “pizz”) and
changes the instrument sound during playback accordingly. See GPO Keyswitch Triggers for Human Playback for details.
Additionally, Instrument Techniques can be applied to an instrument sound and/or modified to take full advantage of GPO and other sound sample libraries. See
GPO & HP Tutorial for information on how to get the most out of these tools.

Instrument Techniques and Effects


Instrument Techniques allow Human Playback to take advantage of a given sound library, from basic GM to high-end samples like Garritan or EWQL. They can be
actual techniques, such as pizzicato or fluttertongue, but more generally, they can be used however required to make the most of the sound library at hand. Earlier
versions of Finale (2006 and earlier) included a limited support for Instrument Techniques, focused on GPO (Finale and Full editions) and GM (SoftSynth), but were not
customizable. In particular, there was no way to mix different sample libraries so that Human Playback could interpret the whole thing smoothly.The Technique &
Effects window looks like this:

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Human Playback

Every item in the list represents a particular technique or effect. The technique list pictured above is the default set, featuring about 30 items including full support for
SoftSynth, Finale GPO, Garritan Personal Orchestra (full), Garritan Jazz & Big Band, Marching Band, Stradivari Violin, and Gofriller Cello.
For details, see Human Playback Preferences-Instrument Techniques and Effects.

See Also:
Human Playback Preferences dialog box
Human Playback Dictionary

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Recording with HyperScribe

Recording with HyperScribe


Finale allows two types of recording with HyperScribe; A real-time MIDI transcription recorded using an external MIDI device such as a MIDI keyboard, or an audio
track recorded using a microphone attached to your computer.
When you’re recording a real-time MIDI performance using HyperScribe, you can provide the click yourself by tapping a note on your MIDI keyboard, a foot pedal, and
so on (if Tap is selected in the Beat Source submenu). Or, another computer or MIDI device can provide a time code that Finale will sync to (if External MIDI Sync is
selected in the Beat Source submenu). If you prefer, however, you can have Finale provide a metronome click, which can be triggered by playing a certain MIDI note
(if Playback and/or Click is selected in the Beat Source submenu).
When you're recording an audio track, the live performance must be in real-time and match the desired playback tempo. For details, see To record an audio track.
Note: If you are using Kontakt for Finale with GPO as your playback device, to get a metronome click, you will need to load a percussion instrument and select the
patch manually. See To use a metronome click with Native Instruments VSTAU.

To record into one or two staves


1. From the MIDI/Audio Menu, choose Quantization Settings. Adjust the settings, then click OK. See Quantization Settings dialog box for more
information.

2. Click the HyperScribe Tool . The HyperScribe Menu appears.


3. From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. The Playback and/or Click dialog box appears. (See Playback
and/or Click dialog box)
4. Click the note duration you would like to use for your beat. Type in the number of EDUs for any duration that is not available from the palette.
5. If you know what tempo you want to record at, click Use This Tempo and enter the tempo into the Tempo text box. If you prefer to have
Finale calculate the tempo for you, click Listen, then tap any key on your MIDI instrument in the desired tempo. Finale will enter the tempo you play. You can
select Use Playback Tempo to respect all playback indicators (Playback Controls, Expressions, etc.) while you record.
6. Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay starting the countoff measures and recording until it
receives a start signal. Choose None (Record Immediately) if you don’t want to use a signal to start recording—Finale will immediately start recording (after
playing the countoff if one was specified); choose Any MIDI Data for Finale to start recording upon receiving any MIDI signal that’s played; choose Current
Metronome Sound to use the same MIDI signal as the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain Pedal to signal the start by
depressing the foot pedal; choose Other to define an alternate MIDI signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box).
7. Select Play Staves While Recording if you want all the staves set up in the instrument list to play back while Finale provides a click.
8. Click on Click and Countoff to set up your click and countoff options. For details, see Click and Countoff.
9. Click OK.
10. Choose Record into One Staff or Split into Two Staves from the Record Mode submenu of the HyperScribe Menu.
11. If you choose Split into Two Staves, the Fixed Split Point dialog box appears. Enter the note that will serve as the split point for the staves. Or
click Listen, and play the note on your MIDI keyboard. Click OK. See Fixed Split Point dialog box for more information.
12. Choose HyperScribe Options from the HyperScribe Menu and change the Receive On information if you’re sending information on an
alternate channel. Change other settings as needed, then click OK. See HyperScribe Options dialog box for more information.
13. From the HyperScribe Menu, choose Record Continuous Data. Then click Listen and play the continuous data you want to record
during your HyperScribe session (or make your selections from the drop-down). Then click Done and OK to dismiss the dialog box.
See Record Continuous Data dialog box for more details.
14. To start recording, click the measure in which you want Finale to begin recording. Signal Finale to start (if you selected a start
signal). Click a measure. Or, choose Playback Controls from the Window Menu, if it isn’t already selected. If you have selected split into two staves, click on the
upper staff in which you want recording to begin. Change the measure if necessary, then click Record in the Playback Controls.

If there are repeats in the region you are recording, Finale will jump back to the beginning of repeated sections (as it would during playback). While recording,
the second pass of a repeated section will overwrite the first pass.
Note: If you click a measure to start recording, Finale will start recording into the measure you clicked,
not the measure displayed in the Playback Controls.

15. When you’re finished, (if you are providing the beat), give one extra tap. The extra tap is required to fill out the beat, for the benefit of Finale’s
quantization feature.

Note: If you stop in the middle of a measure, Finale automatically fills the rest of the measure with
rests. If you’re HyperScribing over an existing passage and accidentally play partway into an existing
measure that you wanted to preserve, ctrl-click to end the recording; Finale won’t transcribe the new
notes you’ve played in the half-completed measure.

16. Click anywhere on the screen to stop recording and exit the HyperScribe dialog box (if it is displayed). If the quantization or split point
settings weren’t quite right, change them; then click the first measure and try the performance again. HyperScribe will overwrite whatever music is already on the
staff. If you can’t seem to find a split point that works to separate the music into the proper staves, use the Note Mover to correct any split point errors (see To
correct split point errors, below).

To use multitrack recording (HyperScribe)


When you’re using multitrack recording, remember to specify the recording options in the Instrument List window, otherwise Finale won’t know which staves to record
into, or which channels to receive from. As with other HyperScribe record modes, you can have Finale wait for a click (Tap or External MIDI Sync is selected in the
Beat Source submenu). If you prefer, however, you can have Finale provide a metronome click, which can be triggered by playing a certain MIDI note (if Playback
and/or Click is selected in the Beat Source submenu).

1. Choose Quantization Settings from the MIDI Menu. Adjust the settings, then click OK. See Quantization Settings dialog box for more information.

2. Click the HyperScribe Tool . The HyperScribe Menu appears. The first decision you have to make is whether or not you want Finale to provide a

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Recording with HyperScribe

click.
3. From the Beat Source submenu of the HyperScribe Menu, choose Playback and/or Click. The Playback and/or Click dialog box appears. (See
Playback and/or Click dialog box)
4. Click the note duration you would like to use for your beat from the Beat Equals palette. Type in the number of EDUs for any duration that is
not available from the palette.
5. If you know what tempo you want to record at, enter the tempo into the Tempo text box. If you prefer to have Finale calculate the tempo for
you, click Listen (the Listen to Tempo dialog box will appear), then tap any key on your MIDI keyboard in the desired tempo. Finale will enter the tempo you
tapped. See Listen to Tempo dialog box.
6. Select Play Staves While Recording if you want all the set up staves in the instrument list to play back while Finale provides a click.
7. Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay starting the countoff measures and recording until it
receives a start signal. Choose None (Record Immediately) if you don’t want to use a signal to start recording—Finale will immediately start recording (after
playing the countoff, if one was specified); choose Any MIDI Data for Finale to start recording upon receiving any MIDI signal that’s played; choose Current
Metronome Sound to use the same MIDI signal for the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain Pedal to signal the start by
depressing the foot pedal; choose Other to define an alternate MIDI signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box).
8. Click on Click and Countoff to set up your click and countoff options. For details, see Playback – Click and Countoff.
9. Choose Multitrack Record from the Record Mode submenu of the HyperScribe Menu.
10. Choose Instrument List from the Window Menu, if it isn’t already selected. Click the appropriate P (Play) or S (Solo) columns to determine which
staves will play back as you record. (For more information, see Instrument List window.)
11. Click in a staff’s R (Record) column to specify that music will be recorded into the staff (a black triangle appears in the column). To
record into different layers of a staff, expand the staff list by clicking on the control arrow next to the staff name, then click in the Record column for each layer
you want to record into. Click again to remove a triangle from a staff or layer previously selected for recording.
12. Enter the channel number that will be recorded for each staff or layer in the RChan column. To specify different channels for the layers of a
staff, expand the staff list by clicking on the control arrow next to the staff name, then enter the channel numbers into the RChan columns for those layers. Finale
displays the word Mixed next to the Staff name in the RChan column, indicating that Finale will be recording into one or more layers of the staff, from more than
one channel.
13. Close the Instrument List. Clicking on the minimize icon in the upper right corner.
14. Choose Playback Controls from the Window Menu, if it isn’t already selected. See Playback Settings dialog box.
15. In the Measure text box, enter a new measure number to indicate where to start you transcribing.
16. When you’re ready to start recording, signal Finale to start (if a start signal was selected). Click the Record button in the Playback Controls.
Or, click a measure in your score where you want recording to begin. Finale will use the settings in the Instrument List to determine which channels to receive
from or which staves to record into, then begin countoff and recording.

Note: If you click a measure to start recording, Finale will start recording into the measure you clicked,
not the measure displayed in the Playback Controls.

17. When you’re finished, (if you are providing the beat), give one extra tap. The extra tap is required to fill out the beat, for the benefit of Finale’s
quantization feature.

Note: If you stop in the middle of a measure, Finale automatically fills the rest of the measure with
rests. If you’re HyperScribing over an existing passage and accidentally play partway into an existing
measure that you wanted to preserve, ctrl-click to end the recording; Finale won’t transcribe the new
notes you’ve played in the half-completed measure.

17. Click anywhere on the screen to stop recording and exit the HyperScribe dialog box (if it is displayed). If the quantization or split point
settings weren’t quite right, change them; then click the first measure and try the performance again. HyperScribe will overwrite whatever music is already on the
staff. If you can’t seem to find a split point that works to separate the music into the proper staves, use the Note Mover to correct any split point errors (see To
correct split point errors, below).

To use a metronome click with Native Instruments VST


MIDI instruments and VST instruments cannot playback simultaneously. Therefore, if a Native Instruments product (like Kontakt for Finale with GPO) is chosen as your
playback device in MIDI Setup, extra steps are required to sound a metronome click during your HyperScribe Sessions:

1. From the MIDI/Audio Menu, choose Native Instruments VST Setup. The Native Instruments VSTAU Setup dialog box appears.
2. Click the 1-16 drop-down menu and choose Finale GPO (if it’s not chosen already). Then click the Edit button to the right. Kontakt for
Finale opens.
3. In one of these slots, load the Basic Orch Percussion sound. If all eight slots are full, replace one of the instruments with the Basic Orch Percussion
sound and reassign the replaced instrument on a different set of channels.
4. Click the Channel drop-down menu and choose channel 10. Then, close the player and click Close to dismiss the dialog box. Setting
the channel to 10 ensures the metronome click will play normally if MIDI is set as the playback device.
5. From the MIDI/Audio Menu, choose Click and Countoff. The Click and Countoff dialog box appears.
6. Change the Note fields for both Down Beats and Other Beats to 56. This will produce a side drum hit when using Kontakt for Finale with GPO and a
cowbell when using MIDI.

Note that you could use a different Native Instruments product instead of Kontakt for Finale with GPO,
although the sound and patch number for the click sound would be different than the one used for
these steps.

To record an audio track


1. From the View Menu, choose Studio View. Audio tracks are only visible in Studio View.
2. From the Document Menu, choose Playback Options. Ensure "Chase from First Measure" is selected under the Dynamics and

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Recording with HyperScribe

Markings drop-down menu. Click OK.


3. From the MIDI/Audio Menu, choose Audio Track, then Add Audio Track. An audio track appears above your instrument staves, and below the
TempoTap staff.

4. Choose the HyperScribe Tool . At this point the steps are basically the same as recording a HyperScribe session.
5. From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. Click the drop-down menu to the right of Start Signal for
Recording and choose None (Record Immediately). This setting tells Finale to begin recording using the number of countoff measures specified in the Click and
Countoff dialog box.
6. Click the first measure, listen to two bars of metronome clicks, then begin recording into the microphone.
7. When you are done, click the score to stop the recording. The audio you just recorded is visible in the audio track. Click Play in the Playback
Controls to listen to your document. Click on the audio track again to record over the original recording.

Finale allows a single audio track in any document. For more advanced options, such as editing the reverb of the audio file or recording multiple voices; use audio
editing software, save as a Wave, and import the audio file into a Finale document's audio track. See Audio.

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Document Options-Notes and Rests

Document Options-Notes and Rests

How to get there


From the Document Menu, choose Document Options and select Notes and Rests.

What it does
This dialog box contains options for choosing specific characters for note and rest durations. Also specify rest positioning and the amount of space before and after
each barline in your document.

Use Note Shapes. This checkbox is the switch for the settings you make in this section. When it’s selected, the score displays your selected notehead
shapes; deselect this checkbox to restore normal noteheads (until you re-select it). The Special Tools Tool lets you change normal noteheads to X noteheads,
diamond noteheads, and so on, on a case-by-case basis. There may be times, however, when you need every occurrence of a certain pitch to have a certain
shape. "Shape-note" gospel music uses such a system, for example, as do many drum parts. This section not only lets you specify a different note shape for
every note of the scale, but even a different note shape for every rhythmic value for every note of the scale. You can also use this feature for creating rhythm
part slashes by using the slash mark instead of a notehead.

Replace: Double Whole • Half • Quarter. Using this drop-down list, select the traditional notehead shape you want to change.
Noteheads on Scale Degree ___ • [Arrow controls]. Either type, or click the arrow controls to select, the scale degree number for which you want to
change the selected notehead shapes. For example, to change every occurrence of G to an X-notehead in the key of C, enter 5 in this text box, since G is the
fifth note of the scale.

With This Symbol: ___ • Select. The character displayed in this text box is the alphabetic equivalent of the particular notehead shape you’re specifying; it
appears in the system font, regardless of what it looks like in the music font. For example, even if you’ve selected an X notehead in the Maestro music font, you’ll
see an upside-down question mark in this text box. Instead of having to look up the alphabetic equivalent for the music symbol you want, simply click Select.
Finale displays a palette containing every symbol in the music font; double-click the shape you want to use as the replacement notehead. When you return to
the dialog box, Finale enters the symbol’s alphabetic system font equivalent in the text box automatically.
Rest Positioning: Eighth • 16th • 32nd • 64th • 128th. You can specify the exact vertical position of different rests. Enter a value in the text boxes and
Finale will shift each rest type according to your setting. The default rest position values in EVPUs for the Maestro, Petrucci and Engraver fonts are:
Rests Values
0
8 th , 16 th , 32 nd

64 th -24

128 th -48

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Document Options-Notes and Rests

The default rest position values in EVPUs for the Sonata font are:
Rests Values
12
8 th
-12
16 th , 32 nd
-36
64 th

128 th -60

Flag Positioning: First Upstem Flag • First Downstem Flag • Second Upstem Flag • Second • Spacing Before Music • Spacing After
Music. These numbers determine the amount of space before and after the music in a measure. The first number is the distance between the end of the
measure header (the clef, key and time signatures) and the first note or rest; the second number sets the distance between the last note or rest and the final
barline.
ScaleManual Positioning of Notes. This option pertains to adjustments you make by dragging notes sideways (using the Speedy Entry Tool or the Special
Tools Tool). This setting has the most relevance when you consider notes in different voices (or layers) that are an interval of a second apart—an F in the stems-
down voice and a G in the stems-up voice, for example—which you must drag apart so that their noteheads don’t overlap. But even if you make such notes look
perfect in Scroll View, they may look askew in Page View, because measures are slightly wider in Page View (Finale stretches them so that they’re fully justified
with the page margins). As the measure gets stretched, so does the relative distance between notes. To eliminate this problem, deselect this checkbox. From now
on, Finale will remember the specific amount you dragged a note—a quarter-inch, for example—instead of storing the note-heads’ positions relative to the
measure width. Therefore, even when the measures change width, notes that you’ve carefully dragged into position in Scroll View will be exactly the same
distance apart in Page View. Note: When you open documents created with versions earlier than 3.0, you’ll find that this checkbox is selected. Moreover, if you
then deselect this checkbox, notes that you had positioned manually in the older file may shift positions, requiring you to re-adjust them.
Display Cross-Staff Notes in Original Staff. If this checkbox is selected, Finale draws all cross-staff notes on their original or "source" staves, to make
editing and proofreading easier for you. To restore cross-staff notes to their cross-staff positions, deselect this checkbox. (Even when the option is selected, you
can still create cross-staff notes with the Note Mover— you just won’t see the results until you deselect this checkbox.)
Notehead Characters, Select. The items in this drop-down list refer to the shapes used as the basis of Quarter notes and smaller values. Use the drop-
down list to choose the type of notehead you want to change, then click Select to choose an alternate shape. The available characters will depend on the default
font for noteheads and rests specified in Font options.
Rest Characters, Select. The items in this drop-down list govern the character to be used for rests of the indicated values: Double Whole and so on. Use
this drop-down list to choose the type of rest you want to change, then click Select to choose an alternate shape. Choose Default Measure Rest to select the rest
character to be used in measures without entries. If you choose a non-rest character, Finale will reset to the whole measure rest. The available characters will
depend on the default font for noteheads and rests specified in Font options.
Colored Noteheads • Show Border Around Color Noteheads • Reset Colors • C • D#/Eb • ...B. These colors apply to noteheads in any staff
designated to use color noteheads (in the Staff Attributes dialog box). Choose Show Border Around Color Noteheads to display a black border surrounding the
colored noteheads as shown below:

Finale's default colors are based on the Chroma-Notes™ Colored Music System for use with Boomwhackers® Tuned Percussion Tubes. (See Boomwhackers®
Tuned Percussion Tubes / Chroma-Notes™ Instruments for details). To customize a pitch's color, click its corresponding button to open the Color dialog box
where you can select a new color. Click Reset Colors to revert to Finale's default notehead color settings.

See Also:
Staff Styles
Document Options-Fonts
Document Menu/Document Options

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Document Styles

Document Styles

Finale allows you to reuse all document settings from any existing document by designating it as it as a Document Style. A Document Style is basically a model
document whose settings can be duplicated while designing a new score in the Setup Wizard. When you designate a file as a Document Style, you are telling Finale
you would like to use its articulations, expressions, fonts, staff lists, staff styles, page layout and all other document options and libraries along side the instrumentation
and other settings you specify in the Setup Wizard. For a list of all document-specific settings, see Document Settings and Program Settings.

To use Document Styles


1. From the File Menu, choose New, then Document with Setup Wizard. The first page of the Setup Wizard appears.
2. If you would like to begin with a preset ensemble, select it in the left list box. Choose None to design the instrumentation from scratch when you
advance to the next page. The next page of the Setup Wizard also allows you to edit the ensemble chosen here, as well as save new custom ensembles.
3. Choose the desired Document Style from the list box on the right. Note that an * (asterisk) appears next to the Document Style assigned to the
ensemble you have selected. You can change an ensemble's default Document Style by selecting a different Document Style and clicking the "Always Use This
Document Style with This Ensemble" button. The Document Styles listed here include all files that appear in the Finale/Document Styles folder on your hard
drive. Finale already includes a variety of Document Styles to choose from. To create a customized Document Style, see "To create a Document Style" below.
4. Complete the Setup Wizard. The new document opens based on your settings.

To create a Document Style


1. Open a document that most closely matches the desired document settings. For example, you may use the Setup Wizard to begin with an
existing Document Style or one provided with Finale. To begin with an empty document, choose File > New > Document Without Libraries. Save a file in the
Finale/Document Styles folder to use it as a Document Style. The next time you open the Setup Wizard, the file will be listed as a document style.
2. Load libraries and change any document-specific settings as desired. See Finale Libraries and Document Settings and Program Settings.
3. Save the file in the Finale/Document Syles folder. You can save as a regular .MUS file or .FTM. Next time you open the Document Setup Wizard, the
file name of this document will appear in the list of Document Styles.

Once opened, a description of each document style included with Finale can be found in the File Info dialog box. Here, you can reference the Document Style's
libraries, text inserts, staff spacing, cover pages, and other distinctive settings. When you edit one of Finale's Document Styles you can log your changes here for
future reference.
If a file with music is used as a Document Style, the Setup Wizard strips out all of the musical information including staves and entries before generating the new
document. Page-attached text and graphics, however, are retained as part of the Document Style.

See also:
Setup Wizard

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Finale Score Templates

Finale Score Templates

In your Finale folder, you’ll find a folder called Templates. In this folder you’ll find nearly fifty blank Finale documents, each with staves in a particular instrumental
configuration. These templates can save you time—just open a copy of a score setup you need, and start entering the music. To open a template, choose File, New,
then Document from Template.

When you open a template, Finale prompts you to customize your new document with the last two pages of the Setup Wizard (if Display Setup Wizard When Opening
a Template is checked in Program Options-New ).

These templates have the “.FTM” extension, which means that they will appear as “untitled” files when you open them. Choose New from Template from the File Menu.
Any template files in the current folder will appear in the list. Double-click the template you want to use.
To open a template and create an untitled copy of one of these templates (thus preserving the blank template itself for later use), choose File, New, then Document
from Template. Double-click the name of the desired template; Finale will open an untitled copy.

Each of these templates, like the Maestro Font Default file, has a selection of libraries already loaded. These include the Chord Suffix, Articulations, Shape
Expressions, Text Expressions, Text Repeats, Allotments (medium), Quarter Tone, and Executable Shapes libraries. Each has also been defined to have sequential
measure numbers, page numbers, and a sample title. Staves for the transposing instruments (e.g., clarinets, horns) have been set up to transpose automatically (see
Transposing instruments). The templates are titled as follows:

General Templates

Band Templates

Orchestral Templates

Choral Templates

Church Templates

Education Templates

Guitar Templates

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Scanning

Scanning
Finale offers a variety of ways for you to scan sheet music and bring the results into Finale. If you own Musitek’s MIDIScan or SmartScore software, you can import
files scanned with these programs into Finale. See File/Import/MIDIScan. However, all you need is a scanner properly set up with your computer to take advantage of
Finale’s scanning capabilities. Scan, import, and translate a piece of sheet music directly from Finale (see To scan and import sheet music), or import an existing TIFF
graphic you have already scanned and translate the file to a Standard Finale File using the SmartScore Lite dialog box. See To Import Scanned TIFF Files.

Note that the SmartScore Lite feature in Finale, like most music scanning products, doesn’t recognize
articulation marks, hairpins, double or repeat barlines, or text. It will do 3 accidental types, 3 clefs, 16
staves per page, smallest note value is a 32nd note, and a maximum of 1 augmentation dot. With
SmartScore Lite, you can open several scanned files at once.

Because scanning is not a perfect science, you will need to clean up any file after conversion. For complicated music, you will usually find it easier to simply re-enter
the music via one of Finale's traditional note entry methods: Simple Entry, Speedy Entry, or HyperScribe.
Remember that to take advantage of any of Finale's scanning capabilities, you will need to have a properly installed scanner (contact the manufacturer of your scanner
if you have questions).

Choosing the best scanner for SmartScore


Musitek, the makers of SmartScore, offer the following advice for choosing the best scanner for SmartScore Lite:

Newer Canon or Epson USB scanners.


Scanners that have been tested with Win XP and SmartScore
Newer Hewlett-Packard and Canon USB scanners with WIA drivers.
Newer Microtek USB scanners with TWAIN.

Musitek recommends avoiding the following scanners:

"All-In-One" scanners without WIA drivers.


Older scanners that are not fully TWAIN-compliant.

Most modern scanners will work fine with SmartScore. "All-in-one" printer/copier/scanner models are becoming popular. Sadly, many have less-than-perfect software
and optics. We recommend dedicated flatbed scanners as a rule.
Issues with All-In-One scanners and some workarounds
Most all-in-one printer/scanners will work in SmartScore provided you choose the right settings.

Use SmartScore's scanning interface (File Menu > Scanning: SmartScore Lite > Scan and Import).
Turn OFF Auto-Resolution. Most all-in-one scanners do not have variable-resolution scanning. This means discrete resolution values must be selected: e.g.
300dpi, 600dpi and 1200dpi. One more reason why dedicated flat-bed scanners are preferred.
Scan at 300 dpi and save pages in GREY as "uncompressed" TIFF files.

Note: Even if you choose "Black & White", most all-in-one scanners will actually scan in color and
then "dither" the image, making the image unusable. Remember to scan in "Greyscale" (not Color or
Black & White).
It is always recommended to scan using SmartScore's scanning interface with the benefits of auto-resolution, deskew and multiple-page TIFF functions. Also, newer
Epson and Cannon scanners work well with SmartScore's scanning interface under Windows XP and MacOS X platforms.

To scan and import sheet music


The following steps describe how to use Finale to scan and open a single or multiple page document. To acquire sheet music from your scanner:

1. Place a page of sheet music on your scanner. To get the best results, start with a clean, high-quality original (not a photocopy) that does not have frayed
edges or crooked staves. Lay the music squarely on the bed of your scanner. Do not use scores with more than 16 staves.
2. In Finale, select the File Menu, go to SmartScore Scanning Lite, and choose Scan and Import. (Or, in the Launch Window, click Scanning).
Finale opens the SmartScore Lite 5.5 dialog box and automatically displays a preview of the sheet music in your scanner. If you do not see a preview, click the
Preview button.
3. Adjust settings as desired and click Scan. For more information regarding the settings in the SmartScore Lite dialog box, see SmartScore Lite 5.5 dialog
box.
4. Scan one page. Finale asks you if you have more pages to scan. If you do, click Yes and repeat the last two steps. When you have scanned all pages, click
No. A message appears noting that your files have been saved to a temporary folder.
5. Click OK. The SmartScore Lite dialog box appears.
6. Click Add Files to List. The Open dialog appears where you can choose the files you have just scanned. If you scanned multiple pages, click the first file in
the list, and then hold down Shift and click the last file to select all pages.
7. Click Open. Your files appear in the file list. Click a filename to display a preview of that page in the preview window on the right.
8. Click Begin Recognition. Finale transcribes the scanned file(s) and displays the music in a single Finale file. (If you encounter problems, such as a
"Recognition Failed" error, see below).
9. Save the file with a new name.
10. Make any desired edits. Because scanning is not a perfect science, you will need to proofread the music and correct for missing notes, ties or dots.
11. Convert slurs to ties, where needed. SmartScore will attempt to convert ties based on context (Are the two slurred notes the same pitch?) but may
occasionally guess incorrectly and insert a slur. Although slurs and ties are graphically the same; slurs and ties are different musically. Remove the incorrect slurs

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Scanning

with the Smart Shape Tools. See To move, reshape, or delete Smart Shape slurs. Add the ties with the Simple or Speedy Entry Tools. See Simple Entry or
Speedy Entry.
12. In files with more than one staff, fix the key signatures, if needed. All staves will be set to Independent Key Signatures, which causes the Key
Signature Tool to change the key individually for each staff. You can remove the Independent Key Signatures in the Staff Attributes dialog box. Make sure you set
the proper transposition for any transposing staves if you decide to use this fix.

Using your scanner's software to scan sheet music for Finale import
It is preferrable to scan from SmartScore's own scanning interface for several reasons: Auto-resolution, auto-deskew, multi-page/single image file creation, greyscale
thresholding, etc.
If you are using SmartScore's scanning interface and your scanner does not operate or you get a "Recognition Failed" message, you can bypass SmartScore's
scanning interface:

1. In SmartScore Lite, choose Select Scanner and choose your scanner.


2. Scan in GRAYSCALE White) at a resolution of 300 to 400 dpi.&(NOT Black
3. Save each page as separate uncompressed TIFF files.

Now, follow the steps under To Import Scanned TIFF Files below to import and translate the scanned documents.
Failing that, open the scanning module associated with your scanner. Scan and save each page as individual TIFF file according to points 2. and 3. above. Or consider
the following:

Third-party scanning software (ScanVue)


If it not possible to scan from inside SmartScore, a reasonable alternative is to use 3rd-party scanning software such as ScanVue which supports more than 500
scanners and enables scanning in SmartScore's scanning interface.

To import scanned TIFF files


If you would like to Import Files you have already scanned and saved as uncompressed TIFF files:

1. From the File Menu, choose SmartScore Scanning Lite, and then Import Existing TIFF File.
2. In the SmartScore Lite dialog box, click Add Files to List to add files, and then Begin Recognition to translate and open the files in
Finale. See SmartScore Lite dialog box for details.

(To scan, import, and translate using Finale's included scanning utility, see To scan and import sheet music.)
Because scanners and scanning software varies widely, we cannot provide specific instructions for how to configure the above settings for every scanner. When in
doubt, see your scanner documentation for details or contact the scanner manufacturer on how to prepare a file with the requirements stated above. (Note that some
scanning software can be stubborn in its attempts to make decisions for you and result in a scanned file that does not meet the above requirements).
After you have scanned the file do not open the image file in PhotoShop or PhotoDeluxe, as this will introduce lightening and other negative factors. Some versions of
PhotoDeluxe will also save the file as a uniquely PhotoDeluxe TIFF that SmartScore Lite (and MIDIScan Import) cannot recognize.

To import MIDIScan or SmartScore files


See File/Import/MIDIScan.

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File/MusicXML

File/MusicXML

Choose Import to open a MusicXML file. See Import MusicXML. Choose Export to save a Finale document in MusicXML format. MusicXML files can be opened in
other music programs as well as earlier versions of Finale. See Export MusicXML.

Note: Finale can open compressed MusicXML 2.0 files (.mxl). Finale does not support saving in .mxl
format.

Import
Export

See Also:
File Menu

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Text/Inserts

Text/Inserts

When you’re creating or editing a text block, choose a command from the Inserts submenu to insert one of these items at the current location of the cursor. Finale
pastes the current date, time, page number, or other insert at the insertion point. An outline appears around an insert to remind you of its special function. The
following keyboard shortcuts are available for inserts:
Insert Keystroke
Page Number ctrl-shift-P
Sharp ctrl-shift-S
Flat ctrl-shift-F
Natural ctrl-shift-N

Note: You can change character settings for inserts placed in text blocks (you might underline the
date, for example). Simply select an insert you’ve placed in a text block (such as the date), then
choose a font or other character setting from the Text Menu. Finale changes the entire contents of the
insert to the new setting. You cannot, however, select and change the text within inserts.

You can change the content of individual Page Number inserts. Choose Edit Page Offset from the Text Menu to change the page number that appears for the selected
page insert (other page inserts in the document are not changed).
Change the text in the File Info dialog box (in the File Menu) to change the information for the following inserts: Title, Composer, Copyright and Description.
You can also change the content of the following inserts: Sharp, Flat, Natural, Double Sharp, Double Flat. When you change the content of these inserts in Document
Options-Text, Finale updates every insert of the same type throughout the document.
If you use a music font other than Maestro, you can change the symbol, font, baseline and tracking settings for the sharp, flat, natural, double sharp, and double flat
signs by choosing the Text category of the Document Options dialog box (under the Document Menu).
The Symbol insert will display the Symbol Selection dialog box allowing you to place the selected character into the text block. See Symbol Selection dialog box.
For more information, see Edit Page Offset, Document Options-Text, and File Info dialog box.

Sharp
Flat
Natural
Double Sharp
Double Flat
================
Page Number
Total Pages
================
Title
Subtitle
Composer
Arranger
Lyricist
Copyright Symbol (©)
Copyright Text
Part/Score Name
Performance Time
Description
================
Filename
Current Date
File Date
Time
================
Symbol

See Also:
Text Menu
Text Tool
Document Options-Text

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File Info

File Info

How to get there


Choose File Info in the File Menu to display the File Info dialog box.

What it does
Finale supplies a quick, convenient way to add notes about your document, such as reminders to yourself or to the person (or publishing-house) where you’re sending
the file. The File Information dialog box has plenty of room for you to enter the title of the piece, the composer’s name, copyright information, and a document
description. You can type any file-specific information that you may want to refer to later on. If you’re sending the file to a publisher, for example, you might use the file
description area to communicate information about the fonts that were used in the file.
Statistical information on the content of your file is easily accessible from the File Info dialog box. To display the File Statistics dialog box, click the Statistics button.
See File Statistics dialog box.
Below the document description you can enter the initials of the file’s creator and modifier. Finale automatically provides the creation and modification dates, the name
of the application (Finale), the platform (Macintosh or Windows) that created the file, and the application version number. See Text Menu.

Title • Subtitle • Composer • Arranger • Lyricist • Copyright • Description • Score Name Insert • Created • Modified. Enter text in these text
boxes to help manage your documents, and allow you to use the Text Inserts in the Text Tool to easily place these items into your score, or automatically with
the use of file templates.
Statistics. Click this button to bring up the File Statistics dialog box. See File Statistics dialog box.
OK • Cancel. Click OK to use the information entered and return to the score. Click Cancel to return to the score ignoring any changes that were made.

You can get further file information by running the Count Items Plug-in.

Tip: Hold the Alt key and type 0169 on the Number pad to create a © character

See Also:
File Statistics
Text Tool

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View Menu

View Menu
How to get there
The View Menu is one of Finale’s unchanging menus.

What it does
This menu contains commands pertaining to your view of the document. You can never change the document itself
with the commands in this menu—only modify the way you see it on the screen
For example, you can change the size of the displayed music, hide staves, or alternate between one of Finale's three
main views (Page, Scroll, and Studio View).
If you press ctrl while choosing the View Menu, the Select Staff Set submenu changes to Program Staff Set, indicating
that you’re ready to program a new staff or tool set.

Scroll View
Page View
Studio View
=====================
Zoom
Bookmarks
Select Staff Set
=====================
Select Layer
Redraw Screen
=====================
Grid/Guide
Show
=====================
Select Display Colors

See Also:
Menus

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BDIALOG

Dialog Boxes

Backward Repeat Bar Assignment


Baseline Shift
Beam Extension Selection
Beaming Chart
Beat Chart
Bracket
Bracket Style

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CDIALOG

Dialog Boxes

Change Articulation Assignments


Change Chord Assignments
Change Chord Suffix Fonts
Change Clef
Change Lowest Fret
Change Note Durations
Change Note Expression Assignments
Change Note Size
Change Noteheads
Change Ties
Change Tuplets
Character Settings
Check Graphics
Check Repeats
Chord Definition
Chord Suffix Editor
Chord Suffix Selection
Clear Selected Items
Clef Designer
Clef Selection
Click and Countoff
Click Assignment
Click Input
Click Output Type
Color
Compile PostScript Listing
Composite Time Signature

Copy Measures

Create Ending
Custom Frame

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DDIALOG

Dialog Boxes

Dashed Line
Define Keyboard Shortcut
Delete Blank Pages
Delete Element
Diatonic Instrument Definition
Document Options
Document Options-Accidentals
Document Options-Alternate Notation
Document Options-Augmentation Dots
Document Options-Barlines
Document Options-Beams
Document Options-Chords
Document Options-Clefs
Document Options-Flags
Document Options-Fonts
Document Options-Grace Notes
Document Options-Grids and Guides
Document Options-Key Signature
Document Options-Layers
Document Options-Lyrics
Document Options-Lines and Curves
Document Options-Multimeasure Rests
Document Options-Music Spacing
Document Options-Notes and Rests
Document Options-Piano Braces
Document Options-Repeats
Document Options-Stems
Document Options-Text
Document Options-Ties
Document Options-Time Signatures
Document Options-Tuplets
Dot Offsets

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EDIALOG

Dialog Boxes

Edit Bookmarks
Edit Frame
Edit Keyboard Shortcuts
Edit Learned Chords
Edit Lyrics
Edit Major and Minor Key Spellings
Edit MIDI Modifiers
Edit MIDI Note
Edit Modal or Chromatic Spellings
Edit Page Margins
Edit System Margins
Edit Text
Edit Text (Limited)
Elapsed Time
Enclosure Designer
Ending Repeats
Entry Items
Entry Modifications
Erase Layer
Executable Shape Designer
Executable Shape Selection
Explode Music
Export MIDI File Options
Export Pages
Export Selection
Expression Selection
Extract Parts

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FDIALOG

Dialog Boxes

File Info
File Integrity Test Results
File Maintenance
File Statistics
Fill
Filter Channels
Fit Measures
Fit to Time
Fixed Split
Fixed Split Point
Font
Font Annotation
Format Parts
Frame Attributes
Fretboard Editor
Fretboard Instrument Definition
Fretboard Selection
Fretboard Shape Selection
Fretboard Style Fonts and Shapes
Fretboard Styles
Full Measure

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GKDIALOG

Dialog Boxes

Graphic Attributes
Group Attributes
Guitar Bend Options
Hand Width Split
Handle Positioning
HyperScribe Dialog Box
HyperScribe Options
Implode Music
Import MIDI from Clipboard
Import MIDI File Options
Import Score Files - Options
Import Score Files - Order
Insert Blank Pages
Insert Staff Systems
Instrument Definition
Instrument List
Interval
Edit Filter
Items to Snap to Grid
Items to Snap to Guide
Key Signature
Key Step Map

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LDIALOG

Dialog Boxes

Last Recorded Tempo


Launch Window
Limit - Continuous Data
Limit - Key Velocities
Limit - Note Durations
Line Spacing
Line Thickness
Listen
Listen to Tempo

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MDIALOG

Dialog Boxes

Manage Parts
Measure Assignment for Ossia Measure
Measure Attributes
Measure Expression Assignment
Measure Number
Measure Number Style
Mid-Measure Clef
MIDI Event
MIDI Input Filter
MIDI Setup
MIDI Thru
MIDI Thru Table
MIDI Tool window
Mirror Attributes
More Quantization Settings
Move/Copy Layers
Movie Window
Moving Split Point
Multimeasure Rest
Multiple Splits

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N-ODIALOG

Dialog Boxes

Native Instruments VST Setup


New Staves
Nonstandard Key Signature
Note Expression Assignment
Note Shapes
Notehead Settings
Open\Save\Save As
Ossia Measure Designer

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PDIALOG

Dialog Boxes

Page Assignment for Ossia Measure


Page Format for Parts
Page Format for Score
Page Offset
Page Setup
Page Size
Part Creation Preferences
Partial Measure Selection
Percent Alteration Continuous Data
Percent Alteration Key Velocities
Percent Alteration Note Durations
Percussion Map Designer
Percussion Map Selection
Pickup Measure
Place Graphics
Placeholder
Playback and/or Click
Playback Controls
Playback Data Dump
Playback Options
Position Measure Number
Position
Print
Program Options
Program Options-Display Colors
Program Options-Edit
Program Options-Folders
Program Options-New
Program Options-Open
Program Options-Palettes and Backgrounds
Program Options-Save
Program Options-View
Punch In PreRoll

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Q-RDIALOG

Dialog Boxes

Quantization Settings
Randomize - Key Velocities
Randomize - Note Durations
Rebar Options
Rebeam to Lyrics
Rebeam to Time Signature
Record Continuous Data
Redefine Pages
Redefine Selected Pages
Redraw Options
Remove Staff
Repeat Designer
Repeat Selection
Reposition Guide
Resize Fretboards
Resize Note
Resize Notehead
Resize Page
Resize Staff
Resize Staff System
Respace Staves
Rulers and Grid

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SDIALOG

Dialog Boxes

Sample List for Executable Shapes


Save Library
Save Tempo Changes
Scale - Continuous Data
Scale - Key Velocities
Scale - Note Durations
Scale Fonts
Scale View
Search and Replace
Secondary Beam Break Selection
Select Region
Select Parts/Score
Select Staff Systems
Selective Mirror
Send MIDI Value
Set Distances
Set Duration
Set Patch To
Set Swing Ratio
Set To - Continuous Data
Set To - Key Velocities
Set To - Start/Stop Times
Shape Designer
Shape Expression Designer
Shape Selection
Shift Lyrics
Simple Entry Options
Size
Slur Contour
SmartFind and Paint
Smart Line Style
Smart Shape Options
Smart Shape Placement
Smart Slur Options
SmartMusic Accompaniment Options
Space Systems Evenly
Spacing Widths
Special Key Signature Attributes
Specify Current Lyric
Speedy Options
Staff Attributes
Staff List
Staff Setup
Staff Stem Settings
Staff Styles
Staff System Optimization
Staff Transpositions
Staff Usage List
Standard Frame
Stem Connection Editor
Stem Connections Selection
Suffix Keynumber Offsets
Superscript
Swap One Font For Another
Sweep for Channels Present in a Track
Symbol List

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SDIALOG

Symbol Selection
Sync and Video Options

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TDIALOG

Dialog Boxes

Tablature Staff Attributes


Tablature MIDI Channels
Tap Source
Tap States
Tempo Adjustment
Text Expression Designer
Text Repeat Assignment
There Are Too Many Beats in This Measure
Tie Alterations
Tie Contour
Tilting Mirror
Time Signature
Time Style
Tone Center(s)
Track/Channel Mapping
Track/Channel Mapping to Staves
Tracking
Transcription
Transcription Filters
Transposition
Tuplet Definition

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VDIALOG

Dialog Boxes

Undo/Redo Lists
Unknown Chord Suffix
Unknown Font
Update Available
View Continuous Data
View Resolution
Voicing for Staff in Part
Word Extensions

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Accidental Octave Placement

Accidental Octave Placement

How to get there

Click the Key Signature Tool , and double-click the measure in which you want the key to change. The scrolling Key Signature dialog box appears. (There are a
variety of other ways to access this dialog box.) Choose Nonstandard from the drop-down list. Click the ClefOrd icon.

What it does
This dialog box is used in the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion.
In brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed anywhere you
want.
In some of the key signatures you create—and for some nonstandard clefs you design—you may want to adjust the octave placement of accidentals on the staff. In
this dialog box, you can adjust the octave in which each accidental appears in relation to each clef.

Clef(#): Previous: Next. In any Finale document there can be up to eighteen defined clefs, numbered 0 through 17. This indicator identifies, by number, the
clef for which you’re adjusting accidental placement. Click Previous and Next to change the Clef (#) indicator and scroll through the eighteen clefs defined for the
document.

Unit (#): Previous: Next. In Finale, an accidental that appears in the key signature is called a Unit. The Units are numbered in the order in which they
appear; thus, in a standard key signature system, the first accidental to appear (the Fs in the key of G) would be Unit 1; the second (the Cs in the key of D)
would be Unit 2, and so on. Flats are labeled with negative Unit numbers: the first flat to appear (the Bf in the key of F) would be Unit –1 (in the standard key
system), the next (Ef) would be Unit –2, and so on. This indicator identifies the Unit, or accidental, whose octave placement you’re changing. Click the Previous
and Next buttons at the bottom of the dialog box to change the Unit indicator, thus moving from one Unit to another in the key signature. (Note that in a
nonlinear key signature, the Unit numbers are always positive. Because there is no progression of keys—only a single key signature—the Units are simply
numbered sequentially as they appear in the key signature.)

Octave. octave are labeled with negative numbers: –1 is the first octave below Octave 0, and so on."middle C"The number in this text box tells Finale which
octave the specified Unit should appear in. Octave 0 is the octave starting with middle C; Octave 1 is the octave above that, and so on. Octaves below the
OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the octave positions of the various accidentals. You return to the
Nonstandard Key Signature dialog box. (If you click OK, Finale first asks you if you want to save your changes.)
Delete. Click Delete to revert the octave placement values to their default "traditional" values (for all the accidentals in the key system you’ve been defining).

See Also:
Key Signatures
Nonstandard Key Signature dialog box
Key Signature Tool

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Accidental Order and Amount

Accidental Order and Amount

How to get there

Click the Key Signature Tool , and double-click the measure in which you want the key to change. The scrolling Key Signature dialog box appears. (There are a
variety of other ways to access this dialog box; you can arrive at it from any dialog box or menu with a Set Key, or Change Key command.) Choose Nonstandard from
the drop-down list. Click Next twice, then click the AOrdAmt icon.
(You clicked Next twice because this dialog box doesn’t appear if Linear Key Format 0 or 1 is selected; these key formats are predefined as the standard major and
minor key systems, respectively.)

What it does
This dialog box is used in the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion.
In brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed anywhere you
want.
If you’re creating a linear key format, this dialog box is where you specify the pitches on which accidentals appear as you progress from one key to another. For
example, in the traditional key system, you’d use this dialog box to tell Finale that the first sharp to appear should be on F (the F sharp in the key of G). The second
to appear should fall on C (the C sharp in the key of D, after the F sharp), and so on.
If you’re creating a nonlinear key signature (a single key signature with any combination of sharps or flats, unrelated to any other key), this dialog box simply lets you
specify which accidentals you want to constitute the key signature.

Unit (#). A unit is an accidental in the key signature. The Units are numbered in the order in which they appear; thus, in a standard key signature system, the
first accidental to appear (the F sharp in the key of G) would be Unit 1; the second (the C sharp in the key of D) would be Unit 2, and so on. Flats are labeled
with negative Unit numbers; the first flat to appear (the B flat in the key of F) would be Unit –1 (in the standard key system), the next (E flat) would be Unit –2,
and so on.

(If you’re creating a nonlinear key signature, however, there is no particular pattern or "progression" in the way accidentals are added to the key signature,
because a nonlinear key has a single key signature unrelated to any other key. In this case, the Unit numbers simply identify each accidental within the one key
signature—thus, the Unit numbers are always positive in a nonlinear key signature.)
The Unit indicator identifies the Unit, or accidental, you’re placing in a nonstandard key signature. Click the Previous and Next buttons to change the Unit
indicator, thus moving from one Unit to another in the key signature.

Step Level. The number in this text box controls the pitch placement of the currently selected Unit, as measured in scale degrees from C, which is designated
as step zero.

In the standard key system, for example, the Step Level for Unit 1 (the first sharp to appear) is 3, because it appears on the F line or space—three diatonic
steps above C. (Remember, C is considered step zero, not one.) For Unit –4 (the fourth flat to appear), the Step Level is 5, because it appears on the A line or
space—five diatonic steps above C.

Amount. The number in this text box specifies the "amount" (interval) by which the pitch specified in the Step Level text box is to be altered, in chromatic steps
(not necessarily half steps). In the standard key system, for example, the Amount for the first Step Level (the F sharp in the key of G) is 1, because the F is
being raised one chromatic step. Enter a negative number to lower the specified pitch.

However, in nonstandard key systems, "1" may not always represent a half step. For example, in a quarter-tone scale, there are three "black keys" (chromatic
steps) between whole steps, not just one. Therefore, the Amount for a "normal" sharp or flat in the key signature is always 2 or negative 2, because a sharp in
the key signature (F sharp, for example) represents two chromatic steps above the diatonic step (F, for example).
Note that if you enter a zero in this text box for any Unit in a nonlinear key signature, no accidental will appear in the key signature for this or any subsequent
Units. Enter a zero, therefore, to indicate that you’ve finished assigning accidental placements in a key signature.

Previous • Next. Click these buttons to move backward or forward through the Units in your key signature.
OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the placements of the various accidentals. You return to the Nonstandard
Key Signature dialog box. (If you click OK, Finale first asks you if you want to save your changes.)
Delete. Click Delete to revert the accidental placements for all the accidentals to their default "traditional" values.

See Also:
Key Signatures
Nonstandard Key Signature dialog box

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Accidental Order and Amount

Key Signature Tool

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Accidental Settings

Accidental Settings

How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click a measure containing accidentals. Click the Accidental Tool; handles
appear on each accidental. Double-click the handle on the accidental.

What it does
The Accidental Settings dialog box allows you to specify the horizontal and vertical positioning of an accidental, relative to the note or chord; change the size of the
accidental; and choose an alternate character or font for the accidental.

Positioning: Horizontal • Vertical • Allow Vertical Positioning. Enter the precise amount to offset the accidental. Positive numbers will move the
accidental to the right; negative numbers will move the accidental to the left. This dialog box will use the same measurement units found in the Edit Menu,
Measurement Units submenu. Check the Allow Vertical Positioning box to access the Vertical text box.
Size: Resize To __ %. This text box specifies how much you want to resize the accidental, expressed as a percentage of the original full size.
Font: Use Default Accidental Font • Set Font • [Font]. Check this box to use the default font in Document Options-Fonts for accidentals. To select a
different font, click Set Font. Underneath the Set Font button, Finale will display the currently selected font for accidentals.
Alternate Character: Select. Click Select to display the Symbol Selection dialog box, where you can select a font character to replace the selected
accidental.
OK • Cancel. Click OK to return to the score, where you’ll see the effects of your accidental changes. The handle you clicked remains selected to remind you
that you’ve modified it. Click Cancel to return to the score without changing any accidentals.

See Also:
Accidentals (Simple Entry)
Accidentals (Speedy Entry)
Special Tools Tool

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Add Continuous Data

Add - Continuous Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the
MIDI Tool split-window.) Specify the MIDI data type you want to edit (pitch wheel, monophonic aftertouch, and so on) by choosing Continuous Data from the MIDI Tool
Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual
notes whose MIDI data you want to edit. Choose Add from the MIDI Tool Menu.

What it does
The Add dialog box’s contents change to reflect your MIDI data type selection (MIDI continuous data such as controllers and wheels). Its function is to add a fixed
amount to (or subtract a fixed amount from) the controller value of every note in the selected region. Because it adds an absolute amount to every selected note, the
Add command preserves the relative proportions of the existing values.

Add ___. In this text box, enter the value you want added to the selected MIDI data values of all selected notes. Note that in any of the examples below, this
value can be a positive or negative number. A dialog box appears in which you can specify the MIDI controller you want to edit—pedaling, patch changes, pitch
wheel, and so on. In this case, the number in the Add text box specifies a value you want added to the selected controller’s value for all the selected music. The
Add command isn’t relevant if you’ve specified a non-continuous controller such as the sustain pedal or a patch change; it may be useful, however, if you want to
increase the degree of pitch bend or monophonic aftertouch by a uniform amount for every note in the selected region.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score)

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

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Add Key Velocities

Add - Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the
MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool Menu. If you’re in the MIDI Tool split-window,
select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit.
Choose Add from the MIDI Tool Menu.

What it does
The Add dialog box’s contents change to reflect your MIDI data type selection (key velocities). Its function is to add a fixed amount to (or subtract a fixed amount from)
the key velocity of every note in the selected region. Because it adds an absolute amount to every selected note, the Add command preserves the relative proportions
of the existing values.
For example, you can specify that each note in a selected region should be played back with slightly more volume by adding, for example, 20 MIDI velocity units. (MIDI
velocity is measured on a scale from zero, which is silent, to 127, which is very loud.)

Add ___. In this text box, enter the value you want added to the selected MIDI data values (key velocities, note durations, or MIDI controller settings) of all
selected notes. Note that in any of the examples below, this value can be a positive or negative number. The number in this text box represents the number of
MIDI velocity units you want added to every note in the selected region; MIDI key velocity is measured on a scale from zero, which is silent, to 127, which is very
loud.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

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Add Note Durations

Add - Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the
MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool Menu. If you’re in the MIDI Tool split-window,
select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit.
Choose Add from the MIDI Tool Menu.

What it does
The Add dialog box’s contents change to reflect your MIDI data type selection (key velocities, note durations, or MIDI continuous data such as controllers and wheels).
Its function is to add a fixed amount to (or subtract a fixed amount from) the duration of every note in the selected region. Because it adds an absolute amount to
every selected note, the Add command preserves the relative proportions of the existing values.

Add ___. In this text box, enter the value you want added to the selected MIDI data values (key velocities, note durations, or MIDI controller settings) of all
selected notes. Note that in any of the examples below, this value can be a positive or negative number. If you selected Note Durations, the number in this text
box represents the number of EDUs, of which there are 1024 per quarter note, you want added to the Start and Stop Times of the selected notes. (See Start and
Stop Times for a discussion of Start and Stop Times). You specify whether you want this value added to Start Times, Stop Times, or both by clicking one or both
of the checkboxes (see "Start Times/Stop Times," below).
Start Times • Stop Times. These two checkboxes let you specify which MIDI data type you want to edit—either the Start Time (the difference between the
notated attack of a note and the time you actually played it when recording in Transcription Mode) or the Stop Time (the difference between the notated release of
a note and the time you actually released it). If you select both checkboxes, the effect of the Add command is to shift the playback of the entire note forward or
backward in time.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

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Add Bookmark

Add Bookmark

How to get there


From the Bookmarks submenu of the View Menu, choose Add Bookmark. Or type Ctrl-B. The Add Bookmark dialog box appears, showing your current location in the
score.

What it does
The Add Bookmark dialog box allows you to create a new bookmark, and contains the settings used to assign a bookmark to a position in the score. The Add
Bookmark dialog box offers different settings depending on whether you’ve selected Assign to: Scroll View or Page View.

Name. Although Finale offers a default name, you can enter a descriptive name for the bookmark to be added.
Assign to: Scroll View • Page View. Assign a bookmark to Page View or Scroll View by clicking the appropriate radio button.
Settings for Page View: Page • Zoom • Horizontal • Vertical. The Page View settings reflect the score setup when you enter the Add Bookmark dialog
box. Click the checkboxes for the settings you want remembered for this bookmark. In the Page text box, enter the page number that the bookmark will be
assigned to. Zoom is the size the score displays on the screen. Enter a valid view percentage. Enter a value into the Horizontal text box corresponding to the
bookmark’s horizontal position on the page. Enter a value in the Vertical text box corresponding to the bookmark’s vertical position on the page. Use the current
measurement unit.
Settings for Scroll View: Measure • Zoom • Staff Set • Staves. The Scroll View settings reflect the score setup when you enter the Add Bookmark
dialog box. Click the checkboxes for the settings you want remembered for this bookmark. In the Measure text box, enter the number of the measure that the
bookmark will be assigned to. Zoom is the size the score displays on the screen. Enter a valid Scale View percentage. Either choose a Staff Set option to
associate the bookmark with all staves or a staff set at the selected Measure, or use the Staves option to name an individual staff associated with the bookmark
at the indicated Measure.

The measure you are marking is the "absolute" measure number in the piece. If you add or delete measures after the bookmark is created, the music at the
marked measure could be different. As an example, if you put a bookmark at measure 10, then delete measure 9, you will still go to measure 10 when the
bookmark is called, but you will see the music that was previously in measure 11.

Add • Cancel. Click Add to add a bookmark. Click Cancel to return to your score without adding a bookmark.

Tip: Set your document as you want the bookmark to be, then choose Add Bookmark. Finale will
remember all the settings for you.

See Also:
Edit Bookmarks dialog box

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Add Measures

Add Measures

How to get there


From the Edit Menu, choose Add Measures.

What it does
This dialog box lets you specify how many new measures you want added to the end of the score. When you add measures, the Measure Width and Position Notes
Evenly settings in the Measure Attributes dialog box from the last measure in the piece are copied into the new added measures. See Measure Attributes dialog box for
details on these settings.

How many measures?. In this text box, enter the number of new measures you want added.
OK • Cancel. Click OK to add the specified measures, or Cancel to leave the score unchanged, and return to the score.

See Also:
Measures
Edit Menu

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Additional PostScript Infomation

Additional PostScript Information

How to get there


Choose Compile PostScript Listing from the File Menu and click Specify Additional PostScript Information.

What it does
If you want to embed the date and another single line of identifying text into the code of your PostScript listing (as a reference), use this dialog box to enter the
information. The information you type here doesn’t print out; in fact, you’ll only see this information if you open the PostScript listing with a word processor, where the
information will appear in the header at the beginning of the listing.

Date • For. In these text boxes, you can enter a date and a second line of identifying information (such as your name) that will be incorporated into the header
of the resultant compiled PostScript file.
OK • Cancel. Click OK to confirm, or Cancel to discard, the entries you’ve made in this dialog box and return to the Compile PostScript Listing dialog box.

See Also:
Compile Postscript Listing dialog box

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Adjust Baselines

Adjust Lyric Baselines

How to get there

Click the Lyrics Tool . Choose Adjust Baselines from the Lyrics Menu.

What it does
In this dialog box, you can specify the exact position of the baseline of each lyric type and number (the invisible line against which the bottoms of the words align) in
relation to the staff. Furthermore, you can specify a different baseline position (marked by the four positioning triangles in Click Assignment mode) for each staff. The
numbers in these boxes are measured from the middle line of the staff using the currently selected measurement units (Edit Menu). Lower values (that is, larger
negative values) move the baseline down.
You’ll usually want the baseline of Verse 1, for example, to be just below the melody, and Verse 2 to be just under Verse 1. As a matter of fact, Finale’s default values
position verses in precisely that way: one beneath another. If you change the font for your Verses (by choosing Select Default Fonts from the Document Menu) and find
you have overlapping lyric due to the font size, you can neatly adjust the baselines for all lyric lines at once by clicking the Set Piece Offsets to Default Font button.
Note, by the way, you can perform these same settings visually by dragging any of the four positioning triangles up or down when you’re in Click Assignment or Type
Into Score mode. This dialog box, however, provides a way to preset the lyric lines’ positions, to specify very precise numerical locations, or to adjust several at once
(even after the lyrics have been entered).

Verse • Chorus • Section. Select the appropriate radio button for the lyric type whose baseline positions you wish to edit.
Number. In this text box, enter the Verse, Chorus, or Section number for which you’re setting the baseline positions.
Piece. The number in this text box specifies the position for all the lyrics of the indicated type and number. It corresponds to the position of the first (leftmost)
positioning triangle (of the four that appear when you’re placing lyrics in the score using the Click Assignment or Type Into Score commands). This number is
measured from the middle line of the staff; since the default position is below the middle line, the number is a negative number.
Staff (#) • Prev • Next. Sometimes, even after you’ve specified the Piece Offset (see above), the lyrics in one particular staff may need a slightly different
placement—for example, if the notes in the alto line fall mostly below the staff, the lyrics may need to be moved lower. In the Staff Offset text box, you can
specify a new vertical position for the lyrics only in the indicated staff. (This setting corresponds to the positioning of the second of the four positioning triangles.)
The Staff: indicator identifies the staff by name, if you’ve named it, or by number; cycle through the staves in your piece by clicking the Prev and Next buttons to its
right.

When the Staff: indicator identifies the staff whose lyric line position you need to change, enter a number in the text box. This number indicates how much
higher or lower the lyric line should be in this staff compared to other staves in the piece—in other words, how much higher or lower it should be than the Piece
Offset baseline position. A larger negative number moves the lyric line farther down.

Staff System (#) • Prev • Next. Not only can you specify a separate lyric line position for each staff (above), but you can even specify the position of the
baseline in an individual system. If, for example, the notes in a staff are so low that they threaten to overlap the lyrics—but only in a measure or two—use this
setting to move the lyric line out of the way only for the affected staff and system. (This setting corresponds to the positioning of the third of the four positioning
triangles.)

The Staff System: indicator identifies the system by number. Click the Prev and Next buttons to its right to specify the system number. Set the staff number with
the Staff: Prev and Next buttons (see above).
When the Staff and Staff System indicators identify the line whose lyric position you want to change, enter a number in the text box. This number, indicates how
much higher or lower the lyric line should be in this system compared to other systems (for this staff)—in other words, how much higher or lower it should be
than the Staff Offset baseline position. A larger negative number moves the lyric line farther down.

Total Offset. This indicator displays the final position for the indicated lyric type, number, staff, and system, as measured from the middle line of the staff. Finale
arrives at this figure by adding the Staff and Staff System values to the basic Piece Offset.
Set Piece Offsets To Default Font. Click this button to tell Finale to automatically change the baseline-positioning values for all Verses, Choruses, and
Sections in all staves. When this is done, each successive lyric of each type is neatly and evenly stacked. When Finale calculates these default positions, it takes
into account the font and size you’ve specified in Document Options-Fonts.

You might click this button, for example, if you’ve just chosen a font for your verses that’s smaller than usual; Finale will respond by moving all the Verse lyric
lines closer together (than they were when a larger font was selected).

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Adjust Baselines

Note: To neatly stack all lyrics using the Set Piece to Default Font feature, first align the positioning arrows for each verse, section, or
chorus (this button only resets the leftmost positioning arrow).

OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score, where you’ll see the effects of your lyric line positioning (if
you’ve already added lyrics). Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score.

See Also:
Lyrics
Lyrics Menu
Lyrics Tool

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Adjust Page Range

Adjust Page Range

How to get there

Click the Page Layout Tool . From the Page Layout Menu, choose Page Margins, then Adjust Page Range.

What it does
Use this dialog box to specify which pages you want updated when you adjust the page size or page margins on one page.

Page Range: Page___Through ___. Enter the page numbers that define the page range you want.
Adjust Left or Right Pages Only. Select whether Finale should update the left (even-numbered) pages or right (odd-numbered) page in the specified page
range. When selected, and you adjust a left page, Finale also adjusts all left pages in the specified range. If you adjust a right page, Finale adjusts all right
pages in the range. For example, if you set the page range to page 5 through 10, then adjust page 3, Finale adjusts pages 5, 7, 9 and page 3.
OK • Cancel. Click OK to make the specified changes. Click Cancel to disregard any changes you’ve made in this dialog box.

See Also:
Page layout
Page Layout Tool

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Align Time Tags to Note Starts

Align Time Tags To Note Starts

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click any measure. Choose Align Tags to Notes from the Time Tag
Menu.

What it does
After you’ve recorded a MIDI real-time performance and then told Finale where the beats fall by entering Time Tags, you can use the Align Tags to Notes command
to align the tags more precisely with the beginnings of notes in your performance. In effect, you’re "quantizing" the tags to the nearest notes, so that Finale understands
that the tag and the note should fall exactly together. In this dialog box, you specify, in effect, how sensitive you want Finale to be as it "searches" for the nearest note
attack.

Search Width. The number in this text box, in thousandths of a second, tells Finale how far from each Time Tag it may "search" for a note with which to align
it. (The default is 200, or 1/5 second.) If the tempo of the performance was slow, you can increase this number; if it was very fast and "notey," you may be better
off using a smaller number so as to avoid moving a Time Tag inadvertently (for example, to the note after the one with which it should align).
OK • Cancel. Click OK to confirm the search width setting and return to the Transcription window. If you click Cancel, Finale ignores any changes you made in
this dialog box and cancels the Align Tags to Notes command.

See Also:
Transcription Mode
Transcription dialog box
HyperScribe Tool

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Alter Feel - Key Velocities

Alter Feel - Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the
MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool Menu. If you’re in the MIDI Tool split-window,
select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit.
Choose Alter Feel from the MIDI Tool Menu.

What it does
The Alter Feel dialog box’s contents change to reflect your MIDI data type selection (key velocities or note durations; the Alter Feel command isn’t available for
Continuous Data). Like the Add or Percent Alter commands, the Alter Feel command lets you add a positive or negative number to the velocities or durations of every
note in the selected region. However, in the Alter Feel dialog box, you can target individual beats in each measure to receive the alterations.
For example, if you’ve selected Key Velocities, you can specify that the downbeat of each measure in the selected region should be played back with 50% more
volume, while the other beats in the measure are unaffected.
When you read the following descriptions of the three text boxes, keep in mind that the number in each text box produces a different effect depending on whether the
Absolute or Percent of Original button is selected (see below). For example, to double the key velocity of all downbeats (to make them twice as loud), click Percent of
Original and enter 200 in the Downbeats By text box. But to add an equal amount of velocity to all downbeats—thus preserving their relative velocity values—click
Absolute and enter a MIDI key velocity value in the Downbeats By text box.

Downbeats by. A downbeat is defined as the first beat in the measure. By entering a value in this text box, you can increase or decrease the velocity (or the
Start Time) of only the downbeats of the measures in the selected region.
Other Beats by. Other Beats means every beat in every measure except a downbeat or a backbeat. The beat is determined by the durational value of the
denominator in the Time Signature dialog box; for example, Other Beats of a 3/4 meter would be the second and third quarter note of each measure if you
represented the meter as quarter quarter quarter in the Time Signature dialog box. However, if you represented the 3/4 meter as a dotted half note. in the Time
Signature dialog box (a waltz "in one," for example), there would be no "other beats" in each measure; see Time Signature dialog box.

By entering a value in this text box, you can increase or decrease the velocity (or the Start and Stop Times) of only the other beats of the measures in the
selected region. (If you’ve selected Note Durations from the MIDI Tool Menu, you’re editing both the Start Time of each "other beat" and the Stop Time of the
previous note.)

Backbeats by. In Finale, a backbeat (sometimes called an offbeat) is the second half of the beat (in duple meters); thus the second eighth note of every beat
in 2/4 or 4/4 time—or the second quarter note of every beat in 2/2 time—is the backbeat. In triple meters, the second and third thirds of the beat are the
backbeats. In both cases, "beat" is determined by the durational value of the denominator in the Time Signature dialog box. The backbeats of a 3/4 meter could
either be the second eighth note of each beat (if you represented the meter with three quarter notes in the Time Signature dialog box) or the second and third
quarter notes of the measure (if you represented the meter as a dotted half note in the Time Signature dialog box); see Time Signature dialog box.

The number in this text box represents the amount by which you want to modify every backbeat in the selected region. (If you’ve selected Note Durations from
the MIDI Tool Menu, you’re editing both the Start Time of each backbeat and the Stop Time of the previous note.)
One of the best uses for this option is to slightly delay the playback of every backbeat (by choosing Note Durations from the MIDI Tool Menu and then choosing
the Alter Feel command). For example, by entering 171 into the Backbeats By text box, you create a true triplet swing feel.

Absolute • Percent of Original. If Absolute is selected, the number in the text box represents MIDI key velocity units (where zero is silent and 127 is very
loud) or EDUs (1024 per quarter note), depending on whether you’re editing key velocities or note durations. If Percent of Original is selected, the number in the
text box represents a percentage of the original key velocity or Start and Stop Time values by which you want these data changed.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

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Alter Feel - Key Velocities

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Alter Feel - Note Durations

Alter Feel - Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the
MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool Menu. If you’re in the MIDI Tool split-window,
select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit.
Choose Alter Feel from the MIDI Tool Menu.

What it does
The Alter Feel dialog box’s contents change to reflect your MIDI data type selection (key velocities or note durations; the Alter Feel command isn’t available for
Continuous Data). Like the Add or Percent Alter commands, the Alter Feel command lets you add a positive or negative number to the durations of every note in the
selected region. However, in the Alter Feel dialog box, you can target individual beats in each measure to receive the alterations.
When you read the following descriptions of the three text boxes, keep in mind that the number in each text box produces a different effect depending on whether the
Absolute or Percent of Original button is selected (see below).

Downbeats by. A downbeat is defined as the first beat in the measure. By entering a value in this text box, you can increase or decrease the velocity (or the
Start Time) of only the downbeats of the measures in the selected region.
Other Beats by. Other Beats means every beat in every measure except a downbeat or a backbeat. The beat is determined by the durational value of the
denominator in the Time Signature dialog box; for example, Other Beats of a 3/4 meter would be the second and third quarter note of each measure if you
represented the meter as quarter quarter quarter in the Time Signature dialog box. However, if you represented the 3/4 meter as a dotted half note. in the Time
Signature dialog box (a waltz "in one," for example), there would be no "other beats" in each measure; see Time Signature dialog box.

By entering a value in this text box, you can increase or decrease the velocity (or the Start and Stop Times) of only the other beats of the measures in the
selected region. (If you’ve selected Note Durations from the MIDI Tool Menu, you’re editing both the Start Time of each "other beat" and the Stop Time of the
previous note.)

Backbeats by. In Finale, a backbeat (sometimes called an offbeat) is the second half of the beat (in duple meters); thus the second eighth note of every beat
in 2/4 or 4/4 time—or the second quarter note of every beat in 2/2 time—is the backbeat. In triple meters, the second and third thirds of the beat are the
backbeats. In both cases, "beat" is determined by the durational value of the denominator in the Time Signature dialog box. The backbeats of a 3/4 meter could
either be the second eighth note of each beat (if you represented the meter with three quarter notes in the Time Signature dialog box) or the second and third
quarter notes of the measure (if you represented the meter as a dotted half note in the Time Signature dialog box); see Time Signature dialog box.

The number in this text box represents the amount by which you want to modify every backbeat in the selected region. (If you’ve selected Note Durations from
the MIDI Tool Menu, you’re editing both the Start Time of each backbeat and the Stop Time of the previous note.)
One of the best uses for this option is to slightly delay the playback of every backbeat (by choosing Note Durations from the MIDI Tool Menu and then choosing
the Alter Feel command). For example, by entering 171 into the Backbeats By text box, you create a true triplet swing feel.

Absolute • Percent of Original. If Absolute is selected, the number in the text box represents MIDI key velocity units (where zero is silent and 127 is very
loud) or EDUs (1024 per quarter note), depending on whether you’re editing key velocities or note durations. If Percent of Original is selected, the number in the
text box represents a percentage of the original key velocity or Start and Stop Time values by which you want these data changed.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

Use this dialog box to shift the attack (in time) of notes by shifting the Start and Stop Times on particular beats by a fixed amount. Hint: 1024 EDUs=one quarter note.

To view this dialog box, click the MIDI Tool. Select some measures. (If you’re editing a one-staff region, double-click to enter the MIDI Tool split-window.) Specify the
MIDI data type you want to edit by choosing Note Durations from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by
dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Alter Feel from the MIDI Tool
Menu.

See Also:
MIDI
MIDI Tool Menu

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Alter Feel - Note Durations

MIDI Tool

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Alteration for Slot

Alteration for Slot

How to get there

From the Window Menu, choose Advanced Tools. Click the Note Mover Tool and click a measure; a handle appears on every notehead. Select a handle by
clicking it, several handles by shift-clicking (or drag-enclosing) them, or all notes in the measure by choosing Select All from the Edit Menu; choose Search and
Replace from the Note Mover Menu; and click one of the criterion buttons (In All Octaves, In Selected Octave Only and Match Durations).

What it does
Finale’s Search and Replace command has several uses, including transforming a given pitch to its enharmonic equivalent or editing a recurrent motif throughout a
score. The Alteration for Slot dialog box lets you specify how you want each occurrence (of a note or a motif) modified.

Alteration for Slot. If you’ve selected more than one note, the Slot Number identifies which of the notes you’re specifying the alteration for. Click Prev or Next
to move to previous or subsequent notes (notes are numbered from bottom to top in chords, and from left to right in the measure).
No Transposition. Click this button if you want a note to be spelled as is.
Transpose. When you click this button, the Transposition dialog box appears, where you can specify the interval by which you want Finale to transpose this
note (as specified by the Slot Number) each time it occurs in the musical pattern you originally selected. By applying a separate transposition to each note in a
selected motif, you can, in effect, completely rewrite its melody.
Enharmonic. If you select this button, Finale will transpose the selected note (as identified by its Slot Number) to its enharmonic equivalent each time it occurs
in the musical pattern you originally selected.
Prev • Next. You use the Prev and Next buttons to move you around from note to note (among the selected notes). Moving "forward" (the Next button) moves
you from bottom to top in chords, and from left to right in the measure.
Set All. If you want to transpose all of the notes you originally selected by the same interval, specify a transposition using the Transpose or Enharmonic button.
Then click Set All, which applies the transposition to all notes in the musical pattern.

Note: if you selected several notes, you can transpose all of them by choosing Set All.

OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score; the Search Menu now appears, offering various
commands for performing the search-and-replace procedure you’ve just specified. Click Cancel to tell Finale to ignore any changes you made in this dialog box
and return you to the score.

See Also:
Search and Replace
Search and Replace dialog box
Note Mover Tool

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Alternate Notation

Alternate Notation

How to get there

Click the Staff Tool , and select Staff Attributes or Define Staff Styles from the Staff Menu. Click Select below Alternate Notation.

What it does
This command lets you fill the selected staff with one of several alternative-notation styles, such as slashes, measure repeats, or blank measures. Or you can edit or
create staff styles with various alternate notation.

Tip: To apply alternate notation to selected measures, use staff styles. For more information, see
Apply Staff Style.

Slash Notation. Select this alternate-notation style to fill every measure with one slash per beat. In cut time, for example, there would be two slashes per bar.
If you want a dot after the slash in compound meters, such as 6/8, check the Add Dots To Slashes In Compound Meters checkbox. Slash notation is useful for
indicating that the player is to "comp," or improvise, a part with an unspecified rhythm.
Rhythmic Notation. This alternate-notation style converts every note or chord to a stemmed slash. All slashes are centered on the middle staff line, and all
stems go down, unless you check the Stems Up in Rhythmic Notation checkbox. Use this form of slash notation when the player is to "comp" or improvise in a
specific rhythm. See Document Options-Alternate Notation for changing rhythmic notation character positioning settings.
One-Bar Repeat(s). This alternate-notation style hides whatever music is already in the measures (all layers), and displays instead the one-bar repeat symbol,
indicating that the player is to repeat the contents of the previous measure. See Staff Styles to apply to only selected measures.
Two-Bar Repeat(s). If you click this option, whatever music is already in a pair of measures (all layers) gets hidden. Instead, they’re filled with the two-bar
repeat symbol, indicating that the player is to repeat the contents of the previous two measures. See Document Options-Alternate Notation for changing the
vertical positioning of the number. See Staff Styles to apply to only selected measures.
Blank Notation. Choose this option to hide all the music in the selected staves. The advantage to this option is that anything attached to the notes in selected
layer—such as chord symbols, lyrics, and so on—remain in view. This feature opens up many notational possibilities: multiple chord symbols per note, lyrics
beneath blank measures, and so on.
Blank Notation with Rests. Choose this option to hide all the music in the selected staves and display rests instead. This option is useful when using
multiple voices in a linked part that display, for example, a single note to specify a tutti (both or all players) section in some measures and a solo in others. Use
this alternate notation style in a Staff Style to temporarily change extra notes to rests for printing.
Normal Notation. Choose this option to display the selected staff in standard music notation.
Apply to Layer. Use this command to choose which layer you would like the alternate notation applied.
Show Items Attached to Notes. Select this checkbox to display any items attached to notes such as articulations, lyrics, chords or note attached
expressions.
Show Notes in Other Layers. Select this checkbox to display all the notes in other layers other than the layer which has the alternate notation.
Show Items Attached to Notes in Other Layers. This is similar to Show Items Attached to Notes, but it applies to the other layers, not the layer with the
alternate notation.
Stems Up In Rhythmic Notation. Select Rhythmic Notation and check this box to have rhythmic notation with all stems frozen up instead of stems down.
Add Dots To Slashes In Compound Meters. Select Slash Notation and check this box to have a dot after the slash in compound meters, such as 6/8.

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Alternate Notation

OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box.

Tip: Alternate Notation applied as a Staff Attribute will affect the entire staff. Alternate Notation applied
as a Staff Style will affect only the selected region.

See Also:
Staff Styles dialog box
Document Options-Alternate Notation
Staff Tool

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Apply Articulation

Apply Articulation

How to get there

Click the Selection Tool , and select a region of measures (or part of a measure). From the Utilities Menu, choose Apply Articulation. Or, click the Articulation
Tool and drag-enclose a series of notes.

What it does
The Apply Articulation dialog box lets you apply an articulation mark (such as an accent or staccato mark) to every note in a selected region. In fact, you can even
apply a marking only to every quarter note, for example.

Articulation • Select. The Articulation text box identifies, by number, the articulation marking you’re about to place on the selected notes. (The articulations in
Finale’s articulation palette are numbered left to right, top to bottom, starting from 1.)

Instead of typing in a number, it may be more convenient to click Select. Finale displays a palette of all articulations you’ve created (or loaded) in this
document. Double-click the one you want; you return to the Apply Articulation dialog box, where that marking’s number appears in the text box.

All Notes. Leave this option selected if you want the selected articulation to appear on every note or chord in the selected region.
Notes Within Range of Durations • From (Shortest Note) • Through (Longest note) • EDUs. It doesn’t make much sense to put a staccato mark
on a whole note; nor is a fermata found very often on a 32nd note. For this reason, you can specify what kinds of notes you want to receive the selected
articulation. In the From palette, click the smallest note value—and in the Through palette, click the longest note value—you want to receive the marking. All
notes between (and including) those two note values will be affected. (To specify a dotted rhythm, click the dot as well; click the dot again to specify a non-dotted
rhythm.)

If you only want quarter notes, eighth notes, and sixteenth notes to have staccato marks, then, click the sixteenth note in the From row, and the quarter note in
the Through row. Finale won’t apply staccato marks to whole notes, half notes, 32nd notes, for example.
If the note-duration you’re looking for doesn’t appear in the palette—for example, if you want to specify a quintuplet quarter note—you can calculate its EDUs
value and enter that number directly into one of the EDUs boxes. There are 1024 EDUs per quarter note; you’d enter 1024 for a quarter note, 128 for a
sixteenth, and so on.

Include Notes that Start a Tie. You usually wouldn’t expect to find a cesura (full stop, or "railroad track") on a note that begins a tie; the tie and the
marking contradict each other. For cases like this, you can deselect this checkbox, and Finale won’t apply the selected articulation to any note that’s tied to a
later note.
Include Notes that Continue or End a Tie. Similarly, you normally wouldn’t expect to find an accent mark on a note that’s tied over from a previous note.
Select this checkbox if, for some reason, you do want Finale to place the selected articulation on notes that are tied from a previous note.
Additional Positioning: H: • V:. To specify a particular position for the articulation you’ve selected (beyond any "smart" positioning it’s been given using the
Articulation Designer dialog box), enter numbers into these boxes.
OK • Cancel. Click OK to return to the score, where Finale places articulation markings according to your specifications—or click Cancel to return to the score
without changing anything.

See Also:
Articulations
Utilities Menu
Articulation Tool

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Apply Articulation

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Apply Music Spacing

Apply Music Spacing

How to get there


Choose the Selection Tool and select a region of measures. From the Utilities Menu, choose Music Spacing, and then Apply Music Spacing to Selected Parts/Score.

What it does
This dialog box allows you to choose any combination of the score and/or parts to which you would like to apply changes.

[Parts/Score list]. The score and all parts are listed here. Check the box next to the item to which you would like to apply changes.
Check All • Check None. Click Check All to select all items in the list. Click Check None to uncheck all items in the list
Beat Spacing • Note Spacing • Time Signature Spacing. Here, choose which type of music spacing you would like to apply. See Music Spacing.
OK • Cancel. Click OK (or press enter) to confirm your settings. Click Cancel to discard settings and dismiss the dialog box.

See Also:
Linked Parts
Utilities Menu

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Apply Staff Style

Apply Staff Style

How to get there

Click the Staff Tool . Select a region of measures. Choose Apply Staff Style from the Staff Menu.

What it does
Use the Apply Staff Style dialog box to apply the specified staff style to the selected region. Staff Styles can be any combination of Staff Attributes. If you don’t see
any Staff Styles to choose from, you can load the Staff Styles library or create your own (see Staff Styles dialog box).

Staff Styles. Select the desired staff style from the list box.
Define. Select a staff style. Click Define to open the Staff Styles dialog box, where you can make changes to the selected staff style or create a new staff style.
OK • Cancel. Click Cancel to return to the score without making changes. Click OK to apply the selected staff style your changes and return to the score.

Tip: To create a Staff Style choose Define Staff Styles from the Staff Menu.

See Also:
Staff styles
Staff Styles dialog box
Staff Tool

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Arrowheads

Arrowheads

How to get there


Enter the Shape Designer (see Shape Designer dialog box). Select Arrowheads from the Shape Designer Menu.

What it does
When you’re creating a line or curve in the Shape Designer, you can add arrowheads to either end.

Start • End; None • Predefined Arrowhead • Custom Arrowhead; Select. Choose the start and ending arrowhead type if desired, from either
predefined arrowheads, or make your own. Depending on your choice, the Predefined Arrowhead Selection dialog box, or the Custom Arrowhead Selection dialog
box appears where you can select the arrowhead required. See Custom Arrowhead Selection dialog box for more information.
OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of an arrowhead setting and return to the Shape Designer.

See Also:
Arrows
Shape Designer dialog box
Shape Designer Menu
Expression Tool

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Articulation Designer

Articulation Designer

How to get there

Click the Articulation Tool . Click on, above, or below any note. When the Articulation Selection dialog box appears, click Create (or click an existing symbol and
click Edit).
If an Articulation already appears in the score, click its note; a handle appears. Double-click the handle.

What it does
An articulation is a one-character marking that affects only a single note (an accent, staccato, or fermata, for example). In this dialog box you can specify the character
to be used for the symbol, whether or not (and how) it should be "smart" (capable of centering itself and flipping when the note stem flips), and what playback effect, if
any, it should have on the note it’s attached to.
You can make excellent use of these intelligent, self-positioning markings without ever even reading the following descriptions or understanding their workings. Simply
load the pre-defined Articulations Library we’ve provided, work from the Maestro Font Default file we’ve provided, or copy the settings shown in the articulations table in
the Finale Libraries section (See the Appendix).

Articulation Designer • [Arrow controls]. The number at the top of this dialog box is the ID number of the symbol you’re working on; click the up or down
arrows on the small control to view the settings of other articulations in the current document’s library.
Display On Screen Only (Do Not Print). Select this checkbox to prevent the articulation from printing.
Main. The articulation you’re defining appears in the Main display. To choose (or change) this symbol, click the button. Finale displays every character (letter,
symbol, or marking) in the selected font; double-click the marking you want.
Main: Shape • Character. The articulation that you define here will appear in the Main display. Click Shape to tell Finale to use a shape for the articulation,
then click Main to specify the shape. The Shape Selection dialog box appears. You can create your own shapes or combine characters using the Shape
Designer. Click Character to tell Finale to use a symbol for the articulation, then click Main. The Symbol Selection dialog box appears. Double-click the symbol
you want to use.

Flipped. Certain articulations, notably the fermata and marcato symbols, appear one way when they’re above a note ( or ), and upside-down ( or )
when they’re below a note. Finale lets you choose a different character to represent the upside-down version. Click the button to view the full palette of musical
symbols, and double-click the one you want to serve as the upside-down version of the Main symbol. If you do so, be sure you choose Flipped Symbol from one
of the two "When Placed…" drop-down lists described below.

Flipped: Shape • Character. The articulation defined here specifies the "flipped" version of the Main symbol or shape (so Finale can display the articulation
correctly when it’s placed below a note). Click Shape to tell Finale to use a shape for the articulation, then click Flipped to specify the shape. The Shape
Selection dialog box appears. You can create your own shapes or combine characters using the Shape Designer. Click Character to tell Finale to use a symbol
for the articulation, then click Flipped. The Symbol Selection dialog box appears. Double-click the symbol you want to use.
Set Font. Click this button to display the Font dialog box, where you can specify the font from which you want to select the character for the articulation.
When Placed Above a Note, use the: Main symbol • Flipped symbol. If you’ve specified both a Main and a Flipped symbol to represent this

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Articulation Designer

articulation in its upright and upside-down conditions, use this drop-down list to select which symbol appears above the note. For example, if your Main symbol
was this fermata , and your Flipped symbol was this one , you’d choose Main from this drop-down list.

When Placed Below a Note, use the: Main symbol • Flipped symbol. If you’ve specified both a Main and a Flipped symbol to represent this
articulation in its upright and upside-down conditions, use this drop-down list to select which symbol appears below the note. For example, if your Main symbol
was this fermata , and your Flipped symbol was this one , you’d choose Flipped from this drop-down list.

If there’s no "upside-down" version of a symbol—which is usually the case—choose Main symbol from both drop-down
Once you’ve specified which symbol appears above, and which below, a note, Finale will place the correct symbol into the score automatically when you select
it from the Articulation Selection dialog box. And if the note gets transposed so that its stem changes direction, Finale will automatically substitute the inverted
symbol.

Copy the Main Symbol: Vertically • Horizontally. Some markings—notably the rolled chord and trill symbols—need to be variable in length. For this
reason, you can select the Copy the Main Symbol option, which provides two handles on the articulation in the score instead of the usual one. When you drag
the second handle, the marking (in the case of the rolled chord and trill symbols, a single segment of a wavy line) duplicates itself as many times as necessary,
allowing you to stretch the marking.

Choose either Vertically or Horizontally from the drop-down list, depending on how you want the symbol to stretch: Vertically for a rolled chord marking, and
Horizontally for a trill. See Trills and Rolled Chords.

Playback Effect: None • Change Attack • Change Duration • Change Velocity. Use this drop-down list to display and edit the settings for the three
playback effects that Finale will use when playing back the note affected by this articulation. Choose each Playback Effect option from the drop-down, then enter
values for that option in the dialog box. Choosing None disables all three playback effects for the articulation.

When you choose Change Key Velocity the numbers in the Top Note Value and Bottom Note Value text boxes represent MIDI key velocity (volume)
values. These values can range from –127 to 127, where a negative number makes the affected note softer than unaffected notes, and a positive number
makes it louder. Your marking will then affect the velocity (volume) of its note; accents, stress marks, and marcato marks are good examples. (A key velocity of
0 = silent playback)
When you choose Change Duration the numbers in the Note Value text boxes represent changes in the duration of the affected notes. A staccato mark is a
good example of an articulation that uses this setting. When Change Duration is selected, Finale sustains the affected note for its notated value plus the
duration indicated in the Top Note Value text box. (If you want every note of a chord to be sustained by a different amount, enter a different value in the Bottom
Note Value text box too.)
The numbers in these text boxes are in EDUs, of which there are 1024 per quarter note. To affect the timing of a note, therefore, be sure to enter numeric
values large enough to create a noticeable rhythmic difference on playback—256 EDUs (a sixteenth note) and higher, for example. Because EDUs are hard to
compute, the best way to use this setting may be to select Values Are Percentages (see below), so that you can simply type a percentage of the notated value
into the text box. To create a staccato marking, for example, you might type 50 (% of full note value) into the Top Note Value text box.
When you choose Change Attack, you’re telling Finale to shift the attack of the affected note forward or backward in time (without changing the note’s
duration). A negative number tells Finale to strike the note slightly before the beat during playback; a positive number tells it to strike the note just after the beat.
This option is most useful in creating the rolled chord effect, which you can achieve by entering different values in the Top Note Value and Bottom Note Value
text boxes. That’s because Finale ranges the attack times of the middle chord notes proportionally between the earliest and latest attacks (as specified by the
values in the Top Note and Bottom Note text boxes), producing a true rolled-chord sound.
If you want the chord rolled from top to bottom, enter a negative number in the Top Note Value text box, and zero in the Bottom Note Value text box. If you
enter zero for the Bottom Note Value and a positive number in the Top Note Value text box, the attacks of the upper chord notes will be late—in other words,
the rolled chord will begin on the beat. For a more detailed discussion, see Rolled Chords.

Top Note Value • Bottom Note Value. These text boxes let you enter specific values for increased or decreased velocity, duration, or attack time for the
affected notes. The separate text boxes for Top and Bottom notes come into play when you’re attaching an articulation to a chord, because a chord’s top and
bottom notes can have different key velocity values or durations. Because Finale scales the key velocities or durations of any middle notes proportionally between
the values in the Top and Bottom Note Value text boxes, it’s easy to create effects such as rolled chords.

If you don’t need a varied playback effect in chord situations— which is likely to be most of the time—leave the Bottom Note Value text box empty, and enter a
value in the Top Note Value text box; Finale will apply the Top Note Value to the entire chord.

Values are Percentages. When this checkbox is selected, the numbers you enter into the Note Value text boxes represent percentages of the note’s notated
value. For example, if Change Durations is selected in the Playback Effect drop-down list, you could enter 50 in the Top Note Value text box, and the affected
note would play back with only half its notated rhythmic value (as in the case of a staccato). If Change Key Velocity is selected, you could enter 150 to represent
emphasis that’s 50% greater than an unaffected note (as in the case of an accent).
Avoid Staff Lines. If you want to ensure that the articulation you’re designing will never overlap a staff line, select this checkbox. Note, though, that Finale will
only see to it that the marking’s handle doesn’t fall on a staff line. It’s up to you to adjust the handle’s position (using the Handle Positioning button) so that the
symbol itself doesn’t fall on a staff line. In the case of large symbols, you may not be able to find a position that doesn’t overlap any lines, but you can use this
option (and the Handle Positioning button) to place it in the best position possible.
Always Place Outside Staff. In one school of music-engraving thought, if a staccato mark (for example) is so close to a notehead that it would appear
within the staff lines, it should be placed as close as possible outside the staff, as shown here.

Select this checkbox if you want the articulation you’re designing always to fall outside the staff.

Attach to Top Note. Use this checkbox to specify whether the articulation should be attached to the top or bottom note of a chord, so that when the notehead
changes pitch, the articulation changes position accordingly. Select Attach to Top Note if the marking’s distance should be fixed from the top note; don’t select it if
you want the marking attached to the bottom note.

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Articulation Designer

Center Horizontally. Select this checkbox if, when you place this articulation into the score, you want it to automatically center itself relative to the notehead.
(You can always drag it into a new position once it appears in the score, of course.)
Inside Slurs. Select this checkbox to force a Smart Shape slur tip to avoid this articulation by moving farther out. See Slurs.
Position: Manually • Auto Note/Stem Side On Notehead Side • On Stem Side • Above Note • Below Note. Using this drop-down list, you can
instruct the articulation you’re designing always to appear in—and maintain—a certain vertical position relative to the note.

Choose Auto Note/Stem Side to allow Finale to decide whether the articulation should reside on the note or stem side of the staff. For example, if the
addition of a new layer forces stems to flip, the articulation will also flip to the stem side.

If you manually flip the stem (L) of a note containing an articulation set to Auto Note/Stem Side, the Articulation will flip to the stem side. Revert to the default
stem (Shift-L) to restore the articulations original placement. (These options are called "Flip Stem" and "Default Stem" under the Simple Menu > Simple Edit
Commands > Modify Entry.) Additionally, this setting automatically handles articulation placement when notes and layers are removed from staves while isolating
a voice in a part. See Voicing for Staff in Part dialog box and Articulations in Linked Parts. Choose On Notehead Side if this marking should always appear
on the notehead side of a note, even flipping if a transposition flips the note’s stem in the opposite direction. Choose On Stem Side for a marking that does
the opposite—appears on, and always flips as necessary to remain on, the stem side of a note. (If you’ve specified a Flipped symbol, Finale will automatically
substitute the upside-down symbol when the stem direction changes.)
Choose Above Note if you want this articulation always to appear above the note, regardless of the note’s stem direction, and Below Note if it should
appear below the note, regardless of stem direction. (Choose Manually if you want to place this articulation by hand each time you place it into the score.)

Default Vertical Position:. In this text box, specify how far you want this articulation to appear from the notehead you’re attaching it to. (This distance, of
course, is subject to the other settings you’ve made in this dialog box, such as Always Place Outside Staff.)
Handle Positioning. Finale’s musical symbols are actually just characters in a special font. Since the computer places these characters onto the screen by the
invisible "handle" in the lower-left corner of each symbol, Finale lets you adjust the position of each character’s handle, so that all the positioning-sensitive options
in this dialog box will work properly; generally, you only need this option to compensate for unusually large symbols (or symbols from unusual fonts); let your eye
be your guide. (You don’t need to specify a handle position if you’re using the Center Horizontally option.) This button displays the Handle Positioning dialog box;
see Handle Positioning dialog box for details. To find out some appropriate handle settings for various articulations, see the table in the Finale Libraries section of
the Appendix.
OK • Cancel. Click OK to confirm your editing and return to the Articulation Selection dialog box (or to the score). If you’ve just designed a new articulation, it
now appears in the selection box. Click Cancel to tell Finale to ignore any editing you’ve done in this dialog box. You return to the Articulation Selection dialog
box or to the score.

Tip: if you like an articulation, but need to vary it slightly, duplicate the articulation in the Articulation
Selection dialog box, then make your edits in this Designer dialog box.

See Also:
Articulations
Articulation Tool
Apply Articulation dialog box
Articulation Selection dialog box
Symbol Selection dialog box
Handle Positioning dialog box

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Articulation Selection

Articulation Selection

How to get there

Click the Articulation Tool . Click on, above, or below any note. (If the note already has an articulation, you will need to double-click the note) Or, in Simple
Entry, select a note, press Alt-Shift-A, and then click Select. Also, to program a Metatool, press a letter or number key while pressing shift.

What it does
An articulation is a one-character marking that affects only a single note (an accent, staccato, or fermata, for example). You can select, edit, delete, or create
articulations in this dialog box. The number in the top left corner of each item lists the slot number for the item. This can be handy if you have the option of typing in the
slot number in a dialog box instead of scrolling through the selection dialog box. Occasionally, a character in parenthesis appears in the top right corner of an item in
the selection dialog box. This character indicates the metatool assigned to the item.

Edit. After selecting an existing articulation by clicking it, click Edit to enter the Articulation Designer dialog box. You can change any aspect of the articulation
selected, however, keep in mind that when you edit an articulation, your editing affects every occurrence of it in the score.
Create. Click Create to enter the Articulation Designer dialog box, where you can design a new articulation. See Articulation Designer dialog box.
Duplicate. Click Duplicate to create a copy of the selected shape to modify. You can select more than one item. Use Shift-click to select an additional item and
include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. After selecting an existing articulation by clicking it, click Delete to remove it from the Articulation Selection dialog box. You can select more than one
item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If the
expression is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Cancel. Click Cancel to return to the score without placing an articulation in the score.
Select. After clicking the symbol you want to apply to the note, click Select. You return to the score, and the marking is attached to the note.

Instead of using the Select button, you can simply double-click the desired marking. (In fact, you can avoid this dialog box completely by using Articulation
metatools.

Tip: To attach the same articulation to many notes at once, use Apply Articulation

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Articulation Selection

See Also:
Articulations
Selection Overview
Articulation Designer dialog box
Articulation Tool

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Audio Clip Attributes

Audio Clip Attributes

How to get there


With an Audio Track Loaded, from the MIDI/Audio Menu, choose Audio Track, then Audio Clip Attributes.

What it does
This dialog box allows you to manage audio file references (path), the start point of the audio file within the document, and how to display the audio file in Finale's
audio track. This dialog box also displays information about the audio file including the type, length, and format.

Path; Select. This section displays the path to the chosen audio file on your computer. Audio files are not embedded within the Finale file. Instead they are
referenced by the path listed here. If the Finale file and its associated audio file are moved to a different computer, the path may need to be updated to restore
the reference. To do so, click Select, navigate to the desired audio file, and select it.
File Type • File Length • File Format. This section includes general information about the audio file.
Start in Score • Repeat.An audio file can be set to start at any point in the score. Here, choose the measure and beat you would like to designate as the
start point for the audio file.
Start in Clip • End in Clip. Use these commands to crop an audio file so that it begins at a point other than the beginning of the audio file and/or ends at a
point prior to the ending. Enter a value for Start in Clip to specify the point in the audio file you would like to begin. Enter a value for End in Clip to specify the
point in the audio file you would like to end. You can use the Time measure number style to reference the elapsed time at each barline. See Time Style dialog
box and Measure Numbers.
Display Unit; Time • Samples. Choose Time to display the File Length, Start in Clip, and End in Clip parameters in time (i.e.
hours|minutes|seconds|miliseconds). Choose samples to display the File Length, Start in Clip, and End in Clip parameters in samples. The granularity of the
sample (number of samples per minute) depends on the sample rate of the original audio recording and/or additional editing.
OK • Cancel. Click OK to accept changes and return to the document. Click Cancel to dismiss the dialog box without making changes.

See Also:
Audio
Add Bookmark dialog box
View Menu

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Audio Setup

Audio Setup

How to get there


From the MIDI/Audio Menu, choose Audio Setup.

What it does
This dialog box allows you to set up options for recording audio and configuring the MicNotator feature.

Mic Source. Select an input source from drop-down list.


Play Through. From this drop-down menu, choose the device you would like to use while playing the microphone input through your computer's speakers.
Output. From this drop-down list, choose the device used to play sound coming through the microphone.
Microsoft® Volume Controls: Output • Input. These button open the Volume Controls of your Windows operating system.
Levels: Mic Level • Input Meter. When you play into the microphone, you’ll see colored bars in the Input Meter, indicating how loud Finale heard you.
Adjust the Mic Level slider to change your microphone input levels so that your loudest note doesn’t hit the red levels. If the levels are too "hot," the distortion will
cause poor quality recordings and will also impair MicNotator’s pitch recognition.
Enable MicNotator. Check this box to use the MicNotator feature to convert pitches recorded through the microphone to MIDI notes that Finale can transcribe
into notation in Simple Entry, Speedy Entry or HyperScribe. You should use the levels meter to fine-tune your microphone input.
MicNotator: Channel • MIDI In Latency. In the Channel text box, specify your input channel. Enter a value in the MIDI-In Latency text box to correct for a
delayed response from an external MIDI device during a Recording session. The MIDI latency value compensates for the short delay it sometimes takes for MIDI
information to travel from an external MIDI device into the computer.
Save as Audio Reverb Type. Here, select the reverb settings you would like to apply to audio files (see Exporting an audio file).
OK • Cancel. Click OK to confirm, or Cancel to discard, your settings and return to the document.

See Also:
Audio
Audio Setup dialog box
MIDI/Audio Menu
Speedy Entry Tool
HyperScribe Tool

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Before you begin

Finale 2008 Installation and Tutorials

Before you begin

Thank You for Choosing Finale!

Finale is a powerful integrated program for music transcription, notation, playback, and publishing. Incorporating elements of a word processor, a graphics designer, a
sequencer, and a page-layout program, Finale has all the power you need to create beautiful looking sheet music and a quality MIDI performance. Easier than ever to
learn and use, this program has the potential to help you produce more music—both printed and played—faster and better than ever before.
Take a moment to look over the contents of your Finale package. It should include:

Installation & Tutorials Book (upgrades include electronic version only)


Quick Reference Guide
Finale Installation Discs, along with your Finale Serial Number

About these tutorials


In these pages, you’ll learn how to start putting Finale to work right away. From installing the software, to entering music, to printing the score, and everything in
between, we’ll cover all the basics you need to know to get up and running fast. The Windows and Macintosh versions of Finale are similar enough that we have
incorporated instructions for both into this one book. You will notice, however, that there are two separate versions of the Installation instructions—one for Windows
users and one for Macintosh users. These chapters provide platform-specific installation and setup instructions. Beyond these initial chapters, the book applies to both
platforms; any differences will be indicated by separate instructions for each platform, given in parentheses. (The majority of these differences will involve keystrokes—

e.g., for Windows, or for Macintosh).


Throughout this manual, you’ll find tip boxes; one is shown at right. These tip boxes contain helpful hints and tips that relate to the text where they’re found.

Tip boxes look like this. In these boxes, you’ll find helpful tips and tricks along the way.

Learning Finale won’t be difficult. Though the program offers hundreds of features and options, there’s absolutely nothing wrong with ignoring the ones you’ll never use.
Don’t have a MIDI instrument? Then skip those sections of the book. Don’t plan to use guitar fretboards? Then don’t bother learning that feature. You may need some
of the other options another day—or never, depending on the kind of music you want to create; that’s perfectly OK. To help you get a jump start, we’ve divided Tutorial
1 into separate entry methods. If you don’t have a MIDI keyboard, you can skip Tutorial 1cb. After reading chapter 1a, if you feel comfortable using Simple Entry as
your primary entry method, skip tutorial 1b.
Be sure to look at the Read Me file, which the Finale Installer copies to your hard disk and installs in the Finale 2008 folder. This document contains important
information about Finale that wasn’t available when this book went to press.

Authorizing/getting help
To receive all the benefits of being a Finale owner, be sure to complete the Authorization Wizard. To access the Authorization Wizard, click Authorize Now the first
time you launch Finale 2008 (or, from the Help Menu, choose Authorize Finale). You have the option to authorize over the Internet, or by phone, fax, or mail. You will
be asked to provide the serial number located on the interior of your Finale 2008 CD/DVD case. If you are upgrading from an earlier version of Finale, your serial
number has not changed, and can be found in the About box of your previous Finale version (under the Help or Finale 2008 menu).
If you have a question about Finale and can’t find the answer in this book, the User Manual, or the QuickStart Videos, additional help is available. Authorized owners
may contact MakeMusic for customer support at www.finalemusic.com/support. Our representatives are also available by phone at (952) 937-9703 between 8:30 AM
and 5:00 PM CST, Monday through Friday. Phone support is free of charge (although MakeMusic does not reimburse long—distance charges). Please have your serial
number ready.
MakeMusic can also be reached by fax at (952) 937-9760, or by mail at 7615 Golden Triangle Drive, Suite M, Eden Prairie, MN 55344-3848.

Remember that extensive help is always at your fingertips: from the Help Menu, choose User Manual.
In addition to receiving customer support benefits, authorization means you can also be notified of free maintenance updates and discounts on future upgrades and
new products.
Please visit www.finalemusic.com to download maintenance updates, learn about other Finale resources, and find more information about the Finale family of notation
products. Here you can also search our Knowledge Base for answers to frequently asked questions, and participate in Finale’s online community through interactive
forums.
Remember that extensive help is always at your fingertips: from the Help Menu, choose User Manual.

Installation and MIDI Setup for Windows

Installation and MIDI Setup for Macintosh

Skip Installation and MIDI Setup

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Contents

Welcome to Finale 2008!


All of Finale's documentation resources are at your fingertips. Notice the following volumes in the Table of Contents to your left:

Tutorials. These introduce you to how Finale works so you can get up and running right away.
Reference. This includes a detailed description of each of Finale's commands.
Encyclopedia. This "how to" resource is arranged alphabetically and by musical topic. Anything you don't find in the tutorials will be explained here.

Use the Index, Search, and Browse Sequence buttons to look through the entire contents of the Finale help. See How to use the Finale 2008 User Manual for details.

Upgrading users
For a list of interface changes since Finale 2007, see Finale 2008 Interface Changes.
For a list of new Finale 2008 features, see What's New .

Other resources
Visit http://finalemusic.com/support.aspx to view the Knowledge Base and access additional help.
Visit http://forum.makemusic.com to interact with the Finale community on our user forums.

Dialog Boxes Finale Encyclopedia


Menus Terms and Symbols
Main Tool Palette Glossary
Smart Shape Palette Customer Support
Simple Entry Keypad Keyboard Shortcuts

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File Menu

File Menu
How to get there
The File Menu is the first of Finale’s unchanging menus.

What it does
As in many computer programs, Finale’s File Menu contains various commands for opening, closing, saving, and
printing documents. The File Menu also contains commands for importing and exporting libraries (files containing
various symbols, markings, and other musical elements that are stored separately and can be “loaded into” any
document). Finally, the File Menu contains the Exit command used to exit the program.
As in any Windows program, Finale's File Menu contains various commands for opening, closing, saving, and
printing files. The File Menu also contains commands for importing and exporting libraries (files containing
various symbols, markings, and other musical elements that are stored separately and can be "loaded into" any
file). Finally, the File Menu contains the Exit command used to exit the program.

Launch Window
New
Open
Close
Close All
Save
Save As
Save All
Save Special
Extract Parts
Post at Finale Showcase
Revert
======================
ScoreMerger
Import
MusicXML
Scanning: SmartScore Lite
======================
Load Library
Save Library
======================
File Info
======================
Page Setup
Print
Print Parts
Compile Postscript Listing

1 · 2 · 3 · 4. Next to these numbers are the names of the four most recently opened files, with number 1 being the most recent. If the file you want to open is one of
the four most recently opened files, then selecting it from here saves you the trouble of selecting open and navigating through folders in the open dialog box to find
your file. You can also use the File Menu Toolbar icon to access and open a file from this list.

See Also:
Menus

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Document Menu

Document Menu

How to get there


The Document Menu is one of Finale’s unchanging menus.

What it does
This menu contains the keys to Finale’s notational flexibility. Whatever notational conventions you
subscribe to, no matter what publishing specs you prefer, chances are good that a Document
Menu command will accommodate you. Each command brings up a dialog box that governs some
aspect of the way Finale displays the music in the active document—its layout and positioning
variables, the fonts, musical symbols, and clefs it uses, for example.

Edit Score
Edit Part
=================
Manage Parts
Page Format
=================
Display in Concert Pitch
=================
Show Active Layer Only
Show Expressions and Repeats for Parts
=================
Add SmartMusic Markers
Set Default Music Font
Pickup Measure
Edit Measure Number Regions
=================
Special Part Extraction
=================
Data Check
=================
Playback Options
Sync and Video Options
Document Options

See Also:
Menus

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Plug-ins Menu

Plug-ins Menu
How to get there
The Plug-ins Menu will display if you have Finale plug-ins available to your system. Finale ships with a number of plug-ins
that are installed for you when you install Finale. Unless you have done a custom install, or removed or changed the name
of the Plug-ins folder in your Finale folder, you should see the Plug-ins Menu.

What it does
Finale Plug-ins are small “mini-programs” that you can use to extend Finale’s abilities. We have provided a number of
Plug-ins along with Finale for you to use. Plug-ins are placed together in the folder C:\Finale\Plug-ins. A different path can
be specified in the Folders section of the Program Options dialog box, reached from the Edit Menu. All Plug-ins are
accessed from the Plug-ins Menu. Finale will look in the specified folder for your Plug-ins and list them in the Plug-ins
Menu.
Plug-ins operate on the entire document or on a specified region. You can select this region with the Selection Tool or with
any other tool that supports region selection (such as the Key or Time Signature Tools). Plug-ins that require a selection
will notify you if a selection has not been made.
If you are interested in writing your own Plug-ins, visit our website (www.finalemusic.com) for more information on how to
write a program to work with Finale. Note: You must be familiar with both programming and Finale, or work with someone
who is, to be able to write Plug-ins successfully.

Note: Plug-ins are not accessible in linked parts. To apply a plug-in to a part, you might consider
extracting the part first. See Extract Parts dialog box.

Configurability
The Plug-ins Menu can be configured easily into submenus by placing the plug-ins you would like to have grouped together in a folder included in the plug-ins folder.
The Plug-ins Menu then will use the name of the subfolder as the name of the submenu. We’ve added an empty folder named My Favorite Plug-ins, as well as
grouped some of the plug-ins into other folders to provide examples. For a list of Plug-in filenames, see Plug-in filenames in the Appendix.

My Favorite Plug-ins
Most of the plug-ins that appear under Finale’s Plug-ins Menu are categorized into submenus such as Expressions, Lyrics, Measures, and others. Each one of these
submenus correspond to a folder in the Finale 2008\Plug-ins folder located on your hard drive.
You can customize Finale’s Plug-ins Menu by navigating to this folder and dragging the plug-in files to the “My Favorite Plug-ins” folder for easy access to frequently
used plug-ins. Or, create new folders for additional categories. You can find a list of each plug-in’s filename in the Appendix of the User Manual.

Expressions
Auto-Dynamic Placement. This plug-in allows you to place dynamics automatically based on the MIDI key velocities associated with each dynamic. See
Auto-Dynamic Placement Plug-in under the Expression Tool.
Create Tempo Marking. This plug-in allows you to easily create tempo markings as expressions and set their playback features for the selected measures.
See Create Tempo Marking Plug-in under Expressions Tool.

Lyrics
Auto Slur Melismas. This plug-in scans a document for lyric syllables that carry over two or more pitches and adds slurs accordingly. See Auto Slur Melismas
Plug-in.
Clear Lyric Positioning. This plug-in allows you to clear any individual positioning of lyrics for the selected lyrics. See Clear Lyric Positioning Plug-in under
Lyric Tool.
Extract Lyrics. This plug-in saves all lyrics, as found in the Edit Lyrics dialog box, to a text file. See Extract Lyrics Plug-in.

Measures
Automatic Barlines. This plug-in will automatically add double-barlines before every key change and a final barline at the end of the piece. See Automatic
Barlines Plug-in under Measure Tool.
Clear Measure # Positioning. This plug-in allows you to clear all individual positioning of measure numbers in the selected region. See Clear Measure #
Positioning Plug-in under Measure Tool.
Create Coda System. This plug-in allows you to automatically add a gap between measures in order to create an independent coda system on the same line.
See Create Coda System Plug-in.
Easy Measure Numbers. This plug-in allows you to easily place measure numbers over a region of the document. See Easy Measure Numbers Plug-in under
Measure Tool.
Merge Measures. Combine two measures into a single measure automatically. Measure numbering and time signature are updated accordingly. See Merge
Measures Plug-in.
Mid-measure Repeats. This plug-in is capable of automatically enclosing a region including partial measures with repeat barlines. See Mid-Measure Repeats
Plug-in.
Number Repeated Measures. This plug-in places small measure attached expression numbers over any repeated measures in the selected region. See
Number Repeated Measures Plug-in.
Split Measure. This plug-in automates the process of dividing a measure over a system break. Measure numbering is also updated correctly when splitting
measures with this plug-in. See Split Measure Plug-in.

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Plug-ins Menu

Miscellaneous
Change Fonts. This plug-in allows you to globally change the font for Text Blocks, Staff Names, Group Names, and Lyrics — all at once, and separately for
verse, chorus and section. See Change Fonts Plug-in.
Command Line. This plug-in allows note entry from a command line. See Command Line.
Count Items. This plug-in displays a count of various items in your document such as measures, notes and articulations. See Count Items Plug-in under File
Menu.
FinaleScript Palette. With this plug-in, you can create and save a list of Finale commands using a simple scripting language. Each list can be applied at any
time to any number of Finale documents. See FinaleScript Palette.

New Plug-ins for Finale 2008


Latin Percussion. Use this plug-in to automatically create authentic Latin Percussion rhythm section notation, with a variety of styles to choose from. See Latin
Percussion plug-in.
Update Groups and Brackets. Groups and brackets can now be edited en mass after a document has been optimized. See Update Groups and Brackets
plug-in.
Vertical Collision Remover. Automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid collision of notes, articulations,
smart shapes and other items. See Vertical Collision Remover plug-in.

Note, Beam and Rest Editing


Patterson Plug-ins Lite. These plug-ins are a sample of the Patterson Plug-in Collection. They include Patterson Beams, which adjusts both stem length
and beam angles based on the staff positions of the notes and the number of notes in the beam, and Beam Over Barlines, which allows for easy beaming
across barlines. See Patterson Beams Plug-in, and Beaming across barlines.
Cautionary Accidentals. This plug-in allows you to add cautionary accidentals in various forms to your document including having accidentals displayed on
all notes. See Cautionary Accidentals.
Change Noteheads. This plug-in allows you to change the notehead for the notes in the selected region. See Change Noteheads.
Change to Default Whole Rests. This plug-in allows you to change all the whole rests in the selected region to Default whole rests. See Change to Default
Whole Rests.
Change to Real Whole Rests. This plug-in allows you to change all the Default whole rests in the selected region to Real whole rests. See Change to Real
Whole Rests.
Check Region for Durations. This plug-in checks the selected region for any measures that have too many or too few beats. See Check Region for
Durations.
Classic Eighth Beams. This plug-in allows you to beam eighth notes in the selected region in groups of 4 when in Common Time. See Classic Eighth Beams.
Flat Beams. This plug-in allows you to flatten all the beams in the selected region. See Flat Beams.
Flat Beams (Remove). This plug-in allows you to restore all beams flattened with Speedy Entry in the selected region. See Flat Beams (remove) .
Ledger Lines (Hide). This plug-in allows you to hide all the ledger lines in the selected region. See Ledger Lines (Hide).
Ledger Lines (Show). This plug-in allows you to restore any hidden ledger lines in the selected region. See Ledger Lines (Show).
Midline Stem Direction. This plug-in allows you to change the direction of stem for the note on the center line of the staff to match the stem direction of the
previous note. See Midline Stem Direction.
Move Rests. This plug-in allows you to move rests in the selected region to a specified location. See Move Rests.
Notes and Rests (Hide). This plug-in allows you to hide all the notes and rests in the selected region. See Notes and Rests (Hide).
Notes and Rests (Show). This plug-in allows you to show all hidden entries in the selected region. See Notes and Rests (Show).
Resize Noteheads. This plug-in can resize specified voices in the selected layer of a multi-voice staff. See Resize Noteheads Plug-in.
Rhythmic Subdivisions. This plug-in will subdivide the notes in the selected region by the specified amount, either by a division (such as in half) or to a
selected subdivision of the beat such as eighth notes. See Rhythmic Subdivisions.
Single Pitch. This plug-in changes all the notes in the selected region to the specified pitch. See Single Pitch.
Slash Flagged Grace Notes. This plug-in allows you to slash all the flagged grace notes in the selected region. See Slash Flagged Grace Notes under the
Speedy Entry Tool.
Slash Flagged Grace Notes (Remove). This plug-in allows you to remove the slashes of all the flagged grace notes slashed in the selected region. See
Slash Flagged Grace Notes (Remove).
Voice 2 to Layer. This plug-in allows you to move notes and rests in Voice 2 to the selected layer. See Voice 2 to Layer.

Playback
Apply Human Playback. Use this plug-in to apply a Human Playback style, or specific elements of Human Playback to a region of
your document. See Apply Human Playback plug-in.

Scoring and Arranging


Composer’s Assistant. These plug-ins from OpenMusic provide compositional manipulation of chords and melodies. See Composer’s Assistant plug-ins.
Chord Morphing. This plug-in generates a variety of smooth between-chord transitions. Part of the Composer’s Assistant Plug-ins. See Chord Morphing.
Chord Realization. This plug-in generates four-part realizations of a triad based on the major key and scale degree specified. Part of the Composer’s
Assistant Plug-ins. See Chord Realization.
Chord Reordering. This plug-in finds new placement options for chords. Part of the Composer’s Assistant Plug-ins. See Chord Reordering.

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Plug-ins Menu

Chord Splitting. This plug-in creates subsets of the original chord. Part of the Composer’s Assistant Plug-ins. See Chord Splitting.
Common Tone Transposition. This plug-in creates a series of transpositions of the chord where one note is equal to one note of the original chord. Part of
the Composer’s Assistant Plug-ins. See Common Tone Transposition.
Frequency Modulation Chord Generator. This plug-in generates a series of chords with increasing complexity and texture. Part of the Composer’s
Assistant plug-ins. See Frequency Modulation Chord Generator.
Melodic Morphing. This plug-in creates a melodic transition from one melody to another. Part of the Composer’s Assistant plug-ins. See Melodic Morphing.
Rhythm Generator. This plug-in creates up to six staves of percussion to accompany your document. Part of the Composer’s Assistant Plug-ins. See Rhythm
Generator.
Tie Common Notes. This plug-in inserts a tie between any two successive notes if the notes have the same pitch. Part of the Composer’s Assistant plug-ins.
See Tie Common Notes.
Virtual Fundamental Generator.This plug-in gives you the appropriate “root” for any selected group of chords. Part of the Composer’s Assistant plug-ins.
See Virtual Fundamental Generator.
Add Cue Notes. This plug-in allows you to easily place cue notes in any number of staves See Add Cue Notes.
Band-in-a-Box Auto-Harmonizing. This plug-in takes a selected melody line with chord symbols and outputs a harmonized melody in dozens of musical
styles. See Band-in-a-Box Auto-Harmonizing.
Canonic Utilities. This plug-in transforms the selected region using inversion, retrograde, transpositions, or a combination of the above. You can also use this
plug-in to apply accidentals to all the notes in a selected region, remove accidentals in the selected region, or remove ties in the selected region. See Canonic
Utilities.
Check Range. This plug-in allows you to verify that the staff you have selected is within the range of a specified instrument or voice. There are different ranges
for beginning, intermediate and advanced. See Check Range.
Chord Analysis. This plug-in generates chord symbols by analyzing existing notation. This plug-in works much like the One-Staff Analysis and Two-Staff
Analysis options under the chord menu, but for any region of measures selected with the Selection Tool. See Chord Analysis Plug-in.
Drum Groove. With this plug-in, easily compose unique rhythms and percussion parts. See Drum Groove plug-in.
Find Parallel Motion. This plug-in analyzes the selection for parallel fourths, fifths and octaves between voices, layers and staves and offers you the choice to
fix them or leave them alone. SeeFind Parallel Motion.
Find Range. This-plug-in reports the highest and lowest notes in the selected region. See Find Range.
Global Staff Attributes. This plug-in allows you to change the Staff Attributes and Group Attributes for a number of staves or groups at a time, including
changing the font for selected Staff and Group names. See Global Staff Attributes Plug-in under the Staff Tool.
Piano Reduction. This plug-in condenses the selected staves into a piano grand staff at the bottom of the staff system. See Piano Reduction.
Score System Divider. This plug-in automatically adds system separation marks between systems in a score. See Score System Divider plug-in.
Rhythm Section Generator. Use this plug-in to generate a jazz accompaniment (piano, bass and drum set parts) for an existing melody with chord symbols.
See MiBAC Jazz Rhythm Section Generator.
Smart Cue Notes. With this plug-in, search for cue note opportunities throughout a document, and add them automatically. See Smart Cue Notes plug-in.
Smart Page Turns. Tell Finale to intelligently edit the pagination of an entire part to avoid awkward page turns. See Smart Page Turns.
Split Point. This plug-in allows you to change the split point between the two staves of a piano grand staff over the selected region. See Split Point.

TG Tools
TGTools. These plug-ins are a sample of the TGTools plug-in collection. They include: Align/Move DynamicsModify Rests Plug-in, Process
Extracted Parts plug-in, and Smart Playback Plug-in. ,Menu Shortcuts Plug-in ,Easy Tremolos Plug-in ,Easy Harmonics Plug-in ,Cross StaffCreate Handbell
Used Chart, ,

See Also:
Menus

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Window Menu

Window Menu
How to get there
The Window Menu is one of Finale’s unchanging menus.

What it does
The Window Menu controls (and indicates) which windows are open, and which are in front (active). It also has
Tile and Cascade commands, which automatically and neatly arrange multiple open windows into a more
convenient layout.

Instrument List
Mixer
Movie Window
Playback Controls
===================
Main Tool Palette
Advanced Tools Palette
Navigational Tools Palette
Simple Entry Palette
Simple Entry Rests Palette
Smart Shape Palette
Special Tools Palette
Customize Palettes
===================
Toolbars
Status Bar
===================
Cascade
Tile Vertically
Tile Horizontally
Arrange Icons
New Window
Close Window

[File windows]
The names of all file windows are listed in the order they were opened at the bottom of the Window Menu. A check mark appears by the active window. Choose a
window's name to make it active.

Tip: To switch the active document window, press Ctrl-Tab.

See Also:
Menus

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Help Menu

Help Menu

The Help Menu lets you view the online help for Finale Dialog boxes, Menus and Palettes. You can also display the online help for a particular menu command or
dialog box by pressing F1.

User Manual
QuickStart Videos
=================
Finale Website
Authorize Finale
Check for Finale Updates
================
About Finale

See Also:
Menus

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Chord Menu

Chord Menu

How to get there

Click the Chord Tool to make the Chord Menu appear.

What it does
Finale can add chord symbols automatically to your piece, if you like. In the Chord Menu, you can choose from three
automatic chord analysis methods, in addition to the manual method.
Type Into Score allows you to add chords directly to the score. Use the Substitute Symbols command to enter alterations
(sharps or flats) and diminished symbols. Select a command in the Chord Style submenu to change the display style for all
your chord symbols. You can choose Standard, German, European, Roman, Nashville, Scandinavian or Solfeggio spelling
styles.
All of the analysis methods work best if you’ve already loaded a Chords & Fretboards Library (by choosing Load Library
from the File Menu). If your Maestro Font Default file is in place in the Finale folder, you don’t have to load this library,
since the most common chord suffixes and fretboards have been loaded already.
If you’re entering chord symbols using any of the automatic methods and Finale doesn’t recognize a chord, it will display
the Unknown Chord Suffix“Finale cannot find a match” dialog box. If you click Let Finale Do It, Finale will attempt to create
the proper chord suffix and place the chord symbol in the score. For most chord qualities (M, m, Maj7, m7, dim, m7f5, aug,
sus4, and so on), Finale will arrive at the right solution.
For the few chords Finale doesn’t identify correctly, you can “teach” them to Finale as new chords. When you see the
Unknown Chord Suffix“Finale cannot find a match” dialog box, click I’ll Do It to access the Chord Suffix Editor dialog box;
then create the chord symbol (and its suffix, if necessary) in the Chord Definition dialog box (see Chord Definition dialog
box). The next time you play the chord (in any octave and any voicing), Finale will know what chord symbol to display.
(This custom teaching feature is “root-specific,” however; if you only teach Finale to recognize a C major sixth chord in the
key of C, it will only recognize major sixth chords built on C. But it will recognize, for example, a Gmaj6 in the key of G and
an Amaj6 in the key of A.)

Finale can add chord symbols automatically to your piece, if you like. In the Chord Menu, you can choose from two
manual typing methods in addition to three automatic chord analysis methods. All of the methods work best if you've
already loaded a Chords & Fretboards Library (by choosing Load Library from the File Menu). If your Finale default file is
in place in the Finale directory, you don't have to load this library, since the most common chord suffixes and fretboards
have been loaded already.
If you're entering chord symbols using either of the typing methods -- Type Into Score, or Manual Input, Finale lets you type your chord symbols directly on screen --
or type the chord symbols in the Chord Definition dialog box. If you're typing chord symbols and Finale doesn't recognize a chord, it will give you the option of creating
the suffix. If you click OK, Finale will display the Chord Suffix Editor dialog box with the suffix already entered. You can make changes then return to the score with the
new suffix placed on the chord symbol.

If you're entering chord symbols using any of the automatic methods and Finale doesn't recognize a chord, it will display the Unknown Chord Suffix dialog box. If you
click "Let Finale do it," Finale will attempt to create the proper chord suffix and place the resultant chord symbol in the score. For most chord qualities (M, m, Maj7, m7,
dim, m7b5, aug, sus4, and so on), Finale will arrive at the right solution. See Unknown Chord Suffix dialog box.

For the few chords Finale doesn't identify correctly, you can "teach" them to Finale as new chords. When you see the Unknown Chord Suffix, click "I'll do it" to access
the Chord Definition dialog box; then create the chord symbol (and its suffix, if necessary) in the Chord Definition dialog box. The next time you play the chord (in any
octave and any voicing), Finale will know what chord symbol to display. See Unknown Chord Suffix dialog box and Chord Definition dialog box.

Manual Input
Type Into Score
MIDI Input
One-Staff Analysis
Two-Staff Analysis
All-Staff Analysis
======================
Chord Style
Left-Align Chords
Italicize Capo Chords
Show Guitar Fretboards
Resize Fretboards
======================
Position Chords
Position Fretboards
======================
Simplify Spelling
Substitute Symbols
======================
Edit Learned Chords
Change Chord Suffix Fonts

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Chord Menu

======================
Enable Chord Playback

See Also:
Menus
Chord Tool

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Expression Menu

Expression Menu
How to get there

Click the Expression Tool .

What it does
The Expression Menu allows you to specify the type of attachment for expression metatools and adjust the baseline for
expressions.

Metatools: Measure Attached


Metatools: Note Attached
Metatools: Context Sensitive
================
Adjust Above Staff Baseline
Adjust Below Staff Baseline

See Also:
Expression Tool
Menus

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Graphics Menu

Graphics Menu
How to get there

From the Window Menu, choose Advanced Tools. Click the Graphics Tool .

What it does
Use the Graphics Menu to export a selected region of a page, or to export one or more pages, and save
them as either EPS (PostScript) or TIFF files. Export full pages or portions of pages as EPS or TIFF files.
Place EPS, TIFF or TIFF graphics into your score (in Scroll or Page View), and assign them to a measure, a
page, or a range of pages. Use the Check Graphics command to verify that Finale is able to locate the
graphics files placed into the document. Once you’ve placed a graphic into the score, you can adjust its
placement using the Alignment submenu (for page-assigned graphics) or the Attributes command.

Export Selection
Export Pages
Place Graphic
==============
Alignment
Attributes
==============
Check Graphics

See Also:
Menus
Graphics Tool

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HyperScribe Menu

HyperScribe Menu
How to get there

Click the HyperScribe Tool . The HyperScribe Menu appears.

What it does
Before you transcribe a real-time performance, there are a few things Finale needs to know about the music you’re about to
play. For example, you need to tell Finale what rhythmic value you’ll be using for your key or foot taps as you play, and the
value to which you want your performance quantized. This menu lets you make these settings, which have a great deal to do
with the quality of the resulting transcription. Be sure to see also Recording with HyperScribe, and Installation & Tutorials.
Use HyperScribe’s Playback and/or Click command in the Beat Source submenu to control what you hear when you use HyperScribe to enter your music. Listen to
just a metronome click, or listen to an instant playback of the staves that you’ve selected in the Instrument List. If you prefer, you can also play back staves while an
accompanying metronome click provides a beat reference. The Playback and/or Click command supports the click and countoff options for HyperScribe playback and
recording.
The Record Mode submenu has commands for transcribing a performance into a single staff or two staves, and the multitrack recording command that lets you record
simultaneous input from multiple channels into multiple staves or multiple layers of staves.

Beat Source
Record Mode
==================
HyperScribe Options
Record Continuous Data
Transcription Mode

See Also:
Quantization Settings
Click and Countoff
Menus
HyperScribe Tool

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Lyrics Menu

Lyrics Menu
How to get there

Click the Lyrics Tool .

What it does
The Lyrics Menu contains all the commands you’ll need to create and edit lyrics, distribute the text in the score, adjust the
positions of individual syllables, draw word extensions for syllables that are sustained, and so on.
You can have as many sets of lyrics as you want—up to 512 of each of Finale’s three lyric types: Verse, Chorus, and Section.
There’s no technical distinction between these three types—the lyrics you enter as a Verse can be used in the chorus of your
song, and vice versa. They’re only there to help you keep your lyrics straight, and to make it easy to change the font or style for a
large chunk of lyrics at once (you can specify a different font for Verses, Choruses, and Sections by choosing Document Options
from the Document Menu and selecting Fonts).

Edit Lyrics
==================
Adjust Syllables
Click Assignment
Clone Lyric
Edit Word Extensions
Shift Lyrics
Type Into Score
==================
Alignment
Justification
===================
Specify Current Lyric
Adjust Baselines
===================
Lyric Options

See Also:
Menus
Lyrics Tool

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Measure Menu

Measure Menu
How to get there

Click the Measure Tool .

What it does
This menu includes options for working with measure numbers, measure number regions, and measure spacing. For
information regarding adding, moving, copying, inserting, or deleting measures, see Edit Menu.

Edit Measure Number regions


Add Measure Number Enclosures
================
Show Measure Numbers
Hide Measure Numbers
Restore Measure Number Defaults
================
Show Measure Spacing Handles

See Also:
Menus
Lyrics Tool

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MIDI Tool Menu

MIDI Tool Menu


How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool .

What it does
When you record a real-time performance, you can tell Finale to remember the precise feel of your
original performance, and to keep this captured MIDI data handy for playback once you return to
the document. For full instructions, see Record Continuous Data dialog box and Transcribing a
sequence.
This captured data includes key velocity information (how hard you struck each key); Note Duration
data (minor deviations from the beat that result in swing, rolled chords, rushing the beat, and so
on); and Continuous data (MIDI controller information you generated during your performance such
as pedal and pitch wheel usage, patch changes, monophonic aftertouch, and so on).
Once you’ve transcribed your performance into standard notation, you can listen to it play back in
one of three ways. You can listen to Finale’s Human Playback interpretation, play it exactly as it
appears in the score—expressionless and rhythmically perfect; or, if you prefer, you can listen to it
using the captured MIDI data so that it retains the nuances of your original performance. (See
Playback for full instructions on specifying the method of playback you want to use.)
The purpose of the MIDI Tool is to edit the captured MIDI data. You can make a passage louder
or softer, create a swing feel in one section, edit the pedaling, insert a patch change, modify a
pitch bend, and so on. The commands in the MIDI Tool Menu let you edit the captured MIDI data
in various ways.
There are two ways to Edit MIDI data with the MIDI Tool. Click the MIDI Tool. If the region is
large, select the measures exactly as you would with the Selection Tool: Click to select one
measure, shift-click to select additional measures, drag-enclose to select several on-screen
measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit
Menu to select the entire document. Then simply choose the appropriate commands from the MIDI
Tool Menu to affect all the selected measures at once.
If the music whose MIDI data you want to edit is a one-staff region that fits on the screen, select it in the usual way, then double-click the highlighted area. You enter
the MIDI Tool split-window, where you can see the MIDI data represented graphically. Once in the MIDI Tool split-window you can also specify the MIDI data—the key
velocity, for example—of individual notes, even if they’re buried within chords, by selecting their handles; see MIDI Tool split-window
Once you’ve edited MIDI data (and returned to the score), you can then erase it, or copy it from one passage to another in the same way you’d use the Selection Tool
to copy music. Be sure the MIDI data type you want to manipulate is selected in the MIDI Tool Menu; select the source measures just as you did before. If the
measures to which you want to copy the selected MIDI information are visible on-screen, drag the first selected measure so that it’s superimposed on the first target
measure. If the target measures are offscreen, scroll so that you can see the first one; then, while pressing ctrl and shift, click the first target measure. In either case,
the Finale copies the MIDI data from the source measures to the target measures.
To erase the captured MIDI data from a region, be sure the MIDI data type you want to manipulate is selected in the MIDI Tool Menu; select the source measures just
as you did before, and press backspace. Only the data type specified in the menu (Key Velocities, Note Durations, or Continuous Data) will be cleared from the
selected region.

Key Velocities
Note Durations
Continuous Data
===================
Set To
Scale
Add
Percent Alter
Limit
Alter Feel
Randomize
===================
Edit MIDI Note
===================
Play
Show Selected Notes

See Also:
Menus
MIDI Tool

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Page Layout Menu

Page Layout Menu


How to get there

Click the Page Layout Tool .

What it does
This menu includes reformatting options for the left and right page formats which affect the Page Format for
Score dialog box. In Finale, left pages are Finale’s even-numbered pages, and right pages are actually
Finale’s odd-numbered pages.
Inserting or Deleting Blank Pages, Redefine Pages, Optimize Staff Systems, Space Systems Evenly and Fit
Music in this menu are reformatting options that can apply to the entire document at once, or to a smaller
selection of pages.
You can use the commands in this menu to insert or clear Page Breaks and Insert or Delete Staff Systems
in the music.

Insert Blank Pages


Delete Page Break
Insert Staff Systems
Delete Staff Systems
================
Redefine Pages
Optimize Staff Systems
Fit Measures
Space Systems Evenly
================
Avoid Margin Collisions
Update Page Format For Score
================
Systems
Page Margins
================
Page Size
Resize Pages
Resize Staff Systems

See Also:
Page Layout
Menus
Page Layout Tool

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Repeat Menu

Repeat Menu
How to get there

Click the Repeat Tool . The Repeat Menu appears.

What it does
The repeat menu allows you to easily add repeat markings to a selected region of your score and edit existing repeats.

Create Simple Repeat


Create First and Second Ending
Create Ending
Create Forward Repeat Bar
Create Backward Repeat Bar
=====================
Align Brackets
Reset Brackets to Default
=====================
Delete
=====================
Check Repeats
=====================
Repeat Options

See Also:
Repeats (barlines and text indications)
Menus

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Shape Designer Menu

Shape Designer Menu


How to get there

Click the Expression Tool , and double-click a note or measure. Or, with the Text Tool highlight the handle of a text block and
select custom frame from the Text Menu. Click Shape; Create; Select; Create. You arrive in the Shape Designer, and this menu appears
at the top of the dialog box.

What it does
The Shape Designer Menu contains a number of commands that help you create your own custom musical shapes. For example, it lets
you specify how thick a line is, what kind of shading should fill a rectangle, whether a line should be dashed or solid, and so on. It also
contains commands for manipulating individual objects in your drawing—for grouping them together, rearranging their front-to-back order,
and so on.

Show
==============
Send to Back
Bring to Front
==============
Group
Ungroup
==============
Select Font
==============
Line Style
Line Thickness
Arrowheads
Fill
==============
Bracket Style
==============
Rulers and Grid

See Also:
Menus
Shape Designer

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Simple Menu

Simple Menu
How to get there

Click the Simple Entry Tool .

What it does
This menu controls the behavior of Simple entry, and also displays the available Simple Entry keyboard shortcuts for
navigation and editing.

Simple Entry Options


Use MIDI Device for Input
==================
Simple Edit Commands
Simple Navigation Commands
==================
Tab Specific Commands

See Also:
Simple Entry
Menus
Simple Entry Tool

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Smart Shape Menu

Smart Shape Menu


How to get there

Click the Smart Shape Tool .

What it does
The Smart Shape Menu gives you control over the appearance and placement of slurs and smart shape lines, as well as

control over how elements will appear in the score (such as ). Use the commands in this menu to tell Finale whether
slurs are note-attached or attached to measures. Most of the commands are used to fine-tune slurs' appearance and
placement, define their behavior over system breaks, and set their line thickness. When you create a note-attached slur,
Finale always draws and places it the way you specified in the slur settings. For a detailed description of how to manipulate
each smart shape element see Slur Contour dialog box, Smart Shape Placement dialog box, Smart Shape Options dialog box,
Smart Slur Options dialog box, and Guitar Bend Options dialog box.

Slur Contour
Smart Shape Placement
Smart Shape Options
Smart Slur Options
Guitar Bend Options
==================
Attach to Measures
Attach to Notes
Attach to Noteheads
Slur Direction

See Also:
Menus
Smart Shape Tool
Slurs

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Special Tools Menu

Special Tools Menu


How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool to make the Special Tools Menu appear.

What it does
Options in this menu control whether Finale will display or hide the handles of elements in the selected measures, how Finale draws an element when you adjust it,
and whether or not Finale shows crosshairs in Special Tools.

Show Handles
Update
Show Crosshairs
================
Tie Direction

See Also:
Menus

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Speedy Menu

Speedy Menu
How to get there

Click the Speedy Entry Tool .

What it does
This menu contains settings that govern the music-entry operation of the Speedy Entry Tool.

Speedy Options
================
Use MIDI Device for Input
Playback
================
Jump to Next Measure
Create New Measures
Check Beaming
Check Accidentals
Check for Extra Notes
Use Five Line Staff
Edit TAB as Standard Notation
Auto Freeze Accidentals
Insert Notes or Rests
================
Speedy Edit Commands
Speedy Navigation
Tie Direction

See Also:
Menus
Speedy Entry Tool

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Staff Menu

Staff Menu
How to get there

Click the Staff Tool .

What it does
Use the Staff Menu to add or insert blank staves, remove existing staves, position staff names, change the
settings for a selected staff, adjust staves vertically, redraw barlines and brackets after changing the top-to-
bottom order of staves, and set the spacing between staves. You can also create groups and define their
characteristics, delete groups, choose a bracket and alternate barlines for a group, and change which staves
belong to a group.

New Staves
New Staves (With Setup Wizard)
Delete Staves
Delete Staves And Reposition
==========================
Edit Staff Attributes
Respace Staves
Sort Staves
Auto Sort Staves
Staff Usage
==========================
Define Staff Styles
Clear Staff Styles
Apply Staff Styles
Reset Staff Styles to Score
Show Staff Styles
Show Staff Style Names
==========================
Add Group and Bracket
Edit Group Attributes
Remove Group
==========================
Set Default Name Positions
Position Names
==========================
Show Default Staff Names
Show Default Group Names

See Also:
Menus
Staff Tool

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Note Mover Menu

Note Mover Menu


How to get there

From the Window Menu, choose Advanced Tools. Click the Note Mover Tool .

What it does
The Note Mover Tool moves and copies individual notes within a measure from one place to
another. You can use it to create cross-staff notes, to correct split-point errors (after using Finale's
HyperScribe Tool), or to search for a certain motif or note and replace it with a different motif or
note (Search and Replace).

All of the Note Mover actions begin the same way. Click a measure; a handle appears on every
notehead. Select the handles of the notes you want to move or copy; select one note by clicking,
additional ones by shift-clicking, a group of notes by drag-enclosing their handles, or all notes in
the measure by choosing Select All from the Edit Menu. Then, after making sure you've chosen the appropriate copying command from the Note Mover Menu, drag
any one of the selected handles to the staff lines of the target measure.

The first seven items on this menu let you tell Finale what kind of action to take when you drag selected notes (from the "source" measure) to a new place (the
"target" measure). When you choose one of these items, nothing appears to happen on the screen, except that a check mark appears next to the menu item. In other
words, you choose the action you want Finale to perform before you drag the selected notes to the target measure.

Note that you can also use the Note Mover to copy a note or group of notes within the same measure. If you drag a note to the end of its own measure, you create a
copy of it there, after all the existing notes. If you drag a note to the middle or beginning of its own measure, you insert a copy of it at the beginning of the measure.
Note, first of all, that you can perform these copying maneuvers within a single measure regardless of the currently selected Note Mover Menu command. Second,
note that you can only copy notes in this way if the measure is not completely full (based on the current time signature). If the measure is rhythmically full, nothing at all
will happen if you drag a note within its own measure.

Copy and Replace


Copy and Merge
Delete After Replace
Delete After Merge
Cross Staff
Insert Before
Append After
==================
Search and Replace

See Also:
Menus
Note Mover Tool

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Search Menu

Search Menu

How to get there

From the Window Menu, choose Advanced Tools. Click the Note Mover Tool , and click a measure. Select a handle by clicking it, several handles by shift-
clicking (or drag-enclosing) them, or all notes in the measure by choosing Select All from the Edit Menu. Choose Search and Replace from the Note Mover Menu. In
the next two dialog boxes, specify the way in which you want to search for and modify other occurrences of the selected notes; you return to the document. The
Search Menu now appears.

What it does
You can use Finale’s search-and-replace function to edit every occurrence of a particular motif, to correct every occurrence of a particular note to its enharmonic
equivalent, or even to transpose every note of a particular rhythmic value that falls on a particular pitch.
Once you’ve specified the criteria for which you want to search and specified the way in which you want the selected motif transformed, this menu appears. You can
use it to conduct the search process, telling Finale either to pause after it finds a match before continuing the search, or to search all measures in all staves, changing
every occurrence it finds without waiting for your approval each time.
You can use Finale's search-and-replace function to edit every occurrence of a particular motif, to correct every occurrence of a particular note to its enharmonic
equivalent, or even to transpose every note of a particular rhythmic value that falls on a particular pitch.

Find. Choose Find to tell Finale to search your score for the next occurrence of the note or motif you’ve specified. Finale
searches measure 1 in every staff, then proceeds to measure 2, and so on; when it finds a match, it highlights the matching
notes and waits for you to choose another menu command. Note that Finale’s find is limited to within a barline.
Replace. Choose Replace to tell Finale to modify the selected note or motif according to your specifications in the
Alteration for Slot (#) dialog box (see Alteration for Slot dialog box. It now waits for you to choose another menu command.
Replace Then Find. Choose Replace Then Find to tell Finale to modify the selected note or motif according to your
specifications in the Alteration for Slot (#) dialog box, and then to search your score for its next occurrence. When it finds
another match, it highlights the matching notes and waits for you to choose another menu command.
Replace All. Choose Replace All to tell Finale to search your score for the selected note or motif, changing every
occurrence according to your specifications in the Alteration for Slot (#) dialog box. There’s no way to interrupt this process
once it’s begun, so you should allow some time for Finale to complete its task.
Quit Search. Choose this command to return to the document. The Search Menu disappears, and Finale assumes you’ve
concluded your search.

Once you've specified the criteria for which you want to search (in the Search and Replace dialog box) and specified the way in which you want the selected motif
transformed (in the Alteration for Slot dialog box), this menu appears. You can use it to conduct the search process, telling Finale either to pause after it finds a match
(while you decide whether or not you want to modify it) before continuing the search, or to search all measures in all staves, changing every occurrence it finds without
waiting for your approval each time.

Find
Replace
Replace Then Find
Replace All
==============
Quit Search

For detailed information see the Search and Replace dialog box and Alteration for Slot dialog box.

See Also:
Menus
Note Mover Tool

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Text Menu

Text Menu
How to get there
The Text Menu appears when the Text Tool is selected for editing text blocks directly on-screen, or when the
Edit Text window appears for editing staff and group names. An abbreviated text menu is also available in the
Edit Lyrics, Edit Staff Name, and Text Expression Designer dialog boxes.

To create or edit text a block, click the Text Tool , and then double-click in the score, or on the handle
of an existing text block.

To edit a staff name, click the Staff Tool , click a staff handle, then choose Edit Staff Attributes from the
Staff Menu. Click Edit next to the full or abbreviated staff name in the Staff Attributes dialog box. (Or, ctrl-click
a staff name handle on-screen.) The Edit Text window appears.
To edit a group name, click the Staff Tool, click a group handle, and then choose Edit Group Attributes from
the Staff Menu. Click Edit next to the full or abbreviated group name in the Group Attributes dialog box. (Or,
ctrl-click a group handle on-screen.) The Edit Text window appears.

To edit Lyrics, choose the Lyrics Tool , and then from the Lyrics Menu, choose Edit Lyrics. (You can
also use the Edit Lyrics dialog box to enter new lyrics See Lyrics.

To create or edit Text Expressions, choose the Expression Tool . Then, double-click in the score to
create an expression. Right-click an existing expression and choose Edit Measure/Note Text Expression
Definition to edit it. See Expressions.

What it does
The Text Menu contains options for editing text fonts, sizes, styles, justification and so on, displaying the text
as it will appear on the screen and on your printed music.
You can change whether text blocks are assigned to a measure or a page, displayed on one or more pages,
or displayed with a border around text in a standard frame, or within a custom frame. You can also use this
menu to change whether page-assigned text blocks are positioned from the page edge (or from the page
margins), and how they are horizontally and vertically positioned on a page.

Font
Size
Style
Baseline Shift
Superscript
Tracking
Character Settings
================
Inserts
Edit Page Offset
================
Standard Frame
Custom Frame
================
Justification
Alignment
================
Frame Attributes
Line Spacing
Show Only On Screen
Word Wrap
================
Edit Text
================
Assign to Measure
Assign to Page

See Also:
Menus
Text Tool
Document Options-Text

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Text Menu

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Transcription menu

Transcription Menu
How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure. The Transcription
Menu is one of the two Transcription Mode menus that appear.

What it does
Once you've recorded a real-time performance in the Transcription window, Finale needs some additional information before it can
begin to transcribe. In this menu you can tell Finale whether - and how - you want the performance transcribed onto two staves; what
level of quantization you want applied; what range of notes you want included and excluded from the transcription; whether or not the
performance included inner voices; and so on.

Split Point
================
Input Filter
Transcription Filter
================
View Resolution
Punch In PreRoll

See Also:
Menus

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Time Tag menu

Time Tag Menu

Once you record a real-time performance in the Transcription window, Finale needs to know where the beats and barlines fall in relation to the notes you played (in
order to transcribe your performance). To provide this information, you tap along with your music as it plays back (on a key or pedal), providing Finale with a tempo
point of reference. These taps are called Time Tags. They appear at the top of the display area as small quarter notes (or eighth notes, or whatever value you
specified before recording them). Note that you can edit these tags manually - you can either insert a new one by double-clicking in the Time Tag display area, or you
can slide them horizontally. See Transcription window for complete details.

The Time Tag Menu contains a number of Time Tag-related commands. Using them, you can tell Finale the duration of the tags you'll be recording, adjust each to
align with the nearest note, or assign Measure Tags (a special Time Tag that tells Finale where the beginning of each measure falls in relation to the music you
played).

Choose one of the three commands (Tag, Beat, Measure) to tell Finale what kind of Time Tag you'll be recording or editing.

Tag
Beat
Measure
==============================
Clear All Tags
==============================
Assign Measure Tags
Convert To Time Signatures
Create Tags From First Two Tags
==============================
First Tag is
Record Equal Durations
==============================
Click Input
Click Output
==============================
Align Tags to Notes

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Symbols

Symbols

Accents
Emphasize the note, so that it is louder than surrounding notes.
See Articulation Tool.

Brackets
The brackets indicate the editor's suggestion to perform the music with the enclosed markings, as in [rit.].
See Expression Tool.

Breath mark
Breathe here, generally without disturbing the tempo.
See Articulation Tool.

Cesura
(Italian) A pause indicated by a dividing line placed between two melodic and rhythmic phrases.
See Articulation Tool.

Coda
(Italian) Literally "tail." A passage that serves as a formal closing of a movement.
See Repeat Tool.

Crescendo
(Italian) Becoming gradually louder; increasing in loudness.
See Smart Shape Tool.

Decrescendo
(Italian) Becoming gradually softer, decreasing in loudness.
See Smart Shape Tool.

Fermata
(Italian) Pause; hold the note longer than its normal duration.
See Articulation Tool.

Forte
(Italian) With Force. Loud.
See Expression Tool.

Forte fortissimo
(Italian) With Extreme Force. Extremely loud; as loud as possible.
See Expression Tool.

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Symbols

Forte piano
(Italian) Begin the note loudly, instantly diminishing to a much softer volume.
See Expression Tool.

Fortissimo
(Italian) Very loud.
See Expression Tool.

Fortissimo piano
(Italian) Begin the note very loudly, instantly diminishing to a much softer volume.
See Expression Tool.

Forzando
(Italian) Begin the note loudly with a very strong accent.
See Expression Tool.

Forzandissimo (or Sforzandissimo)


(Italian) Begin the note very loudly with a very strong accent.
See Expression Tool.

Forzandissimo (or Sforzandissimo)


(Italian) Begin the note extremely loudly with a very strong accent.
See Expression Tool.

Grace note
An ornament consisting of a note which embellishes the following note. Played just before the beat or directly on the beat.
See Simple Entry Tool or Speedy Entry Tool.

Harmonic
A note that is an overtone of a fundamental note of a musical instrument.
See Note Shape Tool in the Special Tools Tool. Or, try the Easy Harmonics plug-in (Plug-ins > TGTools > Easy Harmonics).

Measure repeat
The measure repeat sign indicates to repeat the previous measure exactly as written.
See Apply Staff Style dialog box.

Mezzo forte
(Italian) Moderately loud.
See Expression Tool.

Mezzo forte piano


(Italian) Begin the note moderately loudly, instantly diminishing to a much softer volume.

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Symbols

See Expression Tool.

Mezzo piano
(Italian) Moderately soft.
See Expression Tool.

Mordent
(German) An ornament consisting of a single, rapid alternation of the principal note with the auxiliary note a minor second below.
See Articulation Tool.

Pianissimo
(Italian) Very soft.
See Expression Tool.

Piano
(Italian) Soft.
See Expression Tool.

Piano pianissimo
(Italian) Extremely soft; as soft as possible.
See Expression Tool.

Phrase mark
A curved mark over a musical "phrase." A phrase is a group of notes related musically, as in one lyric passage in a verse.
See Articulation Tool.

Repeat
Indicates the beginning or ending of a section that is to be repeated.
See Repeat Tool.

Segno
(Italian) A sign that indicates the beginning or ending of a repeated section; used in terms such as D.S. (Dal Segno), meaning "from the sign."
See Repeat Tool.

Sforzando
(Italian) Begin the note loudly, with a marked and sudden emphasis.
See Expression Tool.

Sforzando
(Italian) Begin the note very loudly, with a marked and sudden emphasis.
See Expression Tool.

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Symbols

Forzandissimo (or Sforzandissimo)


(Italian) Begin the note extremely loudly, with a marked and sudden emphasis.
See Expression Tool.

Sforzando piano
(Italian) Begin the note loudly, with a marked and sudden emphasis, instantly diminishing to a much softer volume.
See Expression Tool.

Slur
A curved line connecting two or more notes. This symbol indicates that the notes within the slur are to be smoothly connected together, with no articulation between
the individual tones.
See Smart Shape Tool.

Staccato
(Italian) Articulate the notes with separation between them, not connecting them to one another.
See Articulation Tool.

Stop
Alter the tone by partially closing the bell (brass instruments), or by using a false fingering (woodwinds).
See Articulation Tool.

Tenuto
(Italian) Literally "held." Stress the note by holding it to its full value.
See Articulation Tool.

Tenuto staccato
(Italian) Hold a note for almost its full value, but do not connect it to the succeeding note.
See Articulation Tool.

Tremolo
(Italian) Literally "quivering, fluttering." An ornament consisting of a rapid alternation of tones; or, on a stringed instrument, rapid alternation of up-bows and down-
bows.
See Articulation Tool.

Trill
The rapid alternation of a principal note with its auxiliary note a minor or major second higher.
See Smart Shape Tool.

Turn
An ornamental device consisting of the principal note and an upper and lower auxiliary note.
See Articulation Tool.

Vibrato
(Italian) A slight pitch fluctuation used to enrich or add expression to the sound.
See Smart Shape Tool.

Wedge

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Symbols

An especially short and detached note.


See Articulation Tool.

Next
Terms and Symbols Contents

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Terms-A

Terms-A

8VA
(Italian) Abbreviation for "ottava." Perform one octave higher.

8VA BASSA
(Italian) Abbreviation for "ottava bassa." Perform one octave lower.

8VA BASSO
(Italian) Abbreviation for "ottava basso." Perform the notes in the bass one octave lower.

A2
(Italian) Both instruments performed together on the same line.

A L'AISE
(French) Perform with ease.

A PIACERE
(Italian) At the pleasure of the performer, particularly with regard to tempo.

A SUONI PIENI
(Italian) With a full sound.

A TEMPO
(Italian) Return to the original tempo.

A VOCE PIENA
(Italian) With a full voice.

A VOLONTÉ
(French) The interpretation of this passage is left to the performer's discretion and taste.

AB
(German) Off.

ABER
(German) But.

ABLOSEN
(German) To separate one note from another; detached.

ABNEHMEND
(German) Becoming gradually softer; diminishing in loudness; same as the Italian term 'diminuendo'.

ABRIESSEN
(German) Cut off.

ACCELERANDO
(Italian) Abbreviated "accel." Accelerating; becoming gradually faster.

ACCELERANDO A TEMPO
(Italian) Becoming gradually faster until the speed established at 'tempo I' (or the beginning of the piece or movement) is reached.

ACCELEREZ
(French) Accelerate; becoming gradually faster.

AD LIBITUM
(Latin) Abbreviated "ad lib." Interpret freely within the context of the music.

ADAGIO
(Italian) A slow, leisurely tempo.

ADAGISSIMO
(Italian) Extremely slow.

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Terms-A

AFFETTUOSO
(Italian) With passion; very expressively.

AFFRETTANDO
(Italian) Hurry the tempo along.

AGILE
(French) With agility and sprightliness.

AGITATO
(Italian) Hurried and restless; agitated.

AL FINE
(Italian) Until the end.

ALLA BREVE
(Italian) Two beats per measure, the half note getting the beat; implies a quicker tempo than if performed in 4/4 meter.

ALLA MARCIA
(Italian) In the style of a march.

ALLA SICILIANO CANTABILE


(Italian) In a melodious, singing style with a slow and graceful character.

ALLARGANDO
(Italian) Abbreviated "allarg." Becoming slower.

ALLE
(German) All.

ALLEGRETTO
(Italian) A little slower than 'allegro'; light and cheerful.

ALLEGRO
(Italian) Fast and lively.

ALLMÄHLICH
(German) Gradually.

ALS
(German) Like.

AM
(German) At the.

AMABILE
(Italian) Sweetly; gently.

AMOROSO
(Italian) Lovingly; fondly.

ANDANTE
(Italian) At a leisurely pace.

ANDERE
(German) Other.

ANFANG
(German) Beginning.

ANIMANDO
(Italian) Becoming more animated; growing livelier.

ANIMATO
(Italian) Animated and lively.

ANIMÉ
(French) Animated and lively.

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Terms-A

ANIME ET EN SERRANT LE MOUVT. JUSQU'A LA FIN


(French) Animated and accelerating to the end.

ANIMEZ ET AUGMENTEZ
(French) Livelier and louder.

ANMUTIG
(German) With grace and charm.

ANWACHSEND
(German) Swelling.

APERTO
(Italian) Broadly.

APPASSIONATO
(Italian) Abbreviated "appass." With great passion and ardor.

APPENA RITARDANDO
(Italian) With almost no or very slight slowing of the tempo.

APPOGGIATURA
(Italian) An added note, occurring on a strong (accented) beat, it takes the accent and part of the time value of the following principal note. If it occurs on a weak
(unaccented) beat, it takes its value from the preceding note.

APPUYÉ
(French) Accent or lengthen the note. Or, on a strong beat, add an upper auxiliary to the principal note.

ARPEGGIATED
To sound the notes of a chord successively, instead of simultaneously.

ARPEGGIERT
(German) Arpeggiated.

ASSAI
(Italian) Very; for example, 'allegro assai', very fast.

ASSEZ
(French) Rather.

ASSEZ DOUX, D'UNE SONORITÉ LARGE


(French) Rather gently, but with a broad sonority.

ASSEZ LENT
(French) Rather slowly.

ATTACCA
(Italian) Continue to the next section or movement immediately, without a pause.

AU MOUVEMENT
(French) Abbreviated "au mouvt." Back to the original speed; same as the Italian term 'a tempo'.

AU MUT(H)IG FLIESSEND
(German) With graceful flow.

AUF
(German) Up.

AUFHALTEN
(German) To slow down; same as the Italian term 'ritardando'.

AUGMENTANT
(French) Increasing.

AUGMENTEZ
(French) Increase; raise; augment.

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Terms-A

AUSDRUCK
(German) Expression.

AUSDRUCKSVOLL
(German) Expressively.

ÄUSSERST LANGSAM
(German) As slow as possible.

AUSSPRECHEN
(German) Articulate.

AUSWAHL
(German) Selection.

AVEC
(French) With.

AVEC AMPLEUR
(French) With loudness, forcefulness.

AVEC BEAUCOUP DE LAISSER ALLER DANS LA MESURE


(French) A rubato tempo (very flexible tempo)

AVEC CHARME
(French) With charm.

AVEC ÉLÉGANCE
(French) With elegance.

AVEC SOURDINE
(French) Attach or use a mute.

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Terms-B

Terms-B

BATTEMENT
(French) A trill, or in contemporary music, the acoustic effect produced from two very close notes (micro intervals).

BEGINNEND
(German) Beginning.

BEIDE
(German) Both.

BEINAHE
(German) Almost.

BELEBTER
(German) Briskly.

BEN
(Italian) Well; quite.

BENE
(Italian) Well; quite.

BESCHLEUNIGEND
(German) Accelerate; hurry.

BESCHLUSS
(German) With decisiveness and resolve.

BETONUNG
(German) Emphasis.

BEWEGTER
(German) Proceed with motion and some rapidity; same as the Italian term 'piu mosso'.

BIS ZUM
(German) Until the.

BISBIGLIANDO
(Italian) Harp technique: a soft and frequent chord tremolo.

BOUCHÉ
(French) Stopped tones, for brass instruments. Open or close the instrument with hand or mute. Sometimes used to indicate a change in pitch.

BRAVURA
(Italian) Bold; dashing.

BREIT
(German) Broad.

BREITER
(German) Broadly.

BRILLANTE
(Italian) Brilliant; sparkling.

BRIOSO
(Italian) Lustily; with spirit.

BRUSCAMENTE
(Italian) Sharply; roughly.

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Terms-C

Terms-C

CADENCE
(French) A melodic or harmonic sequence used to create a sense of resolution, usually found at the end of phrases.

CADENZA
(Italian) Abbreviated "cad." An ornamental passage introduced near the close of a movement designed to allow soloists to highlight their technical skill.

CALANDO
(Italian) Growing softer and usually slower.

CALMATO
(Italian) Perform with calmness and tranquillity.

CALME
(French) Calm and peaceful.

CALME, MAIS BIEN EXPRESSIF


(French) Perform calmly and tranquilly but with expression and feeling.

CALOROSO
(Italian) Passionately; with great feeling.

CANON/CANONE
(French/Italian) A strict form of imitation in which succeeding entrances take up the theme note for note.

CANTABILE
(Italian) In a singing, vocal style.

CANTANDO
(Italian) In a singing, flowing style.

CARESSANT
(French) Caressing; comforting.

CARILLON
(French) A carillon is a group of bells that can be rung using a special keyboard.

CEDENDO
(Italian) Growing slower.

CÉDER/CÉDEZ
(French) Slow down.

CHANTÉ
(French) Singing.

CODA
(Italian) A short passage ending a movement.

COME PRIMA
(Italian) Resume the previous tempo.

COMME AU DÉBUT
(French) Perform the tempo and style as marked at the beginning of the piece.

CON
(Italian) With.

CON ALCUNA LICENZA


(Italian) Perform with a certain freedom or license in regard to tempo.

CON AMORE
(Italian) With love.

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Terms-C

CON ANIMA
(Italian) With animation and vivaciousness.

CON BRAVURA
(Italian) With boldness, dash and brilliance.

CON BRIO
(Italian) With brilliance and brightness.

CON DOLCEZZA
(Italian) With sweetness and softness.

CON DOLORE
(Italian) With grief or pain.

CON DUOLO
(Italian) With grief or great sadness.

CON ENFASI
(Italian) With emphasis and resolution.

CON ESPRESSIONE
(Italian) Abbreviated "con espr." or "con espress." With expression and feeling.

CON FORZA
(Italian) With force.

CON FUOCO
(Italian) With fire.

CON GRAZIA
(Italian) With grace.

CON MOTO
(Italian) With motion; movement.

CON PASSIONE
(Italian) With passion and ardor.

CON SLANCIO
(Italian) With dash and impetuosity.

CON SPIRITO
(Italian) With spirit.

CON TUTTA FORZA


(Italian) With all available forcefulness.

COULÉ
(French) An ornament in which the primary note is held, followed by notes that fill in, scale-like, to the next written note.

COURT
(French) Short and brief.

CRESCENDO
(Italian) Abbreviated "cresc." Becoming gradually louder.

CUIVRÉ
(French) With a brassy tone, particularly on the French horn.

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Terms-D

Terms-D

D. C.
(Italian) Abbreviation for "da capo." Go back to the beginning of the piece or movement.

D. C. AL CODA
(Italian) Go back to the beginning of the piece or movement and continue to the sign, then skip to the 'coda' (ending passage).

D. C. AL FINE
(Italian) Go back to the beginning of the piece or movement and stop at the 'fine' (end).

D. C. SCHERZO AL FINE
(Italian) Go back to the beginning of the 'scherzo' and stop at the 'fine' (end).

D. S.
(Italian) Abbreviation for "dal segno." Perform the section from the sign again.

D. S. AL CODA
(Italian) Go back to the sign and perform the section again until the Coda sign is reached, then skip to the 'coda'.

D. S. AL FERMATA
(Italian) Go back to the sign and perform the section again until the 'fermata' (hold) is reached.

D. S. AL FERMATA E TRIO
(Italian) Go back to the sign and perform the section again until the fermata in the 'trio' is reached.

D. S. AL FINE
(Italian) Go back to the sign and perform the section again until the 'fine' (end) is reached.

D. S. AL SEGNO AL CODA
(Italian) Abbreviation for "dal segno al segno al coda." Repeat this section beginning at the sign. When the next sign is reached, skip to the 'coda'.

DA CAPO
(Italian) Abbreviated "D. C." Go back to the beginning.

DAL SEGNO
(Italian) Abbreviated "D. S." Perform the section from the sign again.

DÄMPFER
(German) Mutes.

DÉCIDÉ
(French) Decisive; with assurance.

DECISO
(Italian) With determination.

DECRESCENDO
(Italian) Abbreviated "decresc." Becoming gradually softer; decreasing in loudness.

DEHNEN
(German) To prolong; lengthen.

DÉLICATAMENTE E CON ESPRESSIONE


(Italian) Perform delicately and with expressiveness.

DELICATEMENT
(French) With delicacy; gentleness.

DELICATO
(Italian) With delicacy; gentleness.

DES
(German) Of the.

DESCANT

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Terms-D

(Latin) The highest pitch or part in the music.

DEUTLICH
(German) Distinctly.

DIESELBEN
(German) The same.

DIMINUEZ
(French) Reduce; diminish; lessen.

DIMINUENDO
(Italian) Abbreviated "dim." or "dimin." Becoming gradually softer; diminishing in loudness.

DISCRÈTEMENT
(French) Discreetly.

DIVISI
(Italian) Indicates that two (or more) notes written together on the same part or line should be performed by two (or more) people.

DOLCE
(Italian) Sweetly.

DOLCE CON DELICATEZZA


(Italian) With sweetness and great delicacy.

DOLCE CON GUSTO


(Italian) Sweetly and tastefully.

DOLCEZZA
(Italian) Sweetly.

DOLCISSIMO
(Italian) Abbreviated "dolciss." Very sweetly and softly.

DOLENT(E)
(French, Italian) Sad; plaintive.

DOPPELT BESETZ
(German) Doubled.

DOUBLE CADENCE
(French) A four or five note turn that begins on the beat and revolves around the principal note.

DOUBLE CADENCE COUPÉE


(French) A baroque ornament that begins with a trill, ends on the principal note and fills to the next note.

DOUCEMENT MONOTONE
(French) Soft and unchanging.

DOUCEUR
(French) Sweetness; gentleness.

DOUX
(French) Sweetly.

DRÄNGEND
(German) Pressing; quicker.

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Terms-E

Terms-E

EGUALE
(Italian) The notes are to be equal and even.

EILEN
(German) Accelerate; go faster.

EILIG
(German) Rapid; swift.

EIN
(German) A; one.

EIN WENIG FLIESSENDER


(German) A little flowing and smooth.

EIN WENIG RUHIGER


(German) A little quieter and calmer.

EINFACH
(German) Simply and directly without pretension.

EINLEITEN
(German) To introduce.

ÉLARGIR
(French) Broad and sweeping.

ELARGISSEZ
(French) Broad and sweeping.

ELEGANTE
(Italian) With elegance and refinement.

EN
(French) In; into; to; at.

EN ACCÉLÉRANT
(French) Becoming gradually faster and faster.

EN ALLANT SE PERDANT
(French) Dying away.

EN ANIMANT
(French) With animation; excitement.

EN AUGMENTANT UN PEU
(French) Slightly faster; same as the Italian term 'poco piu mosso'.

EN ÉLARGISSANT
(French) Broadly and slowly.

EN PRESSANT
(French) Pressing forward; with forward motion; moving ahead.

EN RETENANT
(French) Holding back; slowing the pace.

EN SERRANT
(French) Become quicker.

ENCORE
(French) To perform again.

ENERGICO

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Terms-E

(Italian) Energetically.

ENVIRON
(French) In the vicinity of the metronome marking designated.

ERHABEN
(German) Lofty; noble.

ERSTREBEN
(German) Aspire to.

ESPRESSIVO
(Italian) Abbreviated "espr." or "espress." Expressively; with feeling.

ÉTUDE
( French) A study usually with a special technical difficulty or challenge.

ETWAS
(German) Somewhat.

EXPRESSIF
(French) Expressively; with great feeling.

EXPRESSIF ET GRACIEUX
(French) Expressively and gracefully.

EXPRESSIF ET LIÉ
(French) Expressively; with feeling; very smooth and connected.

EXTRÊMEMENT DOUX
(French) Extremely sweet.

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Terms-F

Terms-F

FEIERLICH
(German) Ceremonially, solemn.

FESTIVO
(Italian) In a festive, celebrated manner.

FINALE
(Italian) The last movement or section of a piece.

FINE
(Italian) Indicates the close or end of a repeat or the end of a whole piece.

FLEBILE
(Italian) Sadly; tearfully.

FLIESSEND
(German) Flowing and smooth.

FLOTT
(German) Lively.

FLÜCHTIG
(German) Rapidly.

FLÜSTERN
(German) Whisper.

FORTE
(Italian) Abbreviated "f." Loud.

FORTE FORTISSIMO
(Italian) Abbreviated "fff." Extremely loud; as loud as possible.

FORTE PIANO
(Italian) Abbreviated "fp." Perform the note strongly, instantly diminishing to a much softer
volume.

FORTE TRÈS EN DEHORS


(French) Perform loudly and bring out the melody.

FORTISSIMO
(Italian) Abbreviated "ff" or "fff." Very loud.

FORTISSIMO PIANO
(Italian) Abbreviated "ffp." Perform the note very loud, instantly diminishing to a much softer
volume.

FORTISSIMO POSSIBLE
(Italian) Perform as loudly as possible.

FORZANDO
(Italian) Abbreviated "fz," "ffz," "fffz." Perform the note loudly and with a very strong accent.

FRISCH
(German) Fresh; brisk; vigorous in style.

FROHLICH
(German) Joyfully; with gaiety and gladness.

FRUHER
(German) Earlier.

FUNEBRE

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Terms-F

(Italian) Funeral.

FURIOSO
(Italian) Furiously; wildly.

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Terms-G

Terms-G

GAI
(French) Brisk; lively.

GAIEMENT
(French) Briskly; lively.

GANZ
(German) Quite; very.

GEDAMPFT
(German) Muffled; muted.

GEDEHNT
(German) Stately; slow and sustained.

GEFLUSTER
(German) Whisper.

GEHALTEN
(German) Held; sustained.

GEHEIMNISVOLL
(German) Mysterious; secretive.

GEHEND
(German) At a moderate, leisurely walking pace; same as the Italian term 'andante'.

GEMACHLICH
(German) Easy; comfortable.

GEMASSIGTER
(German) More moderate.

GEMESSEN
(German) At a moderate rate of speed; not too fast, not too slow; same as the Italian term
'moderato'.

GEMÜTLICH
(German) Cheerful; with no cares.

G. P.
Abbreviation for "Grand Pause." A rest for all performers.

GESCHWINDT
(German) Swiftly and rapidly.

GESTEIGERT
(German) Intensified; louder.

GESTEIGERTERM AUSDRUCK
(German) With more feeling and expression.

GESTOPFT
(German) Abbreviated "gest." Stopped.

GETRAGEN
(German) Sustained; continue the tone for the full value of each note; same as the Italian term
'sostenuto'.

GEWICHTE
(German) Weight.

GEWICHTIG

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Terms-G

(German) Weighty.

GEZOGEN
(German) Drawn out.

GIOCOSO
(Italian) Playful and sprightly.

GIUSTO
(Italian) In character; well suited.

GLEICH
(German) Same.

GLISSANDO
(Italian) Abbreviated "gliss." A flowing, unaccented execution of a passage; sliding between each note.

GLÜHEND
(German) Glowing; full of ardor.

GRAN
(Italian) Grand.

GRANDIOSO
(Italian) In a grand and majestic style.

GRAVE
(Italian/French) Heavy; slow and ponderous in tempo and movement.

GRAZIOSO
(Italian) Gracefully; elegantly.

GUT
(German) Well; quite.

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Terms-H

Terms-H

HÄLFTE
(German) Half.

HASTIG
(German) Hurried.

HEFTIG
(German) Spontaneous; passionate; impetuous.

HEIMLICH
(German) Mysteriously; as if a secret.

HEITER BEWEGT
(German) With bright, cheerful movement.

HESITANT
(French) In a hesitant, faltering manner.

HINGEBEND
(German) To give up; give away.

HÖCH
(German) High; very.

HOHE
(German) High; very.

HYMNENARTIG
(German) Hymn-like.

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Terms-I

Terms-I

IM
(German) In the.

IM HAUPTZEITMASS
(German) In the tempo of the first section.

IM ZEITMASS
(German) In tempo.

IMMER
(German) Always; steadily.

INBRUNST
(German) Ardor.

INCALZANDO
(Italian) Becoming more vehement in style and rapid in tempo.

INNIG
(German) With inward feeling and emotion; heartfelt.

INTIMEMENT
(French) Intimately.

INTRODUZIONE
(Italian) A phrase or section of music preliminary to and preparatory to the main body of the composition.

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Terms-J

Terms-J

JEDER
(German) Each.

JOYEUX
(French) Happy; joyful; cheerful.

JUBELN
(German) Celebrate; rejoice; be jubilant.

JUSQU'À LA FIN
(French) Go up to the end.

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Terms-K

Terms-K

KECKER
(German) Bolder.

KEIN
(German) No.

KLAGEND
(German) Plaintively.

KLAVIER
(German) Piano, the instrument.

KLEINES
(German) Little.

KODA
(German) An alternate spelling of "coda," an Italian term meaning the tail or concluding section of a piece.

KRÄFTIG
(German) Strong.

KURZ
(German) Short; brief.

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Terms-L

Terms-L

L'ISTESSO TEMPO
(Italian) Maintain the same tempo regardless of meter change.

LACRIMOSO
(Italian) In a sad, heartfelt manner.

LAGRIMOSO/LAMENTOSO
(Italian) In a sad, heartfelt manner.

LANGE
(German) Long.

LANGSAM
(German) Slowly.

LA NOIRE UN PEU MOINS LENTE QUE LA NOIRE POINTÉE PRÉCÉDENTE


(French) The quarter note will be slightly faster than the dotted quarter note of the preceding section.

LARGAMENTE
(Italian) Abbreviated "larg." In a large, broad style with vigorous and sustained tone. It does not imply a change in tempo.

LARGEMENT
(French) Abbreviated "larg." In a large, broad style with vigorous and sustained tone. It does not imply a change in tempo.

LARGHETTO
(Italian) Diminutive of 'largo'; slightly quicker than 'largo' but not as fast as 'andantino'.

LARGO
(Italian) Slow and broad, the slowest tempo marking. This marking usually implies a slow and stately style, with great breadth.

LAS
(French) Weary.

LEBHAFT
(German) Lively and animated.

LEGATO
(Italian) Smoothly connected and slurred together.

LÉGER
(French) Light and nimble.

LÉGÈREMENT
(French) Light and nimble.

LEGEREMENT RETENU
(French) Light and nimble, but held back in tempo; slowing the pace.

LEGEREMENT RUBATO
(French) Light and nimble and with rhythmic freedom.

LEGGIERO
(Italian) Abbreviated "legg." Light and airy.

LEICHT
(German) Light; easy; brisk.

LEICHT BEWEGT
(German) Lightly and with forward motion.

LEIDENSCHAFTLICH
(German) Passionately.

LEISE

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Terms-L

(German) Softly; same as the Italian term 'piano'.

LENT
(French) A slow tempo between 'largo' (the slowest tempo marking) and 'andante' (a moderate,
leisurely pace).

LENT ET TRISTE
(French) Slowly and sadly.

LENTAMENTE
(Italian) Slowly.

LENTO
(Italian) A slow pace between 'largo' (the slowest tempo marking) and 'andante' (a moderate, leisurely pace).

LES TRIOLETS SANS RIGUEUR


(French) Perform the triplets without rigor or stiffness.

LETZTEN
(German) Last; previous.

LIBREMENT
(French) Liberated; free.

LOCO
(Italian) Perform as written, in its original location.

LOINTAIN
(French) Distant sounding.

LUGUBRE
(Italian) In a mournful, ponderous style.

LUNGA
(Italian) Prolong or sustain a note, 'fermata' (hold), or rest well beyond its original value.

LUSINGANDO
(Italian) In a flattering, coaxing style.

LUSTIG
(German) Merrily; lustily; gaily.

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Terms-M

Terms-M

MA DOLCE
(Italian) With sweetness.

MA VIVO
(Italian) With spirit; briskly.

MÄCHTIG
(German) Powerful; intense.

MAESTOSO
(Italian) Majestic; dignified.

MAGGIORE
(Italian) In the major key.

MALINCONICO
(Italian) Melancholic.

MARCATISSIMO
(Italian) With marked emphasis.

MARCATO
(Italian) Abbreviated "marc." With emphasis; distinctly.

MARSCH TEMPO
(German) In the tempo of a march.

MARZIALE
(Italian) In a martial or war-like style.

MÄSSIG
(German) Steady; measured; same as the Italian term 'moderato'.

MASSIG BEWEGT
(German) At a moderate tempo.

MASSIGER
(German) Moderate.

MEHR
(German) More.

MEHRFACH BESETZT
(German) Several to a part.

MÉLANCOLIQUE
(French) With melancholy, sadness.

MEME
(French) Same.

MÊME MOUVEMENT
(French) Abbreviated "meme mouvt." At the same tempo.

MENO
(Italian) Less; not so much.

MENO MOSSO
(Italian) Slower than before; relax the tempo slightly.

MESTO
(Italian) Sadly and pensively.

MESURE

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Terms-M

(French) In exact time; take no liberties with the rhythm.

MEZZA VOCE
(Italian) Half the loudness, probably at 'mezzo forte' (medium loud) or quieter.

MEZZO
(Italian) Moderately.

MEZZO FORTE
(Italian) Abbreviated "mf." Moderately loud.

MEZZO FORTE PIANO


(Italian) Abbreviated "mfp." Attack the note moderately loud, quickly returning to a soft volume level.

MEZZO PIANO
(Italian) Abbreviated "mp." Moderately soft.

MINORE
(Italian) In the minor key.

MINUETTO PRIMO DA CAPO


(Italian) Go back to the first "Minuet" and perform it again.

MISTERIOSO
(Italian) Mysteriously; suggestive of hidden meanings and undercurrents.

MISURATO
(Italian) In exact time; take no liberties with rhythm or tempo.

MIT
(German) With.

MIT ANSTAND
(German) With grace; decency.

MIT EMPFINDUNG
(German) With feeling; full of emotion.

MIT FREIEM VORTRAG


(German) The interpretation of the music is at the performer's discretion.

MIT KRAFT
(German) With strength; forcefulness.

MODERATO
(Italian) At a moderate rate of speed; not too fast, not too slow.

MODÉRÉ/MODÉRÉMENT
(French) At a moderate pace; same as the Italian term 'moderato'.

MOINS
(French) Less.

MOLL
(German) Minor.

MOLTO
(Italian) Much; very.

MONOTONE
Performed with unchanged tone.

MORENDO
(Italian) Abbreviated "morend." Gradually dying away, usually in both tempo and volume.

MOSSO
(Italian) Proceed with motion and some rapidity.

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Terms-M

MOUVEMENT
(French) Abbreviated "mouvt." Tempo.

MOUVEMENT DU DÉBUT
(French) Abbreviated "mouvt. du debut." Perform the same tempo as the beginning.

MOUVEMENT MARCHE MODÉRÉ


(French) Abbreviated "mouvt. du debut." Perform in a moderate, march-like tempo.

MOUVEMENT MODÉRÉ
(French) Abbreviated "mouvt. modere." Perform in a moderate tempo.

MUNTER
(German) Lively; merry.

MURMURE
(French) Murmur.

MUTIG
(German) Brave; courageous.

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Terms-N

Terms-N

NACHLASSEND
(German) Subside; die down; lessen.

NEUES
(German) New.

NICHT
(German) Not; do not.

NICHT SCHLEPPEN
(German) Do not drag or lag behind.

NICHT SCHNELL
(German) Not fast.

NIENTE
(Italian) Nothing.

NOBILE
(Italian) In a lofty, noble style.

NOCH
(German) Yet; still; more.

NOCH EIN WENIG RUHIGER


(German) A little more calmly and peacefully.

NOCH ETWAS BREITER


(German) Yet a little broader.

NON
(Italian) Not.

NON LEGATO
(Italian) Abbreviated "non leg." Not smoothly connected or slurred.

NON TANTO
(Italian) Not too much.

NON TROPPO
(Italian) Not too much.

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Terms-O

Terms-O

OBBLIGATO
(Italian) Literally, "necessary." Generally, a required, independent melodic part in a composition, usually soloistic, and secondary to the main melody of the work.

OFFEN
(German) Open.

OHNE
(German) Without.

OKTAVE
(German) Octave.

OSSIA
(Italian) Indicates an alternate part or fingering of a passage.

OUVERT
(French) Open; free.

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Terms-P

Terms-P

PAISIBLEMENT
(French) Peacefully; tranquilly.

PARLANDO
(Italian) In a clear, distinct manner; not smooth and connected.

PASSIONATO
(Italian) With passion and great feeling.

PASSIONNÉ
(French) With passion and great feeling.

PATETICO
(Italian) With great emotion; pathos.

PÉNÉTRANT
(French) Penetrating.

PERDENDOSI
(Italian) Dying away with a slight, gradual slowing of the tempo.

PEU
(French) A little.

PEU A PEU
(French) Little by little.

PESANTE
(Italian) Heavy; ponderous; with emphasis.

PETITE REPRISE
(French) Marks the return of a fragment of the original theme or the beginning of the piece.

PIACEVOLE
(Italian) In a pleasant, agreeable manner with a smooth delivery; free from any strong accents.

PIANISSIMO
(Italian) Abbreviated "pp." Very softly.

PIANO PIANISSIMO
(Italian) Abbreviated "ppp." As soft as possible.

PIANO
(Italian) Abbreviated "p." Softly.

PIANOFORTE
(Italian) Abbreviated "Pf." or "Pfte." Piano, the musical instrument.

PIÙ
(Italian) With.

PLÖTZLICH
(German) Sudden.

PLUS
(French) More

PLUS ANIMÉ
(French) More animated.

PLUS RETENU
(French) Hold back; slow down the tempo even more.

PLUS VITE

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Terms-P

(French) Very fast in tempo.

POCO
(Italian) A little.

POCO A POCO
(Italian) Little by little.

POCO MENO
(Italian) A little slower than before.

POCO MENO MOSSO


(Italian) A little slower than before; with a little less motion.

POCO MOSSO
(Italian) Somewhat faster in tempo than before.

POMPOSO
(Italian) Perform with majesty and pomp; loftily.

PORT DE VOIX
(French) A baroque ornament performed on the beat taking its time value from the following note.

PORT DE VOIX DOUBLE


(French) A baroque ornament performed on the beat, taking its time value from the following note
and ending with a slide or fill to the next note.

PORTAMENTO
(Italian) Glide smoothly from one tone to the next.

PRALLTRILLER
(German) Also called a 'schneller', it is an 18th century ornament that begins on the principal note and not on the upper auxiliary, as a trill usually does. It begins on
the beat and on the principal note and rapidly alternates with the note above.

PREMIER MOUVEMENT
(French) Return to the tempo of the beginning.

PRESSER
(French) Hurry forward; accelerate.

PRESQUE
(French) Nearly; almost.

PRESTISSIMO
(Italian) Very fast and rapid.

PRESTO
(Italian) Fast and rapid; faster than 'allegro' (fast and lively).

PRIMO
(Italian) First; beginning.

PRIMO TEMPO
(Italian) Return to the tempo at the beginning.

PROGRESSIVEMENT
(French) Progressively.

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Terms-R

Terms-R

RALLENTANDO
(Italian) Abbreviated "rall." or "rallent." Becoming slower.

RAPIDE
(French) Rapid; quick.

RAPIDO
(Italian, Spanish) Rapid; quick.

RAUH
(German) Harsh; rough.

RAUSCHEND
(German) Thunderously; noisily rustling.

RAVVIVANDO POCO A POCO AL TEMPO PRIMO


(Italian) Accelerate, little by little, to the tempo at the beginning.

RECITANDO
(Italian) A crisp delivery of the melody in a recitative-like style.

RECITATIVE
(Italian) A style that imitates the natural inflection, rhythm and accent of speech.

RECITATIVO
(Italian) A style that imitates the natural inflection, rhythm and accent of speech.

RELIGIOSO
(Italian) With devotion, religiously.

REPRENEZ LE MOUVEMENT
(French) Return to the previous speed; same as the Italian term 'a tempo'.

RETENEZ BEAUCOUP
(French) Becoming gradually much slower.

RETENU
(French) Hold back; slow the pace.

REVENEZ
(French) Return to the previous style or tempo.

RÊVEUSEMENT LENT
(French) In a dreamy, slow manner.

RHYTHME
(French) Rhythm.

RIGUEUR
(French) Strictness; structured.

RIMETTENDOSI
(Italian) Return to the tempo set before the ritardando or accelerando.

RINFORZATO
(Italian) Abbreviated "rinf." With a special increase in emphasis; to bring out; reinforce. Usually indicated for a specific passage or section.

RIPIENO
(Italian) The full ensemble performs this passage.

RISOLUTO
(Italian) In a decided, resolute, vigorous style.

RITARDANDO

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Terms-R

(Italian) Abbreviated "rit." or "ritard." Becoming gradually slower.

RITENUTO
(Italian) Abbreviated "riten." Hold back the tempo a bit; at a slightly slower rate of speed.

RITMICO
(Italian) Rhythmically.

RUBATO
(Italian) With rhythmic freedom, hastening unimportant notes and dwelling on melodically important notes. Ideally, the overall tempo should not be changed.

RUDE
(French) Rough; harsh and rude sounding.

RUHIG
(German) Calm; quiet; peaceful.

RUHIG BEWEGT
(German) Very calmly and tranquilly.

RUHIGER
(German) Calm; quiet; peaceful.

RUHIGER WERDEN
(German) Becoming more calm and tranquil.

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Terms-S

Terms-S

SANFT
(German) Softly.

SANS
(French) Without.

SANS HÂTE
(French) Proceed without haste or feeling of hurry.

SANS PRESSER
(French) Without going faster or accelerating the pace.

SANS RAIDEUR
(French) Proceed without rigor, rigidity and stiffness.

SANS RIGUEUR
(French) Proceed without precision or strictness.

SANS TROP DE RIGUEUR DANS LA MESURE


(French) Proceed without too much rigor or strictness in the tempo.

SCHARF
(German) Sharp; penetrating.

SCHERZANDO
(Italian) Abbreviated "scherz." Playful; jesting; with no seriousness.

SCHLAGEN
(German) Beat.

SCHLEPPEND
(German) Dragging; lagging behind.

SCHLUSS
(German) End.

SCHMEICHELND
(German) Wheedling; caressing.

SCHMETTERND
(German) Blaring.

SCHNELL
(German) Fast; quick.

SCHON
(German) Already, yet.

SCHWACHSTES
(German) Weakest; softest.

SCHWEBEND
(German) Ethereally.

SCHWER
(German) Weighty; awkward.

SCHWERMUTHIG
(German) Unhappiness; melancholy.

SECONDA VOLTA
(Italian) The second time only.

SEGNO

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Terms-S

(Italian) Indicates where the performer repeats back to; used in terms such as 'dal segno' or 'D.
S.' (from the sign).

SEHR
(German) Very.

SEHR LANGSAM
(German) Very slowly.

SEHR LEBHAFT
(German) Very lively and animated.

SEHR RUHIG
(German) Very peaceful and calm.

SELBE
(German) Same.

SEMPLICE
(Italian) Simple and unaffected.

SEMPRE
(Italian) Always.

SENTITA LA MELODIA
(Italian) Bring out the melody; perform the melody louder.

SENZA
(Italian) Without.

SENZA SORDINO
(Italian) Without mute.

SERREZ
(French) Press ahead; go faster.

SFORZANDO
(Italian) Abbreviated "sffz." Perform the note very loudly, with a marked and sudden emphasis.

SFORZANDO PIANO
(Italian) Abbreviated "sfp." Perform the note loudly, with a marked and sudden emphasis, then
immediately become soft in volume.

SICH ZEIT LASSEN


(German) Allow time.

SIMILE
(Italian) Abbreviated "sim." Continue on in a like or similar manner. Usually indicates that articulation or dynamic markings are to continue although they no longer
appear on the notes.

SLENTANDO
(Italian) Becoming slower.

SMORZANDO
(Italian) Abbreviated "smorz." Dying away in volume and usually becoming much slower.

SO
(German) As.

SOGNANDO
(Italian) Dreamily.

SOLI
(Italian) Indicates that the section is performed by more than one soloist.

SOLO
(Italian) Indicates that during this passage, this part predominates and takes the leading role.

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Terms-S

SOMBRE
(French) Sullen; dark; clouded; somber.

SOMMEILLANTE
(French) As if in sleep.

SONORE
(Italian) Resonantly; ringingly; sonorously.

SORDAMENTE
(Italian) With a veiled, muffled tone.

SOSTENUTO
(Italian) Abbreviated "sost." Sustained; continue the tone for the full value of each note.

SOTTO
(Italian) Remain in the background.

SOTTO VOCE
(Italian) As if in an undertone or under the breath.

SOUTENU
(French) Sustained and connected.

SPIRITOSO
(Italian) Spirited; animated and energetic.

STACCATO
(Italian) Perform the notes detached and disconnected from one another.

STARK
(German) Strong.

STEIGERN
(German) Intensify; increase.

STETIG
(German) Steadily.

STIMME
(German) Voice.

STOP
Alter the tone by a partially closing the bell (brass instruments).

STRENG
(German) Strictly.

STRETTO
(Italian) Hurry the notes along.

STRICTEMENT EN MESURE
(French) Strictly in time; take no liberties with rhythm.

STRICTEMENT EN MESURE SANS RALENTIR


(French) Strictly in time without any slowing.

STRINGENDO
(Italian) Abbreviated "string." Suddenly accelerate and hasten the movement of the music.

STRISCIANDO
(Italian) Smooth and gliding motion.

STÜRMISCH
(German) Stormy; passionate.

SUBITO

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Terms-S

(Italian) Abbreviated "sub." Suddenly; abruptly.

SUIVEZ
(French) Indicates to continue; go on.

SURTOUT SANS PRESSER


(French) Above all, do not increase tempo; do not accelerate or rush.

SURTOUT SANS RALENTIR


(French) Above all, without slowing or dragging of the pace.

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Terms-T

Terms-T

TAKTE
(German) Measure; bar.

TEIL
(German) Part.

TEMPO
The time or speed at which a piece should be performed.

TEMPO BRILLANTE
(Italian) At a brilliant, showy rate or pace.

TEMPO COMODO
(Italian) Pace of the piece is at the soloist's convenience and accommodation.

TEMPO GIUSTO
(Italian) A favorite term during the Baroque era (1600-1750). It means that the tempo should feel right and be governed by the style of the piece.

TEMPO PRESTO PRIMO


(Italian) Return to a fast, rapid pace as at the beginning.

TEMPO PRIMO
(Italian) Return to the first tempo.

TEMPO RUBATO
(Italian) Literally "to rob." The tempo is governed by the melodic importance of the notes; hastening unimportant notes and dwelling on notes that emphasize the
expressiveness of the
phrase.

TENDRE
(French) Tender; stretch; strain.

TENDREMENT
(French) Tenderly; gently.

TENERAMENTE
(Italian) With tender emotion; softly.

TENERO
(Italian) Tender.

TENUTO
(Italian) Abbreviated "ten." Stress the note by holding it to its full value.

TIEFE
(German) Deep.

TOUJOURS
(French) Always.

TRANQUILLO
(Italian) In a tranquil, peaceful style.

TRAUERMUSIK
(German) Funeral music.

TREMOLANDO
(Italian) With a quivering, fluttering of the tone.

TREMOLO
(Italian) A rapid alternation of tones; or on a stringed instrument, rapid alternation of up-bows and down-bows.

TRÈS
(French) Very.

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Terms-T

TRILL
The rapid alternation of a principal note with its auxiliary a minor or major second higher.

TRISTAMENTE
(Italian) Sadly.

TRISTE
(French) Sadly.

TRIUMPHANT
(Italian) Triumphant; majestic.

TUTTI
(Italian) Indicates that the entire ensemble joins in, usually indicated after a solo passage.

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Terms-U

Terms-U

ÜBERGEHEN
(German) Changing.

ÜBRIG
(German) Other.

UN, UNA, UNE, UNO


(French, Italian, Spanish) One.

UN PEU
(French) A little.

UN PEU À VOLONTÉ
(French) A little freely; at will.

UN PEU LENT
(French) A little slower.

UN PEU MOUVEMENTE
(French) With a little movement.

UN POCO
(Italian) A little more.

UND
(German) And.

UNGEBROCHEN
(German) Unarpeggiated.

UNGEFÄHR
(German) Approximately.

UNMARKLICH
(German) Imperceptibly.

UNTER
(German) Lower.

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Terms-V

Terms-V

VERBREITERN
(German) Broaden; widen.

VERDOPPLUNG
(German) Doubling.

VEREINIGT
(German) Combined.

VERHALLEND
(German) Dying away; fading.

VERHALTENEM
(German) Restrained.

VERKLINGEND
(German) Dying away.

VERLOSCHEN
(German) Expiring; disappearing.

VIEL
(German) Much; a lot of.

VIF
(French) Lively; quick and brisk.

VIF A UN TEMPS
(French) Lively; quick and brisk, but do not rush; remain in time.

VIGOROSO
(Italian) With energy and vigor.

VITE
(French) Fast.

VIVACE
(Italian) A lively, animated tempo; usually faster than 'allegro' (fast and lively).

VIVO
(Italian) In a lively, brisk style.

VOIX
(French) Voice.

VOLANTE
(Italian) Swiftly and rapidly executed.

V. S.
(Italian) Abbreviation for "volti subito." Turn the page quickly.

VON
(German) Of.

VORANGEHEN
(German) Go faster.

VORHER
(German) Previously.

VORIG
(German) Previous; as before.

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Terms-W

Terms-W

WEITER
(German) Still.

WERDEN
(German) Becoming.

WIE
(German) As; like.

WIE AM ANFANG
(German) Perform as at the beginning.

WIE VORHER
(German) As before.

WIE ZUERST
(German) Perform as at first.

WIEDER
(German) Again.

WIEDER BERUHIGEN
(German) Perform calmly and tranquilly again.

WIEDER LEBHAFT
(German) Perform lively again.

WIEDER ZURÜCK INS HAUPTZEIT MASS


(German) Return to the tempo at the beginning.

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Terms-Z

Terms-Z

ZART
(German) Delicate.

ZART UND MIT AUSDRUCK


(German) Tenderly and expressively.

ZEITMASS
(German) Tempo.

ZIEMLICH
(German) Quite; rather; somewhat.

ZÖGERN
(German) Hesitate, linger or delay; same as the Italian term 'ritardando'.

ZU
(German) To; in.

ZUNEHMEND
(German) Hastening.

ZUM
(German) To the.

ZURÜCK/ZURÜCKHALTEND
(German) Back. Held back; restrained.

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Customize Toolbar

Customize Toolbar dialog box

How to get there


From the Window Menu, choose Customize Palettes, then choose one of the Palettes. The Customize Toolbar dialog box appears.

What it does
Use the Customize Toolbar dialog box to add, remove, or rearrange the tools in your palettes.

Add · Remove. Select an icon from available buttons, then click Add to move the icon onto the toolbar. Select an icon from the Toolbar buttons, then click
Remove to delete the icon from the toolbar.
Move Up · Move Down. Select an icon from the Toolbar button, then click Move Up or Move Down to rearrange the order of the tool in your palette.
Close · Reset. Click Close to save the new settings and dismiss the dialog box. Click Reset to return the palette to the tool arrangement you had when you
entered the dialog box.

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Articulation Tool

Articulation Tool

Use this tool to enter one-character articulation markings (such as accents, staccato marks, fermatas, and so on) into your score. You attach an articulation to a single
note in a single staff (by clicking on, above, or below it); if the note moves, the articulation moves with it.
You can also define an articulation for playback; it can affect either the timing or the volume (key velocity) of the note on which it appears.

To learn about how articulations are handled in linked parts, see Articulations in linked parts. See also Articulations.

Special mouse clicks

Metatools

Contextual Menus

See Also:
Main Tool Palette
Articulation Designer
Articulation Selection

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Chord Tool

Chord Tool

When you click this tool, the Chord Menu appears. The Chord Tool lets you create, move, and delete chord symbols in your score. These symbols are musically
intelligent; they play back when you play back the piece, transpose when you transpose the music, and can be placed in your score automatically. You can even teach
Finale to recognize nonstandard, complex, or unusually spelled chord symbols. See Chord symbols for full instructions.

You can type chords directly into the score using the Type Into Score chord entry command in the Chord Menu. With Manual Input selected, you can also type into the
Chord Definition dialog box to create or edit an existing chord in the score. Enter chords according to the Standard chord style. When Finale updates the score, the
chords appear in the display style selected in the Chord Style submenu.
For information regarding chords and fretboards in scores with linked parts, see Chords, fretboards, and lyrics in linked parts.

Special mouse clicks

Metatools

Contextual menus

For further information, see the Chord Definition dialog box.

See Also:
Document Options-Chords
Main Tool Palette
Chord Menu

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Clef Tool

Clef Tool

Use this tool to create clef changes anywhere in the score - even in the middle of a measure.

To change the default appearance of clefs, see the Clef Designer dialog box.

Special mouse clicks

Metatools

Contextual menus

For further information, see the Change Clef dialog box.

See Also:
Document Options-Clefs
Main Tool Palette

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Expression Tool

Expression Tool

With this tool, you can create expression markings—either textual or graphic—that appear in only one staff or multiple staves. For example, you might want markings
such as arco or Switch to Harmon mute to appear in only one staff, or you might want a rehearsal letter or a tempo indication to appear in every staff in the score. An
expression can be attached to a particular note or rest, or attached to a measure. Move a note, and its corresponding Note Expression moves with it. Adjust the
measure positioning, and Measure Expressions assigned to a measure adjust accordingly. Like chords and lyrics, all expressions can be set to snap to a baseline so
they are aligned at the same distance above or below the staff. Other placement parameters can be set in the Positioning tabs of the Text Expression Designer dialog
box and Shape Expression Designer dialog box.
Using the Staff List feature, you can specify which staves you want a given measure expression to appear in. Furthermore, you can specify, for each measure
expression you place in the score, whether you want it to appear in the full score in a particular staff as well as in the part—a marking can appear in one place without
appearing in the other.
Furthermore, expressions can actually affect the playback of the music in the way you’d expect. For example, you can program a Forcefully marking to affect the
volume level of the music in a staff wherever it occurs. For a full discussion of expressions, see Expressions.
For information on creating and using expression Metatools, see Metatools.

To adjust the baseline for expressions above or below the staff. From the Expression Menu, choose
Adjust Above Staff Baseline or Below Staff Baseline to display the Positioning Arrows which allow you
to adjust the vertical positioning for select regions of the score.

Special mouse clicks

Contextual menus

See Also:
Main Tool Palette
Expression Menu

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HyperScribe Tool

HyperScribe Tool

The HyperScribe Tool is one of Finale's real-time transcription tools; you use it to transcribe a live keyboard performance into notation as you play, even onto two
staves. When you click this tool, the HyperScribe Menu appears; it contains all the commands you need to describe to Finale the music you're about to play.

If you plan to use a MIDI Guitar for input, see To use a MIDI guitar for entry.

Special mouse clicks

See Also:
HyperScribe Menu
Main Tool Palette

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Key Signature Tool

Key Signature Tool

Click this tool, then double-click the measure where you want to change the key signature; the Key Signature dialog box appears, from which you can select the new
key. (You can also access the Nonstandard Key Signature dialog box if you want to create nonstandard or nonlinear key signatures.) You can also specify whether or
not you want any music that's already in the affected measures to be transposed into the new key. You can also use the mouse to drag-enclose a region for a key
change.

Special mouse clicks

Metatools

Contextual menus

For further information, see the Key Signature dialog box.

See Also:
Document Options-Key Signature
Main Tool Palette

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Lyrics Tool

Lyrics Tool

This tool lets you create, edit, and move lyrics in your score. You can create many different sets of lyrics (which you might use, for example, in a hymn with several
verses); you can move the baseline (the imaginary line upon which the bottoms of the words align) up or down independently for each set of lyrics. When you click this
tool, the Lyrics Menu appears; it contains all the commands you need to create lyrics in your score. See Lyrics for more information.

Special mouse clicks

Contextual menus

See Also:
Lyrics Menu
Main Tool Palette
Lyrics Tool

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Measure Tool

Measure Tool

This tool allows you to define and edit measure numbering and edit measure spacing. (Add or delete measures with the Edit Menu).
Using this tool, you can create different regions of measure numbering in your score. Each region can have a different numbering or lettering scheme; for example, you
might letter the introductory measures A, B, C, and D, and then number subsequent measures beginning with 1, 2, 3, and so on. When you select Edit Measure
Number Regions, the Measure Number dialog box appears, where you can define various parameters for the measure numbering in a region such as the font,
positioning, enclosure shape (if any), and incidence of the measure numbers (how often they appear). See Measure numbers for full instructions.
You can also use the Easy Measure Numbers plug-in to create measure numbers quickly.
When you click this tool, a handle appears on every barline; drag a barline’s handle (or drag within the measure) to make the measure wider or narrower. You can
also double-click a measure to display the Measure Attributes dialog box, where you can specify a number of measure-specific parameters: the barline type, whether
or not you want the key or time signature to appear, and so on. (See Measure Attributes dialog box for more information.)
If you’ve used the Music Spacing command on a measure, it displays two handles on the barline. If you click the second one, Finale displays a beat chart above the
measure—a set of handles you can drag to change the horizontal positions of the beats in all staves at once. See Beat positions for full details.
Finally, if you’ve selected Allow Horizontal Split Points in the Measure Attributes dialog box for a measure, it displays three handles on the right barline. If you click the
bottom handle, a special rectangle appears, in which you can designate permissible split points for the measure—places where Finale may break the measure over a
system break if it’s too long to fit on the line; see Measures.

Special mouse clicks

Contextual menus

See Also:
Main Tool Palette
Measure Menu

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Page Layout Tool

Page Layout Tool

This tool lets you define the page layout for your file, including the page size, size of the page margins, and the positioning of the systems on each page.

The Page Layout Menu appears (and you switch to Page View, if you're not already there) when you click the Page Layout Tool. This menu contains a command for
optimizing systems (hiding empty staves within each system to produce a more compact and readable full score), another for grouping measures on a line, so that you
can specify the number of measures you want on each line of music, and submenus for editing staff system and page margins.

For full instructions, see Page layout, Page size, Systems, Margins, and so on.
For information specific to page layout in linked parts, see Page layout in linked parts.

Special mouse clicks

Contextual menus

See Also:
Page Layout
Main Tool Palette
Page Layout Menu

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Repeat Tool

Repeat Tool

Using this tool, you can create and edit repeat signs and text repeats (such as D.S. al Coda) in your score. These repeats can be defined for playback, if you wish, so
that Finale, playing back your score, responds to them just as a musician would.

Use this tool to create first and second endings, functional Coda and D.S. symbols, and even endless repeats.

Special mouse clicks

Metatools

Contextual menus

For further information, see the Repeat Selection dialog box.

See Also:
Repeats (barlines and text indications)
Document Options-Repeats
Main Tool Palette

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Resize Tool

Resize Tool

This tool lets you reduce or enlarge a note, group of notes, staff, system, page, or all the music in a piece. When you use it at the note-by-note level, you can create
cue notes; at the staff level, you can create a cue staff. However, you’ll probably use this tool most often to reduce the overall size of the music. It’s important that you
choose Update Layout from the Edit Menu after you reduce or enlarge a system, a page, or the entire piece so that Finale corrects any irregularities in measure widths
introduced by the change.

When this tool is selected, Finale displays the Resize dialog box—where you can specify the amount of reduction or enlargement—any time you click a musical
element (see Special mouse clicks, below). See Reducing/Enlarging for further instructions.

Special mouse clicks

Contextual menus

See Also:
Main Tool Palette

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Smart Shape Tool

Smart Shape Tool

When you click this tool, Finale displays the floating Smart Shape Palette, containing an individual icon for each of several Smart Shapes - stretchable markings such
as slurs, crescendo hairpins, 8va and 15ma markings, solid and dashed brackets and lines, and so on. (If the Smart Shape Palette doesn't appear, choose its name
from the Window Menu.) In addition, handles appear on every smart shape marking in the score.

To place one of these markings into the score, position the cursor so that the tiny arrow points to the appropriate staff. If you’re placing a note-attached marking, the
cursor will appear as a tiny note; just position the cursor over the note. If you’re placing a notehead-attached marking, the cursor will appear as a tiny notehead. Now
double-click—but on the second click, keep the mouse button pressed and drag to the right. As you drag, the shape appears and grows to the right. Release the
mouse when the shape is as long as you want it or highlights the appropriate end note.

For information regarding tuplets in scores with linked parts, see Smart Shapes in linked parts.

Tip: To place a note-assigned slur or curve between two consecutive notes in the score, double-click
the first note; Finale draws the slur between the notes.

Special mouse clicks

Metatools

Contextual menus

See Also:
Main Tool Palette
Smart Shape Palette
SmartShape Menu
Slurs

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Smart Shape Options

Smart Shape Options

How to get there

Click the Smart Shape Tool . Choose Smart Shape Options from the Smart Shape Menu.

What it does
If you find yourself adjusting the shape of every new Smart Shape crescendo in the same way—for example, decreasing the opening of every crescendo mark—you
can define a default opening width for the crescendo/decrescendo shape using this dialog box. Then, your Smart Shapes will have the appearance you specified. (You
can always adjust them after they’re placed in the score, of course.)
You can choose a different character and font for any Smart Shape that uses a symbol from a font. Fonts and symbols can be set for Octave Up (8va), Octave Down

~
(8vb), Two Octaves Up (15ma), Two Octaves Down (15mb), Trill (tr), Trill Extension ( ), glissando and custom line. You can also make fine adjustments to the line
width for Crescendo and Decrescendo markings, and set the exact length of hooks on single and double hooked Smart Shapes.
Note: Most changes you make to the Smart Shape Options settings affect all existing Smart Shapes in the score, except manually edited shapes. Changes made to
the Make Horizontal checkbox affect only future crescendos or decrescendos.

Symbols: Octave Up (8va) • Octave Down (8vb) • Two Octaves Up (15ma) • Two Octaves Down (15mb) • Trill (tr) • Trill Extension

~
(wavy line ); Select; Set Font. Choose the Smart Shape symbol you want to change from the drop-down list. Click Select to display the Symbol Selection
dialog box. Select a new symbol, then click Select to return to the Smart Shape Options dialog box. Finale will use the new symbols for shapes created with the
Smart Shape Tool. Click Set Font to display the Font dialog box, where you can choose a different font for the currently selected symbol.

Note: The Trill Extension settings affect the wavy line by itself and the wavy line with the "tr" marking.

Show Octave Symbols as Text. Select this option to use only numbers 8 or 15, instead of Maestro’s octave symbols. When selected, Finale displays 8 for
the octave up (8va) and octave down (8vb) markings, and 15 for the two octaves up (15ma) and two octaves down (15mb) markings. The numbers are displayed
in the font set for the particular symbol, so if you prefer a font other than Maestro, be sure to change it for each octave symbol.
Smart Lines: Glissando • Tab Slide • Custom Line • Guitar Bend; Line Style Number • Select. Select the type of Glissando, Tab Slide or Custom
Line you would like to use with the palette using this drop-down list. The line style selection you’ve made will be displayed in the Line Style Number text box next
to the drop-down list. To change your selection, or edit or create your line styles click Select and the Smart Line Selection dialog box will appear. See Smart Line
Selection dialog box.
Line Thickness. This text box lets you specify how thick you want Smart Shape straight lines to be—the lines you draw using any of the straight-line bracket
tools, for example. Custom lines have their own thickness settings. This setting, as well as the dash settings, apply to all Smart Shapes in the document, meaning
that the ones you’ve already created will change to reflect the new settings (except custom lines).
Dash Length • Dash Space. These text boxes govern the "dashedness" of dotted (dashed) lines. The Dash Length governs the length of each dash, and the
Dash Space is the length of the gap between dashes, drawn by any of the dashed Smart Shape tools. Custom lines have their own dash settings.
Hook Length. Enter a value in measurement units for the length of hooks on lines with a single hook, lines with a hook at both ends, and lines on the octave
and two octaves up and down shapes. A larger value lengthens the hook and a smaller value shortens it. Custom lines have their own hook length settings.
Crescendo/Decrescendo: Opening Width. In this text box, enter the width, in current measurement units, you want the open end of all new crescendo or
decrescendo hairpin shapes to have.
Crescendo/Decrescendo: Line Thickness. Enter a value in measurement units to alter the line thickness of all hairpin markings in the score. As the value
increases, the lines become thicker; as the value decreases, the lines become thinner.

Note: This setting affects line thicknesses of crescendo and decrescendo markings only. Line

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Smart Shape Options

thickness for all other Smart Shape lines in the piece is defined by the other Line Thickness setting in
this dialog box or in the Smart Line Designer dialog box for custom lines.

Crescendo/Decrescendo: Make Horizontal. Check this box to draw all future hairpins along a horizontal line. Uncheck this box to allow hairpins to draw
at an angle. You can also use the contextual menu to turn horizontal settings on or off on individual hairpins and other Smart Shapes.
OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the Smart Shapes. You return to the score.

See Also:
Smart Shape Tool
Slurs

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Guitar Bend Options

Guitar Bend Options

How to get there

Click the Smart Shape Tool . From the Smart Shape Menu, choose Guitar Bend Options.

What it does
The Guitar Bend Options dialog box allows you to specify various settings related to how the bend affects tab numbers in a tab staff and the text that accompanies
bend curves when you create them. Settings you make in this dialog box will affect all guitar bends in your document.

Place Release Bend Number in Parenthesis. Check this box to place parentheses around a fret number when the number indicates a bend that has been
released.
Hide "Bend-to" number. In tab notation, the second note of a bend is often absent in the tab staff. Check this box to automatically hide the second fret
number of a guitar bend.
Automatically Generate Text. Check this box to automatically generate text indicating the pitch variation of the bend. If the second note of a bend is one
half-step higher than the first, for instance, you will see a "1/2" accompanying the guitar bend when this option is selected.
Replace "1" with "Full". Check this box to indicate bends of a whole step with "full" instead of "1". Click the Set Font button to the right of this check box to
specify the Font, Size or Style of the text "Full" as it will appear in the score. This option is only available if Automatically Generate Text is selected.
Whole Number/Set Font. Click this Set Font button to specify the Font, Size or Style of any whole number generated while entering a guitar bend.
Fraction/Set Font. Click this Set Font button to specify the Font, Size or Style of any fraction generated while entering a guitar bend.

OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made to your settings for guitar bends. You return to the score.

See Also:
Guitar notation
Smart Shape Menu

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Guitar bends

Guitar bends

To create guitar bends:

1. Click the Smart Shape Tool in the Main Tool palette. The Smart Shape Palette and Smart Shape Menu appear.

2. Click on the Guitar Bend Tool in the Smart Shape palette.


3. Double-click the first of two fret numbers. Finale extends the bend or release, with the appropriate bend text, over the next fret number. By default the
second fret number will be hidden. By default, the second fret number of a release will be parenthesized. To indicate a 1/4 bend, Option-double-click any note.

To change the font, size or style of the guitar bend text or to hide it entirely see the Guitar Bend Options dialog box.

See Also
Tablature

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Smart Line Selection

Smart Line Selection

How to get there

Click the Smart Shape Tool . Choose Smart Shape Options from the Smart Shape Menu. Click Select next to Smart Line Style. Or, ctrl-click the Custom Line
Tool in the Smart Shape palette.

What it does
The Smart Line Selection dialog box allows you to select from a number of user-defined Lines styles to place in your score.

Edit. After selecting an existing Smart Line Style by clicking it, click Edit to enter the Smart Line Style dialog box. You can change any aspect of the selected
Smart Line Style, however, keep in mind that when you edit a Smart Line Style, your editing affects every occurrence of it in the score. See Smart Line Designer
dialog box.
Create. Click Create to enter the Smart Line Style dialog box, where you can design a new Smart Line Style.
Duplicate. Click Duplicate to create a copy of the selected Smart Line Style to modify. You can select more than one item. Use Shift-click to select an
additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. After selecting an existing Smart Line Style by clicking it, click Delete to remove it from the Smart Line Selection dialog box. You can select more than
one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Cancel. Click Cancel to return to the score without placing a Smart Line Style in the score.
Select. After clicking the Smart Line Style you want to place in the score, click Select. You return to the score, and can then place the Smart Line Style. Instead
of using the Select button, you can simply double-click the desired Smart Line Style.

See Also:
Smart Shape Tool
Smart Line Style

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Smart Line Selection

Selection Overview

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Smart Line Designer

Smart Line Style

How to get there

Click the Smart Shape Tool . Choose Smart Shape Options from the Smart Shape Menu. Click Select next to Smart Line Style. Or, ctrl-click the Custom Line
Tool in the Smart Shape palette.

What it does
The Smart Line Style dialog box allows you to create or edit the Smart Line Style you would like to use.

Line Style: Solid • Dashed • Character. Select the line style to be used for this item.
Horizontal. Select this option to ensure that the Smart Shape you are defining can only be placed horizontally, not diagonally.
Line Adjustments: Start H • After Text • Cont H • After Text • End H • Before Text • V. Use these settings to adjust where you lines start,
continue and end, how high above or below your click point they appear, and whether the lines start, continue and end before or after any starting or ending text.
Thickness. Use this setting to modify the thickness of the dashed or solid line. This option is only available when Solid or Dashed is select from the Line Style
drop-down list.
Dash Length • Space. Use these options to modify the type of dashed line being used. These options are only available when Dashed is selected from the
Line Style drop-down list.
Character • Select • V(EMs) • Set Font. Set the character and the font for the item. Click Set Font to display the Font dialog box where you can select the
font type, size and style. Set the vertical positioning of the baseline in Em’s (these are point size independent units). Click Select to select the actual character to
use from the specified font. See Font dialog box and Symbol Selection dialog box. These options are only available when Character is selected from the Line
Style drop-down list.
End Point Style: Start • End: None • Preset Arrowhead; Select • Custom Arrowhead; Select • Hook. Set the starting and ending style of the
line using an arrowhead or a hook if desired. Specify the hook length in the Hook text box.
Text: Left Start • Left Continuation • Right End • Center Full • Center Abbr.; Edit • Position. Use these items to set up text combinations for the
left, right and center of your custom Smart Shape. Click Edit to display the Text Edit window where you can edit you text. Click Position to set the position of the
text relative to the selected line style. See Edit Text window and Position dialog box.

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Smart Line Designer

OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the custom Smart Shapes. You return to the score.

See Also:
Smart Shape Tool
Smart Shape Menu

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Slurs

Slurs
There are two ways to create a slur in Finale. The quick, easy way is to use a Smart Shape. A Smart Shape slur expands and
contracts with the music and automatically breaks in two if it straddles a line break. A bend (with regard to Finale behavior) is just a
special case of a slur.
If you want to place identical slurs in more than one staff, however, you can place a slur as a measure expression.

Note: Slurs and phrase markings technically serve different musical purposes. However, you use
the same Finale techniques to create both. In this discussion, the term slur refers to both kinds of
markings.

If there are times that you don’t want to create a note-attached slur, choose Attach to Measures from the Smart Shape Menu to
create measure-based slurs.

Tip: if you want all note-attached slurs or bends to be over or under, choose the slur direction without
any slurs or bends selected. This menu action sets the default direction.

See also Engraver Slurs.

To create a note-attached slur

1. Click the Smart Shape Tool in the Main Tool palette. The Smart Shape Palette and Smart Shape Menu appear.

2. Click on the Slur Tool in the Smart Shape palette, then position the cursor on the slur’s beginning note. Make sure that a
checkmark appears next to Attach to Notes in the Smart Shape Menu.
3. Double-click the mouse, holding the mouse button down on the second click. The note will be highlighted and a small slur line will appear.
Continuing to hold down the button, drag the slur to the right until you reach the note marking the end of the attachment. When Finale highlights that note, let go
of the mouse button. The new note-attached slur appears.

To create a slur spanning two consecutive notes, just double-click the mouse on the first note. Finale places the slur on the adjacent notes.

To move, reshape, or delete Smart Shape slurs

1. Click the Smart Shape Tool . The Smart Shape Palette and the Smart Shape Menu appear. A small handle appears on all existing Smart Shapes in
the score.
2. Click the handle of the slur you want to modify. You can also use the Tab key to select the desired slur, then hit Enter to modify the slur. The slur
displays several diamond handles and a polygon connecting the handles.

3. To move the slur or change its arc or its end points, drag the appropriate handle.

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Slurs

You can modify the slur in a few additional ways if you press shift while dragging: shift-drag an outer curve diamond handle to limit the direction you reshape
the slur to one direction. Shift-click an outer curve diamond handle or Bezier control handle and drag it to the right or left to reshape the slur and change the
“sharpness” of the slur’s inset; dragging away from the center of the slur makes the slur “fatter”, and dragging inward makes the slur more “pointed.” Shift-click
a Bezier control handle and drag it up or down to reshape the arc of the curve.

Note: Constrained dragging is temporarily disabled while slurs are edited. If you would like to use
constrained dragging press the shift key while you are moving the slur. See Program Options-Edit for
more information on the Constrain Dragging option.

5. To remove the slur from the score, press delete.

To change a note-attached slur’s direction


1. Select the slur whose direction you want to change (for instructions on selecting slurs, refer to “To move, reshape, or delete a note-attached slur”).
2. From the Smart Shape Menu, choose Direction, then select the direction (Automatic, Over, Under) that you want Finale to place this
slur. Or, you can use the keyboard shortcut ctrl-F to flip the slur.

To define Slur Contour (height and shape) settings for note-attached slurs

1. Click the Smart Shape Tool . The Smart Shape Menu appears.
2. Choose Slur Contour from the Smart Shape Menu. The Slur Contour dialog box appears.
3. Choose the desired Slur length—short, medium, or long or extra long. A slur appears in the Active display area beside a small square handle (the
control point handle). The Staff display area shows the slur in proportion to other elements in your score.
4. Drag the control point handle vertically or horizontally to change the slur’s height and inset, respectively. If you prefer, you can enter
values into the Height and Inset text boxes. The height is displayed in the measurement unit you’ve selected. The inset is a percentage of the slur length. Click
Reset at any time to return the slur to Finale’s built-in settings.
5. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel to discard any changes you made to the settings.

To define Slur Placement settings for note-attached slurs

1. Click the Smart Shape Tool . The Smart Shape Menu appears.
2. From the Smart Shape Menu, choose Smart Shape Placement. The Smart Shape Placement dialog box appears.
3. Choose Slur from the Smart Shape type drop down list in the dialog box.
4. Select a slur from the list box. The slur appears in the Active display area.
5. Drag the slur end point vertically and horizontally until the slur attaches to the notes the way you want it to attach to similar types
of notes in the score. Instead of using the mouse, you can enter values into the text boxes using the measurement unit you’ve selected.
6. Drag the other end-point of the slur to adjust it.
7. Click Reset at any time to return the slur to Finale’s built-in settings.
8. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel to discard any changes you made to the settings.

Note: All slurs of this type that you create from now on (in this document) will use the Slur Placement
settings. The settings also apply to slur end points that haven’t been manually adjusted in all similar
existing slurs.

To define Slur System Break settings

1. Click the Smart Shape Tool . The Smart Shape Menu appears.
2. Choose Smart Slur Options from the Smart Shape Menu. The Smart Slur Options dialog box appears.
3. Enter a number into the Avoid Staff Lines by at Least text box to specify the desired distance between the slur and the outside staff
line closest to the slur.
4. Enter a value into the System Start Adjustment and the System End Adjustment text boxes, specifying where the slur should start
and end in each of the staff systems spanned by the slur.
5. Click OK (or press enter) when you’re ready to save the new settings. Or click Reset at any time if you want to restore the original built-in settings.

Note: All slurs created from now on will use these settings for each system break. These settings also
apply to end points of existing slurs (from one staff to the next), if the end point hasn’t been manually
adjusted.

To define Slur Thickness

1. Click the Smart Shape Tool . The Smart Shape Menu appears.
2. From the Smart Shape Menu, choose Smart Slur Options. The Smart Slur Options dialog box appears.

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Slurs

3. Enter a number (in a measurement unit you’ve selected) into the Slur Thickness text boxes to specify the desired line thickness and
shape of all slurs. Each slur is composed of two curves, an inner curve and an outer curve. These settings determine the relationship between the curves -
how fat the slur is, how fast it tapers and whether one side is thicker than the other (for a “hand drawn” look).

The V setting determines the general thickness of the slur. Equal values give a balanced slur; unequal values make it thicker on one end than the other. The
H settings can make the slur taper more or less quickly: a positive value on the left (mirrored by the opposite value on the right) will make it appear to taper
more quickly, a negative value less quickly.

1. Enter a number (in a measurement unit you’ve selected) into the Slur Tip Width text box to specify the desired thickness of the tip of a slur.
2. Click OK (or press enter) when you’re ready to save the new settings. Or click Reset at any time if you want to restore the original built-in settings.
Click Cancel to discard any changes you made to the settings.

Note: All slurs you create from now on will use these settings. Also remember that all slurs already in
the score will change to reflect these settings.

To copy Smart Shape slurs


Using the following technique, you can copy Smart Shape slurs from one place in the music to another, or from one staff to another. See also SmartFind and Paint
dialog box.

1. Click the Selection Tool .


2. From the Edit Menu, choose then Copy Items. The Edit Filter dialog box appears.
3. Click Smart Shapes (Attached to Notes). Click OK (or press enter).
4. Select the region containing the Smart Shapes you want to copy. See Selecting music for some region-selecting shortcuts.
5. Drag the first source measure so that it’s superimposed on the first target measure. If the first target measure is not on-screen, scroll until you
see it. Then, while pressing ctrl and shift simultaneously, click the first target measure. In either case, the Copy Measures” dialog box appears (unless you’re
copying to the same measure on a different staff).
6. Type the number of times you want the Smart Shapes copied (horizontally). Click OK (or press enter).

To create a Shape Expression slur


While Smart Shape slurs are quick and easy to put into one staff at a time, you may occasionally want to create a Shape Expression slur, and place it into the score
using the Expression Tool. Expression slurs have an advantage over Smart Shapes: they may be placed into many staves simultaneously (using Attach to Measure).
They have one significant disadvantage: they don’t break in half if they begin in one system and continue on another. See also SmartFind and Paint dialog box.
If your Maestro Font Default file is in place, or if you’ve loaded a Shape Expression Library, you don’t need to draw the slur in the Shape Designer.
It’s important that you place expression slurs into the score with Metatools. If you don’t, you may discover that every expression slur in your piece is reshaped when
you change the shape of any one of them. (Expressions, the Shape Designer, and Metatools are all discussed under the entries Expressions.)
When you place a slur into the score with an Expression Metatool, it initially appears in every staff. If you want to specify a subset of staves in which it’s to appear,
shift–double-click the shape’s handle. The Measure Attached Expression Assignment dialog box appears, and you can click Staff List Select button to specify the
staves in which the slur is to appear. Again, see Expressions.

1. Click the Expression Tool , and press shift with a number or a letter. (You’re in the process of programming an Expression Metatool. You’re
going to assign the slur to the number or letter key you just pressed.) The Expression Selection dialog box appears.
2. Select Measure Expression.
3. Click Shape. If your Maestro Font Default file is in place—or if you’ve loaded a Shape Expression Library—a selection of slur shapes appear.
4. If you see the slur you want in the palette, double-click it and press enter. Skip ahead to the instruction marked by the asterisk (*).
5. If you don’t see the slur you want, click as follows: Create; Select; Create. You arrive at the Shape Designer, where you can now create the slur
shape.

6. Click the Slur Tool . Starting on the small white circle, click and drag directly to the right (for an over-slur) or to the left (for an
under-slur). Finale draws a curve based on the direction in which you drag.

7. To adjust the slur, click the Selection Tool , click the curve, and drag the three shaping handles. For more control, double-click one of
these handles to make the four control handles appear; drag the middle control handles to reshape the curve. Drag the outer handles to move the endpoints.
8. Choose OK or Select in each dialog box until you return to the document. You’ve now successfully programmed a Metatool.
9. To place the slur in the score, hold down the number key corresponding to the Metatool you programmed and click the measure
where you want the slur to begin. The slur appears. To place other slurs in the score, repeat this step. To reshape the slur, double-click its handle to
make the three shaping handles appear. For more control, double-click one of these three handles to make the four control-point handles appear, which you can
drag to change the slur’s shape.

Tip: You might consider programming two Metatools—one for an over-slur and one for an under-slur.

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Installation for Windows

Installation for Windows

Installing Finale
Macintosh users: skip to the next section, Installation for Macintosh.

If you are viewing this on-screen, you have likely already installed Finale. Skip to Preparing for
Printing.

Installing Finale onto your hard disk is easy, whether you’re upgrading from a previous version or working with Finale for the first time. Before you begin installing
Finale, make sure there’s enough room on your hard disk to hold the program and its associated files. For a full installation, you’ll need about two hundred megabytes
(200,000K) of free space on your hard disk. An additional 1.6GB is required for all the Garritan sounds. You should also bear in mind that, like many other software
programs, Finale creates and makes use of “temporary files” during its normal operations, which it then deletes from your hard disk when you exit the program. We
recommend having an additional ten megabytes (10,000K) of free disk space for these files.
Because some virus detection programs can prevent certain files from installing properly, we recommend you temporarily disable anti-virus programs. Rest assured,
your Finale CD does not contain any viruses. If you are installing on Windows XP Professional, make sure you are logged in as the System Administrator and reboot
after installation.

The Installer sets up a folder called “Finale 2008” for the Finale program and its associated files and
folders. Do not alter this setup.

Insert the Install disc into your CD/DVD drive.


If the Setup Program doesn’t start, click the Start Menu and choose Run.
Type d:\setup (where D represents the CD/DVD drive on your machine) and click OK. The Finale Setup program starts the installation process.
Follow the instructions on the screen until the installation is complete. The Finale Installer lets you select which files you want installed and
where you want them placed on your hard disk. The Installer offers to create a folder called “Finale 2008”. We recommend that you install all of the Finale files
into this new folder. For the most part, you can press Enter to confirm each screen’s defaults.

If upon trying to install, you get the error message: “Cannot find the file,” your CD/DVD drive may be
assigned to a letter other than D. Look in “My Computer” to find out which letter is associated with
your CD or DVD drive.

Remove the Installer disc from the drive and store it in a safe place! If anything happens to your hard disk, you can reinstall Finale from your
original disc.

When you open any older Finale family notation file (from the File Menu, choose Open, then navigate to your older file), Finale 2008 takes a moment to convert
it into the new format, then opens it as an “Untitled” file. If you save the file in Finale 2008 using the same name as before, you will not be able to reopen that
file using an earlier version of Finale. It is suggested, therefore, that you save the file with a slightly different name (for instance, “My Score” could become “My
Score 2”), unless you are absolutely sure that you won’t need to reopen it in an earlier version of Finale.

Preparing for Printing


Before you can print from Finale, you must set up Windows to work with your printer. See your Microsoft Windows User Manual for details.
For information on printing in Finale, see Printing in the User Manual or consult Tutorial 3 in this volume.

Setting up your MIDI System


If you are not using MIDI, skip this section. If you’re just getting started with MIDI, this section provides basic instructions for connecting your equipment.
MIDI stands for Musical Instrument Digital Interface. It’s the language spoken by computers and electronic musical instruments. We’ll assume that you’re connecting a
MIDI keyboard, although you can use any MIDI instrument. In this book, “MIDI keyboard” refers to whatever type of MIDI device you are using.
We will assume that your computer is equipped with a sound card, which is designed to also act as a MIDI interface and has the appropriate driver software installed.
If you are using a dedicated MIDI interface, you will need to consult its documentation for instructions on setting up your MIDI system. At the very least, in addition to
the sound card you will need the following equipment for an operational MIDI system (not including your computer):

A MIDI keyboard
Amplifier/speaker or headphones
A MIDI cable (the sound card accessory which connects to the card’s game/joystick port on one end, and has two MIDI cables on the other end)
The last item, a MIDI cable, is an optional accessory which may have been included when you purchased your sound card. If you do not have this accessory cable,
contact a local music store or the manufacturer of your sound card.

Install your sound card or USB interface and its drivers. See its documentation for instructions.
Place the computer, keyboard, and MIDI interface where you want them. Go ahead and plug in any power cords, but don’t turn anything on yet.
If you are using a sound card, plug the game/joystick port end of the MIDI cable into the game/joystick port of the sound card. If you
are using a USB interface, connect it to your computer using a USB cable. Again, if you are using a USB interface, consult its documentation for
specific instructions.
Plug the MIDI cable marked MIDI OUT into the MIDI IN port on your MIDI keyboard, and the MIDI cable marked MIDI IN into the MIDI
keyboard port marked MIDI OUT. The MIDI ports on a MIDI keyboard are usually on the back of the unit. The most common problem encountered by a
new MIDI user is improperly connected cables. The trick is to think of the route the music data is taking. The notes you play will leave your MIDI keyboard from
the port marked Out, and proceed to the computer through a cable or port marked In. Similarly, when the computer plays back your music, the notes leave the
computer through the port or cable marked Out and enter the MIDI keyboard through the port marked In. So, although it may seem contrary to common sense,
plug the In to the Out and vice versa.

Your connections should resemble those in this figure:

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Installation for Windows

Turn on all your equipment.

If you discover that Finale isn’t responding to your MIDI keyboard, check these connections again, and consult the manual that came with your sound card.

Starting and Authorizing Finale


Double-click on the Finale 2008 icon. It will be on your desktop. When you launch Finale for the first time, you will see the Authorize Finale dialog box.
This dialog box continues to appear each time you launch Finale until the product is authorized.
Click Authorize Now! to start the Finale Authorization Wizard. Follow the simple instructions to authorize your copy of Finale. Or, click Remind Me
Later to authorize at a later time. You have 30 days to authorize your copy of Finale. After 30 days, printing and saving are disabled until your copy of Finale is
authorized.

If you have Internet access (and are not running firewall, security, or virus software that would block information from being received back at your computer),
simply select this option, and the rest is taken care of automatically.
Otherwise, select one of the other options for phone, FAX, or standard mail, and a window will be displayed containing a User Code. You may print out this
page and FAX or mail it to us, or you can call with your serial number and User Code. In either case, we will generate an Authorization Code that you manually
type in to complete the process. In each case (including internet), our system automatically sends an e-mail confirmation of the information. If you selected the
internet option, but have a firewall that blocked the information from being received, then you can manually type in the Authorization Code information provided.
Your copy of Finale can be authorized on two computers simultaneously. However, with an Internet connection, authorization can be moved from one computer
to another at will. Simply choose Deauthorize Finale from the Help Menu to open up a free authorization slot. Your copy of Finale can now be authorized on a
different computer. Also, deauthorize prior to making hardware changes to your computer, such as replacing a hard drive. Doing so will ensure a slot is open to
authorize after updating your hardware. When you deauthorize, printing and saving are disabled until authorization has been restored.

PLEASE NOTE that the User/Authorization Codes are computer specific, and will only work on the
given computer installation. Make sure that the Authorization Code is typed in using capital letters, and
also verify that the correct serial number has been entered. If you have made a change to the
computer (replaced the hard drive or motherboard, or installed a new operating system), and didn’t
deauthorize prior to doing so, contact Customer Service directly by phone, FAX, or standard mail with
your serial number and the location ID for the specific installation in question, and one of our
representatives can clear the previous authorization from your account. If the software is not
"reminding" you to authorize when you run the program, then the authorization has been successfully
completed.

Next, the MIDI Setup dialog box appears. Here, you can choose the devices you want to use for MIDI Input and playback. You’ll learn how to configure MIDI
using this dialog box in the next section.

Click OK. The Launch Window appears. From here, you can choose how you want to begin a new score, continue working on an existing project, or
access reference materials. For example, choose Setup Wizard to begin a new custom document by specifying the title, staves, key signature, time signature, and
other attributes for your new score. We’ll explain more about the Setup Wizard in chapter 1a.

The MIDI Setup Dialog Box


The first time you launch Finale, the MIDI Setup dialog box will appear (subsequently it’s found in Finale’s MIDI Menu).
This is where you instruct Finale which MIDI drivers you’d like to use. Finale begins by scanning your system and finding the MIDI drivers that are already installed.
On the left side of the dialog box, under MIDI In, the program will select the MIDI In Device that is present on your computer (for example, “Sound Blaster MIDI Input”).
In the right-hand box, the program will select Finale’s SoftSynth (software synthesizer) which is installed with Finale. You can easily choose a different device to enter
or play back your music. Any time you’d like to hear the music on your computer’s speakers (which are connected to your sound card), you’d typically choose a driver
with the term “Synth” or “Synthesizer” in it. If, on the other hand, you’d like Finale to play back on an external MIDI device (which would require its own speaker and
amplifier), choose a driver which has “MIDI Out” in its name.
You can leave SoftSynth selected for the MIDI output device to play back with your computer speakers using Finale’s default General MIDI sounds. Or, choose from
the available synthesizers on your computer. The following diagram shows the MIDI Setup dialog box properly configured to play back through the computer’s speakers
via a sound card.

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Installation for Windows

The diagram below shows the MIDI Setup dialog box properly configured to play back through an external MIDI device. Keep in mind that the specific driver names
will change depending on what sound card or MIDI device you have.

For more information, consult the User Manual under MIDI Setup dialog box. You’re all set to explore Finale.

Skip to the next section, How to Learn Finale.

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Paste Multiple

Paste Multiple

How to get there

Click the Selection Tool , and select a region of measures. From the Edit Menu, choose Cut or Copy (or press Ctrl-C or Ctrl-X). Highlight the first measure of the
desired destination region, and from the Edit Menu, choose Paste Multiple (or press Ctrl-Alt-V).

What it does
When you copy music using the Paste Multiple command, Finale offers you the chance to create multiple copies, placed one after another. For example, if you want a
one-measure bass figure to repeat three times, you need only enter it once (in the first measure); then you can use the Selection Tool to copy it into the second
measure using the Paste Multiple command. This dialog box appears, asking how many times you want it copied; for example, enter 3 for Paste Horizontally and click
OK. Finale will copy the selected measure into measures 2, 3, and 4.

Paste Horizontally; To the End of the Score. In this text box, enter the number of times you want the selected music copied horizontally (towards the end
of the score). If you enter a number higher than 1, Finale will place the additional copies after the first copy, on the same set of staves. Choose To the End of the
Score to replicate the source material throughout all subsequent measures in the score.
Paste Vertically; To the Bottom of the Score. In this text box, enter the number of times you want the selected music copied vertically (towards the
bottom of the score). If you enter a number higher than 1, Finale will place the additional copies beneath the first copy, on subsequent staves of the system.
Choose To the Bottom of the Score to replicate the source material throughout all subsequent staves in the score.
OK • Cancel. Click OK to proceed with, or Cancel to abort, the copying process. You return to the score.

See Also:
Copying Music
Selection Tool

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Edit Filter/Clear Selected Items

Edit Filter/Clear Selected Items

How to get there


Edit Filter: From the Edit Menu, choose Edit Filter (Shift-Alt-Ctrl-F). Or, select a region of music, then a Ctrl-Shift-Click the target region. Or, if you want to paste
from the clipboard, press Shift-Ctrl-V to call the Edit Filter dialog before the paste.

IMPORTANT: The settings for copying (Edit Menu > Edit Filter) in the Edit Filter dialog box are
program-wide. That means these settings apply to all documents when copying music, even after
closing and restarting Finale. If you are unsure of previous settings be sure to review this dialog box
prior to copying to ensure it is set up as desired. In contrast to copying, the Clear Selected Items
dialog box invoked for clearing items (Edit Menu > Clear Selected Items) is session-specific and resets
after each use.

What it does
You can copy or erase any element of your music without disturbing the remaining elements. This dialog box lets you specify which elements you want to copy or
erase. For example, you might want to erase only the lyrics from a selected region, or you might want to copy only staff styles or time signatures from one place to
another. You can specify any combination of items to copy or erase. Settings made here apply to music copied using both the drag-copy method and the
Copy/Replace Entries commands under the Edit Menu.

Item What it includes


Entries When copying music, this includes notes and rests only, including their spacing.
The Entry Modifications dialog box appears when you click this checkbox, letting
you specify changes you want made to the selected music in the process of
copying. For example, you could copy a musical passage from one location to
another, but specify that the copy be transposed. See Entry Modifications dialog
box.
If you’re clearing, clicking Notes and Rests is the same as selecting all entry-
related items (notes, articulations, slurs, lyrics, chord symbols, and so on) from the
selected region (because those items can’t exist unless there are notes they can be
attached to).
Tuplet Definitions This element is only available when you’re erasing; it specifies that tuplet definitions
created with the Tuplet Tool will be cleared from any tuplets in the selected region.
In other words, if you select it, Finale will turn all tuplets (triplets, quintuplets, and
so on) into normal non-tuplet notes (even if the result is too many beats in the
measures). See Tuplet Tool for more information.

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Edit Filter/Clear Selected Items

Articulations Select this item to clear or copy all articulation markings (staccatos, accents, and
so on) created with the Articulation Tool. See Articulation Tool for more information
on Articulations.
Beam Extensions These elements refer to beaming changes you’ve made with the Special Tools Tool
(the Beam Extension tool). The significance of this and other elements in this dialog
box pertaining to beaming is that you need only create such special beaming once
—in the first measure. Then you can use this dialog box to copy only the beam
modifications to other measures; even if the notes are different, they’ll receive the
same custom beaming as the source measure. See Special Tools Tool.
Chords This item governs chord symbols (and fretboard diagrams, if any) you created with
the Chord Tool. If you’re copying chord symbols from one passage to a passage in
a different key, Finale transposes the chord symbols automatically. See Chord Tool
for more information on Chord symbols.
Dot and Tie Alterations Special Alterations include any changes you’ve made with the Tie or Dot tools in
the Special Tools Tool. See Special Tools Tool.
Cross-staff notes This element refers to cross-staff notes (notes that have been moved, for clarity, to
another staff with the Note Mover Tool or with the Cross Staff Plugin). If you don’t
select Cross-Staff Notes, Finale still copies all notes in the selected region; the
difference is that the resultant copy will return the cross-staff notes to their original
staff. (In order for cross-staff notes to copy, you must also have both staves in your
selection.) See Note Mover Tool.
Lyrics Select this item to copy or erase lyrics you created with the Lyrics Tool. See Lyrics
Tool for more information on Lyrics.
Note Expressions This element includes all note expression marks you’ve created with the Expression
Tool. See Expression Tool for more information on expressions.
Notehead, Accidental and Tablature This item includes any reductions or enlargements you’ve performed on notes or
String Alterations note groups with the Resize Tool, as well as adjustments you’ve made to the
positions of notes or accidentals with the Special Tools, or string changes to fret
numbers on TAB staves. If you’ve created a measure of cue notes, for example,
you’d select this checkbox to copy onto other measures so that their notes are
reduced equally. See Resize Tool and Special Tools Tool
Performance Data Performance data includes the key velocity information (how hard you struck each
key) as well as note durations, minor rhythmic deviations from the beat (Start and
Stop Time data).
When you record a real-time performance or sequence (using the Transcription
Mode of HyperScribe), Finale gives you the option of saving certain MIDI
information that make the performance sound human.
After you’ve transcribed a performance, you can tell Finale to play back the
notation and the captured performance data, giving the playback a very human
"feel" (as opposed to the very precise but "square" sound Finale produces when it
reads only the notation). If you select Performance Data in this dialog box,
therefore, you can actually copy this "feel" information onto other passages in your
score (or erase it altogether).
You can use the MIDI Tool to copy or erase only specific elements of performance
data—for example, only the key velocity data, or only the Note Duration (Start and
Stop Time) information.
Secondary Beam Breaks These refer to beaming changes you’ve made with the Special Tools Tool (the
Secondary Beam Break tool). The significance of this and other elements in this
dialog box pertaining to beaming is that you need only create such special
beaming once—in the first measure. Then you can use this dialog box to copy only
the beam modifications to other measures; even if the notes are different, they’ll
receive the same custom beaming as the source measure. See Special Tools Tool.
Smart Shapes (Assigned to Notes) This checkbox allows you to select note-attached slurs or bends for copying and
erasing.
Stem and Beam Alterations This element refers to custom stemming and beaming you’ve created with the
Special Tools Tool. It includes any changes you’ve made with the Stem Length,
Custom Stem, Broken Beam, Beam Angle, and Secondary Beam Angle tools. See
Special Tools Tool.

Barline Styles The barline style specified in the Measure Attributes dialog box.

Continuous Data (Copy or Erase) MIDI controller data (panning, volume, pedaling, channel pressure,
and so on) and pitch wheel data you’ve captured from a performance in
Hyperscribe.or added using the MIDI Tool.

Extra Space The space specified for "Extra Space at Beginning" and/or "Extra Space at End" in
the Measure Attributes dialog box.

Graphics (Assigned to Measures) (Copy or Erase) Graphics you’ve attached to measures, in Scroll View only, with
the Graphics Tool.

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Edit Filter/Clear Selected Items

Key Signatures (Copy only) Any key changes you’ve created with the Key Signature Tool.

Measure Expressions (Copy or Erase) Expression markings you’ve created with the Expression Tool:
dynamics, rehearsal marks, and so on.

Measure Number Positioning & (Copy or Erase) Any occurrences (in a region for which you’ve specified measure
Enclosures numbers with a geometric enclosure on Selected Numbers) where you’ve added,
deleted, or resized the enclosures with the Measure Tool. This will erase manual
positioning of measures numbers as well. (Measures that have been forced to
show will copy with a Stack Selection.)

Measure Positioning (Copy only with Automatic Music Spacing off) The music spacing you’ve specified
by using the Music Spacing commands, or by dragging the handles of individual
measures’ beat charts.

Measure Widths (Copy only) The barline-to-barline widths of a region of source measures. When
you click this item, the Copy Measure Width dialog box appears, where you can tell
Finale how, or if, you want to change the measure width of the copy you’re
creating.

Note Positioning (Copy only) This refers to the type of Note positioning you have selected in
Measure Attributes. Automatic Music Spacing must be off and a Stack must be
selected.

Ossia (Assigned to measures) (Copy or Erase) Floating measures you’ve attached to measures, in Scroll View
only, with the Ossia Tool.

Page Breaks (Copy or Erase) Page breaks added with the Page Layout Tool. Stack selection is
required.

Repeats (Copy or Erase) Repeat barlines, endings or text repeats (such as "To Coda")
created with the Repeat Tool. Stack Selection is required.

Smart Shapes (Assigned to (Copy or Erase) The intelligent, stretchable expression markings created with the
measures) Smart Shape Tool: slurs, brackets, crescendos, and so on.

Split Points (Copy or Erase) Any measure "split points"—places you’ve specified as permissible
breaking points in a long measure that might straddle a system break. (You create
split points with the Measure Tool.)

Staff Styles (Copy or Erase) Any Staff Style defined as "copyable" in the Staff Style dialog box.
Erase any Staff Style in the selected region Stack selection is required.

System Breaks (Copy or Erase) System Breaks added with the Page Layout Tool.

Tempo Changes (Copy or Erase) Tempo changes captured from a TempoTap session, or edited by
the Tempo Tool.

Text Blocks (Assigned to Measures) (Copy or Erase) Text blocks you’ve attached to measures with the Text Tool.

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Edit Filter/Clear Selected Items

Note: Time Signatures always copy with stack selections, and never without a stack selection.

Copy Clefs: Always • Never • When Needed. Use the Clef radio buttons to determine whether to include the starting clef and any clef changes in the
selected region for copying. Choose Always to include the clef of the source region while copying. Choose Never to always use the clef of the destination region
for the copied material. Choose When Needed to copy the clef only when there is a clef change within the original selected region.
Uncheck All • Reset to Defaults. Click Uncheck all to deselect all items in this dialog box. Click Reset to Defaults to restore the original settings.
None • All. Click None to deselect all items in this dialog box and to set Copy Clefs to Never. Click All to check all items and set Copy Clefs to When Clef
Changes.
OK • Cancel. Once you’ve selected those items you want to copy or erase, click OK to exit the dialog box and proceed with the process. Click Cancel if you
decide not to copy or erase anything.

See Also:
Copying music
Clear Selected Items dialog box
Edit Menu

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Erasing

Erasing
You can erase any individual element of music from any specified region: lyrics, chord symbols, articulations, and so on, without removing any actual notes. If you
want, you can also quickly erase all elements, including notes, from the desired region.

To erase everything from a selected region

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. Press backspace (laptop users Fn-6) or select Clear All Items from the Edit Menu. Finale erases all music, leaving empty measures behind. (If
you want to remove the measures too, select full measures and press the delete key. Pressing the Delete key without a full measure selection erases the music
without deleting the measures themselves).

To erase a note, rest, or chord

1. Click the Simple Entry Tool .

2. Click the Eraser Tool , then click the note, rest or chord. The entire note, rest, or chord disappears, and the music that follows it slides to the
left to fill the space.

To erase a note from a chord

1. Click the Speedy Entry Tool . Click the measure in question.


2. Click the notehead you want to delete. You can also use the arrow keys to position the insertion bar and crossbar on the notehead.

3. Press backspace (laptop users Fn-6) or shift-delete. Alternative method: Click the Simple Entry Tool , click the Eraser icon , and click
directly on the notehead to be erased.

To erase selected elements from a selected region

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. Choose Clear Selected Items from the Edit Menu (or, right-click the region and choose Clear Items). The Clear Selected Items dialog box
appears. See Clear Selected Items dialog box.
3. Check the items you would like to clear. Uncheck Entries if you would like to clear individual entry items.
4. Click OK (or press enter) twice. Finale erases the selected items. (You can undo this action by immediately choosing Undo from the Edit Menu.)

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Edit/Undo

Edit/Undo

All Finale’s document settings can be restored to their previous settings with the “undo” command. After you change a dialog box that contains document settings and
click OK to dismiss the dialog box, you can choose Undo from the Edit Menu to return to the previous settings. You can also use the Edit Menu Toolbar icon to undo
any action. Data Check actions are also undoable when you return to the active document.
You can undo the settings in all dialog boxes in the Document Options dialog box under the Document Menu, and in dialog boxes associated with the tools that contain
document settings. These dialog boxes include: the Default Tuplet Visual Definition; and all dialog boxes associated with the Smart Shape Menu (Smart Shape Tool).
As you edit a file, Finale automatically saves your operations so they can be quickly reversed if you choose Undo from the Edit Menu. However, you might occasionally
run low on disk space while you’re working in Finale. A quick way to recover space without exiting Finale is to toggle Undo off and on in the Edit section of the
Program Options (see Program Options- Edit). This causes Finale to delete and recreate the “undo” files it’s currently maintaining, which frees up space on your hard
disk. These files will always be automatically deleted when you exit Finale. See Undo.

Tip: Choose the Undo Tool from the Edit Menu Toolbar to perform this action.

See Also:
Edit Menu
Undo/Redo Lists

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Edit/Redo

Edit/Redo

Choose Redo to perform the previous undo action. You can also use the Edit Menu Toolbar icon to redo any action. If you have performed too many undo actions in a
row, use the redo to replace the actions removed. See Undo.

Tip: Choose the Redo Tool from the Edit Menu Toolbar to perform this action.

See Also:
Edit Menu
Undo/Redo Lists

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Edit/Undo/Redo Lists

Edit/Undo/Redo Lists

Choose Undo/Redo Lists to display the Undo/Redo Lists dialog box with a list of your past actions. You can also use the Edit Menu Toolbar icon to show this list of
actions. You may select a point in this list in which to undo or redo your actions. See Undo/Redo Lists dialog box and Undo.

See Also:
Edit Menu

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Edit/Select All

Edit/Select All

You can use this command with a number of tools to select various handles or measures. In many cases, you can exclude (deselect) one handle at a time from the
selection by Shift-clicking its handle.

See Also:
Edit Menu

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Edit/Select Region

Edit/Select Region

When you choose this command, the Select Region dialog box appears, in which you can enter the staff names, beat and measure numbers that define the region you
want to select. When you click OK, Finale selects the region you’ve specified—even if none of it is visible on the screen.

For more information, see Select Region dialog box.

See Also:
Edit Menu
Staff Tool

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Edit/Cut

Edit/Cut

After selecting a region of music with the Selection Tool, choose Cut to place the selected music on the Clipboard and simultaneously remove the music from the
document. If a stack is selected, the measures will be removed. If the measure selection is not a stack, the contents of the selection will be cleared.
Once you’ve placed the cut music on the Clipboard, you can paste it to another place in your document or into another Finale document. You can also use the Edit
Menu Toolbar icon to Cut to the Clipboard.
If you like, you can save the cut material into a separate file, called a Clip File, which you can later access for pasting into another document. Press ctrl while choosing
Cut; Finale will ask you to give the Clip File a name. In this way, you can create an assortment of musical segments or motifs, each of which you can access with the
Insert from Clipfile or Paste from Clipfile commands to paste them into other documents; hold down ctrl and click the Edit menu, then choose Insert from Clipfile or
Paste from Clipfile. Items inserted or pasted from a clip file depend on the elements selected in the Edit Filter dialog box.
You can also place cut text on the Clipboard from Finale’s Edit Lyrics or Edit Text windows, as well as access the cut menu item itself in either of these windows.

See Also:
Edit Menu
Text Tool

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Edit/Copy

Edit/Copy

After selecting a region of music with the Selection Tool, choose Copy to place a duplicate of the selected music on the Clipboard; you are now ready to paste to
another place in your document or another Finale document. (You can’t paste copied Finale music into another program, however; see Graphics Tool for instructions
on transferring music graphics.) You can also use the Edit Menu Toolbar icon to Copy to the Clipboard.
As with the Cut command, you can press ctrl while choosing Copy to save the copied material into a separate Clip File, which you can later access for pasting into
another document. Finale will ask you to give the Clip File a title. In this way, you can create an assortment of musical segments or motifs, each of which you can
access with the Insert from Clipfile or Paste from Clipfile commands. Items inserted or pasted from a clip file depend on the elements selected in the Edit Filter dialog
box.
You can also place copied text on the Clipboard from Finale’s Edit Lyrics or Edit Text win¬dows, as well as access the Copy menu item itself in either of these
windows.

See Also:
Edit Menu
Text Tool
Copying music

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Edit/Insert

Measure/Insert
Choose Insert if you want to insert whatever music you’ve cut or copied to the Clipboard between two existing beats or measures.

If you copied a full measure stack to the clipboard, and would like to insert it, select the a region including the beginning of a measure on the top staff.
Then, choose this menu item to insert the copied measures, nudging subsequent measures to the right.
If you copied a region lesser than a full stack, first tell Finale where you want the material inserted by selecting any amount of music just after the
desired point of insertion. When you choose this menu item, Finale will shift the subsequent notes to the right, rebarring the piece as necessary, only in the
staves you're inserting into. See Rebarring music.

See Copying musicEdit Filter dialog box for an illustration. Items inserted depend on the elements selected in the . Hold down Shift and click the Edit Menu to change
this command to Insert and Filter. When you choose Insert and Filter, the Edit Filter dialog box appears allowing you to choose which items you would like to insert.
If you've created Clip Files using the Copy or Cut commands, you can paste any one into the score using the Insert command. Press Ctrl while choosing Insert; the
command name changes and Finale displays the Paste dialog box showing the names of any Clip Files on your disk. Double-click the one you want to insert.

See Also:
Edit Menu

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Edit/Paste

Edit/Paste

Choose Paste if you want whatever music you've cut or copied to the Clipboard to paste over (replace) the selected music in the target file (first use the Selection Tool
to select the destination of the paste).

While pasting, the items that appear in the destination region depend on the elements selected in the Edit Filter dialog box.

If you've created Clip Files using the Copy or Cut commands (see above), you can paste any one of them into the score using the Paste from Clip File command.
Press Ctrl before choosing Paste; the command name changes and Finale displays the Paste dialog box showing the names of any Clip Files on your disk. Double-
click the one you want to paste.
You can also paste text you've cut or copied to the Clipboard in Finale's Edit Lyrics or Edit Text window, or when editing text on-screen with the Text Tool. Choose
Paste from the Edit Menu, or use its keyboard equivalent (Ctrl-V) if you want the selected text replaced with whatever text you've cut or copied to the Clipboard.

See Also:
Edit Menu
Copying music

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Edit/Paste Multiple

Edit/Paste Multiple

Select a target region and then choose this option open the Paste Multiple dialog box where you can paste multiple copies of the source material to the target region.
You can replicate the source material as many times as you want either vertically or horizontally.

See Also:
Edit Menu
Copying music

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Edit/Use Filter

Edit/Use Filter

Use this menu item to specify that you want to use the settings in the Edit Filter dialog box while pasting (rather than pasting everything).

See Also:
Edit Menu

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Edit/Edit Filter

Edit/Edit Filter

When you choose this command, Finale displays the Edit Filter dialog box, listing various score elements (Smart Shapes, articulations, measure widths, MIDI data, and
so on) that you can select for copying. For a complete list that includes descriptions of these elements, see Edit Filter dialog box. When this item is selected, your
copying actions will only copy the selected items.

See Also:
Edit Menu
Copying music

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Edit/Move/Copy Layers

Edit/Move/Copy Layers

This command provides a way to move music from one of Finale’s transparent staff layers to another. You can even swap the music between layers—if, for example,
you mistakenly entered several stems-down notes in Layer 1, which you intended to use only for stems-up (upper) voices. See Move/Copy Layers dialog box this
command only affects full-measure selections.

SEE ALSO:
EDIT MENU

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Edit/Clear All Items

Edit/Clear All Items

When you choose Clear All Items, Finale removes the contents of the selected music (whether or not you’ve selected entire measures), leaving equivalent rests
behind. (This command performs the same function as highlighting measures and pressing the Backspace key.)

Tip: For more control, choose Clear Selected Items from the Edit Menu to selectively delete items from
the score.

See Also:
Edit Menu

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Edit/Copy Selected Items

Edit/Use Filter

When you choose this command, Finale displays the Edit Filter dialog box, listing various score elements (Smart Shapes, articulations, measure widths, MIDI data, and
so on) that you can select for copying. For a complete list that includes descriptions of these elements, see Items to Copy dialog box. When this item is selected, your
copying actions will only copy the selected items.

For detailed information, see the Edit Filter dialog box.

See Also:
Edit Menu

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Edit/SmartFind and Paint

Edit/SmartFind and Paint

Use these options to copy items, such as articulations, expressions, slurs, and other Smart Shapes, to other rhythmically identical regions throughout the document.

Set SmartFind Source Region


Deselect SmartFind Source Region
Apply SmartFind and Paint

See Also:
Edit Menu

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Edit/Text Search and Replace

Edit/Text Search and Replace

With this command, search and replace text in the form of text blocks, lyrics, file info, smart shapes, or staff/group names.

See Also:
Edit Menu

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Edit/Add Measures

Edit/Add Measures

Choose this menu item to add measures to the end of your score.

For more details see the Add Measures dialog box.

See Also:
Edit Menu

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Edit/Insert Measure Stack

Edit/Insert Measure Stack

Choose Insert Measure Stack if you want to insert a stack you've cut or copied to the Clipboard. First tell Finale where you want the material inserted by selecting any
amount of music just after the desired point of insertion.

This option is only available if you copied a full measure stack to the clipboard.

If the music on the Clipboard was copied from ten staves, you don't have to insert the contents of all ten staves in the target score. For example, you can select
(highlight) a measure in only four staves of the target score; Finale will insert the measures in all staves.

If you've created Clip Files using the Copy or Cut commands, you can paste any one into the score using the Insert command. Press Ctrl while choosing Insert; the
command name changes and Finale displays the Paste dialog box showing the names of any Clip Files on your disk. Double-click the one you want to paste.

See Also:
Edit Menu
Text Tool

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Edit/Delete Measure Stack

Edit/Delete Measure Stack


Choose this menu item to delete selected measures from the score. Full measures in all staves (measure stacks) need to be selected in order for this menu item to be
available. Also, use the Delete key to delete selected measure stacks.

See Also:
Edit Menu

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Edit/Multimeasure Rests

Edit/Multimeasure Rests

Use the Multimeasure Rests submenu to break existing multimeasure rests, create multimeasure rests regardless of whether Special Part Extraction is on, or edit the
appearance of a multimeasure rest. Remember that you must be in Page View to change multimeasure rests.

Choose Create for Parts/Score to open the Select Parts/Score dialog box. Here you can specify which parts get multimeasure rests. Finale will process each part
you select and add multimeasure rests automatically. See Multimeasure Rests in linked parts.

Use the commands in this submenu to break existing multimeasure rests, create multimeasure rests regardless of whether Special Part Extraction is on, and edit the
appearance of an individual multimeasure rest. You must be in Page View to change multimeasure rests.

Break
Create
Edit
Create for parts/Score

See Also:
Edit Menu

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Edit/Edit Measure Attributes

Edit/Edit Measure Attributes

Choose this menu item to edit the characteristics of measures. For example, change the barline style, the width of the measure and if Time or Key Signatures will
appear in the measure.

For more details see the Measure Attributes dialog box.

See Also:
Edit Menu

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Edit/Enharmonic Spelling

Edit/Enharmonic Spelling

Use the commands in this submenu to control the chromatic spelling of your music when you enter notes using MIDI or use one of Finale's retranscription commands
such as the MIDI/Audio Menu's Retranscribe or Utilitiy Menu's Respell Notes. You can also edit enharmonic spelling tables for major and minor keys, and for modal or
chromatic spelling created in the Non-Standard Key Signature dialog box.

To determine how to spell diatonic notes (the unaltered pitches within the scale) entered in your music, Finale always uses the key signature. As an example, if the key
signature is G major and you play F sharp, it will always be notated as F sharp, not as G flat. When you chromatically alter a note, Finale will use the enharmonic
spelling method selected to determine how to notate it. For instance, in the key of C, the half-step between C and D may be notated as C sharp or D flat depending on
your enharmonic spelling selection.

Use Default Spelling


Favor Sharps
Favor Flats
Use Spelling Tables
Edit Major and Minor Key Spellings
Edit Modal or Chromatic Spellings

See Also:
Edit Menu

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Edit/Measurement Units

Edit/Measurement Units

In a number of Finale dialog boxes, you’re asked to specify a measurement: the margins of each page, for example, or the thickness of eighth-note beams. Using the
submenu of the Measurement Units command, you can select the measurement unit you want Finale to understand—and display—in all of its dialog boxes.
You’re already familiar with inches and centimeters. Points and picas are typographical measurements; there are 72 points per inch, and 12 points in a pica. EVPU
stands for ENIGMA Virtual Page Unit, of which there are 288 per inch.

Select spaces when you want Finale to display spaces as the measurement unit in all the dialog boxes. Although one space is defined as the distance between staff
lines, in Finale one space is equal to 24 EVPUs (which is Finale’s default distance between staff lines). Note also that one half-space equals one step, which is one
line or space in a staff.

You can override your global choice on a case-by-case basis, however. Just include the units, or their abbreviation, when you type any measurement number into
Finale. For example, suppose you’ve selected Inches as your global unit of measurement. When you’re telling Finale how thick you’d like your slurs to be, however,
inches may be slightly unwieldy for such a fine adjustment. Therefore, you might type “2 pt.” Finale will automatically convert what you’ve entered into inches.
You don’t have to type out the word “points,” of course. Here are the abbreviations you can enter into any measurement-oriented dialog box:

To specify these units Type one of these

EVPUs EVPUs, evpus, e

inches inches, inch, in, i, ”

centimeters centimeters, cm, c

millimeters millimeters, mm, m

picas picas, p

points points, pts, pt

spaces spaces, sp, s

Note that, when you’re overriding the global setting in this way, you even have a unit option not
available in the Units of Measurement dialog box (millimeters).

EVPUs
Inches
Centimeters
Points
Picas
Spaces

See Also:
Edit Menu

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Edit/Program Options

Edit/Program Options

Choose this option to display the Program Options dialog box where you can configure Finale’s program-wide settings.

See Also:
Program Options
Program Options-New
Program Options-Open
Program Options-Save
Program Options-View
Program Options-Edit
Program Options-Folders
Program Options-Display Colors
Program Options-Palettes and Backgrounds
Edit Menu

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Utilities/Transpose

Utilities/Transpose

Choose this command to display the Transposition dialog box, which lets you specify how you want the selected music transposed - up an octave, down a third, or
whatever interval you specify. You can also keep the original line of music when transposing notes.

For detailed information, see the Transposition dialog box.

See Also:
Utilities Menu

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Utilities/Respell Notes

Utilities/Respell Notes

When you choose Respell Notes, Finale retranscribes the pitches of the selected notes, so they appear as they would when entered for the first time. For example, if a
region contains C double sharps, this command will change all of them to D naturals. The Respell notes command respells using the setting in the Enharmonics
submenu.

See Also:
Utilities Menu

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Utilities/Fit Measures

Utilities/Fit Measures

This command, only available in Page View, is extremely useful in laying out the measures of your piece - avoiding awkward page turns, placing 4 bars on a line, and
so on. Select some measures; when you choose this command, the Fit Measures dialog box appears, in which you can specify that you want all the selected
measures placed onto one line. You can also specify a number of measures-per-line you want for the selected region.

For detailed information, see the Fit Measures dialog box.

See Also:
Utilities Menu

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Utilities/Lock Systems

Utilities/Lock Systems

Choose this option to lock the selected systems against reflowing after choosing Update Layout from the Edit Menu. The system locks appear as icons on the upper
right side of the staff. You can turn the display of these icons on and off using the View Menu > Show > Page Layout Icons command.

See Also:
Unlock Systems
Utilities Menu

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Utilities/Unlock Systems

Utilities/Unlock Systems

Choose this option to unlock the selected systems so they may reflow after choosing Update Layout from the Edit Menu. The system locks appear as icons on the
upper right side of the staff. You can turn the display of these icons on and off using the View Menu command Show (Hide) System Locks.

See Also:
Lock Systems
Utilities Menu

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Utilities/Music Spacing

Utilities/Music Spacing

These commands, which affect full-measure selections, are unique to Finale. They let you use linear spacing for the notes, or you can space the notes and measures
of your score the same way a professional engraver does - by consulting a table of width values for each note, and spacing the notes and measures accordingly. The
result is non-proportional spacing, where a whole note isn't allotted four times as much width as a quarter note - it's actually allotted much less space.

This example is spaced with Beat


Spacing. Each beat is spaced non-linearly first,
then spaced within the beat linearly.

This example is spaced with Note Spacing.


Each note is spaced non-linearly.

This example is spaced with Time Signature


Spacing. Each note is spaced linearly.

Keep in mind that you can use any of these three music-spacing methods on any measures in your score, mixing and matching as necessary. You can also
experiment with a certain selected region, trying first one kind of music spacing and then another; only the most recently-applied spacing will remain.

Apply Beat Spacing


Apply Note Spacing
Apply Time Signature Spacing

See Also:
Utilities Menu
Document Options-Music Spacing

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Utilities/Update Layout

Utilities/Update Layout

To speed up its operations, Finale doesn’t constantly recalculate the positioning and page layout of measures within your document. Instead, this recalculation only
takes place when you request it by choosing Update Layout from the Utilities Menu (Ctrl-U).

If you enter Page View without choosing Update Layout, you may discover strange measure spacing if you’ve made any changes to the widths of measures (by using,
for example, the Resize Tool, the Music Spacing commands, the Page Layout Tool, or the Measure Tool). Any of these actions can result in very wide or very cramped
measures, or duplicated or missing systems on each page. By choosing Update Layout, you tell Finale to lay the measures out again within each system, taking such
changes into account, in order to create attractive, neatly justified systems with appropriate measure spacing.

To further save you time, when you’re in Page View, Finale only readjusts the measure layout from the page you’re viewing to the end of the document. In other words,
if you’re satisfied with the layout of the first five pages, you don’t have to wait for Finale to readjust them; scroll to page six before choosing Update Layout. (Update
Layout affects the entire piece if you’re viewing page one, or if you’re in Scroll View.)

Update Layout performs another useful function. One way to manually arrange measures on the page is to use Finale’s measure group features (such as the Fit
Measures command in the Page Layout Menu and the Utilities Menu, or the Selection Tool up/down arrow trick). For details on these techniques, see Measure layout.
If you ever want to delete such measure groups (and restore all measures to their original “floating” status), press shift while selecting Update Layout from the menu.

See Also:
Utilities Menu

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Utilities/Update Smart Word Extensions and Hyphens

Utilities/Update Smart Word Extensions and Hyphens

Choose this option to update Smart Word Extensions and Hyphens based on settings in the Word Extensions dialog box. This option recalculates word extensions and
hyphens if Manually is chosen in the Smart Hyphens and Word Extensions portion of Program Options- View. See also Word Extensions dialog box.

See Also:
Utilities Menu
Document Options-Lyrics
Word Extensions dialog box

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Utilities/Rebar

Utilities/Rebar

Finale’s Rebar command is useful after you insert or delete notes, halve or double note values, and so on. The command automatically re-distributes the notes of your
piece so that each measure contains the correct number of beats, according to the time signature. (Finale automatically rebars the piece each time you change the time
signature, unless you turn off this option in the Time Signature dialog box.) When you rebar a region that contains partly-filled measures, Finale does not “pad” the
measures with rests. If a measure contains two quarter notes (and no rests) in each of two measures, and you rebar the music, you’ll end up with one measure
containing four quarter notes. (You must enter the rests to maintain their positions.)

Choose Rebar Options to display the Rebar Options dialog box, where you can decide how far Finale should go with its rebarring: all the way to the end of the
piece, only through the next empty measure, and so on. Once you’ve established your preferences in this way, select a region and choose Rebar Music, so Finale
actually perform the rebarring. If the results aren't what you expected, choose Undo from the Edit Menu, change your Rebar Options, and try the command again. See
Rebar Options dialog box.

Rebar Music
Rebar Options

See Also:
Utilities Menu

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Utilities/Rebeam

Utilities/Rebeam

Finale beams eighth notes (and smaller values) automatically, according to the time signature.
Using the Rebeam commands, however, you can change the beaming patterns for notes you’ve already added to the score. Rebeam Music simply restores beaming
to the patterns dictated by the time signature; you’d use this command after manually changing the beaming. Rebeam to Time Signature, on the other hand, lets
you rebeam the selected music into any beaming pattern you wish, even if it’s unrelated to the time signature. Finale displays a variant of the standard Time Signature
dialog box, where (by changing the “beaming signature”) you specify any beaming pattern you can dream up. See Time Signature dialog box for details on how the
Time Signature controls affect beaming.
Beaming to lyrics is a convention used in opera or art song notation. In this scheme, eighth, sixteenth, and shorter notes are never beamed together in the vocal line
except when a syllable is sustained through more than one note (melisma). Choose Rebeam to Lyrics to display the Lyric Rebeaming dialog box, in which you can
specify the lyrics you want rebeamed in this way. See Rebeam to Lyrics dialog box.

Rebeam Music
Rebeam to Time Signature
Rebeam to Lyrics

See Also:
Utilities Menu

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Utilities/Explode Music

Utilities/Explode Music

Finale's Explode Music command strips a chordal passage into individual single-line melodies on separate staves. You could use this feature, for example, to transform
a piano reduction into four monophonic-melody staves for a choir. You're not limited to exploding a single staff; you can select several staves for exploding. (Explode
Music only affects full-measure selections.)

After selecting the region you want to explode, choose this command. The Explode Music dialog box appears, where you can tell Finale how many resultant staves
you want, what clefs they should use, and so on.

For detailed information, see the Explode Music dialog box.

See Also:
Utilities Menu

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Utilities/Implode Music

Utilities/Implode Music

When you Implode Music, Finale condenses the music on the selected staves onto a single staff. This command displays a dialog box in which you can specify how
you want Finale to implode the music. You’re not limited to exploding a single staff; you can select several staves for imploding. (Explode Music and Implode Music
only affect full-measure selections.) There is also a piano reduction Plug-in which requires fewer steps and provides more control. See Piano Reduction Plug-in. See
Implode Music dialog box.

See Also:
Utilities Menu

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Utilities/Apply Articulation

Utilities/Apply Articulation

This powerful command lets you add a certain articulation mark (a staccato, for example) to every note (or notes of a particular duration) in a selected region at once.

For detailed information, see the Apply Articulation dialog box.

See Also:
Utilities Menu
Articulation Tool

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Utilities/Check Notation

Utilities/Check Notation

This submenu offers utilities for checking the notational integrity of several types of elements.

Check Accidentals
Check Elapsed Time
Check Ties
Convert Mirrors
Fill With Rests
Remove Manual Slur Adjustments

See Also:
Utilities Menu

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Utilities/Stem Direction

Utilities/Stem Direction

By choosing Up or Down you can manually flip a region of stems up or down. Finale normally decides whether a note’s stem should go up or down depending on its
vertical position in the staff. If you’ve specified a multiple-voice arrangement—for example, upper voice = stems up, lower voice = stems down—using Document
Options-Layers (Document Menu), Finale again chooses stem directions automatically. To restore such stems to stems that can flip depending on the notes’ pitches,
select the region and choose Use Default Direction. This command also removes any Reverse, Double, or Split Stem editing you’ve done with Special Tools.

Up
Down
Use Default Direction

See Also:
Utilities Menu

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Utilities/Change

Utilities/Change

Use the commands in this submenu to change certain aspects of a selected region all at once.

Articulations
Chords
Lowest Fret
Note Durations
Note Expressions
Note Size
Noteheads
Ties
Tuplets

See Also:
Utilities Menu

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MIDI/Audio Track

MIDI/Audio Track

Use the commands in this submenu to add audio tracks to your score, load audio into an audio track, and make additional settings relating to imported audio files.

Add Audio Track


Load Audio
Audio Clip Attributes

See Also:
MIDI/Audio Menu

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MIDI/Audio Setup

MIDI/Audio Setup

This command displays the Audio Setup dialog box, where you can set up options for audio recordings and the MicNotator feature.

See Also:
MIDI/Audio Menu
Audio Setup

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MIDI/MIDI Setup

MIDI/MIDI Setup

Choose this command to display the MIDI Setup dialog box, where you can affect a number of settings concerning your MIDI interface setup.

For detailed information, see the MIDI Setup dialog box.

See Also:
MIDI/Audio Menu

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MIDI/MIDI Thru

MIDI/MIDI Thru

This command determines whether MIDI Thru is used and how it works. Choose this command to specify your MIDI Thru preferences. When a check appears next to
the command, MIDI Thru is in use. Use MIDI Thru if you prefer to use one keyboard as a controller and another device as the sound source.

For detailed information, see the MIDI Thru dialog box.

See Also:
MIDI/Audio Menu

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MIDI/Tablature MIDI Channels

MIDI/Tablature MIDI Channels

Choose this command to display the Tablature MIDI Channels dialog box, where you can select a channel for each string of a MIDI guitar.

For detailed information, see the Tablature MIDI Channels dialog box.

See Also:
MIDI/Audio Menu

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MIDI/Play Finale Through MIDI

MIDI/Play Finale Through VST

Check this box to playback using the devices chosen in the Native Instruments VST dialog box instead of those specified in the MIDI Setup dialog box.

See Also:
MIDI/Audio Menu

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MIDI/Play Finale Through MIDI

MIDI/Play Finale Through MIDI

Check this box to playback using the devices chosen in the MIDI Setup dialog box.

See Also:
MIDI/Audio Menu

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MIDI/VST Setup

MIDI/VST Setup

Choose this option to open the Native Instruments VST Setup dialog box where you can assign a Native Instruments VST Device (such as Kontakt for Finale with
GPO) for a range of Finale channels.

See Also:
MIDI/Audio Menu

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MIDI/Click and Countoff

MIDI/Click and Countoff

Choose this command to display the Click and Countoff dialog box, where you can specify a countoff click for recording with HyperScribe or playing back using the
Playback Controls. You can also determine how many measures to count off, and define two separate metronome click sounds for the down beat and other beats in
your music.

For detailed information, see the Click and Countoff dialog box.

See Also:
Document Menu
HyperScribe Tool

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MIDI/Quantization Settings

MIDI/Quantization Settings

Choose this menu item to go to the Quantization Settings dialog box where you adjust how MIDI information is interpreted by Finale upon input (such as Importing
MIDI files, HyperScribe and Transcribing)

For more information, see Quantization Settings dialog box.

See Also:
MIDI/Audio Menu
HyperScribe Tool

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MIDI/Import MIDI File Options

MIDI/Import MIDI File Options

Choose this command to display the MIDI File Options dialog box, where you can affect a number of settings concerning how your MIDI file will be imported into
Finale.

For More detailed information, see the Import MIDI File Options dialog box.

See Also:
MIDI/Audio Menu

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MIDI/Export MIDI file Optins

MIDI/Export MIDI File Options

Choose this command to display the Export MIDI File Options dialog box, where you can affect a number of settings concerning how Finale will export your MIDI file.

For More detailed information, see the Export MIDI File Options dialog box.

See Also:
MIDI/Audio Menu

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MIDI/Export MIDI to Clipboard

MIDI/Export MIDI to Clipboard

This command provides a way to import MIDI information from sequencing programs. Once you have recorded your performance or created the MIDI information (such
as controller data) in a sequencing or other MIDI program that supports MIDI information in the clipboard, copy it into the clipboard. Switch to Finale, click the Selection
Tool or any other tool with regional selection, select the measures into which you want to paste the information, then choose Import MIDI from Clipboard. The Import
MIDI Data from Clipboard dialog box appears. If necessary, change the quantization settings for the notated music, then click OK. The notated music appears. For
more information about the workings of the Import MIDI Data from Clipboard dialog box, see Import MIDI Data from Clipboard dialog box.
This command can be especially useful when you’re creating playback effects such as pitch bend, pan, or volume control. For example, you could create a crescendo
on an empty track in your sequencer, then import it into Finale. As long as the copied sequencer information does not contain MIDI note data, Finale preserves its
existing notes and pastes only the copied information into the measures. If the copied sequencer information contains MIDI note data, Finale transcribes new notes.
Note: Press shift when choosing this command to use the current settings in the Import MIDI Data from Clipboard dialog box (without displaying the dialog box on the
screen).

Note: If you import MIDI data onto a TAB staff, you may find all of the resulting fret numbers appear
on the top string. To avoid this problem, import the MIDI data to a standard staff and then use the
Selection Tool to drag-copy the music down to the TAB staff.

See Also:
Edit Menu

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MIDI/Import MIDI from Clipboard

MIDI/Import MIDI from Clipboard

Use this command to import MIDI information from sequencing programs that support MIDI information on the clipboard. Once you've recorded your performance or
created the MIDI information (such as controller data) in a sequencing or other MIDI program, copy it into the clipboard. Switch to Finale, click the Selection Tool,
select the measures into which you want to paste the information, then choose this command. The Import MIDI from Clipboard dialog box appears. If necessary,
change the transcription settings for the notated music in Quantization Settings, then click OK. If the copied sequencer information contains any MIDI note data, Finale
transcribes new notes. Otherwise, Finale preserves its existing notes and pastes only the copied information into the measures.
Press Shift when choosing this command to use the current settings in the Transcribe dialog box (without displaying the dialog box on the screen).

See Also:
Edit Menu
Import MIDI from Clipboard

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MIDI/Send MIDI Sync

MIDI/Send MIDI Sync

This command determines whether Finale sends MIDI Sync signals when it plays back your score. When the command is checked, Finale sends MIDI Sync signals. If
you have connected your computer to an external sequencer, drum machine, or another computer that has been configured to interpret this type of MIDI message, it
will wait in "pause" mode until Finale begins play back, at which time the two will play in perfect synchronization.

See Also:
MIDI/Audio Menu

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MIDI/Send MTC

MIDI/Send MTC

Check this option to broadcast MIDI Time Code in order to synchronize Finale with another MTC-compatible device. See SMPTE and MIDI Time Code.

See Also:
Document Menu

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MIDI/Retranscribe

MIDI/Retranscribe

Choose this command to retranscribe the selected region using the quantization settings in the Quantization Settings dialog box. See Quantization Settings dialog box
and Retranscription.

Note: When retranscribing, Finale will not change any of the MIDI information in the region. It will,
however, remove any markings that were entered in the music.

See Also:
MIDI/Audio Menu
HyperScribe Tool
HyperScribe

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MIDI/Set Panning

MIDI/Set Panning

Choose this command to automatically configure the pan setting for each staff in order to simulate the effect of instruments distributed among the orchestral space.
Finale recognizes many instrumental configurations, from solo instrument to symphonic orchestra, and sets Mixer pan dials accordingly (also taking into account solo
instruments). These settings are based on Human Playback’s interpretation, formerly known as Automatic Panning (although the configured Mixer/Staff Control settings
apply to playback with or without HP).

See Also:
MIDI/Audio Menu

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MIDI/Send MIDI Value

MIDI/Send MIDI Value

When you choose this command, the Send MIDI Value dialog box appears. Using the options in this dialog box, you can send any kind of MIDI data to your
synthesizers immediately: a patch change, a "pedal up" command, a "note off" command.

For detailed information, see the Send MIDI Value dialog box.

See Also:
MIDI/Audio Menu
MIDI Tool

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MIDI/Start Playback

MIDI/Start Playback

Choose this menu item to start the playback.

See Also:
MIDI/Audio Menu
Playback Controls

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MIDI/Stop Playback

MIDI/Stop Playback

Choose this menu item to stop the playback.

See Also:
MIDI/Audio Menu
Playback Controls

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MIDI/All notes off

MIDI/All Notes Off

From time to time, you may encounter MIDI lock, a rare situation in which a synthesizer sounds as if its keys are "stuck," and it plays continuously as though
someone's still pressing them. To send the MIDI signal that tells it to "release the keys," choose this command; after a moment, the synthesizer will be silent.
Technically, this command sends a Note Off command to all notes on all channels.

See Also:
MIDI/Audio Menu

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MIDI/Reload MIDI Driver

MIDI/Reload MIDI Driver

Choose this menu item to reload the MIDI driver designed for Windows 2000/XP.

See Also:
MIDI/Audio Menu

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Mirror Tool

Mirror Tool

With this tool you can create one-measure intelligent copies, or mirrors - groups of notes that are dynamically linked to other notes in the score (the source material).
When you edit the source notes, the notes of the mirror are automatically updated to reflect the change.

You can create mirrors quickly and easily if the passage you want to copy is a full measure long (or longer). You can also use the Mirror Tool to combine individual
sets of notes from different source measures into a single mirror measure, which is then called a composite mirror. And no matter how the mirror was created or what
kind of mirror it is, you can also use this tool to select only certain notes in the mirror that you want displayed; Finale will hide the remaining notes. For example, you
might create a kind of mirror - called a selective mirror - if the source measure contains a chordal passage, but you only want the top note of each chord to appear in
the mirror.

Finally, you can use the Mirror Tool to create a pickup measure anywhere in the score; Finale will create blank space at the beginning of such a measure, pushing any
existing notes to the right to make them act as pickup notes.

Special mouse clicks

For further information, see the Mirror Attributes dialog box.

See Also:
Mirroring
Mirror Menu
Advanced Tools Palette

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Utilities/Check Notation/Convert Mirrors

Utilities/Check Notation/Convert Mirrors

The Convert Mirrors command affects Mirrors, or "intelligent copies" of certain measures, in which the copies are dynamically linked to the source music. It converts
such measures into "real" measures - in effect, severing the link to the original source measures, and changing the selected mirror measures into normal non-mirrors.
The "Converting the mirrors…" alert box appears, asking you if you're sure you want to convert them.

See Also:
Utilities/Check Notation

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Mirror Attributes

Mirror Attributes

How to get there

From the Window Menu, choose Advanced Tools. Click the Mirror Tool . Click an empty measure; use the Tilting Mirror dialog box, as necessary, to compose a
composite mirror (see Tilting Mirror dialog box); click OK.
Any mirrored measure you’ve already created using either the Mirror Tool or the Selection Tool will display a Mirror icon the next time you select the Mirror Tool. You
can also access this dialog box by shift-clicking any measure marked with this Mirror icon.
Finally, this dialog box appears when you create a mirror using the Selection Tool. Choose Mirror from the Mass Edit Menu. Select a region of measures; drag the first
source measure so that it’s superimposed on the first destination measure.

What it does
A mirror is an intelligent copy of an existing (or "source") measure in the score. When you edit the source measure in any way, all mirrors created from it are instantly
updated to reflect the change. In this dialog box, you can specify certain ways in which you want the mirror to differ from the source measure. For example, you could
specify that it be transposed up an octave (if, say, it’s doubling another instrument in the score). You can also specify stem direction, beaming, and whether or not you
want various other elements (lyrics, chord symbols, and so on) to appear in the copy.
The advantage of all this control is that you can link the mirror to the source music, but the original and the copy need not be utterly identical. You copy only those
elements you want to copy.

Mirror Attributes for Frame (#). This indicator identifies, by number, the frame (a single measure on a single staff) in which the mirror occurs.
Transposition. When you select this option, Finale displays the Transposition dialog box so that you can specify an interval by which you want the mirror
transposed in relation to its source measure or measures. See Transposition dialog box.
Don’t Draw:. The next group of checkboxes let you specify elements of the source music you don’t want to appear in the copy. Select as many as you want.
Checkbox Name Musical elements affected
Notehead and Percentage Alterations Changes to the note shape or size you’ve made with the
Special Tools Tool or the Resize Tool
Articulations and Note Expressions Note-attached marks created with the Articulation Tool or the
Expression Tool
Slurs Attached to Notes Note-attached slurs that start and end in the affected region.
Lyrics Lyrics of any type
Beam Extensions Extended beams created with the Special Tools Tool
Secondary Beam Breaks Breaks in the beams of sixteenth notes (and smaller values)
created with the Special Tools Tool
Stem and Beam Alterations Modifications to stem length and shape, or to beam angles,
created with the Special Tools Tool
Entries in Other Staves Cross-staff notes (refers not to the notes themselves, but
whether their cross-staff status should be preserved)
Reverse Stems Reverse stemming created with the Special Tools Tool

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Mirror Attributes

Double or Split Stems Double or split stemming created with the Special Tools Tool
Chords Chord symbols
Freeze Stems: up/down. If you want all the stems in the mirror to be frozen either up or down, click Freeze Stems and select the "up" or "down" radio button.
Rebeam. When you build a composite mirror by choosing fragments of music from several different source measures, the result may not be beamed correctly
(since you may have chosen a single eighth note from one measure, two from another, and so on). You can solve this problem (or even change the beaming
pattern on a normal, full-measure mirror) by selecting Rebeam, which makes the following two rebeaming options available:
Rebeam to Time Signature. If you select this radio button, the notes in the mirror measure are beamed according to the current time signature, as though its
music had been entered in the usual way.
Rebeam to Beam Chart. If you select this radio button, Finale displays the Beaming Chart dialog box. This graphic window displays a handle for each eighth
note (or smaller value). You break a beam to a note (from the previous note) by clicking its handle. Any notes whose handles you haven’t selected will be
beamed together. (If you want all notes beamed together, select the first handle in the measure.) When you return to the Mirror Attributes dialog box, the
Rebeam to Beam Chart radio button is selected. (See Beaming Chart dialog box.)
Selective Mirror ID. An intelligent copy of a full measure is called a mirror; a measure composed of selected notes from several measures is called a
composite mirror. There may be times, however, when you want to display only selected notes from a mirror or composite mirror. For example, you might want to
pick out a single melody line from a chordal right-hand piano part.

For this purpose, Finale offers you the ability to choose individual notes from a mirror or composite mirror; the result is a selective mirror. To create one, click
the words Selective Mirror ID; Finale displays the Selective Mirror dialog box.

In this graphic window, you can click the handles of the notes you want include in the selective mirror. You can pick individual notes out of a chord or, by drag-
enclosing several handles, you can select groups of notes within chords. If the selective mirror omits notes that fall on certain beats (when you choose only the
first and third quarter notes of a melody, for example), Finale will provide rests in place of the omitted notes.
Click Prev and Next to scroll through other selective mirrors you’ve created from the main mirror. When you’re finished, click OK; Finale automatically enters the
number of the selective mirror in the text box. See Selective Mirror dialog box.
Hide Others. This option, and those below it, apply only to the selective mirror identified in the text box. Click this radio button if you want the omitted notes to
be hidden completely (instead of appearing as rests).
Hide Voice 2. Select this option if you want Finale to hide any Voice 2 notes you omitted when creating your selective mirror. If you don’t select this option,
Finale will substitute rests for these omitted notes.
Show Others as Rests. With this button selected, when you create a selective mirror, Finale substitutes rests for any notes you didn’t select.
Use Rest Level. If you want to specify where rests should appear in the selective mirror, select this radio button and enter a number in the text box. This
number represents the distance between the center of the rest and the line or space of the root scale tone (which is numbered 0), measured in lines and spaces;
a higher number moves the rest upward.
Float Rest. Select this option if you want rests in the selective mirror positioned normally (usually on the middle staff line).
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box. You return to the score, where the new or edited mirror appears. Click Cancel to
return to the score without creating or editing any mirrors.

See Also:
Mirror Menu
Selection Tool
Mirror Tool
Tilting Mirror

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Mirror/Dragging Copies Music

Mirror/Dragging Copies Music

In this copying mode, the copy you create is not an intelligent copy (a mirror) of the source measure or measures - just the music as if it were copied with the Selection
Tool normally.

See Also:
Mirroring
Mirror Tool
Mirror Menu

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Mirror/Dragging Mirrors Measures

Mirror/Dragging Mirrors Measures

In this copying mode, the copy you create is an intelligent copy (a mirror) of the source measure or measures. If you edit the notes or expression markings in the
source measures, the change is immediately reflected in the mirrored measures.

The process is exactly the same as any Selection Tool copying action: Select a source region of complete measures. Drag the first selected measure so that it's
superimposed on the first target measure. Finale displays the Mirror Attributes dialog box, letting you specify a transposition, if you want, and other aspects of the copy.
See Mirror Attributes dialog box.

You can only create this kind of copy if the target measures are originally empty. Note also that if you're creating a mirror; everything in the source measures will be
copied to the target measures. (You can, however, tell Finale not to display certain elements of the music by specifying them in the Don't Draw section of the Mirror
Attributes dialog box that appears).

The result is a copy that's dynamically linked to the source measures. If you change any aspect of the source measures, the mirror automatically changes too. You
can change any settings you made in the Mirror Attributes dialog box. Note, too, that you can copy a mirrored measure in the usual way; if you've selected Dragging
Mirrors Measures from the Mirror Menu, the target measures will themselves be a mirror (of the mirror). If you've selected Dragging Copies Music however, the mirror
you're copying will be turned into normal non-mirrored music.

See Also:
Mirroring
Mirror Tool
Mirror Menu

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Mirroring

Mirroring

To create a mirror (intelligent copy)


You can only make mirrors in measures that are currently empty.

1. Click the Mirror Tool , and from the Mirror Menu, choose Dragging Mirrors Measures.
2. Select the music that will serve as the source of the copies.
3. Drag the selection so that it’s superimposed on the first target measure. Remember, the target measures must be empty. If the first target
measure is offscreen, scroll to it; then, while pressing ctrl and shift simultaneously, click it. In either case, the Mirror Attributes dialog box appears.
4. If you want the mirror to be transposed in relation to the source measure, click Transposition, specify the interval, and click OK. For
example, if you’re doubling a violin line in the cellos, you’d probably want to transpose the mirror (the cello copy) down an octave or two. In this case, you’d
choose Down, Diatonically, and Octave from the drop-down lists menus.
5. Specify any elements of the source music that you don’t want to appear in the copy. To do so, click Don’t Draw, and then click the elements
you don’t want to appear (Lyrics, Chords, or Beam Extensions, for example).
6. Click OK (or press enter).

To identify mirrored measures in the score

From the Window Menu, choose Advanced Tools. Click the Mirror Tool . A mirror icon appears on any measure that’s a mirror of a “normal”
measure.

To convert mirrored measures into “normal” measures

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Check Notation, then Convert Mirrors. A dialog box appears, asking you to confirm your decision.
3. Click Yes.

To create a composite mirror


Using the Mirror Tool, you can create a measure that contains intelligent copies of individual notes from several normal measures. The resulting patchwork measure is
called a composite mirror.

Note: Composite mirroring combines notes from different measures into a single measure. If you want
to create a mirror consisting of selected notes from a single measure, copy the entire measure (see
“To create a mirror,” above), and see To rebeam or edit an existing mirror,” below, for instructions on
choosing selective elements of it.

1. From the Window Menu, choose Advanced Tools. Click the Mirror Tool ; then double-click an empty measure (the target
measure). The Tilting Mirror dialog box appears, so called because it can be made to “reflect” the contents of any other measure in the score. At the moment,
the Tilting Mirror dialog box is blank.
2. Click the up, down, left, or right arrow buttons to maneuver your “window” on the score to the measure whose notes you want to
mirror. Click the up arrow to move up a staff, the right arrow to move to the next measure, and so on. As you proceed, you’ll see the contents of each measure
you view, adjusted for the target measure’s clef. (If you move your “view” to another mirrored measure, it appears blank in this window.)
3. When you’re viewing a measure whose notes you want to mirror, drag the “cut bar” handles inward to enclose the desired notes. The
“cut bars” are the dotted lines at each end of the window, whose handles you drag to move them.
4. Click Next. Finale keeps track of the notes you just selected and restores the cut bars to the ends of the window, ready for another set of notes.
5. Repeat the last three steps, as necessary. Use the arrows to locate the measure, the cut bars to identify the notes, and click Next to add the selected
notes to the target measure. To remove one of the elements of your composite mirror, click the Prev (or Next) button until the notes appear in the window; then
click Delete. If you want to insert a new selection between two existing ones, click the Prev or Next buttons until you’re viewing the selection after the insertion
point; then click Insert. Use the directional arrows and cut bars as usual.
6. Click OK. The Mirror Attributes dialog box appears. Specify a transposition, and specify musical items to ignore (Don’t Draw), as needed.
7. Click OK (or press enter). The composite measure appears in the score with a mirror icon. If any of your measure-fragment selections were blank, any
selections after the blank selection are ignored.

To rebeam or edit an existing mirror

1. From the Window Menu, choose Advanced Tools. Click the Mirror Tool , and shift-double-click the mirrored measure. The Mirror
Attributes window appears.
2. If you want to rebeam the notes in the measure, click Rebeam, and specify a rebeaming option. Rebeam to Time Signature beams the notes
in the usual way, correcting any peculiar beaming that arose from the use of composite mirroring. If you click Rebeam to Beam Chart, a window appears with a
handle on each eighth (or smaller value) note in the measure. In this window, you break the beam to a note (from the previous note) by clicking its handle. Any
notes whose handles you haven’t selected will be beamed when you return to the document. (To beam all notes together, select the first handle in the measure.)
Click OK when you’re finished.

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Mirroring

3. If you want the mirror to display only selected notes (instead of all notes) from the source measure, click Selective Mirror ID. A picture
of the complete composite mirror appears, with a handle on every note. Click the handles of the notes you want to include in this sub-selection of your composite
mirror, known as a selective mirror. Any handles you don’t select will be omitted from the final display of the measure (or turned into rests). You can use a
selective mirror to select the melody notes within a triadic passage, for example. Click OK when you’re finished selecting handles.
4. Specify a transposition, if desired. Click OK.

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Selecting music

Selecting music
Selecting regions of measures is required whenever you want to copy music from one place to another or apply changes to a region of music using one of Finale's
many editing functions. Although the Selection Tool is the primary tool for selecting and editing music, regional copying and editing can be performed at any time as
long as one of the following tools is selected:

Selection Tool

Staff Tool

Measure Tool

Key Signature Tool

Time Signature Tool

MIDI Tool

Clef Tool

Repeat Tool

Mirror Tool

Note: In addition to selecting and editing regions of measures, the Selection Tool can also be used to
select individual musical elements for moving or editing. For details, see Selection Tool.

Finale includes two distinct types of regional selection:

Regions including full or partial measures, but not full measures in all staves. This is the most common type of selection. Edits to these regions
are generally focused on editing the entries and items attached to entries or measures without changing the measure-specific information itself (e.g. key
signatures, barline styles, etc.). These are regions edited within the existing measure structure. For example, copy and insert a region including partial measures
(or full measures in some but not all staves) to push subsequent music to the right the number of inserted beats. See Copying music. Here are some examples of
this type of selection:

or or

Full measures in all staves, or "Stacks." A stack selection is indicated by highlighting between staves. Edits to these regions can also include entries and
items attached to entries or measures, but can also include measure-specific information (e.g. key signatures, barline styles, etc.). See Edit Filter dialog box.
Additionally, stacks can be treated as autonomous units. For example, copy and insert a stack to push all subsequent measures to the right. See Copying music.
Here is an example of a stack selection:

A one measure stack is one measure as played by all the instruments in the staff—in other words, a one-measure vertical slice of a score. (Generally, the term
measure in the Finale manual refers to one measure of one staff.) A stack can include any number of full measures.

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Selecting music

A full measure selection in a system with a single staff is also a stack selection indicated by highlighting above and below the staff (see below).

Most of Finale's editing commands work with partial measure selections. However, if you try to use a full-measure–only command after selecting only part of a
measure, Finale will let you know; you’ll have the choice of canceling the command, or applying the command to all measures that are even partly selected.

To select a region of measures

Mouse click or keyboard


What it does
command
Click a measure Selects the full measure
Click and drag diagonally across any measure region Selects the measure region
(partial or whole measures) When you select a partial measure, Finale highlights an
area from the left edge of the first selected note to the
right edge of the space after the last selected note, to help
reinforce the fact that you’re actually selecting a stretch of
musical time.
Shift-click and drag diagonally across any part of a Selects full measures only
measure
Shift-click before or after a selected region Extends the selection to wherever you click
Hold down Shift and press the left or right arrow keys Expands or contracts the selected region in
entry-by-entry increments
...measure-by-measure increments if the measures are
empty. Specify you want to adjust the beginning or end of
the selected region by pressing the left or right arrow key
first respectively.
Expands the selection to include full measures.
With the Selection Tool selected, double-click
any partial measure selection
Or, Alt-click any partial measure selection with any
tool that permits regional selection
(The selection can include any number of measures
starting and/or ending with a partial measure)
Expands selection to include the full stack.
With the Selection Tool selected, double-click a
full measure
Or Alt-click any full measure selection with any tool
that permits regional selection
Click to the left of the staff Selects an entire staff
Shift-click to the left of a staff Extends the selection from any other staves
you've selected
From the Edit Menu, choose Select All or press ctrl-A Selects the entire document
Hold down Ctrl-Shift and press the left or right arrow Expand or contract the selected region by full
keys measures
Hold down Shift and press the up or down arrow keys Expands or contract the selected region
vertically (staff-by-staff)
Hold down the shift key and press End, Home, Select all measures right, left, above, or below a
PageUp, and PageDown selection

To select a large region without scrolling


1. From the Edit Menu, choose Select Region. The Select Region dialog box appears.
2. Enter the staff, measure, and beat with which you want to begin and end the selection. For example, you can select the Flute staff, measure 4
beat 2, through the Bass staff, measure 10 beat 1. See Select Region dialog box for more information. The important thing to remember is that this
feature lets you select music without having to scroll to it (and wait for the screen to redraw). You can even select music that’s not on the screen.

3. Click OK (or press enter).

See Also

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Selecting music

Selection Tool
Edit Menu

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Clefs

Clefs
See also Courtesy clef changes.
The clefs in Finale are intelligent: if you change a clef, the music that follows it is automatically renotated to reflect the change. Finale can use
eighteen different kinds of clefs per piece, shown below (see “To design a new clef,” below), but you can re-define any of these symbols or their
effects on the notated music.

To set the starting clef for a staff


This method is suggested when you are also setting up other attributes of the staff, such as its instrument name and transposition. Keep in mind, though, that you can
also use the Clef Tool (as described below) to perform the same function.

1. Click the Staff Tool , and then double-click the desired staff. The Staff Attributes dialog box appears.
2. Click the Select button near the words First Clef. The Clef Selection dialog box appears.
3. Double-click the clef you want. Click OK (or press enter).

To insert a clef change at the beginning of a measure


You can also use this method to set the clef at the beginning of a staff.

1. Click the Clef Tool . Double-click the measure where you want the clef to change. The Change Clef dialog box appears.
2. Click to highlight the clef you want.
3. In the Measure__ Through __ text boxes, enter the measures you want to be affected by this clef change. When you enter the dialog box,
both text boxes show the current measure number. If you want the clef to change all measures to the end of the piece, choose the second measure region button
in the dialog box.
4. Click OK (or press enter).

To apply a clef change to a region of measures

1. Click the Clef Tool .


2. Highlight a region of measures.
3. Double-click the highlighted region. The Change Clef dialog box appears.
4. Choose the new clef and click OK.

Also, after selecting a region, press the metatool key assigned to the clef you want apply to the region. The clef change applies to the highlighted region. See
Metatools.

To insert a mid-measure clef change

1. Click the Clef Tool .


2. Highlight a measure region that begins where you would like to place the clef change. See Selecting Music.
3. Double-click the highlighted region (or press Enter). The Change Clef dialog box appears.
4. Choose the new clef and click OK. You return to the document with the clef—which now has a handle—at the beginning of the staff. Drag the clef’s handle
right or left to position it as desired. The notes before and after it will be renotated automatically.

To change a clef you’ve inserted in mid-measure

1. Click the Clef Tool .


2. Double-click the handle; on the second click, hold the button down and drag left or right. As you drag the clef, its identity cycles through the
eighteen standard clefs.

Another way to edit the clef is to ctrl-click its handle. You reenter the Mid-Measure Clef dialog box, where you change the clef itself, its size, or its position.

To change the default clef


When you add a staff to the score, it initially appears with a treble clef. You can change this default clef, so that any new staff appears with another clef.

1. From the Document Menu, choose Document Options, then select Clefs. The Clef options appear.
2. Under the heading Default Clef Change, click Select. The Clef Selection dialog box appears.
3. Double-click the desired default clef. Click OK (or press enter). Now any new staff you create with the Staff Tool will appear with the default clef you
specified.

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Clefs

To hide a clef

1. Click the Clef Tool . Double-click the measure where you want hide the clef. If you want to hide a mid-measure clef, right-click the mid-
measure clef handle. The Change Clef dialog box (or the Mid-measure Clef dialog box) appears.
2. Select Never in the Show Clef section.
3. Click OK.

To design a new clef


You’re not limited to using the traditional clefs in Finale; you can create your own clef, using any symbol, with any notational meaning. You can even create your own
clef in the Shape Designer; see To design a shape clef. Each document you create can have eighteen clefs; in order to create your own, therefore, you’ll have to
replace one of the eighteen default clefs. You can save your newly designed clef into a Clef library, so you can use the same clef in new documents. See Save Library
dialog box.

1. From the Document Menu, choose Document Options, select Clefs, then click the Clef Designer button. The Clef Designer dialog box
appears.
2. Click on the clef whose characteristics you want to alter.
3. Next to Character, click Select. A palette of all available characters in the currently selected font appears. To change the font for this clef, click on Set
Font and choose a different font. To change the font for all clefs, see Document Options-Fonts. If you don’t see a font character you want, see To design a
shape clef.
4. Double-click the desired symbol.
5. Set the middle-C line for this clef by typing a number into the Middle C Position text box. A value of zero places middle C on the top line of the
staff; this number indicates the number of lines or spaces that middle C is to be positioned away from this top line. For example, the treble clef, which places
middle C one ledger line below the staff, has a Middle C Position value of –10, because one ledger line below the staff is ten lines and spaces down from the top
line of the staff (whose number is zero).
6. Set the vertical positioning of the clef symbol by typing a number into the Clef Position text box. This value, measured in lines and spaces,
determines where the new clef will sit on the staff. A value of zero places the baseline of the clef on the top line of the staff. Note that the baseline of a clef is
based on its musical meaning, and isn’t quite the same as the baseline for regular text. For example, the baseline of the treble clef isn’t the bottom of the
character—it’s the “curl” that sits on the G line of the staff; the baseline of the bass clef is centered between the two dots (the F line), and so on. Thus the Clef
Position for the treble clef is –6, six lines and spaces lower than the top line of the staff.
7. If you’re using a font other than Maestro, Petrucci, Engraver or Sonata, select Musical Baseline Offset and type a value into the text
box. This number sets the distance, in lines and spaces, between the normal baseline for the clef (as defined in the previous step) and its vertical position when it
occurs as a clef change in the middle of the score, and hence at a reduced size. Finale positions clefs automatically if the Maestro, Petrucci, Engraver or Sonata
music font is selected as the default music font, but symbols from a font you design yourself might require this extra adjustment.
8. Click OK (or press enter). From now on in this document, any time you access the palette of clefs, you’ll see the new clef represented as one of the
eighteen available. Any music that follows it will be notated according to the definition of middle C (and the “stem-flipper” value) you’ve created. If you want to
use this clef in other documents, see Save Library dialog box.

To design a shape clef


You’re not limited to a shape found in a font; you can combine font characters, draw free-hand or mix-and-match shapes. Each document you create can have
eighteen clefs; in order to create your own, therefore, you’ll have to replace one of the eighteen default clefs.

1. From the Document Menu, choose Document Options, select Clefs, then click the Clef Designer button. The Clef Designer dialog box
appears.
2. Click on the clef whose characteristics you want to alter.
3. Set the middle-C line for this clef by typing a number into the Middle C Position text box. A value of zero places middle C on the top line of the
staff; this number indicates the number of lines or spaces that middle C is to be positioned away from this top line. For example, the treble clef, which places
middle C one ledger line below the staff, has a Middle C Position value of –10, because one ledger line below the staff is ten lines and spaces down from the top
line of the staff (whose number is zero).
4. Set the vertical positioning of the clef symbol by typing a number into the Clef Position text box. This value, measured in lines and spaces,
determines where the new clef will sit on the staff. A value of zero places the baseline of the clef on the top line of the staff. Note that the baseline of a clef is
based on its musical meaning, and isn’t quite the same as the baseline for regular text. For example, the baseline of the treble clef isn’t the bottom of the
character—it’s the “curl” that sits on the G line of the staff; the baseline of the bass clef is centered between the two dots (the F line), and so on. Thus the Clef
Position for the treble clef is –6, six lines and spaces lower than the top line of the staff.
5. Select Musical Baseline Offset and type a value into the text box. This number sets the distance, in lines and spaces, between the normal baseline
for the clef (as defined in the previous step) and its vertical position when it occurs as a clef change in the middle of the score, and hence at a reduced size.
6. Click on Shape, then Select, then Create. The Shape Designer appears. Finale provides a template of the staff lines, to give you an idea of size and
position when your clef appears in the score. A small origin circle marks where Finale will begin the clef horizontally and the Clef Position vertically. You’ll
probably want to draw your shape close to the origin circle, unless you want extra space before this clef. If you want to create extra space after this clef, insert a
blank character to the right of the clef. (For extra space before or after all clefs, see Document Options-Clefs.) To change the line of the origin circle, see the Clef
Position earlier in this text. To insert a text character, click on the Shape Designer Menu and choose Set Font. Select a font, then return to the Shape Designer.
You can now click on the Text Tool, then click on the window to type a character in the selected font. For more details about using the Shape Designer, see See
Shape Designer.
7. Press enter twice. You return to the Clef Designer dialog box.
8. Click OK twice. You return to the document. From now on in this document, any time you access the palette of clefs, you’ll see the new clef represented as
one of the eighteen available. Any music that follows it will be notated according to the definition of middle C (and the “stem-flipper” value) you’ve created. If you
want to use this clef in other documents, see Save Library dialog box.

To change the horizontal positioning of starting clefs


1. From the Document Menu, choose Document Options, then select Clefs. The Clef options appear.
2. Enter new values in the Spacing text boxes. There are two text boxes next to the word Clef, both of which affect the horizontal placement of clefs
throughout the piece. The Before text box determines how much space Finale will insert between the left barline and the clef itself. The After text box determines

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Clefs

how much space will be between the clef and the key signature. The units are whatever you’ve selected using the Measurement Units command (Edit Menu). (To
change the global vertical positioning of clefs, see “To design a new clef,” above.)
3. Click OK (or press enter).

To globally change the position and size of inserted clefs


When the clef for a staff changes in mid-score, it’s customary to print that inserted clef at a slightly reduced size. Depending on the symbol and font you’re using, you
may also need to adjust the reduced clef’s horizontal position (distance from the barline) on the staff. The vertical position of such a clef is determined in the Clef
Designer (see “To design a new clef,” above). Here’s how to modify the percentage reduction and position of an inserted clef.

1. From the Document Menu, choose Document Options, then select Clefs. The Clef options appear.
2. Enter a new percentage value in the Default Clef Change/Percent text box. The number here is the reduction (or enlargement) you want applied
to an inserted clef, relative to 100% (normal size).
3. To adjust the horizontal placement of an inserted clef, enter a new value in the Default Clef Change/Offset text box. This number
determines the distance between the clef and the following barline or notes. (Again, the units are the currently-selected Measurement Units.) A negative number
moves the clef farther to the left.
4. Click OK (or press enterr).

To specify the location of key-signature accidentals in a nonstandard clef


If you create your own clef, you can specify which octave each accidental appears in as you cycle through the circle of fifths. For example, on which F sharp line or
space should the first sharp appear (in the key of G)? To specify this parameter, see Accidental Octave Placement dialog box. See also, Middle C Position in the Clef
Designer dialog box.

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Clef Designer

Clef Designer

How to get there


From the Document Menu, choose Document Options and select Clefs. Then, click Clef Designer.

What it does
Finale supplies eighteen standard default clefs for use in your pieces (see picture). You can modify these clefs or replace them with custom clefs of your own, using
new symbols if you prefer (you can either use a symbol from a font or design the graphic clef symbol yourself).
If you define a new clef, Finale will treat it intelligently, correctly renotating any music that follows it and always keeping track of the notes’ playback pitches. Any new
clefs you create appear in the standard palette of eighteen clefs (replacing existing clefs).

[Clef icons]. These icons illustrate the eighteen clefs defined for this piece. Click an icon to select it for editing.
Character: Select • [Symbol]. Click Character to create a clef based on a font symbol. The character you enter in the symbol text box tells Finale what
symbol to use to represent the clef when it appears in the score. The symbol always appears in this text box in the system font, even if you’ve specified a
different font for the actual display. For example, the treble clef appears in this text box as an ampersand (&), even though in the score (and in Finale’s music
font) it looks like the G-clef symbol (&).

If you’re not sure which letter corresponds to the symbol you want to use, click Select. Finale will display a palette containing every character available.

Use Default Clef Font • Set Font. Check this box to display the selected clef in the font currently selected for Clefs in Document Options-Fonts.
Shape: Select • Edit. Click Shape to create a clef based on a shape. The number in the text box identifies the raw shape you’re editing. If there’s a zero in
this box, click Select to display the Shape Selection dialog box, where you can double-click an existing shape (or click Create to enter the Shape Designer,
where you can create your own). In either case, when you return to the Clef Designer, Finale enters the number of the shape you selected in the text box.
Middle C Position (from Top Staff Line, in steps). The number in this text box specifies the middle-C line for this clef. A value of zero places middle C
on the top line of the staff; the number in this text box indicates the number of lines and spaces away from this top line middle C is to be. For example, the treble
clef, which places middle C one ledger line below the staff, has a Clef Adjustment value of –10, because one ledger line below the staff is ten lines and spaces
below the top line of the staff. Note that when you move the position of middle C, the key signature will also move with it.
Clef Position (from Top Staff Line, in steps). This value, measured in lines and spaces from the top line of the staff, determines where the new clef will sit
on the staff. A value of zero places the baseline of the clef on the top line of the staff. Note that the baseline of a clef isn’t quite the same as the baseline for
regular text; the baseline of a clef is determined by its musical meaning. For example, the baseline of the treble clef isn’t the bottom of the character—it’s the
"curl" that’s centered on the G line of the staff; the baseline of the bass clef is centered between the two dots (the F line), and so on. Thus the Clef Position for
the treble clef is –6, six lines and spaces lower than the top line of the staff.
Musical Baseline Offset. The value in this text box sets the distance between the normal baseline for each clef (as defined in the previous item) and its
vertical position when it occurs as a clef change (and hence at a reduced size). It’s measured in the currently selected units, inches by default.

Clefs in the Maestro, Petrucci, Engraver, Jazz and Sonata music fonts are positioned correctly automatically when they occur as clef changes, but symbols in
fonts you design yourself may require this extra adjustment.

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Clef Designer

Reset • Reset All. Click Reset to return the selected clef to the default clef in a Coda font (Petrucci, Engraver, Jazz, or Maestro). Click Reset All to return all
of the clefs to the defaults.
OK • Cancel. Click OK to return to the score. From now on, any time you access the palette of clefs (in the Staff Attributes dialog box, for example, or within
the Clef Tool), you’ll see your new clef represented as one of the eighteen available. Remember that when you define a new clef, you replace one of the
eighteen default clefs, including any occurrences of it in the score. Click Cancel to return to the score without making any changes to the clefs in your piece.

See Also:
Clefs
Clef Tool

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Rebarring music

Rebarring music
Finale’s rebarring feature is extremely powerful: almost instantly, it redistributes the notes of your score so that each measure contains the right number of beats. You
can renotate a waltz as a two-step, or vice versa.
In the Time Signature dialog box, there is a checkbox called Rebar Music. As long as this checkbox is selected, Finale will rebar your music automatically whenever
you change the time signature. There are only two circumstances, therefore, when you might need to invoke the Rebar Music command manually—when the checkbox
is de-selected, or when you insert (or delete) a note from a measure, and you want Finale to make the following notes flow into (or out of) that measure to take up the
slack.
Whether you use the Rebar Music checkbox, or manual rebarring feature, Finale is smart enough to split or combine notes as needed, rebeam the notes, and stop
rebarring at points you designate (such as key or time changes); the program will also create measures as necessary. If Finale reaches one of these stopping points
but doesn’t have enough notes leftover to fill an entire measure, it will fill this final measure with the appropriate number of rests.

When you rebar partly-filled measures, Finale does not “pad” the measures with rests. For example, if you’re in time, and you enter two quarter notes (and no
rests) in each of two measures, when you rebar the music, you’ll end up with one measure containing 4 quarter notes. To maintain the positions of the rests, you must
actually enter the rests, or you can “pad” the measures with rests using the Fill With Rests command located in the Check Notation submenu of the Utilities Menu.

To rebar existing music manually

1. Click the Selection Tool , and select the region you want rebarred.
2. Select how you want your music rebarred using the Rebar Options dialog box. (See Rebar Options dialog box.)
3. From the Rebar submenu of the Utilities Menu, choose Rebar Music. Finale redistributes the notes, so that each selected measure contains the
correct number of beats, but respecting your settings in the Rebar Options dialog box.

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Measure layout

Measure layout
For information regarding the relative widths of the measures in a particular system, see To adjust measure widths in a system.
You can easily control the page layout of measures in Finale through the use of measure groups. A measure group is a set of measures fastened to each other; even if
the arrangement of other measures changes, those in a group will remain together in the same system.
This kind of control over measure layout is especially useful when you’re fine-tuning a piece’s layout—avoiding an awkward page turn, forcing a key change to fall at
the beginning of a system, and so on.
Note that the measures you rearrange in the following instructions become locked into the arrangement you specify; they won’t be affected by future measure-
rearranging commands like Update Layout or even Begin a New Staff System (see “To create a system break ,” below). To lock measures into place, select the
systems you wish to affect and pressL. These locked measures will not be affected by updating the layout (unless Remove System Locks is selected in Program
Options-Edit) or rearranging the measures in other systems.
To remove measure groups from the piece choose Update Layout from the Edit Menu or highlight the systems or region with the Selection Tool and press U. If Maintain
System Locks is selected in Program Options-Edit select Update Layout while pressing shift.

To move a measure to the previous (or next) system


Before you perform this or any significant page layout action, be sure to choose Update Layout (ctrl-U) from the Edit Menu. (If you’re in Page View, be sure to choose
Update Layout while you’re viewing the first page, since Update Layout only affects the region from the current page to the end of the piece.)

1. If you’re not in Page View, choose Page View from the View Menu.

2. Click the Selection Tool , and click the measure to be moved. If you want to move more than one measure to the next system—the last two
on a line, for example—click the first measure of the group to be moved. If you want to move more than one measure to the previous system, click the last
measure of the group to be moved.
3. Press the up arrow key or down arrow key. If you press up arrow, the selected measure (and any that precede it in the system) move to the previous
system. If you press down arrow, the measure or measures move to the next system or are consolidated if you are editing the last 2 systems. In either case,
Finale then automatically adjusts the layout, just as though you’d chosen Update Layout from the Edit Menu.

What you’ve just done is to create a measure group, Finale’s system of locking measures within a system. Be aware, however, that once a measure has been
manipulated in this way, the measures in its new system are locked into this arrangement, and won’t be affected by future measure-rearranging commands.
To remove measure groups from the piece highlight the systems with the Selection Tool and press U or choose Update Layout from the Edit Menu while
pressing shift.

To force selected measures into one system


Where the up/down-arrow trick works well to push a single measure into a different system, sometimes it’s useful to say: “I want these three measures, and only
these, in one system.”

1. If you’re not in Page View, choose Page View from the View Menu.

2. Click the Selection Tool , and select the measures you want to group. To select the first measure of the group, click it; then shift-click the
last measure of the group. You may also drag-enclose the measures you want; in any case, they should now be highlighted.
3. Choose Fit Measures from the Utilities Menu. A dialog box appears.
4. Click Lock Selected Measures Into One System. Click OK. Finale places the selected measures into a system by themselves, then does an automatic
Update Layout.

To specify a number of measures per system


See Measures per line.

To remove measure groups through the end of the piece


This process will undo the procedures above, restoring all measures to “floating” status—in other words, their system affiliation may change as the page layout
changes.

Choose Update Layout from the Edit Menu. If Maintain System Locks is selected in Program Options-Edit, press shift while selecting Update Layout,
or deselect this option. Shift–Update Layout works exactly like the normal Update Layout command in one respect: it only affects the pages of your piece from
the page you’re viewing to the last page. If you’ve carefully created measure groups on the first page, for example, you won’t disturb them if you perform a
shift–Update Layout command while viewing page 2. See Program Options-Edit.

To remove measure groups for individual systems


This process will undo the procedures above, restoring all selected systems to “floating” status—in other words, their system affiliation may change as the page layout
changes.

Select the systems to remove measure groupings and U. This will unlock all the locked systems in the selected region.

To create a system break


You can command a specified measure to begin a new system, no matter what the measure layout may be in other systems.

1. Click the Measure Tool ; double-click the barline handle of the measure you want to begin a new system. The Measure Attributes
dialog box appears.

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Measure layout

2. Select Begin a New Staff System. Click OK (or press enter).


3. Choose Update Layout from the Edit Menu. The specified measure now begins a new system. It will always begin a new system, no matter how the
page layout changes.

To split a measure across a line break


See To split a measure across a system break.

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Encapsulated PostScript (EPS)

Encapsulated PostScript (EPS)


Encapsulated PostScript (EPS) is a computer graphics format. Because an EPS file contains the full PostScript description of its contents, it will print with the greatest
resolution possible on a laser printer or other PostScript device, even if it’s pasted into another program. If you’re using Finale in conjunction with a graphics, page-
layout, or word-processing program, use this technique to transfer music from Finale.

To create an EPS file


Use the Export Pages or the Export Selection commands in the Graphics Menu. See Graphics.

Special instructions for printing from Finale with imported EPS files
1. You must have a PostScript capable printer. Check your printer manual for details.
2. The printer driver must be set to Optimize for Portability. Exit Finale. Click Start, Settings, Printers. Right-click on your printer driver
and select Properties. Select the PostScript tab and set the “PostScript output format” to “Optimize for Portability” ADSC. Click
Apply, then OK.
3. The line “OwnPS=0” must be added to the Finale.ini file. Exit Finale. Open the Finale.ini file in the Finale 2004 folder with Notepad. In
the [Settings] section, add the following line, without quotes, “OwnPS=0”. Save and exit Notepad.

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Graphics Tool

Graphics Tool

Use this tool to exchange PostScript and bitmapped graphics between programs. You can place Encapsulated PostScript (EPS) files, and TIFF (TIF) files for use within
Finale, and export a region of music or pages of music as EPS and TIFF files that can be used in other applications.
When you click this tool, the Graphics Menu appears; it contains all the commands to place a graphic into Finale, export pages or a selection of music from your
document to another file, position graphics in your music, and show the location of graphics files.
When you place a graphic--a company logo, for example--it can be brought into the score in either Scroll View or Page View. The placed graphic may be assigned to
and positioned on a single page or measure, or displayed on a range of pages, so it becomes a running header or footer throughout the document. You can position
and scale graphics on your score by dragging their bounding handles.
An additional way to place a graphic is via the Graphics Tool in the Shape Designer window. Graphics placed into the Shape Designer may be used anywhere that
shapes are currently used in Finale. For example, you can use placed graphics with the Expression Tool, or the Articulation Tool.

Special mouse clicks

For further information, see the Shape Designer and Graphics Menu..

See Also:
Advanced Tools Palette

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Studio View

Studio View

How to get there


From the View Menu, choose Studio View.

What it does
Studio View is one of three ways to view your music in Finale (the others are Scroll View and Page View). By default, this is the view Finale presents you with when
you open a new document. If you would like to change this setting when you open new documents, see Program Options-New. Like Scroll View, Studio View displays
your music as one long staff system. As its name suggests, this view is designed for optimal viewing and real-time control while auditioning playback. This is also the
view used to add an audio track, load audio files, or record audio (see Audio Files).
The scroll format offers the most complete, streamlined view of your music, and the most efficient use of computer resources. Real-time control is offered through
Finale’s Staff Controls which always appear on the left side of the screen in Studio View. Each staff is automatically spaced adjacent to its corresponding set of
controls, which are the same as those found in Finale’s Mixer. They include controls for volume, pan, program change, as well as, mute, solo and record commands.
These can be adjusted in real-time as you listen to Finale’s performance, and apply to staves as well as a document's audio track. See Staff Controls. (All Staff
Controls are dynamically linked to the Mixer and Instrument List window - changes to one apply to all uniformly).
In Studio View you will also notice a “TempoTap Staff” above the top staff. This staff displays (by default) the current main beat duration specified by the time signature.
It can be edited with the Simple or Speedy Entry Tool to optimize accuracy for recording a tempo with TempoTap. See TempoTap.

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Playback Settings

Playback Settings

How to get there


From the Windows Menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls.

What it does
In this dialog box, you can define Finale’s handling of a number of playback variables, for real-time playback and exported MIDI and Audio files.

Play Mode: Non-Scrolling • Non-Scrolling (Pre-Scan Music) • Scrolling. Choose Non-Scrolling to play back your music without showing a pointer on
the music as it plays back. Choose Non-Scrolling (Pre-Scan Music) if you want Finale to pre-process the music before it plays back; no pointer is shown when
the music plays back. Choose Scrolling if you want Finale to show a pointer as the music plays back. Finale will automatically pre-scan the music before playing;
when the pointer reaches the edge of the window, Finale advances to the next screen of music.
Human Playback Style: From this drop-down list, you can choose a playback style such as romantic, jazz, blues, or classical. Finale uses the style chosen
to emulate a human performance during playback. Adjustments to the MIDI performance data in tempo, note duration, key velocity, and other MIDI attributes are
applied throughout Finale’s performance. When any Human Playback Style is chosen, all other MIDI data deliberately applied to the document ,including data
added with the MIDI and Expression Tool, is ignored in favor of theHuman Playback settings. The Human Playback performace will include existing expressions,
smart shapes,and other markings in its interpretation based on the style chosen. These settings also apply to saved MIDI files (*.MID) and SmartMusic
Accompaniment files (*.SMP). You can turn off human Playback by choosing None from this list. Choose Custom to open the Human Playback Custom Style
dialog box where you can configure custom Human Playback Settings.
HP Preferences. Click this button to open the Human Playback Preferences dialog box where you can control how Human Playback deals with existing MIDI
data and make additional set tings.
Swing: Swing Values. This control allows you to apply a swing feel to the entire piece. If you’ve created an Expression with a Swing effect, the expression
will override this control. Click on the Swing Values drop-down list to select from several levels of swing or type the percentage of swing in the text box (0% = no
swing, 100% = standard swing). For more details, see Swing Playback.
Base Key Velocity. This number, on a scale from 0 (silent) to 127 (very loud), establishes the overall key velocity setting for the playback of your piece. (Key
velocity is usually equated with volume, but not always. Finale calculates the effect of dynamic markings (expressions) based on this number. In other words, you
can make the piece generally softer by decreasing this number (but individual dynamics within the piece will still override the playback control settings).
Always Start at: Measure ___ • Leftmost Measure • Current Counter Setting. Using these options, specify where you want Finale to begin
playback; the default settings tell Finale to play from Measure__. Enter a number into the text box (or click the arrows to change the number). Alternatively, you
can select the Leftmost Measure displayed on the screen or the current measure displayed in the counter setting box of the Playback Controls.

Using the Start and Stop options, you can even tell Finale to play measures that aren’t on the screen. Or, by entering a small range and repeatedly clicking the
Play button, you can, in effect, "loop" through a certain segment.

Stop at: End of Piece • Measure ___. These controls let you specify where playback should stop. The default setting tells Finale to play to the end of the
piece, but you can enter a number into the Measure text box—or click the arrows—to specify a certain stopping point.
Observe Playback Region when saving to a MIDI or audio file. Check this option to limit the duration of MIDI and audio files to the region of

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Playback Settings

measures specified in the options above.


Display Time As: Hours:Minutes:Seconds:Milliseconds • Frames. Here, choose the desired format for time to be displayed on the Playabck Controls.
Choose Frames when writing to picture in order to see the MIDI Time Code equivalent, which is the format most likely used in an external media player synched
to Finale.
Click and Countoff. Click this button to display the Click and Countoff dialog box, where you can set what will be played for a metronome click, whether a
countoff will play and for how long, and when a metronome click will be heard. For information about setting the options for click and countoff in your music, see
Click and Countoff dialog box.
Playback Options. Click this button to display the Playback Options dialog box where you can specify how Finale plays back your score. See Playback
Options dialog box.
OK • Cancel. Click Cancel to return to your score without making any changes to the dialog box. Click OK (or press enter) to confirm your playback settings
and return to the score.

See Also:
Playback Controls

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MIDI Tool

MIDI Tool

This tool lets you edit the actual MIDI data that Finale stores with your music—key velocities (how hard each note was struck), Start and Stop Times (rhythmic
information), channel pressure (pressure applied to a key after it’s been struck), controller data (pedaling, modulation wheel usage, and so on), pitch bend information,
and patch change events. When you click the tool, the MIDI Tool Menu appears, containing all the commands you need to increase, decrease, or gradually change any
of these data types.

To use the MIDI Tool, you begin by selecting a region of music whose MIDI information you want to edit; you then choose commands from the MIDI Tool Menu. If you
only want to affect a one-staff region that fits on the screen, you can double-click the selected region to enter the MIDI Tool window, where you can view a graphic
representation of the MIDI values you’re editing. Using this technique, you can edit MIDI data on a note-by-note basis—for example, you can increase the key velocity
of only certain notes in a chordal passage.

To enter bank and program change data from the MIDI Tool, follow the procedure for entering patch changes. Remember, a patch is a combination of bank and
program information. See Patches.

To send bank and program changes immediately, choose Send MIDI Value from the MIDI/Audio Menu, and then enter the program change and bank select values into
the modified Send MIDI Value dialog box. Sending controller data is simple. To choose a controller, click Controller, then choose the name of the controller, such as
7:Volume from the Controller drop-down list.

Other effects you can create with the MIDI Tool include inserting and editing pitch bends, creating smooth crescendos and decrescendos, creating true swing-feel
playback, randomizing certain playback variables to create a more human feel, and so on. See Send MIDI Value dialog box, Pitch wheel, Crescendo/Decrescendo,
Swing, and Playback.

Note that Finale’s Human Playback feature can automatically assign playback effects throughout a Finale document. To hear any playback effects assigned
deliberately with the MIDI Tool, you first need to disable Finale’s Human Playback feature. To do this, from the Windows Menu, choose Playback Controls and then
click on the Playback Settings button on the Playback Controls. Click the drop-down menu for Human Playback Style and choose None. For more information, see
Playback Settings dialog box.

IMPORTANT: In order to hear effects applied with the MIDI Tool during playback, you must set
Human Playback to None in the Playback Controls.

Special mouse clicks

See Also:
Advanced Tools Palette
MIDI Tool Menu

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Expressions

Expressions

To add an expression
To move or delete an expression
To define an expression

Expressions can be placed in the score as Note Expressions or Measure Expressions.


Expressions
Measure expressions are attached to a measure, even an empty measure. Most importantly, are markings
Measure Expressions can appear on more than one staff. Since Measure Expressions can affect
every staff in the score, it’s useful for rehearsal letters, tempo indications, and other markings as well that tell the
as those that need to be directly attached to notes. You can even specify exactly which staves the
Measure Expression should appear on by creating a Staff List. For example, you could create a Staff performer how
List to place a dynamic marking above each staff in a group of instruments, such as only the string
instruments. For a more complete discussion of Staff Lists, see Staff List dialog box.
to interpret (or express) a
Note Expressions are attached to a note or rest in a single staff. musical passage. In Finale,
expressions are generally
The sets of symbols, expression marks, and shapes available are stored in libraries. Finale gives you the
option of loading your choice of symbol sets into each individual document. If you’re scoring a big band piece, symbols or text placed above
you may want to create a library full of fall-off, bend, and “doit” markings—but you certainly won’t need those
expressions when you write a string quartet. The File Menu in Finale offers two commands: Load Library, for
or below the staff. Dynamics
bringing expression marks into a document, and Save Library, for storing symbols you have created or (left), tempo indications
modified in a separate library of their own, ready to be imported into future pieces.
Unless you’ve removed the Maestro Font Default file from the Finale program’s folder, a basic set of
(Allegro), and performance
Expression markings is already installed (loaded) when you create a new document. If the Expression practice (pizz.) are among the
Selection dialog box is empty when you’re attempting to place an expression in the score, it’s because the
Maestro Font Default file (which came with the program) wasn’t in place. You can remedy the situation by markings added as
choosing Load Library from the File Menu, locating the Libraries folder, and double-clicking the correct
libraries (the Articulation Library for the Articulation Tool, Text Expression Library and Shape Expression expressions. Because of their
Library for the Expression Tool). But before you launch Finale again, place the Maestro Font Default file in the positioning characteristics,
Finale 2008\Component Files folder so you won’t have to repeat this process every time you start a new
document. expressions are best suited for
Note: If you copy music containing a Measure Expression that is assigned
other types of markings as
to a staff list to a different document, Finale retains the staff list information well, such as rehearsal letters.
along with the expression. Therefore Measure Expressions from the selected
source region appear on the destination staves appropriately. A staff list is Although shapes such as slurs
added to the new document, visible in the Staff List dialog box. If the
destination document already contains a staff list of the same name, Finale
and hairpins are also used to
adds a number to the name (which increments every time a staff list of the communicate the manner of
same name is copied).
expression, these are
Measure Expressions can appear in every staff, at precisely the same position. Click a Measure Expression’s generally added as Smart
handle, and the handle on each corresponding expression (on other staves) become highlighted. Move any Shapes, whose properties are
marking and those in all other staves move simultaneously. If you click Individual Positioning when placing the
marking, however, the marking in each staff becomes independently movable. specially designed for
If you want to change a Measure Expression’s positioning mode (Individual Positioning or not) or its Staff List graphical editing. Markings that
assignment, shift–double-click its handle. The Measure Expression Assignment dialog box will reappear. To
align expressions and Smart Shape crescendos, see the Align/Move Dynamics plug-in. You can adjust the apply to a single note/beat are
default expression positioning using the Note and Measure Positioning tabs in the Text Expression Designer
and Shape Expression designer dialog boxes. To position expressions vertically along a baseline, see To added as Articulations .
adjust the vertical positioning of expressions.
There are two subsets of expressions: Text Expressions (legato, arco, f, and so on) and Shape Expressions (slurs, hairpins, and so on). The Shape Expressions are
created in the Shape Designer.

Note: It’s a good idea, whenever possible, to use the Smart Shape Tool for slurs, hairpins, and dotted-
line shapes. Not only do Smart Shapes produce the same high-quality printouts as Shape
Expressions, but they’re intelligent—that is, they expand and contract along with the music they’re
assigned to, and they automatically break into two independent shapes if the main shape happens to
straddle a line break. A Smart Shape crescendo is normally just a graphic, but with a touch of the MIDI
Tool or the Smart Playback plug-in, you can create a playback crescendo, too; see
Crescendo/Decrescendo.

For information regarding specific markings (tempo indications, crescendos, and so on), see their individual entries.
For information regarding the behavior of expressions in linked parts, see Note Expressions in linked parts and Measure expressions in linked parts.
If you intend to make use of the Shape Expressions, it’s important that you assign each to a Metatool (see “To create Expression Metatools,” for full instructions) before
placing them in the score. Otherwise, you’ll find that the shapes aren’t individually reshapable; if you change one, they all change.

See also Articulations;Crescendo/Decrescendo;Dynamics; Slurs.

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Expressions

To create an expression

1. Click the Expression Tool . Double-click on, above, or below the note to which you want to attach the marking. The Expression
Selection dialog box appears. If you’re placing a Shape Expression, click Shape. Remember, however, that if you intend to place more than one of the desired
shapes into the score, you must place it into the music using Metatools (see “ To create Expression Metatools”). If the desired marking already appears in the list,
click it and skip to step 8.
2. Click Create. The Text (or Shape) Expression Designer appears. To create a Shape Expression, click Select (under the Shape tab); then click Create, which
brings you to the Shape Designer. (See Shape Designer.) Design your shape, press enter three times (making modifications to dialog boxes along the way, if you
wish), and then skip to the instruction marked by the asterisk (*).
3. Type the Text Expression. Highlight the text, then from the Text Menu, choose Font to change the type style. You can apply different fonts and sizes to text
expressions. From the Text Menu, choose Font to change the font, size or style.
4. To assign a playback effect for the expression, click the Playback tab. See To define an expression for playback.
5. To specify the default positioning for the expression, click the Note Positioning tab or Measure Positioning tab. Choose Note Positioning
to set the positioning of this expression when assigned as a Note Expression. Choose Measure Positioning to set the positioning of this expression when
assigned as a Measure Expression. See To assign the default positioning for an expression.
6. Click OK (or press enter).
7. Click Measure Expression or Note Expression. If you double-clicked by a note, Finale remembers this setting.
8. Click Select (or press enter). The Expression Assignment dialog box appears. You often won’t have any changes to make to this box, in which case you
can go on to the next step. There are, however, some useful options here. For note expressions, from the Distance from drop-down list menu, choose Bottom
Note if you want the marking positioned relative to the bottom note of a chord, so that it maintains its distance in the event the bottom note is transposed. If you
don’t select this option, the mark will be attached to the top note of the chord. There’s also an option called Begin Playback at, with two choices. You usually
hear the playback effect of an expression at the moment Finale reaches the note to which it’s attached. By selecting Position in measure instead, you can tell
Finale to execute the playback effects of the mark according to its horizontal position in the measure. In other words, you can make the playback effect take place
slightly later or earlier by dragging the marking to the right or left in the score. And finally, you can specify the element of the music you want this expression to
affect—a specific layer, chord symbols, and so on—by choosing it from the On playback, affect drop-down list menu. SeeNote Expression Assignment dialog box
for more information. For measure expressions, Individual Positioning means that you’ll be able to move this marking independently in each staff. (If you don’t
click this box, you move this marking in all staves at once when you move any one of them). The other feature of interest is the Staff List. Select a staff list from
the drop-down list or select New Staff List to create a new staff list. You can also choose Edit to edit a currently defined staff list. See Staff List dialog box for
more details.
9. Click OK (or press enter). The marking appears in the score.

To move or delete an expression


See also Align/Move Dynamics Plug-in.

1. Click the Expression Tool .


2. Drag the handle to move the marking; select it and press delete to remove it. Once the handle is selected, you can also use the arrow keys to
“nudge” the marking for fine positioning.

To erase Expressions from a region

1. Click the Selection Tool .


2. Select the desired region. See Selecting music for some region-selecting shortcuts.
3. From the Edit Menu, choose Clear Items. The Clear Selected Items dialog box appears.
4. Check Measure Expressions and/or Note Expressions.
5. Click OK.

To copy expressions
You can copy any musical element from one passage to another. In this discussion, the source measures are those that now contain the marking, and the target
measures are those to which you want to copy them.

1. Click the Selection Tool .


2. From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears.
3. Select Note Expressions and/or Measure Expressions (only), and click OK.
4. Select the source measures. See Selecting music for some selecting shortcuts.
5. Drag the first source measure so that it’s superimposed on the first target measure. If the first target measure is offscreen, scroll to it; then,
while pressing ctrl and shift simultaneously, click it. Unless you drag to a region directly above or below the source measures, the “How many times?” box
appears.
6. Specify the number of times you want the markings copied, and click OK. For Note Expressions, Finale only copies markings to notes that fall on
the same beats as they did in the source measures. The markings maintain their positions relative to the noteheads.

Note: when you are done copying expressions, open the Edit Filter dialog box again and click Restore
to Default if you want Finale to copy everything as you continue to edit your score. The configuration
of the Edit Filter dialog box remains until edited manually, even after closing and restarting Finale.

To create a shape

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Expressions

See Shape Designer.

To define an expression for playback

1. Click the Expression Tool . If you haven’t yet placed the mark in the score, double-click any note or measure. When the palette appears, click the
desired symbol, click Edit, then skip the next two instructions.
2. Double-click the handle. The Text Expression Designer dialog box appears.
3. Click the Playback tab. The playback options appear.
4. From the Type drop-down list menu, choose the playback effect you want the marking to have. Many of these are self-explanatory: Tempo,
Key Velocity, and so on. For a complete description of these items, see Text Expression Designer dialog box.
5. To set a specific value for this parameter, enter a number in the Set To Value box. The units for these items are usually what you’d expect.
Tempo is quarter notes per minute. Key Velocity is MIDI velocity (0, silent; to 127, very loud). Transposition is in half steps (to transpose up an octave, type 12 in
the Set To Value box). When you’ve entered a value into the Set To Value box, you’re finished defining the shape for playback; press enter three times to return
to the document. The rest of these steps deal with creating playback definitions that change over time—for example, MIDI pitch wheel data (for a pitch bend),
Tempo (for a ritard), Key Velocity (for a crescendo), and so on.
6. If the playback parameter is to change over time, select Execute Shape, and then click the Select button. The Executable Shape Selection
box appears. If the desired shape appears here, double-click it and skip to the instruction marked by the asterisk (*).
7. Click Create. In the next box, click Shape ID. In the next box, click Create. You’re now in the Shape Designer. For a more complete discussion of
the Shape Designer, see Shape Designer.
8. Choose Rulers and Grid from the Shape Designer Menu. A box appears, asking you to specify the background grid increments.
9. Click Eighth Notes, enter 1 in the text box, then click OK. From the Show submenu of the Shape Designer Menu, choose Grid. You
should now see a network of grid points; each horizontal gridpoint represents an eighth note’s duration.
10. Draw the Executable Shape. Again, see Shape Designer. You’re drawing, in fact, a graph whose contour Finale will follow as it plays back your music. A
ritard (or a diminuendo, for that matter) looks like a straight line, or gentle curve, sloping down. A pitch bend looks like a scoop down or up. For details on these
individual markings, see separate entries for Trills; Rallentando; Pitch wheel; and so on. As you draw, keep in mind that each imaginary vertical gridline
represents an eighth note’s duration, and each horizontal gridline represents one change in value. If you’re creating a crescendo, the volume will increase an
equal amount each time your shape crosses a horizontal gridline. If you’re creating a rallentando, the tempo will decrease each time your shape crosses a
horizontal gridline. In a later step, you’ll learn how to determine the rhythmic value of these gridlines—specifying, for example, whether the volume increases
every eighth note or every sixteenth note. But for the moment, realize that the height of your shape (the number of horizontal gridlines it crosses) determines how
many changes in value there will be. (The shape for a rallentando that crosses eight horizontal gridlines will create eight small tempo changes when the
expression to which it’s assigned is played back.)
11. Press enter twice. You arrive at the Executable Shape Designer box. The two most important elements here are the Time Scale and Level Scale boxes.
12. Enter a new Time Scale, if necessary. When you created the shape, you determined how long the playback effect would last (by the number of vertical
gridlines your shape crossed). The Time Scale ratio—formed by a combination of the two text boxes—is multiplied by the length of the shape you drew so that
you can change the total duration affected by the shape. A 1:1 ratio means that each vertical gridline your shape crosses (in the Shape Designer) represents an
eighth note duration. Suppose you’re defining the Executable Shape for a crescendo. If the shape you drew was only a quarter note long (two gridlines in the
Shape Designer), the crescendo will last for exactly a quarter note—if you leave the Time Scale at 1:1. To make the crescendo last twice as long, change the
Time Scale to 2:1. If you want it to last only a third as long, the Time Scale should be 1:3. The values you enter here determine the span of time affected by your
shape.
13. Enter a new Level Scale, if necessary. The Level Scale, like the Time Scale, is a ratio. Instead of determining how long the Executable Shape’s effect will
last, the Level Scale determines how much change you’ll hear (in the MIDI parameter you’ve specified). When you designed your shape, each horizontal gridline
crossed by your shape represented one change in MIDI value: a tempo change from 60 to 59 beats per minute, a MIDI key velocity change from 120 to 121, a
transposition down one half step. By changing the Level Scale, you can multiply that number to create more dramatic changes in the playback effect. For a ritard,
you might want to specify a Level Scale of 10:1, so that the tempo drops by 10 beats per minute for each horizontal gridline crossed by your shape.
14. Click OK or Select in each dialog box until you return to the document. Listen to the effect of your Executable Shape. Can you even hear your
ritard in playback? If not, increase the Level Scale ratio. Is your crescendo too brief? Then increase the Time Scale ratio. If you’re still puzzled, examine one of
the predefined Text or Shape Expressions that use Executable Shapes: the crescendo hairpin, for example, or the rallentando expression.

To change the default positioning for an expression

1. Click the Expression Tool . If you haven’t yet placed the mark in the score, double-click any note or measure. When the palette appears, click the
desired symbol, click Edit, then skip the next two instructions.
2. Ctrl-double-click the handle. The Text/Shape Expression Designer dialog box appears.
3. Click the Note Positioning tab to define positioning for this expression if assigned to a note, or Measure Positioning to define
positioning for this expression if assigned to a measure. The horizontal and vertical positioning appear. Use these parameters to specify the
horizontal and vertical positioning. For text expression positioning, see Note PositioningMeasure Positioning and .

To adjust the vertical positioning of expressions


You can adjust the vertical positioning of expressions along a baseline after they have been entered provided they have been set to Above Staff Baseline or Below
Staff Baseline in the Vertical portion of the Note or Measure tab of the Text/Shape Expression Designer. See Expression Designer-Positioning . Then, do the following

1. Click the Expression Tool .


2. From the Expression Menu, choose Adjust Above Staff Baseline or Adjust Below Staff Baseline depending on whether you want to move
expressions above or below the staff, respectively. Positioning triangles appear to the left of the staff.
3. Drag the positioning triangles to adjust the vertical positioning of the expressions. These triangles are handles that control the baseline for the
expressions (the invisible line against which the bottoms of the letters align). Dragging the leftmost triangle up or down moves the baseline for these expressions
vertically, affecting the entire piece. The second triangle sets the baseline for expressions for this staff only. The third triangle, whose effect is only visible in Page
View, sets the baseline for this staff in this system only. The rightmost triangle sets the baseline for the next expression you enter. For information regarding
baselines in linked parts, see Baseline Positioning in linked parts.

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Expressions

To create Expression Metatools


When you have many articulations or expression marks to place in your score, you can use a Metatool to bypass all the dialog boxes and button-clicks required in the
expression-placing procedures described above. A Metatool is simply a keyboard equivalent for a certain expression marking; you use letter or number keys on your
keyboard.
Furthermore, Expression Metatools are extremely important if you want to place more than one of any particular Shape Expression into the score. If you don’t place
them into the score using Metatools, you’ll find that the shapes aren’t individually reshapable; if you change one, they all change.

1. Click the Expression Tool .


2. While pressing shift, press any letter or number key. The key you press is the Metatool key to which you’re assigning the marking. When you do this,
the selection box appears. If the marking isn’t present in the palette, you can create it in the usual way; see “To create an expression”, and see Articulations for
instructions on creating articulation markings.
3. Double-click the desired marking. Press enter as necessary to exit the dialog boxes. You return to the document, having successfully prepared
the Metatool for use. You’re now ready to place the marking in the score select the proper tool).
4. While pressing the appropriate letter or number key, click where you want the marking to appear. (Keep in mind that you must click on,
above, or below a note to place an articulation or note expression.) The marking appears in the score. Also be sure to check the state of the metatool menu
items in the Expression Menu. See Expression Menu. Again, remember to use this Metatool technique all the time if you plan to place Shape Expressions into the
score; doing so will ensure that each occurrence of a shape is individually reshapable, because each time you use a Metatool, it creates a copy of the original
shape.

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Save As Audio File

Save As Audio File

How to get there


From the File Menu, choose Save Special, then Save As Audio File.

What it does
In this dialog box you can specify what kind of audio file you want to create (Standard or Compressed),
and which folder the computer should put it in.

Save In. From this drop-down list select the folder in which you want to save your file.
File Name. In this text box, enter a name for a new file. If there’s already a file with the same name in this folder, Finale will ask you if you want to replace it
with the new file. If you do not provide an extension after the name, Finale automatically adds one to correspond to the selected File Type.
Save as Type: Audio File. From this drop-down menu, choose Audio files to show only audio files in the window above. Choose All files to show all file sin
the current folder. To specify the type of audio file you want to save, choose one of the radio buttons below or click Advanced.
Standard Audio File • Compressed Wave File. Choose Standard Audio File to save as an uncompressed audio file. Standard Audio files are large in file
size and generally used for burning audio CDs. Choose Compressed MP3 File to save a compressed Audio file in MP3 format. Compressed Wave files are a
fraction of the size of Standard Wave files and are the preferred format for storing on a computer, or transferring over the Internet. Compressed audio files are not
supported while recording with Native Instruments AU as the playback device.
Save • Cancel. Click Save (or press enter) to create a new file of the title and type you’ve specified in this dialog box. Click Cancel to return to the score
without creating a new file.

See Also:
Audio
File Menu

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Linked Parts

Linked Parts

Important note: Prior to printing Linked Parts, always view them to update multimeasure rests. Doing
this ensures there are no missing or extra measures in the printout. Press Ctrl-Alt-. (period) several
times - until all the parts have been viewed.

A Linked Part is simply a representation of one or more score staves arranged in a part layout that walks in-step with notation and other changes you make to the
score. Although their basic purpose is to eliminate the need to make redundant changes to the score and part separately, their integrated nature offers many other
time and labor-saving advantages:

Parts are conveniently accessible within a single project file under the Document Menu (or by pressing key commands).
You can open up more than one window of your document (for example, with each document window displaying a different part) by choosing New
Window from the Window Menu .
Parts are customizable. A part can contain any combination of staves or groups from the score. Parts can be created at any time; while setting up your
score or after the score is complete. See To create linked parts.

Page Layout changes in one part, such as system margin positioning and page reduction, can be applied to other parts. See Page
layout in linked parts.
Changes to the music spacing can be applied to multiple parts. See Music Spacing in linked parts.
A single voice in a multi-voice staff can be isolated for printing (while the linked relationship remains intact). See Part Voicing.
Linked parts can be extracted into separate documents. See Extracting parts.
Page Layout changes in one part, such as system margin positioning and page reduction, can be applied to other parts. See Page
layout in linked parts.
Changes to the music spacing can be applied to multiple parts. See Music Spacing in linked parts.
A single voice in a multi-voice staff can be isolated for printing (while the linked relationship remains intact). See Part Voicing.
Linked parts can be extracted into separate documents. See Extracting parts.
Linked parts can be printed en masse from the main project file. See Print dialog box.
Linked parts were designed to be as intuitive as possible while offering the greatest degree of flexibility. For example general page text,
such as the title, composer and copyright appears on each part automatically - although you can reposition any of these elements on each part independently if
desired. The following general principles apply for all scores containing linked parts:

Changes to pitches and rhythms in the part or score always apply to the other respectively 1 .

Changes to the definition of markings (e.g. changing expressions from to ) in the part or score always apply to the other
respectively.
A change to the positioning or shape of any marking in the score also applies to that marking in the part respectively (unless the link
has been broken).
Manually repositioning or altering the shape of a marking (dragging or nudging and expression/articulation, or altering a smart

shape, 2 etc.) in a part ‘breaks’ the positioning relationship between that part and its corresponding score marking. The change does not
apply to the score. That marking is now orange in the part indicating it has been broken. It is also orange in the score indicating it has been broken in at least

one part. 3 This applies to all “intelligently linked” items (see Linking Details for Linked Parts ).
Any broken link can be relinked.
Changing a marking’s show/hide setting in a part breaks only its show/hide link with the score. Changing an item’s positioning link state does
not change its show/hide link state - they are autonomous.
Removing manual positioning does not relink a marking. In fact, it removing manual positioning can break the positioning link for an item when done
in a part.

Page layout changes to a part do not apply to any other part unless applied to other parts deliberately. See Page layout in linked
parts.
As noted above, the notation between a score staff and its corresponding part staff is always linked. In contrast, the page formatting and
measure layout is independent and (by default) based on Finale’s automatic settings. (Although page layout changes to one part can be applied to others. See
Page layout in linked parts). Expressions, text, repeat markings, smart shapes, and several other elements (or properties of elements) are said to be
“intelligently linked,” meaning the link can be broken if desired. For these items, edits to positioning in a part apply to that part only and not the score.
Furthermore, future positioning changes to the corresponding score element will not apply to the part. There are many different types of markings that can be
broken, and many ways to edit them. Some markings are unique in their relationship between the score and part. (For example, slurs should always connect the
same notes, but their shape may differ between the part and the score.) If any property of a marking is broken, it changes color (to orange) to indicate it is no
longer (entirely) linked.
Additionally, by repositioning an item such as an expression in the part, you have broken only the positioning link - any further edits
to the positioning of this expression in the score will not affect that expression in the part. The show/hide setting remains linked. At this point,
if you were to hide this expression in the score, it would also be hidden in the part, even though the positioning link has been broken. (After an item has been
broken it can be relinked to the score - see Relinking part items to the score.) This paradigm is the standard for every linked part item that can be

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broken unless specified otherwise in this chapter.

To find out if an element is permanently linked, independent, or intelligently linked, see the Linking Details for Linked Parts chart
in the Appendix.

Special mouse clicks and keyboard shortcuts


Linked Parts context menus. Every element whose link can be broken includes a context menu command. The command available depends on whether you are
viewing the score or part and the status of the link. To illustrate, we’ll use an expression. Right-click an expression in the score and choose Unlink In All Parts to break
the link for this expression in all parts; choose Relink In All Parts to restore the link for all parts. Right-click an expression in a part and choose Relink To Score to
completely restore the link (show/hide and positioning). See also Contextual Menus .

Hold down the Ctrl key to override Finale’s default linking behavior for that item. This key reverses Finale’s linking behavior. For example, using
the override key and editing a note expression in a part will preserve the linked state and apply the edits to the score and other parts using that staff. Using the
override key when editing a note expression in the score will break the linked state for the object to all parts and apply the edits to the score only.
When any linkable item is selected, press Ctrl-Alt-Shift-H to Hide/Show the item.
To relink an item that has been broken, select it in the part and press Ctrl-Alt-Shift-L.
To break the positioning link of an item between the part and score, select it and press Ctrl-Alt-Shift-U.
Press Ctrl-Alt-> to move to the next part and Ctrl-Alt-< to move to the previos part.

Contextual Menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be displayed where you can select various items.

Menu item What it does

Show Toggles show/hide setting


Relink Restore the link to its corresponding score item
Break the link between the score and this item in all
Unlink in All Parts (parts only)
parts
Restore the link between the score and this item in
Relink in All Parts (score only)
all parts

To create linked parts


You can easily create linked parts while setting up new documents (or even adding new staves) using the Setup Wizard. Simply
check Generate Parts on page 2 of the Setup Wizard while setting up your document (or adding new staves using the New
Staves (with Setup Wizard) command under the Staff Menu). When the score appears, Finale automatically creates a part for
each instrument.
Additionally, parts can be generated from existing score staves at any time. In fact, you could choose to generate parts after the
score is complete or after opening a file created in an old version of Finale. To create new linked parts in an existing score:

1. From the Document Menu, choose Manage Parts. The Manage Parts dialog box appears.
2. Click Generate Parts. Finale populates the list with one part for each instrument. Finale names the part based on the
staff name. If a grand staff is in the score, or any multiple-staff instrument, Finale adds a single part and names it based on
the group name. Although Finale generated a single part for each instrument, you can click Edit Part Definition to manually
assign any combination of staves (or groups). See Manage Parts dialog box.
3. Click OK. Finale generates a part for each instrument. To view a part, from the Document Menu, choose Edit Part, and
select the part (or use the keystrokes listed in this submenu).
4. If you are working with a score created in Finale 2006 or earlier, you may want to:

Add part names. See Part Names in Linked Parts .


Define articulations to automatically flip to the other side of the staff when appropriate automatically. See Articulations in linked parts.
Set multimeasure rests to update automatically. See Multimeasure Rests in linked parts.
Load the Document Options Library to reset document options to the Finale 2008 defaults. This will also update your Page Format for Parts settings.

Navigating Linked Parts


The following techniques allow easy navigation and are recommended while working with a document containing linked parts.

Use the keyboard shortcuts to quickly navigate between the score and any part:Ctrl--. (period) to move forward, Ctrl-Alt-, (comma) to move
backward, and Ctrl-Alt-/ (slash) to move to the score or the last viewed part. See also Document Menu .

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Use of Ctrl-Page up and Ctrl-Page Down to quickly turn pages.


Note the name of the part you are currently viewing is listed in the title bar of the document window. The name of the current part also
appears after the document name in the Window Menu.
You can open up more than one window of your document (for example, with each document window displaying a different part) by choosing New
Window from the Window Menu .

To hide an item in the score (and leave it showing in parts)


Use the override key and a context menu to do this easily. These steps apply to all “intelligently linked” items. See Linking
Details for Linked Parts.

1. From the Document Menu, choose Edit Score to navigate to the score.
2. Hold down Ctrl, and right-click the item and uncheck Show. The item is now set to show in the parts but not
the score.

To show an item in the Score (and hide it in all Parts)


Use the override key and a context menu to do this easily. These steps apply to all “intelligently linked” items. See Linking
Details for Linked Parts.

1. From the Document Menu, choose Edit Score to navigate to the score.
2. Right-click the item and uncheck Show. (This hides the item everywhere.)
3. Hold down Ctrl, and right-click the item and recheck Show. The item is now set to show in the score but not
the parts.

To show an item in one part only (and hide it in other parts and the score)
Use the override key and context menus to do this easily. These steps apply to all “intelligently linked” items. See Linking Details
for Linked Parts.

1. From the Document Menu, choose Edit Part and choose the desired part.
2. Hold down Ctrl, and right-click the item and check Show. The item is now hidden everywhere.
3. Release the Ctrl key, right-click the item and check Show. The item is now set to show in this part only.

To reposition an item in the score without moving it in parts


Use the override key to do this easily. These steps apply to all “intelligently linked” items. See Linking Details for Linked Parts.

1. From the Document Menu, choose Edit Score to navigate to the score.
2. Hold down Ctrl and drag or nudge the item. The item moves in the score, but not in the part(s). The link is now
broken for this item (in all parts containing it).

To reposition an item in all parts while viewing a part


Use the override key to do this easily. These steps apply to all “intelligently linked” items. See Linking Details for Linked Parts.

1. From the Document Menu, choose Edit Part and choose the desired part.
2. Hold down Ctrl and drag or nudge the item. Corresponding items in the score and other parts whose link is intact
move respectively. Now, the item is probably out of position in the score. To move it into the correct position:
3. From the Document Menu, choose Edit Score to navigate to the score.
4. Hold down Ctrl and drag or nudge the item. The item moves in the score, but not in the part(s). The link is now
broken for this item (in all parts containing it).

Note Expressions in linked parts


Note expressions follow the paradigm described at the beginning of this section (see Linked Parts). When a note expression is
added to either the score or part, it appears in both. Similarly, when a note expression is deleted from either the score or part, it
is removed from both.
The following properties of note expressions are permanently shared between the score and parts:

Settings from the Text Expression Designer dialog box

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Linked Parts

Settings from the Shape Expression Designer dialog box


On Playback, Affect: setting in the Note Expression Assignment dialog box
Begin Playback At setting in the Note Expression Assignment dialog box

The following table lists properties of note expressions that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning
V: values)
Remove Manual Adjustments Positioning
Hide/Show setting Hide/Show

Note: Removing Manual Positioning in a part (e.g. selecting an expression handle and pressing
Backspace) does not relink a broken expression. In fact, doing so in a part breaks the positioning link.

Measure expressions in linked parts


Measure expressions generally follow the paradigm described at the beginning of this section (see Linked Parts). When a
measure expression is added to either the score or part, it appears in both. Similarly, when a measure expression is deleted
from either the score or part, it is removed from both.
The following properties of measure expressions are permanently shared between the score and parts:

Settings from the Text Expression Designer dialog box


Settings from the Note Expression Assignment dialog box
On Playback, Affect: setting in the Note Expression Assignment dialog box
Begin Playback At setting in the Note Expression Assignment dialog box

The following table lists properties of measure expressions that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning
V: values)
Remove Manual Adjustments Positioning
Allow individual edits per staff Positioning
Hide/Show setting Hide/Show

Repositioning measure expressions


Measure expressions differ from note expressions in that a single measure expression can be assigned to multiple staves (see
Expressions), which has some implications for linked parts.
When you first add a measure expression, positioning changes to that expression in the score apply to all parts containing that
expression. If a measure expression is repositioned in a part, the change does not affect other instances of that expression in
the score or other parts, and future positioning changes to that expression in the score do not apply to that part. However, if a
measure expression is repositioned in a part containing multiple instances of that expression, all instances of that expression in
the part are broken (and all instances of that expression in the part continue to move uniformly).
Broken expressions in parts can be relinked to the score at any time (see Relinking part items to the score).
The “Allow individual edits per staff” setting in the Measure Expression Assignment dialog box allows you to reposition, hide, or
show an instance of a measure expression without applying these changes to other instances of that expression.

If Allow Individual Edits per Staff is checked for a measure expression in the score, every instance of that expression in the score can be edited independently -
linked instances of that expression in parts continue to respond to score changes accordingly.
Checking this box for an expression in a part breaks the positioning and show/hide link for all instances of that expression in the part - each instance of that
expression in the part can be edited independently. All other linked instances of that expression in other parts continue to move in uniform with edits made to that
expression in the score. (All expressions in the score turn orange indicating this expression has been broken in at least one part).
Broken instances of a measure expression in a part containing multiple staves can be edited uniformly or independently depending on this setting. However, note
that changing the state of this check box always breaks the link for all instances of the expression in the part.

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Linked Parts

Show/hide setting for measure expressions


The show/hide linking behavior for measure expressions follows the same rules as repositioning and depends on the Allow
Individual Edits per Staff setting. See Repositioning measure expressions above.
Articulations in linked parts
When an articulation is added to a note in a score or part, it appears in both. When an articulation is deleted from either the
score or a part, it is removed from both.
The following properties of articulations are permanently shared between the score and parts:

All settings in the Articulation Designer dialog box.


All values in the Handle Positioning dialog box.

The following table lists properties of articulations that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


V: values) including repositioning of
Positioning
second handle using “Copy the
Main Symbol)
Remove Manual Positioning
Positioning
(Backspace key)
Hide/Show setting Hide/Show

Note: Removing Manual Positioning in a part (e.g. selecting an articulation handle and pressing
Backspace) does not relink the articulation. In fact, doing so in a part breaks the positioning link.

If your score was created in Finale 2006 or earlier, articulations will not automatically flip across the staff when appropriate when
working with part voicing (see Part Voicing). To define an articulation’s definition so that it is optimized for use with linked parts:

1. Choose the Articulation Tool .


2. Double-click the handle on the articulation you would like to change. The Articulation Designer dialog box
appears where you can edit the definition for (all occurrences of) this articulation. See Articulation Designer dialog box.
3. Click the Position drop-down menu and choose Auto Note/Stem Side.
4. Click OK. Now, this articulation will flip to the other side of the staff when appropriate. For example, if a second voice or
layer is added or removed while isolating voices in a part.

Measure-attached text in linked parts


When a measure-attached text block is added to either the score or part, it appears in both. Similarly, when a measure-attached
text block is deleted from either the score or part, it is removed from both.
The following properties of measure-attached text blocks are permanently shared between the score and parts:

The following settings in the Font dialog box: Font Name, Style, and Size.

The following settings from the Text Menu : Baseline Shift, Superscript, Tracking, Standard Frame, Custom Frame, Justification, Alignment, Line Spacing, Word
Wrap, and Edit Page Offset

The following settings in the Frame Attributes dialog box: "Attach to" Assignment (measure attached, single page, multiple pages.), "Position from" (Page
Margin or Page Edge), Position from edge of frame, Use right page positioning, Alignment and Positioning for right pages settings.

The following table lists properties of measure-attached text blocks that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning

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Linked Parts

V: values)
Hide/Show setting Hide/Show

Page-attached text in linked parts


When a page-attached text block is added to either the score or part, it appears in both on corresponding pages. When a
multiple-page-attached text block is deleted from either the score or part, it is removed from both.
When a page-attached text block is added to a score or part, Finale adds it to the corresponding page of the score or linked part
based on page number, and also takes into account title pages.
The following properties of page-attached text blocks are permanently shared between the score and parts:

The following settings in the Font dialog box: Font Name, Style, and Size.

The following settings from the Text Menu : Baseline Shift, Superscript, Tracking, Standard Frame, Custom Frame, Justification, Alignment, Line Spacing, Word
Wrap

The following settings in the Frame Attributes dialog box: "Attach to" Assignment (measure attached, single page, multiple pages.), "Position from" (Page
Margin or Page Edge), Position from edge of frame, Use right page positioning, Alignment and Positioning for right pages settings.

The following table lists properties of page-attached text blocks that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning
V: values)
Edit page offset Positioning
Hide/Show setting Hide/Show

Page-attached text blocks behave differently depending on whether they are attached to a single page or multiple pages. (See
Frame Attributes dialog box.)

Single-page-attached text blocks


When a page-attached text block is added to a single page, Finale adds it to the corresponding page of the score or part based
on page number, and also takes into account title pages. Since the page number of the score will generally be far different than
the page number of the part, single page-attached text blocks should only be used for title pages, or the first page of music. To
attach text to a measure that adjusts according to layout changes, use measure-attached text blocks or measure-attached
expressions (see To assign a text block to a measure and To create an expression).
In order to properly account for title pages that may differ in number between the score and parts, Finale manages the
placement of single-page-attached text blocks as follows:

If there are no blank pages, or if the same number of blank pages appear in the score and all parts, placing a text block on a particular page number in the
score will also place it on that page number of the part and vise versa.
When there is a different number of title pages between the score and parts, Finale will ignore title pages when a text block is added to pages that contain music.
For example, if the score contains 2 blank pages and there are no blank pages in the parts, placing a page-attached text block on page 3 in the score (first page
of music) will also place the text block on the first page of music in the parts.
When adding single page-attached text blocks to title pages, the first title page is used as a reference point. For example, if the score contains 2 blank title
pages and the parts contain 1 blank title page, a text block added to the first title page in the score will also place it on the first title page of the part (see image
below). A linked page-attached text block only appears if there is a corresponding page for the text block in the respective score or part. Add a text block to the
2nd title page of the score and it will not appear in the part.

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When a page-attached text block is deleted from either the score or part, it is removed from both.

Multiple-page-attached text blocks


When a multiple-page-attached text block is added to either the score or part, it appears in both on corresponding pages. When
a multiple-page-attached text block is deleted from either the score or part, it is removed from both.

Page-attached graphics and in linked parts


When a page-attached graphic is added to the score or part, it appears in both. The graphic is placed on the corresponding
page number(s). (If there are blank title pages in the score or parts, Finale bases the graphic placement on the page number
starting with the first page containing music.) When a page-attached graphic is deleted from either the score or part, it is
removed from both.
The following properties of page-attached graphics are permanently shared between the score and parts:

The following settings in the Graphic Attributes dialog box: "Attach To" assignment, Horizontal and Vertical Alignment and Positioning, Position From
Page Edge/Page Margin, Use right page positioning, Right Page Horizontal Alignment, Horizontal and Vertical scaling, Fixed percent.

The following table lists properties of page-attached graphics that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning
V: values)
Hide/Show setting Hide/Show

Single page-attached graphics


When a page-attached graphic is added to a single page, Finale adds it to the corresponding page of the score or part based on
page number, and also takes into account title pages. Since the page number of the score will generally be far different than the
page number of the part, single page-attached graphics should only be used for title pages, or the first page of music. To attach
text to a measure that adjusts according to layout changes, use measure-attached graphics or measure-attached expressions
(see Graphics).

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In order to properly account for title pages that may differ in number between the score and parts, Finale manages the
placement of single-page-attached graphics as follows:

If there are no blank pages, or if the same number of blank pages appear in the score and all parts, placing a graphic on a particular page number in the score
will also place it on that page number of the part and vise versa.
When there is a different number of title pages between the score and parts, Finale will ignore title pages when a graphic is added to pages that contain music.
For example, if the score contains 2 blank pages and there are no blank pages in the parts, placing a page-attached graphic on page 3 in the score (first page of
music) will also place the graphic on the first page of music in the parts.
When adding single page-attached graphics to title pages, the first title page is used as a reference point. (The treatment of single page-attached graphics is
identical to single page-attached text in this regard.) For example, if the score contains 2 blank title pages and the parts contain 1 blank title page, a graphic
added to the first title page in the score will also place it on the first title page of the part (see image below). A linked page-attached graphic only appears if there
is a corresponding page for the graphic in the respective score or part. Add a graphic to the 2nd title page of the score and it will not appear in the part.

When a page-attached graphic is deleted from either the score or part, it is removed from both.

Multiple page-attached graphics


When a multiple-page-attached graphic is added to either the score or part, it appears in both on corresponding pages. When a
multiple-page-attached graphic is deleted from either the score or part, it is removed from both.
Measure-attached graphics in linked parts
When a measure-attached graphic is added to either the score or part, it appears in both. When a measure-attached graphic is
deleted from either the score or part, it is removed from both.
The following properties of measure-attached graphics are permanently shared between the score and parts:

The following settings in the Graphic Attributes dialog box: "Attach To" assignment, Horizontal and Vertical Alignment and Positioning, Position From
Page Edge/Page Margin, Use right page positioning, and Right Page Horizontal Alignment.

The following table lists properties of measure attached (and page-attached) graphics that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning
V: values)

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Hide/Show setting Hide/Show

Note: Fixed percent and horizontal and vertical scaling are independent between the part and score.

Tuplets in linked parts


When a tuplet is added to either the score or part, it appears in both. When a tuplet is deleted from either the score or part, it is
removed from both.
The following properties of tuplets are permanently shared between the score and parts:

The following settings in the Tuplet Definition dialog box: "__in the space of__," Placement, Appearance, Always Flat, Avoid Staff, Bracket Full Duration,
Center Number Using Duration

The following table lists properties of tuplets that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning
V: values)
Bracket direction (Over/Under/Flip) Direction
Editing the slope or hook length of
Positioning
a tuplet bracket
Hide/Show setting Hide/Show

You can use the F key to flip a tuplet to the other side of the staff. If you do so in the score, the tuplet also flips in all parts
containing that tuplet (if it hasn’t been broken). Flipping the tuplet in a part breaks the link and does not apply to the score or
other parts.
You can reverse the linking behavior while flipping tuplets using the Ctrl key. For example, select a tuplet in a part, hold down
the Ctrl key and press F to flip the tuplet in both the score and part, retaining the link. Select a tuplet in the score, hold down
the Ctrl key and press F to flip the tuplet in the score only, breaking the link to the part/all parts that contain that staff.

Smart Shapes in linked parts


Smart shapes, such as slurs and hairpins behave differently than other types of linked items because their shape may require
individual editing, but generally not their start and end point. The following describes how Finale handles Smart Shapes in linked
parts.
The following general smart shape settings are permanently shared between the score and parts:

Settings from the Slur Contour dialog box.


Settings from the Smart Shape Placement dialog box.
Settings from the Smart Shape Options dialog box.
Settings from the Smart Slur Options dialog box.
Settings from the Guitar Bend Options dialog box.
Settings from the Smart Line Designer dialog box.

Note and Notehead-attached Smart Shapes


Note and Notehead-attached smart shapes including slurs, dashed curves, glissandi, bend hats, tab slides and others are
treated identically. When a note or notehead-attached smart shape is added to either the score or part, it appears in both. When
it is deleted from either the score or part, it is removed from both. The direction (above/below staff) is automatic (for slurs and
dashed curves depending on the pitches on the staff), and may differ in the score than the part without user intervention.
The following properties of note and notehead-attached smart shapes are permanently shared between the score and parts:

Avoid Accidental status (slurs and dashed curves)


Start and end note assignments (although changing the note assignment in a part does break the positioning link

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The following table lists properties of note and notehead-attached smart shapes that are broken if changed in a part:

Property changed Link type broken

Engraver Slur setting


Positioning
(On/Off/Automatic)
Slur direction (Over/Under/Flip) Direction
Position of primary and secondary
Positioning
handles
Show/Hide setting Show/Hide

Any time the contour of a slur is manually repositioned, its Engraver Slur qualities are disabled (see Engraver slurs), and
repositioning a slur in a linked part is no exception. Therefore, when the contour of a slur is manually repositioned in a part, the
link is broken as well as the slurs’ ability to automatically adjust to avoid notes, articulations, and so forth. Subsequent editing of
notes in the score may cause collisions with slurs that have been edited in parts.
If a slur is flipped in a part, the arc and endpoint positioning links are also broken. Edits to the endpoint positioning and arc in
the score will no longer apply to the flipped slur in the part.
You can use the F key to flip a slur to the other side of the staff. If you do so in the score, the slur also flips in all parts
containing that slur (if it hasn’t been broken). Flipping the tuplet in a part breaks the link and does not apply to the score or other
parts.
You can reverse the linking behavior while flipping slurs using the Ctrl key. For example, select a slur in a part, hold down the
Ctrl key and press F to flip the slur in both the score and part, retaining the link. Select a slur in the score, hold down the Ctrl
key and press F to flip the slur in the score only, breaking the link to the part/all parts that contain that staff.

Note: If you choose to Remove Manual Slur Adjustments in a part (e.g. select a slur handle and
press Backspace), the positioning is restored and the Engraver Slur status is reactivated, but not the
link to the score. To relink the slur to the score, right-click the slur in the part and choose Relink to
Score (or choose Relink In All Parts for the slur in the score).

Measure-attached smart shapes


Smart shapes that are usually measure-attached include hairpins, ottavas, trill extensions, lines and brackets. Any change to the
vertical positioning or contour of a measure-attached smart shape in a part breaks its positioning link. Horizontal stretching in a
part does not break its link to the score.
The following properties of measure-attached smart shapes are shared between the score and parts:

Horizontal Positioning (and stretching)


Make Horizontal Over System Break setting
Maintain Angle Over System Break setting
Make Horizontal (check box)

The following table lists properties of trills, trill extensions, and ottavas that are broken if changed in a part:

Property changed Link type broken

Vertical positioning Positioning


Hairpin width (opening) Positioning
Show/Hide setting Show/Hide

Repeats in linked parts


When a repeat is added to either the score or part, it appears in both. When a repeat is deleted from either the score or part, it
is removed from both.
The following general repeat settings are permanently shared between the score and parts:

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The following settings in the Backward Repeat Bar Assignment dialog box: Repeat Action, Target section, Show On section (including Staff Lists).

The following settings in the Create Ending dialog box: Ending Number(s), Alternate Text in Ending, Target section, Skip Ending if Ignoring Repeats,
Show On (including Staff Lists)

All settings in the Repeat Designer dialog box.


The following items in the Text Repeat Assignment dialog box: Action section, Target section, Show On section (including Staff Lists)

All settings in Document Options-Repeats .

The following table lists properties of text repeats and ending brackets that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


V: values) Includes Text Repeats
and ending bracket front hook, Positioning
back hook, inset for start of bracket
and inset for end of bracket
Show/Hide setting Show/Hide

Repositioning text repeats


Text repeats are similar to measure expressions in that a single text repeat can be assigned to multiple staves (see Repeats
(barlines and text indications)), which has some implications for linked parts.
When you first add a text repeat (Fine, To Coda, D.S. al Coda, etc), positioning changes to that item in the score apply to all
parts. If a text repeat or bracket is repositioned in a part, the change does not affect other instances in the score or other parts,
and future positioning changes to that text repeat in the score do not apply to that part. However, if a text repeat is repositioned
in a part containing multiple instances of that text repeat, all instances in the part are broken (and all instances of that text repeat
in the part continue to move uniformly).
Broken text repeats in parts can be relinked to the score at any time (see Relinking part items to the score).
The “Allow individual edits per staff” setting in the Text Repeat Assignment dialog box, Backward Repeat Bar Assignment dialog
box, and Create Ending dialog box allows you to reposition, hide, or show an instance of a repeat marking without applying the
same changes to other instances of that repeat marking on other instrument staves.

If Allow Individual Edits per Staff is checked for a repeat marking in the score, every instance of that repeat marking in the score can be edited independently -
linked instances of that repeat marking in parts continue to respond to score changes accordingly.
Checking this box for a repeat marking in a part breaks the positioning and show/hide link for all instances of that repeat marking in the part - each instance of
that repeat marking in the part can be edited independently. All other linked instances of that expression in other parts continue to move in uniform with edits
made to that repeat marking in the score. (All repeat marking in the score turn orange indicating this repeat marking has been broken in at least one part).
Broken instances of a repeat marking in a part containing multiple staves can be edited uniformly or independently depending on this setting. However, note that
changing the state of this check box always breaks the link for all instances of the repeat marking in the part.

Repositioning ending brackets


In general, ending bracket positioning is identical to repositioning of text repeats. Most positioning changes to an ending bracket
in the score apply to the corresponding part, and positioning changes in the part breaks the positioning link. However, if the
ending bracket is extended across the right barline in the score, the positioning link is automatically broken for that ending
bracket in all parts. To extend an ending bracket across the right barline for all parts, each will need to be edited individually.
(Note that this is the only type of score edit that automatically breaks the link to its part.

Show/hide setting for text repeats and ending brackets


The show/hide linking behavior for text repeats and ending brackets follows the same rules as repositioning and depends on the
Allow Individual Edits per Staff setting. See Repositioning measure expressions above.

Staff Attributes in linked parts


When the Staff Attributes dialog box is opened in a part, only staves within the part are accessible. All of the settings are
permanently shared between the score and parts with the exception of the Staff Name/Abbr. Staff Name positioning. If the Staff
Name/Abbr. Staff Name is repositioned in the part, the link is broken - the change does not apply to the score or any other part.
Future changes to the Staff Name/Abbr. Staff Name in the score for that staff do not apply to the part unless the Staff
Name/Abbr. Staff Name is relinked (see Relinking part items to the score). (Staff Name in Parts is unchecked by default. Check

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this option in the Staff Attributes dialog box to show staff names in the score and parts.)

Groups in linked parts


Groups are independent between the score and parts. Edits to a group in the score do not apply to the part and vise versa.
They can have different names, brackets, and other attributes. (See Groups). When creating parts, the only groups that can be
inherited by a part are the groups that appear in the Manage Parts dialog box.

Staff Styles in linked parts


When a staff style is added to the score, it appears in both the score and corresponding parts. When a staff style is added to a
part, it appears in that part only. When a staff style is deleted from the score, it is also deleted from the corresponding part.
Deleting a staff style in a part does not delete staff styles in the score or any other part. When a part is created from a staff that
contains staff styles, all staff styles on the staff are copied to the part.

Staff Style definitions are permanently shared.


Staff Styles added to the Score are copied to corresponding Parts.
Any conflicts with other staff Styles will be resolved individually per Part.
When deleting a Staff Style in the Score, Finale searches all parts for an identical Staff Style assignment (with the same style and measure range), and if one
exists, Finale deletes it from the parts.
To apply Staff Styles to the Score only, you must first assign the Staff Style to the Score and then delete it in corresponding parts.
When a new part is created, all Staff Styles on corresponding staves in the score will be copied to the new part.
Staff Styles applied to a part will not be applied to the score or other parts.
Staff Styles deleted in a part will not delete Staff Styles in the score or other parts.
Select a region of measures in a part and choose "Set Staff Styles to Score" to match the presence or absence of particular Staff Styles to the Score.

Staff styles can be used to create two representations of the same part. You can create a new part containing a copy of, for
example, the bass clef baritone staff and apply a staff style that displays it in B flat treble clef. For steps, see To display a staff
differently in one part than another.

Chords, fretboards, and lyrics in linked parts


When a chord symbol is added to either the score or part, it appears in both. When a chord symbol is deleted from either the
score or part, it is removed from both.
Changes to the chord or fretboard definition in the score or part apply to both. The following table lists properties of chords and
fretboards that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


V: values) Includes chord symbol Positioning
and fretboard.
Show/Hide setting Show/Hide

Chords, Fretboards and Lyrics are new additions to the Staff Attributes dialog box and Staff Styles dialog box (See Staff styles).
These are particularly useful as Staff Styles.

Hiding Chords/Fretboards:
If you would like to display chord symbols in linked parts, but don't want the chord symbols to appear on this staff in the score,
create a Staff Styles (Staff styles) that hides chords and fretboards and apply it to the Score. (Remember that assigning a Staff
Style to the score also assigns it to corresponding staves in parts, so you will need to remember to delete this Staff Style in
parts.)

Hiding Lyrics
If you would like to use the vocal lines to create string parts, create a Staff Style (Staff styles) that hides lyrics and apply it to the
parts whose lyrics you'd like to hide.

Lead sheets in linked parts

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If you have a Lead Sheet, or a melody line and chord symbols, for example, that you would like to transpose for several
instruments, use linked parts:
Let's say that you have a single staff melody line with chord symbols for a C transposing instrument such as Flute.

1. From the Document Menu, choose Manage Parts.


2. Click New Part.
3. In the far right pane in this dialog, Add the melody line staff to this new part.
4. Click Edit Part Name and name the new part. Click OK, OK.
5. View the new part you just created.
6. Select the Staff Tool. Select All (Ctrl-A).
7. Right- click the staff and select one of the available instrument transpositions such as "Clarinet in
Bb." See that the notes and chord symbols transpose accordingly. If the transposition you're looking for doesn't appear
here, you can define your own Staff Style.
8. Repeat this process for additional parts.

Clefs in linked parts


Clefs are permanently linked, but staves in parts can display a different clef with a Staff Style. (It may be necessary to force a
clef in a Part and not the Score or vice versa when doing cue notes.) To add a Staff Style to a part to display a different clef:

1. Select the Staff Tool .


2. From the Staff Menu, choose Define Staff Styles.
3. Click New and type a name for the Style (for example "Treble Clef.").
4. Click the Select button to the right of Transposition.
5. Leave Transposition set to "None." Check "Set to clef" and select the desired clef.
6. Click OK, OK.
7. Highlight the measures in the score or the part whose clef you want to change independently, right-
click and choose the Staff Style you just created from the context menu. (Remember that if you want this
Staff Style to apply to the score only, you need to delete it from the parts.)

Staff Lists in linked parts

If you're using Linked Parts, it is recommended to use Staff Lists to assign Repeat Endings and Repeat Text instead of unchecking "Repeat Endings and Text
Repeats" in Staff Attributes.
Most often, the "Top Staff" radio button will be sufficient. This will place the Repeat Ending or Text Repeat on the top staff in the Score and in the top Staff of all
Linked Parts.
If you need the Repeat ending to appear in some, but not all staves in the Score. Or, if you need them to appear in some but not all staves in each Part, then
use a Staff List.

Measure Numbers in linked parts


The visual appearance and frequency of measure numbers for both the score and parts is controlled by the Measure Number
dialog box. Regardless of whether you are viewing the score or parts, changes to this dialog box apply to both.
The enclosure is the only attribute of a measure number that is permanently shared between the score and parts.
The following table lists properties of measure numbers that are broken if changed in a part:

Property changed Link type broken

Repositioning (nudge, drag, or H:


Positioning
V: values)
Hide/Show setting Hide/Show

Whether a measure number is shown or hidden for a measure is first determined by settings for that measure number’s region
in the Measure Number dialog box. Then, you can edit the show/hide setting for individual measure numbers within the region

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using Contextual Menus.


Using the Show/Hide commands in a Part will not affect the Score or other Parts.
If the measure number is defined to show according to the Measure Number Region in the Measure Numbers dialog box:

Right-click a measure number and choose Always Show Number to force-show the number. This measure number will continue to show even if it is later defined
to not show in the Measure Number dialog box.
Right-click a measure number and choose Always Hide Number to force-hide the number. Since this measure number is defined to show it will not disappear; it
will be shaded on the screen and will not appear in the printout.
Right-click a measure number and choose Show/Hide According to Region to restore the measure number to the state defined for its region in the Measure
Numbers dialog box. This command is only be available if the number has been force-shown or force-hidden.

If the measure number is defined to not show according to the Measure Number Region in the Measure Numbers dialog box:

Select a region of measures and choosing the Measure Menu > Show Measure Numbers to force-show the measure numbers.
If a measure number that is defined to not show in the Measure Numbers dialog box has been forced-shown, Right-click and choose Show/Hide According to
Region from the context menu to make the measure number and its handle disappear.

Page-attached Ossia measures in linked parts


Page-attached Ossia measures behave much like page-attached text. When a page-attached ossia measure is added to a single
page, Finale adds it to the corresponding page of the score or part based on page number, and also takes into account title
pages. Since the page number of the score will generally be far different than the page number of the part, page-attached ossia
measures should only be used for the first page of music (if at all in documents containing linked parts). To attach an ossia
measure to a measure that will adjust according to layout changes, use measure-attached Ossias. See Ossia.
The following table lists properties of page-attached ossia measures that are broken if changed in a part:

Property changed Link type broken

Repositioning/Page Assignment for Ossia


Positioning
Measure
Hide/Show setting Hide/Show

Measure Attributes in linked parts


Every setting in the Measure Attributes dialog box is permanently linked between the score and parts except the following
settings which are never linked:

Position Notes drop-down menu


Measure width checkboxes and values

Again, all other items are linked including the "Begin a New Staff System" setting which should be used for measures that will
begin a new system for both the score and all parts. Use the Fit Measures dialog box or manual editing (see To move a
measure to the previous (or next) system) to move measures in the score or part independently.

Page layout in linked parts


Since parts often bear many similarities to each other with regards to layout Finale allows you to apply page layout changes to
any number of parts (or the score). System spacing, system margins, page size, page margins, page reduction and the
addition/removal of blank pages can be applied to multiple parts at once. By default, changes to the system or page layout only
apply to the part you are viewing. Also, Update Page Format settings apply to the appropriate Page Format for Score or Page
Format for parts dialog box.

To apply page layout settings to multiple parts

1. Choose the Page Layout Tool .


2. From the Page Layout Menu, choose the desired option. The following dialog boxes allow you to apply page
layout changes to multiple parts: Page Size, Insert Blank Pages, Delete Blank Pages, Resize Page, Resize Staff System,
Edit System Margins, Edit Page Margins, Fit Measures, and Space Systems Evenly. (Note that Respace Staves under the
Staff Menu also allows you to apply staff spacing to multiple parts).

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3. Make changes to the dialog boxes as desired. If you want to edit the system or page margins graphically, do so in
one part by dragging systems and/or margins as desired. You can then apply these changes to other parts using the Edit
System Margins dialog box or Edit Page Margins dialog box.
4. When the values and regions are set, click the drop-down menu and choose Selected Parts/Score. Or,
in the Edit System Margins or Edit Page Margins dialog box click Apply to Parts/Score. The Select
Parts/Score dialog box appears where you can choose the parts you would like to apply your changes to. See Select
Parts/Score dialog box.

Music Spacing in linked parts


If Automatic Music Spacing is turned on (Program Options-Edit), Finale applies automatic changes to the measure width and
layout to both the score and part when you edit either. (As you enter notes, Finale’s automatic adjustments are applied to both
the score and linked part). Manual changes made to music spacing, measure width, or system composition with the Measure
Tool or Selection Tool apply to the part/score you are currently editing only.
You can apply music spacing to regions of measures for a single part or several parts at once.
To apply music spacing to a region of measures in more than one part:

1. Choose the Selection Tool.


2. Select a region of measures.
3. From the Utilities Menu, choose Music Spacing > Apply Music Spacing to Selected parts/Score. The
Apply Music Spacing dialog box appears.
4. Choose the parts you want to apply music spacing changes to.
5. From the radio buttons at the bottom, choose the type of music spacing you would like to apply.
6. Click OK. The music spacing type is applied to the region of measures you selected in the selected parts.

When Automatic Music Spacing is on, your settings in Document Options-Music Spacing apply to all parts and the score. If
Automatic Music Spacing is off, changes to the layout only apply to the part or score you are currently editing.

Note: All all manual changes to the horizontal placement of individual entries made within the Speedy
Frame or with the Note Position Tool apply to both the score and linked part.

Multimeasure Rests in linked parts


When parts are created while setting up the score in, for example, the Setup Wizard, multimeasure rests are not created
automatically. (If they were at this point, each part would be a single multimeasure rest.) When a linked part is created from an
existing staff in the score (in the Manage Parts dialog box), Finale groups the silent measures together into a multimeasure rest,
or block rest, as shown below (if Create Multimeasure Rests is checked in the Part Creation Preferences dialog box).

To create multimeasure rests for the selected parts/score (all measures):

Choose the Measure Tool .


From the Measure Menu, choose Multimeasure Rests, then Create for Parts/Score.

Finale automatically breaks up block rests at key or time changes, repeat barlines or text repeats, any “real” whole rest (a whole
rest you entered, not the default whole rest that appears in any measures left empty), or any measure you’ve explicitly
designated to break such a multimeasure rest. See the Break a Multimeasure Rest option, in the Measure Attributes dialog box
for more information.
Multimeasure rests do not appear in Scroll or Studio View. In fact, there is no visual cue that indicates where multimeasure rests
appear in any view but Page View. If a note is added, in Scroll or Studio View, to a measure that is part of a multimeasure rest,
Finale automatically breaks the multimeasure rest - each measure with notes displays in full in Page View (if Update
Automatically is checked in Document Options-Multimeasure Rests, which is the default setting). Update Automatically is not
checked in files converted from Finale 2006 or earlier.
With the Update Automatically setting checked, multimeasure rests only become smaller, not larger. (In other words, Finale
never assumes you want to create or increase the duration of a multimeasure rest). You have the choice of automatically

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updating multimeasure rests to parts using the Measure Menu as described above, or applying them manually. To create a
multimeasure rest manually, see To create a multimeasure rest.

Baseline Positioning in linked parts


Lyrics, chords, and expressions can all be adjusted vertically using positioning triangles. These positioning triangles are used to
adjust the “baseline” which is the imaginary horizontal line to which these elements are attached (above or below the staff).
Whether you are positioning chords, lyrics, or expressions there are four positioning triangles, each responsible for a specific
range; score, staff, system, or next entry (for an example, see To adjust the vertical positioning of expressions, To set the
baseline (vertical position) for lyrics graphically and Position Chords/Position Fretboards under the Chord Menu.

Adjusting baselines in the score:

Moving the leftmost baseline triangle (all staves/all systems) in the Score effects all Parts.
Moving the 2nd baseline triangle (entire staff) in the Score applies to all parts that contain that staff.
Moving the 3rd baseline triangle (single system) has no effect on parts, only the score.
Moving the 4th baseline triangle has no effect in any part.

Adjusting baselines in a part:

Moving any baseline triangle in a part has no effect in the score or other parts.
Moving any baseline triangle in a part breaks the link to the score for that particular baseline triangle in that part.
Moving a baseline triangle in the score also moves that baseline in all parts (if the link for that triangle is still intact). Broken triangles in parts maintain their
relative positioning - moving the leftmost triangle adjusts the baseline for the full score, and broken staff (second triangle) baselines will maintain their relative
positioning in parts.

Baseline context menus

Right-click a baseline triangle to display a context menu where you can relink or unlink the positioning of that triangle.
Right-click a positioning triangle in the score and choose Unlink In All Parts to break the link for this positioning triangle in all parts. Future changes to this
positioning triangle in the score will not apply to any part.
Right-click a positioning triangle in the score and choose Relink in All Parts to restore the link for this positioning triangle in all parts.

IMPORTANT NOTE: There is no visual cue that flags unlinked baselines in parts. There is also no
visual cue in the score that indicates a baseline has been broken in one or more parts.

Enharmonics in linked parts


Enharmonic spelling is one of the few notation elements whose link can be broken between the score and parts. Due to
instrument transposition, it is entirely possible a different harmonic spelling will be required in the part than in the full score, and
to accommodate this, enharmonics share the standard linking behavior described under Linked Parts. Change a note to its
enharmonic equivalent in the score and the change applies to the corresponding part; change a note to its enharmonic
equivalent in a part, and the score remains unchanged - the link has been broken. The notehead changes color to orange (in
both the part and score) indicating the enharmonic spelling has been broken. In no other way can a note/accidental be broken,
so if a note is orange its enharmonic spelling has been broken in one or more parts. Once broken, future edits to the enharmonic
spelling of this note in the score do not apply to the corresponding part unless the enharmonic spelling is relinked.

Time Signatures in linked parts


It is not uncommon for the appearance of a time signature to differ between the score and parts. For example, a single large
time signature may be used for several score staves. And of course, a single time signature is required for each part. To
accommodate this, Finale allows separate document settings for time signatures - one set for the score and one set for parts in
Document Options-Time Signatures.
You can use Staff Styles to apply a different instrument transposition, clef, or other staff attribute to a part. See To display a staff
differently in one part than another.

Relinking part items to the score


Any part item that has been broken can be “relinked” to the score. When you relink, all attributes of that item (positioning,
show/hide setting, etc.) are reset to match the corresponding score item, and future changes the score item will apply its
corresponding part item. To relink:

In a part, right-click a previously broken item and choose Relink To Score. The item is relinked to the score in that part only.

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Linked Parts

In the score, right-click the item and choose Relink in All Parts. The item is relinked to the score in all parts. Future changes to this item will apply
to the corresponding part.

Part Names in Linked Parts


There is a special text insert designed specifically for use as the part name in linked parts. This text insert already exists in most
new files, however, if you are opening a file created in Finale 2006 or earlier do the following to add part names to all of your
parts:

1. If you haven’t added parts to your score, do so now. See To create linked parts. See that parts are named as
desired in the Manage Parts dialog box (where the part names are derived from).
2. From the Document Menu, choose Edit Part and choose any part.

3. Click the Text Tool .


4. Double-click where you would like to add the part name. An empty text block appears with a blinking cursor.
5. From the Text Menu, choose Inserts, then Part/Score Name. The part name appears on all parts as well as the
score. To edit the font, size, or style of the part name click a part name handle, from the Text Menu choose Edit Text, make
the desired changes and click OK. Changes apply to the part name in all parts. Now, you may want to hide the part name
on the score.
6. If you’d like to hide the part name insert on the score, from the Document Menu, choose Edit Score.
7. Right-click the part name (“Score” by default) and choose show to uncheck it. “Score” (or whatever this
insert is named in the File Info dialog box) fades a bit indicating it is hidden and will not appear in the printout.

Printing linked parts


Finale allows you to specify any combination of the score and/or parts for printing in the Print dialog box. (When Print is chosen
from the File Menu, this dialog box automatically appears prior to displaying the Print dialog box.) In the score/parts list box, you
can also specify the number of copies for each item selected. When multiple items are checked, upon printing, Finale
automatically collates, batch printing each selection as if it were its own print job.

To print parts directly from the score


Finale is designed to allow you to easily print any number of parts from the main project document. To do so:

1. Choose Print from the File Menu. The Print dialog box appears. The score and all parts are listed in the Parts/Score
window.
2. Check the parts (and/or score) you would like to print. Note that if you would like to print a different orientation
for your score than the parts in the same print session (as specified in Finale’s Page Format for Score and Page Format for
Parts dialog boxes), ensure Use Finale’s Page Orientation Instead of the Printer’s Page Orientation is checked in Program
Options-Save. Two print sessions will be required (one for each part/score in landscape and one for each part/score in
portrait).
3. Click OK. Finale proceeds to print the score/parts, one by one.

Tacet parts
A page containing only the title, composer, and page text, and a note to “tacet” or “tacit” informs the player to rest for that entire
movement/act of a musical/etc. Creating such a page in Finale is easy using linked parts. To create a tacet part:

1. Open the document and from the Document menu, choose Manage Parts. The Manage Parts dialog box
appears.
2. Click New Part. A part appears in the list above. To name the part, click Edit Part Definition and then Edit Part name.
Click OK to return to the Manage Parts dialog box. The middle column should be empty indicating no staves are selected.
3. Click OK.

4. From the Document Menu, choose Edit Part, and then select the part you just created. Only the title,
composer, and any other page text blocs appear on the part.
5. Choose the Text Tool.
6. Click the page and type “Tacet” (or “Tacit”) where desired. Use the text menu and other features of the Text
Tool to edit the page-attached text block. Use context menus to hide the text block in other parts/score accordingly - see
Contextual Menus. See also Text Tool.

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Linked Parts

1. The representation of the notation may differ between the score and parts to account for different transposition or enharmonic
spelling.
2. The note assignment of note-attached or notehead-attached smart shapes are permanently linked and cannot be broken.
See Smart Shapes in linked parts.
3. Changing the vertical positioning of markings in a part using baselines breaks that baseline link for the part, but not the
manual positioning link. There is no visual cue that flags a broken baseline. See Baseline Positioning in linked parts.

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Configuring Pagesizes.txt

Configuring Pagesizes.txt

The Setup Wizard, the Page Layout Tool and other parts of Finale use the pagesizes.txt file to determine the page size and margins of the score. You can edit this file
to get a custom page size and margin. Make sure you save the file as text only.

[Page Sizes]
This section contains the page size name, Width and Height (followed by a semicolon), Top Margin, Bottom Margin, Left Margin, Right Margin, and a Left Margin for
single-instrument documents. The Top and Bottom margins are assumed to be negative; there is no need to put in the minus sign.
Ex. Letter = 8.5, 11; .5, .5, 1, .5, .75

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Human Playback Dictionary

Human Playback Dictionary

When you begin a document with the Setup Wizard, a template, or new default document, all of the existing expressions defined for playback are performed by Human
Playback (though their playback definitions are substituted with Human Playback’s interpretation based on the style chosen). Human playback recognizes articulation
and all other standard performance markings in your score (see Human Playback). In addition, Human Playback looks for any expression or Smart Shapes that
contains common words used for tempo and dynamic changes such as "rit." and "cresc.". These expressions, which can be typed into a new expression, are also
interpreted during the performance. The following list includes the words Human Playback will recognize and perform. Note that any dots, extra spaces, parenthesis or
brakets are ignored as Human Playback looks for these words in the score. For details on adding expressions, see Expressions. To add text as a Smart Shape, use
the "Left Start"option to add text in the Smart Line Selection dialog box. If defining or editing a Human Playback style, ensure the appropriate item is checked under
Interpret in the Human Playback Custom Style dialog box.

acc, accel, accelerando, accelerato, affretando, incalzando,


ristringendo, stringendo, string, stretto, en pressant,
pressez, en accélérant, faster, beschleunigend, eilend,
Tempo drängend, belebend, rall, rallentando, calando, rit, ri,
ritar, riten, ritenuto, ritenente, ritardando, slargando,
("rall", "acc.") morendo, ritardo, allargando, allarg, retenu, rallentir, en
retenant, en cédant, cédez, zurückhaltend, breiterwerdend,
breiter, a tempo, tempo, on time, au mouvement, zeitmass,
zeitmaß

cresc, crescendo, en augmentant, augmentez, erhebend,


aufschlagend, dim, dimin, diminuendo, decrescendo, decresc,
decr, perdendosi, smorzando, smorz, en diminuant, en
Dynamics s’éloignant, en atténuant, abnehmend, nachlassend,
nachgebend, fz, sf, sfz, sffz, rf, rfz, fp, fp, sfp, ffp,
fpp, ffpp, ffpp, sfpp

All of the above can be combined with the following, which can be used to modify the playback effect:
poco a poco, peu à peu, nach und nach, little by little, sempre, toujours, always, immer,
molto, moltissimo, moltiss, très, beaucoup, much, un poco, poco, pochissimo, poch, un peu,
légèrement, etwas, a little
Human Playback also interprets the following:
con pedale, ped., pedale, solo, non arpeggio, g.p., grand pause
In addition to text, Human Playback also recognizes musical characters from the Finale music fonts (Maestro, Engraver, etc.), including symbols like trills, accents and

turns. You can even combine characters in the Text Expression Designer. For example, entering a turn with accidentals above and/or below, such as , will be
recognized and performed. For this example, you would simply add the characters into a note expression as you want it to appear and then attach the expression to
the desired note. Similarly, you can add an accidental to a trill character or other such symbols to customize the performance.
Abstract of ornaments caught: Trill (short, long), trill on several notes or several layers, trill with changing notes behind (long piano trill), trill with specified
accidental (as articulation or within the smartshape/expression), trillo (short baroque trill), mordent, all Bach/Couperin ornaments (mostly found in November font),
including cadenza and coulé, gruppeto (with specified accidental(s) or not, can be combined with mordent like in Bach), Baroque appogiatura, classical accacciatura,
timpani/drum trill, all Jazz Font ornaments (prebend, bend, doit, fall, …) as articulation, jazz shake (wavy line), guitar expression tremolo (wavy line).
Maestro font (or any Maestro map-compatible font, such as Petrucci, November, etc.):

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Human Playback Dictionary

EngraverExtra font:

Abstract of tremolos caught: TG tools piano tremolos (measured or not), string tremolos (as articulation), including harmonic tremolo, xylophone tremolo
(alternate notes, written as diddle as in marching bands), percussion diddles, tuplet based/dotted tremolos.

Gruppetti: Gruppetti (Music Font char. 84), d (November Extra char. 100) or g (November Extra char. 103) are tracked by HP.

Baroque Ornaments (articulations): Popular ornaments are lower mordent (char #77) and trillo (=upper mordent) (short trill, char#109),

(char #181) long trillo.


Special November Extra font ornaments are char. # 101 to 121:
Basically, symbols above are French and German baroque ornaments, and HP takes a great care of their interpretation.
If option Baroque Ornaments and Grace Notes is checked, the symbol "+" (char #43 and 246) plays back either as lower mordent, or trillo (if not checked, it is used for
Trombone stopped notes.)
Punctual accents:

Jazz Articulations:

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Human Playback Preferences

Human Playback Preferences

How to get there


From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the Playback Controls. Click HP Preferences.

What it does
This dialog box allows you to customize intricate details of Human Playback’s interpretation. Explicit performance techniques indicated on the score, such as the type
of mute or bowing style, can be specified here. But this dialog box controls more subtle nuance as well. In an orchestral rehearsal, aspects of this dialog box would be
equivalent to directions from the conductor scribbled on parts, such as how to approach a fermata, or the amount to exaggerate certain dynamic markings. In fact,
even MIDI data you have specified manually can be intertwined with Human Playback’s interpretation using these settings.
In general, the settings here are program-wide, but a configuration can also be saved and “attached” to a specific document. Similarly, a configuration can be
transferred across documents.

Note: An identical dialog box also exists to control regions to which Human Playback has been
applied with the Apply Human Playback plug-in (program-wide, or “attached” to the document). In the
Apply Human Playback dialog box, choose Preferences.
Preference Sets Management
HP maintains and stores multiple sets of preferences in a single file ("HP.dat") located in the Component Files folder. Human Playback overwrites the HP.dat when
upgrading from Finale 2006 or earlier since the file format is completely different. However, Human Playback Preferences can be imported from Finale 2007 to Finale
2008 using the Import function (explained below).
The default Human Playback Preferences set handles playback for SoftSynth, Finale GPO, GPO, and other Garritan products including Jazz & Big Band (“JABB”),
Marching Band, Stradivari Violin, and Gofriller Cello - all automatically.

Current. The current Human Playback Preferences Set is displayed here. A Set is simply a configuration of settings from all pages of this dialog box (similar to
the Document Options dialog box and Program Options dialog box). All available sets are listed under this drop-down menu.
Name. Use this text box to name the current set of preferences. Typing in this text box automatically changes the name in drop-down menu, as well as the
dialog box title.

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Human Playback Preferences

Attach to Active File. When you check this box (and save), the current set of preferences is duplicated and reserved for use with this file instead of the
program-wide set. To indicate a Human Playback Preferences Set is attached to a file, “attached” appears in the Current drop-down menu as well as in the title
bar. When a set is attached to a file, changes to this dialog box apply only to the attached set (for the active file only). If you decide to select a different set
under the Current drop-down menu (or uncheck Attach to Active File), you are prompted to either save or discard the set. If saved, the set appears in the
Current drop-down list for all files, and is available for program-wide use or to be attached to another file. If you discard, the set is lost.
Keep this Prefs Set Locked. Disables all dialog commands to prevent any accidental changes on a given preferences set, whether it is attached to a file or
not.
Duplicate. Click this button to copy the current preferences set into a duplicate set. Using Duplicate is a convenient way to begin designing new custom sets if
only some items require changing.
Default. Click this button to reset all options in this dialog box to their original default settings.
Delete. Click this button to delete the current set of preferences.
Import. Click this button to import Human Playback Preferences from an earlier Finale installation.
Allow Temporary Score Items Adjustments. Check this box to allow HP to adjust the horizontal position of score items while processing the score for
playback. Any adjustments made to measure expressions or other score items return to their original position after playback.
Never Show Messages. Check this box to skip all static messages/warnings that appear while working with the Human Playback Preferences.
Save and Close • Cancel. Click Save and Close to save your changes. Click Cancel to discard changes and return to the active document.

See Also:
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - MIDI Data
Human Playback Preferences - Glissandi & Bends
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

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Apply Human Playback plug-in

Apply Human Playback plug-in

How to get there


From the Plug-ins Menu, choose Playback, and then Apply Human Playback.

What it does
This plug-in allows you to apply a Human Playback style, or specific elements of Human Playback to regions of your document. For example, if a latin section appears
in the middle of your jazz score, use this plug-in to apply the Jazz style for most of the piece, and the Latin style for just the latin section. In addition to applying one of
the preset styles, you can use the additional settings to ‘fine tune’ playback in many ways using all of the same options available for Human Playback available in the
Playback Settings Dialog box.
When you have customized the settings to your preferences, click Apply and this plug-in adds the MIDI data to the region you have selected (as if you had played
back this region with Human Playback on and recorded the MIDI data). Note that existing MIDI data in the selected region is overwritten when you apply this plug-in.
Global (program-wide) settings can be made for all regions you edit with this plug-in in the Apply Human Playback Preferences dialog box. This plug-in cannot be
applied to partial measures.

Apply a Defined Style. Select this radio button, and then a style from the drop-down menu to apply a preset Human Playback style to the selected region.
Apply Specific Elements · Select. Select this radio button, and then choose the items you want Human Playback to interpret. Click Select to view
additional settings. See More Settings dialog box.
Clear MIDI Data. Select this radio button and specify the MIDI data you want to remove by checking the appropriate box(es). You might, for example, clear “All
Continuous Data” if you want to use Human Playback’s interpretation of a section of music based on expressions, hairpins, and other markings you’ve added in
the document, and have chosen to incorporate your own MIDI data with Human Playback’s interpretation in the Apply Human Playback Preferences dialog box.
(Note the Apply Human Playback Preferences dialog box contains the same options as the Human Playback Preferences dialog box, but only applies to Human
Playback assigned with the plug-in).
Restore To Default. Click this button to reset all parameters in this dialog box to their original settings.
Preferences. Click this button to open the Apply Human Playback Preferences dialog box where you can control Human Playback’s interpretation of the
document, and how it deals with existing MIDI data. The settings you make in this dialog box are program-wide, but only affect regions to which Human Playback
has been applied using the Apply Human Playback plug-in. See Apply Human Playback Preferences dialog box.
Apply · Close. Click Apply to apply the current settings and leave the dialog box available. Click Close to dismiss the dialog box without making any changes.

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GPO Finale Edition Instrument Details

GPO Finale Edition Instrument Details

Instrument Ranges

Instrument Controllers

Keyswitches and Instrument Mapping

GPO Keyswitch Triggers in Human Playback

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MIDI/Native Instruments AU Setup

Garritan Personal Orchestra & Human Playback Tutorial


Garritan virtual instrument libraries are acclaimed for their unprecedented realism and control over playback. Whether you use Garritan Personal Orchestra (GPO)
Finale Edition (included with Finale), the full version of GPO, or Garritan Jazz and Big Band (JABB), these Garritan instruments are seamlessly integrated into your
Finale documents using the latest audio plug-in technology.
Finale's Human Playback is designed to take maximum advantage of the power and flexibility of Garritan instruments. Hairpins, articulations, expressions, and
performance techniques like pizz. and arco are automatically interpreted. Human Playback uses the expressive potential of the Garritan instruments to bring your score
to life.
This tutorial guides you through the process of setting up your Finale scores for use with Garrtian instruments. In Part 1, you will learn how to use Finale's Setup
Wizard to configure new scores for Garritan instrument playback, and how to convert your existing scores for use with Garritan instruments. In Part 2, you will learn
more about some of the advanced features of Finale 2008, Human Playback, and Garrtian instruments, and how you can use them together to create the most
realistic and nuanced playback of your score.
This tutorial assumes that you are already somewhat familiar with the basics of Finale 2008 - using the Setup Wizard, entering music, creating custom expressions,
articulations and smart shapes, using the playback controls, etc. If you are unfamiliar with these subjects, a run through the Finale Installation and Tutorials guide is
highly recommended.
Throughout this document, you will see Macintosh screen shots that refer to AU, or Audio Units. In the Windows version of Finale, the equivalent dialog boxes refer to
VST instead. The functionality is the same in both versions. Similarly, when a menu item like Native Instruments AU/VST Setup is referred to, this is shorthand for
Native Instruments AU Setup in the Mac version, and Native Instruments VST Setup in the Windows version.
If, after reading this tutorial, you still have questions about any aspect of Finale, Human Playback, or GPO Finale Edition, you can contact MakeMusic Customer
Support on the web at http://support.makemusic.com.
If you have questions about the full version of Garritan Personal Orchestra or Garritan Jazz and Big Band, you can contact Garritan Customer Service at
support@garritan.com. There are also extremely helpful online support forums for both Finale and Garritan instruments:

http://forum.makemusic.com
http://northernsounds.com/forum

After finishing this tutorial you will be equipped to get the very best results from Finale, Human Playback, and Garritan instruments.

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Quantization Settings

Quantization Settings

How to get there


Choose Quantization Settings from the MIDI Menu. Or, click the Quant Settings button in a number of related dialog boxes.

What it does
The Quantization Settings dialog box allows you to specify the smallest note value Finale will quantize input to and the type of quantization it will perform such as
allowing or ignoring tuplets. If you want more detailed quantization settings, click More Settings and the More Quantization Settings dialog box will appear. See More
Quantization Settings dialog box.
Keep in mind that in Finale, the term Quantization refers to something slightly different than it does in sequencing software. In sequencers, when you Quantize a note,
you shorten or lengthen the start/stop times of the notes so that they are aligned more precisely with the pulse. In short, you change how the notes sound. If you
quantize a measure of 16th notes to a 1/4 note quantization, you will subsequently only hear four quarter notes (probably chords) in this measure.
In Finale, on the other hand, the quantization affects how the notes appear rather than how they sound. Quantizing the same measure of 16th notes in Finale by a 1/4
note will cause four 1/4 note chords to appear BUT may still play back the 16th note run.
Although you can instruct Finale to play the music literally as it appears on the page, by default when you import a midi file or input in real time using Finale's
HyperScribe Tool, Finale will retain how the music sounds separately from how it looks (rhythms are expected to look differently than the sound in swing music, for
example). See Playback Options dialog box for more details.

Note: To update your Finale.INI file with the new settings you made (and all other current settings),
remember that you must choose the Save Preferences command (File Menu then Save Special)
unless you selected Save Preferences When Exiting Finale in Program Options-Save. See Program
Options-Save.

Smallest Note Value. Select the smallest note value you expect to play from the palette displayed. If the value is not available, type the EDU value in the text
box. Remember that eighth note triplets are shorter than regular eighth notes. If you want to have triplets for eighth notes, either use sixteenth notes as your
smallest note value or enter 341 in the EDUs text box (One quarter note = 1024 EDUs, so an eighth note triplet is 1024 divided by 3 or 341.
No Tuplets. This option tells Finale that there will be no triplets (or any other tuplets) in your transcription. You’re telling Finale to assume that all small
rhythmic values are sixteenth notes, 32nd notes, and so on—but never tuplets.
Mix Rhythms. This option tries to distinguish between tuplet and non-tuplet rhythms, based on the timing of the notes within the beat. A Mix Rhythms setting
requires that you play accurately enough for the computer to make such distinctions. You may need to play slightly slower to achieve good results with this
option.
Space Notes Evenly in Beat. This option tells Finale to count how many notes you played during a certain beat, and to notate them on that basis. If you
played three notes, no matter how unevenly, they’ll be transcribed as a triplet; four notes will appear as sixteenth notes, and so on. These characteristics make
Space Notes Evenly in Beat a good setting for swing tunes, because triplets are perfectly transcribed, and all the swung eighth notes are transcribed as normal
eighth notes—which is the correct notation for swing (provided you write "Swing" above the first measure, as a performance indication). If you played only two
sixteenths and one eighth note, the notes will be transcribed as a triplet.
More Settings. Click this button to display the More Quantization Settings dialog box. This dialog box contains detailed options for transcribing your files such
as allowing voice two and capturing Key Velocities. See More Quantization Settings dialog box.
OK • Cancel. When you click OK, Finale will change your Quantization Settings and return to the score. Click Cancel to return to the score without making any
changes.

See Also:
Quantization
MIDI/Audio Menu

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Quantization Settings

HyperScribe Tool

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Playback and Click

Playback and/or Click

How to get there

Click the HyperScribe Tool . Choose Playback and/or Click from the Beat Source submenu of the HyperScribe Menu.

What it does
Use the Playback and/or Click dialog box to set the recording tempo, to define a start signal for recording, and to select whether staves play back while Finale records
your performance.

MIDI Input Tempo; Use Playback Tempo • Use This Tempo • Listen. Select Use Playback Tempo to record using the same tempo assigned to the
playback - including expressions and/or the tempo setting in the Playback Controls. (See Playback). When you select Use This Tempo, Finale will use the
specified tempo for all HyperScribe record modes. Type the tempo into the text box, or click Listen and the Listen to Tempo dialog box appears; then tap the
tempo on your MIDI keyboard or in the dialog box with your mouse. Finale will fill in the tempo for you. See Listen to Tempo dialog box.
Beat equals • EDUs. Click the note duration you would like to use for your beat. Type in the number of EDUs for any duration that is not available from the
palette.

Note: Finale will not play back staves if either Tap or External MIDI Sync is selected in the Beat
Source submenu.

Start Signal for Recording: None (Record Immediately) • Any MIDI Data • Standard Sustain Pedal • Nonstandard Sustain Pedal •
Current Metronome Sound • Other. Choose None (Record Immediately) for Finale to start recording without waiting for any signal to begin. Choose one of
the other options to have Finale start recording upon input of any MIDI data; when you press a standard (or a nonstandard) sustain pedal; or when the current
metronome click is played, respectively. To define a start signal that is not listed, choose Other; the MIDI Event dialog box appears, where you can enter values
for the MIDI event. Or, click Listen, then play the MIDI signal; Finale will enter the settings for you. See MIDI Event dialog box.

Note: The Start Signal for Recording setting is used only when you’re recording (and Playback and/or
Click is selected in the Beat Source submenu), not when you’re playing back your music.

Play Staves While Recording. Select this option if you want staves selected in the Instrument List to play back. Playback and/or Click must be selected in
the Beat Source submenu. See Instrument List window.
Click and Countoff. Click this button to display the Click and Countoff dialog box where you can set various options for the metronome click. See Click and
Countoff dialog box.
Cancel • OK. Click OK to confirm the new settings, or click Cancel to discard any changes you made. You return to the score.

Tip: Record at a slower tempo if you don’t warm up on Chopin Nocturnes. Start Signal for Recording
can be identified from a list of MIDI events or none at all (when you click in the measure Finale will be
counting off).

See Also
HyperScribe Menu
Click and Countoff
HyperScribe Tool

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MIDI Event

MIDI Event

How to get there

Click the HyperScribe Tool . From the Beat Source submenu of the HyperScribe Menu, choose Tap or Playback and/or Click. In the dialog box that appears,
click Other (or choose Other from the Start Signal for Recording drop-down list).

What it does
When you’re preparing for a HyperScribe recording, Finale needs to know what MIDI signal will serve as the tempo reference (or the metronome "trigger"). This dialog
box lets you choose a MIDI signal not already listed in the dialog box.

[Code text boxes] • Listen. Unless you’re a MIDI programmer, ignore the codes. Instead, click Listen; Finale will ask you to play the MIDI signal, and it will
enter the codes automatically.
OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of a MIDI signal. You return to the previous dialog box.

See Also:
Recording with HyperScribe
Playback and/or Click
Tap Source
HyperScribe Tool

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Click and Countoff

Click and Countoff


Use the settings in the Click and Countoff dialog box to define the metronome click played when you’re recording with HyperScribe or playing back using Playback
Controls. Specify the number of measures, if any, you want counted off prior to recording. Set when you want to hear a metronome click, whether a MIDI note or a
MIDI event will be played for the click, its exact sound, how hard the note should be “struck”, its duration, and whether Finale should wait for a start signal before
starting countoff and recording. If you have selected Tap as your Beat Source Finale will ignore the settings in this dialog box.
For more information about click and countoff settings, see Click and Countoff dialog box.

To set up countoff measures and the metronome click (for Playback and HyperScribe
recording)
1. From the MIDI/Audio Menu, choose Click and Countoff to display the Click and Countoff dialog box.
2. Choose an option from the Countoff drop-down list to set when Finale will provide a countoff of measures before starting to record
or play back. Choose Never if you never want a countoff; choose Always if you always want a countoff when you’re playing back and recording; choose While
Playing or While Recording if you want a countoff only while playing back or only while recording, respectively. Finale will always sound a click when playing
countoff measures.
3. In the Measures text box, enter the number of measures that you want Finale to count off before recording or playing back music.
Enter zero if you don’t want any countoff, 1 if you want one measure counted off, 2 to hear two measures, and so on. If you’re only playing back, Finale uses the
time signature of the first measure that you’re playing back to determine the time signature of the countoff measure. If you’re recording, Finale uses the beat
duration set in HyperScribe’s Quantization dialog box.
4. Choose an option from the Click drop-down list to determine when the metronome click will play. Choose Never if you never want a click;
choose Always if you always want a click when you’re playing back and recording; choose While Playing or While Recording if you want a click only while playing
back or only while recording, respectively. Regardless of this setting, Finale will always play a metronome click during countoff measures.
5. Choose Internal Speaker, MIDI Note or MIDI Data from the Source drop-down list, depending on whether you want a MIDI note or
MIDI event as the clicks. You can specify different MIDI signals for the down beats and other beats. To have Finale automatically fill in the MIDI settings for
you, click Listen, then play the MIDI note or activate the MIDI event; Finale will fill in all the settings for you, except for Duration. If you prefer, type the MIDI
information into the text boxes. For details, see Click and Countoff dialog box.
6. Click OK to return to the document. When you record, Finale will use the settings you just made.

To setup a click with a non-percussion playback device


1. From the MIDI/Audio Menu, choose MIDI Thru. The MIDI Thru dialog box appears.
2. Click Smart and click OK.
3. From the MIDI/Audio Menu, choose MIDI Setup. The MIDI Setup dialog box appears.
4. Click the Advanced button. The MIDI Setup dialog box expands.
5. In the first MIDI IN slot (above Hide Advanced Settings), select the driver for your MIDI IN device (usually with MPU or MIDI IN in its
name.)
6. In the first MIDI OUT slot (above Hide Advanced Settings), select the driver for your MIDI OUT device (usually with MPU or MIDI OUT
in its name.)
7. For the second MIDI OUT slot (below Hide Advanced Settings), select the driver for your computer speakers (usually with the words
Synth or FM in its name.)
8. Set the base channel to 17. Click OK.

9. Click the HyperScribe Tool . The HyperScribe Menu appears.


10. From the HyperScribe Menu, choose Beat Source, then Playback and/or Click.
11. Click on the Click and Countoff button. The Click and Countoff dialog box appears. See To setup countoff measures and the metronome click (for
Playback and HyperScribe Recording) above for more details.
12. Enter 26 in the Note box for both Down Beats and Other Beats. Leave the other boxes in their default values. See General MIDI Percussion Map
Table for more information.

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Fixed Split Point

Fixed Split Point

How to get there

Click the HyperScribe Tool . Choose Split into Two Staves from the Record submenu of the HyperScribe Menu.
Or, choose Transcription Mode from the HyperScribe Menu and click a measure. Choose Fixed from the Split Point submenu of the Transcription Menu.

What it does
When you’re playing a two-handed keyboard performance into Finale, it needs some instructions for splitting the incoming music onto separate staves. This option lets
you designate a note on your MIDI keyboard as the "split point" pitch. All notes on or above this pitch are transcribed onto the upper staff, and all notes below it are
assigned to the lower staff.

Split at MIDI Note:. In this text box, you identify a MIDI Note below which all music should be split onto the lower (left-hand) staff. This note is determined by
the standard MIDI key numbering system, where keys are numbered sequentially from left to right, and middle C is 60. Instead of figuring out the number to enter
here, you may find it easier to use the Listen button (see below).
Listen. When you click this button, Finale goes into "listen" mode, waiting for a MIDI signal. (A message to this effect appears on the screen.) Simply play the
desired key on your keyboard; Finale enters the appropriate key number in the text box.
OK • Cancel. Click OK to confirm the split point and return to the score (HyperScribe) or the Transcription window. Your transcription will now be correctly split
onto two staves. Click Cancel to return to the score (HyperScribe) or the Transcription window without specifying a split point. Your transcription will appear on a
single staff.

Tip: Middle C=60=C4.

See Also:
HyperScribe Tool

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HyperScribe Options

HyperScribe Options

How to get there

Click the HyperScribe Tool . Choose HyperScribe Options from the HyperScribe Menu.

What it does
This dialog box contains some specialized settings to help you get the most accurate possible HyperScribe transcription. For example, you can tell Finale what MIDI
channels to transcribe or whether the program should devote computer power to keeping the screen display up to date. You also have access to global quantization
settings by clicking the Quant Settings button.

Tie Across Barlines. If you anticipate that you’ll be holding keys down (for notes tied over from one measure to another), select this option (so that a check
mark appears). If not, leave this option unselected. With this option off, Finale will never tie notes over barlines.

Tip: If you are having problems getting clean notation using this option, increase Remove Notes
Smaller than __ EDUs in the More Quantization Settings dialog box to 60 EDUs. See More
Quantization Settings dialog box for more information.

Refresh Screen. If you’re playing too many notes, or too quickly, for the computer to keep up with you, de-select Refresh Screen and try the transcription
again. By relieving the computer of the task of redrawing the screen, you let it give more of its processing capacity to transcribing your music.
Show HyperScribe Dialog. Select this option to display the HyperScribe dialog box which displays the selected options for smallest note and duration. See
HyperScribe dialog box.
Receive On All Channels • Only Channel: ___ . If you’re using HyperScribe to transcribe a sequence being played by an external sequencer, you can
specify that only one MIDI channel be transcribed at a time, making it easier for you to transcribe one staff at a time. If that’s the case, select Only Channel, and
enter the MIDI Channel number in the text box. Otherwise, select All Channels; HyperScribe will transcribe the music it’s receiving on all MIDI channels.
Quant Settings. Click this button to display the Quantization Settings dialog box where you can set you quantization type, smallest duration, and other options.
See Quantization Settings dialog box.
Cancel • OK. Click OK to confirm, or Cancel to discard, the changes you’ve made in this dialog box; you return to the score.

Tip: check "Tie across barlines" if you will need notation that uses ties across barlines frequently.
Note that you will want to release notes on time at the end of the measure so that an incorrect tie
does not appear.

See Also:
HyperScribe Menu
HyperScribe Tool

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Record Continuous Data

Record Continuous Data

How to get there


Click the HyperScribe Tool. From the HyperScribe Menu, choose Record Continuous Data.

What it does
With this dialog box, you can choose to Record continuous data during HyperScribe sessions, and
specify the type of continuous data you want to record. To hear results of recorded continuous data, you must first set Human Playback to None in the Playback
Controls.

Record Continuous Data in HyperScribe. Check this box to record the continuous data specified in this dialog box during your HyperScribe recording
sessions.
Channel Pressure. Check this box to record channel pressure (also called Monophonic Aftertouch) during HyperScribe sessions.
Controllers • All • Only. Choose All to record all MIDI controller continuous data. Choose Only to specify up to four types of continuous data you want to
record.
Patch Changes. Check this box to record patch changes during HyperScribe sessions.
Pitch Bends. Check this box to record pitch bends during HyperScribe sessions. See Pitch Wheel.
Listen. Click Listen, and then play up to four types of continuous data (sustain pedal, modulation wheel, etc.) to instruct Finale to only record those types of
continuous data with HyperScribe. If you specify more than four types of continuous data, Finale will record all continuous data. In addition to the four types, pitch
wheel, channel pressure, and patch changes can be triggered here.
Cancel • OK. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made in this dialog box; you return to the score.

See Also:
Recording with HyperScribe
HyperScribe Menu
Listen

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Split points

Split points
To specify a point at which a measure may split across a system (line) break, see To split a measure across a system break.
You’ll need to specify a different kind of split point when you use Finale’s real-time transcription tool to transcribe a two-handed keyboard performance. Since the
computer can’t “see” your hands, you must tell it how it should split your performance onto the two staves. To adjust the split point based on a defined ‘hand width’ for
regions of your score, or the entire document, use the Smart Split Point plug-in.

To specify a fixed split point


To enter HyperScribe, click the HyperScribe Tool. The HyperScribe Menu appears. To enter the Transcription window, click the Transcription Mode, then click the
measure where the transcription is to begin. See Recording with HyperScribe orTranscribing a sequence.

1. From the Record submenu of the HyperScribe Menu choose Split into Two Staves or from the Split Point submenu of the
Transcription Menu choose Fixed. The Fixed Split Point dialog box appears, letting you enter a number. The number refers to a specific note on your MIDI
keyboard; middle C is key number 60.
2. Click Listen. Finale displays a message, telling you that it’s listening.
3. Play the MIDI note you want to designate as the split point for your transcription. If your MIDI equipment is set up properly, the number in the
Split MIDI Note text box changes. (You can also type a number directly into the text box.) When Finale transcribes your performance, all notes below the note
indicated will be put on the lower staff; all notes above, including the specified note, will be on the top staff.
4. Click OK (or press enter). If your piece has no clear split point, you may find it easiest to record the right-hand part an octave higher than written. After
Finale transcribes the piece, it’s a simple matter to transpose that staff to the proper register (see Transposing: by interval).

To specify a movable split point (Transcription Mode only)


If the piece you intend to transcribe doesn’t have any one split point—in other words, if the ranges of notes played by your right and left hands during the piece aren’t
completely distinct—you can use Finale’s Moving split point feature. Finale will split a two-handed performance onto the correct staves (usually treble and bass clef) by
tracking the positions of your hands as they move up and down the keyboard. As long as there’s a discernible gap between your two hands at any given moment,
Finale can adjust the split point on a note-by-note basis automatically.

1. From the Split Point submenu (of the Transcription Menu), choose Moving. A dialog box appears.
2. Click Listen, and play a one-hand-width interval on the synthesizer keyboard. Don’t necessarily play the widest interval you can reach. Instead,
play the largest interval you played with one hand in the piece; strike the two notes comprising your hand width more or less simultaneously. The number in the
Hand Width text box, measured in half steps, changes to reflect the interval you played. (Instead of clicking Listen, you can also enter a number directly into the
Hand Width text box.)
3. Click OK. If Finale still makes a few errors in the resultant transcription—for example, if your hands were, at some point, too close together for Finale to track
them—see To correct split point errors.

To correct split point errors


Occasionally, because there is no clear split point, or because your hands cross, a HyperScribe or Transcription Mode transcription will contain left-hand notes in the
treble-clef staff, or right-hand notes in the bass-clef staff. Using the Note Mover Tool, you can quickly restore the notes to the proper staves. See Note Mover Tool.

1. Click the Note Mover Tool . The Note Mover Menu appears.
2. Choose Delete After Merge from the Note Mover Menu. In other words, you’ll delete the incorrectly split note from its current staff, and merge it with the
correct staff.
3. Click the measure containing the incorrectly split notes. A handle appears on each notehead.
4. Select the notes to be moved. Select one note by clicking its handle, several adjacent notes by drag-enclosing them, or additional notes by shift-clicking (or
shift–drag-enclosing them). The handles you select are highlighted.
5. Drag any highlighted handle onto the target staff. Don’t drag it to any particular line or space; just drag it anywhere onto the correct staff. The notes
are automatically transferred to the correct lines or spaces of the new staff.

Note: If you are not pleased with the results check your quantization settings in Quantization Setting
dialog box in the MIDI/Audio Menu. Also the More Quantization Settings dialog box. See Quantization
Settings dialog box and More Quantization Settings dialog box.

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Document Settings and Program Settings

Document Settings and Program Settings

The following document settings are saved with the document. This means that opening this document on another computer would not change these settings. Program
Settings are specific to a particular installation of Finale.

Document Settings Program Settings

View Menu/Snap to Grid Edit Menu/Automatic Update Layout

View Menu/Snap to Guide Automatic Music Spacing

View Menu/Scroll or Page View Palette ConfigurationTool Set

View Menu/View Percentage View Menu/Show Margins

View Menu/Staff Sets View Menu/Show System Locks

View Menu/Grid Guide Options Edit Menu/Enharmonic Spelling

View Menu/Show Grid Special Tools Menu/Show Crosshairs

View Menu/Show Guides Movable Items dialog box

View Menu/Show Rulers Program Options dialog box

View Menu/Show Message Bar Edit Menu/Measurement Unit

View Menu/Layer Selection Special Tools Menu/Tie Direction

View Menu/Show Multiple Pages Quantization Settings dialog box

Document Menu/Show Active Layer Only MIDI Setup dialog box

Document Menu/Display in Concert Pitch MIDI Thru dialog box

Document Options-Accidentals Special Tools Menu/Tie Direction

Document Options-Alternate Notation MIDI Thru Table dialog box

Document Options-Augmentation Dots Import MIDI File Options dialog box

Document Options-Barlines Export MIDI File Options dialog box

Document Options-Beams Window Menu/Main Tool Palette

Document Options-Chords Window Menu/Simple Entry Palette

Document Options-Clefs Window Menu/Simple Entry Rests Palette

Clef Designer dialog box Window Menu/Smart Shape Palette

Document Options-Flags Window Menu/Special Tools Palette

Document Options-Fonts Window Menu/Instrument List

Document Options-Grace Notes Window Menu/Playback Controls

Document Options-Key Signatures Staff Menu/Show Staff Styles

Document Options-Layers Staff Menu/Show Default Staff Names

Document Options-Lines and Curves Staff Menu/Show Default Group Names

Document Options-Lyrics Staff Menu/Auto Sort Staves

Document Options-Multimeasure Rests Measure Menu/Dragging Selects Measure Handles

Document Options-Music Spacing Measure Menu/Dragging Selects Number Handles

Document Options-Notes and Rests Simple Entry Options dialog box

Document Options-Piano Braces Speedy Entry Options dialog box

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Document Settings and Program Settings

Document Options-Repeats Speedy Menu/Use MIDI keyboard

Repeat Bars dialog box Speedy Menu/Playback During Drag

Document Options-Stems Speedy Menu/Jump to Next Measure

Document Options-Staves Speedy Menu/Create New Measures

Stem Connections dialog box Speedy Menu/Check Beaming

Document Options-Text Speedy Menu/Check Accidentals

Document Options-Ties Speedy Menu/Check for Extra Notes

Tie Contour dialog box Speedy Menu/Use Five Line Staff

Document Options-Time Signatures Speedy Menu/Auto Freeze Accidentals

Document Options-Tuplets Speedy Menu/Edit Tab

Playback Options dialog box Speedy Menu/Insert Notes

Page Format for Score dialog box HyperScribe Menu/Beat Source

Page Format for Parts dialog box HyperScribe/Record Mode

Page Setup dialog box Tap dialog box

Edit Staff Attributes dialog box MIDI Event dialog box

Select Clef dialog box Tap States dialog box

Edit Full Staff Name dialog box Playback and/or Click dialog box

Position Full Staff Name dialog box HyperScribe Options dialog box

Edit Abbreviated Staff Name dialog box Fixed Split Point dialog box

Position Abbreviated Staff Name dialog box Moving Split Point dialog box

Staff Transposition dialog box MIDI Input Filter dialog box

Alternate Notation dialog box Transcription Filter dialog box

Staff Setup dialog box Punch-in Pre-Roll dialog box

Percussion Map Selection dialog box Click Input dialog box

Percussion Map Designer dialog box Click Output dialog box

Symbol Selection dialog box Expression Menu/Show All Handles

Extract Parts dialog box Expression Menu/Metatool Attachment

Tablature dialog box Chord Menu/Input Method

Define Staff Styles dialog box Chord Menu/Substitute Symbols

Apply Staff Styles dialog box Chord Menu/Show All Handles

Group Attributes dialog box Chord Menu/Italicize Capo Chords

Respace Staves dialog box Fretboards (View)

Staff Usage dialog box Fretboard Editor dialog box

Staff Menu/Set Default Names/Full Staff Names Note Mover Function

Staff Menu/Set Default Names/Abbreviated Staff Names Rebar Options dialog box

Staff Menu/Set Default Names/Full Group Names Special Tools Menu/Show Handles

Staff Menu/Set Default Names/Abbreviated Group Names Special Tools Menu/Update

Position Full Staff Names dialog box

Position Abbreviated Staff Names dialog box

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Document Settings and Program Settings

Position Full Group Names dialog box

Position Abbreviated Group Names dialog box

Key Signature dialog box

Non Standard Key Signature dialog box

Key Step Map dialog box

Accidental Order and Amount dialog box

Tone Center(s) dialog box

Accidental Octave Placement dialog box

Special Key Signature Attributes dialog box

Symbol List dialog box

Time Signature dialog box

Composite Time Signature dialog box

Measure Menu/Measure Numbers Show/Hide

Measure Number dialog box

Enclosure Designer dialog box

Position Measure Number dialog box

Measure Attributes dialog box

Edit Frame dialog box

Default Tuplet Visual Definition dialog box

Smart Shape Menu/Direction

Slur Contour dialog box

Smart Shape Placement dialog box

Smart Shape Options dialog box

Articulation Selection dialog box

Expression Selection dialog box

Executable Shape Selection dialog box

Shape Selection dialog box

Rulers and Grid dialog box

Repeat Selection dialog box

Chord Menu/Chord Style

Chord Menu/Left Align Chords

Chord Menu/Show Guitar Fretboards

Chord Menu/Simplify Spelling

Chord Suffix Selection dialog box

Resize Fretboards dialog box

Fretboard Instrument Definition dialog box

Fretboard Styles dialog box

Fretboard Style Fonts and Shapes dialog box

Fretboard Barre Shape Selection dialog box

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Document Settings and Program Settings

Fretboard Fingered String Shape Selection dialog box

Fretboard Open String Shape Selection dialog box

Fretboard Muted String Shape Selection dialog box

Fretboard Custom Shape Selection dialog box

Adjust Baselines dialog box

Instrument List dialog box

Text Menu/Size

Text Menu/Style

Text Menu/Justification

Text Menu/Word Wrap

Text Menu/Attach to Measure/Page

Text Menu/Show Only On Screen

Font dialog box

Size dialog box

Baseline Shift dialog box

Superscript dialog box

Tracking dialog box

Character Settings dialog box

Page Offset dialog box

Line Spacing dialog box

Page Layout Menu/Avoid Margin Collision

Page Layout Menu/Update Page Format for Score

Edit System Margins dialog box

Adjust Staff System Range dialog box

Edit Page Margins dialog box

Adjust Page Range dialog box

Page Size dialog box

Tilting Mirror dialog box

Mirror Attributes dialog box

Transposition dialog box

Selective Mirror dialog box

Beaming Chart dialog box

Placeholder dialog box

Set Placeholder dialog box

Ossia Measure Designer dialog box

Ossia Measure Assignment dialog box

Ossia Page Assignment dialog box

Tempo Adjustment dialog box

Set Swing dialog box

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Document Settings and Program Settings

Duration dialog box

Edit Menu/Special Part Extraction

File Info dialog box

Click and Countoff dialog box

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Finale Libraries

Finale Libraries

Finale’s libraries contain reusable sets of musical elements: expression markings, for example, or chord-symbol suffixes. A basic set came with your Finale package;
they’re in a folder called Libraries within your Finale folder.
You add a library’s contents to the active document by choosing Load Library from the File Menu, or by clicking Load Library in the Document options dialog box. Feel
free to modify these libraries, or to create new libraries containing your own sets of symbols. For more information on libraries, consult the appropriate entries, such as
Expressions, Document Options-Music Spacing, Chord symbols, and so on. See also the Save Library dialog box for an explanation of the different types of libraries.
You can include any combination of the available score elements in the same library file.

Articulation Shapes. This library contains shapes to be used for articulations. You can create shapes to be used as articulations using the Shape Designer.
Articulations (Maestro). This library contains a selection of single-character articulation marks that describe how a single note is to be played. You place
them into the score with the Articulation Tool. More
Chords & Fretboards: Chord Suffix (Arial).LIB, Chord Suffix (Times).LIB, Chord Suffix Expanded (Arial).LIB, Chord Suffix Expanded
(Times).LIB, Chord Suffix (Jazz Text), Chord Suffix Expanded (Jazz Text), Chord Suffix (JazzCord), Figured Bass, Fretboard Styles,
Slash Chords (Arial).LIB, Slash Chords (Times).LIB, Slash Chords (Jazz Text), Slash Chords (Jazz Cord). These sets of predefined chord
symbols are used by the Chord Tool. Finale understands each chord symbol in a musical way, and plays the chord back intelligently. The Chord Suffix &
Fretboard libraries consist of a set of libraries: one containing the most commonly used chord suffixes and fretboards; the second containing an expanded library
with more suffixes and more fretboards per suffix; and a third library containing common slash chords. Each of these sets are duplicated three times, once for
each of the following fonts: Arial, Times, and JazzText. The fourth set is a JazzCord font library which contains commonly used jazz suffixes accompanied by
fretboards created with Jazz Font characters. More
Clefs. This library contains eighteen standard clefs.
Choral Dynamics. This library contains dynamic expressions set to Above Staff instead of Below Staff.
Default Fonts. This library contains the default font settings, as found in Document Options-Fonts.
Document Options. This library holds all the settings that are saved in with your document such as the settings in the Document Options dialog box and a
number of other settings in the Document Settings submenu, and other settings as well, such as the Playback Controls settings.
Engraver Articulations. This library, similar to the Maestro Articulation Library, has a number of Engraver symbols to be used for articulations. They are
already adjusted to take advantage of Finale’s positioning settings.
Engraver Text Expressions. This library contains text expressions using the Engraver Font. Expressions such as dynamics and tempo indications are
included.
Executable Shapes. This library contains six predefined Executable Shapes, which can serve as the playback definitions for expressions. Each affects the
specified playback parameter by 26 units. That is, if you construct an accel. marking based on one of these Executable Shapes, the marking will produce a tempo
increase of 26 beats per minute. For full instructions, see To define an expression for playback. More
Figured Bass. This library provides a simple starting place for entering figured bass into your document.
Fretboard Styles. This library contains four fretboard styles, which define how Finale draws custom fretboard elements. The first three fretboard styles are the
classic (4, 5 & 6 frets) style; the last was created with Jazz Font characters for a hand-produced look.
Harp Diagram. This is a Shape Expression Library containing the two parts of a harp pedal diagram—the “skeleton” and the “pedals”—described in Harp pedal
diagrams. See that entry for full instructions for placing and using this diagram.
Instrument Libraries. The General MIDI library is designed to work with most synthesizers’ built-in sounds. Libraries are also included for the following
synthesizers: Kawai K1, Korg M1, Proteus 1, Proteus 2, and Roland MT32. Each library contains a set of ready-to-assign Instruments (clarinet, piano, and so
on), with the channel and patch numbers preset to match your particular synthesizer. Open the appropriate Instrument library for your synthesizer. Now show the
Instrument List window, and, for each staff, choose the instrument from the Instrument drop-down listpopup menu. If you’ve set up your score to transmit patch
information to your MIDI keyboard before beginning playback (see Playback), and if you’ve set up your MIDI keyboard to receive on the appropriate channels,
you should immediately hear a multitimbral playback with the sounds you’ve specified.
Jazz Articulations. This is the articulation library to be used with the Jazz Font. It contains items such as staccatos, accents, house tops, falls and glissandos.
Jazz Chords & Fretboards. Jazz Chords Suffixes and Fretboards.
Jazz Clefs.This library contains eighteen jazz clefs.
Jazz Default Fonts. This library contains the default font settings for the Jazz font, as found in the Document Options-Fonts.
Jazz Document Settings. This library changes items in your Document Settings that are appropriate for use in the Jazz font, especially the alignment of notes
with their stems and flags.
Jazz Dynamics. This is a library containing text expressions (dynamic markings etc.) for the Jazz Font.
Jazz Measure Rests. This is a shape expression library which contains a multi-measure rest shape.
Jazz Page Format. This library contains default settings for the Page Format for Score and Page Format for Parts dialog boxes.
Jazz Rehearsal Letters. This library contains rehearsal letters from A-Z, all of which are enclosed in a box. This is also a text expression library.
Jazz Spacing. This library contains spacing widths for use with the Jazz Font.
Jazz Staff Styles. This library contains a basic selection of Jazz Staff Styles for use with the Staff Tool. See Staff styles for more information.
Jazz Stem Connections. This library contains stem connection definitions for use with the Jazz font. See Stem Connections dialog box for more information.
Jazz Tempos. This library contains tempo indications in the Jazz font. This is also a text expression library.
Jazz Text Repeats. This is a text repeat library for the Jazz Font. It contains items such as D.S. al Coda, etc. These expressions also come with brackets.
Measure Rest. This library contains the default Multimeasure Rest symbol.
Page Format. This library contains default settings for the Page Format for Score and Page Format for Parts.
Percussion Maps. This library contains all of the percussion maps that you have created as well as default percussion maps for General MIDI. See General
MIDI Percussion Map Table, Marching Percussion Map Table, and General MIDI Orchestral Percussion Map Table for a listing of instrument names which
correspond to the MIDI Notes. More
Pitch Bend. This is a single Text Expression in a library by itself. It consists of the words “pitch bend,” and has been defined to produce a single pitch bend.
This pitch bend lasts for one whole note. It moves the pitch wheel from its “at rest” position all the way to the top of its range of movement, then back down to its
“at rest” position. For a full description of pitch wheel usage in Finale—including instructions for the creation of this particular pitch bend expression—see Pitch
wheel.
Quarter Tone. This Key Signature library contains a single key signature— namely, the key signature for a quarter-tone key system, where there are three

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Finale Libraries

chromatic steps between two diatonic steps (instead of the usual one). If you set your piece in this key signature, bear in mind that one key on your MIDI
keyboard corresponds to one chromatic step in the music. In other words, you won’t be able to play normally and still get an accurate transcription of your
playing, because—for example—the C# key on your MIDI keyboard will correspond to a C-quarter sharp on the screen. See Nonstandard key signatures for
more information.
Shape Expressions. This library contains a selection of Shape Expressions for use with the Expression Tool. While it does contain several phrase markings
and hairpins (crescendo markings), remember that it’s far easier to create phrase markings and hairpins using the Smart Shape tools. The sole advantage to
using these crescendo hairpins is that they have been defined for playback; they produce a volume change of 26 MIDI key velocity units in the time of a whole
note. This library also contains a glissando line and tremolo marking, as described in Glissandos and Tremolos, respectively.
Smart Lines. This library contains Smart Shapes available in the Smart Line Selection dialog box including glissandos, pedal indications, trills extensions, guitar
markings, and other line-type markings that can be adjusted in the score.
SMS Markers. This library contains a collection of Text Expressions that are pre-defined for SmartMusic Markers that can be added to the score to specify
repeats, rehearsal marks, pauses, and other indications while creating a file intended to be saved as a SmartMusic Accompaniment. See SmartMusic® for details.
Staff Styles. This library contains a basic selection of Staff Styles for use with the Staff Tool. See Staff styles for more information. The following metatools
appear in the Maestro Font Default file. More
Spacing Widths libraries: Fibonacci Spacing · Fibonacci with Edited Dots · Tight Spacing · Medium Spacing · Loose Spacing. These libraries contain spacing
width tables used for the spacing of notes and lyrics. Fibonacci Spacing is the default which spaces your music using a ratio of about 1 to 1.6. So a quarter note
will take up 1.6 times the space of an eighth note. To find out how you use these libraries, see Document Options-Music Spacing. The library titles indicate the
relative spacing of the entries in a measure; music that’s been spaced using the “medium” library will be more compact than music spaced with the “loose” library.
Text Expressions (Maestro). This library, for use with the Expression Tool, includes a number of expression and dynamic markings, many of which have
been defined for playback. Each has also been defined for positioning. see Text Expression Designer dialog box. The dynamics always appear in Maestro music
font, and the other expression markings appear in the Times New Roman italic font; feel free to change these fonts to suit your system. (For the non-dynamic
expressions, choose a PostScript font if you plan to print on a PostScript printer or a True Type font if you plan to print on a non-PostScript printer.) More
Text Repeats (Maestro). This library contains a selection of text repeats—textual repeat indications, such as “D.S. al Coda,” that are fully functional for
playback. You create and edit repeats using the Repeat Tool. (See Repeats (barlines and text indications)) for a more complete discussion.) More

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Program Options-New

Program Options-New

How to get there


From the Edit Menu, chose Program Options and select New.

What it does
Choose New to make settings related to opening new documents. Change the default file name, select the type of document to open when launching Finale and
specify how to view any new document when it first opens.

Default Document Name; Browse. Type in the name of the Template you want to use for your default file or use the Browse button to search for the file.
Default New Operation • Setup Wizard • Default Document. Select one of these options to set the keyboard shortcut for New (ctrl-N) to the default
document or Setup Wizard.
Startup Action: Finale Launch Window • Document Setup Wizard • New Default Document • New Document with Template • Open
Document • No Action. Select which item from the New submenu of the File Menu will be your preferred startup action. Document Setup Wizard will take you
through the Setup Wizard on startup. New Default Document will open a new document based on your selected default file. New Document with Template will
allow you to select a template to open as the basis of your file. Open document will allow you to open any document. No Action will just allow Finale to start and
not open any document on startup.
Display Setup Wizard When Opening a Template. Check this box to indicate that you would like to open the "Score Information" and "Score Settings"
pages of the Setup Wizard to customize templates prior to opening them. These pages appear after choosing the File Menu > New > Document From Template
and opening a template file. Uncheck this box to indicate that you would like Finale to open templates without prompting you with these pages of the Setup
Wizard. SeeSetup Wizard.
View Percent. Select the View percentage new documents should display when opened.
View: Scroll View • Page View • Studio View. Select which view, Scroll View or Page View, new documents should display when opened.
Maximize. Select this checkbox to allow new documents to open with a maximized window.
Show Rulers. Select this option if you want Finale to display rulers in new windows when they are created. This setting affects the initial setting of the Show
Rulers command in the View Menu. To show or hide rulers in an individual window without affecting the program options, use the Show Rulers command.

See Also:
File Menu-New

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Program Options-New

Edit Menu/Program Options


Finale 2008 Menu/Program Options

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Transposing instruments

Transposing instruments
Any staff can be defined to have any instrument transposition; for example, a trumpet staff can be notated up a whole step, yet Finale will still play the music at
concert pitch. While you’re working on the document, you can be looking at the instrumental staves either in their transposed or concert-pitch forms. For steps to create
two transpositions in the same staff, such as a saxophone switching to flute for a few bars, see To define a staff with a double transposition.

To define a staff transposition

1. Click the Staff Tool , and double-click the staff handle to be transposed. The Staff Attributes dialog box appears.
2. Select the Transposition; click Select. The Staff Transpositions dialog box appears.
3. Specify the desired transposition. See Staff Transposition dialog box for details on settings.
4. Click OK (or press enter). You return to the Staff Attributes dialog box. If there’s another staff for which you want to set the transposition, simply choose it
from the Staff drop-down list at the top of the dialog box.
5. Click OK (or press enter).

To transpose a staff chromatically

1. Click the Staff Tool , click the staff handle you want to transpose, then choose Edit Staff Attributes from the Staff Menu (or
double-click the staff). The Staff Attributes dialog box appears.
2. Click Transposition. Click Select. The Staff Transpositions dialog box appears.
3. Click Chromatic and choose the desired transposition from the drop-down list. Or choose Other to create your own instrument transpositions for
less common instruments.
4. To choose a different clef for the transposed staff, click Set to Clef to select it, then click the desired clef.
5. Click OK. You return to the Staff Attributes dialog box.
6. Click OK to dismiss the dialog box. Accidentals appear on all altered notes.

To display a score in concert pitch (or in transposed form)


Once you’ve established the transpositions for your instrumental staves as described in “ To define a staff transposition, above, you can tell Finale whether or not it
should display the full score in its transposed form.

From the Document Menu, choose Display score in concert pitch. If this option is selected, all music appears in its untransposed form (concert
pitch) and a checkmark appears next to the menu item. When this option isn’t selected, any staff you’ve defined as a transposing staff will appear in its
transposed form, just as it will when the part is extracted.

To define a staff with a double transposition


1. Define the primary instrument’s transposition, as described in “ To define a staff transposition, above.

Tip: If you’re using one of MakeMusic’s templates or created your score with the Wizard, the
transposition is already set correctly.

2. Click the Staff Tool . The Staff Menu appears.


3. Select the region that will have the second instrument. See Selecting music for hints on selecting shortcuts.
4. From the Staff Menu, choose Apply Staff Styles. You can also select Apply Staff Styles from the contextual menu by right-clicking in the staff. The
Apply Staff Style dialog box appears.
5. Select the appropriate transposition from the drop-down list of available Staff Styles. If you don’t see the desired transposition, see Staff
Styles for instructions on how to create a new Staff Style.
6. Click OK. The transposition will be applied to the selected region. You can assign a metatool to a Staff Style to make applying a quicker process. See Staff
Styles for details.

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File/Import/MIDIScan

File/Import/MIDIScan

Choose this command to open the Import MIDIScan File window where you can choose a MIDIScan file to Import.
Finale can import MIDIScan 2.5 MND files, regardless of which platform was used to create them. Finale will convert most items from your MIDIScan files. As you
compare your results, make sure that you compare Finale's output to that of MIDIScan's MND file, not the original scanned TIFF file. For more tips on getting the best
scanning results, see Musitek's website at www.musitek.com. See Importing.

See Also:
Scanning
File Menu/Import

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SmartScore Lite

SmartScore Lite dialog box

How to get there


From the File menu, choose Scanning: SmartScore Scanning Lite, and then TIFF Import.

What it does
From this dialog box, you can open and transcribe a scanned TIFF file.

Add Files to List · Remove Files from List. Click Add Files to List to bring a scanned file into the file list for translation. Click Remove from List to remove
the highlighted file from the file list.
Move Up · Move Down. Click Move Up to move the highlighted file name up one in the file list. Click Move Down to move the highlighted file name down one
in the file list.
Save As. Click Save As. to save the untranslated TIFF file.
About SmartScore Lite. Click this button to view additional information about SmartScore Lite and other scanning products developed by Musitek.
Auto Preview. Check this box to display a preview of the highlighted file in the window on the left side of this box.
Begin Recognition. Click this button to begin translating the TIFF files into a Finale document.
Join Offset Voices: Never...Within 3/4 of a notehead. Often you will see notes belonging to different voices appear horizontally offset, even though they
sound at the same time. It is necessary for the SmartScore Lite to decide which notes to join and which notes not to join to a "vertical event.” When notes and/or
rests of different voices are aligned vertically, they are grouped into what is referred to as a “vertically-aligned event”. Normally, offset notes belonging to different
voices have no more than 1/4 of a notehead’s space between them.

If your music has offset voices which regularly exceed this distance, choose another distance. Distance is determined by the white space between noteheads.
If your music has dense polyphonic texture, like that found in solo guitar music or tightly-spaced orchestral passages, it may be necessary to “tighten up” the
allowable distance between offset voices. In these case, choose a distance less than 1/4 of a notehead.

Endings. Check this box to the SmartScore Lite to recognize repeat endings from the original scanned document.
Cancel. Click Cancel to dismiss the dialog box without transcribing a scanned file.

See also:
Scanning

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Musitek: Scanners and Scanner Bundles

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http://www.musitek.com/bundle.html[01/01/2009 2:12:04 PM]


Musitek: Scanners and Scanner Bundles

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http://www.musitek.com/bundle.html[01/01/2009 2:12:04 PM]


SmartScore Lite 5

SmartScore Lite 5.5

How to get there


From the File Menu, choose Scanning: SmartScore Lite, then Scan and Import.

What it does
Use this dialog box to configure scanner settings and acquire sheet music from your scanner.

Resolution • Brightness. Use these sliders to adjust the resolution and brightness of the scanned image.
Automatic; Resolution • Cropping • Preview. Use these settings to tell SmartScore Lite to automatically configure resolution, cropping, and preview
settings.
Deskew • Invert. Check Deskew to automatically rotate the image so that the sheet music is properly aligned (to compensate when the image is just a few
pixels offset). Some scanners reverse images so that they appear like a negative (white text on a black page). Check Invert to invert the scanned in image,
returning white on black images to black on white and vise versa. Only check this option if you are experiencing problems when scanning.
Select Scanner. Click this button to select a scanner installed on your computer.
Reset to Default. Click this button to revert settings in this dialog box to their defaults.
Preview. Check this box to display the sheet music in the preview window on the left side of this dialog box.
Scan. Click this button to scan the image and begin the translation process.
Cancel. Click Cancel to discard your scanner settings and dismiss the dialog box.

See Also:
Scanning

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File/Music XML/Import

File/MusicXML/Import

Choose Import to open the Import MusicXML dialog box where you can choose a MusicXML file to import.
Finale can import MusicXML 2.0 files (compressed and uncompressed, .mxl and .xml), MusicXML 1.1 files, and MusicXML 1.0 files.

See Also:
File Menu

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File/MusicXML/Export

File/MusicXML/Export

Choose Export to save a Finale document in XML format. MusicXML files can be opened in other music programs as well as earlier versions of Finale.
Finale can export MusicXML 1.1 files (for use with Finale 2006 and 2007) as well as MusicXML 1.0 files (for use with Finale 2003 to 2005 on Windows).

See Also:
File Menu

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Symbol Selection

Symbol Selection

How to get there


You can access this dialog box by clicking a Symbol button anywhere it appears in the program, such as the, Chord Suffix Editor, Clef Designer, Note Shape
Assignment, and Stem Connection dialog boxes. You can also access this dialog box by clicking on the Main and Flipped buttons in the Symbols section of the
Articulation Definition dialog box.

What it does
From this dialog box you can choose any letter, number, or symbol in the selected font by double-clicking it. The currently selected font for the element appears in this
dialog box.

Font. The currently selected font is displayed


Select. Instead of double-clicking any character, you can click it once and then click Select. You return to the previous dialog box.
Cancel. Click Cancel to return to the previous dialog box without selecting a character.

See Also:
Articulation Tool
Chord Tool
Clef Tool
Selection Overview

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Text/Edit Page Offset

Text/Edit Page Offset

Select a Page Number insert, then choose this command to display the Page Offset dialog box where you can change the page number displayed in the insert.

For detailed information, see the Page Offset dialog box.

See Also:
Text Menu
Text Tool

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Document Options-Text

Document Options-Text

How to get there


From the Document Menu, choose Document Options and select Text.

What it does
In these options, specify the number of spaces in place of one tab number. Use the Text Inserts subsection to change the global definition of the sharp, flat, natural,
double sharp, and double flat signs used as text inserts. The default settings are based on the Maestro font. These settings, which are saved with the document, are
available if you wish to use a music font other than Maestro. Also, modify the format of the time stamp.

Use _ Spaces in Place of One Tab Character. You enter a number in this text box to specify how many spaces you want Finale to "type" for you when
you press Tab while entering the text for lyrics or text blocks. (Finale considers a tab in a set of lyrics an "end-of-syllable" mark, just like a space or hyphen.)
Symbol: Sharp • Flat • Natural • Double Sharp • Double Flat. Choose the symbol that you want to change from the Symbol drop-down list. Any change
you make to these global settings affects the appearance of all inserts of the same type in your score. You may want to change these if you’re using a font other
than Maestro for your music font.
Symbol: Select. Enter the text font equivalent for the symbol, or click the Select button to display the Symbol Selection dialog box, where you can choose the
character you want to use for the currently selected insert. The symbol you select will be used when you place the insert into the text.
Set Font. Click this button to display the Font dialog box, where you can choose the font and style for the currently selected insert.
Note: You cannot select a specific size for the insert character in the Font dialog box, since the size of the character is proportional to the preceding text. (If no
text is entered yet in the text block, the insert will be proportional in size to the default font in Document Options-Fonts
Options: Font Size • Baseline Shift • Tracking Before • Tracking After. Enter values to size and position the insert proportionally, in relation to the
point size of the font preceding the insert. Enter percentages for Font Size and Baseline Shift to adjust the size of the font and vertical position of the insert,
respectively. Since music characters usually seem smaller than text characters at the same font size, you may want a value larger than 100%. Enter values, in
ems (1/1000 of the current font size), in Tracking Before and Tracking After to adjust the amount of horizontal space before and after the insert, respectively.
Apply Settings to All Symbols. Click this button if you want the current settings (except for the selected character) applied to each symbol. Finale updates
the font, baseline, and tracking values for each symbol.
Reset All Symbols. Click this button to restore the default settings, including their default Maestro characters, for each symbol. Finale updates all symbols in
the score.
Include Seconds in Time Stamp. Select this option if you want to include seconds (2:43:15) in the time stamp you apply to a document (using the text
inserts in the Text Tool).
Date Format. From this drop-down list, choose a short or long date form when Finale date-stamps its printouts. Finale is sensitive to the date, time, and
decimal settings in the International portion of the Control Panel. You create such a date stamp using the Text Inserts in the Text Tool.

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Document Options-Text

See Also:
Text
Document Options-Fonts
Document Menu/Document Options

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Text/Insert/Sharp

Inserts/Sharp

Choose this command to paste a Sharp insert in the text block you're editing or creating. The sharp symbol as defined in the Text Inserts dialog box appears at the
current location of the cursor.
From the Document Menu, choose Document Options and select Text . Any change you make to the corresponding symbol will appear for all inserts of that type used
in this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

For detailed information, see Document Options-Text.

See Also:
Text Menu
Text Tool

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Text/Insert/Flat

Inserts/Flat

Choose this command to paste a Flat insert in the text block you're editing or creating. The flat symbol as defined in the Text Inserts dialog box appears at the current
location of the cursor.
From the Document Menu, choose Document Options and select Text. Any change you make to the corresponding symbol will appear for all inserts of that type used
in this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

For detailed information, see Document Options-Text.

See Also:
Text Menu
Text Tool

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Text/Insert/Natural

Inserts/Natural

Choose this command to paste a Natural insert in the text block you're editing or creating. The natural symbol as defined in the Text Inserts dialog box appears at the
current location of the cursor.
From the Document Menu, choose Document Options and select Text. Any change you make to the corresponding symbol will appear for all inserts of that type used
in this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

For detailed information, see Document Options-Text.

See Also:
Text Menu
Text Tool

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Text/Insert/Double Sharp

Inserts/Double Sharp

Choose this command to paste a Double Sharp insert in the text block you're editing or creating. The double sharp symbol as defined in the Text Inserts dialog box
appears at the current location of the cursor.
From the Document Menu, choose Document Options and select Text. Any change you make to the corresponding symbol will appear for all inserts of that type used
in this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

For detailed information, see Document Options-Text.

See Also:
Text Menu
Text Tool

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Text/Insert/Double Flat

Inserts/Double Flat

Choose this command to paste a Double Flat insert in the text block you're editing or creating. The double flat symbol as defined in the Text Inserts dialog box appears
at the current location of the cursor.
From the Document Menu, choose Document Options and select Text. Any change you make to the corresponding symbol will appear for all inserts of that type used
in this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

For detailed information, see Document Options-Text.

See Also:
Text Menu
Text Tool

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Text/Insert/Page number

Inserts/Page Number

Choose this command to paste a Page Number insert in the text block you're editing or creating. The current page number, assuming that the pages in the document
are numbered consecutively from page one, appears at the current location of the cursor.
Use the Edit Page Offset command in the Text Menu to change the page number displayed in the selected Page Number insert.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.
For detailed information, see Page Offset dialog box.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/Total Pages

Text/Insert/Total Pages

Choose this command to paste the number of total pages in the document to the text block you are editing or creating.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/Title

Inserts/Title

Choose this command to paste a Title insert in the text block you're editing or creating. The title as it appears in the File Info dialog box appears at the current location
of the cursor. If no information has been entered in the File Info dialog box, the word Title will appear in square brackets instead.
Choose File Info from the File Menu to display the File Info dialog box. Any change you make in the Title text box will appear in the Title inserts used in this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.
For detailed information, see File Info dialog box.

See Also:
Document Options-Text
Text Menu
Text Tool

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Text/Inserts/Subtitle

Text/Inserts/Subtitle

Choose this command to paste a Subtitle insert in the text block you're editing or creating. The title as it appears in the File Info dialog box appears at the current
location of the cursor. If no information has been entered in the File Info dialog box, the word Subtitle will appear in square brackets instead.
Choose File Info from the File Menu to display the File Info dialog box. Any change you make in the Title text box will appear in the Subtitle inserts used in this
document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.
For detailed information, see File Info dialog box.

See Also:
Document Options-Text
Text Menu
Text Tool

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Text/Insert/Composer

Inserts/Composer

Choose this command to paste a Composer insert in the text block you're editing or creating. The composer name as it appears in the File Info dialog box appears at
the current location of the cursor. If no information has been entered in the File Info dialog box, the word Composer will appear in square brackets instead.
Choose File Info from the File Menu to display the File Info dialog box. Any change you make in the Composer text box will appear in the Composer inserts used in
this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.
For detailed information, see File Info dialog box.

See Also:
Text Menu
Text Tool
Document Options-Text

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Insert/Arranger

Insert/Arranger

Choose this command to paste an Arranger insert in the text block you're editing or creating. The arranger name as it appears in the File Info dialog box appears at the
current location of the cursor. If no information has been entered in the File Info dialog box, the word Arranger will appear in square brackets instead.
Choose File Info from the File Menu to display the File Info dialog box. Any change you make in the Arranger text box will appear in the Arranger inserts used in this
document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.
For detailed information, see File Info dialog box.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Inserts/Lyricist

Text/Inserts/Lyricist

Choose this command to paste a lyricist insert in the text block you're editing or creating. The arranger name as it appears in the File Info dialog box appears at the
current location of the cursor. If no information has been entered in the File Info dialog box, the word lyricist will appear in square brackets instead.
Choose File Info from the File Menu to display the File Info dialog box. Any change you make in the Arranger text box will appear in the lyricist inserts used in this
document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.
For detailed information, see File Info dialog box.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/Copyright Symbol (©)

Text/Insert/Copyright Symbol (©)

Choose this command to paste a Copyright symbol (©)insert in the text block you're editing or creating.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/Copyright Text

Text/Insert/Copyright Text

Choose this command to paste a Copyright insert in the text block you're editing or creating. The copyright as it appears in the File Info dialog box appears at the
current location of the cursor. If no information has been entered in the File Info dialog box, the word Copyright will appear in square brackets instead.
Choose File Info from the File Menu to display the File Info dialog box. Any change you make in the Copyright text box will appear in the Copyright inserts used in this
document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

For detailed information, see File Info dialog box.

Tip: Hold down the Alt key and type on the number keypad 0169 for the © symbol.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Inserts/Part/Score Name

Text/Inserts/Part/Score Name

Choose this option to enter the name of the current part (defined in the Manage Parts dialog box). If you are viewing the score, choose this option to insert the score
name (defined in the File Info dialog box).

See Also:
Text Menu

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Text/Insert/Performance Time

Text/Insert/Performance Time

Choose this command to paste the total performance time of the document to the text block you are editing or creating.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/Description

Inserts/Description

Choose this command to paste a Description insert in the text block you're editing or creating. The description as it appears in the File Info dialog box appears at the
current location of the cursor. If no information has been entered in the File Info dialog box, the word Description will appear in square brackets instead.
Choose File Info from the File Menu to display the File Info dialog box. Any change you make in the Description text box will appear in the Description inserts used in
this document.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

For detailed information, see File Info dialog box.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/Filename

Inserts/Filename

Choose this command to paste a Filename insert in the text block you're editing or creating. The current filename, as saved on the computer, appears at the current
location of the cursor.
Finale updates the contents of inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

See Also:
Document Options-Text
Text Menu
Text Tool

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Text/Insert/Current Date

Test/Inserts/Current Date

Choose this command to paste a Date insert in the text block you're editing or creating. The current date, in the format defined in the Document Options-Text options,
appears at the current location of the cursor.
Finale updates the date each time the screen is redrawn. An outline appears around the insert to remind you of its special function.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/File Date

Text/Insert/File Date

Choose this option to insert the date the file was last saved.

See Also:
Text Menu/Insert

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Text/Insert/Time

Inserts/Time

Choose this command to paste a Time insert in the text block you're editing or creating. The current time, in the format defined in Document Options-Text, appears at
the current location of the cursor.
Finale updates the time when the screen is redrawn. An outline appears around the insert to remind you of its special function.

See Also:
Text Menu
Text Tool
Document Options-Text

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Text/Insert/Symbol

Text/Insert/Symbol

Choose this menu item to see all the characters in the current font. When you select the item, it will be inserted into the current text block.

See Also:
Symbol Selection
Text/Insert
Text Menu
Text Tool

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Text Tool

Text Tool

The Text Tool is used to enter blocks of text—not only the title of your piece, but also any headers, footers, page numbers, copyright notices, performance notes, and
similar text that appears on one or more pages—directly into the score; adjust, align, and position text blocks; and set fonts and styles for the text directly on-screen.
Click the Text Tool to display a menu for editing text, the Text Menu. Use the Text Menu to specify fonts and styles for the text in a text block, to align a text block,
apply special effects or shapes around the text block, assign a text block to a measure or to a page, and specify what page or range of pages you want text blocks to
appear on.
The menus will display checkmarks for settings of the selected text blocks (such as 10 pt. and bold). If you have more than one setting such as mixed fonts or multiple
text blocks selected with different settings, no selection in the menus will be displayed. Select a new setting to change the setting. From the Edit Menu, choose Undo.
When no text block handles are selected, the menus show the default text block settings. These default settings can also be changed by selecting a new setting from
the menu. You can undo the change by selecting Undo from the Edit Menu.
You can select more than one text block handle and apply settings to multiple text blocks as well as undo the changes you just made.
Editing inside text blocks can also be undone by selecting Undo from the Edit Menu. Changes made while in the Edit Text dialog box can be undone individually while
in the dialog box. Once you have exited the dialog box, selecting Undo will revert the document to the state before entering the Edit Text dialog box.
For information regarding the relationship of text between the score and linked parts, see Page-attached text in linked parts and Measure-attached text in linked parts.
When you click the Text Tool the Text Menu appears. Handles appear on each text block in the score.

Special mouse clicks

Contextual menus

See Also:
Text Menu
Document Options-Text
Main Tool Palette

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File Statistics

File Statistics

How to get there


Choose File Info from the File Menu. Click Statistics.

What it does
The File Statistics dialog box is a possible solution to a common dilemma for Finale music copyists—how to bill for their services. Finale can print any music at any
size and with any spacing. Therefore, a payment-per-page billing system makes less sense than it did when every page had the same number of measures. On the
other hand, an hourly rate isn’t quite right either, because an expert user with a high-powered computer is likely to finish the work much sooner than a novice with a
slower computer.
One possible solution is to bill by the frame. A frame is one measure of one staff. The File Statistics dialog box tells you how many Pages, Staff Systems, and
Measures are in your piece. The File Statistics dialog box also tells you how many frames actually have notes in them, excluding empty measures. See also the Count
Items Plug-in for more information.

Pages • Staff Systems • Measures • Active Frames. These indicators tell you how many pages, systems (lines of music), measures, and frames
(measures times staves) are in your document. ("Active" frames refer to non-empty frames.)
Non-Whole Rest Active Frames. This indicator shows how many frames contain notes; it doesn’t count any measures that contains whole rests, even if
they’re "real" whole rests (that you entered, for example, using the 7 key in the Speedy Entry Tool).
OK. Click OK to exit the dialog box and return to the File Info dialog box.

See Also:
File Menu/File Info

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View/Scroll View

View/Scroll View

Scroll View is one of three Finale views of your music (the others are Page View and Studio View). In Scroll View, you see your music as one long staff system. Scroll
View can be easier to use when you enter music. When you want to see how the score will look when it is printed, switch to Page View. When you want to edit
playback, move to Studio View. Press Ctrl-E alternate between Page and Scroll View. Press Ctrl-Shift-E to switch to Studio View.

See Also:
View Menu

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View/Page View

View/Page View

Page View is one of three Finale views of your music (the others are Scroll View and Studio View). By default, this is the view Finale presents you with when you
open a new document. If you would like to change this setting when you open new documents, see Program Options-New. In Page View, you see your music exactly
as it will be printed: laid out in systems, displaying page -attached as well as measure-attached text blocks and graphics, and stretching the measures as needed so
that each line of music is flush with the margins. Because of this stretching effect, music that appears a little crowded in Scroll or Studio View often looks just right in
Page View.
Every Finale Tool works in Page View. Some tools like the Selection Tool and Note Mover tools, have features that are available in one view but not the other. In
addition, Page View has a few features of its own, accessible from the View Menu. If you choose Fit in Window, Finale will reduce the view of your music just enough
to fit the entire page onto the screen at once. You can also choose Show Multiple Pages, which displays all the pages in your piece, laid out side by side in rows
across the screen.
Finally, Page View offers a feature called Show PostScript Preview. When you choose this command, Finale "prints" the actual PostScript instructions onto your
screen, just as it would to a laser printer. See Show PostScript Preview.
In general, Page View is slightly slower than Scroll View and Studio View. Each time the screen redraws, for example, Finale not only has to draw more music, but
must also perform many more calculations (to lay out the page, for example).

Press Ctrl-E alternate between Page and Scroll View. Press Ctrl-Shift-E to switch to Studio View.

See Also:
View Menu

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View/Studio View

View/Studio View

Studio View is one of three ways to view your music in Finale (the others are Scroll View and Page View). Like Scroll View, Studio View displays your music as one
long staff system. As its name suggests, this view is designed for optimal viewing, performace, and real-time control while auditioning playback. The scroll format offers
the most complete, streamlined view of your score, and the most efficeient use of computer resources. Real-time control is offered through Finale’s Staff Controls
which always appear on the left side of the screen in Studio View. Each staff is automatically spaced adjacent to its corresponding set of controls, which are the same
as those found in Finale’s Mixer. They include controls for volume, pan, program change, as well as, mute, solo and record comamnds. These can be adjusted in real-
time as you listen to Finale’s performance. (All Staff Controls are dynamically linked to the Mixer and Instrument List window - changes to one apply to all uniformely).
In Studio View you will also notice a "TempoTap Staff" above your score. This staff displays (by default) the current main beat duration specified by the time signature.
It can be edited with the Simple or Speedy Entry Tool to optimize accuracy while recording a tempo with TempoTap.

Press Ctrl-Shift-E to switch to Studio View.

See Also:
View Menu

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View/Zoom

View/Zoom

The Zoom submenu offers commands that let you specify the size at which you want the score displayed on your screen, expressed as a percentage of its actual size.
You can't change the actual (printed) size of the music on the page in this way; this technique simply lets you magnify or reduce the screen display of the music.
With these commands, you can zoom in, zoom out, or specify the size at which you want the document displayed on your screen. To change your view of the
document, just choose the appropriate command from the submenu. (You can also use one of the Ctrl-key equivalents: press Ctrl-1 for Custom View 1, Ctrl-2 for
Custom View 2, and Ctrl-3 for Custom View 3. Define the custom view percentages in Program Options-View.) If you choose Other, the Zoom dialog box appears, in
which you can specify any reduction or enlargement you want—from 5% to 1000%. (See Zoom dialog box.)
If you’ve been viewing your document at several different degrees of magnification, Last Size takes you back to your last magnification setting.
Fit Width and Fit in Window and are only available only in Page View. Fit Width automatically updates the view to fit the width of the page. You can use the Ctrl-]
shortcut to access Fit Width. Fit to Window automatically reduces the viewing percentage just enough to fit the current page completely on your screen, no matter
what size screen you have. You can use the Ctrl-[ shortcut to access Fit In Window. See Keyboard Shortcuts - View.

Zoom In
Zoom Out
Fit Width
Fit in Window
Custom Zoom 1
Custom Zoom 2
Custom Zoom 3
Other
Last Size
=====================
Define Custom Zooms

See Also:
View Menu
Scale View
Zoom Tool

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View/Bookmarks

View/Bookmarks

A Bookmark marks a particular position on a page (in Page View), or a measure in the music itself (in Scroll View). This enables you to access a certain page and a
precise position on that page, or to jump to a marked measure in the music with a single command, quickly and efficiently. When you call a bookmark, Finale displays
the music at the bookmark’s saved location and restores the working environment that was automatically saved with the bookmark, including the View (Page or Scroll
View) and view percentage; you don’t have to spend time setting up your environment every time you change your position. Another time-saving aspect of bookmarks:
you can save bookmarks with standard MIDI files so you don’t have to create them again in your sequencing program; or convert sequencer markers to Finale’s
bookmarks when you transcribe a standard MIDI file.
The Bookmarks submenu contains two easy-to-use commands, Add Bookmark and Edit Bookmarks, plus the names of bookmarks you have created. Use the Add
and Edit Bookmarks commands to mark, edit, or delete bookmarks. Choose a bookmark name from the Bookmarks submenu to immediately jump to that position. (See
Add bookmark dialog box and Edit Bookmarks dialog box.)

Important: For fast, efficient entry of bookmarks, set up the view (Scroll or Page) and view
percentage, and position the music on the screen before you create the bookmark. By doing this, the
text boxes will accurately reflect the bookmark’s position without having to enter that information
manually. Select the checkboxes for the settings you want remembered for the bookmark.

Add Bookmark
Edit Bookmarks

See Also:
View Menu

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View/Select Staff Set

View/Select Staff Set

You can greatly speed your work on orchestral scores by hiding the staves you’re not currently editing, so that there’s less music for Finale to draw. You can create up
to eight staff templates—different arrangements of the staves in your music. This method only changes the display in Scroll View or Studio View. (Staff sets are only
available in the view in which they were created). See Hiding staves for a complete description.
To create a staff set, click the Staff Tool; select the staves you don’t want to hide. If you have many staves, and you only want to hide one or two, here’s a quick way
to do it. Choose Select All from the Edit Menu to select all handles; then shift-click a staff handle to exclude it from the selected staves.
Next, while pressing ctrl, choose Program Staff Set from the View Menu; from the submenu, choose one of the Staff Sets (1 through 8). You’ve just defined a Staff Set.
To view the new configuration of staves, choose the Staff Set you just programmed from the same submenu. Choose All Staves to restore all staves to the display.
A quicker way to switch from one staff template to another is to press the keyboard equivalent for the desired Staff Template: control–zero to show all staves, and
control–1, control–2, and so on for the eight Staff Sets. Finale prints all staves (and displays all staves in Page View), however, no matter which are visible in Scroll
View or Studio View.

All Staves
Staff Set 1
Staff Set 2
Staff Set 3
Staff Set 4
Staff Set 5
Staff Set 6
Staff Set 7
Staff Set 8

See Also:
View Menu

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View/Select Layer

View/Select Layer

Use this submenu to choose which music layer you want to edit. Four music layers are available. (Or, use the Layer push-buttons in the Document Window.)

Layer 1
Layer 2
Layer 3
Layer 4

See Also:
View Menu

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View/Redraw Screen

View/Redraw Screen

Choose this command to force Finale to redraw the screen. Whenever you spot a visual anomaly - a phantom fragment of a slur, for example, or a missing barline -
this command usually clears up the problem.

See Also:
View Menu

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View/Grid/Guide

View/Grid/Guide

Use these commands to control Finale's grids and guides. For details, see Using Grids and Guides.

Show Grid
Snap To Grid
Show Guides
Snap To Guides
=====================
Grid/Guide Options

Contextual menus

See Also:
View Menu

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View/Show

View/Show

Use this submenu to show or hide the following:

Hidden Notes and Rests


=====================
Rulers
Margins
Page Layout Icons
=====================
Multiple Pages
PostScript Preview

See Also:
View Menu

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View/Select Display Colors

View/Select Display Colors

Choose this command to display Program Options-Display Colors. Program Options-Display Colors allows you to assign colors to different layers as well as to different
elements in your score such as Articulations, Text Blocks and Smart Shapes. This is useful for differentiating between various objects in order to identify which tools
created them, or which layer they belong to. Colors are used for on-screen display only, and not for printing (by default). (Although you can choose to "Print Display
Colors" in the Print dialog box prior to printing if desired).

For detailed information, see Program Options-Display Colors.

See Also:
View Menu

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Backward Repeat Bar Assignment

Backward Repeat Bar Assignment

How to get there

Click the Repeat Tool , click a measure, then double-click either the "Back" or "Back Ending" repeat bar icons. Or, if a backward repeat barline is already in the
score, double-click its handle, or right-click its handle and select Edit Repeat Assignment.

What it does
The two middle graphic repeat barline icons (Back and Back Ending) can be defined to affect the playback of your piece. The playback assignment is determined in
this dialog box.

Play Section_Times. Select this radio button, and enter the number of times you would like this section to play. Since a standard repeat with one forward and
one backward repeat barline (and no endings) plays back two times, "2" is entered by default.
Jump on Pass. Select this radio button and enter the pass(es) you want Finale to jump to the specified target. To indicate multiple passes, separate the pass
numbers with commas, or indicate a range with a hyphen (e.g. "2-4").
Reset on Repeat Action. Once Finale has played the music the number of times specified in the Play Section_Times or Jump on Pass(es) text boxes—and
thus performed the Repeat Action—it will, if you wish, reset its internal "counter" back to zero and begin counting toward the Total Passes number again. This
option could be useful if you’re creating nested repeats, and want an inner repeat to be fully executed with each pass of the larger repeated region.
Always Jump. If you select this radio button, Finale will execute the repeat every time the playback reaches the repeat barline.
Target Measure. The number in this text box specifies the measure Finale will jump to when playback reaches the repeat barline. From the drop-down list,
choose Nearest Forward Repeat to direct playback to the closest forward repeat barline defined earlier in your score. Choose Measure # and enter a number in
the text box to direct playback to that measure. Choose Backward and enter the number of measures previous to the backward repeat barline that you would like
to direct playback.
Show On: All Staves • This Staff Only. Select All Staves to show the text repeat on every staff in the score and parts. All Staves is selected by default.
Select This Staff Only to assign the text repeat to the current staff only. Use the This Staff Only option if you want a text repeat to appear only in the current staff.
Staff List: New Staff List • (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will
display text repeats. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog
box for the selected Staff List, and change which staves the text repeat should appear in.
Allow Individual Edits Per Staff for Ending Bracket. If you’ve selected the repeat barline with a bracket attached, Finale places an identical bracket in
every staff. Check Allow Individual Edits Per Staff to allow each staff’s bracket to be moved or resized independently. Note, too, that a bracket may be stretched
horizontally as long as needed. Note that if you drag the right end of an ending bracket across the right barline in the score, the positioning link will be broken in
all parts. (This is a property unique to ending brackets). See "Linked Parts" for details.
OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box and place the repeat sign in the score (if it wasn’t there already).
Click Cancel to tell Finale to ignore any changes you made in this dialog box and return you to the score, and no repeat sign is placed (or, if you were editing an
existing repeat, no changes take place).

See Also:
Repeats
Repeat Tool

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Backward Repeat Bar Assignment

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Baseline Shift

Baseline Shift

How to get there

Click the Text Tool . Select Baseline Shift from the Text Menu.

What it does
The Baseline Shift dialog box allows you to adjust the vertical position of the text without affecting the spacing between lines. To select the default measurement units,
click on the Edit Menu, then Measurement Units, then select the desired units.

Amount. Enter the amount (in measurement units) that Finale should shift the selected text characters vertically above or below the baseline. A positive value
raises the text, and a negative value lowers it.
OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score.

See Also:
Text
Text Menu
Text Tool

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Beam Extension Selection

Beam Extension Selection

How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , then click any measure containing beamed notes. Click the Beam Extension
Tool. A handle appears at each end of each beam; double-click the handle at the end of the beam you want to extend.

What it does
When you extend a beam (for example, to beam across a barline), the Beam Extension Selection dialog box lets you specify whether you want to extend all the
beams (if there are sixteenth-note and other secondary beams), or only selected secondary beams.

8th • 16th • 32nd • 64th • 128th • 256th • 512th • 1024th • 2048th • 4096th. When you select these checkboxes Finale will extend the beams for
those note durations.
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score, where you can now drag the handle (the one you
originally clicked) to extend the beams. To change your beam selections, double-click the handle; the Beam Extension Selection dialog box reappears. Click
Cancel to tell Finale to ignore any changes you made in this dialog box and return you to the score.

Tip: Any beam not selected cannot be extended.

See Also:
Beaming
Special Tools Tool

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Beaming Chart

Beaming Chart

How to get there

From the Window Menu, choose Advanced Tools. Click the Mirror Tool , then click an empty measure; the Tilting Mirror dialog box appears. Assemble a
composite mirror by clicking the arrow buttons to maneuver your "window" from measure to measure in the score, dragging the dotted-line "cut bar" handles inward to
enclose the desired notes, clicking Next, and saving your changes; repeat this process as needed. Click OK, then click Rebeam, then click Rebeam to Beam Chart.
If a mirror already exists in the score, shift-click it; the Mirror Attributes dialog box appears. Click Rebeam, then click Rebeam to Beam Chart.

What it does
Using the cut bars as described above, you can assemble a measure composed of notes copied from other measures in the score. The resultant measure is a
composite mirror, whose notes are dynamically linked to the "real" notes from which they were copied. Because you build a composite mirror by combining material
from other measures, the beaming of eighth notes (and smaller values) may not be correct. The Beaming Chart dialog box lets you specify the beaming in a composite
mirror.

Beaming Chart for Frame (#). This beaming window displays a handle for each eighth note (or smaller value). You break a beam between one note and
another by clicking the handle of the second note. Any notes whose handles you haven’t selected will be beamed together. (If you want all notes beamed
together, select the first handle in the measure.)
OK • Cancel. Click OK to confirm the rebeaming you’ve done and return to the Mirror Attributes dialog box. Click Cancel to tell Finale to ignore any changes
you made in this dialog box, leave the beaming as it was, and return you to the Mirror Attributes dialog box.

See Also:
Beaming
Tilting Mirror dialog box
Mirror Tool

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Beat Chart

Beat Chart

How to get there

Click the Measure Tool , and click the bottom handle of any barline that has two handles. (Such measures have been specified as having beat charts.) There
are two ways to provide a measure with a beat chart. First, you can set its positioning by using the Music Spacing command in the Edit Menu. Second, choose Using
Beat-Chart Spacing in the Measure Attributes dialog box for the desired measure. The beat chart appears. Double-click the top handle of any pair in the beat chart.

What it does
A beat chart lets you change the horizontal position of a beat in all staves at once; for example, you might want to drag the fourth beat of a measure slightly to the left
to allow room for a septuplet run in the strings. Finale normally provides a handle on every beat or every note in the measure.
Using this dialog box, however, you can specify a precise beat or subdivision of a beat that you want a particular beat chart handle to control—even if there’s no note
that falls on that beat.
You can change the position of any beat handle (note or rest) within the measure numerically; Finale also displays the range of available values for your reference.

Beat Chart Element (#). This number shows which beat chart handle, in order from left to right, you’re editing.
Measure (#). This number indicates which measure is represented by the beat chart.
Elapsed Duration. The number in this text box (in EDUs, 1024 per quarter note) tells which beat (or which subdivision of a beat) has its horizontal positioning
controlled by this handle. In other words, if the text box displays a value of 1024 EDUs, then you can drag the lower handle of the pair to the left or right to
reposition the occurrence of the second quarter note in all staves (that is, 1024 EDUs, or one quarter note, has already elapsed).

This text box can be useful if you want to move, for example, the second note of a triplet slightly to one side (in all staves). By calculating the appropriate EDU
value to enter into the Elapsed Duration text box, you can specify precisely which element of the triplet you want the handle to control. (In this example, if the
quarter-note triplet begins on the first beat, you’d type 682 into the text box, because that’s one-third of 2048 [the total EDU value of the quarter-note triplet].)
To make this handle control another beat in the measure, type its EDU equivalent in this text box. The number must be within the displayed range.

Position. The number in this text box, in measurement units, tells you the current position of the handle and any notes or rests that line up with it.
End Position. The number in this text box, in measurement units, tells you how close to the beginning of the next beat (or the end of the measure) you can
adjust the note or rest.
Minimum Position. The number in this text box, in measurement units, tells you how close to the end of the previous beat (or the beginning of the measure)
you can adjust the note or rest.
Duration Range. This display shows you the smallest and the largest note duration you can edit within the range of notes. The range shows the values for the
notes on either side of the note you selected by double-clicking its Beat Chart handle.
Position Range. This display shows you the allowable values for this beat element's lower handle, from the end of the previous beat (or the beginning of the
measure) to the beginning of the next beat (or the end of the measure).
Total Duration. The number in this text box, in EDUs (1024 per quarter note), tells you the total duration of the measure.
Total Width. The number in this text box, in measurement units, tells you the total width of the measure.
OK • Cancel. Click OK to confirm, or Cancel to discard, any changes you’ve made in this dialog box and return to the beat chart.

See Also:
Measure Attributes dialog box
Measure Tool

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Beat Chart

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BRACKET

Bracket

How to get there

From the Window Menu, choose Advanced Tools. Click the Ossia Tool . If you’re in Page View, double-click the location on the page to which you want to
attach the "floating measure." If you’re in Scroll View, click the measure to which you want it attached (or click again if there’s already a floating measure attached to
it). Or, to edit an existing floating measure, double-click its handle. In the Ossia Measure Designer dialog box, click Select near the Bracket Group.

What it does
This dialog box lets you specify the bracket style and positioning for an ossia measure.

[Five pictured brackets]. Click a picture to select a bracket style.


Distance from Left Edge of Staff:. This number tells Finale how far from the left edge of the grouped staves (or from the floating measure) to place the
bracket. A negative number moves the bracket to the left. Finale proposes a value that places the bracket just to the left of the staves.
Vertical Adjust (Top of Bracket) • Vertical Adjust (Bottom of Bracket). These numbers tell Finale how far to extend the upper and lower ends of the
bracket, respectively, in relation to the top of the staff and bottom of the staff, respectively. The default values, zero, place the bracket’s ends even with the top
and bottom lines of the staff; a positive number for either parameter extends the corresponding end of the bracket upward. Keep in mind that you can always drag
the bracket’s ends manually once it’s in the score.
Bracket (#). Any ossia staff can have up to 16 brackets attached; Finale numbers them sequentially. This indicator tells you which bracket is being edited. You
can either type a new number into the text box, or click the up or down arrows on the arrow controls to increase or decrease the number.
Add. Click this button to add another bracket to the ossia staff.
Delete. Click this button to remove the current bracket from the ossia staff.
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and proceed to the next dialog box—or return to the score. Click Cancel to tell
Finale to ignore any changes you made in this dialog box. You return to the Ossia Measure Designer.

See Also:
Ossia
Ossia Tool

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Bracket Style

Bracket Style

How to get there


Enter the Shape Designer (see Shape Designer dialog box). Choose Bracket Style from the Shape Designer Menu.

What it does
Using the Shape Designer’s Bracket Tool, with a single click, you can add a bracket to a custom shape you’re drawing. This dialog box lets you specify which of nine
brackets you want to appear.

[Nine pictured brackets]. Click the bracket style you want, then click OK (or simply double-click the bracket). You’ll have the opportunity to resize or reshape
it once it’s part of your drawing.
OK • Cancel. Click OK to confirm, or Cancel to discard, your new bracket-style selection. When you exit the dialog box, click the Bracket Tool and then click in
the drawing area. To reshape the bracket, click the Selection Tool, and double-click the new bracket to reveal its reshaping control handles.

See Also:
Shape designer
Shape Expression Designer dialog box
Expression Tool

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Change Articulation Assignments

Change Articulation Assignments

How to get there

Click the Selection Tool , and select a region of measures. From the Change submenu of the Utilities Menu, choose Articulation Assignments.

What it does
Using the Change Articulation Assignments command, you can swap one articulation marking for another, adjust the positions of all accent marks at once (for
example), or clean up the positioning of all articulations in a region.

Position All Articulations. Select this option if you want Finale to adjust the position of every articulation in the selected region. How it moves them depends
on your setting from the Add to… drop-down list (see below); this item simply specifies which markings will be moved.
Position Selected Articulation • Select. If you only want to move all occurrences of a specific marking, enter its number into the text box. (Finale
numbers its articulations from left to right, top to bottom, in the Articulation Selection dialog box.) It may be more convenient, of course, to click Select; Finale
displays a palette of all articulations created in (or loaded into) the current document. Double-click the one you want to move; you return to this dialog box,
where the correct number appears in the text box.

Once again, how Finale will move the articulation type you’ve selected depends on your setting in the Add to… drop-down list (see below).

Change All Articulations (or Selected Articulation) to Articulation ___ • Select. Click this checkbox if, instead of moving all articulations (or the
selected articulation marking, depending on your choice of the top two radio buttons), you want to replace them with a different articulation marking. You could
replace all > accent marks with ^ accent marks, for example. To do so, enter the replacement symbol’s number in the text box, or click Select, and double-click
your selection in the Articulation Selection dialog box that appears. Of course, if you enter numbers into the H: and V: text boxes, you can move the articulations
as you replace them.
Add to Default Position • Add to Current Position. If you decide to adjust the positions of articulations, use this drop-down list to specify how. If you
choose Add to Default Position, Finale moves each marking into the position dictated by its built-in "smart" settings (created in the Articulation Designer dialog
box)—that is, according to whether it’s auto-centering, supposed to lie outside the staff lines, and so on—plus any additional adjustment you specify in the H: and
V: text boxes (see below). (See Articulation Designer dialog box to find out more about an articulation’s auto-positioning settings.) If you instead choose Add to
Current Position from the drop-down list, Finale ignores whatever auto-positioning you’ve established for your articulations (in the Articulation Designer dialog
box). Instead, Finale simply slides each marking—from its current position—a distance you’ve specified in the H: and V: text boxes (see below).
H: • V:. Type numbers into these text boxes to specify how far Finale should move the specified markings. A positive or negative H: value moves them to the
right or left. When an articulation is positioned On notehead side, or On stem side, a positive V: value moves the marking away from the staff; a negative V: value
moves the marking in toward the staff. Because they can flip from one side to another, Finale does not track their actual positions, but instead places them closer
to or further away from the staff. When an articulation is positioned Manually, Above Note, or Below Note, a positive V: value moves the articulation up; a negative
V: value moves the articulation down. It doesn’t matter whether the articulation is above or below a note.
OK • Cancel. Click OK to proceed with the articulation transformation; click Cancel to return to the score without changing anything.

See Also:
Articulations
Utilities Menu

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Change Chord Assignments

Change Chord Assignments

How to get there

Click the Selection Tool , and select a region of measures. From the Utilities menu, choose Change, then Chord Assignments.

What it does
This dialog box lets you change all chord symbols in a selected region in several ways. You can transpose them, turn their playback on or off, change their display to
fraction-style, or move them by a precise amount.

Show: Root • Lowercase • Suffix • Fretboard • Alternate bass • Lowercase • After Root • Under Root • As Subtext. You can hide certain
portions of the selected chord symbols. Click a checkbox once to make it white (meaning that this chord symbol element won’t appear), click a second time to
make an X appear (meaning that this item will appear), and click a third time to make it gray again (meaning that this item will be unchanged).

Root refers to the root scale tone; if you turned this box off for a Cmaj7 chord, only the "maj7" would remain. The first Lowercase option determines whether
the Root will appear as a lowercase or a capital letter.
Alternate Bass is the bass note of a chord in some inversion; if you turned this box off for a Cmaj7/G chord, only Cmaj7 would appear in the score. The
second Lowercase determines whether the Alternate Bass will appear as a lowercase or capital letter.
After Root, Under Root and As Subtext. If this checkbox appears white, all chord symbols will appear in normal slash style. Click a second time to make
an X appear and choose Under Root, meaning that alternate bass notes will appear directly beneath the rest of the chord symbol, fraction-style. Or, choose As
Subtext to have the alternate bass notes appear below and slightly to the right. Click yet again to make the checkbox gray, so that the alternate-bass styles
remain unchanged.

Play: Root • Suffix • Fretboard • Alternate Bass. Normally, Finale plays chord symbols when you play back your score. Using these three checkboxes,
you can silence all of them—or any portion of them.

Because some chords may be set to play back and others may not (within a certain region), these checkboxes initially appear gray—meaning that Finale won’t
change this element at all. To turn an item off (so it won’t play back), click the checkbox so it turns white. To turn an item on, click again, so that an X appears
in it. Click yet again to make the checkbox gray again.
Root is the root scale tone (the C in a Cmaj7/G chord); Suffix represents the notes of the chord suffix only; Fretboard plays the entire chord as displayed
in the fretboard diagram; and Alternate Bass is the bass note of a chord in some inversion (the G in a Cmaj7/G chord). You can turn playback of each of
these elements on or off individually for all chords in the selected region.

Transpose. Finale transposes chord symbols automatically; when you change the key of your piece, the chord symbols change key too, so that their harmonic
relationship to the notated piece remains the same. Occasionally, however, you may want to change the chord symbols’ "key" without changing the key of your
piece. Click this button to display the Transposition dialog box, where you can specify a transposition of any interval. See Transposition dialog box.
Use Fretboard Font. Choose this item to use the default font for fretboards in Select Default Fonts, instead of custom fretboards.
Capo. Check this box then enter a fret number to automatically adjust the selected fretboard to reflect the position of the capo for the selected region. Or enter
zero to remove a capo adjustment. Example: if the capo is set to the first fret and an E7 chord is entered, the fretboard that appears will be the D7 from the
currently selected Fretboard Group. Also, the name of the chord will change to D7 even though the chord will sound as an E7. To change the chord name to an
italic style, select Italicize Capo Chords from the Chord Menu.
Fretboard Style. Check this box to change the style Finale uses to draw certain elements of custom fretboards. Choose a different style from the drop-down

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Change Chord Assignments

list.
Add to Default Position • Add to Current Position. If you decide to adjust the positions of the chord symbols, use this drop-down list to specify how.

If you choose Add to Default Position, Finale moves each symbol into its default position (dictated by its baseline and point of note attachment)—plus any
additional adjustment you specify in the H: and V: text boxes (see below).
If you instead choose Add to Current Position from the drop-down list, Finale ignores the chord symbols’ default positions. Instead, Finale simply slides each
symbol—from its current position, even if you’ve dragged it by hand—a distance you specify in the H: and V: text boxes (see below).

H: • V:. Type numbers into these text boxes to specify how far Finale should move the specified chord symbols (a positive H: number moves them to the right,
and a positive V: number moves them upward). If you leave both numbers at zero, Finale won’t move them at all.
OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without changing any chord assignments.

Note: To display fretboards on all chords in the piece, Show Fretboards must be selected in the
Chord Menu.

See Also:
Chord symbols
Utilities Menu
Chord Tool

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Change Chord Suffix Fonts

Change Chord Suffix Fonts

How to get there


Click the Chord Tool, and choose Change Chord Suffix Fonts from the Chord Menu.

What it does
The Change Chord Suffix Fonts dialog box lets you change the fonts for the suffixes (the "maj7" portion) of all chord symbols in your piece. Chord suffixes are often
made up of characters in more than one font (one for text and one for musical symbols). In this dialog box, you can isolate characters in a specific font to change (font,
size or style) for all suffixes. Or, you can also change the font, size or style for all suffix text characters at once (without changing the musical symbols).

Search For: All Fonts. Click All Fonts if you want to change any font, size, or style of text in all your document’s chord symbols to a certain other font, size or
style. By chooseing All Fonts, Finale will change all text characters in chord suffixes, and leave music characters (sharps, flats, etc.) alone.
Selected Font • Font • Size • Style • Set Font. If you want Finale to search your chord suffixes for a particular Font, click Selected Fonts. Then click the
Set Font button to display the Font dialog box, where you can identify the font, size, and style you want to change. If you only want to change one element—for
example, you want to change the type size but not the font or style—deselect the appropriate checkboxes (Font, Size, Style), so that only the elements you want
to change are selected.

Both radio buttons (All Fonts and Selected Fonts), by the way, direct Finale to replace only text elements of your chord symbols. They won’t affect musical
characters such as the f in C7f9.

Replace With: Font • Size • Style • Set Font. After specifying the Font you want to replace, click this Set Font button to specify the replacement Font.
Again, select the appropriate checkboxes (Font, Size, Style) to specify which elements you want to replace. For example, using the upper Size and Style controls,
you could specify that you want to replace every occurrence of 14-point bold, regardless of the font—and replace them with Times 10-point, using the lower Font
and Size checkboxes.
Fix Chord Suffix Spacing. As you change the font or size of the characters in your suffixes, you may introduce peculiar spacing unless you also select this
checkbox, which adjusts the positions of the individual characters in your suffixes so that they’re appropriately spaced.
Fix Baseline Positioning. Check this box if, in the process of changing fonts, you want Finale to move all individual characters in each suffix so that they
align with the same baseline (invisible horizontal bottom line).
OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without changing any chord suffix fonts.

See Also:
Chord symbols
Chord Menu
Chord Definition dialog box
Chord Tool

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Change Lowest Fret

Change Lowest Fret

How to get there


Click the Selection Tool and select a region of measures in a TAB staff. Choose Lowest Fret from the Change submenu of the Utilities Menu.

What it does
Use this dialog box to specify the lowest fret for a region of tablature in a TAB staff.

Use Staff’s Default Lowest Fret. Select this option to use the Default Lowest Fret specified in the Tablature Staff Attributes.
Specify Lowest Fret. Enter a fret number to tell Finale to recalculate the string placement of the fret numbers to appear no lower than a certain fret.
OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your transposition selection. If you click OK, Finale performs the transposition.

See Also:
Tablature
Utilities Menu

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Change Note Durations

Change Note Durations

How to get there

Click the Selection Tool , and select a region of measures. From the Utilities Menu, choose Change, the Note Durations.

What it does
This dialog box lets you halve, double, or otherwise change the note values in a selected region.

Change All Note Durations by: 25% • 50% • 100% • 200% • 400%. Using the drop-down list, specify how you want to affect all notes in the selected
region. For example, choose 200% to double every note’s rhythmic value—to turn every eighth note into a quarter, every quarter into a half note, and so on.
Change Selected Note Duration From • To. Instead of changing all notes’ values, you can change only a specific note value; for example, you might
want to double the values of eighth notes, but to leave all other note values alone. Specify the note value you want to replace by clicking its icon in the upper
palette. (Click the dot, too, to specify a dotted note.) Specify the replacement note value by clicking an icon in the lower palette. For example, to change all
sixteenth notes into quarter notes, you’d click the sixteenth note in the top palette, and the quarter note in the bottom palette.
Include Tuplets. This option only works when Change All Note Durations is selected. If you select this checkbox, Finale will also transform notes within
tuplets (such as triplets and quintuplets) proportionally. For example, if you’re halving the rhythmic values of a passage, an eighth-note tuplet will become a
sixteenth-note tuplet. If you don’t select this option, the eighth note tuplet will remain the same.
Rebar Music. If you’re changing the values of notes in the selected measures, chances are that your measures will wind up containing the wrong number of
beats. If this checkbox is selected, Finale will also rebar the selection—redistribute notes in their measures—so that each measure contains the proper number of
beats.
OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without making any changes.

See Also:
Note durations
Utilities Menu

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Change Note Expression Assignments

Change Note Expression Assignments

How to get there

Click the Selection Tool , and select a region of measures. From the Utilities Menu, choose Change, then Note Expressions.

What it does
Using this command, you can swap one expression for another, adjust the positions of selected expressions at once (for example), or clean up the positioning of all
expressions in a region.

Position All Note Expressions. Select this option if you want Finale to adjust the position of every expression in the selected region. How it moves them
depends on your setting from the Add to… drop-down list (see below); this item simply specifies which markings will be moved.
Position Selected Expressions • Select. If you only want to move all occurrences of a specific marking, enter its number into the text box. (Finale
numbers its Expressions from left to right, top to bottom, in the Expression Selection dialog boxes.) It may be more convenient, of course, to click Select; Finale
displays the Expression Selection dialog box containing all the text and shapes you’ve created in (or loaded into) the current document. Double-click the one you
want to move; you return to this dialog box, where the correct number appears in the text box. Once again, how Finale will move the Expression type you’ve
selected depends on your setting in the Add to… drop-down list (see below).
Change All Expressions (or Selected Expression) to Expression ___ • Select. Click this checkbox if, instead of moving all Expressions (or the
selected articulation marking, depending on your choice of the top two radio buttons), you want to replace them with a different Expression. You could replace all

P marks with pp marks, for example. To do so, enter the replacement symbol’s number in the text box, or click Select, and double-click your selection in the
Expression dialog box that appears. Of course, if you enter numbers into the H: and V: text boxes, you can move the expressions as you replace them.
Add to Default Position • Add to Current Position. If you decide to adjust the positions of Expression, use this drop-down list to specify how.

If you choose Add to Default Position, Finale moves each Expression from the center of the notehead (the topmost note in a chord) and adjusts by using the
distances specified in the H: and V: text boxes (see below).
If you instead choose Add to Current Position from the drop-down list, Finale simply slides each marking—from its current position—by the distance you’ve
specified in the H: and V: text boxes (see below).

H: • V:. Type numbers into these text boxes to specify how far Finale should move the specified markings. A positive or negative H: value moves them to the
right or left, respectively. A positive V: value moves the marking above the staff; a negative V: value moves the marking below the staff.
OK • Cancel. Click OK to proceed with the expression transformation; click Cancel to return to the score without changing anything.

See Also:
Expressions
Utilities Menu
Expression Tool

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Change Note Size

Change Note Size

How to get there

Click the Selection Tool , and select a region of music. From the Utilities Menu, choose Change, then Note Size.

What it does
Using the Change Note Size dialog box, you can change the sizes of all notes in a selected region. It’s especially useful for creating cue notes.

Resize Notes to ___ %. In this text box, enter the percentage by which you want to scale all notes in the selected region. For example, enter 50% to make all
notes half their sizes (while remaining on a full-size staff).
OK • Cancel. Click OK to proceed with the note-resizing; click Cancel to return to the score without changing anything.

See Also:
Note size
Utilities Menu
Resize Tool

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Change Noteheads

Change Noteheads

How to get there


Click the Selection Tool. Select the region containing the notes you want to change. From the Utilities Menu, choose Change, then Noteheads.

What it does
Use this dialog box to change the noteheads in the selected region to regular noteheads or to the notehead you specify.

Find: All Noteheads • All Custom Noteheads • Selected Notehead; Select. Specify what noteheads you want to change in the selected region.
Choose All Noteheads to change all regular and custom noteheads in the selected region; choose All Custom Noteheads to change every custom notehead in
the selected region; choose Selected Notehead to change only the notehead you specify in the selected region. To specify a particular notehead, enter its
keyboard equivalent in the text box, or click Select to choose the notehead in the Symbol Selection dialog box.
Change to: Regular Noteheads • Selected Notehead; Select. Select the replacement noteheads for the specified noteheads in the selected region.
Choose Regular Noteheads to change the noteheads to regular noteheads; choose Selected Notehead to change both the custom and non-custom noteheads to
the notehead you specify. To specify a particular notehead, enter its keyboard equivalent in the text box, or click Select to choose the notehead in the Symbol
Selection dialog box.
OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel to return to the score without making any changes.

See Also:
Noteheads
Utilities Menu

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Change Ties

Change Ties

How to get there

Click the Selection Tool , and select a region of music. From the Utilities Menu, choose Change, then Ties.

What it does
Use the Ties command to change settings of ties in a region. You can set tie direction, break ties at a new time or key signature, remove any manual adjustments to
positioning and specify whether the arcs of ties should avoid staff lines. Finale updates the Tie Alterations dialog box settings for each tie in the region.
Note: Use the Ties command to adjust more than one tie in a region. To adjust a single tie or the tie end after a system break, use the settings in the Tie Alterations
dialog box. See Tie Alterations dialog box.

Tie Direction: Automatic • Over • Under. Set the direction for ties in the selected region as frozen under, frozen over or use Automatic to let Finale decide
which direction the tie should go based on your settings in the Tie Options dialog box. You can also use ctrl-F to flip the tie with the Speedy Entry Tool or the
Special Tools Tool.
Break for Time Signature: Default • On • Off. Choose an option from the drop-down list to specify whether ties in the selected region break and continue
at a time signature change. Default is the initial setting. When Default is selected, Finale uses the global Break for Time Signature setting in Document Options-
Ties. Choose On to always break ties in the selected region at a time signature change and continue it immediately after the signature change, regardless of the
global setting. Choose Off to draw ties in the selected region through the time signature without any break.
Break for Key Signature: Default • On • Off. Choose an option from the drop-down list to specify whether ties in the selected region break and continue
at a key signature change. Default is the initial setting. When Default is selected, Finale uses the global Break for Key Signature setting in the Document Options-
Ties. Choose On to always break ties in the selected region at a key signature change and continue it immediately after the signature change, regardless of the
global setting. Choose Off to draw ties in the selected region through the key signature without any break.
Outer Placement. When this checkbox is selected, ties in the selected region will be set to outer placement (unless they are inner ties on chords). Deselect
this checkbox to remove outer placement on all ties in the selected region.
Avoid Staff Lines. When this checkbox is selected Finale uses the global Avoid Staff Lines setting in the Tie Contour dialog box to determine where to
position the peak of the arc in relation to staff lines. When not checked, Finale does not avoid staff lines in the selected region.
Remove Manual Positioning. When this checkbox is selected all of the Inset, Height and H: and V: changes from the global settings are removed.
OK • Cancel. Click OK to save the new settings and return to the score. Click Cancel to return to the score without making any changes.

Tip: Use Document Options-Ties to globally set all ties.

See Also:
Ties
Utilities Menu

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Change Tuplets

Change Tuplets

How to get there

Click the Selection Tool , and select a region of music. From the Change submenu of the Utilities Menu, choose Tuplets.

What it does
In this dialog box you can change the definition of both the rhythmic and visual aspects of tuplets—the number of eighth notes that are to be played in the time of a
quarter note, for example—and whether or not a bracket or slur should appear, and so on. The settings in this box are identical to the Tuplet Definition dialog box,
except that these settings allow you to select, deselect or retain current settings (greyed out).
Note that you can predefine the default visual aspects of the tuplets in your score, so that every tuplet you create automatically appears with a neatly positioned
bracket (for example). To do so, ctrl-click the Tuplet Tool; Finale displays Document Options-Tuplets, where you can specify these parameters. (See Document
Options-Tuplets for a more complete discussion—although its contents are identical to almost all of this dialog box.)
Note also that you can store tuplet "definitions"—the settings you make in this dialog box—in a tuplet Metatool, so that you can instantly transform non-tuplet notes
into tuplet notes (having the tuplet definition you prefer) with the press of a key. In fact, you can assign a different set of Tuplet Definition settings to each of the
number and letter keys on your keyboard. To program a tuplet Metatool, see Tuplet Tool.
When you create a new tuplet, Finale usually places a number over it (such as the 3 above a triplet). In this dialog box, you can change the tuplet notation for each
individual notation; for example, you could tell Finale to display a slur or bracket in addition to the number.

__ ____in the space of __ _____ • Half(s) • Dotted Quarter(s) • Quarter(s) (etc.). Define the rhythmic qualities (temporal definition) of the tuplet by
entering numbers in these two text boxes (to specify how many) and selecting the rhythmic-value from the drop-down list (to specify "of what value").

For example, suppose you want to create an eighth-note triplet. In the score, click the Tuplet Tool, and click the first of the three normal eighth notes you want
to transform into triplets. When this dialog box appears, enter 3 and 2 in the text boxes ("3 in the space of 2"); choose eighths from the drop-down list: 3
eighths in the space of 2 eighths. (Alternatively, you could create an eighth-note triplet by specifying 3 eighths in the space of 1 quarter.) These text boxes
apply only to the tuplet you’re currently placing in the score.

Number: Nothing • Number • Ratio. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet.
Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with
slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered
ends).

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Change Tuplets

Placement:

Manual • Beam Side • Note Side • Above • Below. When Manual is selected in this drop-down list, Finale uses the settings from the Document Options-
Tuplets to position the tuplet on the notes in the score. Drag to reposition the tuplet in the score. When Beam Side is selected and you create a tuplet on
beamed notes, Finale automatically places the tuplet on the beam side and matches the beam angle. If Beam Side is selected and you create a tuplet on
unbeamed notes, Finale places the tuplet using the Document Options-Tuplets settings. You can then drag to adjust the tuplet in your score. Choose Above to
place the tuplet above the staff by default. Choose Below to place the tuplet below the staff by default.
Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver Tuplets automatically reposition to account for raised or lowered notes in the staff.
They also update to avoid rests and staff lines. Bracket placement and slope for Engraver Tuplets is determined by the stem direction of the majority of stems in
the tuplet (rather than the first stem in the tuplet as is the case when this box is not checked).
Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or below the bottom line of the staff.
Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in the score. If this box is not checked, tuplets can only be
adjusted vertically in the score.
Use Bottom Note. If the first note in the tuplet group is a chord, the numbers in the Position text boxes are generally measured from the top note; if you
transpose that note up or down, the entire tuplet moves with it. Select this option, however, if you want these numbers measured from the bottom note instead.
Appearance:
Number: Nothing • Number • X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet.
If you choose, for example X:Y, Finale will display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display "3q:2q". Finale does
not display X or Y values of 1. If durations are different (i.e. 3 quarter in the space of one half) X:Yq will display as Xq:Yq.
Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with
slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered
ends).
Break Slur or Bracket. If you’ve chosen a slur as the shape for the tuplet, then select Break Slur or Bracket, to have Finale break a slur or bracket to allow
for a number to be placed there.
Always Use Specified Shape • Bracket Unbeamed Notes Only • Never Bracket Beamed Notes on Beam Side • No Change. Choose
Always Use Specified Shape to place a bracket (of the shape defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place
brackets on unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct Finale to place brackets on tuplets defined to
appear on the note side of the staff (for example, if the beam appears above notes tuplets will only contain brackets if placed below the staff). Choose No
Change to leave this setting as defined.
Position:
Number: Horizontal • Vertical. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score.
Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic center of the tuplet (rather than equidistant from the first
and last note/rest of the tuplet).
Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in your tuplets, select this option if you don’t want it to
apply to this tuplet.
Shape: Horizontal • Vertical. Enter values here to specify the horizontal and vertical adjustments for placing the shape (slur or bracket) in relation to the
tuplet number. Enter a smaller or larger value for H: to change the position of the entire shape in relation to the notes. To move the shape closer to or further
away vertically from the note, enter a smaller or larger value for V:.
Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets.
Extend Bracket. Check this option to extend the right edge of the bracket to enclose the full duration of the tuplet.
Match Lengths of Hooks. Check this box to always use same length for left and right hooks. If the values for Hook Length are different, Finale uses the
smallest value for both hooks.
Allow Horizontal Drag. Select this option so you can drag every tuplet handle horizontally on-screen. You can move a slur, bracket, and number to the left or
right.
Left Hook • Right Hook. These options replace the Left Offset and Right Offset text boxes that controlled the length of the left and right hooks on horizontal
brackets in previous versions of Finale. Enter a negative value (in measurement units) in Left Hook or Right Hook to set the length of the left-most or right-most
hook. The value is negative because Finale measures down from the bracket. If Match Length of Hooks is selected, Finale updates the Right Hook text box with
the new Left Hook value. If Match Length of Hooks is not selected, you can enter different values in each text box.
Left Extension • Right Extension. By default, Finale initially creates a tuplet that surrounds the position of notes in the measures. However, in some cases
it’s easier for a musician to interpret the music if the tuplet can encompass the visual space of the beat instead of just surrounding the notes. You can accomplish
this by using these settings to specify how far the bracket or slur should extend beyond the notes. Enter a larger value to lengthen the bracket or slur.
Maximum Slope. Enter a positive value to specify the maximum angle of brackets or slurs when the right side is higher than the left. Enter a negative value to
specify the maximum angle when the right side of the tuplet lower than the left.
OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the tuplet appearance you’ve created. You return to the score.

See Also:
Tuplets
Utilities Menu
Tuplet Tool
Tuplet Definition diaog box
Document Options-Tuplets

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Character Settings

Character Settings

How to get there

Click the Text Tool . Double-click a text block handle; the editing frame appears. Select the text you want to change, then choose Character Settings from the
Text Menu.

What it does
The Character Settings dialog box contains all the font settings, as well as the baseline shift, superscript, and tracking settings (also available separately in the Text
Menu). Use this dialog box to see what character formats are in use for the selected text, and to make changes to more than one setting at once.

Font • Size • Font Style • Effects • Sample. See the Font dialog box for details about these options.

Note: Outline and Shadow are only available in compiled PostScript documents. Also, Finale does not
provide special support for bitmap fonts. To get the best screen display results, use PostScript and
TrueType fonts. Use ATM and PostScript fonts if a TrueType version is not available for display.

Baseline Shift. Use Baseline Shift to adjust the vertical position of the text without affecting the spacing between lines. Enter the amount, in measurement
units, that Finale should shift the selected text characters vertically above or below the baseline. A smaller value lowers the text, and a larger value raises it.
Superscript. Use Superscript to adjust the vertical position of the text, adjusting the spacing between lines by the same amount. Enter the amount (in
measurement units) that Finale should shift the selected text characters vertically above or below the baseline. A positive value raises the text (making it
superscript), and a negative value lowers the text (making it subscript).
Tracking. Enter the amount of horizontal space, in em’s, that Finale should leave between characters for the selected text. One em is equivalent to 1/1000 of
the point size. Em’s are proportional measurement units; if you increase or decrease the point size of the text, Finale adjusts the distance between characters
accordingly, keeping the same proportional distance relative to the new font size.
Script. some fonts contain a number of different scripts in the same font. You may choose which script to use with this drop-down list
OK • Cancel. Click OK to confirm your format settings and return to the score or the Edit Text window. Click Cancel to return to the score or the Edit Text
window without changing any format settings.

To view this dialog box, click the Text Tool . Double-click a text block handle; the editing frame appears. Select the text you want to change, then choose Character
Settings from the Text Menu.

See Also:
Text
Text Tool
Document Options-Fonts

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Check Graphics

Check Graphics

How to get there

From the Window Menu, choose Advanced Tools. Click the Graphics Tool . Choose Check Graphics from the Graphics Menu.
What it does
Finale doesn’t actually embed a graphic in your Finale document when you place a graphic. Instead, it places a link to the graphic’s location on your computer. Use the
Check Graphics dialog box to display the location and full name of all graphics files placed into your score.

Scrolling Graphic List: Finale searches for each graphics file placed in the current document. Any missing graphics appear marked with an asterisk in italics.
Finale also lists the filename and path for all found graphics . Finale provides the original location and full name of the graphics file that it was unable to locate.
Found graphics and their path also appear in the list after any missing graphics in the file.
Select Graphic. Select a graphic and then click this button to display the Open dialog box where you can choose a new path for the selected graphic.
Attributes. Select a graphic and click this button to open the Graphic Attributes dialog box where you can apply positioning, assignment, and other settings for
the selected graphic. See Graphic Attributes dialog box.
Copy List to Clipboard. Click this button to copy the contents of the scrolling list into the clipboard. You can then paste the contents into a word processing
program, and print the list if you want. This can be useful if you’ll be printing from another system, and want to have all the graphics available when you print the
file.
Select Graphic. Highlight a graphic from the list and click Select Graphic to specify a graphic manually.
Attributes. Highlight a graphic from the list and click Attributes to open the Graphic Attributes dialog box where you can adjust the positioning, page/measure
assignment and other attributes. See Graphic Attributes dialog box.
Done. Click Done to return to the score.

See Also:
Graphics
Graphics Tool

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Check Repeats

Check Repeats

How to get there

Click the Repeat Tool . From the Repeat Menu, choose Check Repeats.

What it does
This option scans the entire score for repeat markings and lists the chronological sequence of measures as they will be performed when you playback the score.

[Playback route]. Here, you see a list of the measure sequence you will hear when you playback the score. Finale includes all repeat markings that have
been defined for playback to generate this list. If you have a repeat defined to loop infinitely, you will see the same measure region listed the number of times
entered for "Maximum Repeat Passes" in the Repeats page of Document Options.
Done. Click Done to close this dialog box and return to the score.

See Also:
Repeat Menu

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Chord Definition

Chord Definition

How to get there

Click the Chord Tool . Choose Manual Input from the Chord Menu. Click a note in your score where you want to add the chord symbol. If the note already has a
chord attached to it, double-click the handle to edit the current chord, or click the note again to enter a new chord.
The Chord Definition dialog box also appears if you select the Chord Tool and press shift with a letter or number. Pressing shift and a letter or number is the sequence
for programming a Chord Metatool, useful for quickly adding chords to your score.

What it does
The Chord Definition dialog box offers an easy way to enter an entire chord symbol by typing it into a single text box. Or, if you prefer, you can enter the root,
alternate bass note, and suffix into separate text boxes. You can also access the Fretboard Editor to create custom fretboard diagrams.
When you type a chord symbol, then press tab (or click another field), Finale updates the settings that control the display of the separate parts of the chord.
If you access this box by using a Metatool, Finale will memorize any chord you build in the dialog box and assign it to the number key you pressed. For example, if

you press shift-5 and build an E 13/G chord in the Chord Definition dialog box, then you can pop this chord into the score at any point just by clicking the note to
which you want it attached while pressing 5.

Chord Symbol. Use this text box if you’d prefer to enter the entire chord symbol in one place instead of specifying three separate settings for the root, alternate
bass note, and suffix. Enter a chord into the text box in the Standard style. To add a chord suffix, enter the suffix after the root; for example, you could type
Cmin7. When you press Tab (or click on another field), Finale interprets the chord (paying attention to upper and lowercase letters), then updates the dialog box
settings. In the Chord Symbol text box, the chord symbol will appear in the system font; however, it will appear correctly in the score, where the root and alternate
bass notes appear in the display style selected in the Chord Style submenu.

If no match is found for the suffix you type, an alert appears. Click Cancel to return to the Chord Definition dialog box. Or, click OK to create a new suffix from
the suffix you typed in; the Chord Suffix Editor dialog box appears with the suffix characters already entered. Edit the suffix or set playback for the suffix, then
click OK. Finale adds the new suffix to the chord suffix library, and returns you to the score, where the chord symbol appears in the piece.
For a list of keyboard shortcuts you can use to enter chords, see the Keystroke table in the Chord Menu/Type into Score section.

Advanced. Click this button to expand or collapse the Chord Definition dialog box. When expanded, you’ll have access to more advanced options, such as a
numeric chord definition, suffixes and capo settings.
Fretboard ID; Select; Edit. Fretboard ID displays the number of the currently selected group of custom fretboards. Click Select to open the Fretboard
Selection dialog box, where you can select a fretboard group or create a new one. Click Edit to open the Fretboard Editor dialog box and edit the currently
selected fretboard group. This button is unavailable if you do not have any fretboard libraries loaded.
[Fretboard icon]. Finale shows you a thumbnail or small picture of your currently selected fretboard.

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Chord Definition

Style • Edit Styles. The drop-down list displays the currently selected fretboard style. Click on Edit Styles to open the Fretboard Styles dialog box, where you
can customize the building blocks of your fretboards.
Show: Root. In general, you’ll want the checkbox selected, telling Finale to display the root letter name as part of the chord symbol. You can, however, omit
the root from the chord symbol by deselecting this checkbox (to create, for example, the "rootless" chords in this sequence: Cmaj7 /B /A).
Show: Root—Lowercase. Select Lowercase if you want the Root Scale Tone to appear in lowercase. For example, if you’re using the Roman display chord
style, you’d select Lowercase to display minor chords (ii, iii, and so on) in the score. This checkbox is automatically updated when you type your chord symbol.

Finale ignores lowercase settings when displaying Nashville and Solfeggio chord styles, which follow different conventions. Lowercase chord roots always affect
playback, unless a chord suffix is selected. Finale plays a major triad for uppercase chord roots and a minor triad for lowercase chord roots when no chord
suffix is selected.

Show: Suffix. Select the Suffix checkbox to show or hide the chord suffix. When selected, the suffix will appear in the score. Click to deselect this checkbox if
you want to hide the suffix.

When you specify a suffix by clicking the Select button in the Chord Suffix Editor dialog box, Finale automatically selects the checkbox for the Chord Suffix ID,
so it will appear in the score.

Show: Fretboard. Select this checkbox to force a single fretboard to be appear. Make sure this option is not selected if you want the fretboard for the selected
chord to be hidden. To show fretboards globally, see Show Fretboards in the Chord Menu.
Show: Alternate Bass. If you select this checkbox, Finale will display the scale-degree number in the text box as an alternate bass note, and will notate it as
part of a "slash" chord symbol (such as Cmaj7/E). For example, if you’re in the key of C and the Root Scale Tone is 1 (C), select Alternate Bass and enter 5 to
produce a C/G chord in the score.
Show: Alternate Bass—Lowercase. Select Lowercase if you want the Alternate Bass note to appear in lowercase. This checkbox is automatically updated
when you type your chord symbol.

Finale ignores lowercase settings when displaying Nashville and Solfeggio chord styles, which follow different conventions.

Show: Alternate Bass: After Root • Under Root • As Subtext. When Alternate Bass is selected, you can choose from three ways to display the
alternate bass note. After Root places a slash after the root (if displayed) and then the alternate bass. Under Root displays the alternate bass directly underneath
the chord symbol (as though it’s the denominator of a fraction) instead of following a slash. As Subtext displays the alternate bass slightly below and to the right
of the chord symbol.
Play: Root • Suffix • Fretboard • Alternate Bass. These checkboxes govern the playback of the chord symbol. Root and Chord Suffix are selected by
default. Select Alternate Bass to have that note play back with the chord. Deselect any of the four to omit playback of the corresponding part of the chord symbol.

Note that the capitalization of a chord’s root may affect playback when the chord doesn’t have a suffix
(zero appears in the Chord Suffix ID text box); for example, in the key of C Major, the chords C and d
will play back major and minor, respectively. This setting also affects the display of major and minor
fretboards.

Root Scale Tone. The number you enter in this text box is the root scale degree of the chord. To indicate a C chord in the key of C, enter 1 in this box. To
indicate a G chord in the key of C, enter 5.
Root Scale Tone—Alteration. You can specify a modification of the diatonic scale step you’ve specified as the root of the chord by entering a number in this
text box (measured in half steps from the unmodified diatonic step); a positive number raises the root by half steps, and a negative number lowers the root by half
steps.

For example, to create an E flat chord in the key of C, enter a 3 in the Root Scale Tone box (which would normally create an E chord symbol), but enter –1 in
the Alteration box. To specify an F sharp chord in the key of C, enter a 4 in the Root Scale Tone box and enter 1 in the Alteration box.

Alternate Bass—Scale Tone. The number you enter in this text box will be used as an alternate bass note, and Finale will notate it as part of a "slash"
chord symbol (such as Cmaj7/E). For example, if you’re in the key of C and the Root Scale Tone is 1 (C), enter 5 in the Alternate Bass text box to produce a
C/G chord in the score.
Alternate Bass—Alteration. You can specify a modification of one of the diatonic scale steps for the alternate bass note by entering a number in this text
box (measured in half steps); a positive number raises the root by half steps, and a negative number lowers the root by half steps.

For example, to create a C chord over a B flat bass note in the key of C, enter 1 in the Root Scale Tone box (to create the C chord), 7 in the Alternate Bass
text box (to create the B bass note), and enter –1 in the Alteration box to lower the alternate bass note by a half step (to B flat).

Chord Suffix ID; Select; Edit. The number in this text box identifies the chord suffix by number. If the number is zero, no suffix has yet been defined; click
the Chord Suffix Select button to bring up the Chord Suffix Selection dialog box. The Chord Suffix Selection dialog box displays any suffixes that have been
loaded (via a Chords & Fretboards Library) or created (by you or by Finale) in this piece. Double-click one to select it.

If the Chord Suffix text box already contains a number (other than zero), click the Chord Suffix Edit button to enter the Chord Suffix Editor, where you can edit
the chord suffix. For example, you can change its spacing, specify a font for any character, or determine whether it notates a major chord suffix as "maj." or "M"
(see Chord Suffix Editor dialog box).
When you specify a suffix by clicking the Select button in the Chord Suffix Editor dialog box, Finale automatically selects the checkbox for the Show Suffix, so it
will appear in the score.

Listen. As a shortcut to building a chord symbol by typing numbers, you can click one of the three Listen buttons, then play the note (Root or Alternate Bass) or
notes (Chord Suffix) on your synthesizer. Finale enters the correct number in the appropriate text boxes. For example, if you click the Root Scale Tone Listen
button and then play a B flat (and the key is C), Finale automatically writes a 7 in the first box and –1 in the Alteration box.

When you click the Chord Suffix ID Listen button, play the chord suffix alone (the remaining notes of the chord, without the root and without the bass). If the
corresponding suffix has been defined (by you, Finale, or by loading a Chord Suffix Library), the suffix’s number appears in the Chord Suffix ID box. If the chord
suffix hasn’t yet been defined for this piece, no new number appears there.

Capo At Fret. Check Capo At Fret then enter a fret number to automatically adjust the selected fretboard to reflect the position of the capo. Example: if the
capo is set to the first fret and an E flat 7 chord is entered, the fretboard that appears will be the D7 from the currently selected Fretboard Group. Also, the name

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Chord Definition

of the chord will change to D7 even though the chord will sound as an E flat 7. To change the chord name to an italic style, select Italicize Capo Chord from the
Chord Menu. See Chord Menu for more information.
Use Fretboard Font. Click on Use Fretboard Font to use the font selected for fretboard diagrams in Document Options-Fonts. Uncheck this box to use a
custom fretboard.
OK • Cancel. Click OK to return to the score and add the chord you’ve created or edited to the score. Click Cancel to return to the score without adding, or
making changes to, a chord.

See Type Into Score (Chord Menu) , which provides a table of keystrokes for typing chord symbols.

Tip: In C major, 1 = C, 2 = D, 3 = E, 4 = F, 5 = G, 6 = A, 7 = B.

Note: To display fretboards on all chords in the piece, Show Fretboards must be selected in the
Chord Menu.

See Also:
Chord symbols
Document Options-Chords
Chord Tool

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Chord Suffix Editor

Chord Suffix Editor

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click on Advanced to expand the dialog box. Click on Select near Suffix to enter the Chord Suffix Selection box, then click Create. (If there are already chord
suffixes listed in the Chord Suffix Selection dialog box, click one and then click Edit.)
If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, click on Advanced, then Suffix Select, then click
Create.

What it does
In the Chord Suffix Editor dialog box you can create and edit chord suffixes. Finale perceives a chord as a root tone sounding together with notes specific intervals
above it; these notes constitute the suffix. Therefore, Finale uses the same suffix whether you play a C major seventh or an F major seventh—the relationship of the
suffix notes to the root is the same.
Each letter of the suffix can have its own font, size, and position, making subscript and superscript numbers (for example) possible. You can only edit one character of
the suffix at a time, moving among the characters with the Prev and Next buttons. You use the Chord Suffix Editor dialog box both to define the graphic appearance of
the suffix and to specify a voicing for a chord’s playback.
You can also use the Chord Suffix Editor dialog box to teach Finale new chords when you’re entering chords using one of Finale’s automatic analysis modes. When
you see the Unknown Chord Suffix dialog box, click I’ll Do It, to access the Chord Definition dialog box; then create the chord symbol (and its suffix, if necessary) in the
Chord Definition dialog box (see Chord Definition dialog box). The next time you play the chord (in any octave or voicing), Finale will know what chord symbol to
display. (This custom teaching feature is "root-specific," however; if you only teach Finale to recognize a C major sixth chord in the key of C, it will only recognize
major sixth chords built on C. But it will recognize, for example, a Gmaj6 in the key of G and an Amaj6 in the key of A.)

Symbol. This text box displays the currently selected character of the chord suffix. If you’re creating a new suffix, the text box is initially empty; type the first
letter of the new suffix here, and click Next or Update to make it appear in the display. The character in the Symbol box is always displayed in the System font,
even if you’ve specified a different font for the character. (The character appears with the correct font in the display area.)

If you want to choose the character from a palette, select the font with the Set Font button. Then click the Symbol button; Finale displays a selection box
containing every symbol in the font. Double-click the one you want; its corresponding System font character appears in the Symbol text box.
You can only type one letter at a time into the Symbol text box unless you’ve told Finale that you’re entering a number (by selecting Number), in which case
you can enter a multidigit number.

Number. Select this option if the symbol you’re adding to a chord suffix is a number, in which case the Symbol text box will allow you to type numbers with
several digits. In other words, if you select Number, you can enter 13 in the Symbol box; if you didn’t select Number, you’d have to enter the 1 and the 3 as
separate symbols.
Prefix with: Flat • Sharp • Plus • Minus. If the Prefix With checkbox is selected, the four prefix options become available (flat, sharp, plus, and minus).
You’ll generally use these prefixes in conjunction with a number (–9, for example), but they’ll work on an alphabetic character too. You can add a separate prefix
to each character or number in the chord suffix. (The type style for the flat and sharp in these prefixes can be changed in Document Options-Fonts by Modifying
the Alteration in the Chord drop-down list.)
H: • V:. The H: and V: boxes contain coordinates that determine the distance of the currently selected character from the chord suffix’s handle (where the
crosshairs intersect, at the suffix’s lower-left corner). The chord suffix handle is considered the zero point. The H: number sets horizontal distance (a positive
number moves the character to the right, negative to the left) and the V: number sets the vertical distance (a positive number moves the character upward,
negative downward).

If you drag the currently selected character’s handle in any direction, the H: and V: numbers will change as you move it. If you’re trying to align characters with
each other, however, you may find that typing values in the H: and V: boxes gives you greater precision. Enter a new value in the H: or V: box, then click
Update to see the effect of the new numbers on the display. (Note that each time you add a new character, Finale automatically adds enough horizontal space
to make room for the new character.)

Prev • Next. Use the Prev and Next buttons to move through the various characters that constitute the chord suffix (because you can only edit one letter or

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Chord Suffix Editor

number at a time). If you’ve already selected the last character in the suffix (and it’s displayed in the Symbol text box), then click Next to open a slot for an
additional character; Finale will automatically place the new character’s handle far enough to the right that it doesn’t overlap the previous character.
Set Play. Click this button to enter the Suffix Keynumber Offsets dialog box, where you can define a particular voicing you want Finale to use when it plays
back a particular chord symbol. See Suffix Keynumber Offsets dialog box.
Set Font. Click this button to enter the Font selection box, where you can specify the type characteristics of the currently selected character. (If you select Fixed
Size, for any character in a chord suffix, the entire suffix, including prefixes, will be treated as fixed size.) Use this button if you’re combining several fonts within a
single suffix—for example, if the suffix contains a half-diminished symbol (ø), you can use the proper symbol from the Maestro music font. (The current character
is displayed in the Symbol text box, although it always appears there in the System font, no matter what font you’ve selected using the Set Font button. Click the
Update button to see the effects of your font changes in the display area.)

Incidentally, don’t use this button to change all suffixes to a new font, one character at a time. Instead, use the Change Chord Suffix Fonts command in the
Chord Menu. And if you want to change the font for the letter name (root) of all your chord symbols (instead of the suffixes), use the Symbol button in
Document Options-Fonts (from the Document Menu, choose Document Options and select Fonts.) (There’s a selection for Chords labeled Accidentals in the
same box, with which you can set the font for the accidentals in the roots of your chord symbols—Ef, for example—as well as the flat and sharp prefixes within
the chord suffixes.)

Show Handles. Finale normally displays a small square handle at the lower-left corner of the currently selected character, which you can drag to reposition the
character. Deselect Show Handles if you want these handles to be invisible (if they’re obscuring some small character, for example). You can still drag the
character by its handle, but the handle itself will be invisible.
Update. The Update checkbox has two functions. First, you need to click it in order to see the effects of any changes you make (in the H, V, or Symbol text
boxes, or using the Set Font or prefix buttons) on the display of the suffix.

Second, when the Update checkbox is selected, you’ll see the character at all times while you’re dragging it; when Update isn’t selected, you’ll only see the
character in its new position when you finish dragging.

OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the Chord Definition (or Chord Selection) box. If you’ve created a
new suffix, it’s now stored in the Chord Suffix Selection box. Click Cancel to tell Finale to ignore any changes you made in the Chord Suffix Editor. You return to
the previous dialog box.

See Also:
Chord Definition dialog box
Chord Suffix Selection dialog box
Chord Tool

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Chord Suffix Selection

Chord Suffix Selection

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click a note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click on Advanced to expand the dialog box. Click on Select near Suffix.
If a note has a chord symbol attached, click the note to make the chord handle appear. Double-click the handle, click on Advanced, and click Select.

What it does
The Chord Suffix Selection dialog box displays any chord suffixes you’ve created in (or loaded into) the document. It allows you to select, delete, or edit any of the
suffixes; it also provides an entrance to the Chord Suffix Editor, where you can design new suffixes. The number in the top left corner of each item lists the slot number
for the item. This can be handy if you have the option of typing in the slot number in a dialog box instead of scrolling through the selection dialog box. Occasionally, a
character in parenthesis appears in the top right corner of an item in the selection dialog box. This character indicates the Metatool assigned to the item.

Edit. If you’ve selected a suffix in the Chord Suffix Selection box by clicking it once, click Edit to enter the Chord Suffix Editor, where you can modify the suffix’s
appearance or playback definition. Any alterations you make to one occurrence of a suffix automatically change all occurrences of that suffix throughout the

score. You might use this technique, for example, to change all occurrences of "Gdim7" to "G o7".
Create. If you don’t see the suffix you’re looking for in the Chord Suffix Selection box, click Create to enter the Chord Suffix Editor, where you can build one of
your own.
Duplicate. Click this button to create a copy of the selected Chord Suffix that you can modify with the Chord Suffix Editor. You can select more than one item.
Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. If you’ve selected a suffix in the Chord Suffix Selection box by clicking it once, click Delete to remove it from the selection box. You can select more than
one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl -click to select only a specific additional item in the list. If the
suffix is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Ctrl-click to select only a specific additional item in the list.
Cancel. Click Cancel to return to the Chord Definition box without having made a suffix selection.
Select. If you have clicked a chord symbol in the Chord Suffix Selection dialog box, click Select to return to the Chord Definition dialog box. Finale puts the

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Chord Suffix Selection

number of the suffix you selected in the Chord Suffix ID text box and places the selected suffix in the score (when you click OK). Double-clicking a suffix is the
same as clicking it once and clicking Select.

Tip: Choose duplicate to create a copy of a suffix. Then choose Edit to alter a suffix as you want it to
be.

See Also:
Selection Overview
Chord Definition dialog box
Chord Tool

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Clef Selection

Clef Selection

How to get there


The Clef Selection dialog box appears any time you click a Select button for a clef, which appears in a number of Finale dialog boxes.

What it does
The Clef Selection dialog box displays a palette containing the eighteen clefs currently available in this piece. Finale initially offers eighteen clefs, however, you can
edit these clefs or even design your own, using the Clef Designer available in the Clef section of the Document Options dialog box. (See Document Options-Clefs)

[Clef icons]. These icons illustrate the eighteen clefs defined for this piece. Double-click one to select it and exit the dialog box.
OK • Cancel. Instead of double-clicking a clef’s picture, you can click it once and then click OK, which also selects the clef and exits this dialog box. Click
Cancel to exit the dialog box without making a selection.

See Also:
Clefs
Clef Tool

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Click and Countoff

Click and Countoff

How to get there


Choose Click and Countoff from the MIDI Menu.
Or, choose Playback Controls from the Window Menu to display Playback Controls (a checkmark appears by the command when displayed). Click on the Playback
Settings button, then click the Click and Countoff button.
Or, click the HyperScribe Tool. Choose Playback and/or Click from the Beat Source submenu of the HyperScribe Menu. Click the Click and Countoff Button.

What it does
Use the Click and Countoff dialog box to define the countoff click settings and the metronome click used for HyperScribe recording, and for playback using Playback
Controls. Set up the number of measures you want Finale to count off before starting to record. Choose when you want to hear a metronome click, and what the
clicks should sound like. Increased control over the click sound includes the ability to emphasize the down beat, for example, by increasing the key velocity of the click
or by lowering the pitch of the "other beats" in the measures. When you change the number of countoff measures in this dialog box, Finale automatically updates the
number of countoff measures in Playback Controls as well. If you have selected Tap as your Beat Source, Finale will ignore the settings in this dialog box.

Countoff: Always • While Recording • While Playing • Never. Use the drop-down list to specify when you want Finale to play a countoff metronome
click. Choose Always if you want a countoff of a specified number of measures before recording with HyperScribe or playing back with Playback Controls. Choose
While Recording if you want the countoff only when you’re recording with HyperScribe. Choose While Playing if you want a countoff only when you’re playing
back with Playback Controls, or choose Never if you don’t want any countoff at all. These global settings are saved with your preferences.
Measures__. Enter the number of measures you want Finale to count off before starting to record with HyperScribe or play back using Playback Controls. Enter
0 (zero) if you don’t want a countoff, 1 if you want one measure counted off, 2 to hear two measures, and so on. Finale uses the meter of the first measure
selected for playback or for recording into to determine the meter of the countoff measure. Any change you make to the countoff is automatically updated in the
Countoff text box in Playback Controls.

Note: Finale will always sound a metronome click while playing the countoff measures.

Click: Always • While Recording • While Playing • Never. Use this drop-down list to determine when Finale should play a metronome click to indicate
the beat in your music. Choose Always if you want to hear a metronome click while recording with HyperScribe and playing back with Playback Controls. Choose
While Recording if you want a metronome click only when recording with HyperScribe. Choose While Playing if you want a metronome click only when playing
back with Playback Controls, or choose Never if you don’t want any metronome click to sound while recording or playing back. Note, if you have a countoff
measure selected, Finale will always click for the countoff measures.
Source: MIDI Note • MIDI Data. Use this drop-down list to specify the type of MIDI signal for the down beat and the other beats in the measure. In general,
you’ll probably choose a MIDI note rather than a MIDI event for the metronome sound. You can choose any MIDI note for the metronome click, but to distinguish
the down beat click from that of other beats, you might want to choose a short percussive sound or a high note. Choose MIDI Data if you want to use something
other than a MIDI Note for the metronome click.

Metronome Sound: Down Beats • Other Beats; Channel • Note • Velocity • Duration (% of the beat); Listen. The labels in the text boxes
change if you choose MIDI Data; you’ll see Channel, Status, Data1, Data2, and Duration, instead of Channel, Note, Velocity, and Duration. To have Finale enter
this information automatically for you, click Listen in the Down Beats or Other Beats row, then play the note or trigger the MIDI event that you’re planning to use
for the metronome click. Finale will automatically enter all values except Duration for you; if you prefer, you can type these values yourself.

To enter MIDI Note information manually (MIDI Note is selected in the Source drop-down list), enter the MIDI channel number and the MIDI note number into
the corresponding text boxes. Specify how hard the note should be struck by entering a value between 0—127 (0 being the softest, 127 the loudest) in the
Velocity text boxes. Change the Duration value if you want to change the length of the metronome click sound. Enter the note length in terms of the percentage
of the beat. For example, if a quarter note is a beat and you want the click to be 1/2 the length of the beat (in other words, an eighth note), type 50 (for 50%)
into the Duration text box. When MIDI Data is selected in the Source drop-down list, enter the MIDI channel number for the click, then enter the MIDI status into
Status and data byte values into Data1 and Data2. Your MIDI device’s manual should contain the values that you need to enter, depending on the effect you
want to achieve.

OK • Cancel. Click Cancel to return to your score without making any changes to the dialog box. Click OK to confirm your click and countoff settings and return
to the score.

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Click and Countoff

Note: Finale will always sound a metronome click while playing the countoff measures.

See Also:
Recording with HyperScribe
Playback Controls
HyperScribe Tool

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Click Assignment

Click Assignment

How to get there

Click the Lyrics Tool . After creating lyrics with the Edit Lyrics command in the Lyrics Menu, choose Click Assignment from the Lyrics Menu (and then click the
note to which you want to begin attaching lyric syllables). (If you’ve created different lyrics types—Verse, Chorus, and Section—the Click Assignment window will
display only the most recent lyric type you’ve worked on. Use the Specify Current Lyric command in the Lyrics Menu to specify a different type.)

What it does
The Click Assignment window provides a scrolling display of any lyrics you entered in the Edit Lyrics text processor. Use the lower scroll bar to scroll through the lyrics
horizontally (click in the gray area to move one full window to the left or right, and click the arrows to move one syllable at a time). If you entered several sets of lyrics
(more than one Verse, Chorus, or Section, for example), use the upper scroll bar to scroll through different sets of the same type. You can move the Click Assignment
window by dragging its title bar, and you can close it (and exit the Click Assignment mode) by clicking its close box.
When this window is present, each time you click a note in the score, the lyric at the left edge of the Click Assignment window disappears from the window and
attaches itself to the note you clicked. (Your clicks need to be within the staff lines, not necessarily on the noteheads.) If you click within the staff at the position of a
note while pressing ctrl, Finale will automatically distribute all the syllables in the Click Assignment window to the notes in the score, until it runs out of either notes or
syllables.

Auto Update. If you’re assigning syllables to notes in the score by clicking one note at a time, you can select the Auto Update button to make Finale redraw
the measure after you assign each syllable, widening it if necessary to accommodate the lyrics. (If you don’t select Auto Update, the lyrics may overlap slightly as
you’re putting them into the score. To space them correctly, use the Music Spacing command.)
[Four positioning triangles]. When the Click Assignment window appears, four triangles also appear, at the left edge of the screen. These triangles are
handles that control the baseline for the lyrics (the invisible line against which the bottoms of the letters align).

Dragging the leftmost triangle up or down moves the baseline for this set of lyrics vertically, affecting the entire piece. The second triangle sets the baseline for
this set of lyrics for this staff only. The third triangle, whose effect is only visible in Page View, sets the baseline for this staff in this system only (which can be
useful if, for example, you have a vocal passage of very low notes requiring that the lyrics be moved down a little bit to make room). The rightmost triangle sets
the baseline for the next syllable you assign if you’re "clicking in" one syllable at a time or for the next syllable you enter using Type Into Score.

Tip: To attach all the lyrics at once, hold down the Ctrl key as you click on the first note.

See Also:
Lyrics
Lyrics Menu
Lyrics Tool

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Click Input

Click Input

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure in the score and choose Click Input from the Time Tag
Menu.

What it does
After recording a real-time performance in the Transcription window, you generally have to make a second pass, during which you tap in tempo along with the playback
of your performance, telling Finale where the beats fall in relation to the notes you played. You don’t have to choose the Click Input command at all, in this case; if
you’re recording Time Tags in a separate pass, Finale assumes that any key you tap is meant to be the tempo tap, provided that (1) you’ve remembered to click the
Record button under the words Time Tag, and (2) that you’re transmitting the Time Tag signal on MIDI channel 1. See Transcription window.
If, however, you want to record the performance and the Time Tags simultaneously, use the Click Input command to help Finale distinguish between the notes of the
performance and the note representing the tempo tap (for example, the highest key on the keyboard). If you plan to play a melody with one hand while tapping a key
with the other, for example, use this command to tell Finale what key you’ll be tapping. If you’re transcribing a sequence being played by your synthesizer or another
computer capable of generating a MIDI click track, once more you can tell Finale what to listen for. Finally, if you plan to transmit your Time Tags to Finale on any
channel other than MIDI channel 1, use this dialog box to specify the new channel.

Input Code. These three text boxes display special codes which, taken together, identify the MIDI event (tapping a key or pedal, for example) that Finale will be
listening to as a tempo reference (Time Tag input). Use the Listen button to change the codes in these text boxes.
Listen. When you click this button, Finale displays a message telling you that it’s "listening." The program will translate the next MIDI event you transmit—by
tapping a key or pedal, for example—into the MIDI codes. You’ve just specified the device (key, pedal, or controller) and the MIDI channel Finale will listen to for
Time Tags; now you’re ready to record Time Tags and a performance simultaneously.

If the "Finale is listening" message doesn’t disappear when you play a key or pedal, then your MIDI system is not connected properly (and Finale is receiving
no MIDI events at all). For help, see Troubleshooting in the User Manual.

Ignore First Data Byte. In short, this checkbox tells Finale how particular it should be about the MIDI event it’s receiving—in other words, whether to
consider any key (or controller) to be a Time Tag, or only a specific key (or controller). As a practical consideration, don’t select this checkbox if you plan to
record both Time Tags and a keyboard performance simultaneously, because Finale needs to be tuned to a specific key (or controller) to register the Time Tags
in order not to confuse them with notes (or controllers) played in the performance. (Technical note: This option is called Ignore First Data Byte because it tells
Finale to ignore the second text box—the first data byte—when determining whether or not a MIDI event matches the event you’ve specified for your Time Tags.)
Second Data Byte Greater Than Zero. This checkbox should almost always be selected. The only time it shouldn’t be selected is when you’re recording a
performance and Time Tags simultaneously, and the Time Tags are being generated by a source (such as a drum machine) that Finale could confuse with an
actual note in the performance.

The "second data byte" is the one that lets Finale know the qualitative value of the specified tag transmission—the key velocity of the Time Tags, for example.
Therefore, unless you strike the key with precisely the specified key velocity, Finale won’t know that a Time Tag has occurred. Because a drum machine can
generate a click track where every "tap" has a uniform key velocity, you can tell Finale only to register incoming Time Tag signals with that specific velocity by
turning off this option; thus Finale won’t confuse the drum machine’s click track notes with notes of the same pitch you happen to play during your performance,
because it will only register notes of the precise key velocity value you specified as Time Tags.

OK • Cancel. Click OK to confirm your Time Tag input settings and return to the Transcription window. Click Cancel to tell Finale to ignore any changes you
made in this dialog box and return you to the Transcription window. The default settings (a tap on any key or pedal, over any MIDI channel, will be considered a
Time Tag) remain in force.

Tip: Click on Listen and play your MIDI note if you are unsure of the Input Code to enter.

See Also:
Transcription mode
Transcription dialog box
HyperScribe Tool

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Click Output Type

Click Output Type

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure in the score and choose Click Output from the Time
Tag Menu.

What it does
There are two cases where you might like Finale to provide a click track, or metronome, as you record in the Transcription window. First, you might like Finale to
provide a "click track" as you record a real-time performance in the Transcription window, so that you won’t have to record Time Tags in a separate pass. (The "click
track" is nothing more than playback of Time Tags that Finale has placed automatically.)
Second, you might want Finale to drive an external sequencer or computer using MIDI Sync signals, so that the external device will play in tempo with Finale.
In either case, the Click Output Type dialog box lets you specify various characteristics of the click: its pitch, MIDI channel, length of a click, and so on.

Send MIDI Sync. Select this radio button if you want Finale to transmit MIDI Sync signals instead of providing an audible click. If you have connected your
computer to an external sequencer (or another computer) that has been configured to interpret this kind of MIDI message, it will wait in "pause" mode until Finale
begins play, at which point the two will play in perfect synchronization.
Send MIDI, Channel:. Select this radio button if you want Finale to send the clicks via MIDI (instead of transmitting MIDI Sync signals). The number in the text
box specifies the MIDI channel over which Finale will transmit the click information. Finale will automatically fill in this text box and all others in this dialog box if
you use the Listen to MIDI button.
Start Code: • Stop Code:. The codes in these two rows specify the MIDI signals (events) to be sent at the beginning and ending of each individual click, and
are used to compensate for the idiosyncrasies of various synthesizers. Finale will fill in these text boxes automatically if you use the Listen button.
Listen. When you select this checkbox, Finale goes into "listening" mode. Finale will translate the next MIDI signal you transmit—by playing a key, for example
—into the MIDI codes. (Technically, Finale registers the next two MIDI events—a note on and note off command, for example, that constitute a single key strike.)
You’ve just specified the key and the MIDI channel Finale will play to create the clicks. (You might use the snare drum or clave sound on a drum machine, for
example.)
Click Duration. The number in this text box, in thousandths of a second, specifies the exact duration of each click. In general, you’ll want this value to be fairly
small, so that the click sound will be short and sharp; the default value, 500, produces a click that lasts half a second.
OK • Cancel. Click OK to confirm the click settings you’ve made and return to the Transcription window. Click Cancel to tell Finale to ignore any changes you
made in this dialog box. The default settings (MIDI channel 1, Start Code = note on, Stop Code = note off, pitch = C above middle C with a key velocity of 64)
remain in force.

See Also:
Transcription mode
Transcription dialog box
MIDI Sync
HyperScribe Tool

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Color

Color

How to get there


From the Document Menu, choose Document Options and select Grids and Guides. Click on Grid Color or Guide Color. Or, choose Select Display Colors then click on
any button.

What it does
Use this dialog box to select a color.

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Compile PostScript Listing

Compile PostScript Listing

How to get there


Choose Compile PostScript Listing from the File Menu.

What it does
When you choose Print from the File Menu and have a PostScript printer, Finale performs two steps. First it generates a PostScript listing (a coded description of every
element on the page, its size and position, and so on). Then it downloads this code to the PostScript printer, which translates it into a printed image.
You can, if you prefer, break up these two steps into separate procedures by using the Compile PostScript command, which creates the PostScript listing without
sending it to the printer. You’ll be asked to give the listing a title, and it will be saved on your hard disk. Because different printers handle color differently, we
recommend unchecking Use Colors (View Menu, Select Display Colors) before Compiling.
In order to print this listing, you may need a downloading program capable of sending it to the printer just as Finale does automatically when you choose Print.
Why would you want to create a compiled PostScript listing in this way? There are several advantages. First, a document prepared and printed this way takes less total
time to print than if you use the Print command. Second, you can transport the listing file on a disk to print elsewhere without having to bring the Finale program itself.
Third, the Compile PostScript command permits you to prepare and print full-size scores (11 by 17, or as large as you like). See Page Size.

Compile: Score • Parts. Click one of these two buttons to tell Finale whether you want the listing made of the full score or the extracted parts.
Page Range: All • From __ To __. Click All if you want the listing to include all the pages in the score (or parts). If you want to include only a range of pages,
enter numbers in the From and To boxes. These numbers are inclusive; if you enter From 1 To 3, three pages will be compiled. (Enter From 1 to 1, for example,
to specify a single page.)
Orientation: Portrait • Landscape. Click one of these two radio buttons to specify the orientation of the printed image on the page—either Portrait (the
standard upright orientation) or Landscape (sideways). The same applies if you’re tiling pages—use these buttons to tell Finale the orientation of the pages you’ll
be taping together.
Page Size: Letter • Legal • A4 • A5 • B5 • Tabloid. Use the Page Size drop-down list to select the page size. The Height and Width values appear in the
current measurement unit. Bear in mind that the image size of the printed music has nothing to do with paper size; the two are completely independent. (Set the
size of the printed image with the Page Layout Tool; see Page Size.)
Width • Height. The numbers you enter in these text boxes (in Measurement Units), tell Finale how much of each page to cover with music when printing
pages for tiling (the image size). You’ll note that Finale fills in these boxes automatically when you select your paper size, because Finale assumes you’ll want to
print on as much of each sheet as possible. If, however, you want Finale to print on a smaller portion of each sheet (in effect creating a larger margin), you can
enter smaller values in these boxes.
Center Music on Page. Select this checkbox if you want the printed image of the music to be centered on the page. If you’re creating one large tiled page by
taping several standard pages together, this option will center the printed music on the composite page. If you don’t select this option, Finale will place the printed
image in the upper-left part of the page.
Tile pages. If the printed image is larger than one standard page, Finale will normally attempt to print it on a single page anyway (and the right and bottom
portions of the page will be chopped off). If you select this checkbox, however, Finale knows to print as many pages as it needs to fit the entire printed image,
printing a portion of the full printed image on each sheet, so that you can later tape them together to form large score pages. This technique, called tiling pages,
is described more fully under Tiling Pages for printing in the User Manual.
Include Fonts in Listing. Select this checkbox to include the fonts used in the document in the Compiled PostScript Listing.
Manual Feed. Select this checkbox if you want your printer to take paper from the manual feed hopper of your PostScript printer.
Specify Additional PostScript Information. Click this checkbox to bring up the Additional PostScript Information dialog box, where you can enter a date
and title in the nonprinting "header" of the actual PostScript listing. You’ll only see this information if you open the resultant PostScript listing with a word
processor. (See Additional PostScript Information dialog box.)
Compile. Click Compile to confirm the PostScript file settings you’ve made. Finale asks you to name the PostScript listing (or EPS file) and then proceeds to
create it, storing it on your disk; you’ll hear a beep when the process is complete. To print a compiled PostScript listing, be sure you download the MAEST.PFB
laser font before downloading the listing itself. Of course, if the fonts are included in the listing, downloading the fonts separately isn’t necessary.
Cancel. Click Cancel to return to the score without creating a PostScript file.

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Compile PostScript Listing

Tip: Be sure to either take the .pfm and .pfb music font files with you if you want to print to a
postscript printer that does not have Finale installed or include the Fonts in the Listing. By default,
Finale uses Maestro as the music font, but you could also use Petrucci, Engraver Font Set, or Jazz.

See Also:
PostScript
File Menu

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Composite Time Signature

Composite Time Signature

How to get there

Click the Time Signature Tool , and double-click the measure in which you want to change the meter. The Time Signature dialog box appears. Click Composite.
Or, click the Options button and select the Composite button in the expanded options section of the Time Signature dialog box.

What it does
This dialog box allows you to create complex time signatures.

Beat Groups: _ + _ + _ + _ + _ . Enter up to five numbers that you want to appear as the upper half of the composite time signature, specifying the number of
beats per measure. Finale treats each number and its corresponding Beat Duration as a separate component of the composite time signature. You can use +
signs between numbers within a text box if you need time signatures such as 3+2+2 over 8 You can also use decimals, such as .75.
Beat Duration: _ + _ + _ + _ + _ . Enter up to five numbers you want to appear as the lower half of a composite time signature. These numbers specify the
rhythmic value of the beats in the measure. Each number appears below its corresponding Beat Group number. You can use + signs between numbers within the
Beat duration text box.
Use EDUs for Beat Duration. Select this checkbox if you need to enter beat durations for dotted notes. When this checkbox is selected, Finale uses the
specified EDUs number for the beat duration. When this checkbox is not selected, Finale displays the number you enter in the lower half of the composite time
signature.
OK • Cancel • Clear. Click OK to save new settings and return to the score, or click Cancel to cancel any changes you made to the settings. Click Clear to
remove the current composite time signature settings.

For example, to specify a dotted quarter as the beat duration, enter 1536 (1024 EDUs = quarter note,
plus 512 EDUs = eighth note for the dot value).

See Also:
Time signatures
Time Signature dialog box
Time Signature Tool

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Create/Edit Ending

Create/Edit Ending

How to get there

Create Ending: Click the Repeat Tool , and highlight the measures you want to include in the ending. Right-click and select Create Ending. Or, after selecting the
desired measures, from the Repeat Menu, choose Create Ending. Or, double-click a measure. The Repeat Selection dialog box appears. Double-click an ending
graphic repeat.
Edit Ending: Right-click an existing ending and choose Edit Ending.

What it does
In this dialog box, you can specify the properties of a repeat ending, including the text and playback
attributes.
Tip: To easily create repeats with a standard first and second ending, select the desired first ending
measure(s) and from the Repeat Menu, choose Create First and Second Endings.

Ending Number(s). Here, enter the number(s) that you would like to appear within the ending bracket. The numbers entered here also apply to playback. For
example, enter a 1 here to indicate a first ending that is to be played the first time only. On all other passes, playback skips over the ending and goes to the
target (specified below in this dialog box). You can enter multiple numbers to indicate multiple passes, and Finale will playback the ending accordingly (during
playback, after the last pass, Finale will skip over the ending and jump to the specified target). Separate multiple numbers with commas (or a hyphen for number
ranges). Finale automatically places a period after a single number if Add Period After Number is checked in Document Options-Repeats.
Alternate Text in Ending. Text entered in this text box will appear within the ending bracket instead. Enter a number sign (#) as a stand-in for the ending
number defined above). Text entered in this box does not apply to playback. If you want to combine the Ending Number with other text (for example, "4th time
only"), use the number sign (#, which you create by typing shift-3) as a stand-in for the Total Passes number (for example, "#th time only"). You set the font for
this text by choosing Fonts in the Document Options dialog box (under the Document Menu) and clicking Font. In the Text drop-down list, choose Ending repeat.
Then click Set Font. This will affect the font for all existing and future ending repeat text.
Target. When a target is specified, after playing back the total number of passes (specified in Ending Numbers), Finale will skip from the beginning of the repeat
ending measure(s) to the specified target.
Choose Next Ending to automatically skip to the next ending in the score.
Choose Measure # to indicate a specific measure number.
Choose Forward or Backward to indicate a relative number of measures in that direction.
Choose Never Skip Ending if this ending is the last ending and will be played every time through.
Skip Ending if Ignoring Repeats. Check this option to skip this ending during playback if Ignore Repeats is checked in the Playback Options dialog box.
Allow Individual Edits Per Staff. If your piece contains more than one staff, Finale will place an identical ending-repeat bracket in each staff; all brackets
will be affected when you resize or alter any one. If you want each bracket to be independently resizable and movable, select Allow individual edits per staff. You
can specify on which staves you want repeat endings to appear using Staff Lists available in the Create/Edit Ending dialog box and Backward Repeat Bar
Assignment dialog box.
Create Backward Repeat Bar (Create Ending only). Choose this option to automatically create a repeat bar after the ending. (It will be assigned to
"Always Jump" and have a target of "Nearest Forward Repeat"). Uncheck this box when creating the last ending of a repeated section (which requires no repeat
barline).

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Create/Edit Ending

Show On: All Staves • This Staff Only. Select All Staves to show the text repeat on every staff in the score and parts. All Staves is selected by default.
Select This Staff Only to assign the text repeat to the current staff only. Use the This Staff Only option if you want a text repeat to appear only in the current staff.
Staff List: New Staff List • (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will
display text repeats. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog
box for the selected Staff List, and change which staves the text repeat should appear in.
OK • Cancel. Click OK (or press enter) to return to the score, where the new (or edited) repeat barline appears. Click Cancel to tell Finale to ignore any
changes you made in this dialog box and return you to the score.

See Also:
Repeats (barlines and text indications)
Repeat Tool

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Custom Frame

Custom Frame

How to get there

Click the Text Tool . Click a text block handle. Choose Custom Frame from the Text Menu.

What it does
The Custom Frame dialog box contains an option where you specify the amount to inset a text block from the custom shape.

Shape • Select. The number in the Shape text box identifies the enclosure shape by number. To select one visually—or to create a new one—click Select. The
Shape Select dialog box will appear; if you’ve loaded a Shape Library into your piece, such as the one provided with Finale, the shapes will appear in this
selection dialog box. Either double-click on to select it, or click Create to enter the Shape Designer, where you can create your own (see Shape Designer dialog
box). In either case, when you return to the Custom Frame dialog box, Finale places the correct shape number in the text box.
View. You can magnify or reduce the view custom frame as you’re working on it by choosing a magnification level from this drop-down list. (100% is actual
size.) Use it if you want to "zoom in" on a very small custom frame, or "zoom out" to see all of a very large custom frame; neither has any effect on the size of
the custom frame as it will appear in the score.
Show: Handle • Shape • Text. These checkboxes govern what elements of your custom frame appear in the dialog box. (A selected checkbox means that
the object will appear.)
Distance from Handle. These are two small circular handles in the a Custom Frame dialog box display; a black one and white one (but they’re initially
superimposed, so that all you can see is the white one). The white circle represents the location of the custom frame’s handle when it appears in the score.

If you want to position the black dot relative to the white dot numerically, you can enter measurement values in the two text boxes. The H: text box sets the
horizontal distance from the black dot to the white dot. (a positive number moves the white dot to the right, a negative number moves it to the left); the V: text
box sets the vertical distance (a positive number moves the white dot upward, a negative number moves it downward). After entering numbers into these text
boxes, drag anywhere in the display area to update the screen image.

Inset Text. Enter the distance, in measurement units, that you want to inset the text block from the shape. Finale always uses this value, even if the frame is
hidden.

Although you can edit the text flowing into custom frames on the screen, custom frames cannot be resized on the screen, nor can they be set to expand
automatically to accommodate more text. To take advantage of on-score resizing and expanding, see Standard Frame dialog box.
Note: If you create a custom shape, Finale will display the text in a standard editing frame while you’re editing it on-screen. When you’ve finished editing, the
text will be shown on-screen, within or surrounding the custom shape you selected.

OK • Cancel. Click OK to confirm the construction of your custom frame and return to the score. Click Cancel if you decide note to create or edit a custom
frame.

See Also:
Text Menu
Text Tool

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Custom Frame

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Dashed Line

Dashed Line

How to get there


Enter the Shape Designer (see Shape Designer dialog box). Choose Dashed from the Line Style submenu of the Shape Designer Menu.

What it does
When you’re creating a shape in the Shape Designer, you can specify that a selected line (or one you’re about to draw, if no line is selected) is to be a dotted
(dashed) line. When this dialog box appears, you can specify the lengths of the dashes as well as the lengths of the gaps between them.

Dash Length. The number in this text box specifies the length of each dash of the dashed line.
Space. The number in this text box specifies the length of the gap between dashes of the dashed line.
Inches [etc.]. From this drop-down list, choose the units of measurement you want to work in within this dialog box.
Reset. Click Reset to restore Finale’s default dashed-line settings (.0625 inch dash, .0625 inch gap).
OK • Cancel. Click OK to confirm your specifications for a dashed line. If a line or shape was already selected, it now appears dashed. If nothing was selected,
the next line you create (with the Line, Rectangle, Curve, Multiline, or Polygon Tools) will be a dashed line. All lines you draw will now be dashed, until you
choose Solid from the Line Style submenu of the Shape Designer Menu. Click Cancel to return to the Shape Designer without selecting a dashed line style.

See Also:
Shape Designer
Shape Expression Designer

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Define Keyboard Shortcut

Define Keyboard Shortcut

How to get there


Choose the Simple Entry Tool. From the Simple Menu, choose Simple Entry Options and then choose Keyboard Shortcuts. Click Add or Edit.

What it does
In this dialog box, you can add a new keyboard shortcut association for any of the Simple Entry
Commands, or edit an existing association. To add a new keyboard shortcut, click Add in the Keyboard
Shortcuts dialog box. To edit an existing association, highlight the keyboard you want to
change in the Keyboard Shortcuts dialog box and choose Edit.

Commands [window]. In this window, select the Simple Entry Command you want to assign to a keystroke.
Key. Enter the main letter or number you want to assign to the Simple Entry Command highlighted in the window above.
Modifiers • Ctrl • Alt • Shift. Check Ctl or Alt or Shift to add these modifier to the keystroke.
OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the keyboard shortcuts you’ve added or edited and return to the Keyboard Shortcuts
dialog box.

See Also:
Simple Entry
Simple Menu
Simple Entry Tool
Edit Keyboard Shortcuts dialog box

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Delete Blank Pages

Delete Blank Pages

How to get there

Click the Page Layout Tool . Choose Delete Blank Pages from the Page Layout Menu.

What it does
This dialog box provides a quick, easy way for you to remove blank pages, not only from the end of your score, but from any point in your document. Blank pages
contain no music. When you delete blank pages, items such as titles or text blocks that were assigned to that particular page will also be deleted.

Delete Blank Page(s) in: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or
Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select
Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and
All Parts and Score to apply changes to the full project - all parts and the score.
From Page ___ Through ___ • From Page ___Through End of Piece. Specify the range of page numbers for the blank pages you want removed from
your score. The first page number defaults to the current page. To remove every blank page in your score, select From Page ___ Through End of Piece and
enter the number "1" in the text box.
OK • Cancel. Click OK to delete blank pages from the score, or click Cancel to return to the score without deleting blank pages.

Tip: When you're working with Facing Pages that have different left and right page margins, delete
two pages at a time to maintain the correct margins.

See Also:
Blank pages
Page Layout Menu
Page Layout Tool

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Delete Element

Delete Element

How to get there

Click the Expression Tool and double-click a note or measure, or the Articulation Tool and click a note. (If the note already has an articulation attached,
click again.) Select an articulation or expression, then Click Delete.

What it does
This dialog box allows you to delete elements from the Articulation or Expression List and specify how to handle any elements of that type already in the score. You
can replace them with another articulation or expression or you can just have them deleted.

Delete element from selection palette and replace in score with: Select. Choose this option if you want to replace the deleted element with a
different expression. Click Select to bring up the Articulation or Expression Selection dialog box where you can choose the new element.
Delete element from both selection palette and score. Choose this option to delete the articulation or expression without replacing it in the score with
another expression.
OK • Cancel. Click OK to delete the expression. Click Cancel to return to the Articulation or Expression Selection dialog box without deleting anything.

See Also:
Expressions
Expression Tool
Shape Selection

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Diatonic Instrument Definition

Diatonic Instrument Definition

How to get there

Click the Staff Tool , and double-click any staff. From the Notation Style drop-down list choose Tablature, click Select, then click the Edit Instrument button.
Click the Define button.

What it does
In this dialog box, specify the pitch variation, in whole and half steps, for a diatonic fretted instrument. In the text box, enter "1" to specify a pitch variation of a half step
from the previous (lower) fret or from the nut. Enter a "2" to specify a pitch variation of a whole step from the previous (lower) fret or from the nut. Separate each entry
in this text box with a comma.

OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your changes and return to the Fretboard Instrument Definition dialog box.

See Also:
Tablature
Guitar Notation
Fretboard Instrument Definition dialog box

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Document Options dialog box

Document Options dialog box

How to get there


From the Document Menu, choose Document Options.

What it does
This dialog box allows you to change the global settings for a number of musical items. You will find global settings for augmentation dots, barlines, ties, text inserts
and many other items. Choose one of the categories on the left side of this dialog box to display its options on the right.

Load Library • Save Library. Click the Save button to select from a list of document elements to save in a library. Click the Load button to open an existing
library.
Units. Click the drop-down list to select the measurement unit you want Finale to understand—and display—in all of its dialog boxes.
OK • Cancel • Apply. Click OK (or press enter) to save the new settings and return to the score. Click cancel and you will be prompted to save or discard
unapplied changes. Click Apply to save the selected changes in your dialog box and keep the Document Options box open.

Press Ctrl-Alt-A at any time to open the Document Options dialog box.
Hold down the Ctrl key and press Page Down to move to the next page.
Hold down the Ctrl key and press Page Up to move to the previous page.

See:
Document Options-Accidentals
Document Options-Alternate Notation
Document Options-Augmentation Dots
Document Options-Barlines
Document Options-Beams
Document Options-Chords
Document Options-Clefs
Document Options-Flags
Document Options-Fonts

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Document Options dialog box

Document Options-Grace Notes


Document Options-Grids and Guides
Document Options-Key Signatures
Document Options-Layers
Document Options-Lines and Curves
Document Options-Multimeasure Rests
Document Options-Music Spacing
Document Options-Notes and Rests
Document Options-Piano Braces
Document Options-Repeats
Document Options-Stems
Document Options-Text
Document Options-Ties
Document Options-Time Signatures
Document Options-Tuplets

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Document Options-Accidentals

Document Options-Accidentals

How to get there


From the Document Menu, choose Document Options and select Accidentals.

What it does
These options control the spacing of accidentals in relation to both the notes they are attached to
and other accidentals in an entry.

Space Between Accidental and Note. This number determines the horizontal distance between the accidental and the notehead to which it is attached.
Space Between Accidentals on Notes.This number determines the distance between accidentals that appear on notes that are a second apart or greater.
Space Within Multi-character Accidentals. This number sets the distance between accidentals that appear on the same line or space. In general, this
parameter only occurs in nonstandard key signatures where there are so many sharps or flats that triple sharps and flats are introduced, or where triple sharps or
flats appear on a note in the score; in each case, this measurement defines the distance between the double-sharp (or double-flat) symbol and the next sharp or
flat to its left.
Minimum Vertical Spacing Between Accidentals. The number in this text box, measured in lines and spaces, specifies the minimum vertical distance
between noteheads in a chord that will require Finale to rearrange the positions of accidentals to avoid overcrowding. If two accidentals are closer together than
the Vertical Spacing Between Accidentals number (measured in half spaces), one of them will be forced into the next “accidental slot” to the left, as shown. The
default is 6.

When the Vertical Spacing Between Accidentals is 4 (above left), both flats may occupy the same vertical position, because their noteheads aren't less than four
lines and spaces apart. If the Vertical Spacing Between Accidentals is 6 however, one of the flats must move to the left to avoid crowding, because the
noteheads are indeed less than six lines and spaces apart.

Music Characters; Select. Here, specify font characters to use for accidentals in your notation. Select an accidental type from the drop-down list, then click
Select to choose the character for the accidental. The available characters will depend on the default font for accidentals specified in the Font options.

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Document Options-Accidentals

Adjustment at Start of Measure. This is an adjustment to the Spacing Before Music value displayed in Document Options Notes and Rests. If you do not
want to leave as much space for notes with accidentals to the right of barlines, you can use this value to move notes with accidentals to the left.
Use Cross-Layer Accidental Positioning. Check this box to automatically avoid collision of accidentals between layers and voices and to align accidentals
an octave apart vertically. Also, with this option checked, manually adjusting an accidental’s positioning will not modify the positioning of other accidentals
attached to the entry. Note that this option does not apply to cross-staff notes moved to an adjacent staff with the NoteMover Tool.

See Also:
Accidentals (Simple Entry)
Accidentals (Speedy Entry)
Document Options-Fonts
Document Menu/Document Options

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Document Options-Alternate Notation

Document Options-Alternate Notation

How to get there


From the Document Menu, choose Document Options and select Alternate Notation.

What it does
Use these options to specify spacing and font characters for alternate notation applied to a staff. Alternate notation can be applied to any staff or a portion of a staff.

Vertical Offset for Two bar Repeat Number. The number in this text box controls the vertical placement of the number for the two-bar repeat alternate
notation.
Rhythmic Notation Vertical Positioning: Quarter Note (Small) Slash: Baseline Adjust • Stem Connection • Half Note Diamond:
Baseline Adjust • Stem Connection • Whole Note Diamond: • Double Whole Note Diamond. Use these settings to control the exact placement of
slash and diamond noteheads and how these symbols attach to note stems when you’re using rhythmic notation, such as percussion notation. Enter values in the
text boxes (in measurement units) for the amount that Finale should vertically adjust the stems to connect them properly.
Music Characters; Select. Here, specify font characters to use for alternate notation. Select the alternate notation item from the drop-down list, then click
Select to choose the character for that item. The available characters will depend on the default font for alternate notation specified in the Font options.

See Also:
Staff Tool
Alternate Notation dialog box
Staff Styles dialog box
Document Options-Fonts
Document Menu/Document Options

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Document Options-Augmentation Dots

Document Options-Augmentation Dots

How to get there


From the Document Menu, choose Document Options and select Augmentation Dots.

What it does
The Augmentation Dots options have several controls for finetuning the placement of dots in your music. To select the default measurement units, click on the Edit
Menu, then Measurement Units, then select the desired units.

Space Between Dot and Note. This text box controls the placement of the first dot on a dotted note. Enter a value in measurement units for the horizontal
distance between the notehead and the first dot.
Space Between Dots. This text box controls the distance between the dots on a note with more than one dot. Enter a number in measurement units to set
the horizontal distance between the dots.
Vertical Adjustment of Dot. By default, Finale positions the dot between two staff lines. Depending on the font character you use for the dot, you may need
to adjust the placement of the dot. Enter a larger value to raise the dot, a smaller value to lower the dot.
Horizontal Adjustment for Upstem Flags. Use this setting to position dots on upstem flagged notes. By default, Finale positions the dot to the right of the
flag to avoid collision. Enter a larger value to move the dot to the right, a smaller value to move the dot to the left.
Adjust Dot for Multiple Voices. Finale automatically adjusts dot positions in multiple layer and inner voice situations (where stems are frozen up). When you
select this option, Finale places dots below the staff line when necessary.
Music Character; Select. Click Select to choose a character for your augmentation dots. The characters available will depend on the default augmentation
dot font (specified in Font options).

See Also:
Augmentation
Simple Entry Tool
Speedy Entry Tool
Document Menu/Document Options

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Document Options-Barlines

Document Options-Barlines

How to get there


From the Document Menu, choose Document Options and select Barlines.

What it does
The Barlines options provide global settings that allow you to tailor barlines to a consistent appearance and placement in your score, without having to edit each
barline individually. You can fine-tune the appearance of barlines by separately specifying the thicknesses of the thin and heavy lines, by setting line spacings for thin,
thick and final barlines, and by defining the dash length and dash spacing for dashed barlines. You can also direct Finale to display or hide left barlines on single and
multiple staves (which is useful for scores with optimized page layout), and place final barlines through all staves at the end of each system or at the end of the piece.

Display All Barlines. When selected, Finale displays all barlines in your score. Note that barlines hidden by Staff Attributes or Staff Styles will remain hidden.
Close Barline at End of Each System. Select this checkbox if you want Finale to ignore the regular staff grouping at the end of each staff system, and
draw the barline you selected for the end of each staff system through all the staves.
Close Barline at End of Piece. Select this checkbox if you want Finale to ignore the regular staff grouping in the last measure, and draw the barline you
selected for the last measure of the piece through all the staves.
Final Barline at End of Piece. Select this checkbox if you want Finale to automatically place a final barline at the end of the piece. Even if you add or delete
measures, the last measure will always have a final barline.
Left Barlines: Display on Single Staves • Display on Multiple Staves • Default Style is Normal Barline • Default Style is Previous
Measure’s Right Barline. You can control whether Finale draws the left barline on a single staff, or on all staves in each staff system in the piece. Select the
Single Staves option to have Finale draw barlines in each staff system that contains only a single staff, such as a solo line. If this is not selected left barlines will
not display on a single staff no matter which left barline style is selected. Select the Multiple Staves option to draw the left barline in staff systems that contain
two or more staves, such as a piano part. If you want Finale to display every left barline on every staff system, select both check boxes. Deselect both options if
you want to hide every left barline on every staff system. These options are useful when you prepare a score for creating parts. Before extracting parts, select
the Multiple Staves option so that the left barline is drawn through the staves in each system, and deselect the Single Staves option. Finale will know to omit the
left barline on each part. You can also set the default for the left barline style, whether it will be a normal barline, or if it will follow from the previous measure. For
example, if you have a double barline in the previous measure and would like to start the next measure at the start of the system with a double barline, select
Default Style is Previous Measure’s Right Barline. If you prefer a different style of left barline, you can override the defaults using the left barline settings in the
Measure Tool.
Heavy Line Thickness. This setting defines the line thickness of the heavy line used for the Final and Solid barlines. Enter a value (in measurement units) for
the desired heavy line thickness. Finale’s default thickness is .042 inches (three points).
Thin Line Thickness. This setting defines the thickness of the thin line used for barlines. Enter a value (in measurement units) for the thin line thickness.
Finale’s default value for thin line thickness is .008 inches.

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Document Options-Barlines

Space Between Double Barlines. This setting defines the amount of distance between the two lines used for double barlines. The default distance is one
half-space. Enter a larger value (in measurement units) to move the two lines farther apart and increase the space between the lines. Enter a smaller value (in
measurement units) to bring the lines closer together.
Space Between Final Barlines. This setting controls the distance between the two lines used for final barlines. The default distance is one half-space. Enter
a larger value (in measurement units) to move the two lines farther apart and increase the distance. Enter a smaller value (in measurement units) to move the
lines closer together.
Dash Length. This setting controls the length of the dash used for dashed barlines. The default value is .0625 inches (4.5 points). Enter a larger value (in
measurement units) to lengthen the dash. Enter a smaller value to shorten the dash.
Dash Space. This setting controls the space between dashes used for dashed barlines. The default value is .0625 inches (4.5 points). Enter a larger value (in
measurement units) to widen the gap between dashes. Enter a smaller value to narrow the gap between dashes.

See Also:
Barlines
Staff Attributes dialog box
Staff Styles dialog box
Measure Attributes dialog box
Staff Tool
Measure Tool
Document Menu/Document Options

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Document Options-Beams

Document Options-Beams

How to get there


From the Document Menu, choose Document Options and select Beams.

What it does
This dialog box allows you to customize the beaming for your document. You can set the degree of flat beams by using the Beaming Style setting. Specify how you
prefer your eighth notes beamed in common time. Improve the look of beams over rests, and disallow beams to cross the space in a staff. To select the default
measurement units, click on the Edit Menu, then Measurement Units, then select the desired units.

Beaming Style: Base Slant on End Notes Only. With this option, Finale will draw beams at the angle created between the first note in the beam group
and the last not in the beam group. This is also the beam angle style used previous to Finale 2000.
Beaming Style: Flatten Beams Based On Standard Note. Using this option the beam angle will be determined by the note which is closest to the
center staff line—the Standard Note. Where there are two notes equidistant from the center staff line, the note closest to the beam will be used as the Standard
Note. If this note is on the outside of the beam group, the beam is angled, otherwise the beam is flattened. If there are two Standard Notes in the beam group
the beam angle is flat.
Beaming Style: Flatten Beams Based On Extreme Note. Using this option the beam angle will be determined by the note which is closest to the beam
—the Extreme Note. If this note is on the outside of the beam group, the beam is angled, otherwise the beam is flattened.
Beaming Style: Flatten All Beams. In standard notation, beams on eighth notes (and smaller values) slant at an angle corresponding to the melodic
contour of the notes they connect. You may prefer nonslanting, horizontal beams—for example, to minimize the jaggedness of beams in lower resolution
situations. Select this option if you want only horizontal beams.
Beam Four Eighth Notes Together in Common Time. Deselect this option to have eighth notes beamed in groups of 2 when in common time.
Otherwise, Finale will beam eighth notes in groups of four when in common time.
Include Rests when Beaming in Group of Four. Select this option to include any rests between eighth notes when the above option is selected.
Beam Three Eighth Notes Together Before An Eighth Rest. Select this option to beam three eighth notes together as opposed to two when there is a
rest in the first or last position of the group of 4 eighth notes.
Allow Primary Beam Within a Space. Select this option to allow beams to cross over spaces in the staff.
Allow Rests to Float. Select this option to allow rests to move away from beams.
Extend Beams Over Rests. Select this option if you want Finale to extend primary beams over rests on the outside of a beam group. Even when this option
is off, you can use Speedy Entry to create single, broken beams; just press the slash key to extend the beam over the rest to the left of the flagged note.
Extend Secondary Beams Over Rests. Select this option to extend sixteenth and smaller beams over rests on the outside of a beam group.
Display Half-Stems for Beamed Rests. If you’ve turned on Extend Beams Over Edge Rests in Beaming Options, you may also wish to select this option,

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Document Options-Beams

which places a half-stem, or stem stub, for each rest that’s bridged by a beam.

Beam Thickness. Change the thickness of beams globally using this text box.
Broken Beam Length. Enter a value for the length of all broken beams in the score. To change the direction of a broken beam use the Special Tools Broken
Beam Tool.
Secondary Beam Separation. The number in this text box specifies the vertical distance between beams. For example, it sets the distance between the
eighth and sixteenth note beams.
Max Slope. This number specifies the maximum vertical distance between the high and low ends of any beam, measured vertically in the currently selected
measurement units.
Max Distance from Middle Staff Line. This setting pertains to the stem length of notes that are very far above or below the staff. In essence, the number in
this text box specifies the maximum distance the endpoint of any beam may be from the middle staff line, based on its attachment to the note farthest from the
middle staff line in the currently selected measurement units.

The Maximum Distance from Middle Staff Line setting specifies the maximum distance a beam may be from the middle line of the staff. It’s calculated based on
the note that’s farthest from the middle line.
There are a number of variables governing the angle of beams and the length of stem lines (such as Max Slope). Therefore, if you change the default value for
this parameter, you may not see any immediate changes in the score.

See Also:
Beaming
Staff Attributes dialog box
Patterson Beams and Flat Beams plug-in
Time Signature Tool
Document Menu/Document Options

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Document Options-Chords

Document Options-Chords

How to get there


From the Document Menu, choose Document Options and select Chords.

What it does
Here, you can specify the font of chord elements, adjust their baselines and change their font characters.

Chord Alteration Baseline Adjustment: Sharps • Flats • Naturals. Use these controls to set baseline values individually for sharp signs, flat signs and
naturals placed on chord suffixes. To set the vertical distance of sharps, flats and naturals from the baseline, enter a value in each text box. Double sharps will
use the offset for sharps and double flats will use the offset for flats.
Music Characters; Select. Here, specify font characters to use for accidentals in chords. Select an item from the drop-down list, then click Select to choose
the character for that item. The available characters will depend on the default font for chord alterations specified in Font options.

See Also:
Chord symbols
Chord Tool
Document Options-Fonts
Document Menu/Document Options

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Document Options-Clefs

Document Options-Clefs

How to get there


From the Document Menu, choose Document Options and select Clefs.

What it does
Finale treats each clef intelligently, correctly renotating the music that follows it. Use these options to specify when to display clefs, modify clef spacing, configure
settings for clef changes, load and save clef libraries, and design your own clefs. Finale supplies you with eighteen standard clefs for use in your pieces.

Display Clef Only on First Staff System. When selected, Finale displays the clef on the first staff system of each page only. This option is particularly
useful for lead sheets.
Display Courtesy Clef at End of Staff System. If a clef change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by
displaying the incoming clef at the rightmost end of the preceding system. Check this box to display these courtesy clef changes.
Spacing: Before Clef • After Clef. These numbers determine the amount of space to the left and right of a clef in the score, respectively. The first text box
specifies the distance from the left barline to the clef; the second text box specifies the distance from the clef to the key signature.
Extra Space Between Clef and Key Signature. Here, specify the space between clefs and key signatures. You can use this setting as an alternative to
the Before Clef and After Clef setting.
Extra Space Between Clef and Time Signature. Here, specify the space between clefs and time signatures. You can use this setting as an alternative to
the Before Clef and After Clef setting.
Default Clef Change: Clef; Select • Percent Reduction • Offset. This text box identifies, by number, the default starting clef of a new staff and any
floating measures you create with the Ossia Tool. (Finale’s usual default starting clef is the treble clef, number 0.) If you know the number of the clef you want to
specify for all new staves, you can enter it in this text box (the available clefs are numbered 0 through 17). You may find it easier, however, to click Select; Finale
displays a palette of all eighteen available clefs. Double-click the clef you want; Finale enters its number in this text box automatically.

The number in the Percent Reduction text box specifies the default size of an inserted clef (one that appears in mid-staff), expressed as a percentage of full
size. The default value is 75%. (You can override this default reduction on a case-by-case basis. See Clef Tool.)
The number in the Offset text box sets the distance between an inserted clef and the barline it precedes:

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Document Options-Clefs

This offset applies only to “single” Finale clefs—those that appear just before the left barline of the measure they’re to modify. (Contrast with mid-measure clefs,
which can appear anywhere in a measure.) The default value is –.028 inches (a negative number, because it’s being measured leftward from the barline).

Clef Designer. Click the Clef Designer button to display the Clef Designer dialog box, where you can replace or edit any of the clefs—including their
appearance, placement, and effect on the music.

See Also:
Clefs
Clef Tool
Clef Designer
Document Menu/Document Options

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Document Options-Flags

Document Options-Flags

How to get there


From the Document Menu, choose Document Options and select Flags.

What it does
With these options, specify global settings for flag type, positioning and spacing. You can also choose new font characters for each type of flag.

Use Standard Flags • Use Straight Flags. Click Use Standard Flags to use Finale’s default flag characters. Click Use Straight Flags to place straight flags
on note stems (angled or horizontal straight flag symbols are available). You must select Finale’s Tamburo font in the Fonts options before you select Straight
Flags. If Straight Flags is not selected, Finale places curved flags on stems.
Flag Positioning: First Upstem Flag • First Downstem Flag • Second Upstem Flag • Second Downstem Flag • 16th Note Upstem Flag • 16th Note Downstem Flag
• Straight Upstem Flag • Straight Downstem Flag; H: • V:. Choose the flag style that you want to adjust from the drop-down list, then enter a different value for H:
and V: to adjust the horizontal and vertical placement of the character. You may need to adjust the placement of flags if you choose to use a font other than
Maestro or Petrucci for flags.
Flag Spacing. Type in the amount of space between flag symbols. You may need to change this value if you use a music font other than Maestro or Petrucci.
For Petrucci this value is one space (24 EVPUs), as defined by Ted Ross in Teach Yourself The Art of Music Engraving & Processing. However, flag characters
in other music fonts, such as Sonata, are not designed to be placed one space apart. In order to support the accepted standard of notating flagged notes where
the eighth and 16th notes are the same height, we have added this control, which lets you move the flag symbols closer together or further apart. For example, if
you use Sonata, you need to set the Flag Spacing to slightly less than one space in order to get consistent looking spaces between the flag characters. This is
due to the shape of the flag character.
Secondary Group Adjust. Type in the amount to shift 16th and smaller flags (the secondary flags) away from the eighth flag. Hint: A larger number moves
the secondary flags further from the eighth flag. A smaller number moves the secondary flags closer to the eighth flag. You may need to change this value if you
use a music font other than Maestro or Petrucci. For example, if you use Sonata, you need to set the Secondary Flag Adjust to pull the secondary flags close to
the eighth flag. This is due to the shape of the flag character.
Music Characters; Select. Here, choose any character in the default flag font to use for any flag type. Select the flag type from the drop-down list, then click
Select to choose a character for that flag. The available characters will depend on the default font for flags specified in Font options. Finale supports two styles of
notating 16th and smaller notes— one style for which flagged 16th notes are taller than flagged eighth notes (for files created in versions of Finale before 3.5)—
and another style for which flagged 16th notes match the height of flagged eighth notes (used in files created with version 3.5 and later).

See Also:
Flags
Document Options-Fonts
Document Menu/Document Options

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Document Options-Flags

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Document Options-Fonts

Document Options-Fonts

How to get there


From the Document Menu, choose Document Options and select Fonts.

What it does
These options allow you to globally change the font for almost every element in your score. It lets you change all occurrences at once, or set the primary font to the
one you most often use. Set the initial font for full and abbreviated staff names and group names. Choose a name item from the drop-down list, then click Set Font to
specify the initial font for full and abbreviated staff names and group names. This font is used when you first create a name. Use the Chord drop-down list where you
can specify separate fonts and sizes for chord roots and chord suffixes, and setting the baseline positioning of sharps, flats and naturals that appear on some chord
roots. Maestro, a music font provided with Finale, is the default font for the musical symbol elements such as Music, Clef, Key, and Time. However, Finale offers you
the option of setting these musical elements in any other music fonts, such as Engraver, Jazz, Petrucci (also provided), Sonata or Crescendo you can mix and match
fonts to suit your taste.

Font display. The font, size and style specified for an item appears below the selected item, so you can see what font is selected without entering the Font
dialog box.
Lyrics: Verse • Chorus • Section; Set Font. Choose this command, then click Set Font to specify the default font, size and style for Lyrics. These three
types of lyrics are technically identical, as far as Finale is concerned, except that each type may have its own default font. (When you enter the text for lyrics, use
the Set Font button in the Edit Lyrics window to specify variations from the primary font.)
Text: Text Expression • Text Repeat • Ending Repeat • Text Block • Measure Number • Staff Names (Full) • Staff Names (Abbreviated) • Group Names (Full) •
Group Names (Abbreviated); Set Font. Choose this command, then click Set Font to choose the default font, size and style of various text elements.
Choose Text Expression to specify the primary (default) font for text expressions you create with the Expression Tool.
Choose Text Repeats to specify the primary (default) font for these text repeats, such as Fine, that you create.
Choose Ending Repeat to specify the primary (default) font for the text under a repeat barline bracket ("1,2,3,", for example, or "Repeat and fade").
Choose Text Block to specify the primary (default) font for text blocks.
Choose Measure Number then click Set Font to set the initial font for measure numbers in this dialog box. (You can still change the fonts for each measure
number region in the Measure Number Map for Region dialog box.). The fonts you select for full staff names and full group names will also be used for the
default, non-printing staff and group names.
Notation: Noteheads • Augmentation Dot • Accidentals • Flags • Rests • Clef • Key • Time • Time Signature Plus Sign • Alternate Notation • Alternate Notation
Number • Repeat Dot • Multimeasure Rest • Tuplet • Tablature • Articulation; Set Font. You can separately define a different font for each music element—notes,
flags, rests and so on. Use the drop-down list to set the font for each item. There’s also an option for setting the initial font for articulations and the number
displayed over multimeasure rests. Choose a notation type, then click Set Font to choose the font, size and style for the element.

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Document Options-Fonts

Chord: Symbol • Suffix • Alteration • Fretboard; Set Font. Items in the Chord drop-down list include Alteration and Symbol, Suffix and Fretboard. Suffix
allows you to specify separate fonts, sizes and styles for chord roots and chord suffixes. This will ensure correct font and character spacing when you enter new
chords directly into the score using Finale’s Type Into Score method.
Chord Alteration Baseline Adjustment: Sharps • Flats • Naturals. Use these controls to set baseline values individually for sharp signs, flat signs and
naturals placed on chord suffixes. To set the vertical distance of sharps, flats and naturals from the baseline, enter a value in each text box. Double sharps will
use the offset for sharps and double flats will use the offset for flats.

See Also:
Fonts
Font Annotation
Staff Attributes dialog box
Measure Attributes dialog box
Document Menu/Document Options

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Document Options-Grace Notes

Document Options-Grace Notes

How to get there


From the Document Menu, choose Document Options and select Grace Notes.

What it does
Use these options to globally modify the size, spacing, thickness and playback duration of grace
notes throughout your document.

Grace Note Size. The number in this text box specifies the size of grace notes in your document, expressed as a percentage of normal-sized notes. The
default is 50%.
Tablature Grace Note Size. The number in this text box specifies the size of grace notes in a tablature staff, expressed as a percentage of normal-sized
notes. The default is 50%.
Grace Note Offset on Entry. This option controls the distance of the first grace note from the note it is attached to, as well as the distance between grace
notes. Enter a value in the current measurement units.
Grace Note Slash Thickness. This value controls the thickness of grace note slashes.
Always Slash Flagged Grace Notes. It’s customary to place a small diagonal slash through the flag of any grace note that’s not beamed to other notes.
Select this option if you want the slash to appear by default on all unbeamed grace notes. If this option is on, the Simple Entry and Speedy Entry Tools will only
toggle between slashed grace note and full note.
Playback Duration _ EDUs • Set Duration. Enter a value in the EDUs text box to specify the grace note duration (there are 1024 EDUs in one quarter
note), or click Set Duration. If you choose Set Duration, the Set Duration dialog box appears and you can choose a duration value from the note palette. Finale
will automatically enter the corresponding EDU value in the text box. Grace notes on any given note will play back according to the duration that you specify.

See Also:
Grace notes
Slash Flagged Grace Notes plug-in
Simple Entry Tool
Speedy Entry Tool
Document Menu/Document Options

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Document Options-Grace Notes

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Document Options-Grids and Guides

Document Options-Grids and Guides

How to get there


Choose Grid/Guide Options from the View Menu, or from the Document Menu, choose Document Options, then select Grids and Guides.

What it does
Use the Grid/Guide Options dialog box to set the various options for the grids and guides on your page.

Grid Line Every. Type in the number and select the units for your grid spacing.
Display One In ___ . You can set how dense the grid is displayed. Even though you are snapping every quarter inch, you can display the grid every half inch.
Gravity Zone Size. Use this text box and units selection to specify the area around the guide that will be affected by Snap to Guide.
Grid Line Style • Guide Line Style: Solid • Dashes • Dots • Cross hairs. Select the type of grid and guide to be displayed.
Grid Color • Guide Color. Click on these buttons to set the Grid and Guide color.
Items to Snap to Grid • Items to Snap to Guide. Click on these buttons to select which items will be affected by snapping.
Show Grid • Show Guide. Select these checkboxes to display the grids and guides. This is the same as selecting Show Grid or Show Guide from the View
Menu.
Snap to Grid • Snap to Guide. Select these checkboxes to activate Snap to Grid or Snap to Guide. This is the same as selecting Snap to Grid or Snap to
Guide from the Edit Menu.

See Also:
Grids and Guides
Items to Snap to Grid dialog box
Items to Snap to Guides dialog box
View Menu
Document Menu/Document Options

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Document Options-Key Signatures

Document Options-Key Signatures

How to get there


From the Document Menu, choose Document Options and select Key Signature.

What it does
Use these options to specify where to display key signatures, and configure key signature spacing.

Display Key Signature Only on First Staff System. When selected, Finale will display the key signature on the first staff system of each page only. This
options is particularly useful for notating lead sheets.
In C, Display Naturals at Start of Staff System. If a key change to the key of C occurs at the end of a line, select this item if you want Finale to repeat
the display of canceling accidentals by drawing them at the beginning of the new line. (The naturals appear at the end of the previous line whether this option is
selected or not, if you’ve specified that you want "courtesy" key signatures to appear at the ends of lines.)
Redisplay Key Signature if Only Mode is Changing. Using the Key Signature Tool, you can create virtually any key signature; each can have any note
of the scale as its root. This option has to do with key changes from one key to another that have identical sharps or flats in the key signature, but aren’t actually
the same key (and are instead in different modes)—for example, from C minor to E major. Select this item if you want Finale to treat such a key change in the
usual way—by canceling the first key signature before displaying the second. If you don’t select this option, Finale won’t cancel the first key signature before
displaying the second.
Cancel Outgoing Key Signature. If the key is changing from a "sharp" key to one with fewer sharps, or a "flat" key to one with fewer flats, select this option
if you want Finale to display "canceling" naturals in the courtesy key signature for any sharps (or flats) that are no longer sharped (or flatted) in the new key
signature. Otherwise, no naturals will appear in the courtesy key signature.
Display Courtesy Key Signature at End of Staff System. If a time signature change occurs at the end of a line (system) of music, it’s traditional to
forewarn the musician by displaying the incoming time signature at the rightmost end of the preceding system. If you want this "courtesy" key or time signature to
appear, select this checkbox. If not, leave it unselected, and the new key or time signature will only appear at the beginning of the new line.
Preserve Octave When Simplifying Keys. When using Simplify Keys in a Staff Transposition, Finale will octave displace a note in some rare
circumstances. Checking this box will prevent the octave jump while attempting to simplify the key for transposing instruments. This box is unchecked for
documents converted from earlier versions.

Space Before Key Signature Key • Space After Key Signature • Canceled Key. The top two numbers determine the amount of space before and
after a key signature in the score, respectively. The Canceled Key number sets the distance between a "canceled" (outgoing) key signature and a new one.
Space Between Key Signature Accidentals. This number determines the distance between accidentals in key signatures.
Extra Space Between Key and Time Signature. Here, specify the space between the key signature and time signature. You can use this setting as an
alternative to the Space Before key signature setting.
Music Characters; Select. Here, specify characters to use for accidentals on key signatures. Select an accidental type from the drop-down list, then click
Select to choose the character for the accidental. The available characters will depend on the default font for key specified in Font options.

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Document Options-Key Signatures

See Also:
Key signatures
Key Signature dialog box
Key Signature Tool
Document Options-Fonts
Document Menu/Document Options

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Document Options-Layers

Document Options-Layers

How to get there


From the Document Menu, choose Document Options and select Layers.

What it does
The easiest way to notate simultaneous independent voices on a single staff is to use Finale’s Layer mechanism. Using these options, you can define the behavior of
music in each layer—for example, you might want the second layer’s note stems always to go down, and you might want to make sure that second layer rests are out
of the way of the upper layer. Note that the system of Voice 1/Voice 2 uses a completely independent method of flipping the stems.

Settings for Layer 1 • Layer 2 • Layer 3 • Layer 4. Using this drop-down list, choose the layer for which you’re establishing your settings. For example,
you may decide that stems in Layer 1 should go up, and stems in Layer 2 should go down. How you handle Layers 3 and 4—since there aren’t any more stem
directions to choose from—depends on the structure of the inner voices in the particular piece you’re working on.

Freeze Stems and Ties • Freeze stems Up/Down. When you select this checkbox, you can choose an automatic stem direction for stems. Choose
either Up or Down from the drop-down list. Most of the time you’ll want to freeze Layer 1’s stems up and Layer 2’s stems down, and also to select Apply Settings
Only if Notes are in Other Layers; with this setup, Finale will flip all stems up only when necessary—when there’s another voice (that is, in another layer) on the
same staff.
Freeze Ties in the Same Direction as Stems. When there’s only a single voice on a staff, a tie customarily arcs away from the noteheads it’s attached to
—hence, in the opposite direction from the note stems. If there are two voices on the staff, however, ties that followed this scheme would overlap and be difficult
to read. This option, then, tells Finale to flip ties the "wrong way"—in other words, if notes in Layer 2 are present, you’ll want ties in Layer 1 to flip upward, even
though the Layer 1 stems are upward.
Adjust Floating Rests by ___ Steps. If you select this item, you can enter a number in the text box that tells Finale, in lines and spaces, how much higher
(or lower) than usual you want it to position rests in this layer. For example, you may want to enter a 4 in the text box and also select Apply Settings Only if
Notes are in Other Layers; with this setup, Finale will move the upper voice’s rests up out of the way only when there’s a second voice on the same staff. (Of
course, you could accomplish the same thing manually, by dragging any rest vertically using the Speedy Entry Tool; position the insertion bar on it and then drag
it up or down.) A typical setup might be an Adjust Floating Rest setting of 4 for Layer 1, and –4 for Layer 2.
Hide Layer when Inactive. When this item is selected, the notes in this layer will only appear when it is the active editing layer. When this item is not
selected, the notes in a hidden layer will appear as greyed notes when you are editing other layers.
Apply Settings Only if Notes are in Other Layers. Select this option if you want the other options—involving stems, ties, and rests—to apply only when
there’s another voice (in another layer). If you don’t select this option, Finale will flip all Layer 1 stems (for example), or adjust all Layer 1 rests, even when Layer
1 is the only voice in a measure.

Ignore Layers Containing Only Hidden Notes • Ignore Hidden Layers. Check Ignore Hidden Notes to have Finale skip Layer Options settings for
measures where only hidden notes appear in other layers. Uncheck this box to have hidden notes affect when Finale applies the Layer Options settings, if the

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Document Options-Layers

Apply Settings Only box is checked. For example, you may wish to check this box if you’re using hidden notes in another layer for playback of a notated trill.
Check Ignore Hidden Layers to have Finale skip Layer Options settings if the entire layer is hidden by the Hide Layer when Inactive checkbox above.
Playback. If you select this item, notes in this layer will playback as normal. If you uncheck this item, notes in this layer won’t playback. For example, you may
wish to leave layer 1 unchecked for playback for a notated trill. Note that the Play setting in the Instrument List provides the same function.
Affect Music Spacing. If you select this item, notes in this layer will be considered when music spacing is applied. If you deselect this item, notes in this layer
will be ignored during music spacing. For example, you may wish to leave layer 4 unchecked for Affect Music Spacing for written-out playback-only trills.

See Also:
Multiple voices
Instrument List
Simple Entry Tool
Speedy Entry Tool
Document Menu/Document Options

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Document Options-Lyrics

Document Options-Lyrics

How to get there


From the Document Menu, choose Document Options, and then select Lyrics.

What it does
Here, you can specify the alignment and justification of specific types of syllables in your piece such as syllables with word extensions, or syllables starting a system.
You can also set the hyphen spacing, word extension line thickness and the position of word extensions (vertically and horizontally.

Syllables with Word Extensions • First Syllable in Lyric • Syllables at Start of System • Others; Alignment • Justification: Center • Left
• Right. You can select the global alignment and justification option for your score with these settings. (See Lyrics Menu for examples of syllable alignment and
justification.) The order of the alignment and justification items in the dialog box also indicate order of precedence. For example, if you have a syllable which is
the first syllable in the system, but also has a word extension, the Syllables with Word Extensions settings will be used instead of the Syllables at Start of System
(assuming you have both these items checked). If you have a syllable that starts a system as well as has a word extension, the setting for word extensions will
be used. Select the checkbox next to the options you would like to affect your score.

Use Smart Hyphens. With this box checked, Finale can create hyphens over system breaks automatically and also uses the hyphen character of the font
specified for lyrics.
Always. Choose Always to place a hyphen at the start of the following system whenever the last syllable on the previous system has a hyphen. With this option

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Document Options-Lyrics

selected, a hyphen will appear at the start of the second system even if the lyric is attached to the first note.
Only when the first syllable is attached to the second note or later. Choose this option to only show hyphens at the start of the second system if
the lyric appears on the second note of the system or later.
Never. Choose this option to never put a hyphen at the start of the second system.
Maximum Space Between Hyphens. Enter the distance between multiple hyphens that appear between lyric syllables. When the distance between hyphens
matches this value, Finale creates another hyphen between the lyric syllables. If you only want a single hyphen to appear between syllables, set this value to a
large distance, such as 12 inches.
Word Extensions. Click Word Extensions to open the Word Extensions dialog box where you can modify the appearance and behavior of Smart Word
Extensions.

See Also:
Lyrics
Document Menu/Document Options
Word Extensions dialog box

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Document Options-Lines and Curves

Document Options-Lines and Curves

How to get there


From the Document Menu, choose Document Options and select Lines and Curves.

What it does
Lines means staff lines, ledger lines, underlines, and so on. Here, you can change their thickness. In the Curves section, you can specify the resolution for curves
displayed on the screen and for Non-PostScript printers. The resolution settings apply to all slurs, ties and curves for on-screen display and non-PostScript printing.

Line Thickness: Enclosures • Staff Lines. In these boxes, enter the desired thickness for enclosures and staff lines.
Ledger Lines: Thickness • Left Half • Left Half Rest • Right Half • Right Half Rest. Enter a value after Thickness to globally set the thickness of
ledger lines. For the remaining parameters in this section, you can specify the lengths of the left and right halves of ledger lines independently— that is, the
portion that protrudes from the left and right sides of the note or rest. A positive number makes the ledger half longer.
Resolution • Lower Resolution • Medium Resolution • High Resolution. Technically speaking, these settings determine how many tiny, vertical line
segments Finale uses to compose the display of each slur, tie, and brace. Instead of clicking one of the three general-setting buttons, you can also enter a
number from 1 to 128 directly into the Resolution text box. The higher the number, the finer the resolution of these curves will be—but (as indicated in the wording
of the dialog box) the longer it’ll take the program to draw them on the screen. For that reason, you may want to leave the Curve Resolution on Low while you’re
preparing your piece, and then change it to High just before you print on a non-PostScript printer. If you have a PostScript laser printer, these settings have no
effect on your printouts.
Underline Depth. The number in this text box sets the distance, for underlined text, between the underline itself and the baseline of the text.
Underline Thickness. The number in this text box sets the thickness, for underlined text, of the underline itself.
Shape Designer Slur Tip Width. This setting determines the thickness of the curved line at the end of a slur in the Shape Designer.

See Also:
Shape Designer dialog box
Document Menu/Document Options

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Document Options-Multimeasure Rests

Document Options-Multimeasure Rests

How to get there


You can access the Multimeasure Rest options from a number of places, depending on whether you’re setting up global values for multimeasure rests, extracting parts,
or creating and editing multimeasure rests in your music.
1. From the Document Menu, choose Document Options, then select Multimeasure Rest to change the default settings for multimeasure rests.
2. In Scroll View, select one or more staves with the Staff Tool, then choose Special Part Extraction from the Edit Menu.
3. From the Document Menu, choose Manage Parts, click Part Creation Preferences, then click Multimeasure Rests.

What it does
Use the Multimeasure Rest dialog box to define how Finale will display multimeasure rests for the score or parts. In this dialog box, you can set up the appearance of
newly created multimeasure rest measures in the score. Here, you will be define the initial appearance of each multimeasure rest Finale creates. (Finale also uses the
multimeasure rest settings from the Document Options when you create a multimeasure rest by choosing Create from the Multimeasure Rests submenu in the Measure
Menu.) To change the appearence of an existing multimeasure rest, use the Multimeasure Rest dialog box.

Select. The shape for the multimeasure rest itself is identified by the number in the text box next to the Select button. If a number other than zero appears in the
text box, a rest has already been selected. If a zero appears in the text box, click Select to enter the Shape Selection dialog box, which contains the shapes
available in this file. Click Select if you want to select an existing rest shape. If you want to create your own shape, click Create in the Shape Selection dialog
box to enter the Shape Designer.
Adjust Start Point • Adjust End Point. Use these values to adjust the start and end points of the shape used for the multimeasure rest. Changing these
values lengthens or shortens the shape. You usually won’t need to change these settings, but you may find them useful if you have a cautionary clef sign that
appears in the multimeasure rest grouping. Enter positive values to shift the shape’s start or end point to the right; enter negative values to shift the start or end
point to the left.
Update Automatically. With this box checked, Finale automatically redistributes multimeasure rests to show measures containing notes added within the
measure region of a multimeasure rest. (Notes can be entered into one of these measures in Scroll or Studio View where multimeasure rests are not visible).
With this box checked, multimeasure rests will never overwrite notation. If this box is not checked, notes can appear in Scroll or Studio view, but be hidden by a
multimeasure rest in Page View. Note that Finale does not automatically re-create multimeasure rests if the notes are deleted.
Number Adjustment: H: • V:. Set the horizontal and vertical position of the rest number by entering values (in measurement units) in the Number Adjustment
fields. Enter a positive value in H: to move the number to the right. Enter a positive value in V: to raise the rest number higher on the staff.
Start Numbering at ___ Measures. There are certain cases in which you may not want a number to appear over a multimeasure rest. If you have a section
that’s vamping, for example, you may prefer to have no number appear, then add an expression that says to vamp a certain number of times, or until a singer or
instrument comes in. This value is also useful when you’re notating rests with symbols instead of a shape. Standard notation practice advises using symbols for
rests that are less than nine measures. If you don’t want a number to appear over the symbols, enter "9" in this text box. A number will only appear on rests of
nine or more measures.

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Document Options-Multimeasure Rests

Measure Width. The value in this text box specifies the minimum width (in measurement units) of a multimeasure rest measure. Rests may actually be
stretched somewhat wider when Finale justifies the systems on a page. You can also use the Measure Tool to adjust the measure width of a single measure right
on the score.
Use Symbols for Rests Less Than ___ Measures. Select this option if you want to use the alternate symbolic style of notating rests instead of using a
shape. You can use a combination of double and whole rest symbols. Finale defaults to nine measures as the maximum for using symbols, adhering to standard
practice. If you prefer to use the symbolic style and don’t want numbers to appear over the rests, be sure to change the Start Numbering at ___ Measures text
box to reflect the number of measures for which Finale should display a number over the rest.
Space Between Symbols. This value (in measurement units) controls the distance that appears between each rest symbol when you’re using the symbolic
style to notate multimeasure rests.

See Also:
Multimeasure rests
Shape Designer dialog box
Measure Attributers dialog box
Measure Tool
Document Menu/Document Options

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Document Options-Music Spacing

Document Options-Music Spacing

How to get there


From the Document Menu, choose Document Options, then select Music Spacing.

What it does
Because the matter of music spacing is one of personal taste, this dialog box lets you determine how Finale handles music spacing; for example, you can specify
whether or not extra space should be allotted to accommodate lyrics or chord symbols, or specify the minimum distance between tied notes. To select the default
measurement units, click on the Edit Menu, then Measurement Units, then select the desired units.

Avoid Collision of: Notes and Accidentals • Articulations • Chords • Lyrics • Note Expressions • Clefs • Unisons • Seconds • Ledger
Lines. Because lyric syllables, accidentals, and other elements are "attached" to their notes, they may require that extra space be allotted to their notes. If the
appropriate options are selected, Finale will add enough additional space to each beat or note to ensure that none of these elements overlap (or, in the case of
Notes and Accidentals, that no accidentals overlap other notes or a barline).
Minimum Measure Width • Maximum Measure Width. Using these text boxes, you can specify a minimum or maximum width for the measures in the
region you respace with the Music Spacing command. If any measures are narrower or wider than you’ve specified, Finale will adjust them so that they fall within
the specified range.

This feature can be useful for setting whole-rest and whole-note measures to some width that’s wider than Finale’s spacing feature would ordinarily allot.

Minimum Distance Between Items. Enter the minimum distance (in the current measurement units) you want to appear between elements selected for
collision avoidance.
Minimum Distance Between Notes with Ties. Enter the minimum distance (In the current measurement units) you want to separate ties notes.
Manual Positioning: Clear • Ignore • Incorporate. Manual positioning refers to any manual dragging you’ve done with the Speedy Entry Tool or the
Special Tools Tool. Choose Clear from the drop-down list to remove all manual adjustments while spacing the music. Choose Ignore from the drop-down list to
have Finale space the music as if it weren’t manually positioned; after spacing, Finale will add the positioning to its result. Finally, choose Incorporate to include
any manual adjustments into Finale’s calculations while spacing the music.
Grace Note Offset on Entry: Automatic Distance Between • Keep Current • Reset to Grace Note Offset. Enter a value here (in the
measurement unit chosen under the Edit Menu) to specify the distance between consecutive grace notes. Choose Keep Current to leave grace notes at their
current positions upon music spacing (use this option if you want to retain manual positioning applied to grace notes). Choose Reset to Grace Note Offset to set
grace notes back to the positions specified by the Grace Note Offset on Entry option in Document Options-Grace Notes.
Use Fonts and Resolution from: Screen • Printer. These options account for the differences between the screen and printer resolution. Choose Printer
to ensure that computations use printer fonts and resolution from the currently selected printer.
Use Spacing Width Table; Widths. Select Use Spacing Width Table to use the spacing setting in the currently loaded Spacing Table. Click the Widths

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Document Options-Music Spacing

button to enter the Spacing Widths dialog box, where you can view or change the actual pairings of rhythmic values to width allotments. (See Duration Allotments
dialog box.)
Use Default Width If Duration Not In Table. In each of the Spacing Width Libraries Finale uses to calculate the appropriate spacing to give each note,
there are width allotments assigned to each of two dozen note values. For example, Finale knows precisely how much space to give a quarter note, an eighth
note, and so on.

Sometimes, however, Finale will encounter a note in your score for which it doesn’t have a predetermined width value—a quintuplet sixteenth note, for example.
If you leave Use Default Width unselected, Finale will automatically consult its Spacing Library to find out the widths assigned to the nearest note values—a
sixteenth note and a 32nd note, in the quintuplet example—and interpolates a new value automatically. This intelligent method will always give you the most
professional results.
If you select Use Default Width, Finale will assign all unknown note values to a single default catch-all width value. See Duration Allotments dialog box for
instructions on setting this default value, whose Duration is called zero.

Use These Values: Reference Duration; Duration • Reference Width • Scaling Factor. Select Use These Values to use a spacing ratio for all
values instead of setting individual values using the Spacing Table. The Reference Duration is the selected note to base the spacing on, such as the quarter note
or whole note. Click Duration to bring up the Set Duration dialog box to select from a palette instead of typing in the EDU for the specified duration. See Set
Duration dialog box. The Reference Width tells Finale the amount of space to allocate to the Reference Duration.

The Scaling Factor (a number from 1.0 to 2.0) determines the spacing relationship between the Reference Duration and other durations in the document. For
example, if a quarter note has a Reference Width of 72 EVPUs and the Scaling Factor is set to 2.0, the half note will receive 144 EVPUs (or twice as much)
space. Conversely, a Scaling Factor of 1.0 will give the same amount of space to every note. The Scaling Factor for Fibonacci Spacing, a commonly used
relationship in many fields, not just music spacing, is 1.618.

OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in this dialog box. You return to the score.

Tip: Music Spacing can be applied when notes are entered with Automatic Music Spacing (Program
Options-Edit) or select a region of music with the Selection Tool and choose Apply Music Spacing
from the Utilities Menu.

See Also:
Music spacing
Document Menu/Document Options
Document Menu

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Document Options-Piano Braces and Brackets

Document Options-Piano Braces and Brackets

How to get there


From the Document Menu, choose Document Options and select Piano Braces.

What it does
Using these options, you can adjust the curvature, thickness, and overall shape of the curly piano braces used in your document.

[Display and handles]. Finale creates a piano brace by drawing two sets of curves, then filling the space in between with black to produce a smoothly
tapered brace. By tugging on handles that control the curves, you can make different sections of the brace thicker or thinner.

H: • V:. These values for each of the items listed below describes the horizontal and vertical placement of the corresponding handle (as shown in the diagram

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Document Options-Piano Braces and Brackets

above). To move a handle to the right, enter a positive number in the H: text box. To move a handle down, enter a negative number in the V: text box, and so on.

Outer Tip • Inner Tip. These handles (and their corresponding H: and V: coordinates) control the thickness of the brace near the outer tips.
Outer Body • Inner Body. These handles (and their corresponding H: and V: coordinates) control the thickness of the brace near the center—the main curve.
Width of Brace. This variable controls the overall width of the brace, from its leftmost point (the center point) to the rightmost (the points of the tips).
Center Thickness. Enter a value in measurement units for the thickness of the center point of the piano brace. Increase the value to make the center point
thicker, decrease the value to make the center point thinner.
Tip Thickness. Enter a value in measurement units for the thickness of the tips of the piano brace. Increase the value to make the tips blunter; decrease the
value to make the tips thinner.
Default Distance from Left Edge of Staff. Here, you can specify the space between group brackets and the left edge of the staff.
Reset. Reset restores the piano brace to its original default settings.

See Also:
Groups
Document Menu/Document Options

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Document Options-Repeats

Document Options-Repeats

How to get there


From the Document Menu, choose Document Options and select Repeats.

What it does
The Repeat options provide a number of powerful options that enable you to define global settings for repeats. The changes you make affect the appearance of all
repeat bars in your score. You can set the thickness of both thin and thick lines of a repeat, tell Finale how much space to leave between repeat lines or between lines
and dots, and draw repeats that have curved, single, or double "wings". You can also set the amount of space to leave before a forward repeat that is placed after a
starting clef, or a key or time change. You can define the appearance of repeat dots and position them in relation to the repeat, independently of each other. Finale
also offers three choices of back-to-back repeat styles.

Wing Styles: None • Curved • Single • Double. Click to select a wing style for all repeat bars in your score.
Back-to-Back Styles: Thin • Mixed • Thick. Click to select a style for back-to-back repeats in your score, using thin lines, a mixture of thin and thick
lines, or only thick lines.
Line Options: Heavy Line Thickness. Enter the line thickness (in measurement units) of the thick lines used in repeat bars. This setting affects the thick
lines in all repeats currently in your score, as well as those not yet created.
Line Options: Thin Line Thickness. Enter the line thickness (in measurement units) of the thin lines used in repeat bars. This setting affects the thin lines in
all repeats currently in your score, as well as those not yet created.
Line Options: Space Between Lines. Enter a value (in measurement units) to set the distance between the thin and thick lines in repeat bars.
Forward Repeat Spacing: After Clef • After Key • After Time. These three new controls ensure that enough space appears before forward repeat
bars in your score. Enter a positive value (in measurement units) to change the distance between forward repeats and any starting clefs, or key or time signatures
at the start of staff systems.
Space Between Dot and Line: Forward Repeat • Backward Repeat. These settings enable you to position a repeat dot horizontally in relation to the
thin line of a repeat. Enter a value in Forward Repeat (in measurement units) to set the horizontal spacing between a dot and the thin line in a forward repeat. As
the value increases, so does the distance between the dot and the line. Enter a value in the Backward Repeat text box (in measurement units) to set the
horizontal spacing between a dot and the thin line in a backward repeat. As the value increases, so does the distance between the dot and the thin line.
Vertical Dot Adjustment: Upper Dot • Lower Dot. By default, Finale places repeat dots vertically in the center of the spaces above and below the middle
line of the staff for the Upper and Lower Dot respectively. These settings allow you to vertically reposition dots in relation to their default positions. Enter a positive
value (in measurement units) to raise the upper or lower dot above its default position. As the value increases, the dot moves higher up the staff. Entering a
negative value moves the dot below its default position. As the negative value increases, the dot moves further down.
Show On: All Staves • Top Staff Only • Staff List: New Staff List • (All defined Staff Lists); Edit. These options control the default "Show On"
setting for all repeat dialog boxes including the Backward Repeat Bar Assignment, Text Repeat Assignment, and Edit Ending dialog boxes. Select All Staves to

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Document Options-Repeats

indicate you want to show repeat markings on every staff in the score and parts. Select Top Staff Only to indicate you want repeat markings to appear on the top
staff only. Select New Staff List to display the Staff List dialog box, where you define which staves will display repeat markings. To select a Staff List already
created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog box for the selected Staff List, and change which
staves repeat markings should appear in. The set tings in this subsection do not apply to existing repeats.
Add Period After Number. Check this box to automatically place a dot after the number that appears in repeat ending brackets (the number that appears
after "Ending Number(s)" in the Create Ending dialog box or Edit Ending dialog box. This option does not apply to Alternate text specified in these dialog boxes.
Repeat Dot Character: Select. Click Select to choose the character used for the repeat dots.
Reset. Click Reset to restore the built-in Finale default settings.
Maximum Repeat Passes. Enter a value in this text box to specify the maximum number of times a repeated section is allowed to playback. This option
overrides a repeated section defined to repeat a greater number of times. Most importantly, if any repeated section in the document is defined to loop back on
itself at every pass, this setting prevents Finale from processing these measures infinitely (which effectively hangs the program upon initiating playback).
Repeat Endings. Click this button to open the Repeat Endings dialog box. See Repeat Endings dialog box.

See Also:
Repeats
Repeat Tool
Repeat Endings
Document Menu/Document Options

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Document Options-Stems

Document Options-Stems

How to get there


From the Document Menu, choose Document Options and select Stems.

What it does
This dialog box contains options for controlling stem length, thickness and offset from notehead as well as options for customizing your stem connections.

Normal Stem Length • Shortened Stem Length. These numbers determine the lengths of note stems, measured in the currently selected measurement
units. (Set both boxes to zero if you want stemless notes.) The first number is the length of a normal stem. The Shortened Stem Length specifies the length of a
stem that’s been flipped in the "wrong" direction, on a note a line (or more) away from the middle staff line.

Half-Stem Length. Enter a value in measurement units for the length of all half-stems placed over rests. Use the Document Options dialog box to set whether
Finale displays half-stems over rests in your score.
Reverse Stem Adjust. A reverse stem is one that’s attached to the "wrong" side of its note-head, often in conjunction with cross-staff notes or notes in

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Document Options-Stems

different registers, as shown here:

The number in the Reverse Stem Adjust text box specifies where a note’s stem should end, measured in the currently selected measurement units from its
normal location, in those cases where the stem direction is also reversed (see figure below).

Note, however, that Finale also considers a number of other variables when it decides how long a stem should be, including the Max Slope and Max Distance
From Middle Staff (in Document Options-Beaming) parameters, as well as standard notation rules for stemming. Therefore, if you change the value for this
parameter you may not see any immediate changes in the score.

Stem Line Thickness. Enter a value here to specify stem line thickness throughout your document.
Stem Offset for Noteheads. This value, which you may need to change if you use a music font other than Maestro or Petrucci, adjusts the vertical position
of the note stems relative to their noteheads. The number (in measurement units) specifies the distance between the note-head and the bottom of the stem. The
default is .5 points (or the equivalent unit of measurement). You can also specify the settings for each individual notehead type.
Display Reverse Stemming. A reverse stem is one that’s drawn on the "wrong" side of its notehead; it’s encountered most frequently in conjunction with
cross-staff notes.

You may find your score easier to edit, however, if these stems are temporarily drawn on the correct sides of their noteheads; if so, select this option. At any
time, you can restore these stems to reverse-stem status by turning this option off again. (You might want to select this option at the same time you select
Display Cross-staff Notes in Original Staff, so that all notes are temporarily drawn without their unusual beaming configurations.)

Use Stem Connections. When Use Stem Connections is selected, Finale uses all the special stem connections defined in the document. If you have X
noteheads or other custom noteheads in the piece and Use Stem Connections is selected, Finale will adjust the stems on the noteheads shown in this dialog box.
When this option is not selected, no special stem connection settings are used.
Stem Connections. Click to display the Stem Connections dialog box, where you can define custom stem connections.

See Also:
Stems
Document Options-Beams
Stem Connections
Document Menu/Document Options

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Document Options-Ties

Document Options-Ties

How to get there


From the Document Menu, choose Document Options and select Ties.

What it does
Use the Ties Options to define global settings for the appearance and placement in the score of short, medium and long ties. Changes to these settings affect all ties
to be added to the score as well as ties already in the score (note that you can override some Tie Options settings for individual ties in the Tie Alterations dialog box).
To select the default measurement units, click on the Edit Menu, then Measurement Units, then select the desired units.

Tie Placement: Over/Inner • Under/Inner • Over/Outer/Note • Under/Outer/Note • Over/Outer/Stem • Under/Outer/Stem. These six settings
let you precisely place ties in your score for different situations. Over and Under refer to ties over the notes or chords and ties under the notes or chords,
respectively. Inner ties are ties that sit inside of a tied chord. Finale uses the Inner settings to draw and place all ties in the score unless Use Outer Placement is
selected. When either type of Outer tie is selected in the drop-down list, Finale uses these settings to draw and place outer ties on chords (an "outer" tie is the
tie on the notehead farthest away from the stem end) when Use Outer Placement is selected.
Start H: • End H: • Start V: • End V:. Enter a value (in measurement units) into the Start H: text box for the tie’s distance horizontally from the inside edge
of the first note tied note. A larger number moves the tie to the right, further away from the note. A smaller number moves the tie to the left, closer to the note.
Enter a value (in measurement units) into the Start V: text box for the vertical distance of the tie’s left end over or under the first tied note. A larger number
moves the tie up and a smaller number moves the tie down. Enter a value (in measurement units) into the End H: text box for the tie’s distance horizontally from
the inside edge of the second tied note. A smaller number moves the tie to the left, farther away from the note. A larger number moves the tie to the right, closer
to the note. Enter a value (in measurement units) into the End V: text box for the vertical distance of the tie’s right end over or under the second tied note. A
larger number moves the tie up and a smaller number moves the tie down.
Use Outer Placement. Click the checkbox if you want to use the global Outer settings to draw single ties and ties on the outer notes for chords (the "outer"
note is the notehead farthest from the stem end of a chord, or highest and lowest ties on stemless chords) differently than ties on the other notes. Use Outer
Placement will override the four checkboxes directly below it. When Use Outer Placement is not checked, Finale uses the Inner settings for all ties in the score;
there is no difference in the appearance of ties on the outer notes of chords.
Start After Single Dot • Start After Multiple Dots. Click the Start after single dot checkbox to start ties after the augmentation dot on dotted notes.
When unchecked, ties start before the dot (which is the default setting). Click the Start after multiple dots checkbox to start ties after the last dot on multi-dotted
notes. When unchecked, ties start before the first dot (which is the default setting).
End Before Single Accidental. When this option is selected, ties will end before a single accidental. If this option is not selected, ties will end after a single
accidental.
Shift For Seconds. When this option is selected, ties will shift left or right to account for noteheads being on either side of the stem. When this option is not
selected, ties will be aligned even though there are seconds in the chord.

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Document Options-Ties

On the left: Shift For Seconds is selected. On the right: Shift For Seconds is not selected.

Tie System Breaks: System Start Adjustment • System End Adjustment • Extra System Start Space. When a tied note pair is divided by a
system (line) break, Finale breaks the tie before the break and continues after the new system. Enter a value (in measurement units) into System Start
Adjustment for the tie’s position after the new system. A larger number moves the tie to the right, away from the system; a smaller number moves it to the left,
closer to the system. Enter a value (in measurement units) into System End Adjustment to specify the tie’s position before the system break. A smaller number
moves the tie to the left, away from the system; a larger number moves it to the right, close to the system. Enter a value for Extra System Start Space to adjust
the Spacing Before Music value displayed in Document Options Notes and Rests. If you do not want to leave as much space for notes with ties to the right of
barlines, you can use this value to move notes with ties to the left.
Chords: Stem Reversal. Select Stem Reversal from the drop-down list to set tie direction on chords based on the stem reversal point of notes on the staff.
You can modify the stem reversal point in the Staff Setup dialog box. Ties on the top and bottom notes of chords always curve in opposite directions. Ties on
inside notes at or above the stem reversal point go over tied notes. Ties on inside notes below the stem reversal point go under tied notes.

Note: Finale ignores this global Tie Direction setting when you set an individual tie’s direction to Over
or Under in the Tie Alterations dialog box.

Chords: Split Evenly. Select Split Evenly from the drop-down list to set the direction of ties on chords as follows: Ties on the top and bottom notes always
curve in opposite directions. In chords with an even number of notes, ties on inside notes are split evenly—ties in the upper half of the chord go over tied notes,
and ties in the lower half of the chord go under tied notes.

In chords with an uneven number of notes, ties on inside notes at or above the stem reversal point go over tied notes. Ties on inside notes below the stem
reversal point go under tied notes. For information about the stem reversal point, see Staff Setup dialog box.

Chords: Inside/Outside. This selection has been provided for compatibility with previous version only. Older files converted from before Finale 97 will have
this option set.
Opposing Seconds. Click to select the checkbox. When checked, the two ties on second intervals curve in opposite directions. When not selected, Finale
determines tie direction based on the Tie Direction setting.
Mixed Stems: Over • Under • Opposite First Stem. Select the desired setting for tie direction that you prefer when the stems of the tied notes are in
opposite directions.
Time: Left Gap • Right Gap. Click to choose this option. When selected, Finale always breaks a tie before a time signature change and continues it after the
new signature. Enter a value (in measurement units) into Left Gap for the distance to leave after ending the tie before the new time signature. Enter a value (in
measurement units) into Right Gap for the distance to leave before continuing the tie after the new time signature.

Note: This setting affects ties already in the score only when Default is the Break for Time Signature
setting in the Tie Alterations dialog box for an individual tie.

Key: Left Gap • Right Gap. Click to choose this option. When selected, Finale always breaks a tie before a key signature change and continues it after the
new signature. Enter a value (in measurement units) into Left Gap for the distance to leave after ending the tie before the new key signature. Enter a value (in
measurement units) into Right Gap for the distance to leave before continuing the tie after the new key signature.

Note: This setting affects ties already in the score only when Default is the Break for Key Signature
setting in the Tie Alterations dialog box for an individual tie.

Tie Contour. Click to display the Tie Contour dialog box, where you define the global appearance and overall shape of short, medium, and long tie spans.
Reset. Click Reset to restore the original settings.

See Also:
Ties
Tie Alterations dialog box
Staff Setup dialog box

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Document Options-Ties

Tie Contour dialog box


Document Menu/Document Options

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Document Options-Time Signatures

Document Options-Time Signatures

How to get there


From the Document Menu, choose Document Options and select Time Signatures.

What it does
You can vertically adjust the abbreviated cut and common time symbols, and you can also separately adjust the top time signature symbol that shows the number of
beats and the bottom symbol that shows the duration of the beat. You can easily create enlarged time signatures by choosing a larger point size for the time signature
font (in the Select Default Fonts dialog box), then adjusting the placement of the top and bottom symbols within this dialog box. This dialog box also contains the
settings for selecting the abbreviated cut and common time symbols, as well as spacing options. Since the appearance of time signatures sometimes differs between
the part and score, separate settings are available - one for the score and one for parts.

Abbreviate Common Time to • Abbreviate Cut Time to; Select. These options allow you to select the symbol for Common or Cut Time signatures.
Click the checkbox to use the symbols for Cut and Common Time. Click Score to choose a different symbol to use for the score (or just type the keyboard
equivalent into the text box). Click Part to choose a different symbol to use for linked parts (or just type the keyboard equivalent into the text box).
Vertical Adjustment: Abbreviated Symbol • Top Symbol • Bottom Symbol. Enter values to change the vertical placement of the abbreviated time
signature symbols used for cut and common time, the top symbol that shows the number of beats, and the bottom symbol that shows the duration of the beat.
Enter a positive value to raise the symbol. Enter a negative value to lower the symbol. Use the Score column to apply these settings to the score. Use the Parts
column to apply these settings to linked parts.
Display Courtesy Time Signature at End of Staff System. If a time signature change occurs at the end of a line (system) of music, it’s traditional to
forewarn the musician by displaying the incoming time signature at the rightmost end of the preceding system. If you want this "courtesy" time signature to
appear, select the appropriate checkbox here. If not, leave these checkbox unselected, and the new time signature will only appear at the beginning of the new
line.
Space Before Time Signature • Space After Time Signature. These numbers determine the amount of space to the left and right of a time signature in
the score, respectively. These numbers determine the amount of space to the left and right of a time signature in the document, respectively. Use the Score
column to apply these settings to the score. Use the Parts column to apply these settings to linked parts.
Decimal Places for Composite Meters. When you create a composite meter (using the Time Signature Tool) that includes a fraction in the upper number,
it’s displayed in decimal notation when it appears in the score. This number specifies the maximum number of decimal places you want Finale to use when it
expresses these fractional numerators. This number specifies the maximum number of decimal places you want Finale to use when it expresses these fractional
numerators.
Composite Time Signature Plus Sign Character; Select. Click this button to open the Symbol Selection dialog box, where you can choose the
character for the plus sign in composite time signatures. Choose the font for this character in Document Options-Fonts, under notation. Click Score to choose a
different symbol to use for the score (or just type the keyboard equivalent into the text box). Click Part to choose a different symbol to use for linked parts (or just
type the keyboard equivalent into the text box).

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Document Options-Time Signatures

See Also:
Time signatures
Time Signature dialog box
Document Menu/Document Options

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Document Options-Tuplets

Document Options-Tuplets

How to get there


Ctrl-click the Tuplet Tool to display Document Options-Tuplets. Or, from the Document Menu, choose Document Options and select Tuplets.

What it does
When you create a new tuplet, Finale usually places a number over it (such as the 3 above a triplet). In this dialog box, you can change the default tuplet notation; for
example, you could tell Finale to display a slur or bracket in addition to the number. Thereafter, each new tuplet you create will appear with all of these visual aspects
already in place.

Default Placement:

Manual • Stem/Beam Side • Note Side • Above • Below. When Manual is selected in this dropdown list, Finale uses the settings from the Default Tuplet
Visual Definition dialog box to position the tuplet on the notes in the score. Drag to reposition the tuplet in the score. When Beam Side is selected and you create
a tuplet on beamed notes, Finale automatically places the tuplet on the beam side and matches the beam angle. If Beam Side is selected and you create a
tuplet on unbeamed notes, Finale places the tuplet using the Default Tuplet Visual Definition dialog box settings. You can then drag to adjust the tuplet in your
score. Choose Above to place the tuplet above the staff by default. Choose Below to place the tuplet below the staff by default.
Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver tuplets automatically reposition to account for raised or lowered notes in the staff.
They also update to avoid rests and staff lines. Bracket placement and slope for engraver tuplets is determined by the stem direction of the majority of stems in
the tuplet (rather than the first stem in the tuplet as is the case when this box is not checked).
Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or below the bottom line of the staff.
Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in the score. If this box is not checked, tuplets can only be
adjusted vertically in the score.
Use Bottom Note. If the first note in the tuplet group is a chord, the numbers in the Position text boxes are generally measured from the top note; if you
transpose that note up or down, the entire tuplet moves with it. Select this option, however, if you want these numbers measured from the bottom note instead.
Default Appearance:
Number: Nothing • Number • X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet.
If you choose, for example X:Y, Finale will display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display "3q:2q".
Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with
slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered
ends).
Break Slur or Bracket. If you’ve chosen a slur as the shape for the tuplet, then select Break Slur or Bracket, to have Finale break a slur or bracket to allow

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Document Options-Tuplets

for a number to be placed there.


Always Use Specified Shape • Bracket Unbeamed Notes Only • Never Bracket Beamed Notes on Beam Side. Choose Always Use
Specified Shape to place a bracket (of the shape defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets on
unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct Finale to place brackets on tuplets defined to appear on the
note side of the staff (for example, if the beam appears above notes tuplets will only contain brackets if placed below the staff).

Default Position:
Number: Horizontal • Vertical. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score.
Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic center of the tuplet (rather than equidistant from the first
and last note/rest of the tuplet).
Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in your tuplets, select this option if you don’t want it to
apply to this tuplet.
Shape: Horizontal • Vertical. Enter values here to specify the horizontal and vertical adjustments for placing the shape (slur or bracket) in relation to the
tuplet number. Enter a smaller or larger value for H: to change the position of the entire shape in relation to the notes. To move the shape closer to or further
away vertically from the note, enter a smaller or larger value for V:.
Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets.
Extend Bracket. Check this option to extend the right edge of the bracket to enclose the full duration of the tuplet.
Match Lengths of Hooks. Check this box to always use same length for left and right hooks. If the values for Hook Length are different, Finale uses the
smallest value for both hooks.
Left Hook • Right Hook. These options replace the Left Offset and Right Offset text boxes that controlled the length of the left and right hooks on horizontal
brackets in previous versions of Finale. Enter a negative value (in measurement units) in Left Hook or Right Hook to set the length of the left-most or right-most
hook. The value is negative because Finale measures down from the bracket. If Match Length of Hooks is selected, Finale updates the Right Hook text box with
the new Left Hook value. If Match Length of Hooks is not selected, you can enter different values in each text box.
Left Extension • Right Extension. By default, Finale initially creates a tuplet that surrounds the position of notes in the measures. However, in some cases
it’s easier for a musician to interpret the music if the tuplet can encompass the visual space of the beat instead of just surrounding the notes. You can accomplish
this by using these settings to specify how far the bracket or slur should extend beyond the notes. Enter a larger value to lengthen the bracket or slur.

Manual Slope Adjustment. Enter a positive value to specify the angle of brackets or slurs when the right side is higher than the left. Enter a negative value to
specify the angle when the right side of the tuplet lower than the left.

Horizontal Number Offset:


Upstem Side of Note • Downstem Side of Note. When Finale places the number above a tuplet grouping (such as the "3" above a triplet), it chooses a
position that’s aligned precisely with the central notehead of the group. When the number appears on the stem side of the triplet, Finale follows the same rule—it
aligns the number with the central notehead of the group as shown here.

However, a few publishers feel that the number appears to be off-center when positioned that way as shown here.

Some publishers prefer that the number be aligned with the central stem instead of the notehead. These two text boxes let you nudge the tuplet numbers in
your piece to the right or left (by entering a positive or negative number, respectively). The first text box controls only stems-up notes; the second text box
controls stems-down notes. As an example, entering -14 (EVPUs) into the second text box would nudge each tuplet number just enough to align it with a
triplet’s central stem. You can override this global tuplet-number positioning offset on a case-by-case basis, using the Ignore Format Offset checkbox in Tuplet
Definition dialog box.

Bracket Thickness. In this box, enter the desired thickness for all tie brackets.
Maximum Slope_Degrees. Enter a positive value to specify the maximum angle of brackets or slurs when the right side is higher than the left. Enter a
negative value to specify the maximum angle when the right side of the tuplet lower than the left.

See Also:
Tuplets
Tuplet Definition dialog box
Tuplet Tool
Document Menu/Document Options

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Document Options-Tuplets

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Dot Offsets

Dot Offsets

How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click a measure containing a dotted note or rest. Click the Dot Tool. Double-
click the handle of the note or rest whose dot you want to move.

What it does
In this dialog box, you can precisely adjust the position of the dot on a dotted note or rest. (You can also globally adjust the horizontal position of dots in your document
by adjusting the Dot Spacing variable in the Augmentation Dot dialog box reached from the Document Options dialog box). See Document Options-Augmentation
Dots.)

H Offset. The number in this text box specifies the horizontal position of the dot relative to its default position. To move a dot to the right, for example, enter a
positive number.
V Offset. The number in this text box specifies the vertical position of the dot relative to its default position. To move a dot downward, enter a negative number;
to move it upward, a positive number.
Inter-Dot Spacing. The number in this text box sets the distance between the dots of a note or rest that has more than one dot. The default value is 2 points.
OK • Reset • Cancel. Click OK to confirm, Reset to restore the dot offsets for the dot you clicked to their default values, or Cancel to discard, any changes
you’ve made to the status of the dot you clicked. You return to the score.

See Also:
Document Options-Augmentation Dots
Special Tools Tool

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Edit Bookmarks

Edit Bookmarks

How to get there


From the Bookmarks submenu of the View Menu, choose Edit Bookmarks. The Edit Bookmarks dialog box for the current view (Page or Scroll View) appears.

What it does
Use the Edit Bookmarks dialog box to add a bookmark to the score, to edit the settings of an existing bookmark, or to remove a bookmark from the score. The Edit
Bookmarks dialog box changes slightly depending on whether you’ve selected Assign to: Scroll View or Page View.

Name. Enter the name of a bookmark to be added or edited, or select the bookmark name in the Bookmarks list box.
Assign to: Scroll View • Page View. Assign a bookmark to Page View or Scroll View by clicking the appropriate radio button.
Bookmarks. This list box contains the names of existing bookmarks. Use the scroll bars as needed to display the bookmarks. When you select a bookmark in
this list, its name appears in the Name text box. Any changes you make to the bookmark settings affect the current bookmark. Changes are updated as they are
made.
Settings for Page View: Page • Zoom • Horizontal • Vertical. These settings are the same as the Add Bookmark Page View settings. See Add
Bookmark dialog box.
Settings for Scroll View: Measure • Zoom • Staff Set • Staves. These settings are the same as the Add Bookmark Scroll View settings. See Add
Bookmark dialog box.
Add • Delete. Click Add to create a new bookmark, or click Delete to remove the selected bookmark.
Done. Click Done to complete the action and return to the score.

See Also:
Add Bookmark dialog box
View Menu

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Edit Frame

Edit Frame

How to get there


Click the Speedy Entry Tool and ctrl-click a measure that contains music (that is not being edited with the Speedy Entry Frame)..

What it does
You’ll rarely, if ever, need to enter this extremely technical dialog box. It lists dozens of coded variables regarding the notes in the measure you clicked, and allows you
to edit the "behind-the-scenes" raw data Finale associates with each note.
Each note in a measure has a good deal of information stored with it, including its ID number, its voice assignment, whether or not it "launches" a tie, and so on; in this
dialog box, you can set each such "bit" manually. You’ll encounter some technical terms in this discussion; one of the most important is entry, which refers to any note,
rest, or chord.
You can hide ledger lines on an entry by deselecting the Ledger checkbox in the Frame dialog box. There is also a Slur checkbox that indicates whether a slur is
attached to an entry.

Frame (#). This indicator identifies the measure frame you’re editing. A frame refers to one measure in one staff. You should note, however, that Finale doesn’t
number the frames in the order they occur in the score—instead, it numbers them in the order in which you created them.
First Entry: (#) • Last Entry (#). These indicators identify the note or rest that begins and ends the measure you’re editing. Finale assigns a number to every
single note or rest as you create it. While Finale assigns numbers to notes sequentially, you might not always enter notes sequentially, so the Start and End
numbers may appear to be out of order.
Current Entry (#). This indicator identifies the entry you’re looking at. (Remember that Finale gives every note or rest an ID number as you create it.)
Duration. The number in this text box sets the rhythmic value of the current entry, in EDUs (1024 per quarter note). Click Duration if you want to change its
value graphically; a palette of rhythmic values appears.
Position. The number in this text box shows the horizontal distance by which an entry has been displaced from its default placement in the measure. Any time
you drag a note to the right with the Speedy Entry or Special Tools Tool, you increase this value; if you drag a note to the left, you decrease this value.
Entry Slot (#). This indicator lets you know which note, chord, or rest (entry) you’re looking at. The first entry in the measure is 0, and the "slots" are numbered
from left to right; there’s an invisible "end-of-measure" slot in each measure, too. (A measure with four notes and a rest, therefore, has six slots including this
"end-of-measure" slot.)
Prev Entry • Next Entry. Click these buttons (at the top of the dialog box) to scroll from one entry to another within the measure.

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Edit Frame

Entry Slot: Add • Delete. These buttons insert an entry into, or remove the currently displayed entry from, the measure.
Articulation. If this checkbox is selected, there’s an articulation mark attached to currently displayed entry.
Beam/Beat. If this checkbox is selected, the currently displayed entry isn’t beamed to the note before it.
Beam Ext. If this checkbox is selected, the currently displayed entry’s beam has been extended with the Beam Extension Tool (within the Special Tools Tool).
Chord. If this checkbox is selected, there’s a chord symbol attached to the currently displayed entry.
Clef Change. This very technical item is used by Finale’s internal drawing routines. Whether or not the checkbox is selected makes no difference to the screen
display.
Cross Up. If this checkbox is selected, one or more of the notes of the currently displayed entry is cross-staff note.
Double Stem. If this checkbox is selected, the currently displayed entry has both an upstem and a downstem, created with the Double/Split Stem Tool (within
the Special Tools Tool).
Flip Tie. If this checkbox is selected, you have flipped the tie upside-down, either locally (using Special Tools or Speedy), or by your settings in Document
Options-Layers.
Float Rest. If this checkbox is selected, the currently displayed entry (if it’s a rest) is fixed on the middle staff line (or another line, if you’ve established in
Document Options-Layers [Document Menu] that reposition all rests in a layer). If this checkbox is not selected, you can drag the rest up and down with the
Speedy Entry Tool.
Freeze Beam. If this checkbox is selected, the currently displayed entry’s beam has been frozen either joined or broken. Additional changes to the measure will
not change the state of the beam, found in the Beam/Beat box. Mass Mover/Rebeam will override this setting.
Freeze Stem. If this checkbox is selected, the currently displayed entry’s stem has been frozen up or down. (See the checkbox labeled Up/Down in the fourth
column of dialog box items; if it’s selected, the stem is frozen up.)
Grace. If this checkbox is selected, the currently displayed entry is a grace note.
Ignore. If this checkbox is selected, the currently displayed entry is invisible and doesn’t play back (because you’ve pressed the O key using the Speedy Entry
Tool).
Ledger. This option is selected by default, so that Finale automatically draws ledger lines for all notes that need them. To hide ledger lines on a particular entry,
deselect this option. When you return to the score, the ledger lines will no longer appear on that entry. To display ledger lines for an entry that have been hidden,
select this option for the entry.
Legality. The function of this checkbox is extremely technical; you should never need to click it. Briefly, when not selected, this checkbox hides the currently
displayed note and all subsequent notes or rests in the measure. In other words, an entry whose Legality checkbox isn’t selected acts as an "end-of-measure"
mark to Finale (see Entry Slot [#]," above)—meaning that Finale ignores it and any subsequent notes.
Note Detail. If this checkbox is selected, the currently displayed entry (including its notehead, stem, and beam, if any) has been resized with the Resize Tool,
or its notehead or accidental has been modified with the Notehead or Accidental tools (within the Special Tools Tool).
Note/Rest. If this checkbox is selected, the currently displayed entry is a note; if not, it’s a rest.
Perf Data. If this checkbox is selected, there’s performance data (Key Velocity and Start/Stop Time information) associated with the currently displayed note.
Playback. If this checkbox is selected, the note will sound during playback.
Reverse Up • Reverse Dn. If one of these checkboxes is selected, a reverse upstem or downstem, respectively (on the "wrong" side of the notehead) has
been added to the currently displayed entry with the Reverse Stem Tool (within the Special Tools Tool).
Sec Beam. If this checkbox is selected, you’ve made adjustments to the beaming of the currently displayed entry with the Secondary Beam Break Tool (within
the Special Tools Tool).
Slur. If this option is selected, the entry has a note-assigned Smart Shape slur attached to it. This option is provided for reference only; you should not change
this setting manually.
Spacing. If this checkbox is selected, the currently displayed entry will affect how Finale spaces the music. If this checkbox is unchecked, Finale will ignore the
entry when calculating music spacing.
Special. If this checkbox is selected, the currently displayed entry’s tie or dot has been modified with the Tie or Dot Tools (within the Special Tools Tool).
Split Stem. If this checkbox is selected, one or more notes of the currently displayed entry have split stems created with the Double/Split Stem Tool (within the
Special Tools Tool).
Note Exp. If this checkbox is selected, there’s a Note Expression attached to currently displayed entry.
Slash Grace. If this checkbox is selected the grace note is slashed.
Stem Detail. If this checkbox is selected, the currently displayed entry’s stem has been modified with the Custom Stem, Stem Length, Beam Angle, or
Secondary Beam Angle tools (within the Special Tools Tool).
Text Detail. If this checkbox is selected, there’s a lyric syllable attached to currently displayed entry.
Tuplet. If this checkbox is selected, the currently displayed entry is the first note of a tuplet.
Up/Down. If the Freeze Stem checkbox is selected, this checkbox indicates whether the currently displayed entry’s stem has been frozen up or down. If
Up/Down is selected, the stem is frozen up; if not, it’s frozen down.
Voice 2. If this checkbox is selected, the currently displayed entry belongs to Voice 2.
V2 Beam. Under normal circumstances, you can’t beam together notes in Voice 2 that have been "launched" from different Voice 1 notes. Select this checkbox
for the first note of the second of two Voice 2–launched groups; you’ll now be able to beam the first group to the second in the usual way (using the slash key in
the Speedy Entry Tool).
V2 Launch. If this checkbox is selected, a second voice (V2) has been "launched" from the currently displayed entry.
V2 Tup Para. This element is one of the few Edit Frame dialog box items you might want to edit yourself. It’s used only in one particular circumstance: a tuplet
in Voice 2 is being overlapped (in time) by a tuplet in Voice 1. If such a situation arises and you notice that the tuplets’ spacing isn’t correct, select this checkbox
for the first note of the Voice 2 tuplet to correct the notes’ positioning.
Note Slot (#). This indicator specifies which of the notes in a chord you’re looking at. The notes of a chord are numbered from bottom to top, beginning with
the number 0.
Prev Note • Next Note. Click these two buttons (near the bottom of the dialog box) to scroll from one note to another within a chord. (Prev moves you from
the bottom to top note, and Next moves you from top to bottom.)
Note Slot: Add • Delete. These buttons insert a note into, or remove the currently displayed note from, a chord.
Note ID. The number in this text box identifies the currently displayed note in the chord.
Displacement. The number in this text box identifies the currently displayed note’s pitch, expressed as a number of diatonic steps away from the first note of
the scale (the tonic). The note E is two scale degrees above C, so its Displacement in the key of C is 2.
Raise/Lower. The number in this text box specifies the amount (in half steps) the currently displayed note has been raised or lowered from its unmodified

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Edit Frame

diatonic scale degree by the addition of accidentals. A B flat in the key of C has a Raise/Lower value of –1. An F sharp in the key of C has a Raise/Lower value
of 2.
Accidental. If this checkbox is selected, the currently displayed note’s accidental appears, even if it wouldn’t normally (such as the natural before a C in the key
of C)—sometimes called a courtesy accidental.
(Accidental). If this checkbox is selected, there’s an accidental in parentheses on the current entry.
Cross Note. If this checkbox is selected, the currently displayed note is a cross-staff note.
Freeze Accidental. An X in this checkbox indicates that you’ve forced an accidental to appear (or not to appear) by pressing the asterisk key while editing
with the Speedy Entry Tool.
Legality. This checkbox, when not selected, hides the currently displayed note and all subsequent notes in the chord, serving as an "end-of-chord" marker for
Finale.
Playback. If this checkbox is selected, the note will sound during playback.
Spacing. If this checkbox is selected, the currently displayed entry will affect how Finale spaces the music. If this checkbox is unchecked, Finale will ignore the
entry when calculating the music spacing.
Tie Start • Tie End. These checkboxes indicate whether a tie begins or ends on the currently displayed note. Do not edit these checkboxes.
Upstem 2nd • Downstem 2nd. If this checkbox is selected, the currently displayed note’s notehead is drawn on the "wrong" side of its stem, usually
because it’s an interval of a second from another note in the same chord. (Upstem and Downstem refer to the stem direction.)
Upstem Split. If this checkbox is selected, the currently displayed note’s stem has been "split" from the other notes of the chord, using the Double/Split Stem
Tool (within the Special Tools Tool), and the currently displayed note has been assigned to the upward stem.
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score. Click Cancel to tell Finale to ignore any changes you
made in this dialog box. You return to the score.

See Also:
Speedy Entry Tool

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Edit Keyboard Shortcuts

Edit Keyboard Shortcuts

How to get there


Choose the Simple Entry Tool. From the Simple Menu, choose Simple Entry Options and then choose Keyboard Shortcuts.

What it does
In this dialog box, you can edit the keystroke commands used for note entry and editing in Simple
Entry.

Tool: Simple Entry • Simple Entry Tablature. From this drop-down menu, choose Simple Entry to define keyboard shortcuts for use while entering into a
standard staff. Choose Simple Entry Tablature to define keyboard shortcuts for use while entering into a tablature staff.
Add. Click Add to open the Define Keyboard Shortcut dialog box where you can create a new keystroke association for any Simple Entry command. See Define
Keyboard Shortcut dialog box.
Edit. Click Edit to open the Define Keyboard Shortcut dialog box where you can change the currently highlighted command.
Delete. Click Delete to remove the currently highlighted command.
New Set. Click New Set to create a new collection of keyboard shortcuts. New sets created appear under the Name drop-downpopup menu.
Delete Set. Click Delete Set to delete the keyboard shortcut set currently selected under the Name drop-down menu. The Default Shortcut Table set, which
supplies Finale’s default short-cuts, cannot be deleted.
Duplicate Set. Click Duplicate Set to duplicate the keyboard shortcut set currently selected under the Name drop-down menu.
Reset to Defaults. Click Reset to Defaults to reset the currently selected keyboard shortcut set to Finale’s default set.
Name: Default Shortcut Table. From the Name drop-down menu, choose the keyboard shortcut set you want to use. Any new sets you have created or
duplicated are available in this list.
OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the keyboard shortcuts you’ve added, edited, or deleted. You return to the score.

See Also:
Simple Menu
Simple Entry Tool

Define Keyboard Shortcut

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Edit Learned Chords

Edit Learned Chords

How to get there

Click the Chord Tool . Choose Edit Learned Chords from the Chord Menu.

What it does
When you use one of Finale’s three automatic chord analysis methods (MIDI Input, One-Staff Analysis, or Two-Staff Analysis), Finale has no problem identifying most
of the common chord types (major, minor, augmented, diminished, half-diminished, suspended, sevenths, ninths, and so on). Each time it encounters a chord for which
you’ve created (or loaded in a Chord Suffix library) a chord suffix, it automatically displays the correct chord symbol on the screen, complete with an alternate bass, if
necessary.
If Finale encounters a chord for which it can find no predefined suffix, it displays the Unknown Chord Suffix dialog box, giving you two options: "I’ll Do It" or "Let Finale
Do It". If you click Let Finale Do It, Finale creates a chord suffix automatically, adds it to the list of chord suffixes for the document, and displays the chord symbol.
If you click "I’ll Do It," however, you have the opportunity of teaching Finale a chord. There are a number of reasons you might want to do so. For example, you might
prefer the notation C6 to Finale’s default notation for the same chord (Am7/C). Or you might want Finale to learn a chord by another name—for example, you can
teach it to recognize "V11" chords (such as F/G or Dm7/G). You might even want to teach it completely new ways of notating chords that have nothing to do with the
usual chord symbol system. See Chord Symbols for a more complete discussion of learned chords.
Once you’ve created a learned chords or two, however, you may need to edit or delete them. To do so, click the Chord Tool again, and choose Edit Learned Chords
from the Chord Menu. The Edit Learned Chords dialog box appears. In it, you can teach Finale another chord, "call up" one that Finale has already learned (to edit it),
or delete a learned chord.

Set Key. Learned chords are scale-degree-specific; if you teach Finale to recognize a C6 chord, it won’t automatically recognize an F6 or a G6 in the same
key. But because C6 is built on the root scale tone in the key of C, Finale will recognize a major sixth chord built on the root scale tone in any other key.
Therefore, when you teach Finale new chords, you need to indicate the key signature so that Finale knows the context in which it will encounter them. Click this
button to display the Key Signature dialog box, which you can scroll to set the key signature for the chord you’re about to teach Finale.
Learn. Click this button if you want to teach Finale to recognize a new chord. Finale responds by asking you to play the chord on your MIDI keyboard. When
you do so, Finale "memorizes" the particular set of notes you played and displays the Chord Definition dialog box, where you can create the chord symbol you
want to associate with those notes. From that moment on, Finale will always recognize that chord (regardless of the voicing or octave register) and automatically
display the correct symbol, provided it encounters the chord on the same scale degree as the one you originally taught it. (For example, if you teach Finale to
recognize a C6 in the key of C, it won’t recognize F6 or G6 in the same key. But it will, for example, recognize an A6 in the key of A, because the A6 is built on
the same scale degree in A as the C6 was in C.)
Delete. Click Delete if you want Finale to "forget" the currently displayed learned chord. You won’t remove any chord symbols already in the score by clicking
this button—Finale simply won’t recognize the chord the next time it encounters the associated group of pitches.
Prev • Next. Click Prev or Next to scroll through any learned chords Finale already knows. They appear in the display in the order in which they were created;
when you reach the end (or beginning) of the list, the Next (or Prev) button dims.
Find. Use this button to "call up" any learned chord you’ve already created (so that its symbol appears in the staff display), in order to edit or delete it. When you
click the button, Finale displays a message asking you to play the learned chord on your MIDI keyboard. Play it in any voicing and any register, but with the
same combination of pitches—and the same bass note—as the learned chord for which you’re searching. Finale responds either by displaying the chord symbol
or by telling you that it doesn’t recognize what you played. (At this point it also asks if you want it to learn the chord you just played.)

Note: If you teach Finale a chord it already knows, you’re asked whether or not you want to edit the
chord symbol associated with it. If you click Yes, the Chord Definition dialog box appears, where you
can modify the chord symbol in the usual way.

Edit. Click this button to display the Chord Definition dialog box, where you can define the visual appearance of the chord symbol in any way you want. See
Chord Definition dialog box for full details on how to change the root, alternate bass, or suffix of any chord.
OK • Cancel. Click OK to return to the score. Click Cancel to disregard any current selections and return to the score.

See Also:
Chord symbols
Chord Menu
Chord Tool

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Edit Learned Chords

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Edit Lyrics

Edit Lyrics

How to get there

Click the Lyrics Tool , and choose Edit Lyrics from the Lyrics Menu.

What it does
The Edit Lyrics window is one of the two ways you can enter lyrics (the other way is to use the Type Into Score feature; see Lyrics Menu). Within this window, you
can also create variations in the main font (which you’ve specified with the Set Default Fonts command in the Document Menu)—for example, you can italicize a phrase
within the lyrics. If you’ve copied lyrics from an external word processor, you can paste them directly into the Edit Lyrics window by pressing ctrl-V.
The Edit and Text menus are available when the window appears so you can copy and paste text, change fonts and styles, and carry out other editing tasks. Note that
only the Text Menu commands that affect the display of text characters are available for lyrics; the Line Spacing and Edit Page Offset commands as well as the
commands in the Inserts and Justification submenus are not available.
Once you’ve put these lyrics into the score by using the Click Assignment command, the lyrics in the score are dynamically linked to the lyrics in the Edit Lyrics
Window. Change a word in the Edit Lyrics window and it’s also changed in the score; delete it, and all the syllables in the score slide to the left to close up the gap.
(Bear in mind that the same process works in reverse when you use the Type Into Score feature to edit your lyrics in the score: any word deleted from the score is
also deleted from the Edit Lyrics window—but not when you erase lyrics from the score using the Selection Tool or the Adjust Syllables feature. In those cases, you’re
just removing lyrics from the score, but they remain in the Edit Lyrics window.)
You can cut, copy, and paste lyrics from one place to another within a single screenful of Edit Lyrics lyrics, as well as from one set of lyrics to another. To cut or copy,
select the text by dragging the cursor through it. Then press ctrl-X to cut it (and place a copy on the Clipboard) or ctrl-C to copy it. To paste the cut or copied text, click
at the location where you want the lyrics to appear and press ctrl-V.

Lyric: Verse • Chorus • Section • ___. Use this drop-down list to choose what type of lyric you want to create or edit. Enter the verse number, or use the up
and down arrows to switch to different verses, choruses or sections.

The three types of lyrics (Verse, Chorus, and Section) are technically identical as far as Finale is concerned. They’re only there to help you keep your lyrics
straight, and to make it easy to change the font or style for a large chunk of lyrics at once (you can specify a different font for Verses, Choruses, and Sections
by choosing Set Default Fonts from the Document Menu).

OK • Cancel. Click OK if you want Finale to store the lyrics or modifications you’ve created, and assign a number to any new sets you entered. You return to
the score. Click Cancel if you want Finale to ignore any text you’ve entered or changes you’ve made while in the Edit Lyrics window. You return to the score.

See Also:
Lyrics
Edit Menu
Lyrics Menu
Lyrics Tool

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Edit Lyrics

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Edit Major and Minor Key Spellings

Edit Major and Minor Key Spellings

How to get there


Choose Edit Major and Minor Key Spellings from the Enharmonic Spelling submenu in the Edit Menu.

What it does
The Edit Major and Minor Key Spellings dialog box displays the enharmonic spelling Finale will use for chromatically altered notes if Use Spelling Tables is selected in
the Enharmonic Spelling submenu. Finale uses these settings to determine the enharmonic spelling of non-diatonic notes in major and minor keys in your piece. You’ll
notice that the settings in the tables refer to the notes as scale degrees rather than as actual note-names in a scale. This is because one table is used for all major
keys and another for all minor keys. Each fixed scale degree is numbered, starting at step 1, which is the tonic (C in the key of C major, D in D major, and so on), up
to step 7. Notes outside the scale (altered scale steps) entered in your piece will be raised or lowered by a half-step according to your settings.

Major Keys: Fixed Scale Step • Altered Scale Step • Raise • Lower. Click to specify spellings for the altered scale steps in all major keys used in
your piece. For example, if you select #1 for the half-step between Fixed Scale Steps 1 and 2 (C and D in C major, D and E in D major, and so on), Finale
displays the note as a raised interval when it’s entered in your score. If you select b2, the same half-step between Fixed Scale Steps 1 and 2 will be displayed as
a lowered interval.
Minor Keys: Fixed Scale Step • Altered Scale Step • Raise • Lower. Click to specify spellings for the altered scale steps in all minor keys used in
your piece. For example, if you select #1 for the half-step between Fixed Scale Steps 1 and 2 (C and D in C minor, D and E in D minor, and so on), Finale
displays the note as a raised interval when it’s entered in your score. If you select b2, the same half-step between Fixed Scale Steps 1 and 2 will be displayed as
a lowered interval.
OK • Cancel. Click OK (or press enter) to save the new settings, or click Cancel to dismiss the dialog box and discard any changes you made to the settings.

See Also:
Options/Enharmonic Spelling

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Edit MIDI Modifiers

Edit MIDI Modifiers

How to get there

Click the Speedy Entry Tool . From the Speedy Menu, choose Speedy Options. Click Create Key Map or Edit Key Map.

What it does
The Edit MIDI Modifiers dialog box allows you to use MIDI keys (such as keys on your MIDI keyboard or a sustain pedal) to set the duration of a note, navigate the
score and other commands.

Modifier Set Name. Enter a name for this definition of MIDI notes to use.
Modifier Assignments: Note Durations • Listen. Enter a MIDI code to use that duration. Or, click the Listen button and play the note on the MIDI
keyboard.
Modifier Assignments: Dot • Listen. Enter a MIDI code to add a dot. Or, click the Listen button and play the note on the MIDI keyboard.
Modifier Assignments: Triangle Left• Listen. Enter a MIDI code to move the cursor forward one note or rest. Or, click the Listen button and play the note
on the MIDI keyboard.
Modifier Assignments: Triangle Right• Listen. Enter a MIDI code to move the cursor backward one note or rest. Or, click the Listen button and play the
note on the MIDI keyboard.
Modifier Assignments: Tied Notes• Listen. Enter a MIDI code to tie to the next note. Or, click the Listen button and play the note on the MIDI keyboard.
Modifier Assignments: Enter• Listen. Enter a MIDI code to add a note to a chord or turn a rest into a note. Or, click the Listen button and play the note on
the MIDI keyboard.
OK • Cancel. Click OK to confirm, or Cancel to discard, your Key Map edits and return to the Speedy Options dialog box.

See Also:
Speedy Entry
Speedy Options dialog box
Speedy Entry Menu
Speedy Entry Tool

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Edit MIDI Note

Edit MIDI Note

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a note handle in the MIDI Tool split-window and choose Edit MIDI Note from the
MIDI Tool Menu or double-click a note handle in the MIDI Tool split-window.

What it does
This dialog box simply provides a convenient way to edit the Start and Stop Times and Key Velocity of a note in one place.

MIDI Note Number. This text tells you the MIDI Note Number of the selected note.
Start Time • Stop Time. Enter the Start Time and Stop Time for the selected note.
Velocity. Enter the Key Velocity for the selected note.
OK • Cancel. Click OK (or press enter to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or
the score).

See Also:
MIDI
MIDI Tool

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Edit Modal or Chromatic Spellings

Edit Modal or Chromatic Spellings

How to get there


From the Edit Menu, choose Preferences > Enharmonic Spelling > Edit Modal or Chromatic Spelling.

What it does
Use the Edit Modal or Chromatic Spellings dialog box to change the enharmonic spelling Finale will use for chromatically altered notes in modes and chromatic scales.
Finale uses this table if Use Spelling Tables is selected in the Enharmonic Spelling submenu and Finale detects a mode or chromatic key created in the Non-Standard
Key Signature dialog box.

Step • Raise • Lower. The Edit Modal or Chromatic Spellings dialog box contains enharmonic spelling settings for the twelve steps of a chromatic scale,
allowing you to define spelling for modes. Step 1, the tonic note of the scale, does not change. Click the Raise or Lower button for each step to specify the
enharmonic spelling. For example, if you click Raise for step 2, Finale displays the note as a raised interval when it’s entered in your score. If you select Lower,
the note will be displayed as a lowered interval.

Note: Remember that enharmonic spelling is used only for non-diatonic notes (those that are outside
the scale). Otherwise, Finale uses the key signature to spell the note. These settings will be
particularly useful when you enter or edit notes in a nonstandard key signature you’ve created, like a
church mode.

OK • Cancel. Click OK (or press enter) to save the new settings, or click Cancel to dismiss the dialog box and discard any changes you made to the settings.

See Also:
Options/Enharmonic Spelling

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Edit Page Margins

Edit Page Margins

How to get there

Click the Page Layout Tool . From the Page Layout Menu, choose Page Margins, then Edit Margins.

What it does
Use this dialog box to set the Page Margins numerically.

Top • Left • Right • Bottom. Use these text boxes to enter the page margins for the specified pages. If the adjacent checkbox is checked, changes will affect
that margin.
Change: Page ___ • All Pages • Left Only • Right Only • Page Range: From: ___ Thru: ___ • Adjust Right or Left Only. Select which systems
should be affected by the specified margins. Select a specific page, all pages, all left pages or all right pages, or a page range. When Adjust Right or Left Only is
selected, and you adjust a left page, Finale also adjusts all left pages in the specified range. If you adjust a right page, Finale adjusts all right pages in the range.
For example, if you set the page range to page 5 through 10, then adjust page 3, Finale adjusts pages 5, 7, 9 and page 3.
Apply to Parts/Score. Select this button to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score
and/or parts.
Apply • X. Click Apply to make the adjustments and leave the dialog box available for more changes. Click X to dismiss the dialog box without making any
changes.

See Also:
Page layout
Page Margins submenu
Page Layout Menu
Page Layout Tool

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Edit System Margins

Edit System Margins

How to get there

Click the Page Layout Tool . From the Page Layout Menu, choose Systems, then Edit Margins.

What it does
Use this dialog box to set the System Margins numerically.

Top • Left • Right • Bottom • Distance Between Systems. Use these text boxes to enter the staff system margins for the specified systems. Changes
do not occur until you click the Apply button. Changes are applied to any value with a checked box.
Space for Additional System. This text displays the amount of space required to place an additional system on the current page.
Change: System ___ Thru: ___ • Select All. Select which systems should be affected by the specified margins. Select a system range or all systems.
Apply to Parts/Score. Select this button to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score
and/or parts.
Apply • X. Click Apply to make the adjustments and leave the dialog box available for more changes. Click X to dismiss the dialog box without making any
changes.

See Also:
Page layout
System submenu
Page Layout Menu
Page Layout Tool

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Edit Text

Edit Text

How to get there


To edit all text blocks in the document (text blocks, and staff and group names): Click the Text Tool. Choose Edit Text from the Text Menu.
To edit a single text block: Click the Text Tool. Click a text block handle. Choose Edit Text from the Text Menu.

Note: You can also edit lyrics using Finale’s text editing window. See Edit Lyrics window.

What it does
The Edit Text window displays text in the same fonts and styles that will appear on the screen and on printout. A rectangle around a portion of text indicates an insert
command was used to display the date, composer, or similar text items (see Text Menu/Inserts for a complete list of inserts). The Edit and Text menus are available
when the window appears so you can copy and paste text, change fonts and styles, and carry out other editing tasks. Note that text always appears left-justified within
the display area and the commands in the Justification submenu are not available from the Text Menu when the Edit Text window is displayed; to change the
justification of the text, edit the text block on-screen. For details, see Text Menu and Edit Menu.

Editing: [Item Type] • ID [ID #]. These settings identify the text block you’re currently editing. The type of text block being edited—full or abbreviated staff
name, group name, or block of text—appears first (Item Type). The text’s Finale-assigned ID number also appears.

Up and down arrows appear when you choose Edit Text when no text blocks are selected. Click the arrows to cycle through all the text blocks in the score.

OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score without changing the settings.

Note: You can also edit lyrics using Finale’s text editing window.
See Also:
Text Menu
Edit Menu
Lyrics Tool
Text Tool

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Edit Text limited

Edit Text limited

How to get there


To edit a staff name: Click the Staff Tool. Click a staff handle, then choose Edit Staff Attributes from the Staff Menu. Click Edit next to the full or abbreviated staff name
in the Staff Attributes dialog box. (Or, ctrl-click a staff name handle on-screen.)
To edit a group name: Click the Staff Tool. Click a group handle, then choose Edit Group Attributes from the Staff Menu. Click Edit next to the full or abbreviated group
name in the Group Attributes dialog box. (Or, ctrl-click a group handle on-screen.)

Note: You can also edit lyrics using Finale’s text editing window. See Edit Lyrics window.

What it does
The Edit Text window displays text in the same fonts and styles that will appear on the screen and on printout. A rectangle around a portion of text indicates an insert
command was used to display the date, composer, or similar text items (see Text Menu/Inserts for a complete list of inserts). The Edit and Text menus are available
when the window appears so you can copy and paste text, change fonts and styles, and carry out other editing tasks. Note that text always appears left-justified within
the display area and the commands in the Justification submenu are not available from the Text Menu when the Edit Text window is displayed; to change the
justification of the text, change the justification of staff and group names in the Position Staff Name and Position Group Name dialog boxes. For details, see Text Menu
and Edit Menu, and see Position dialog boxes.

Editing: [Item Type] • ID [ID #]. These settings identify the text block you’re currently editing. The type of text block being edited—full or abbreviated staff
name, group name, or block of text—appears first (Item Type). The text’s Finale-assigned ID number also appears.
OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score without changing the settings.

Note: You can also edit lyrics using Finale’s text editing window.

See Also:
Text Menu
Edit Menu
Lyrics Tool
Text Tool

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Elapsed Time

Elapsed Time

How to get there

Click the Selection Tool , and select a region of measures. From the Utilities Menu, choose Check Notation, then Check Elapsed Time. Or press the 5 key with
selected measures.

What it does
This dialog box gives the following information: (1) the amount of time that has passed from the beginning of the piece to the beginning of the selected region; (2) the
time that has passed from the beginning of the piece to the end of the selected region; and (3) the total time of the selected region itself (all in thousandths of a
second).

OK. Click OK to return to the score.

Tip: This information is useful when composing music that must last an exact amount of time such as
jingles for commercials.

See Also:
Utilities Menu

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Enclosure Designer

Enclosure Designer

How to get there

Click the Expression Tool , and double-click a note or measure. In the selection box that appears, click Create (or click an existing expression and click Edit). If
you like, enter or edit text in the Text Expression Designer text box, then click Edit under Enclosure
You also find this dialog box in the Repeat Tool. Click the tool, then click a measure. Click Create to create a new text repeat (a piece of text that functions as a fully
operational repeat marking, such as "To Coda"), enter the text for the text repeat, and click Enclose Repeat.

Finally, you encounter this dialog box in the Measure Tool. Click the Measure Tool and select Edit Region from the Measure Numbers submenu of the Measure
Menu. Click Enclosures. Or, double-click the handle of certain measure numbers in the score to change their enclosures. Specifically, it appears if you’ve specified
Enclosures in the Measure Number dialog box for the current region of measures. See Measure Number dialog box for details.

What it does
This dialog box lets you enclose the expression mark (such as a rehearsal letter) or text repeat (such as "To Coda") in a box of any size, geometric shape, or line
thickness. If you encounter it using the Measure Tool, it lets you modify, add, or remove the enclosure for the measure number you clicked.

Shape: Rectangle, Oval, ... None. Use this drop-down list to select a shape such as a rectangle, oval or triangle, to draw around the text, or choose None if
you don’t want an enclosure to appear.

Note that the display shows three square handles. By dragging these handles, you can change the
size, shape, and positioning of the enclosure.

Line Thickness. Type the thickness, in measurement units, of the enclosure shape’s outline.
Opaque. Select this option to make the prevent items behind the enclosure from showing through. This is only available for rectangles and ellipses.
Height. Type the distance to add to Finale’s default height of the enclosure, in the selected measurement units (Edit Menu).
Width. Type the distance to add to Finale’s default width of the enclosure in the selected measurement units (Edit Menu).
Center: H: • V:. Type the amount to shift the enclosure horizontally and vertically, if you don’t want it centered on the text. Positive H: numbers move the
enclosure shape to the right of the center of the text. Positive V: numbers move the enclosure shape upward from the text’s baseline.
Options: None, Enforce Minimum Width, Match Height and Width. Use this drop-down list to control how the shape is drawn. If you choose None,

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Enclosure Designer

Finale allows you to independently set the height and width of the shape. Choose Match Height and Width to display the shape symmetrically so that the
enclosure's height matches its width. Choose Enforce Minimum Width to enforce a minimum width so the enclosure’s height doesn’t change when its width
adjusts to the text.
Fixed Enclosure Size. When this option is selected, Finale maintains the exact size of the enclosure despite the size of the text. When this option is not
selected, Finale adjusts the width (and size) of the enclosure depending on which item is selected in the Options drop-down list.
Use Default Enclosure. This option is only available when you have accessed the Enclosure Designer through a measure handle. If you have specified a
unique enclosure, use this button to reset the item to use the default enclosure used in the rest of the document.
OK • Cancel. Click OK to return to the previous dialog box. Click Cancel to return to the previous dialog box (or to the score) without making any changes.

Tip: Choose Match Height and Width from the Options drop-down list for Rehearsal letters if you want
the shape to be the same size throughout the score.

See Measure Number dialog box for details.

See Also:
Expressions
Expression Tool

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Repeat Endings

Repeat Endings

How to get there


From the Document Menu, choose Document Options and select Repeats. Then click Repeat Endings.

What it does
The Repeat options increase your control over how Finale places ending repeat brackets and numbers in your score. You can specify global values for the bracket
height, the length of the hook, the thickness of the bracket line, the distance to indent the bracket, and the position of the bracket number.

Height of Bracket. Enter a value in the current measurement units to set the height of the horizontal line of ending repeat brackets, measured from the top
line of the staff. As the value increases, so does the bracket’s distance from the top staff line.
Length of Front Hook • Length of Back Hook. Enter a value in the current measurement units for the length of the ending repeat bracket’s front and back
hooks (the short vertical line of the bracket). As the value increases, so does the length of the hook.
Line Thickness. Enter a value in measurement units to set the thickness of the ending repeat bracket lines.
Inset for Start of Bracket. This setting measures the distance between the start of the bracket (in measurement units) and the first barline in a measure. The
default starting inset is zero, which positions the bracket at the first barline of the measure. Enter a positive value to move the start inset to the right. This
shortens the bracket. Enter a negative value to move the start inset to the left. This stretches the bracket, extending it into the preceding measures.
Inset for End of Bracket. This setting measures the distance between the end of the bracket (in measurement units) and the ending repeat symbol. The
bracket’s default ending inset is zero, which positions the end of the bracket at the ending repeat. Enter a positive value to move the end inset to the left. This
shortens the bracket. Enter a negative value to move the end of the bracket to the right of the ending repeat, lengthening the bracket and extending it into the
following measures.
Ending Repeat Text: Horizontal • Vertical. These settings determine where Finale places the text for an ending repeat, measured horizontally from the
bracket hook, and vertically from the end of the bracket hook. Enter a positive value (in measurement units) in the Horizontal text box to set the text’s horizontal
distance from the start of the bracket. As the value increases, Finale moves the text further to the right. As the value decreases, the text moves further to the left.
Enter a positive value in the Vertical text box to set the text’s vertical distance from the end of the bracket hook (in measurement units). As the value increases,
Finale moves the text higher. As the value decreases, the text is lowered. This setting affects the appearance of all ending repeats already in the score, as well
as those yet to be placed in the score.
Reset • Cancel • OK. Click Reset to restore the built-in Finale default settings, or click OK to save new settings and return to the Document Options dialog
box.

See Also:
Repeats (barlines and text indications)
Document Options-Repeats

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Entry Modifications

Entry Modifications

How to get there

Click the Selection Tool , and select a region of measures. If you’re about to copy or move an element of the music, choose Edit Filter from the Edit Menu. After
the Edit Filter dialog box appears click Entries.

What it does
This dialog box lets you modify the music you’re copying in a number of useful ways. For example, you can transpose the copy, rebeam its beamed notes into new
patterns, or freeze all of its stems up or down.

Check Accidentals. If this box is selected, Finale will inspect the usage of accidentals in the copied music, making sure that any note tied over from a
previous measure doesn’t show an accidental, but that a recurrence of that note (if it is a non-diatonic note) later in the measure does. It’s the equivalent of the
Check Accidentals command (see Utilities Menu).
Freeze Stems • Up • Down. When you select Freeze Stems, the Up and Down buttons become available; click one to "freeze" all stems in the copied
passage in the same direction.
Reanalyze Harmonics. This option tells Finale to restore any chromatic notes to their default enharmonic "spellings" (if you’ve edited them) when it creates
the copy.
Rebeam. When you click this box, the Rebeam to Time Signature dialog box appears, in which you can specify a new beaming pattern for the eighth notes
(and smaller values) in the copied material.
Remove Reverse, Split, Double and Freeze Stemming. Select this option if, in the process of copying music, you want to remove any special stemming
you created with the Reverse Stem, Double/Split Stem, and Freeze Stem tools of the Special Tools Tool. This option restores all stem directions to "floating"
status, so that they can flip up or down depending on their staff location.
Transpose. When you click this checkbox, the Transposition dialog box appears, where you can specify a transposition for the copied material. See
Transposition dialog box.
OK • Cancel. Click OK to proceed with the music copying, or Cancel to abandon it.

For example, the First banjo plays the same notes as the Second banjo, but up a diatonic Third. Choose to Transpose as you copy the music onto the Clipboard.

See Also:
Selection Tool

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Erase Layer

Erase Layer

How to get there


This alert appears if you choose Move/Copy Layers from the Edit Menu, then set up the options so that you'd be copying over music that already exists.

Tip: If you do remove music that you wanted to keep, choose Undo from the Edit Menu.

What it does
Click the Selection Tool, and select a region of measures. Choose Move/Copy Layers from the Utilities Menu. In the dialog box, specify that one layer’s contents be
placed into a layer that already contains notes. Click OK.

See Also:
Move/Copy Layers dialog box
Edit Menu

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Executable Shape Designer

Executable Shape Designer

How to get there

Click the Expression Tool , and double-click a note or measure. (If the note or measure already has an expression attached, ctrl-double-click.) Click Create (or
click an existing shape in the selection box and click Edit). Click the Playback tab; then click Execute Shape; Select; and Create (or click a shape and click Edit).

What it does
An Executable Shape is a line whose contours Finale "reads" as it plays back your music in order to produce changes over time of some musical aspect: tempo or
volume, for example. You draw the Executable Shape itself in the Shape Designer (which you enter from this dialog box by clicking Shape ID, then clicking Create), but
you define its characteristics in this dialog box.
For a more complete discussion of Executable Shapes, see Shape Designer.

Shape ID. The number in this text box identifies the particular shape that’s being used as an Executable Shape. If you don’t know the number of the shape you
want to use—or if you haven’t yet created it—click Shape ID; you’ll enter the Shape Selection box, where you can double-click the desired shape (or click Create
to enter the Shape Designer, where you can create your own shape; see Shape Designer dialog box). You’ll return to the Executable Shape Designer dialog box,
where Finale will have entered the appropriate number in the Shape ID box.
Time Scale. If you haven’t told Finale to do otherwise, it will "sample" (or consult the level of) an Executable Shape once every eighth note. For example, if
you’re creating a rallentando that lasts for one measure of , Finale will decrease the tempo slightly in eight eighth-note increments.

The Time Scale, a ratio formed by the numbers in the two text boxes, lets you tell Finale to sample the shape more (or less) frequently. If, for example, you
have a passage composed of sixteenth notes and you’ve created a rallentando that sounds too jerky, tell Finale to sample it twice as often (once every
sixteenth note) by entering a Time Scale of 1:2. You enter 1:2 because Finale "reads" the entire Executable Shape in one-half the time (by sampling the shape
twice as often).

Level Scale. The numbers in these two text boxes form a ratio that governs the amount by which Finale should change the tempo (or volume, or whatever
parameter you’ve specified) over time. If you leave the Level Scale at 1:1, Finale examines the shape you’ve drawn in the Shape Designer; for every horizontal
gridline the shape rises or falls, Finale changes the playback value by one degree, depending on the playback variable being affected. (In the Shape Designer,
choose Grid from the Show submenu of the Shape Designer Menu to view the grid points.)

For tempo changes, "one degree" means one quarter note per minute (a metronome marking). For velocity, a degree means one MIDI velocity value (where 0
is silent and 127 is loud as possible). For MIDI patch or MIDI channel, each degree corresponds to a switch to the next patch or channel, and for pitch, a
degree is a half step.
Suppose, therefore, that you’ve created a rallentando shape in the Shape Designer that looks like the one pictured below. When you enter the word "rall." in the
score (for which this Executable Shape is the playback definition), you’ll hardly hear any tempo change at all in the playback. Based on what you now know,

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Executable Shape Designer

you’ll realize that it’s because your sloping line only drops two gridlines over its entire length. That means your rallentando only slows the tempo from 120 to
118 beats per minute!

This is an ideal problem for the Level Scale to solve. Just change the Level Scale to, say, 15:1; in other words, for every grid point your shape rises or falls, the
tempo will increase or decrease by 15 beats per minute, not one.

Sample Rate. As described above, the rate at which Finale "consults" the Executable Shape is determined by the Time Scale. However, you have even further
control over the behavior of your playback expression, because the Sample Rate text box tells Finale to affect playback only on the Nth sample, where N is the
number in the box. If, for some reason, you decide that a certain Executable Shape crescendo is too smooth, enter 2 in the Sample Rate box, and Finale will only
change the volume every second time the Executable Shape triggers a change, ignoring the samples in between.
Use List. If you want Finale to "notice" specific samples that you specify, select Use List. A dialog box appears, letting you enter a series of numbers, one in
each text box (if there are more than four values in your list, use the right and left arrows to scroll to additional text boxes, but you can’t enter more than six). The
numbers you specify here tell Finale which samples of the Executable Shape you want it to register for playback purposes.

Use List can produce interesting effects if this Executable Shape governs pitch or Restrike Keys. (Restrike Keys is one of the playback definitions you can
assign to any expression; the note to which it’s attached is struck over and over again, at a rate specified by its Time Scale setting.) By creating a sample list
and entering your values carefully, you can create a Restrike Keys expression that plays a certain rhythm. Suppose, for example, your Restrike Keys shape is
applied to a whole note, and has a Time Scale of 1:1 (it restrikes the note every eighth note). If you click Use List and enter 3, 3, and 2 in the first three boxes,
the affected whole note would play back with this rhythm:

Repeat Count. There may be times when you want the Executable Shape you’ve just defined to repeat itself several times. For example, if you’ve just designed
a magnificent trill that lasts for only a quarter note—but you want to create a trilling whole note—you can tell Finale how many extra times you want the shape
played by entering the number (in this example, 3) in the Repeat Count box.
Log All. When sampling your Executable Shape, Finale generally only "notices" (or produces an audible playback change for) a sample when its value changes;
a Restrike Keys expression whose Executable Shape is a horizontal line won’t restrike the note at all, because Finale doesn’t notice any changes in the line’s
vertical value. If you want such a shape to generate a sample at each eighth note whether its value has changed or not, select Log All.
Quit at End of Sample List. If you’ve specified a sample list by selecting Use List, and if the shape is long enough to produce more samples than the highest
number you’ve entered in the Sample List, Finale will ordinarily start over at the beginning of the Sample List in deciding which samples to "notice." If you’d rather
have Finale respond only once to the specific samples named in the list—and not to repeat the action—select this option.
OK • Cancel. Click OK to confirm, or Cancel to discard, the Executable Shape settings you’ve made and proceed to the next dialog box.

Tip: Create your shape to be exactly as you want—span the amount of time and offering the exact
effect you want. Then set Time and Level Scales to 1:1

See Also:
Expression Tool

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Executable Shape Selection

Executable Shape Selection

How to get there

Click the Expression Tool , and double-click a note or measure. Click Create (or click an existing expression from the selection box and click Edit); click the
Playback tab, Execute Shape, then click Select.

What it does
Every Executable Shape that has been created or loaded into the document appears in this box, ready to be assigned as part of the playback definition for an
expression.

Edit. If you want to modify one of the shapes appearing in the Executable Shape Selection box, click it once and then click the Edit button. You’ll enter the
Executable Shape Designer dialog box, where you can modify Finale’s interpretation of the shape (or, by clicking Shape ID, you enter the Shape Designer dialog
box, where you can modify the shape itself).
Create. Click Create to enter the Executable Shape Designer dialog box, where you can teach Finale how to interpret a certain shape. To draw the shape itself,
click Shape ID and then Create to enter the Shape Designer. See Executable Shape Designer dialog box and Shape Designer dialog box.
Duplicate. Click Duplicate to make a duplicate copy of the highlighted expression. You can select more than one item. Use Shift-click to select an additional
item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. After selecting a shape by clicking it, click Delete to remove it from the selection box. You can select more than one item. Use Shift-click to select an
additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. (You can’t delete it if it’s being used as part of
the playback definition of an existing expression.)
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Cancel. Click Cancel to return to the Playback Definition box without specifying an Executable Shape.
Select. If you click one of the displayed shapes and then click Select, you’ll return to the Text Expression or Shape Expression Designer, where Finale will have
automatically entered the number of the shape you selected in the Execute Shape text box. (You can simply double-click a shape instead of clicking once and
then clicking Select.)

See Also:

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Executable Shape Selection

Selection Overview
Text Expression Designer
Shape Expression Designer

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Explode Music

Explode Music

How to get there

Click the Selection Tool , and select a region of measures. From the Utilities Menu, choose Explode Music.
You can also use a Selection Tool Metatool: press the 2 key with selected measures. Or, hold down E while dragging selected measures to a destination.

What it does
In essence, Finale’s Explode Music command strips a chordal passage into individual single-line melodies on separate staves. You could use this feature, for example,
to transform a piano reduction into four single-line melody staves for a choir.
Before it will "explode" the selected region, however, you have to tell Finale, in this dialog box, how many resultant staves you want, what clefs they should use, and
how Finale should handle cases where there are more notes (or fewer notes) in a chord than there are staves on which the music will be exploded.

Split into__ Staves. This number specifies how many resultant staves Finale should create.
Explode Direction: Top Down • Bottom Up. These options decide how Finale will fill the staves receiving music, especially when some chords have fewer
notes than the chords around them. For example, when you are exploding music onto four new staves, and there is a chord which only contains three notes, Top
Down will place the three note chord on the top three staves, leaving the bottom staff empty. Using the same example you can make the lower three voices
receive notes, (leaving the top staff blank) by selecting Bottom Up.
Extra Notes: Put in Top Staff • Put in Bottom Staff • Distribute to These Staves __ • Discard. These options are used when there are more
notes in a chord than there are staves selected in the Split Into text box to determine how to deal with the overflow of notes. Finale will divide the number of
notes by the number of staves, with the remainder being the extra notes. If Only One Note per Staff is selected, at most one note will be assigned to each staff.
When Put in Top Staff is selected, all extra notes from a chord will be placed in the topmost exploded staff. When Put in Bottom Staff is selected, all
extra notes will be placed in the bottom most exploded staff. Discard will put the same number of notes on each staff and throw the extra notes away.

When Distribute to These Staves__ is selected, it allows you to decide, explicitly, which staves will receive extra notes. For example, if you’re exploding
the music from a chordal passage into three staves, and one of the chords contains five notes, this box decides which staves are allowed to receive more than
one note of the chord, therefore, guaranteeing all the notes in the chord will be present in one of the resulting staves.
In the example above, if you left the default numbers in this box (12340000), Finale would recalculate how the notes are to be distributed from the original five-
note chord, allowing more than one note from the chord to appear in staff one and staff two. That is, it would notate the top two notes on the first exploded staff,
the next two on the second staff, and the fifth (bottom) note on the third exploded staff. If the Distribute to These Staves was 22222222, however, Finale would
place all the "extra" notes (the top three of the original five-note chord) on the second exploded staff; the remaining staves would receive one note apiece.

One Note Per Staff. Select this check box to ensure each staff receives at most one note when exploding music. All extra notes in the chord will then be
distributed according to your Extra Notes settings.
Use These Clefs. If you select this checkbox, Finale will consult the numbers in the text box to decide what clef to give each of the resultant exploded staves.
The numbers in the text box are clef numbers, see Clef Designer dialog box for which numbers represent which clefs. The first number specifies the clef for the
first exploded staff; the second number specifies the clef for the second staff, and so on.
Place Music into: New staves Added to Bottom of Score • Existing Staves Starting with. Select New Staves Added to Bottom of Score if you
want Finale to create a number of new staves (specified by the Split Into__Staves box) below the source Staff. Select Existing Staves Starting with to explode
your music onto existing staves starting with the staff selected in the drop-down list (replacing whatever music is currently on them).
OK • Cancel. Click OK to proceed with the exploding process. Click Cancel to return to the score without exploding any music.

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Explode Music

Tip: The Numbers beside Clef refer to Finale’s numbering. 0=Treble Clef; 3=Bass Clef

Note: If you place the music into existing staves, the music in the selected region for those staves will
be lost.

See Also:
Selection Tool

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Export MIDI File Options

Export MIDI File Options

How to get there


Choose Export MIDI File Options from the MIDI/Audio Menu.
Or,
Choose Save As from the File Menu. Enter a title and select MIDI File from the File Type drop-down list. Click OK.
Also, when you save a MIDI File from the Playback Controls, the MIDI File Options dialog box appears when you click OK.

What it does
You can save any document into several formats. This file format, known as a standard MIDI File, enables your document to be shared with other music programs
(primarily sequencers), most of which can read this kind of file.
In this dialog box, Finale asks you which kind of MIDI file you want to create; most sequencers can read any of these formats.
The MIDI File Options dialog box also lets you save bookmarks as markers when you create a MIDI file.

MIDI File Type: Format 1. Click this button to create a Format 1 MIDI file—by far the most widely used format, which contains multiple tracks. In Finale, every
Instrument is placed in its own track; remember that each element of each staff (Layer 1–4, Chords, and Expressions) can have its own Instrument assignment.
Remember, too, that unless you’ve given each of these elements its own Instrument, the resultant MIDI file won’t have multiple tracks. For a discussion of
Instruments, see Instrument List.
MIDI File Type: Format 0. In this MIDI file format, all of the music is placed in a single track, separated only by MIDI channel. In Finale, however, two staves
can only have different MIDI channel assignments if they also have different Instrument assignments. So, again, for the purposes of this file format, make sure
you’ve assigned a different Instrument to every element (Layer 1–4, Chords, Expressions) you want assigned to its own MIDI channel.
MIDI File Type: Tempo Map. Certain advanced sequencer programs allow you to import a tempo map of a piece—that is, a separate file consisting entirely
of the ritards, accelerandi, and other tempo fluctuations in a piece. Click this button to create a Tempo Map MIDI file from your document.
Save Bookmarks as Markers. Specify whether you’d like the Finale bookmarks converted to sequencer marks.
Don’t show this during File Save As. Select this option if you wish to use the current settings in the Export MIDI File options next time you save a MIDI file
in Finale. The Export MIDI File Options dialog box will not be displayed when you save a MIDI file, only when Export MIDI File Options is selected from the
MIDI/Audio Menu. Deselect this checkbox to again display the Export MIDI File Options dialog box when saving MIDI files.
OK • Cancel. Click OK to confirm, or Cancel to return to the score without creating a MIDI file.

See Also:
MIDI
Instrument List
MIDI/Audio Menu

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Export Selection/Pages

Export Selection/Pages

How to get there

From the View Menu, choose Page View. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . Choose Export Pages from the Graphics
Menu to display the Export Pages dialog box. Or, double-click and drag to enclose the musical excerpt you want to export. Choose Export Selection from the Graphics
Menu to display the Export Selection dialog box.

What it does
Whether you choose Export Selection or Export Pages, the dialog box settings are the same, except for the title. The only difference is that you’re either exporting a
selected region on the current page (or range of pages), or exporting an entire page (or range of pages). Use this dialog box to export pages of your score into a
graphics file format usable in other programs such as word processing or desktop publishing programs. These files can be saved as Encapsulated PostScript (EPS) or
TIFF graphics file types. All graphics formats will export as black and white (1-bit line art), even when colors are showing on the screen prior to export.

Although you do not require a PostScript printer (only the driver) to create EPS files, you will need a PostScript printer to print the resulting EPS file. TIFF files use
Pack Bits compression.

Type: EPS •TIFF. Select the type of graphics file you want Finale to create. If you choose EPS the PostScript Options will be available. If you choose TIFF, the
TIFF Resolution settings will be available. Make changes to these settings as needed.
Pages: All • From ___ to ___. Click All to export every page of your score to a graphics file. Click From to export a range of pages, then enter the page
numbers in the two text boxes. Note that each page is saved to a separate graphics file.
File Names: Generate names from • Prompt for each name. If you want Finale to name each file automatically, select Generate names from and
enter the file’s title in the text box, followed by a number sign (#). Finale uses the title you enter and replaces the number sign by a sequential number to create a
unique title for each file (if, for example, you’re exporting a range of pages to separate files). Select Prompt for each name if you want Finale to ask you for a title
each time a file is created.

Note: Finale automatically displays a file extension as part of the file name: EPS for Encapsulated PostScript files and TIF for TIFF files. If you type a new name
replacing the file name and extension, Finale will use the name you enter.

PostScript Options: Include TIFF Preview • Include Fonts. These options are only available when EPS is the selected file type. Use this group box to
change the PostScript settings for EPS files that you export. Select Include TIFF Preview to have a preview of your EPS file appear when you place the EPS file
into other programs. Select Include Fonts to have Finale save the music fonts used in the document as part of the EPS graphics file being exported. Select Allow
Transparency if you want to create a transparent EPS file. (These options work the same way as the options in the Compile PostScript Listing dialog box. See
Compile PostScript Listing dialog box for details.)
TIFF Resolution: 72 • 150 • 300 • 600 • 1200. Choose an option from the TIFF Resolution drop-down list to change the resolution of the TIFF file, or
enter a value between 1–3500 dpi into the text box; the higher the value, the better quality of printout you’ll obtain. Generally, you should set this value to match
the resolution of your printer. For example, if you’re printing on a 300 dpi printer, enter 300. If you’re printing on a 600 dpi printer, enter 600.

Note: Be aware that the higher the resolution you select, the larger the resulting files will be, and your printer may run out of memory. If your printer has trouble
printing TIFF files, choose a lower resolution when exporting files—perhaps 300 dpi to match the resolution of your printer, or 72 dpi to match the resolution of
your monitor.

OK • Cancel. Click OK to save the graphics file; the standard Save As dialog box appears. Click Cancel to return to the score without saving the file.

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Export Selection/Pages

Tip: Include Fonts in the EPS file if you will be using the file on a machine that does not have Finale
installed.

Note: The higher the resolution you select, the larger the resulting files will be. If your printer has
trouble printing TIFF files, choose a lower resolution when exporting files - perhaps 300 dpi to match
the resolution of your printer, or 72 dpi to match the resolution of your monitor.

See Also:
Graphics
Graphics Tool

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Expression Selection

Expression Selection

How to get there

Click the Expression Tool , and double-click a note or measure. (If the note already has an expression attached, click again.) This dialog box also appears when
you’re programming an expression Metatool: While pressing shift, press a letter or number key.

What it does
This dialog box displays a palette of any Expressions (either text- or shape-based) you’ve created in, or loaded into, your document. If your Maestro Font Default file is
in place, this dialog box displays a selection of common Text Expressions, such as Allegro, ritard, and various dynamic markings. When you click the Shape button
(below the list box), you see a palette of Shape Expressions, such as slurs and crescendos.
From this dialog box, you can select an expression to put in the score, edit an existing one, or create a new one. The number in the top left corner of each item lists
the slot number for the item. This can be handy if you have the option of typing in the slot number in a dialog box instead of scrolling through the selection dialog box.
Occasionally, a character in parenthesis appears in the top right corner of an item in the selection dialog box. This character indicates the Metatool assigned to the
item.

Edit. After clicking an existing expression, click Edit to enter the Text Expression or Shape Expression Designer dialog box (depending on whether the Text or
Shape radio button is selected), where you can edit it. Remember that you’re simultaneously editing every occurrence of the expression in the score.
Create. Click Create if you want to create your own expression. You proceed to the Text Expression or Shape Expression Designer dialog box (depending on
whether the Text or Shape radio button is selected), where you can create a new expression. You can select more than one item. See Text Expression Designer
dialog box and Shape Expression Designer dialog box for more information.
Duplicate. Click Duplicate to make a duplicate copy of the highlighted expression. You can select more than one item. Use Shift-click to select an additional
item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. After clicking an existing expression, click Delete to remove the expression from the palette. You can select more than one item. Use Shift-click to select
an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If the expression is used in the score, the
Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Text. If this button is selected, the selection box displays a list of Text Expressions—expression markings consisting solely of text characters. (Dynamics and
certain musical symbols can also be considered text, even though they belong to the Maestro music font, or another music font.)

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Expression Selection

Shape. If this button is selected, the selection box displays a palette of Shape Expressions—expression markings consisting of lines and shapes you’ve created
in the Shape Designer.

Important note: The functions of Shape Expressions such as phrase markings, slurs, and crescendos can be duplicated much more easily through the use of
Smart Shapes. If you place a Shape Expression in more than one place in the score, be aware that editing it will change every occurrence of it in the score—a
particularly unfortunate situation if, for example, you’ve carefully changed the shape of each slur to fit its particular notes.

Measure Expression • Note Expression. Use these radio buttons to determine if your expression should be attached to a note or a measure. If, when you
clicked on the score, you were not near a note, that option is disabled and your expression will be attached to the nearest measure.
Cancel. Click Cancel to return to the score without adding an expression.
Select. After clicking a Text Expression or Shape Expression in the selection box (and changing the setting for note expression or measure expression), click
Select to tell Finale you want to place it in the score. You proceed to the Expression Assignment dialog box (where you have some additional positioning options),
and from there you return to the score.

Note. You can simply double-click the desired expression instead of clicking it and clicking Select.

See Also:
Expressions
Selection Overview
Expression Tool

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Extract Parts

Extract Parts

How to get there


Open the document from which you’ll be extracting parts. Choose Extract Parts from the File Menu.

What it does
This dialog box allows you to extract parts into individual documents. When you do this, each new file Finale creates is identical to the corresponding part from the
parent document.

[Parts/Score list] • Check All • Check None • Check Current. The score and all parts appear in this section. From this list, choose the parts (and/or
score) you would like to extract. Click Check All to select all items in the list. Click Check None to uncheck every item in the list. Click Check Current to check an
item if it is highlighted.
Manage Parts. Choose this option to open the manage Parts dialog box where you can add, delete, and customize parts. See Manage Parts dialog box.
Generate Parts. Click this button to generate a part for each instrument in the score. Finale recognizes instruments that contain more than one staff, such as
Piano, and creates a single part accordingly. This is identical to the Generate Parts button in the Manage Parts dialog box.
File Names: Generate Names From • Prompt for Each Name • Save In • Open Extracted Part. Finale needs to know what to call each
document it creates for an extracted part. If you want Finale to automatically extract parts and create a file name for each document without intervention on your
part, select Generate Names From and enter the folder in the text box, followed by any variables you would like to use in naming your parts. The variables are
detailed in the table below.

Variable Represents Example

%f Score file name "Pastorale.mus"


%t Score Title from the File Info "Symphony No 6"
dialog box
%p Part name "Flutes 1 and 2"
%s First staff name "Flute 1"
%a First abbreviated staff name "Flt I" or "Pno"
%i First staff number "1"

The default is %p, which using the examples in the table would give you extracted parts with a name like "Flutes 1 and 2.mus."

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Extract Parts

Using %f %p will name all the files first with the score name followed by the part name: "Pastorale Flutes 1 and 2.mus," "Pastorale Oboe.mus," "Pastorale
Clarinet.mus".
Using %n %s would give you "1 Flute 1.mus," "2 Oboe.mus," "3 Clarinet.mus" and so on in the order of the score. Thus your files are listed in score order
instead of alphabetically according to staff or group name.
Select Prompt for Each Name if you want Finale to ask you for a file name each time a document is created. Click the Save In button to select the folder in
which you want the parts saved.
If you check Open Extracted Part, Finale will open the file for each part, layered on top of each other, when Finale finishes extracting all of the parts. To switch
between open documents, click on the Window Menu and select the desired file. For more information, see the Window Menu.

OK • Cancel. Click OK (or press enter) to confirm your parts extraction settings, or click Cancel to dismiss the dialog box without changing any settings.

See Also:
Extracting parts
Document Options-Music Spacing
Page Layout Menu

2.

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File Integrity Test Results

File Integrity Test Results

How to get there


Open a file with inconsistencies. From the Document Menu, choose Data Check, then File Maintenance. Ensure Check File Integrity is checked and click OK.

What it does
Finale 2001 created files that were approximately one-third the size of files created with previous versions of Finale. This new capability, unfortunately, introduced a
problem in which a small percentage of files are damaged when saved in the original release of Finale 2001. The symptom of this problem is that the last nine (or
fewer) notes or rests that were entered before the file was saved AND closed will be missing when the file is reopened.
Finale 2008 prevents further damage from occurring. While using 2008 will completely prevent the problem from occurring in new files, files previously saved in Finale
2001 may already be damaged. The File Integrity Utility will examine the file for inconsistencies and try to repair the file.
Files last saved in Finale 2001 will automatically be tested for file integrity and corrected. Files created before Finale 2001 and last saved in Finale 2001a or later will
ask if you wish to test file integrity. Once the file has been tested for file integrity and saved, you won't be prompted on that file again. Other files may benefit from the
Test File Integrity utility.
The Test File Integrity dialog box displays a message stating whether it found inconsistencies in the file. Click on Details to display the types of items that were
repaired in your score.

Unused Entries. The utility removed notes or rests found in the file but not used. This is similar to Remove Deleted Items or emptying the Recycle Bin. Unused
entries, without any repaired items, do not indicate a damaged file.
Orphaned Entry Details. The utility removed items attached to notes or rests found in the file but not used, such as articulations that were attached to notes
you erased. This is similar to Remove Deleted Items or emptying the Recycle Bin. Orphaned Entry Details, without any repaired items, do not indicate a damaged
file.
Repaired Entries. The utility repaired notes or rests that referenced a corrupted note or rest. We recommend you check your file for missing notes or rests.
Repaired Frames. The utility repaired groups of notes that referenced a corrupted note or rest. We recommend you check your file for missing notes or rests.
Repaired Frame Attachments. The utility repaired frames (one layer of a measure) that referenced a corrupted note or rest. We recommend you check your
file for missing notes or rests.
Missing Measures. The utility repaired gaps in the sequence of measures.
Repaired Staff Optimization Lists. The utility repaired errors in optimization data.
Unnecessary Measure Expressions Removed. The utility found and deleted empty measure expression assignments.
List of possible error locations. If the utility can determine the location, it will provide a list of locations of missing notes or rests.
OK. Click OK to return to the score.

See Also:
Document Menu
File Maintenance

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File Maintenance

File Maintenance

How to get there


From the Document Menu, choose Data Check, and then File Maintenance.

What it does
Use this dialog box to remove deleted items from your document to reduce file size, or to run a file
integrity check.

Remove Deleted Items. When you delete or erase music, measures, or staves from a document you’re working on, Finale doesn’t immediately discard that
music. The Remove Deleted Items command permanently removes any deleted staves, measures, notes and rests that Finale is "remembering," and can
dramatically decrease the size of your document (in terms of the disk space consumed). Select the Remove Deleted Items check box and click OK. A dialog box
appears warning you that the process of removing items takes some time. When the operation is complete Finale will display the results of the process.
Remove Duplicate Library Elements • Text Expressions • Shape Expressions • Articulations • Retain Duplicate Elements With Unique
Metatools. Check one or more of these options to remove duplicate items from these libraries. You might want to do this if you load a library that was saved
from a different document that contains identical expressions or articulations. Instead of deleting all duplicate items manually in the Expression/Articulation
Selection dialog box, you can use this option to tell Finale to do it for you. Check Retain Duplicate Elements With Unique Metatools to tell Finale to keep any
duplicate item that has a unique metatool assignment.
Test File Integrity. Choose this option to test the file for damage caused by a small percentage of documents created in Finale 2001. See File Integrity Test
Results.

See Also:
Document Menu

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Fill

Fill

How to get there


Enter the Shape Designer (see Shape Designer dialog box). Select an enclosed-outline object in the drawing area and choose Other from the Fill submenu of the
Shape Designer Menu.

What it does
When you’re creating a shape in the Shape Designer, you can specify that any enclosed object (square, circle, polygon, and so on) be "colored in" with any shade of
black or gray. If none of the shading choices in the Fill submenu is what you want, you can use this dialog box to specify any other degree of black or gray.

Fill • [Scroll bar]. In the text box, you can type in any number from zero (white) to 100 (black) to specify a shade of gray. If it’s more convenient, you can use
the scroll bar to change the number in the text box. As you change either of these controls, the area above the scroll bar changes to show you the gray shade
you’ve specified, as it will appear on the screen. (The grays are smoother when printed on a PostScript printer.)
Solid Fill (PostScript Only). Leave this technical option selected. If you don’t, then shading applied to complex polygons with crisscrossing lines will only fill
alternate spaces created by the crossing lines (for example, only the points of a 5-pointed star would be filled in).
OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of a Fill setting and return to the Shape Designer.

See Also:
Shape Designer
Shape Expression Designer
Note Expression Assignment
Measure Expression Assignment

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Filter Channels

Filter Channels

How to get there


Choose Open from the File Menu, and Select MIDI from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI
File Options dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping to Staves dialog box, click the topmost unassigned row of track
information; the Track/Channel Mapping dialog box appears. Enter the numbers of the tracks from which you want to select ranges of notes to be transcribed in the
text boxes at the top of the window; click Filter.

What it does
The Track/Channel Mapping dialog box offers you a great deal of control over the way in which your sequencer-file tracks are transformed into Finale staves. You can
tell Finale to create up to eight staves out of a single sequencer track, to create one Finale staff from up to four sequencer tracks, and so on.
You can think of the Filter split option as the inverse of the Fixed, Multiple, and other split options. Where these other functions serve to split the notes on the tracks
you’ve specified into separate staves, the Filter function lets you combine selected notes from several different sequencer tracks onto a single Finale staff.
In the Filter Channels dialog box, you specify the ranges of the notes from each of up to four tracks you want Finale to transcribe onto a single staff. Note, however,
that the Filter function has no meaning if you haven’t specified at least one track by entering its number in one of the text boxes at the top of the Track/Channel
Mapping dialog box. If you click Filter without having specified a track, Finale will display an alert message.

Track/Channel (#):(#). There are up to four of these indicators, which identify the track and MIDI channel number pairs you entered at the top of the
Track/Channel Mapping dialog box.
Key Range: Low • High • Listen. In each pair of these text boxes, you enter a low and a high key number; in this way, you can specify up to four registers,
one from each of the four track/channel combinations identified by the Track/Channel (#):(#) indicators. Finale will transcribe only the notes within each of these
registers onto a single staff in the resulting transcription.

Middle C is key number 60, and keys are numbered sequentially from left to right on the keyboard. (You can even enter a Low key number that’s higher than
the High number; Finale will include in the transcription all notes except those in the register you’ve just outlined.) Note, however, that you don’t have to
calculate the key numbers and type them in manually—you can play them instead.

Listen. Click the Listen button beside each pair of text boxes, and play each note—the lowest, then the highest note in the range; Finale enters their key
numbers in the text boxes automatically.
OK • Cancel. Click OK to confirm, or Cancel to discard, your specifications of note Filter settings and return to the Track/Channel Mapping dialog box.

See Also:
MIDI
Track/Channel Mapping
Track/Channel Mapping to Staves
Import MIDI File Options

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Fit Measures

Fit Measures

How to get there


In Page View, click the Selection Tool, and select a region of full measures. From the Utilities Menu, choose Fit Measures.

What it does
Using this powerful page-layout command, you can force Finale to place a group of selected measures onto one line (staff system) on the page. Or you can select a
larger region of measures, and tell Finale to place them in groups of 4 (or any other number) per line. The Fit Measures command also allows you to lock the measure
grouping and the contents.

Change Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes
to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box
where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to
apply changes to the full project - all parts and the score.
Lock Layout with ___ Measures per System • Treat Multi-Measure Rests as One Measure. The Measures per System option lets you specify
how many measures per line you want for the region you’ve selected. You may optionally treat multi-measure rests as one measure (when checked) or count
each measure inside the multi-measure rest individually (when unchecked.)
Lock Selected Measures into One System. Click this option if you want Finale to place all the selected measures into the same line of music (system).

Both of these options work by placing the selected measures into locked configurations. When the measures are locked, a lock icon will appear next to the
system. See the View Menu for more information about displaying or hiding these non-printing lock icons. (For more on measure groups, see Measure layout).

Remove System Locks. Click this option to remove all locked measures for the selected systems. This will allow Finale to move measures to different
systems when updating your layout.
Change: All Measures • Measure ___ thru ___ . Click on the Whole Document radio button to lock every system in the score. Click on Measure ___ thru
__ to lock only the measures entered in the text boxes.
OK • Cancel. Click OK to confirm, or Cancel to discard, your measure-layout settings and return to the score. If you clicked OK, Finale performs the measure-
layout action and automatically chooses Update Layout from the Edit Menu. If you are displaying System Locks, you’re changed systems will now display them.
See View Menu.

To undo measure groups you’ve created in this way, choose Update Layout from the Edit Menu while pressing shift or press U in the Selection Tool after
selecting individual systems.

See Also:
Utilities Menu

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Fit to Time

Fit to Time

How to get there

Click the MIDI Tool . Select a region of music. From the MIDI Tool Menu, choose Tempo. Then, from the MIDI Tool Menu, choose Fit to Time.
What it does
This dialog box displays the start and end time of the selected region of music based on the playback tempo. It allows you to specify a duration for the selected region
of music or the elapsed time of the entire score.
This dialog box does not account for tempo changes applied by Human Playback. To eliminate Human Playback’s tempo changes, for Tempo, choose No HP Effect in
Human Playback Preferences - MIDI Data.

New End Time. Here, enter the moment (from the beginning) playback should reach the end of the selected region.
New Elaped Time. In this text box, enter the duration for the selected region. Finale adjusts the tempo of the music so that the measures selected fit into the
amount of time specified.
OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the Fit to Time data changes you’ve specified.

See Also:
MIDI Tool

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Fixed Split

Fixed Split

How to get there


Choose Open from the File Menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import
MIDI File Options dialog box, click the Set Track-To-Staff List radio button. In the Track/Channel Mapping to Staves dialog box, click the top unassigned row of
track/channel mapping information. In the text boxes at the top of the Track/Channel Mapping dialog box, enter the track numbers and MIDI channel numbers of the
"tracks" you want to split. Click Fixed.

What it does
In this dialog box, you can specify up to four split points for the music in the sequencer track (or tracks) you’ve specified for transcription. In each pair of text boxes,
you specify a range of notes you want to appear in a separate staff. You could, for example, include only the notes in the flute’s register to place in one staff; only the
notes in the bass’s register to put in another, and so on. You can even specify overlapping split ranges so that some notes are transcribed more than once.

Key Range: Low • High. In each pair of Low/High text boxes, enter a low and a high key number, where middle C is key number 60, and the numbers
increase sequentially as you move from left to right on the keyboard. The notes to which these synthesizer key numbers refer—and all notes in between—will be
split into their own staff.

Note: You don’t have to calculate the key numbers and type them in manually. Click the Listen button
(see below) beside each pair of text boxes, and play each note—the lowest, then the highest note in
the range; Finale enters their key numbers in the text boxes automatically. You can split the notes of
the track (or tracks) you’ve indicated into as many as four separate staves this way. These staves will
appear in the same top-to-bottom order as these pairs of text boxes.

Listen. When you click this button, Finale goes into "listen" mode, waiting for a MIDI signal. (A message to this effect appears on the screen.) Simply play the
desired key on your keyboard; Finale enters the appropriate key number in the active text boxes.
Split into ___ Staves. After indicating all the desired ranges of notes in the text boxes (see above), tell Finale how many resultant staves you want by entering
the appropriate number in the Split text box (1 to 4).
OK • Cancel. Click OK to confirm your split points, or Cancel to discard them, and return to the Track/Channel Mapping dialog box. In the Split column for the
row you clicked, you’ll see Fixed (if you clicked OK) or None (if you clicked Cancel).

See Also:
Track/Channel Mapping

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Font

Font

How to get there


This dialog box appears any time you click a Set Font button. You can find a Set Font button in, for example, the Measure Number, Articulation Designer, and Text
Expression Designer dialog boxes.

What it does
In this dialog box you can specify a font (typeface), point size, and style for the text element you’re defining. Finale displays sample text to show the effects of your
selection.

Font. In this scrolling alphabetical list, Finale displays every font installed. Click a font name to select it. If any elements in the score use fonts that were present
when the document was created or edited, but are no longer installed, then the font name appears in the Font text box but not in the scrolling font list; see Check
Document Fonts Against System Fonts. At the top of the dialog box, Finale shows you the actual text you’ve typed, if appropriate. Enter the Size (and click each
check box to remove any dashes) to preview the selected font. (A dash indicates the current fixed size or style specified for any text existing in the document.
Since more than one size/style may exist in the document for any given font, the font preview is only available with dashes removed.)

Note: When you’re creating musical elements such as Articulations, Finale conveniently displays the
default music font at the top of the list (usually Maestro) as well as in its normal alphabetical position.

Size. In this text box, enter the size, in points (72 per inch), for the textual element you’re designing. Each time you enter a number, Finale updates the sample
text display to reflect the change. See Fonts for some important advice about selecting fonts and type sizes.
Fixed Size. Normally, when you use the Resize Tool to make your music larger or smaller on the page, Finale scales all page elements by the same amount,
including text. Therefore, the size of your lyrics and titles, for example, always remains proportional to the music around it.

In some cases, though, you may want to specify a point size for some text that will never change, even if you reduce or enlarge the music on the page (lyrics
and titles are the most common examples). If that’s the case, select Fixed Size; Finale won’t scale this text if the size of the music changes.

Style. Click as many of these checkboxes as you want; each creates a stylistic change in the font and size you’ve selected, as follows: Bold, Italic, Underline,
and Hidden.
OK • Cancel. Click OK to confirm, or Cancel to discard, the font change you’ve specified. You return to the previous dialog box.

See Also:
Articulation Tool
Expression Tool
Lyrics Tool
Measure Tool
Text Tool

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Font Annotation

Font Annotation

How to get there


From the Edit Menu, choose Program Options and select Edit. Then click the Font Annotation button.

What it does
Modern font technology is orientated towards text rendering, but symbol fonts often require more information. The Font Annotation dialog box allows you to fine-tune
the height and width of each font character, allowing Finale to better handle the selection area for font characters and collision avoidance for Engraver slurs. We’ve
provided annotation files for each of the fonts provided by Coda. If you use an alternative music font, you should create your own font annotation file for a smoother
integration with Finale.
Any Font Annotation (FAN) files found in the Font Annotation folder will be automatically loaded upon starting Finale. See Program Options-Edit for information about
defining your Font Annotation folder.

Character: Select • Set Font. Click on the Select button to open the Symbol Selection dialog box, where you can scroll through the font characters. Type in
the text box if you know the specific symbol number, or use the up or down arrows to cycle to the character. Click on the Set Font button to switch to a different
font. The currently selected font is displayed below the Set Font button.
Origin • Baseline. These text boxes reflect the values for the green lines representing the font character’s origin and baseline.
Bounding Rectangle: Top • Left • Right • Bottom. These text boxes reflect the values for the annotated size of the font character.
Show Font Reference Lines. Check this box to display the blue lines which represent the size of the height of the largest character in that font.
Show Bounding Rectangle. Check this box to display the red lines which represent the size of the font character. Uncheck the box to hide the rectangle.
Show Origin and Baseline. Check this box to display the green lines which represent the font character’s origin and baseline.
View % • Magnifier Glass + • Magnifier Glass -. Select a view percentage from the View drop-down list to change your display of the font character.
Click the Magnifier Glass + button to increase the view percentage to the next highest percentage in the menu. Click the magnifier Glass - button to decrease the
view percentage to the next smallest percentage in the menu.
Center View. Click this button to center the display according to the font reference lines.
Reset. Click Reset to return the font character to its default settings.
New • Save • Open • Save As. Use these buttons for file management of Font Annotation Files (FAN). Click New to create a new set of annotations. Click
Save to save your current changes to the font annotation file. Click Open to edit a previously created file. Click Save As to save the current font annotation file
with a new name.
OK • Cancel. Click OK to confirm, or Cancel to undo, the font annotation changes you’ve made, and return to the Font dialog box.

See Also:
Program Options-Edit

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Font Annotation

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Frame Attributes

Frame Attributes

How to get there


Click the Text Tool. Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shift-double-click a text block handle. Or type control-shift-T.

What it does
For measure-assigned text blocks, use the Frame Attributes dialog box to specify the staff and measure to which Finale should assign the text block; for page-
assigned text blocks, specify which pages a text block will appear on, and position the text block vertically and horizontally on the page. The dialog box appears with
the settings already selected for measure- or page-assigned text blocks.

Attach to: Page: Single Page • All Pages • Page Range • Left Pages • Right Pages; __Through__. Click Page to assign the text block to one or
more pages. Choose an item from the drop-down list to have Finale show the text block on a single page, all pages, a range of pages, left-facing (even-
numbered) pages or right-facing (odd-numbered) pages, then specify the range of pages (with the exception of single page and all pages). Enter the numbers of
the pages where the text block will appear (you’d select Left Pages, and 6 Through 10 to display the text block on every left page between pp. 6–10, for
example). To show the text block on a single page, choose Single Page, then enter the page number in the first text box. To display the text block on the first
page through the end of the piece, choose All Pages. To show the text block on every page, starting at page 6, you’d select Page Range and enter 6 Through 0,
or enter 6 and leave Through blank.

The page number(s) in the Frame Attributes dialog box may differ between the part and the score if either contains blank/title pages. For example, if there is
one title page on the part but not the score and a text frame is assigned to the first page containing music, the Frame Attributes dialog box indicates page 1
while viewing the score and page 2 while viewing the part.
Note: A text block assigned to a measure will only appear on the page containing that measure, so the page settings aren’t available for measure-assigned text
blocks.

Attach to: Measure • [Staff names]. Click to assign the text block to a measure. In the Measure text box, enter the measure number you want the text
block to be assigned to. From the Staff drop-down list, choose the staff you want associated with the measure-assigned text block. Finale aligns and positions
the text block in relation to this staff.

Note: When you change whether a text block is assigned to a page or a measure, Finale resets the
H: and V: values to zero. It also sets Measure to 1 or Page to 1 (or the current page if you’re in Page
View).

Alignment and Positioning: Horizontal: Left • Center • Right; Vertical: Top (Header) • Center • Bottom (Footer); Position from: Page
Margin • Page Edge; H: • V:. Use the Horizontal drop-down list to position a page-assigned text block horizontally between the left and right page edges or
margins. Choose Left or Right to position the text block flush with the left or flush with the right page edge or margin. Choose Center to center the text block
between the left and right page edges or margins. When you select a Horizontal option Finale resets the Alignment and Positioning: H: value to zero, and
positions the text block horizontally, depending on the Position from selection.

Use the Vertical drop-down list to position a page-assigned text block vertically between the top or bottom page edges or margins. Choose Top (Header) or
Bottom (Footer) to place the text block at a distance measured from the top or measured from the bottom of the page edge or margin. Choose Center to
center the text block between the top and bottom edges or margins. When you select a Vertical option Finale resets the Alignment and Positioning: V: value to
zero, and positions the text block vertically, depending on the Position from selection.
Use the Position fromdrop-down list to have Finale calculate a page-assigned text block’s position starting from either the page margin or page edge. Select

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Frame Attributes

Page Margin to have Finale measure the text block’s position starting from the page margin. Select Page Edge to measure the text block’s position from the
page edge.

Note: The Horizontal, Vertical and Position from options are only available for page-assigned text
blocks (Attach to: Page is selected).

Use the H: and V: text boxes to position a measure- or a page-assigned text block horizontally and vertically. For measure-assigned text blocks (Attach to:
Measure is selected), enter values in H: and V: to position the text block from the top-left of the measure. For page-assigned text blocks (Attach to: Page is
selected), enter values in H: and V: to position the text block on the page, based on your settings in the Alignment and Positioning group box. Enter a value for
H: to change the horizontal position; a positive number moves the text block to the right; a negative number moves it to the left. Enter a value for V: to change
the vertical position; a positive number moves the text block higher; a negative number moves it lower.

Note: The H: and V: text boxes in the Alignment and Positioning group box are used for both
measure- and page-assigned text blocks.

Right Page Alignment and Positioning: Use Right Page Positioning; Horizontal: Left • Center • Right; H: • V:. Select. Use Right Page
Positioning if you want Finale to position a page-assigned text block differently on right-facing pages. When this option is selected, you can set separate
horizontal alignment and H: and V: settings for right-facing pages. Finale uses the settings in the Alignment and Positioning group box for left-facing (even-
numbered) pages, and the settings in the Right Page Positioning and Alignment group box for right-facing (odd-numbered) pages in the score.

Use the Horizontal settings to position page-assigned text blocks horizontally on right-facing pages when Use Right Page Positioning is selected. The
settings work the same as the Horizontal settings in the Alignment and Positioning group box, but are used for right-facing pages only.
Use the H: and V: text boxes to position page-assigned text blocks on right-facing pages when Use Right Page Positioning is selected. These settings work
the same as the H: and V: settings in the Alignment and Positioning group box, but are used for right-facing pages only.

Position from Edge of Frame. This option is automatically selected for text blocks created in Finale. If you open a file from a version older than 3.7, this
option is not selected; text blocks in your file will be positioned as they were in the previous version. This checkbox also affects line spacing in the text block.
Finale also looks at font changes within the line when changing fonts.
OK • Cancel. Click Cancel to return to the score without updating any positioning for the text block. Click OK to confirm your settings and return to the score.

Note: The Page options are only available when Attach to: Page is selected.

See Also:
Text Tool

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Fretboard Editor

Fretboard Editor

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click the Edit button in the Fretboard area if you have fretboards created. Otherwise, click Select, then Edit.

What it does
This dialog box allows you to create custom fretboard diagrams.

Name. Displays the name of this group of fretboard diagrams.


Show/Hide Group. Click the Show Group button to expand the dialog box to display all of the fretboard thumbnails for this group. Click the Hide Group button
to collapse the dialog box and hide the thumbnails.
Instrument • Edit Instrument. Click this button to change the number of strings, tuning and other aspects of the selected instrument. From this drop-down
menu you can choose to show fretboards for banjo, dulcimer, gamba. 7-string guitar, bass, lute, mandolin, requinto, sitar, ukulele, and vihuela. You can also edit
these styles to account for custom tuning. See the Fretboard Instrument Definition dialog box for details.
Fretboard Tools: Hand Grabber • Eraser • Open Circle • Closed Circle • X • Open Diamond • 1 • 2 • 3 • 4 • T • Barre. Click on the Hand
Grabber tool then click and drag the fretboard to move your view of the fretboard. You can also select the Hand Grabber Tool with the shortcut of right-click and
drag. Click the Eraser, then click on any marking on the fretboard to remove it. Click the Open or Closed Circle, X, Open Diamond, a number, or T; then click on
a string to add the marking. Click on the Barre, then click and drag to draw a barre. Clicking on a mark with its associated tool will erase the mark.
Clear Items. Removes all of the fretboard markings to display a blank fretboard.
Multiple Items per String. Check this box to allow more than one marking on each string.
Number of Frets. Type in this text box the number of frets to display in this fretboard diagram.
Play. Click this button to have Finale play the chord as an arpeggio.
Fretboard Number: Show • Number. Check the Show button to display the text fr. and the number of frets in the number text box. To adjust the fretboard
number text or placement, see Fretboard Styles dialog box.
View: Percent • Style. Choose a view percentage from the drop-down list to change the display, but not resize the fretboard.
OK • Cancel. Click OK to confirm the changes to the fretboards and return to the Chord Definition dialog box. Click Cancel to return to the Chord Definition
dialog box without modifying the fretboards.
Generate. Click on Generate to have Finale create new fretboards in this group based on the nearest already existing fretboard. Finale will only change
unlocked fretboards.
Clear Unlocked • Lock All • Unlock All. Click Clear Unlocked to clear the contents of unlocked fretboards. Click Lock All to freeze all of the group
fretboards. Click Unlock All to unlock all of the group fretboards and allow Generate to make changes. Next to each root’s fretboard diagram is a small lock icon.
These icons indicate the lock status for each fretboard. They may be clicked to lock or unlock the individual fretboard.

See Also:
Chord symbols
Chord Definition

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Fretboard Editor

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Fretboard Instrument Definition

Fretboard Instrument Definition

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click the Edit button in the Fretboard area. Click on Edit Instrument.
If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, click the Edit button in the Fretboard area, then click
Edit Instrument.

What it does
In this dialog box you can define the number of strings, tuning and other aspects of an instrument that affect how a fretboard diagram is displayed.

Name. The name of the instrument.


Number of Strings. Type the number of strings of your instrument into this text box.
Diatonic; Define. Some fretted instruments, such as dulcimer, have varying pitches between frets. Click the Define button to define a non-chromatic fretboard.
See Diatonic Instrument Definition.
Number of Frets. Type the number of frets of your instrument into this text box.
String 1: • String 2: . . . String 24: • Listen. Define up to 24 strings. Either type the string into the text box, or, if you don’t know the MIDI note number,
clicking the Listen button will bring up the Listen dialog box. Highlight the text box next to the string number you want to enter. Click the Listen button and play the
note on your MIDI instrument for the highlighted string. Finale will enter the MIDI note number for you.
New • Duplicate • Delete • Set As Default. Click New to define a new instrument. Click Duplicate to make a copy of the selected instrument. Click Delete
to remove the selected instrument. Click Set As Default to make the selected instrument the default for all fretboards in this document.
Speedy Clef. Click this button to open the Clef Selection dialog box where you can choose a clef to use when editing TAB staves , which use this instrument,
as standard notation in Speedy Entry.
OK • Cancel. Click OK to confirm the instrument definition for the fretboards and return to the Fretboard Editor dialog box. Click Cancel to return to the
Fretboard Editor dialog box without modifying the instrument definition.

See Also:
Chord Definition
Fretboard Editor

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Fretboard Selection

Fretboard Selection

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click a note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click on Select in the Fretboard area.
If a note has a chord symbol attached, click the note to make the chord handle appear. Double-click the handle, click on Select in the Fretboard area.

What it does
The Fretboard Selection dialog box displays any fretboards you’ve created in (or loaded into) the document. It allows you to select, delete, or edit any of the
fretboards; it also provides an entrance to the Fretboard Editor, where you can design or edit new fretboards.

Select. If you have clicked a fretboard in the Fretboard Selection dialog box, click Select to return to the Chord Definition dialog box. Finale puts the number of
the fretboard you selected in the Fretboard ID text box and places the selected fretboard in the score (when you click OK). Double-clicking a fretboard is the
same as clicking it once and clicking Select.
Cancel. Click Cancel to return to the Chord Definition box without having made a fretboard selection.
Edit. If you’ve selected a fretboard in the Fretboard Selection box by clicking it once, click Edit to enter the Fretboard Editor, where you can modify the fretboard.
Create. If you don’t see the fretboard you’re looking for in the Fretboard Selection box, click Create to enter the Fretboard Editor, where you can build one of
your own.
Duplicate. Click this button to create a copy of the selected Fretboard that you can modify with the Fretboard Editor. You can select more than one item. Use
Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. If you’ve selected a fretboard in the Fretboard Selection box by clicking it once, click Delete to remove it from the selection box. You can select more
than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If
the fretboard is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl -click to select only a specific additional item in the list.
Copy Fretboards from Another Chord Suffix: Select Suffix. Click on Select Suffix to open the Chord Suffix Selection dialog box, where you can
choose to copy fretboards from the selected suffix.

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Fretboard Selection

See Also:
Chord symbols
Chord Definition
Fretboard Editor

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Fretboard Shape Selection

Fretboard Shape Selection

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click the Edit Styles button. In the Fretboard Styles box, click on Fonts & Shapes. Click any Select button.
If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, then click the Edit Styles button. Click on Fonts &
Shapes. Click any Select button.

What it does
In this dialog box you can select the shapes for barre symbols, open or muted strings and other symbols.

Select. If you have clicked a shape in the Fretboard Shape Selection dialog box, click Select to return to the Fretboard Style Fonts & Shapes dialog box. Finale
puts the shape you selected in the custom fretboards using this fretboard style. Double-clicking a shape is the same as clicking it once and clicking Select.
Cancel. Click Cancel to return to the Fretboard Style Fonts & Shapes box without having made a shape selection.
Edit. If you’ve selected a shape in the Fretboard Shape Selection box by clicking it once, click Edit to enter the Shape Designer, where you can modify the
shape. See Shape Designer for more information.
Create. If you don’t see the shape you’re looking for in the Fretboard Shape Selection box, click Create to enter the Shape Designer, where you can build one
of your own. See Shape Designer for more information.
Duplicate. Click this button to create a copy of the selected shape that you can modify with the Shape Designer. You can select more than one item. Use Shift-
click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. If you’ve selected a shape in the Fretboard Shape Selection box by clicking it once, click Delete to remove it from the selection box. You can select more
than one item. Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. If
the shape is used in the score, the Delete Element dialog box is displayed, where you can specify delete options. See Delete Element dialog box.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.

See Also:
Chord Definition

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Fretboard Shape Selection

Fretboard Editor

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Fretboard Style Fonts and Shapes

Fretboard Style Fonts and Shapes

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click the Edit Styles button. In the Fretboard Styles box, click on Fonts & Shapes.
If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, then click the Edit Styles button. Click on Fonts &
Shapes.

What it does
In this dialog box you can define the fonts for fingerings and fret numbers. You can also define the shapes for barre symbols, open or muted strings and other
symbols.

Fonts: Fingering • Set Font • Fret Number • Set Font. Click on the Set Font under Fingering to change the font used for fingering numbers. Finale
displays the currently selected font next to Fingering. Click on the Set Font under Fret Number to change the font used for fret numbers. Finale displays the
currently selected font next to Fret Number.
Shapes: Barre • Fingered String • Open String • Muted String • Custom. Click a Select button to open the Fretboard Shape Selection dialog box,
where you can design an alternate marking for these fretboard elements. See Fretboard Shape Selection dialog box.
OK • Cancel. Click OK to confirm the settings and return to the Fretboard Styles dialog box. Click Cancel to return to the Fretboard Styles dialog box without
modifying the settings.

See Also:
Chord Definition
Fretboard Editor

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Fretboard Styles

Fretboard Styles

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click any note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click the Edit Styles button.
If a note has a chord symbol attached, click the note to make the chord’s handle appear. Double-click the handle, then click the Edit Styles button.

What it does
In this dialog box you can fine-tune how Finale draws certain aspects of fretboard diagrams, such as how far apart to draw the strings or how much of the string to
whiteout around numbers.

Name. The name of the style you’re editing.


String Spacing. Enter the distance between strings on custom fretboards.
String Thickness. Enter how wide to draw the strings on custom fretboards.
Fret Spacing. Enter the distance between frets on custom fretboards.
Whiteout. Enter the vertical whiteout area to draw above and below 1, 2,3,4, & T on custom fretboards.
Nut Thickness. Enter the thickness of the nut line drawn at the top of custom fretboards.
Show Last Fret. Check this box to show the bottom fret line. Uncheck it to hide the last fret.
Fret Number: Text • Horz Offset • Vert Offset. Enter the text you wish to appear next to the fret number. Use the Offset values to adjust the position of
fret number text and fret number.
Handle Offset: Horizontal • Vertical. Use these values to adjust the position of the fretboard handle relative to the fretboard in the score.
View: Units • Percent. Select a measurement unit from the drop-down list to see all values in the dialog box displayed in that unit. Select a view percentage
from the drop-down list to change the display of the fretboard example.
Fonts & Shapes. Click this button to select the fonts for the fret number and fingering text as well as the shapes of barres and other symbols. See Fretboard
Style Fonts & Shapes dialog box.
Number of Frets (Default). Enter the default number of frets to use when creating custom fretboards.
New • Duplicate • Delete • Set As Default. Click New to create a new Fretboard Style. Click Duplicate to make a copy of the current Fretboard Style to
edit. Click Delete to remove the current Fretboard Style. Click Set As Default to set the fretboard style to be used as the default.
OK • Cancel. Click OK to confirm the settings and return to the Chord Definition dialog box. Click Cancel to return to the Chord Definition dialog box without
modifying the settings.

See Also:

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Fretboard Styles

Chord Definition
Fretboard Editor

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Full Measure

Full Measure

This alert appears when you attempt to apply a Staff Style defined with elements such as Independent Key or Time Signature to part of a measure. Click OK to apply
the Staff Style to the entire measure.

Tip: Turn off Select Partial Measures under the Edit Menu or double-click when selecting to include
the entire measure.

See Also:
Staff Styles
Staff Tool

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Graphic Attributes

Graphic Attributes

How to get there

From the Window Menu, choose Advanced Tools. Click the Graphics Tool . Click to select a graphic, then choose Attributes from the Graphics Menu. Or,
double-click a graphic.

What it does
Use the Graphic Attributes dialog box to control the positioning of a graphic in the score, the range of pages a graphic appears on, and whether it is assigned to a
measure (in which case the graphic will only appear on the page containing the selected measure), or a page (in which case you can set the graphic to display on one
or more pages). If a graphic is displayed on more than one page, changing the attributes for the graphic changes the display of the graphic on all pages.
If you’re using running headers or footers in your score, you might want to position a graphic in the header or footer near the "outside" edges or margins (the left or
right edges, respectively) of each left or right page, as opposed to positioning the graphic in the same place on every page. This is easily done using special
positioning settings for right-facing pages.

Link to file • Path • Select. Check Link to file to instruct Finale, instead of embedding the graphic, to maintain a relationship with the file as it is located in
the hard drive. When an embedded graphic is changed to "linked" via the Graphic Attributes or Check Graphics dialog, the Save TIFF dialog box appears where
you can specify the linked image. You can change a graphic from linked to embedded, as long as the linked file is found. The original path of the graphic (where
it was located when you placed it into the score) is listed below these check boxes. Click Select to change the path of the referenced graphic. This is especially
useful if the file link is broken (which happens when linked files are moved).
Type • Height • Width • Path. This display at the top of the dialog box shows the type of graphic placed (EPS, TIFF or WMF, the current dimensions of the
graphics file, and the original path of the graphic (where it was located when you placed it into the score).
Attach to: Page: Single Page • All Pages • Page Range • Left Pages • Right Pages; Page • __Through__. Click Attach to: Page to assign the
graphic to a page and display it on one or more pages. Select an item from the Page drop-down list to have Finale show the graphic on a single page, all pages,
a range of pages, left-facing (even-numbered) pages only or right-facing (odd-numbered) pages only, then specify the range of pages. Enter the numbers of the
pages where the graphic will appear (for example, choose Left Pages, and enter 6 Through 10 to display the graphic on every left page between pp. 6–10). To
show the graphic on a single page, choose Single Page, then enter the page number in the first text box. To display the graphic on the first page through the end
of the piece, choose All Pages. To show the graphic on every page, starting at page 6, you’d select Page Range and enter 6 Through 0, or enter 6 and leave
Through blank.

The page number(s) in the Graphic Attributes dialog box may differ between the part and the score if either contains blank/title pages. For example, if there is
one title page on the part but not the score and a graphic is assigned to the first page containing music, the Graphic Attributes dialog box indicates page 1
while viewing the score and page 2 while viewing the part.
Note: The Page options are only available when Attach to: Page is selected, because a graphic
assigned to a measure can only appear on the page containing that measure.

Attach to: Measure • [Staff names]. Click Attach to Measure to assign the graphic to a measure. In the Measure text box, enter the number of the measure
that the graphic will be assigned to. From the Staff drop-down list, choose the staff you want associated with the measure-assigned graphic. Finale aligns and
positions the graphic in relation to this staff. Finale will only display the graphic on the page the measure appears on when you’re in Page View. When your
measure layout changes, the graphic moves with the measure.

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Graphic Attributes

Note: When you change whether a graphic is assigned to a page or a measure, Finale resets the H:
and V: values to zero. It also sets Measure to 1 or Page to 1 (or to the current page if you’re in Page
View).

Alignment and Positioning: Horizontal: Left • Center • Right; Vertical: Top (Header) • Center • Bottom (Footer); Position from: Page
Margin • Page Edge; H: • V:. Use the Horizontal drop-down list to position a page-assigned graphic flush with the left or right edge or margin of the page, or
centered between the left and right edges or margins. The graphic is positioned horizontally between the edges or margins of the page, depending on the Position
from selection. When you change the horizontal alignment, Finale resets the H: setting to zero.

Use the Vertical drop-down list to position a page-assigned graphic vertically. Select Top (Header) or Bottom (Footer) from the drop-down list if you want
Finale to place the graphic at a distance measured from the top or bottom of the page edge or margin. Choose Center to center the graphic between the top
and bottom of the page. The graphic is positioned vertically between the page margins or the edge of the page, depending on the Position from selection. When
you change the vertical alignment, Finale resets the V: setting to zero.
Use the Position from drop-down list to have Finale calculate a page-assigned graphic’s position starting from either the page margin or page edge. Select
Page Margin to have Finale measure the graphic’s position starting from the page margin. Select Page Edge to measure the graphic’s position from the page
edge. Finale repositions the graphic from the margin or edge; it does not reset the H: and V: settings.

Note: The Horizontal, Vertical and Position from options are only available for page-assigned graphics
(Attach to: Page is selected).

Use the H: and V: values to position a measure- or a page-assigned graphic horizontally and vertically. For measure-assigned graphics (Attach to: Measure is
selected), enter values in H: and V: to position the graphic from the top-left of the measure, which is the default position if H: and V: are zero. For page-
assigned graphics (Attach to: Page is selected), enter values in H: and V: to position the graphic on the page, based on your settings in the Alignment and
Positioning group box. In either case, enter a value for H: to change the horizontal position. A positive number moves the graphic to the right; a negative number
moves it to the left. Enter a value for V: to change the vertical position. A positive number moves the graphic higher; a negative number moves it lower.
Note: The H: and V: options in the Alignment and Positioning group box are used for both measure-
and page-assigned graphics.

Scale: H: • V: • Fixed Percent. These values show the exact scaling in effect when you resize a graphic in the score. The H: and V: values are percentages
of the graphic’s original size. If you want the graphic scaled proportionally, enter the same value for H: and V:. Enter 100 in both text boxes to show the graphic at
100% (its original size); enter 50 to reduce it to half (50%) its original size. Larger percentages increase the size of the graphic; smaller percentages decrease its
size.

Check Fixed Percent to keep the graphic a fixed size even when you change the size of your page with the Resize Tool.

Right Page Alignment and Positioning: Use Right Page Positioning; Horizontal: Left • Center • Right; H: • V:. Select Use Right Page Positioning if you
want to position a page-assigned graphic differently on right-facing pages (odd-numbered) and left-facing (even-numbered) pages. When this option is selected,
you can set separate horizontal alignment and H: and V: settings for right-facing pages; Finale uses the settings in the Alignment and Positioning group box for
left-facing pages, and the settings in the Right Page Alignment and Positioning group box for right-facing pages in the score.

Use the Horizontal drop-down list to position page-assigned graphics horizontally on right-facing pages when Use Right Page Positioning is selected. The
drop-down list works the same as the Horizontal drop-down list in the Alignment and Positioning group box, but are used for right-facing pages only.
Use the H: and V: values to position page-assigned graphics on right-facing pages when Use Right Page Positioning is selected. These settings work the
same as the H: and V: settings in the Alignment and Positioning group box, but are used for right-facing pages only.

OK • Cancel. Click Cancel to return to the score without updating any positioning for the graphic. Click OK to confirm your settings and return to the score.

Tip: If you're using running headers or footers in your score, you might want to position a graphic as a
header or footer near the "outside" edges or margins of each left or right page, as opposed to always
distancing the graphic from the left or right page edge (or margin). This is easily done using special
positioning settings for right-facing pages. For example, choose Left Pages, and enter 6 Through 10 to
display the graphic on every left page between pp. 6-10.

Note: The Page options are only available when Attach to: Page is selected.

See Also:
Graphics
Graphics Tool

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Group Attributes

Group Attributes

How to get there


To create a new group, click the Staff Tool. Select the handles of staves to include in the group, then choose Add Group and Bracket from the Staff Menu. Or, ctrl shift-
click a handle of one of the selected staves. (Or, with no staves selected, choose Add Group and Bracket from the Staff Menu to set up a group containing all staves
in the score.)
To edit an existing group, click the Staff Tool. Click a group handle, then choose Edit Group Attributes from the Staff Menu. Or, double-click a group handle or a
bracket handle. (Or, with no handle selected, choose Edit Group Attributes from the Staff Menu. Use the arrow controls to display the attributes of the groups in the
document.)

What it does
In Finale, groups are created and edited in the Group Attributes dialog box. You can assign a staff to as many groups as you like, and customize how you want
barlines and brackets to appear.

Group Name • Edit • Position; • Abbr. Group Name • Edit • Position. The full or abbreviated names you enter for the group appear in a regular text
font. Click the Edit button to display the Edit Text window, where you can enter or edit the full or abbreviated group name, as well as set fonts and text styles. For
details, see Edit Text window.

By default, Finale positions group names vertically between the first and last staves in the group. The default positioning is used unless you explicitly change the
position of a group name. To set individual positioning, click Position. The Position Full Group Name or Position Abbreviated Group Name dialog box appears.
For details, see Position dialog box.

Staff • Through. These Staff drop-down list show the names or numbers of the starting and ending staves for the currently displayed group. Choose a staff
name or number to specify the starting and ending staves in a group. A group always includes the staves in between the specified staves.
Group ID. Finale assigns a Group ID to each group, and internally identifies the group by a number. Use the arrow controls to display the attributes for other
groups of staves.
Staff List: Global • Special Part Extraction • Staff System (plus the current system number). Finale displays which staff systems will be
affected when you change the attributes of a group. Finale has three ways of displaying information in Page View. The first is the default, or "Global", view. Finale
can temporarily display the page formatting in two other ways: during Special Part Extraction, and when staff systems have been "optimized" to remove resting
parts. The Staff List indicator lets you know whether the positioning changes you make affect the "Global" view, or whether they only affect the temporary
formatting during Special Part Extraction or optimization.

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Group Attributes

When "Global" appears, changing a group’s attributes will alter its appearance in Scroll View. The changes will also appear in every staff system in Page View—
unless you’re viewing a Special Part Extraction, or have already optimized staff systems. (If you later turn off Special Part Extraction or remove optimization,
Finale will display the changes in Page View.)
"Special Part Extraction" appears when you display the group attributes for a selected staff in Page View, and Special Part Extraction is selected in the Edit
Menu. Changing a group’s attributes in Page View will affect its appearance in every staff system—except for optimized staff systems—but won’t change its
appearance in Scroll View.
"Staff System" (plus the current staff system number) appears when you display the group attributes for a selected staff in Page View, and the selected staff
system has been optimized using the Page Layout Tool. Any change to a group’s attributes in Page View will affect the current staff system only.

Draw Barlines: Only on Staves • Through Staves • Only Between Staves (Mensurstriche). Select Only on Staves if you want the barlines drawn
only within each staff, without connecting each staff with the barline; select Through Staves to draw one continuous barline passing through all the staves in the
group. Select Only Between Staves (Mensurstriche) to draw barlines between the staves, but not through the staff lines of each staff in the group.
Show Group Name. This checkbox controls whether group names that you enter will appear in the score. When selected, the full and abbreviated group
names appear in your score. If you prefer to hide the names for this group, deselect this checkbox.

Tip: Use Show Default Group Names in the Staff Menu to control whether default, non-printing group
names appear in the score.

Use Alternate Group Barline. Select this option if you want Finale to use an alternate barline style that you select from the Barline palette, instead of the
barline style selected in the Measure Attributes dialog box. If this option is not selected, Finale uses the barline style specified in the Measure Attributes dialog
box.

Note: You can override the barline selected for a group on a measure-by-measure basis by choosing
Override Group Barlines in the Measure Attributes dialog box. When you choose this option, the
barline set in the Measure Attributes dialog box will always appear, regardless of any alternate barline
style selected in the Group Attributes dialog box. This might be used for the final bar in a piece.

Group Optimization: Optimize Normally • Only Remove if All Staves are Empty • Never Remove. These options dictate how Finale will treat the
group after Optimization. Choose optimize Normally to disregard the group definition while optimizing. Choose Only Remove if All Staves are Empty to leave all
staves if the group contains any notes in the system. This is typically used for instruments such as piano and harp that are notated on more than one staff. In
these cases, you would ordinarily want either both staves to show, or none, but not just one. Choose Never Remove to always leave all staves in the group after
optimization.
Barline Styles. Click to choose an alternate style for the current group. Finale uses the selected style unless Override Group Barlines is selected in the
Measure Attributes dialog box. This barline style is only used if Use Alternate Group Barline is selected in this dialog box. For a description of Custom, See
Measure Attributes dialog box.
Bracket Options. When you first enter this dialog box, None is selected by default. Click to select the bracket style you want to use for the current group, or
click None if you don’t want a bracket to enclose the group. If you want more than one bracket to appear for a group, create additional groups for the staves, then
choose a different bracket style for each group.
Distance from Left Edge of Staff • Vertical Adjust (Top of Bracket) • Vertical Adjust (Bottom of Bracket). As an alternative to entering
values here to adjust positioning, you can drag the handles of a bracket on the score. Distance from the Left Edge of Staff is the distance (in measurement units)
from the left edge of the grouped staves on which Finale will place the bracket. Enter a negative number to move the bracket to the left. Enter numbers in the
Vertical Adjust (Top of Bracket) and Vertical Adjust (Bottom of Bracket) text boxes to tell Finale how far to extend the upper and lower ends of the bracket in
relation to the top of the top staff and the bottom of the bottom staff, respectively. The default value of zero aligns the bracket ends evenly with the top and bottom
lines of the group. A positive number moves the bracket end upward; a negative number moves the bracket end downward.
Show Bracket if Group Contains Only One Staff. Select this option if you want a bracket to appear on a group containing only one staff, if all staves but
one are "optimized out" (i.e., removed because the staves are resting instruments), or if you selected one staff from the group, then selected Special Part
Extraction from the Edit Menu. This option is not selected by default, since brackets are generally omitted when only one staff appears in a staff system.
OK • Cancel. Click Cancel to return to the score without changing group settings. Click OK to confirm your settings and return to the score.

Tip: Use Show Default Group Names in the Staff Menu to control the appearance of default, non-
printing group names in the score.

Note: You can override the barline selected for a group on a measure-by-measure basis such as for
the final bar in a piece. To do so, select Override Group Barlines in the Measure Attributes dialog box.

Tip: To display more than one bracket on a staff or staves in a group, create additional groups for the
staves, then choose a different bracket style for each group.

See Also:
Staves
Staff Menu
Staff Tool

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Hand Width Split

Hand Width Split

How to get there


Choose Open from the File Menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import
MIDI File Options dialog box, click Set Track-to-Staff List. In the Track/Channel Mapping for Staves dialog box, click the first row of information you haven’t yet filled
in. Click Hand Width.

What it does
This dialog box lets you transcribe the contents of the sequencer tracks you’ve specified into two staves, splitting the notes according to the width of your hands, based
on the numbers you enter in this dialog box. The advantage of this method of splitting your performance into right- and left-hand parts (as compared with the Fixed
split point option) is that Finale follows your hands as they move up and down the keyboard, eliminating the need to specify a single, fixed split point—provided there’s
always a large enough gap between the hands for Finale to know which hand is which.

Starting Right Hand Position • Starting Left Hand Position • Listen. These text boxes let you tell Finale where your right and left hands are at the
beginning of the track(s) to be transcribed. The numbers are synthesizer key numbers (middle C is key number 60), and they specify the starting position of your
leftmost finger of each hand.

Instead of calculating key numbers and entering them in these boxes, just click the Listen button, then play the note or chord that begins the left-hand (or right-
hand) part of the track you’re transcribing. Finale automatically enters the key number into the appropriate text box (in which you’ve clicked the cursor).

Hand Width: • Listen. In this text box, enter the widest interval, in half steps, that either hand played during your performance. Instead of calculating the
number of half steps, click Listen to MIDI, and play the widest interval. The checkbox is no longer selected, and the Hand Width text box displays the width of the
interval.
OK • Cancel. Click OK to confirm, or Cancel to discard, the hand width settings you’ve just made. You return to the Track/Channel Mapping dialog box.

See Also:
MIDI
Track/Channel Mapping
Track/Channel Mapping to Staves
Import MIDI File Options
File Menu

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Handle Positioning

Handle Positioning

How to get there

Click the Articulation Tool , and click a note. Click Create (or click a symbol and click Edit). In the Articulation Designer dialog box, click Handle Positioning.

What it does
The Articulation Designer dialog box contains positioning options which let you create articulation marks (accents, staccatos, and so on) that center themselves—and
distance themselves uniformly from the notehead—automatically.
Not only do markings come in all different sizes and shapes, but different fonts handle symbols differently. For example, suppose you place a fermata on a note that
comes from a nonstandard music font, and you decide that even though you’ve told Finale to center it on the note, it’s a little bit too far to the left. Using the Handle
Positioning dialog box, you can teach Finale to place the symbol slightly farther to the right from now on, by slightly shifting the symbol’s handle (which is always in the
lower-left corner of the symbol).
You might also use the Handle Positioning feature to place breath marks and railroad tracks to the right of their attached notes automatically, for example, or to
compensate for a symbol’s extra height when you use the Avoid Staff Lines placement option. See Articulation Designer dialog box. (Note: You generally don’t need to
specify a handle position for each marking for centering purposes; Finale automatically measures a symbol’s width and centers it over its note, even if the handle is to
the left of the note.)

Main Symbol • Flipped Symbol • H: • V:. In the H: and V: text boxes, type numbers that specify how much you want to move the marking. A positive H:
number moves the marking to the right, and a positive V: number moves it upward. You can specify these options separately for the Main Symbol and its upside-
down "Flipped" symbol (see Articulation Designer dialog box).
OK • Cancel. Click OK to confirm, or Cancel to discard, the changes in handle positioning you’ve just made. You return to the Articulation Designer dialog box.

See Also:
Articulation Designer
Articulation Tool

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HyperScribe

HyperScribe

How to get there


Click the HyperScribe Tool. From the HyperScribe Menu, choose HyperScribe Options. Check Show HyperScribe Dialog, then click OK. Click a measure in the score.

What it does
When you transcribe a real-time performance with HyperScribe with the HyperScribe dialog box showing, the two large "buffer boxes" in the HyperScribe dialog box
begin to fill up with black dots—left to right, top to bottom. Each time you play a note, a dot appears in the right buffer box. Each time you tap (a key, a pedal, or
whatever you’ve specified as your tempo reference tap), two dots appear in the left buffer box.
In general, these buffers simply act as a gauge for you to see if your computer is keeping up with all the MIDI information you’re generating. If either of the buffer
boxes becomes completely filled with dots, that’s your warning that the computer can’t transcribe the notes as fast as you’re playing them; if you don’t slow down,
Finale will begin skipping measures (leaving them empty) in an attempt to catch up with you.

Duration. This indicator reminds you which rhythmic value you told Finale you’d be tapping on a key or pedal (with the Tap command [HyperScribe Menu]). The
displayed number is in EDUs, 1024 per quarter note. (A value of 512 signifies eighth-note taps; 2048 indicates cut-time, or half-note, taps.)
Smallest Note. This indicator reminds you of the smallest note value you specified in the Quantization Settings dialog box (Document Menu). For more
instructions on the use of HyperScribe, see Quantization Settings dialog box.

See Also:
HyperScribe Options
HyperScribe Menu
Quantization Settings
HyperScribe Tool

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Implode Music

Implode Music

How to get there

Click the Selection Tool , and select a region of measures. From the Utilities Menu, choose Implode Music.
You can also use a Selection Tool Metatool: press the 1 key with selected measures. Or, hold down I while dragging selected measures to a destination.

What it does
When you implode music, Finale condenses the music on the selected staves onto a single staff, a feature useful for creating piano reductions, for example. This
dialog box lets you specify where you want Finale to place the imploded music.

New Staves Added to Bottom of Score. Select New if you want Finale to place the imploded music on a new staff at the bottom of the score.
Top Staff of Selection. Select Top if you want Finale to replace the music on the top selected staff with the imploded music.
Quant Settings. Click this button to display the Quantization Settings dialog box. The settings in this dialog box and the More Quantization Settings dialog box
affect how Finale implodes your music. If you are not satisfied with the results of Implode music, check these settings. Options like Include Voice Two and Grace
Note settings are used during the Implode Music process. See Quantization Settings dialog box and More Quantization Settings dialog box.
OK • Cancel. Click OK to proceed. Click Cancel to return to the score without imploding music.

Note: If you place the music into the top staff, the music in the selected region for that staff will be
lost.

See Also:
Utilities Menu

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Import MIDI from Clipboard

Import MIDI from Clipboard

How to get there

Place some MIDI data on the clipboard (from Finale or another sequencing program). Click the Selection Tool or any other tool with regional selection. Select a
region of music. Choose Import MIDI from Clipboard from the Edit Menu.

What it does
Use the Import MIDI from Clipboard dialog box to change quantization settings and other options when you’re importing a MIDI file from the clipboard. The options are
the same as those in the Import MIDI File dialog box, except Convert Markers is not available. For an explanation of these settings, see Import MIDI file Options dialog
box and Quantization Settings dialog box.
To use the current settings in the Import MIDI from Clipboard dialog box (without displaying the dialog box on the screen), press shift when you choose Import MIDI
from Clipboard from the Edit Menu.

See Also:
Quantization Settings
Selection Tool

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Import MIDI File Options

Import MIDI File Options

How to get there


Choose Import MIDI File Options from the MIDI/Audio Menu. The Import MIDI File Options dialog box appears.
Or,
Choose Open from the File Menu and click MIDI file (from the File Type drop-down list).(or click the file-type icon until MIDI File is selected). Double-click the name of
the MIDI file you want to transcribe.

What it does
When you tell Finale to "open" a MIDI file, you’re essentially telling it to transcribe the file. The options in this dialog box are very similar to those you encounter when
you’re transcribing real-time performances in a Finale document quantization and split point options, key and time signature settings, and commands to "capture" MIDI
data (such as pedaling and key velocity information).
You also use this dialog box to tell Finale how you want the tracks of the sequencer file translated into Finale staves. For example, you can specify that each track
simply become one staff, or that the contents of each MIDI channel become one staff. However, you can also enter other dialog boxes from within this one, where you
can specify much more elaborate track-to-staff configurations.
Follow your sequencer’s instructions for creating a standard MIDI file.

Tracks Become Staves. Click this button if you want Finale simply to notate the contents of each sequencer track on one staff. Finale will select the treble or
bass clef for each staff, based on the register of the music in each track. In fact, if the notes have such a wide range that it wouldn’t be appropriate to place them
all on one staff, Finale splits the track into two staves with different clefs.

Technical note: Finale selects a clef as follows. If all the notes of the track are above MIDI key number 47 (that’s B a ninth below middle C), it selects the treble
clef. If all notes are below key 72 (C above middle C), it selects the bass clef. If the notes in the track don’t fall into either category, Finale transcribes them
onto two staves, splitting them into treble- and bass-clef staves using F below middle C as a split point.

Channels Become Staves. Click this button if you want the contents of each MIDI channel (regardless of its track assignments) transcribed onto a single
Finale staff. Once again, Finale attempts to make intelligent decisions regarding the selection of a clef for each staff.
Set Track-to-Staff List; Select. If you click this button, Finale will display the Track/Channel Mapping for Staves dialog box when you open a MIDI file,
where you can specify a number of track, MIDI channel, and staff configurations. You can specify the top-to-bottom order of the resulting Finale staves, as well
as staff transpositions, clefs, and the distance between staves in the resultant Finale document. The Select button is only displayed when you are importing a file
and do not have Don’t show this during File Open selected. If you have selected Set Track-to-Staff List and Don’t show this during File Open while in the
MIDI/Audio Menu, the Track/Channel Mapping to Staves dialog box will appear when you open a MIDI file instead of the Import MIDI File Options dialog box. See
Track/Channel Mapping to Staves dialog box for full details.
Key Signature: Use the File’s. Click this button if you want Finale to notate the transcription with the key signature specified by the MIDI file (if it was
created by a sequencer that lets you specify one).
Key Signature: Infer from the File. Click this button if you want Finale to attempt to deduce the correct key signature by examining the notes in the
sequencer file. Finale will analyze the music, measure by measure, placing key changes where it considers them necessary. You won’t see the results of Finale’s
intelligent guesses until it’s finished transcribing the file into standard notation.

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Import MIDI File Options

Key Signature: Infer, Ask me first. Click this button if you want Finale to attempt to deduce the correct key signature by examining the notes in the
sequencer file, but to let you confirm its guesses. When you click the OK button to begin the transcription, Finale will display the key signature dialog box at each
measure in which it detects a key change, letting you confirm or cancel its decision.
Key Signature: Set Key Signature. Click this button if you simply want to tell Finale what key the file is in. Finale displays the Key Signature dialog box,
where you can scroll to the correct key signature and click OK.
Time Signature: Use the File’s. Click this button if you want Finale to notate the transcription with the time signature specified by the MIDI file (if it was
created by a sequencer that lets you specify one).
Time Signature: Set the Time Signature. Click this button if you simply want to tell Finale what time signature the file is in. Finale displays the Time
Signature dialog box, where you can set the correct time signature and click OK. (See Time Signature dialog box if you need help in setting the time signature.)
Tempo Changes • Continuous Data • Convert Markers. These options tell Finale to remember the precise "feel" of the original sequence, and to keep
this data handy for playback once it’s been transcribed. (These are the same as Save Tempo Changes, and Save Continuous Data checkboxes in the
Transcription window.) If you don’t choose these options, then when you play back the transcribed music from the score, Finale will simply play the "sheet
music"—the notated version, which will be rhythmically precise but expressionless and "square"—instead of an exact re-creation of the original sequence.
(Important note: To play back your music with these captured nuances, be sure you’ve selected all four data types for playback (see Playback Options dialog
box). Tempo Changes information describes changes in the actual tempo, such as ritards and accelerandi.
Continuous Data is controller data (MIDI signals generated by pedals, patch changes, and so on) and wheels (like the pitch wheel).
Convert Markers defaults to on. Click it if you do not want the sequencer markers converted to Finale bookmarks
Create Instruments from Initial Patches • Use General MIDI Patch Names. Use these settings to import patch information into Finale’s instrument
list.
Quant Settings. Click this button to display the Quantization Settings dialog box where you can set more options regarding the type of quantization, smallest
allowed value, whether to capture Key Velocities and Note Duration, etc. See Quantization Settings dialog box.
Create Percussion Staves: Channel • Clef • Percussion Map. Check this box to have Finale create and configure percussion staves from the MIDI file.
Enter the playback channel in the Channel text box. Finale will suggest channel 10, the default percussion channel for General MIDI. Next to Clef, Finale will
display the selected clef for percussion staves. Click Select to choose a different clef. The Percussion Map text box indicates which Percussion Map will be used
to adjust the display of percussion noteheads, placement and alternate playback. Click the Select button to choose a different percussion map. See Percussion.
Don’t show this during File Open. Select this option if you wish to use the current settings in the Import MIDI File options next time you import a MIDI file.
The Import MIDI File Options dialog box will not be displayed when you import a MIIDI file, only when Import MIDI File Options is selected from the MIDI/Audio
Menu. Deselect this checkbox to again display the Import MIDI File Options dialog box when importing MIDI files. If you have selected Set Track-to-Staff List and
Don’t show this during File Open, Finale will display the Track/Channel Mapping to Staves dialog box without first going through the Import MIDI File Options
dialog box. See Track/Channel Mapping to Staves dialog box.
OK • Cancel. Click OK to proceed with the transcription. After a moment, Finale displays the transcribed score. If you discover that your settings weren’t quite
right, you can close the new Finale document and try again—the original MIDI file is unaffected by Finale’s transcription efforts. Click Cancel if you decide not to
transcribe the MIDI file.

See Also:
Track/Channel Mapping
Track/Channel Mapping to Staves
Quantization Settings

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Import Score Files - Options dialog box

Import Score Files - Options

How to get there


From the File menu, choose Import, then Score. Select a file or files and click Open.

What it does
In this dialog box, specify the page size and orientation as well as the method for choosing file
order upon conversion.

[Page sizes] • Width: • Height: • Portrait • Landscape. Select the desired page size from the drop-down list or type in the desired Width and Height
(custom will be displayed in the drop-down list). Select Portrait or Landscape as well.
Specify File Order • Let Finale Determine File Order. If you initially select more than one file for conversion, these options will be available. Each Score
file will consist of either a single page of the score, or a part of the page. Because of this, it is often necessary to import many score files at once for conversion
into a single Finale document. Choose Specify File Order to select the order of the files and page breaks. With this option selected, clicking OK will open the
Import Score Files - Order dialog box where you can make these settings. Choose Let Finale Determine File Order to let Finale use standard Score naming con-
ventions (Name01.pag...Name02.pag, or Name001a.mus...Name001b.mus etc.) to order the files and assign page breaks.
OK • Cancel. Click OK (or press enter) to generate the Finale file. If Specify File Order is chosen, clicking OK will open the Import Score Files - Order dialog
box. Click Cancel to return to the score without generating a Finale document.

See Also:
Import Score Files - Order
File Menu

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Import Score Files - Order dialog box

Import Score Files - Order

How to get there


From the File menu, choose Import, then Score. Navigate to a folder containing score files, then
hold down the Shift key and click to select more than one file. Click Open. In the Import Score
Files - Options dialog box, choose Specify File Order and click OK.

What it does
In this dialog box, specify the order and page break information for conversion into a Finale document.

Up Arrow • Down Arrow. Click the up arrow to move the selected file or page up in the file order. Click the down arrow to move the selected file or page
down in the file order.
Add Page • Remove Page. Click Add Page to add a page break above the selected file. Click Remove Page to remove a selected page.
OK • Cancel. Click OK (or press enter) to generate the Finale file. Click Cancel to return to the score without generating a Finale document.

See Also:
Import Score Files - Options
File Menu

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Insert Blank Pages

Insert Blank Pages

How to get there

Click the Page Layout Tool . Choose Insert Blank Pages from the Page Layout Menu.

What it does
This dialog box provides a quick, easy way for you to add blank pages at any point in your score. Blank pages contain no music. When you insert blank pages, any
items such as titles or text blocks that were assigned to that particular page will be shifted to the next page.

Insert __ Blank Page(s). Enter the number of blank pages you want to add to the piece.
In: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the
score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you
can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply
changes to the full project - all parts and the score.
Before Page • After Page • At End of Document. Select Before Page and enter a page number to insert blank pages before the specified page, select
After Page and enter a page number to insert pages after the specified page, or select At End of Document to add pages at the end of the piece.

Tip: When you’re working with Facing Pages with different left and right page margins, inserting two
pages at a time will maintain the correct margins.

OK • Cancel. Click OK to insert blank pages into the score, or click Cancel to return to the score without inserting blank pages.

See Also:
Page layout
Page Layout Menu
Page Layout Tool

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Insert Staff Systems

Insert Staff Systems

How to get there

Click the Page Layout Tool . From the Page Layout Menu, choose Insert Staff Systems.

What it does
Use this dialog box to insert a system or systems into your music while keeping the rest of your systems intact or reflowing measures across systems and pages.

Insert __ system(s) with __ measures each. Specify how many systems you want to insert, made up of how many measures.
Insert new system(s) before system __. Finale will insert the new systems before the system number you enter into this text box.
Space Systems Evenly. Check this box to have Finale re-calculate evenly spaced systems after inserting the new systems. See Space Systems Evenly
dialog box.
OK • Cancel. Click OK to insert the system of measures according to your selections. Click Cancel to ignore any changes made in this dialog box.

See Also:
Systems
Page Layout Menu
Page Layout Tool

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Instrument Definition

Instrument Definition

How to get there


Choose Instrument List from the Window Menu, if it isn’t already selected. The Instrument List window appears on your screen. Choose New Instrument from the
instrument drop-down list (with View by Staves selected), or click the New Instrument button (with View by Instruments selected).
To change the definition of an existing instrument, select the instrument in the Instrument List window, then click the Edit Instrument button. Or, click the Bank (B)
column or ctrl-click the Channel (Chan.), Bank (B), Program Change (Prog.), or Instrument Name (Instrument) columns.

What it does
Use this dialog box to create new instruments and edit existing instruments, as well as to specify or modify channel, bank, and program change information for an
instrument.

Instrument Name. Enter a name for a new instrument, or change the name of an existing instrument.
Channel. Enter the number of the MIDI channel the selected instrument will use for playback. Any layers or staves assigned to this instrument will automatically
play back using that MIDI channel.
Patch: Program Change • Bank Select 0, Bank Select 32, Program Change • Bank Select 0, Program Change • Bank Select 32,
Program Change • Program Change, Program Change. This drop-down list lists the types of bank and program changes available in Finale. Finale
supports bank changes according to the MIDI Specification and to the implementations of several manufacturers. Choose the method which matches your MIDI
gear. (Check your manuals to see if the manufacturer of your MIDI gear supports banks, and if so, which method is supported. Or, refer to the Appendix-Bank
Select, which provides a list of MIDI instruments and the bank select method they use.)

The first option corresponds to the simple program change. The remaining options provide bank support. "Bank Select 0, Bank Select 32, Program Change" is
the standard method of doing bank select; first controller 0 (C0), then controller 32 (C32) are sent with their respective values (these two controllers determine
the bank), then a program change (PC) is sent. The next two drop-down list selections are variations on the standard. In both cases, only one of the controllers
is sent with its value. The last case, Program Change, Program Change, is bank select done by two standard program changes.

Bank Select 0. This text box may be disabled depending on the selection in the Patch drop-down list. If available, enter the value of the bank you want
selected.
Bank Select 32. This text box may be disabled depending on the selection in the Patch drop-down list. If available, enter the value of the bank you want
selected.
Program Change. Enter the number of the program change (the number of the instrument sound) that you want Finale to send.

Note: If you prefer, you can directly enter the program change number into the Instrument List’s
"Prog." (program change) column, instead of entering it here.

General MIDI. Select the General MIDI patch from this drop-down list to automatically set up the Banks and Program Change for the selected instrument.
OK • Cancel. Click OK to confirm or Cancel to disregard your changes.

See Also:
Instrument List
General MIDI Patch Numbers and Names

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Instrument List

Instrument List

How to get there


Choose Instrument List from the Window Menu.

What it does
The Instrument List provides a quick and convenient way to manage the playback of the various staves in your score. For example, you can silence a staff with a
single click, or you can "solo" a staff with a click, muting all other staves.
If your MIDI instrument is multi-timbral—capable of playing more than one instrument sound at once—the Instrument List also lets you assign a MIDI channel and
patch (program information and optional bank change information which act together to provide an instrument sound) to each staff—and, in fact, to each layer of each
staff.
The Instrument List also lets you create Instrument assignments for each staff and each layer of a staff. An Instrument is a MIDI channel/patch setting. For example,
you might create an Instrument named Strings which will be mapped to your MIDI keyboard’s channel three, and will have the patch set to change your keyboard to its
second bank of sounds and use the Strings program on that bank.
Then, it’s a simple matter to assign each of the string staves in your score to this same Instrument, saving you the trouble of assigning a channel and patch to each
staff individually. Instead of mapping multiple staves into one Instrument, you can also do the reverse—map a single staff into multiple Instruments—by setting a staff’s
layers to play on different MIDI channels with different patches.
The Instrument List window also affects recording with HyperScribe. Two columns in the Instrument List, R and RChan (R always appears; RChan only appears for
multitrack recording), identify which staves or layers of staves Finale will record into, and from which channels, during HyperScribe recording. These settings appear
only when View by Staves is selected.
The Instrument List, by the way, is a standard Finale floating window. You can move it by dragging the title bar at the top, close it by clicking the control-menu box in
the upper-left corner, click the Maximize button in the upper-right corner to make it fill your screen, or make it taller or shorter by dragging the resizable frame. (You
can also hide the Instrument List window by choosing its name a second time from the Window Menu.)

R (Record). A Record (R) column that specifies which staves or layers will be recorded into, with the HyperScribe Tool, always appears. When the Record
column is blank, no staves (or layers) of staves are selected to record into. Click in the R column next to the staff you want Finale to record into. A black triangle
appears in the R column, indicating that Finale will record into the active layer of that staff.

You can also record into a particular layer of a staff. First expand the staff by clicking the down arrow next to the staff name; Layer 1 through Layer 4 appears.
If the staff is selected to record into (a black triangle appears in the R column for the staff name), a small triangle in parentheses indicates the current layer that
will be recorded into. If you change the current layer using the Layer Controls in the Document window, the small triangle moves to reflect the current layer that
will be recorded into. To specify a particular layer to record into, click in the R column next to the layer of the staff you want Finale to record into. Note that you
cannot record chords or expressions in an expanded staff; Finale will ignore any clicks in the R column for chords and expressions.
If you’re not multitrack recording (Record into One Staff or Split into Two Staves is selected in the Record Mode submenu of the HyperScribe Menu), you don’t
need to use the Instrument List to specify which staff to record into; simply click the staff in the score that you want to record into.
If, however, you prefer to use the Playback Control’s Record button (instead of clicking a measure in the score), then you must use the Instrument List’s R
column to indicate the staff or layer to record into. Click in the R column next to the staff or layer you want Finale to record into. Click on a different staff or layer
to select it instead. The triangle moves to the staff or layer you clicked.
If you are multitrack recording (Multitrack Record is selected in the Record Mode submenu of the HyperScribe Menu), click in the R column next to the staff or
layer you want Finale to record into. Click the R column to select additional staves or layers to record into. Click again to remove the triangle (so Finale won’t
record into the staff or layer).

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Instrument List

In an expanded staff list, a triangle in parentheses shows the default layer that Finale will record into. If you specify one or more layers of a staff to record into
(for multitrack recording only), a striped triangle will appear in the R column for the staff name to indicate that one or more layers will be recorded into for the
staff. The striped triangle also appears in a collapsed list so you can immediately see, without expanding the staff, that one or more layers will be recorded into.

RChan. The Record Channel (RChan.) column only appears for multitrack recording (Multitrack Record is selected in the Record Mode submenu of the
HyperScribe Menu). RChan indicates what channel(s) will be recorded into the staves (or layers). Enter the channel number(s) that you want Finale to record
from for each staff or layer. By default, Finale records from channel 1 (RChan is set to 1). If you specify more than one channel for layers of an expanded staff,
Finale displays the word Mixed in the RChan column for the staff (next to the striped triangle in the R column) to indicate that several incoming channels will
record into this staff.

Note: If you’re using multitrack recording, you must set up the Instrument List window’s R and RChan
columns for each staff (or layer) you want to record into.

Note: When you’re not multitrack recording (Record into One Staff or Record into Two Staves is
selected in the Record Mode submenu of the HyperScribe Menu), the RChan column does not
appear. In fact, you don’t need to set up the Instrument List window at all; use the Receive On
channel in the HyperScribe Options dialog box to indicate what channel will be recorded for the staff
(or layer). Click the measure of the staff you want to record into. (Finale uses the Instrument List’s R
column to determine which staff to record into only if you click the Record button on Playback
Controls.)

Staff Name • [Arrows]. In the Instrument List, you see the staves in your score. (If you haven’t named the staves, they appear numbered.) Using the controls
in this staff’s row (Play, Solo, and so on), you establish its various playback features.

When the small arrow next to the staff name points down, each setting you make affects all layers of the staff. If you want to give different playback settings to
each of the four transparent layers of each staff, click the arrow. It turns to point upward, and six new rows appear in the Instrument List, one for each layer,
plus one each for Chords and Expressions. At this point you can change the Play, Solo, Channel, and other parameters for each individual layer. Click the
arrow a second time to "collapse" the layer rows into a single staff row again. If there are too many rows to see in the window, use the vertical scroll bar to
adjust your view.

Layer 1 • Layer 2 • Layer 3 • Layer 4 • Chord • Expression. These rows of information only appear when you click the downward arrow next to a staff
name. Using these subdivisions of a staff, you can assign an Instrument, MIDI channel, or patch to each of these playback elements—allowing the music on
each layer, for example, to have its own sound. Chords refers to the chord symbol you’ve placed in a staff; they can actually play back over their own patch and
channel, if you wish. (If you don’t want chord symbols to play back, route them to an unused MIDI channel, or deselect chords from the Play column.) You can
also specify patch and channel settings for the Expressions of a staff. Unless you plan to connect the computer to a MIDI-controlled mixing or lighting board—
in the event that you’ve created expressions that control these external devices—you can leave the expression assignments alone.
M (Mute). In this column, a black square appears across from the name of each staff that you want to mute when you play your score. By clicking in this
column across from a certain staff, you make the square disappearturn white, indicating that the staff will sound when you play the score.

If you’ve expanded a staff to view its individual layer assignments, and you turn on the Mute setting for some layers but not others, the square in the Mute
column will appear striped. That is your signal that the individual layers of the staff have mixed settings in the Mute column. Note that the Playback checkbox in
Document Options-Layers provides the same function.

S (Solo). When you click in the Solo column across from a staff name, a black circle appears, and the black-square Play indicators for all other staves turn
white. In other words, you’ve just isolated a staff so that only it will play back, and all the other staves are silent. (You could achieve the same effect by clicking in
the Play column for all other staves, so that their Play squares each turn white—but that would take much more time and effort.) You can solo more than one
staff, if you wish—for example, you can solo two or three staves, and all the others will be silent. In fact, you can solo all staves, although there wouldn’t be
much point, since you may as well solo none of them.
Vol. You can use this text box specify an exact volume value, 0-127, for a staff, and all other staves set to the same channel. This setting is dynamically linked
to the Volume sliders in the Mixer and Staff Controls.
Pan. Use this text box to specify an exact pan value, 0-127, for a staff, and all other staves set to the same channel. A higher value pans right, a lower value
pans left. Playback volume will be weighted to the left or right speaker accordingly. 64 is center. This setting is dynamically linked to the Volume sliders in the
Mixer and Staff Controls.
Instrument. By clicking on the word Instrument, you produce a drop-down list containing all of created instruments, as well as, the New Instrument command.
This command brings up the Instrument definition dialog box, where you can define the MIDI channel, program change, and bank change assignment for a new
virtual Instrument (see Instrument Definition dialog box), whose name will now appear in this column.

Once you’ve defined and named one or more Instruments of your own, their names appear in the Instrument drop-down list across from each staff name. Now
you can start to save time when it comes to assigning patches and channels to other staves or layers—simply choose one of your Instrument names from the
Instrument drop-down list, and the staff you’re working with will automatically get the same MIDI channel, program, and bank settings as other staves with that
Instrument.
Here’s an example. Suppose you have a piano part with two staves. Across from the top piano staff, choose New Instrument from the Instrument drop-down
list, and create an Instrument called Pno Sound, that plays on MIDI channel 4, program 22. Now, for the bottom piano staff, simply choose Pno Sound from the
Instrument drop-down list. Finale automatically gives it MIDI channel 4, program 22—and if you change the program or channel for either staff, the other staff’s
program or channel will change to match.
To edit an Instrument name or delete an Instrument, select View by Instruments (see below).

Chan. This column displays the MIDI channel assignment for each staff (or layer), from 1 to 64 (or 32, if your MIDI interface is a 32 bit card). To change this
number, double-click, and type a new channel.

If you’ve assigned several staves to the same Instrument, by the way, remember that they’re all linked to the same MIDI channel. Therefore, if you edit the
Chan. assignment for any one of these staves, the Chan. for all of them will change to match, because any given Instrument can only have one channel
assignment. (If you truly want a staff to have an independent MIDI channel, first assign it to a new Instrument.)

B. The Bank column (B) appears between the channel and program columns in the Instrument List. If you set up a simple patch assignment by entering a
program change number with no bank information in the Instrument List, nothing appears in the bank column. However, if you enter a bank change and a
program change number for an instrument, Finale places a "B" in the bank column for that instrument.

To set up a bank change, click or ctrl -click the bank column to display the Instrument Definition dialog box. For details, see Instrument Definition dialog box.

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Instrument List

Prog. The number in this column identifies the program (synthesizer sound) number assigned to each staff (or layer). To edit it, just double-click the number and
type a new one.

If you’ve assigned several staves to the same Instrument, once again remember that they’re all linked to the same Program. Therefore, if you edit the Program
assignment for any one of these staves, the Program for all of them will change. If you prefer to set up your MIDI instruments so that their programs are
already selected for each MIDI channel, you can ignore the Prog. settings in the Instrument List. Finale will only transmit these Program settings to the MIDI
instruments if Send Patches Before Play is selected in the Instrument List window.

GM. This column displays the General MIDI descriptive name of the Program number. By clicking on the name, you produce a drop-down list containing all of
the names. Select the desired GM name to have Finale fill in the matching Program Number.
View by Staves • View by Instruments. When View by Staves is selected, the information in the Instrument List is organized by staves, as they appear in
the score.

You can also re-organize the list so it’s displayed by Instrument (by selecting View by Instruments). By doing so, you can see which staves and layers have
been assigned to each Instrument.

Play All • Play None. These buttons turn the squares in the Play column for all staves (and layers) on or off, respectively.
Solo All • No Solos. These buttons turn the black circles in the Solo column for all staves (and layers) on or off, respectively.
Edit Instrument. Select an instrument and click the Edit Instrument button, or ctrl-click in the Chan., B, Prog., or Instrument columns to display the Instrument
Definition dialog box, where you can change all aspects of an instrument’s definition, including the bank or program change information.
New Instrument. To create a new Instrument, click this button. The Instrument Definition dialog box appears. Here you can create the new instrument name,
as well as define the instrument’s channel and Patch information. Note, this button only appears when View by Instruments is selected in the Instrument List
window.
Delete Instrument. To delete an Instrument, select an Instrument name in the left column, and then click Delete Instrument. The Instrument is removed from
the list. This button is only available when View by Instruments is selected in the Instrument List window.
Send Patches Before Play. Select this option if you want Finale, just before it begins playback, to transmit any patch information specified in the Instrument
List to your MIDI instruments. You probably won’t want to select this option, however, if you prefer to assign programs to MIDI channels on your MIDI instrument
before you begin playback, instead of letting Finale do it. If you select Send Patches Before Play, Finale will wipe out any MIDI channel/patch configurations
you’ve set on your MIDI instrument, and use the information defined in the Instrument List window for playback.
Auto-create Instrument. This checkbox only appears when View by Staves is selected. If this checkbox is selected, Finale will automatically create a new
Instrument for each new staff created. You can rename them or change their channel and patch assignments by clicking View by Instruments and editing the
various boxes. If this box isn’t selected, then Finale will assign every staff in your score to the same Instrument, channel, and patch (until you change them by
creating new Instruments).

Note: To have this function take effect, you must first select the checkbox, then create new staves. If
you create new staves then select this button, all the staves will be assigned to the same instrument.

Note: If a dot appears in the Solo column, only the soloed staves (or instruments) will play back.

See Also:
Instrument Definition
Window Menu

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INTERVAL

Interval

How to get there

Click the Selection Tool , and select a region of music. From the Utilities Menu, choose Transpose. From the Interval drop-down list, choose Other.

What it does
If, when you’re transposing some music, none of the intervals listed in the Interval drop-down list represent what you want, you can use this dialog box to specify any
other interval.

Interval • Alteration. In the Interval text box, enter the number of diatonic (scale degree) steps—and in the Alteration box, enter the number of chromatic steps
—by which you want the selection transposed. For example, to transpose something up or down a tritone (so a C would become F sharp, for example), enter 4
as the Interval, and 1 as the Alteration (4 diatonic steps, plus one chromatic step). If you’ve selected Diatonically in the Transposition dialog box, the Alteration
box is dimmed.
OK • Cancel. Click OK to confirm, or Cancel to discard, your interval setting and return to the Transposition dialog box.

See Also:
Transposition
Staff Transpositions

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Items to Snap to Grid

Items to Snap to Grid

How to get there


Choose Grid/Guide Options from the View Menu. Or, from the Document Menu, choose Document Options and select Grids and Guides. Click on Items to Snap to
Grid.

What it does
Use the Items to Snap dialog boxes to select the types of items that will be affected by the snapping function.

Brackets • Chords • Measure Expressions • Note Expressions • Fretboards • Graphics Move • Graphics Sizing • Measure Numbers •
Repeats • Special Tools Items • Staff Names • Staves • Text Block Move • Text Block Sizing. Select any number of these items to be affected
by snapping when it is implemented. Note: only Optimized Staves will snap when dragging the lower optimized handle.
All • None. Use these buttons as shortcuts to select or deselected all the items at once.
OK • Cancel. Click OK to save new settings and return to the Grid/Guide Options dialog box, or click Cancel to cancel any changes you made to the settings.

See Also:
Grids and Guides
Document Options-Grids and Guides
View Menu

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Items to Snap to Guide

Items to Snap to Guide

How to get there


Choose Grid/Guide Options from the View Menu. Or, from the Document Menu, choose Document Options and select grids and Guides. Click on Items to Snap to
Guide.

What it does
Use the Items to Snap dialog boxes to select the types of items that will be affected by the snapping function.

Brackets • Chords • Measure Expression • Note Expressions • Fretboards • Graphics Move • Graphics Sizing • Measure Numbers •
Repeats • Special Tools Items • Staff Names • Staves • Text Block Move • Text Block Sizing. Select any number of these items to be affected
by snapping when it is implemented. Note: only Optimized Staves will snap when dragging the lower optimized handle.
All • None. Use these buttons as shortcuts to select or deselected all the items at once.
OK • Cancel. Click OK to save new settings and return to the Grid/Guide Options dialog box, or click Cancel to cancel any changes you made to the settings.

Tip: Create a Guide by double clicking in the ruler area while in Page view.

See Also:
Grids and Guides
Document Options-Grids and Guides
View Menu

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Key Signature

Key Signature

How to get there

Click the Key Signature Tool , and double-click the measure at which you want the key to change. (There are a variety of other ways to access this dialog box;
you can arrive at it from any dialog box or menu with a Set Key or Change Key command.)

What it does
This dialog box contains a scrolling list of key signatures from which you can select a key (to change keys in your document, or for a variety of other purposes). You
can also specify whether or not you want the notes transposed into the new key, and what range of measures you want to affect Finale will default to the key of C
Major in the few cases where Finale needs a default setting. This dialog box also provides a gateway to Finale’s nonstandard key signature capabilities.

[Scrolling key display]. Click the top scroll bar arrow to add sharps (or subtract flats) from the displayed key signature. Click the bottom arrow to add flats (or
subtract sharps). As you scroll through the Circle of Fifths, the key name is identified in the lower-left corner ("C major," and so on).
Major Key • Minor Key • Nonstandard Key. Using this drop-down list, you can specify which key system you want to use. Finale treats major and minor
keys differently—notably in its treatment of accidentals (when transcribing a performance) and in handling chord symbols, where the root of the A minor scale, for
example, is called scale degree 1 (instead of scale degree 6, as it would be in the key of C major). A nonstandard key signature is any key signature or key
system that doesn’t adhere to the traditional, Western, circle-of-fifths key system. See Nonstandard Key Signature dialog box for details.
Measure Region: Measure ___ Through ___ • Measure ___ Through End of Piece • Measure ___ To Next Key Change. Using these controls,
specify what range of measures you want to affect with this key change. Click Measure ___ Through ___ if you want the new key to affect all measures up to
(and including) a later measure. If you want the new key to remain in force from the measure you clicked to the end of the piece, click the middle option. If you
want the new key until the next measure of a different key, click the lower option. In all of the text boxes, Finale proposes the number of the measure you
originally clicked through the end of the piece; in other words, if you click OK without changing any numbers, the key changes through the end of the piece from
the measure you clicked.
Transpose Notes: Up • Down. If you select this option, Finale will transpose any existing notes (and chord symbols) in the score into the new key, in the
direction you select from the drop-down list.
Hold Notes to Original Pitches: Chromatically • Enharmonically. Click this option if you want the pitches to remain the same as they were before you
changed the key—in other words, you’re just changing the key signature without affecting the existing notes at all. If you choose Chromatically, the notes maintain
their original spelling. If you choose Enharmonically, the existing notes will be renotated according to the new key. A G sharp in the key of E will become an A flat
in the key of E flat.)
Hold Notes to Same Staff Lines (Modally). Click this option if you want the music to remain modal—in other words, if you want each note to remain on
the same line or space without adding any accidentals. An F in the key of C will become an F sharp in the key of D, because there’s an F sharp in the key
signature—but no new accidental will appear.
Transpose All Keys Proportionally. Select this option if you want Finale to preserve the relationships between any existing key-signature changes. Each
key signature (in the range of measures you’ve specified) will be transposed up or down by the same interval as the measure you originally clicked. (If you don’t
select this option, Finale will wipe out any key changes, and will notate all the specified measures in the key signature you’ve specified at the top of the dialog
box.)
Wrap Keys if Necessary. Use this option to prevent unintended and unnecessarily complex key changes. This option defaults to checked and is only

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Key Signature

available when Transpose All Keys Proportionally is selected. Finale remembers this setting for the rest of the session. When checked, Wrap Keys if Necessary
prevents keys with double sharps and flats such as A sharp major (10 sharps) from occurring during proportional key changes. By default you’ll get B flat instead
of A sharp.
OK • Cancel. Click OK to confirm your choice of new key and return to the score, where the key changes according to your specifications. Click Cancel to
return to the score without changing the key.

Tip: Select Transpose All Keys Proportionally to maintain the modulations as you change the key.

See Also:
Key signatures
Key Signature Tool
Utilities Menu

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Key Step Map

Key Step Map

How to get there

Click the Key Signature Tool , and double-click the measure in which you want the key to change. The Key Signature dialog box appears. (There are a variety of
other ways to access this dialog box.) Choose Nonstandard from the drop-down list. Click Next twice, then click the KeyMap icon.
(You clicked Next twice because this dialog box doesn’t appear if Linear Key Format 0 or 1 is selected; these key formats are predefined as the standard major and
minor key systems, respectively.)

What it does
This dialog box concerns the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In
brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed anywhere you want.
In this dialog box, you specify how many notes will constitute an "octave" (it’s twelve notes in the traditional system). You also specify how many of these are "diatonic"
(seven in the traditional system), and where the "chromatic" steps occur in the scale. (In the traditional system, the chromatic steps occur between every pair of diatonic
steps except steps 3 and 4 and steps 7 and 8.)
If you’re creating a linear key format, note that your work in this dialog box must follow certain rules in order to meet the definition of a linear key format. The total
diatonic steps, for example, must be an odd number. Furthermore, the bottom and top halves of the scale must contain the identical arrangement of diatonic and
chromatic steps. These principles ensure that there is a progression of keys, although it may not be a circle of fifths as there is in traditional key structures. (Finale will
correctly interpret, transcribe, and play back music in a format that hasn’t been constructed according to these rules. The format, however, won’t be technically and
musically correct; you may get unexpected results when you transpose or add chord symbols to music in such a key system.)
You may wonder what the relationship is between your MIDI keyboard and the unusual key maps you can construct in this dialog box. The principle is simple: each
key on your keyboard always corresponds to a note in your key map. If you’ve established a quarter-tone key system, for example, you’d have to drastically alter your
playing style in order to input a simple C scale, because Finale now thinks that the first four notes on your keyboard are C, C-quarter-sharp, C-sharp, and C-three-
quarter-sharp. You’d have to play the C, E, and G sharp "keys" on your keyboard to notate the C, D, and E on the screen.
(You can, if you want, tell Finale to maintain the one-to-one relationship of your keyboard keys to the "main" scale degrees in your nontraditional scale by editing the
Go To Unit number in the Special Key Signature Attributes dialog box. You won’t be able to input quarter steps, for example, from your keyboard, but your diatonic and
half-steps will be notated and played correctly. See Special Key Signature Attributes dialog box.)

Total Steps. This indicator, which you can increase or decrease by using the scroll bar, keeps track of how many total scale degrees (up to 100) you’ve
created in your scale.
Diatonic Steps. This indicator keeps track of the number of diatonic steps you’ve created in your scale. You increase or decrease this number by clicking the
numbered squares, making more (or fewer) "white keys" (diatonic steps) or "black keys" (chromatic steps).
Display Keyboard. Select this option to display the "keyboard" layout you’ve created, displaying chromatic steps as black keys. The white keys on this
imaginary keyboard, if it existed, would play the recognizable "diatonic" steps of the scale, just as the white keys on a real keyboard do in the key of C, although
you can separate these "white keys" by any number of "black keys" (chromatic steps) you want.
New. Click New to remove the highlighting from all of the numbered squares. You are, in effect, creating an all-diatonic scale, so that you can start over in
specifying which steps are chromatic.
Delete. Click Delete to restore the pattern of chromatic and diatonic steps to that of the standard key system (but retain the number of Total Steps).
OK • Cancel. Click OK to confirm, or Cancel to discard, the new key map you’ve created. If you click OK, Finale asks if you want to save changes. You return
to the Nonstandard Key Signature dialog box.

See Also:
Nonstandard Key Signature
Key Signature Tool

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Last Recorded Tempo

Last Recorded Tempo

How to get there

From the View Menu, choose Studio View. Select the HyperScribe Tool and click on the TempoTap Staff. Record a tempo change and click the score.

What it does
This dialog box displays the final tempo recorded in a TempoTap session. After recording a tempo change, the tempo listed in this dialog box is applied to all
subsequent measures until the next tempo change is encountered.

Last Tempo. This is the tempo (number of beats per minute) Finale last recorded in a TempoTap session. Subsequent masures are assigned this tempo until
the next tempo change is encountered.
OK • Cancel. Click OK to confirm, or Cancel to discard, your TempoTap recording and return to the score.

See Also:
TempoTap
HyperScribe Tool

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Launch Window

Launch Window

How to get there


From the File Menu, choose Launch Window. This window also appears when you first launch Finale.

What it does
Choose this command to open the Launch Window where you can choose from a number of options related to starting new files and opening existing ones. From here,
you can also access reference material like the QuickStart Videos and User Manual.

Setup Wizard. Choose this option to open the Document Setup which guides you through setting up your Finale document with a title, instrument staves, and
other musical elements.
Exercise Wizard. The Exercise Wizard guides you through the process of creating your own customized exercises including scales, intervals, and arpeggios.
SmartMusic Wizard. Choose this command to open the SmartMusic Wizard which guides you through beginning a new document to be saved as a
SmartMusic Accompaniment. See SmartMusic Wizard.
Default Document. Choose this option to open a new default document. Finale’s default doc ument, named "Maestro Font Default.ftm" and located in the
Component Files folder, is a sin gle staff document with 31 measures.
Templates. Select Templates to choose from a collection of new empty documents already setup for a variety of instruments, ensembles, and educational
formats.
Scanning. Choose Scanning to Aquire a document from your scanner using Finale’s TWAIN support.
Open. Choose Open to locate and open an existing Finale document.
Open Recent File. Click this drop-down list to select a recent file and click Open Recent File to open it.
Import File. Click this drop-down list to select a file type and click Import File to locate and open a file of that type.
Program Options. Choose Program Options to open the Program Options dialog box where you can configure program-wide settings to match your working
preferences.
QuickStart Videos. Click this button to launch the QuickStart Video Tips where you can view video demonstrations of several of Finale’s features.
User Manual. Click this button to open the User Manual you are reading now. You will see the Table of Contents.
Tutorial Guide. Click this button to open the electronic version of the Finale Installation and Tutorials manual.
Close. Click Close to exit the Launch Window.

See Also:
File Menu

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Launch Window

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Limit - Continuous Data

Limit - Continuous Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing
Continuous Data from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or
by selecting the handles of individual notes whose MIDI data you want to edit. Choose Limit from the MIDI Tool Menu.

What it does
This dialog box allows you to limit the values of the continuous data to within a specified range of values.

Minimum of ____ • Maximum of ____. In these text boxes, enter the minimum and maximum values permissible for the specified MIDI data type within the
selected region. Any existing data values below the minimum value you specify will be boosted to that minimum value; any existing values above the maximum
value will be clipped down to that maximum value.

The numbers you enter in the maximum and minimum boxes pertain to the controller you’ve specified (on a scale from 0 to 127). For example—although it
doesn’t make much musical sense—you could limit the patch numbers in the selected region to within a certain range. More practically, you could limit the
amount of monophonic aftertouch within a selected region to a certain maximum value—so that you’ll never hear more than a certain amount of vibrato on any
note, for example.

OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Limit - Key Velocities

Limit - Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Key
Velocity from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by
selecting the handles of individual notes whose MIDI data you want to edit. Choose Limit from the MIDI Tool Menu.

What it does
This dialog box allows you to limit the values of the Key Velocities to within a specified range of values. For example, you can specify that no note in the selected

region should be played back with volume above an dynamic level by limiting the notes in the region to a maximum MIDI velocity value of, say, 90. (MIDI
velocity is measured on a scale of zero, which is silent, to 127, which is very loud.)

Minimum of ____ • Maximum of ____. In these text boxes, enter the minimum and maximum values permissible for the key velocities within the selected
region. Any existing data values below the minimum value you specify will be boosted to that minimum value; any existing values above the maximum value will
be clipped down to that maximum value.

The numbers in these text boxes represent MIDI velocity values (which range from 0 to 127); using the maximum and minimum text boxes, you can confine the
playback of all notes in the selected region to a certain dynamic range.

OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Limit - Note Durations

Limit - Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Note
Durations from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by
selecting the handles of individual notes whose MIDI data you want to edit. Choose Limit from the MIDI Tool Menu.

What it does
This dialog box allows you to limit the values of the note durations to within a specified range of values.

Minimum of ____ • Maximum of ____. In these text boxes, enter the minimum and maximum values permissible for the note durations within the selected
region. Any existing data values below the minimum value you specify will be boosted to that minimum value; any existing values above the maximum value will
be clipped down to that maximum value.

The maximum and minimum values you specify are Start and Stop Times. The Start Time is the difference between the notated, or quantized, starting point of a
note and the moment you actually struck the note in your performance. The Stop Time is the difference between the notated release of the note and the
moment you actually released the note.
In this case, then, the values you’re limiting to a maximum or minimum value are the Start and Stop Times, measured in EDUs (1024 per quarter note). If you
enter zero in both text boxes, Finale will adjust the attacks and releases of the notes in the selected region so that they’re perfectly "quantized" with their notated
values; when you play them back, they’ll sound rhythmically perfect. If you enter positive or negative numbers in either text box, you limit both Start and Stop
Times to the specified number of EDUs from the notated durations.

OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

Tip: Enter "0" to hear the notated values; enter positive or negative numbers to move the attack or
release from the notated values.

See Also:
MIDI Tool Menu
MIDI Tool

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Line Spacing

Line Spacing

How to get there

Click the Text Tool . Select a text block handle. Choose Line Spacing from the Text Menu.

What it does
Use the Line Spacing dialog box to specify the exact line spacing (single-spaced, double-spaced, or any other spacing) you want Finale to apply to all the text in a
text block.

Automatic: Single (100%) • 1 1/2 (150%) • Double (200%) • Other; ___%. Click Automatic if you want Finale to automatically calculate the line
spacing, depending on the font size you selected. If you’re using a very large font in a text block, there will be more space between those lines than in a text
block of 10-point text, although you might have specified single line spacing for both cases. Choose Single for single spacing, 1 1/2 if you want the equivalent of
1 1/2 spaces between lines, or Double for double spacing. If you prefer to enter a value for any other amount of spacing, type a number in the percentage text
box. For example, a value of 300% results in triple spacing. The drop-down list automatically changes to Other if a percentage other than 100, 150 or 200 is
entered.
Absolute: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Click Absolute if you want to set your own spacing instead of having Finale
calculate it automatically. Choose a measurement unit from the drop-down list (there are 288 EVPUs per inch), then enter the exact amount of vertical space you
want between the lines of your text, measured from one baseline to the next.
OK • Cancel. Click OK to confirm your line spacing settings and return to the score. Click Cancel to return to the score without changing any line spacing
settings.

See Also:
Text Menu
Text Tool

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Line Thickness

Line Thickness

How to get there


Enter the Shape Designer (see Shape Designer dialog box). Choose Other from the Line Thickness submenu of the Shape Designer Menu.

What it does
When you’re creating a shape in the Shape Designer, you can specify that the next line you draw (dashed or solid) is to have a different thickness, using the Line
Thickness command. Several common line thicknesses are already listed in the Line Thickness submenu, but the Other command lets you specify any thickness not
listed in the submenu. When this dialog box appears, you can specify the thickness of the next line you draw (and all subsequent lines, until you reset the line
thickness again).

Line Thickness. The number in this text box specifies the thickness of the selected line or object—or, if nothing is selected, the thickness of the next line you
draw. The default thickness is one point, or 1/72 inch.
Inches [etc.]. From this drop-down list, choose the units of measurement you want to work in within this dialog box.
OK • Cancel. Click OK to confirm your line thickness specifications. If a line or shape was already selected, it now appears with the new line thickness. If
nothing was selected, the next line (dashed or solid) you create (with the Line, Rectangle, Ellipse, Curve, Multiline, or Polygon Tools) will have the selected
thickness. All lines (dashed or solid) you draw will have that thickness, until you choose a different thickness from the Line Thickness submenu of the Shape
Designer Menu. Click Cancel to return to the Shape Designer without changing the line thickness.

See Also:
Shape Designer
Shape Expression Designer
Expression Tool

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LISTEN

Listen

How to get there


Click any Listen button in any MIDI-related dialog box.

What it does
Instead of making you type in MIDI codes, Finale often displays a Listen button so that you can play the MIDI note, pedal, or chord you’re supposed to input. When
you click Listen, this alert box appears. It disappears either when you play a note, pedal, or controller on your MIDI instrument, or when you click Cancel.

Cancel. If your MIDI system isn’t working, or if you change your mind, click Cancel to return to the previous dialog box.

See Also:
HyperScribe Tool
MIDI Tool

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Listen to Tempo

Listen to Tempo

How to get there

Click the HyperScribe Tool . From the Beat Source submenu of the HyperScribe Menu, choose Playback. Click the Tempo Listen button.

What it does
When you choose to have Finale provide a metronome click while you play a piece that you want HyperScribe to notate, the easiest way to indicate the click tempo is
to click the Listen button. This dialog box lets you know that Finale is listening; while it’s on the screen, tap any key or tap your mouse on the dialog box in rhythm.
Finale will compute (and display) the average tempo of your taps.

OK • Cancel. When you’re finished tapping to teach Finale the tempo you want, either click Cancel (to undo the tempo-setting you’ve just done) or OK (to
confirm it) and return to the Playback and/or Click dialog box.

See Also:
HyperScribe Tool

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Manage Parts

Manage Parts

How to get there


From the Documents Menu, choose Manage Parts.

What it does
Use this dialog box to add, remove, or customize parts. Here you can generate parts from existing staves in the score document, rename parts, add or remove staves
from parts, and customize the voicing for multi-voice score staves. The left column lists all parts. The center column lists all staves included in the selected part (a part
may include any number of staves from the score). The right column lists the instruments and staves available in the score for inclusion in the part. (You can click the +
to show individual staves of multi-staff instruments, such as piano, harp, etc.) Parts can be generated or modified at any time. In fact, parts could be generated from
the score after the score has been completed. A score includes parts automatically if "Generate Linked Parts" was checked in the Setup Wizard when the score (or a
staff) was created. Parts can also be deleted at or edited at any time. See To create linked parts.

Generate Parts. Click this button to generate a part for each instrument in the score. Finale recognizes instruments that contain more than one staff, such as
Piano, and creates a single part accordingly.
New Part. Click this button to create a new part. The new part can be comprised of one or more of the existing score instruments. The new part appears
beneath the currently highlighted part.
Delete Part. Click this button to delete the selected part. When you do this the part definition disappears, but score staves are untouched.
Part Creation Preferences. Click this button to open the Part Creation Preferences dialog box where you can control additional part settings. See Part
Creation Preferences dialog box.
Edit/Hide Part Definitions. Click this button to expand this dialog box for additional part options. Click this button again to minimize this dialog box.
Edit Part Name. Click this button to open the Edit Text dialog box where you can edit the name of the part.

Note that font, size, and style settings do not apply here. However, tracking, baseline shift, and
superscript settings do. (To edit the size of a part name, add it as a text Insert, select it and choose
Text > Edit Text. Size/style changes here will apply to all part names.)

Specify Voicing. Check this box to open the Voicing for Staff in Part dialog box where you can define the voicing for multiple-voice instrument staves in the
score, such as an instrument staff that contains more than one instrument (e.g. Flute 1 and 2). See Voicing for Staff in Part dialog box.
Add to Part. Click this button to add the selected staff/group from right list (of score staves) to the part definition. A part can contain any number of instruments
from the score, or even a single staff from a mult-staff instrument (such as piano).
Remove from Part. Click this button to remove the selected staff/group from the part list.
Move Up • Move Up. Click Move Up to move the selected staff up in the order of part staves. Click Move Down to move the selected staff down in the order of
part staves.
OK • Cancel. Click OK to confirm your part settings and return to the active document. Click cancel to discard your changes and return to the active document.

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Manage Parts

See Also:
Linked parts
Document Menu

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Measure Assignment for Ossia Measure

Measure Assignment for Ossia Measure

How to get there

From the Window Menu, choose Advanced Tools. Click the Ossia Tool . In Page View, double-click the measure to which you want it attached (or double-click if
there’s already a floating measure attached to it). The Ossia Designer dialog box appears. Click Attach to Measure; click OK. Or, in Scroll View, click the measure,
then click OK in the Ossia Designer dialog box.
Or, if Ossia is already in the score, click the measure to which it’s assigned and shift-double-click its handle.

What it does
There are two distinctly different kinds of "ossia" measures. One kind of floating measure (called a page-assigned ossia measure, which you can create only in Page
View) is attached permanently to a particular place on the page, where it will remain even if the "real" music around it is repositioned. The other, called a measure-
assigned ossia measure, has a position that remains fixed relative to the measure to which it is attached, even if the measure’s position on the page changes. In this
dialog box, you specify a measure-assigned floating measure’s precise positioning in relation to the "real" measure to which it’s attached.

Distance from Beginning of Measure: H: • V:. The numbers in these text boxes determine the precise position of the floating measure in relation to the
"real" measure to which it’s attached. A positive H: (horizontal) number moves the measure to the right; a positive V: (vertical) number moves the measure
upward. (Keep in mind, however, that you can also move the floating measure into position in the score by dragging its handle.) If H: and V: were both set at
zero, the floating measure would be squarely superimposed over the "real" measure.
OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box; you return to the score.

See Also:
Ossia
Ossia Measure Designer
Ossia Tool

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Measure Attributes

Measure Attributes

How to get there

Click the Measure Tool , and double-click the measure you want to edit. Some measure attributes require that you select more than one measure before double-
clicking.

What it does
Each measure in Finale can have a number of specific attributes, including its barline type, barline-to-barline width, whether or not it should display the key and time
signature, and so on. In this dialog box, you can specify all of these variables for the measure you clicked. Once you’ve specified this information, you can use the
Selection Tool to copy some of this information to other measures (namely, measure widths and positioning mode).
You’ll rarely need to use the Position Notes: options, which govern how the notes in the selected measure are positioned—particularly if you’re in the habit of using the
Music Spacing command to neatly respace the notes in your scores.

Measure Attributes for Measure__(through__). You can enter the number of the measure you want to edit or use the arrows to select another measure.
Or, if more than one measure is selected, you can specify a range of measures.
Barlines • Left Barlines: Normal • Double • Final • Solid • Dashed • Invisible • Tick • Custom: Select. Click the barline icon you want for the
right or left barline of the measure. Or, double-click to select the barline and exit the dialog box. Finale automatically updates the display options when you select
a barline style. When you select the Dashed, Invisible, Tick, or Custom barline, Finale deselects Break a Multimeasure Rest and Override Group Barlines.
When you select the Double, Solid or Final barline, Finale automatically selects Break a Multimeasure Rest and Override Group Barlines. When you select
the Invisible barline icon to hide a measure’s barlines, Finale also hides repeat bars assigned to that measure. Select Custom to use a defined shape as a
barline. Click on Select to select which shape is used.
Change Width. If you want to change the width of all the measures in the selected measure region, make sure this checkbox is selected. Enter the new width
in the text box. The number in this text box specifies the barline-to-barline width of the measure. If you want to specify an extremely precise width value, you can
enter it here. It’s much easier, however, to drag the handle on the measure’s right barline to the right or left (when you exit this dialog box). When you drag the
barline to change the measure width, Finale automatically enters the correct value in the Width text box.
Add to Width. Select this text box to add the specified amount to each measure in the selected measure region.
Extra Space at Beginning • Extra Space at End. Enter a value after Extra Space at Begin ning to specify the amount of space before music in the
measure (between the left barline and the first note). Enter a value after Extra Space at End to specify the amount of space after music in the measure (between
the last note and the right barline).
Key Signature: Show if Needed • Always Show • Always Hide. If you choose Always Show from this drop-down list, you force the key signature to
appear in this measure, even if the measure doesn’t fall at the beginning of a system or a key change. On the other hand, Always Hide means that the current
key signature won’t appear, even if it appears at the beginning of a new system or at a key change. Show if Needed is the usual setting—the key signature will
only appear in the measure at the beginning of a system, or at a key change.
Time Signature: Show if Needed • Always Show • Always Hide. Choose Always Show from this drop-down list to force the time signature to appear
in this measure. Always Hide means that the current time signature won’t appear, even if it appears at the beginning of a new system or a meter change. Show if
Needed is the usual setting—the time signature will only appear in the measure at the beginning of a system, or at a meter change.
Position Notes: According to the Time Signature • Manually (by Dragging) • Using Beat-Chart Spacing. These options govern the way Finale

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Measure Attributes

spaces notes within the measure you’re editing. According to the Time Signature is the default mode; Finale uses proportional spacing to place the notes in the
measure. In linear spacing, a whole note, for example, is allotted exactly as much width as four quarter notes. When music engravers prepare music for
publication, however, they generally use non-proportional spacing, where longer values are allotted only as much space as they need, which gives the music a
more compact, professional appearance. Select Manually (by Dragging) if you want to drag each note in the measure into place, one by one. When you exit this
dialog box, Finale superimposes all of the notes at the left end of the measure; to drag them into place, click the Speedy Entry Tool and click the measure. Drag
the notes into place. The Use Beat-Chart Spacing positioning mode works much like According to the Time Signature. However, when you return to the score,
you’ll notice a difference: when the Measure Tool is selected, every barline of a measure whose positioning has been set in this way displays two handles at the
bottom. (Measures in which you’ve respaced the music using the Music Spacing command also display two handles, because those commands automatically turn
on Use Beat-Chart Spacing for the selected measures.) When you click the bottom of the two barline handles, a beat chart appears above the measure,
displaying vertically aligned pairs of handles. The top row of handles indicates the positions of the beats according to linear spacing (where a whole note gets
exactly as much space as four quarter notes). By dragging a handle on the bottom row, you can reposition a beat in all staves at once.
Change Every ___ Measures. This option is shown only when a range of measures is selected. You can enter the number to specify which measures
change. For example, entering 8 would change every eighth barline to the specified type.
Allow Horizontal Split Points. If a measure is very long, you may want to split it, so that the second half of the measure appears at the beginning of a new
system. If so, select this option. When you return to the score, you’ll notice a new small square handle at the bottom of the measure’s right barline. Click this
handle; a long, thin, horizontal, rectangular strip appears above the measure. Wherever you double-click within this special strip, a small square handle appears.
You can drag this handle horizontally (or delete by selecting it and pressing delete). This handle marks a permissible split point; add as many split points as you
want by double-clicking in the split point strip. Finale will split the measure at one of them only if necessary for layout purposes. Note, too, that if you’ve specified
permissible split points in this way, you can force Finale to split a measure using the Selection Tool in Page View. Click the Selection Tool, then click the measure
to be split. If the measure begins a system, press the up arrow to move the first part of the measure up to the previous system. If the measure is at the end of a
line, press the down arrow key to move all but the first part of the measure down to the next system.
Begin a New Staff System. Select this option if you want the measure you’re editing to appear at the beginning of a new system (a new line of music on the
page). Note, however, that forcing such a system break may result in peculiar spacing of the measure or measures preceding the edited measure, depending on

the measure layout. When Begin a New Staff System is checked, a symbol will appear in Page View to indicate that the measure must appear at the
start of a system.
Break a Multimeasure Rest. This checkbox has an important effect when you extract parts. If the measures surrounding the one you’re editing are empty,
they’ll appear in the extracted part as multimeasure rests (or "block rests"). If Break a Multimeasure Rest is on, however, the right barline of this measure will
break such a multimeasure rest into two block rests, one on each side of it. (Such block rests automatically break for key and time changes, clef changes, and so
on.)
Break Smart Word Extensions. Check this box to break Smart Word Extensions on the right barline of a highlighted measure. This option is particularly
useful if you want to eliminate a word extension that extends through the first ending of a repeat.
Hide Cautionary Clefs, Key and Time Signatures. Select this option if you want Finale to hide any cautionary changes that appear at the end of the
measure.
Include in Measure Numbering. Uncheck this box if you want Finale to disregard a measure or region of measures for numbering purposes. Selected
measures will be skipped, and finale well resume numbering consecutively at the next measure.
Override Group Barlines. Check this option if you want the barline selected in this dialog box to appear at the end of this measure (for all staves). When
selected, this option overrides settings for Use Alternate Group Barlines defined in the Group Attributes dialog box. For more information, see Group Attributes
dialog box.
Position Notes Evenly Across Measure. Select this option if the measure you’re editing contains more or fewer beats than are allowed by the time
signature; Finale responds by spacing all notes evenly within the measure, no matter how few or how many. This is a useful option if, for example, you’re creating
a cadenza whose note values add up to far more than the four beats specified by the measure’s 4/4 meter.
OK • Cancel. Click OK to confirm, or Cancel to discard, your measure attributes settings and return to the score.

See Also:
Measures
Measure Tool
Measure Menu

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Measure Expression Assignment

Measure Expression Assignment

How to get there

Click the Expression Tool , and double-click a measure. Select Measure Expression in the Expression Selection dialog box. Double-click an existing expression
from the selection box, click an expression in the list and click select, or create one by clicking Create.
If a marking is already in the score, you can also reach the Measure Expression Assignment dialog box by shift–double-clicking its handle.

What it does
After you’ve selected a measure expression (any expression marking you want to appear in one or more staves or a list of staves), Finale displays this dialog box,
offering you several additional options pertaining to the marking’s placement and playback. One of the most important options is the Staff List feature, which lets you
specify in which staves you want the marking to appear (in the full score), as well as in which extracted parts it should appear.

Distance from Beginning of Measure • H: • V:. The numbers in these text boxes let you specify the precise vertical and horizontal distance between the
expression you’re placing and the upper-left corner of the measure you clicked (not counting any meter or key signature). A higher number moves the marking to
the right or upward. Of course, you can also simply drag the marking’s handle when you return to the score.
Beats • EDUs • [Current measurement unit]. Note that Finale measures the marking’s horizontal position in musical distance—that is, according to its
rhythmic position in the measure. (If you later make the measure wider or narrower, the marking will remain proportionately in the right place.) Use the drop-down
list beside the H: text box to choose the units of rhythmic measurement: beats or EDUs (1024ths of a quarter note). This drop-down list also includes the current
Measurement Units (Edit Menu), which is used only in cases where you position the expression before the measure that the expression is attached to.
Show On: All Staves • This Staff Only. Select All Staves to show the expression on every staff in the score and parts. All Staves is selected by default.
Select This Staff Only to assign the expression to the current staff only. Use the This Staff Only option if you want an expression to appear only in the current
staff.
Staff List: New Staff List • (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will
display expressions. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog
box for the selected Staff List, and change which staves the expression using that Staff List should appear in.
Begin Playback at Beginning of Measure • Position in Measure. If the expression you’re placing has been defined for playback, you can control
where its playback effect will "kick in." When Beginning of Measure is selected, you’ll hear its effect at the beginning of the measure, even if the marking itself
appears in the middle of the measure. When Position in Measure is selected, you won’t hear the marking’s effect until Finale reaches the marking itself while
playing back, no matter where it falls (even if it’s in the previous or next measure); Position in Measure, therefore, is a good choice for dynamic markings.
Allow Individual Edits Per Staff. Normally, when you place a measure expression marking in the score, it appears in exactly the same position in every
staff. When you drag any marking, the markings in all staves move simultaneously. Select this checkbox, however, if you want this marking to be independently
movable in every staff. (To restore the marking to its "linked-together" mode, shift–double-click its handle in the score, and turn Allow Individual Edits Per Staff
off.)
OK • Cancel. Click OK to confirm your settings and return to the score, where you’ll see the expression mark. Click Cancel to return to the score without
adding or editing an expression mark.

See Also:
Expressions
Expression Selection
Staff List
Expression Tool

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Measure Expression Assignment

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Measure Number

Measure Number

How to get there

Click the Measure Tool and select Edit Regions from the Measure Numbers submenu of the Measure Menu.

What it does
From the Measure Number dialog box, you can create new measure number regions (which may overlap), cycle through each region in your score, and display and
change settings for regions. It’s easy to set up measure numbers, edit their appearance, hide or show them, and position them in the score. A drop-down list provides
common measure numbering styles—1, 2, 3….a, b, c…, and so on—without requiring you to type in several settings to define the style; and if you prefer, you can
create your own style. Options for selecting enclosures are available, and you can select common enclosure shapes from a drop-down list.

Region. To display the settings for a region of measure numbers in your score, select the desired region from the dialog box.
Includes Measure ___Through ___. Enter the numbers of the first and last measures of the specific region. These are the actual measures in the piece,
regardless of what number you want displayed on them. For example, you’d enter 1 through 49 here to tell Finale that measures 1 through 49 belong to the
region, but you might use a completely different numbering scheme for the same measures in your score (see First Measure in Region below).
Delete • Add • Sort. Click Delete to remove the currently selected measure number region. Click Add to create a new measure number region after the
selected region. Finale will copy the settings of the currently selected measure number region into the newly created region. Click Sort to sort all measure number
regions in the order they’ll appear in the score.
First Measure in Region. Enter a value for the measure number on the first measure in the region. If you selected a numeric style for your measure numbers,
enter the first number that you want to appear in the region (1, or 2, or 3, and so on). If you selected a letter style, enter a number that corresponds to the
position or order of the letter in the alphabet, such as 1 for A, 2 for B, 3 for C, and so on.
Prefix • Suffix. Enter a number, letter, or symbol in the Prefix text box that you want Finale to display before every measure in the region. Similarly, any
number, letter, or symbol entered in the Suffix text box will be displayed after every measure in the region.
Style. Choose the numeric style (1, 2, 3, 4…), one of four alpha styles (a, b, c...aa, bb, cc…; A, B, C...AA, BB, CC…; a, b, c...aa, ab, ac…; A, B, C...AA, AB,

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Measure Number

AC…), or Time from the Style popup menu. If you’d rather define your own measure numbering style, choose Other, then set up your own style in the Measure
Number Style dialog box. If you choose Time, Finale displays the Time Style dialog box where you can specify the format of the time to be displayed in the
score. The time is based on Finale’s playback taking into account tempo changes applied with the MIDI Tool, Tempo Tool, and Expressions. (Time markers do
not take into account tempo changes applied with Human Playback.) See Measure Number Style dialog box. For some of the examples above, you may need to
check Double Up in the Measure Number Style dialog box.
Set Font. Click Set Font to select the font Finale will use for the measure numbers in this region. The font that is currently selected appears next to this button.
Enclosure Shape: None • Square • Circle • Ellipse • Triangle • Rectangle • Pentagon • Hexagon • Septagon • Octagon • Other. Use the
Enclosure Shape drop-down list to choose the geometric shape of the enclosures that you want to appear on measure numbers in this region. Choose None if
you want no shape displayed with the numbers. Choose Other to display the Enclosure Designer dialog box, where you can edit a shape. For more information,
see Enclosure Designer dialog box.
Edit Enclosure. Click this button to display the Enclosure Designer dialog box, where you can edit the settings of the currently selected shape.
Show on: Every Number • Selected Numbers. Click Show on Every Number to display the enclosure shape on every measure number in the region.
Click Show on Selected Numbers to display the enclosure only on selected measure numbers in the region.
Show Measure Number Ranges on Multimeasure Rests • Bracket range using Left/Right. Select this option to have multimeasure rests in your
piece display a measure number range. When the Show box is checked, you can enter the character to use for left or right brackets, such as parentheses or
square brackets. Leave the Left/Right boxes blank for no bracket.

Show Measure Numbers at Start of Each Staff System • Show Every ___ Measures Beginning with Measure ___. Select Show Measure
Numbers at Start of Each Staff System if you want measure numbers to appear at the beginning of every line. To display the measure number every few
measures (every 5 measures, for example), starting at a particular measure number, select Show Every ___ Measures Beginning with Measure ___, then enter
values for the measure number and the display interval.
Hide First Measure Number in Region. When this option is selected, Finale will not display the first measure number in the region. For example, many
copyists hide the measure number on the first measure in the score. When the option is not selected, Finale displays the measure number.
Always Show on Top Staff • Always Show on Bottom Staff Exclude • Other Staves. Select Always Show on Top (or Bottom) Staff to tell Finale to
always show a measure number on the top or bottom staff of each system, regardless of which staff happens to be at the top (or bottom) of the system. Check
Exclude Other Staves to show measure numbers on the top and/or bottom staves of systems only (depending on which of these options is checked).

Tip: Select one of these options if you’ve optimized your score so that all resting staves are removed
from the staff systems in Page View. That way, if you want a measure number to appear in the score
above the top staff, or on the bottom staff, one will always appear, even if measure numbers are
normally turned off for that staff.

Always Show on Top Staff • Always Show on Bottom Staff • Exclude Other Staves. Select Always Show on Top (or Bottom) Staff to tell Finale to
always show a measure number on the top or bottom staff of each system, regardless of which staff happens to be at the top (or bottom) of the system. Check
Exclude Other Staves to show measure numbers on the top and/or bottom staves of systems only (depending on which of these options is checked).

Tip: Select one of these options if you’ve optimized your score so that all resting staves are removed
from the staff systems in Page View. That way, if you want a measure number to appear in the score
above the top staff, or on the bottom staff, one will always appear, even if measure numbers are
normally turned off for that staff.

Always Show on Multimeasure Rests. When this option is selected Finale will display the measure number ranges in brackets for all multimeasure rests.
For example, if you have measure numbers set to only appear at the start of a system and the multimeasure rest appears in the middle of a system, this
checkbox will override that setting.
Viewable In: All Views • Page View Only • Scroll and Studio Views Only (will not Print). Use these options to specify in which views the
selected measure number region will be visible.
Position. Click to display the Position Measure Number dialog box, where you specify the default position of measure numbers in the score for this region. For
more information, see Position Measure Number dialog box.
OK • Cancel. Click Cancel to return to the score without changing the measure number settings. Click OK to confirm your settings and return to the score. The
measure numbers appear, according to your specifications.

See Also:
Measure numbers
Measure Number Style
Enclosure Designer
Position Measure Number
Measure Tool

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Measure Number Style

Measure Number Style

How to get there

Click the Measure Tool and select Edit Regions from the Measure Numbers submenu of the Measure Menu. Choose Other from the Style drop-down list in the
Measure Number dialog box.

What it does
This dialog allows you to set up a customized measure numbering style, other than those preset in the Measure Number dialog box.

Numbering Base. Enter a number to use as the base for the measure numbering scheme in the current region. Use Base 10 for the standard numeric system
(1, 2, 3, 4…). Finale will use the characters 0 through 9 before adding another digit to the measure numbers. If you’re using a lettering scheme, such as the
English alphabet, enter 26 here. Finale goes through the 26 letters of the alphabet before adding another letter to the number (A to Z, AA to ZZ, AAA to ZZZ, and
so on).
Starting Character. If you enter a number, letter, or symbol in the text box, Finale will use this character to begin sequentially numbering or lettering the
specified measures in the region. If you click Starting Character instead of entering a character, Finale displays the Symbol Selection dialog box for the selected
font, and you can then choose a letter, number, or symbol from the palette that appears.
Count From One. Select this option if you’re beginning the measure numbers with number 1 (which is the second character if the Starting Character is 0). If
you’re using letters instead of numbers, or if the first measure is a pickup measure that you don’t want numbered, make sure this option is not selected.
No Zeros. Select this option only if you’re using letters instead of numbers. No Zeros refers to the number or letter in the "tens" place once Finale reaches the
end of the alphabet or set of single digit numbers. This setting tells Finale whether to use the Starting Character in the "tens" place for the next measure number.

Note: Although you’re not prevented from selecting this option when you’re using the standard
numbering scheme, you might not get the results you expect, as Finale will label the measures 00, 01,
02, 03… instead of 10, 11, 12, 13… and so on.

Double Up. Select this option if you’re using lettering instead of numbering and you want Finale to start "doubling up" the letters after one complete pass
through the alphabet. If selected, Finale labels the subsequent measures AA, BB, CC, and so on. If not selected, the measures will be labeled AA, AB, AC… and
so on.

Note: Although you’re not prevented from selecting this option when you’re using the standard
numbering scheme, you might not get the results you expect, as Finale will label the measures 00, 11,
22… instead of 10, 11, 12… and so on.

OK • Cancel. Click Cancel to discard any changes you made to the settings. Click OK to confirm the settings you’ve made and return to the score.

See Also:
Measure numbers
Measure Number
Measure Tool
Measure Menu

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Mid-Measure Clef

Mid-Measure Clef

How to get there

Click the Clef Tool . Ctrl-click the mid-measure clef’s handle (or select the handle and press Enter). Or, highlight the handle of the mid-measure clef and press
Enter.

What it does
You can use the Clef Tool to create a clef change anywhere in a staff; unless you choose Create a Movable Mid-measure Clef in the Clef dialog box, however, the clef
change always occurs at a barline and lasts for at least one measure.
A mid-measure clef, however, can be placed anywhere in a measure—you can even drag it back and forth among the notes of the measure to see which placement
would be easiest for the player to sight-read. As you drag the clef, the notes before and after it renotate themselves accordingly. You can have more than one mid-
measure clef in a measure; in fact, another mid-measure clef appears each time you double-click a measure in which one already appears.
After placing a mid-measure clef, you can access this dialog box to change the clef, choose its size, and specify its placement.
Note: To convert a mid-measure clef to a standard clef change (before the barline), click and drag it
across the left barline.

Clef Selection. The Clef display identifies which clef you want to appear. (Each Finale document offers eighteen clefs, which you can edit or rearrange with
the Clef Designer.) To select a different clef click the one you want, or double-click to select the clef and exit the dialog box.
Clef Size. It’s customary for any new clef within a piece to be sized slightly smaller than the original starting clef. In each Finale document, this reduced size
(expressed as a percentage of full size) is set globally in the Clefs category of the Document Options dialog box under the Document Menu (see Document
Options-Clefs).

If you want to specify a different degree of reduction to this particular clef, enter the desired reduction percentage in this text box. This new percentage you
enter overrides the default percentage set in the Document Options.

Allow Vertical Drag. Select this checkbox to allow the mid-measure clef to be moved vertically as well as horizontally.
Show Clef: When Needed • Never • Always. Select When Needed to display the mid-measure clef as usual. Select Never to change the clef, but not
display the clef in the music. Select Always to change the clef and force it to display.

Tip: Use Never at the end of a first ending repeat to set the clef for the second ending without
displaying it.

Distance from Beginning of Measure: H: • Horizontal Offset • V: • Beats • EDUs • Place After Barline. The numbers in the text boxes specify
the position of the new clef’s handle in the measure. The H: (horizontal) number indicates the beat in which the clef appears. The V: (vertical) number measures
the distance from the top line of the staff (a negative number moves the clef downward). Use the drop-down list for the H: text box to specify the musical position
of the clef in the measure. For example, in 4/4 you could position a clef in Beat 1, or if you prefer EDUs, 1024 EDUs. Use the Horizontal Offset to determine the
space between the mid-measure clef and the next entry. You can position the clef by entering numbers in these text boxes, but it’s easier to position it simply by
dragging it once it’s in the score.

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Mid-Measure Clef

Click on the Place Clef After Barline checkbox to display the clef immediately to the right of the barline when H is set to zero. Note: Horizontal clef positioning
can also be governed by the Music Spacing Options. (To enable or disable automatic clef placement, from the Document Menu, choose Document Options and
then choose Music Spacing. Under Avoid Collision Of, check or uncheck Clefs.)

Revert to Single Clef. If you decide not to place the clef in the middle of the measure, click this button to turn it back into a "single" clef (one that appears just
before the barline and affects a full measure at a time). You return to the Change Clef dialog box.
OK • Cancel. Click OK to save changes to the new clef and return to the score. The clef appears with a handle, which you can drag horizontally or vertically to
position the clef. As you drag it horizontally, the notes before and after the new clef renotate themselves accordingly, letting you experiment to find the most
logical placement for sight-reading purposes. You can also experiment with your choice of the clef itself. Double-click its handle; on the second click, hold the
button down and drag the clef left or right. The clef itself cycles through the eighteen available clefs as you drag it horizontally.

Click Cancel to tell Finale not to save changes to the new clef. You return to the score.

Tip: Apply Note Spacing with the Selection Tool to avoid collision of clef changes.

See Also:
Clefs
Change Clef
Clef Tool

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MIDI Input Filter

MIDI Input Filter

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure. When the Transcription window appears, choose Input
Filter from the Transcription Menu.

What it does
This dialog box lets you specify which kinds of MIDI information you want recorded from your performance. A MIDI event is any MIDI signal—a note, a press of the
sustain pedal, a patch change, and so on. (When you use the pitch wheel, you may generate a stream of hundreds of MIDI events.)
Finale gives you the option of "filtering out" certain kinds of MIDI data. If you’re interested only in producing notation, for example, you may not want Finale to consume
memory and disk space by recording pedaling, patch changes, and so on. In this dialog box, you tell Finale which kinds of MIDI data you want recorded.

Notes. Select this checkbox if you want the notes of your performance recorded.
Pitch Bends. Select this checkbox if you want Finale to record pitch bend information during your performance.
Program Changes. Select this checkbox if you want Finale to record program (patch) changes during your performance.
Listen. Click Listen if you want to select the appropriate items in this dialog box (including entering controller numbers in the text boxes) simply by playing your
music. As you play, Finale will automatically select the information types it "hears" during your performance.
Controllers: All • Only. Controllers include pedals, the modulation wheel, and so on (except the pitch wheel, which has its own button). If you want Finale to
record every kind of controller information generated during your performance, select the Controllers checkbox and the All button. If you only want to record the
data generated by certain controllers, select the Controllers checkbox and click Only, then enter the controllers’ numbers, if you know them, into the four text
boxes. If you don’t know a controller’s number, click in a text box, click the Listen checkbox, and "play" the controller in question. Finale will enter its number in
the text box automatically.
OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box and return to the Transcription window.

See Also:
Transcription
HyperScribe Tool

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MIDI Setup

MIDI Setup

How to get there


Choose MIDI Setup from the MIDI/Audio Menu

What it does
In the MIDI Setup dialog box you can edit a number of settings pertaining to your MIDI interface setup.

MIDI System: CoreMIDI • None. Use this popup menu to select the MIDI system you plan to use for communication within your MIDI setup. Choose
CoreMIDI to use Apple’s built-in MIDI System.
Finale Channel: 1-16 • 17-32 • 33-48 • 49-64. There are 64 Finale channels available for MIDI note entry and playback. They are grouped into four 16-
channel banks. Each bank represents one or more MIDI devices and their 16 available MIDI channels, depending on your MIDI setup. For example, each bank of
Finale channels could be mapped as follows:
Finale channels MIDI channels on the
connected instrument
1-16 Device One 1-16
17-32 Device Two 1-16
33-48 Device Three 1-16
49-64 Device Four 1-16
65-80 Device Five 1-16
81-96 Device Six 1-16
97-112 Device Seven 1-16
113-128 Device Eight 1-16

MIDI In Device • MIDI Out Device. Use the MIDI In and MIDI Out settings to tell Finale which MIDI drivers you’d like to use. You can specify up to 8 slots
(using one or more MIDI drivers) to receive and send MIDI information. You can specify different configurations for MIDI In and MIDI Out (see Advanced below).
Under MIDI In, select the MIDI In device for your computer (for example, SoundBlaster MIDI Input). Under MIDI Out, select a device where you’d like to hear the
music played back. To use an external MIDI device, choose a driver with “MIDI Out” or “MPU 401” in its name. To use your computer’s speakers connected to
your soundcard, choose a driver with “Synth” or “Synthesizer” in it. By default, Finale uses “SmartMusic SoftSynth,” which is Finale’s own General MIDI
SoundFont (with additional marching percussion sounds). Since this option does not use your sound card’s synthesizer, playback will sound the same on other
computers as long as SoftSynth is selected for the MIDI Out device (and the “Synthgms.sf2” file hasn’t been replaced by a different SoundFont in the

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MIDI Setup

Finale/Component files folder). Select SoftSynth Settings to fine tune SoundFont playback. See SoftSynth dialog box.
Base Channel. You can specify the initial MIDI channel number for each MIDI driver selected. This number indicates the first of 16 channels. Finale supports
64 MIDI channels through different MIDI drivers.
Sync Master MIDI Sync. Click in this column if you want Finale to transmit MIDI Sync signals any time it plays back your score through the corresponding
MIDI driver and MIDI channels (specified by the Base Channel for that driver). Only one device at a time can send MIDI Sync signals. If you have connected your
computer to an external sequencer, drum machine, or another computer that has been configured to interpret this kind of MIDI message, it will wait in "pause"
mode until Finale begins playback, at which point the two will play together in perfect synchronization.
Match On/Off. This check box controls how Finale handles simultaneous MIDI messages of the same pitch on the same channel. When this box is checked,
Finale attempts to ‘match’ each simultaneous note on message with a corresponding note off message. For example, in a measure containing a whole note on
middle C and a half note on middle C, the note off message at the conclusion of the half note applies only to the half note and the whole note continues for the
full duration. If the MIDI output device supports matching on/offs, this option should be checked so that note off messages do not interrupt playback of the longer
of two or more unisons on the same channel. If the MIDI device does not support matching note on/off messages, this option should be unchecked.

Tip: To test if your MIDI output device supports matching note on/off messages, open a new default document. Enter a whole note middle C in the first measure
in layer 1. Switch to layer 2, and then in the same measure, enter a half note on middle C and then a half note on D. Play the measure back. If the whole note
C gets cut off with the half note C (you can’t hear the C against the D), the MIDI device does not support matching, but Finale thinks it does - uncheck Match
On/Off. If the whole note C continues to play over the barline, the MIDI device supports matching, but Finale thinks it doesn’t - check Match On/Off. If you can
hear the C against the D, and they both cut off at the same time, Finale is setup correctly.Advanced. Click the Advanced button to expand the dialog box for
more than one device.

Enable MIDI Sync • MTC. These two boxes allow you to synchronize Finale playback with another MIDI or MTC-compatible device. Check a box under the
MIDI Sync column if you want Finale to transmit MIDI Sync signals any time it plays back your document through the corresponding MIDI driver and MIDI
channels (specified by the Base Channel for that driver). Only one device at a time can send MIDI Sync signals. If you have connected your computer to an
external sequencer, drum machine, or another computer that has been configured to interpret this kind of MIDI message, it will wait in “pause” mode until Finale
begins playback, at which point the two will play together in perfect synchronization.
Check a box under the “MTC” column to send MIDI Time Code messages in order to sync with another device that is capable of receiving MTC.
SoftSynth Settings. Click this button to open the SoftSynth dialog box where you can select the software synthesizer you want to use for output, and change
the volume. Changes in this dialog box apply to audio files created using the Save As Audio File feature under the File Menu.
Reset MIDI Out. This option sends a “Key off” message to all notes, on all channels when the port is made inactive. This check box should only be unchecked
(disabled) if your MIDI device(s) are responding with a “MIDI Buffer Overflow” or “MIDI Communication Error” when receiving such a command.
MIDI In Latency. Enter a value in this text box to delay Finale’s translation of MIDI information for entry in HyperScribe. The MIDI latency value compensates
for the short delay it sometimes takes for MIDI information to travel from an external MIDI device into the computer.
OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the MIDI settings in this dialog box.

Tip: Refer to the beginning pages of the Tutorial to assist you in connecting your MIDI
instrument to Finale.

See Also:
MIDI
MIDI/Audio Menu

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MIDI Thru

MIDI Thru

How to get there


Choose MIDI Thru from the MIDI/Audio Menu. The MIDI Thru dialog box appears.

What it does
MIDI Thru is the MIDI configuration whereby you play the MIDI notes (or another controller) on a MIDI device, the MIDI signal travels to your computer, and the
computer in turn sends the signal to a second MIDI output device—the one that actually produces the sound. If you have such a setup, you must turn on MIDI Thru to
tell Finale to pass incoming MIDI signals along to the next MIDI device.
Use the MIDI Thru dialog box to choose how you want MIDI Thru to work when you use Finale. The choices are to turn MIDI Thru off, map all channels to a single
fixed channel, use Smart MIDI Thru (for recording with HyperScribe or editing with Speedy Entry), map each channel directly to the channel that is being played, or use
an editable table of channels where you explicitly map each incoming channel to the outgoing channel you specify.

Off. Click this option if you don’t want to use MIDI Thru at all. When selected, no routing takes place.
Fixed Channel. Click this option if you want to route all incoming channels to the single channel you specify. Enter the number of the channel that you want all
channels mapped to.
Smart. Click this option if you want to hear the channel and patch assigned to a staff while you’re recording with HyperScribe or editing with Speedy Entry.
When selected, Finale looks at the Instrument List to see what instrument sound is set for the staff, and routes all incoming signals to the channel defined for
that instrument. Note, however, that if you’re just playing your MIDI keyboard and not recording with HyperScribe or editing with Speedy Entry, Finale continues to
use the last active "smart" channel (i.e., the last edited staff’s channel).
Direct. Click this option if you want Finale to map the outgoing channels directly to the incoming channels that are being played. (This is the same as choosing
Table and leaving the MIDI Thru Table at its default mapping, in which the outgoing channel is the same as the incoming channel.)
Table • Edit. Click this option if you want to map incoming channels to different outgoing channels on a channel-by-channel basis. Click Edit to display the
MIDI Thru Table dialog box where you can remap each incoming channel by entering a channel number in each text box.
OK • Cancel. Click OK to confirm the MIDI Thru setting, or click Cancel to discard any changes you’ve made to the dialog box and return to the score. If you
selected a MIDI Thru mode, MIDI Thru will be checked in the MIDI/Audio Menu. If you selected Off, MIDI Thru will not be checked, indicating that no MIDI Thru
mode is in use.

See Also:
MIDI/Audio Menu

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MIDI Thru Table

MIDI Thru Table

How to get there


Choose MIDI Thru from the MIDI/Audio Menu. Click Table, then click Edit.

What it does
Midi Thru is the MIDI configuration whereby you play the keys on a controller keyboard, the MIDI signal travels to your computer, and the computer in turn sends the
signal to another MIDI keyboard—the one that actually produces the sound. In this dialog box, you can route the signals coming from your controller keyboard to other
MIDI channels, giving you control over which channels are received by your sound module.

1—128. The fixed number on the left indicates the channel of the incoming MIDI signal. Enter into the text box the number of the desired output channel for
producing the sound. The default setting for each input and output channel is one-to-one.
Reset. Click this button to restore all settings to the original one-to-one channel mapping.
OK • Cancel. Click OK to confirm the MIDI Thru Table settings, or click Cancel to discard any changes you have made to the dialog box and return to the MIDI
Thru dialog box.

See Also:
MIDI/Audio Menu

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MIDI Tool window

MIDI Tool window

How to get there

From the Window Menu, choose Advanced Tools palette. Click the MIDI Tool . Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, or click to the
left of the staff to select the entire staff. Double-click the selected region.

What it does
The MIDI Tool window provides a graphic display of the three kinds of captured MIDI data you can edit: key velocities, note durations (Start and Stop Times), and continuous data, which includes controllers (use of the
pedals, patch changes, aftertouch) and wheels (pitch wheel, and so on). Because the window displays not only a graphic representation of these values for each note but also the notes themselves, you can get an
immediate picture of the relationship between the two.
Furthermore, the MIDI Tool split-window offers you an option not available when you use the MIDI Tool commands without opening this window—you can edit specific notes, even if they’re nonadjacent or buried within
chords. (For a full discussion of the kinds of data you can edit with the MIDI Tool and an explanation of the commands available, see MIDI Tool Menu.)
When you edit MIDI data in the MIDI Tool split-window, the changes you make apply to the selected layer (as indicated by the Layer push buttons on the bottom of the document window) and only to the top staff you are
viewing. To edit a different staff, use the vertical scroll bar to move up and down through the staves. Use the horizontal scroll bars to move through your score as you normally would.
There are several ways to select specific notes in the MIDI Tool split-window. To select one, click its handle; to select additional notes, shift-click their handles. You can also drag-enclose several handles to select them, or
shift–drag-enclose to select additional groups. You can also select all notes within a certain region by dragging through the graph area (above the displayed notes); Finale responds by highlighting the handles of all notes
within the region you select. (To select an additional region of notes in this way, shift-drag through the graph area.) To "deselect" a selected handle, shift-click it.

Key Velocities. Choose this item from the MIDI Tool Menu to tell Finale that you want to edit the key velocities of the notes displayed in the window (a graph of how hard each note was struck). The display
becomes a graph; thin vertical lines represent the relative velocities of the notes displayed at the bottom of the window, and a "velocity ruler"— with notches from zero (silence) to 127 (very loud)—appears along the
left edge.

If you’ve entered music with the Simple or Speedy Entry tools, the velocity of every note is 64. (64 is Finale’s default note velocity setting, which you can change by clicking the speaker icon in the Playback Controls,
clicking the expand arrow, and entering a new value in the Base Key Velocity text box.) If you’ve captured the key velocity (performance) data from a real-time HyperScribe performance, however, you’ll see those
varying velocities displayed in this graph notation.
To edit the velocity of a particular note, double-click its handle. The Set To dialog box appears, in which you can enter a new velocity value. To edit the velocities of several notes, select them with any of the
methods described above, then choose the appropriate command from the MIDI Tool Menu (see MIDI Tool Menu). To restore selected notes to their default velocity values, press backspace or use the Selection
Tool to erase Performance Data.
Technical note: Finale stores the captured velocity values as the difference between the actual velocity with which you struck the notes and the default
velocity, as determined by the Base Key Velocity text box in the Playback Controls. If you increase or decrease this Base Key Velocity value, therefore, you
instantly increase or decrease the playback velocity of every note in the piece, even though their velocity values remain the same in proportion to one another.

Note Durations. Choose this item from the MIDI Tool Menu to tell Finale that you want to edit the Start and Stop Times of the notes—the slight deviations from the beat that create swing feel, rolled chords, and so
on—displayed in the window. The display becomes a graph; thin horizontal lines represent the relative note durations of the notes displayed at the bottom of the window, and a piano keyboard appears at the left edge
to help you identify their pitches. Drag this keyboard up or down if you want to view higher or lower notes.

If you’ve entered music with the Simple or Speedy Entry tools, the Start and Stop Times of every note are zero, because the definitions of Start and Stop Times are the differences between the notated attack and

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MIDI Tool window

release points of the notes and the actual (performed) attack and release points. The graph of a note whose Start Time is zero is perfectly flush with the vertical gridline representing its notated attack point, and that
of a note whose Stop Time is zero stops neatly at the gridline representing its notated release point, as shown:

The notes displayed in the MIDI Tool split-window were entered with one of Finale’s step-time entry tools. Therefore, each note’s Start Time and Stop Time is zero, as you can see from the fact that each horizontal
line (representing a note’s duration) ends flush with one of the dotted vertical lines. (The vertical lines represent the notated, or quantized, attack and release points of the notes.)
If you’ve captured the Start and Stop Time (performance) data from a real-time HyperScribe performance, however, you’ll see horizontal lines that don’t begin and end nearly so precisely at the vertical gridlines. For
example, the graph of a note you held down slightly beyond the beginning of the next beat appears to extend just to the right of the vertical gridline (and has a positive Stop Time). The graph of a note you struck a
fraction of a second early begins just before a vertical gridline (and has a negative Start Time).
To edit the Start and Stop Time of a particular note, double-click its handle; the Set To dialog box appears, in which you can enter a new value. To edit the Start and Stop Times of several notes, select them with
any of the methods described above, then choose the appropriate command from the MIDI Tool Menu (see MIDI Tool Menu). To set the Start and Stop Times of selected notes to zero (so that they play back with
"quantized" rhythmic perfection), press backspace or use the Selection Tool to clear Continuous Data.

Continuous Data. Choose this item from the MIDI Tool Menu to tell Finale that you want to edit the continuous MIDI data—pedals, wheels, patch changes, and other non-note data—for the music displayed in the
window. The View Continuous Data dialog box appears, allowing you to specify the controller data type you want to edit. (Patch Changes, Monophonic Aftertouch, and Pitch Wheel are dimmed, because these data
have icons of their own in the MIDI Tool window [see below].) See View Continuous Data dialog box for descriptions of the elements of this dialog box.

When you return to the MIDI Tool split-window, the display becomes a graph; the highlighted area represents the specified controller’s value over time. A "value ruler" appears at the left edge, with notches from 0 to
127. This scale measures different qualities, depending on the controller you’ve selected.
To edit the controller setting for a particular region, drag through the region so that it’s highlighted (black areas become white, and vice versa). Choose the appropriate command from the MIDI Tool Menu to add to,
subtract from, or otherwise change the controller’s setting during the selected region (see MIDI Tool Menu for a list of the available commands). To set the controller to its default value or "at rest" position in the
selected region, press backspace or use the Selection Tool to clear Continuous Data.
Technical note: Continuous data is independent of the notes themselves. Therefore, no handles appear on the notes in the MIDI Tool split-window when
you’re editing continuous data; you must select a region by dragging through the "graph" area rather than by selecting note handles. Note, too, that
continuous data is displayed as a continuous horizontal "area graph," even if the controller is an event-oriented one, such as a patch change or usage of the
pedal.

Patch Change. Choose this item from the MIDI Tool menu to tell Finale that you want to add or remove patch changes in the music displayed in the window.

When you return to the MIDI Tool split-window, the display becomes a graph; Finale tells you which patch has been set (in each region) by the height of the highlighted area. A "value ruler"—with notches that
indicate patch numbers 1 to 128—helps you identify the patch that’s selected for each region, as shown in the figure below.

When you’re editing patch changes in the MIDI Tool split-window, the black bars indicate the current patch at each patch change.
To insert a patch change, click in the "graph area" at the location where you want it to occur, and drag to the right. It doesn’t matter whether you select a large region by dragging or only a tiny vertical sliver—all
Finale needs to know is where the beginning of the selection falls, because that’s where it will insert the patch change. Choose Set To from the MIDI Tool Menu, and enter the patch number you want to change to.
(You can also use the other commands from the MIDI Tool Menu to change the patch numbers in a selected region, although most of these other commands [Scale, Limit, and so on] have little musical relevance to
patch numbers.) To remove patch changes from a selected region, press backspace or use the Selection Tool to clear Continuous Data.
If a bank change is part of a patch setting, Finale displays a "B" in the MIDI Tool split-window within the graphic display of the patch change. No letter appears above the graph if a simple patch change was used.

Channel Pressure. Choose this item from the MIDI Tool menu to tell Finale that you want edit channel pressure data (monophonic aftertouch—the pressure you apply to a key while it’s being pressed down) in the
music displayed in the window.

When you return to the MIDI Tool split-window, the display becomes a graph; the highlighted area represents the aftertouch value over time. A "value ruler"—with notches from zero (no aftertouch) to 127 (maximum
aftertouch)—appears at the left edge.
To edit the channel pressure value for a particular region, drag through the region so that it’s highlighted (black areas become white, and vice versa). Choose the appropriate command from the MIDI Tool Menu to
add, subtract, or otherwise change the aftertouch value during the selected region (see MIDI Tool Menu for a list of the available commands). To set the aftertouch values to zero for the entire selected region, press
backspace or use the Selection Tool to clear Continuous Data.

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MIDI Tool window

Pitch Wheel. From the MIDI Tool Menu, choose Edit Continuous Data, select Pitch Wheel and click OK to tell Finale that you want to edit pitch wheel data for the music displayed in the window.

When you return to the MIDI Tool split-window, the display becomes a graph; the highlighted area represents the position of the pitch wheel over time. A "value ruler" appears at the left edge with notches from -
8191 (pitch wheel all the way down) to 8192 (pitch wheel all the way up). Bear in mind that the pitch wheel’s value is 0 when it’s at rest (neither up nor down).
To edit the pitch wheel setting for a particular region, drag through the region so that it’s highlighted (black areas become white, and vice versa). Choose the appropriate command from the MIDI Tool Menu to add to,
subtract from, or otherwise change the pitch wheel setting during the selected region (see MIDI Tool Menu for a list of the available commands). You may find the Scale command to be the most useful for creating
pitch bends, because it creates smooth gradations from one pitch wheel setting to another. Be sure to use one of the MIDI Tool Menu commands again later in the music to return the pitch wheel to its "at rest"
position, however, or your synthesizer will believe that the pitch wheel is "stuck" in its transposed position for the remainder of the piece

Tip: When Note Durations is selected in the MIDI Tool Menu, the vertical "ruler," which appears on the left side of the screen, displays pitches according to
the pitch representation setting in Program Options-View (From the Edit Menu, choose Program Options, then View). Pitches are either represented as MIDI
note numbers (60 = middle C), or as pitches where C4 (or C3 or C5) indicates middle C. Handles appear for each note in the current staff, and a horizontal
line indicates the duration (Start and Stop Time) of each note.

Tip: When Continuous Data is selected in the MIDI Tool Menu, the vertical "ruler," which appears on the left side of the screen, displays values between 1-
128. Many controllers (a type of continuous data) are either on (128) or off (1). Handles do not appear on notes, because continuous data is assigned to
measures. A program change is also a type of continuous data. If a bank change is part of the program change message, a B appears above the program
change display.
See Also:
MIDI Tool Menu
MIDI Tool

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More Quantization Settings

More Quantization Settings

How to get there


Choose Quantization Settings from the MIDI Menu. Or, click the Quant Settings button in a number of related dialog boxes. Click More Settings in the Quantization
Settings dialog box.

What it does
The More Quantization Settings dialog box provides more detailed control over how your MIDI input will be transcribed.

Retain Key Velocities • Retain Note Durations. These options tell Finale to remember the precise "feel" of your performance, and to keep this data
handy for playback once it’s been transcribed. If you don’t select these options, then when you play back the transcribed music from the score, Finale will simply
play the "sheet music"—the notated version, which will be rhythmically precise but expressionless and "square"—instead of an exact re-creation of the original
sequence.

Key Velocity is the MIDI information that describes how hard you struck each key; in other words, it’s used mostly to re-create your dynamics when you play
the piece back. Note Durations refers to Start and Stop Time Data—small rhythmic deviations from the beat that result in musical "feels" such as swing, rushing,
rolled chords, and so on. If you select both of these options, Finale’s playback of your transcription will very closely resemble your original performance (but
your document will be slightly larger when saved).
Tip: Retaining Key Velocity will allow you to automatically apply dynamics to your score using Auto-
Dynamic Placement plug-in. Retaining Note Durations will allow you to further edit your MIDI
information if you wish.

Include Voice Two. If there’s an inner voice in the music you’ll be transcribing, select this option; Finale will accurately transcribe the sequence into two
independent voices per staff, one stems-up and one stems-down. (You can edit the two voices using the Voice 1/Voice 2 mechanism.)

If there are few places where you’ll be needing an inner voice, however, don’t select this option. This will prevent Finale from creating secondary voices where
you didn’t intend them—for example, where two successive notes were accidentally overlapped in the sequence. The status of this option can have a dramatic
effect on the "cleanness" of your transcriptions. Use the Retranscribe function in the MIDI/Audio Menu to correctly place Voice 1 and Voice Two in the few
places you want them.

Allow Dotted Rests in Simple Meters • Allow Dotted Rests in Compound Meters. Usually Finale writes out all rests instead of notating dotted
rests. Check these boxes if you want Finale to notate dotted rests when copying, transcribing your MIDI file, or during a HyperScribe or Transcription Mode
performance.

Check Allow Dotted Rests in Simple Meters to apply this setting to all portions of your score in a simple meter (e.g. 2/4, 4/4, 2/2, etc). Check Allow Dotted Rests

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More Quantization Settings

in Compound Meters to apply this setting to all portions of your score in a compound meter (e.g. 6/8, 9/8, 5/8, etc). When this option is selected Finale notates
a quarter rest followed by an eighth rest as a dotted quarter rest.
When copying and pasting, if it is necessary to rebar the music (see Rebarring Music), these settings apply to the target region. For example, if Allow Dotted
Rests in Compound Meters is checked, Finale will combine quarter rest/eighth rest figures into dotted quarter rests when music is copied into a region with a
compound meter and rebar music is applied.

Soften Syncopations. This option affects the way syncopations are transcribed by the HyperScribe Tool and Transcription Mode. Finale decides how to notate
syncopation based on two factors—the time signature and whether or not this option is selected—but you must select this option before transcribing.
Remove Notes Smaller than ____ EDUs. Before converting any notes to grace notes, you may want to ensure that small glitches in the performance are
not transcribed at all. If you want to ensure that every note is transcribed exactly as it was captured, change this value to 0. This function is done before any
other quantization is applied by Finale.
Allow Grace Notes. If you select this option, any note in the file that’s shorter than the quantization value will appear as a grace note in the score.
Remove Grace Notes. When this option is selected, any note in the file that’s shorter than the quantization value will be removed.
Convert to Real Notes. Finale automatically lengthens any notes in the MIDI file whose durations were less than the quantization value you’ve specified.
Minimize Number of Rests. Select this checkbox to prevent Finale from quantizing your rests as small as your notes. Finale will fill out the notes through the
rests (unless there is a rest on beat 1), so if you have stopped slightly short of you intended half note, you will not get a sixteenth note rest. You will still be able
to enter sixteenth notes without any problems at all.
Sensitivity Level. Click the checkbox to enable this option. The number in this text box represents the finest quantization level Finale will use. Remember,
Finale may "stretch" the notes in your performance as though the keys were pressed until the beginning of the next beat—in effect, creating a coarser (larger)
quantization level. But the Sensitivity value indicates the smallest rhythmic value Finale will notate.

The Sensitivity is measured in EDUs (1024 per quarter note). To change the Sensitivity value, you can either enter a new number in the text box, or choose a
value from the drop-down list.
For many situations, the default Sensitivity value (Sixteenth Note) works well. If, however, you’re using HyperScribe to transcribe small tuplets (like quintuplets)
and you discover that Finale isn’t notating note values as fine as you’d like, or that it’s creating many grace notes, you need to choose the next smaller
Sensitivity value, and try the transcription again.

OK • Cancel. When you click OK, Finale will change your Quantization Settings and return to the score. Click Cancel to return to the score without making any
changes.

See Also:
Quantization
Quantization Settings

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Move/Copy Layers

Move/Copy Layers

How to get there

Click the Selection Tool , and select a region of measures. Choose Move/Copy Layers from the Edit Menu.

What it does
The Move/Copy Layers command provides a way to move music from one layer to another. You can even swap the music between layers—if, for example, you
mistakenly entered several stems-down notes in Layer 1, which you intended to use only for stems-up (upper) voices. You can also copy layers while leaving the
original notes intact.

Move • Copy. Choose Move to convert notes in one layer to another. Choose Copy to convert notes in one layer to another and leave the original notes in
place. When Copy in chosen, notes in the new layer are superimposed on the original notes.

Tip: To display and work with (mass copy etc.) layers individually, activate the layer you want to copy,
and then, from the Document Menu, choose Show Active Layer Only.

Move Contents of Layer [#] into: Layer 1 • Layer 2 • Layer 3 • Layer 4. Using these controls, you can specify how you want to move the selected
music among the four transparent staff layers. Select the first two checkboxes, for example, and set up the drop-down lists as shown above, to swap the contents
of Layers 1 and 2. Be careful, however. If there’s already music in the layer you choose from the drop-down lists, it will be replaced by the music you’re
transferring. (Finale will warn you if you’re about to lose music that’s already in the destination layer.)

Note: If you set up these controls so that the contents of more than one layer get moved into the same other layer, Finale will only move the highest-numbered
layer’s contents. For example, if you indicate that you want the contents of Layers 2, 3, and 4 moved into Layer 1, only Layer 4’s music will actually be moved.

OK • Cancel. Click OK to make the transfer and return to the score. Click Cancel to tell Finale to leave the layers as they were. You return to the score.

See Also:
Multiple voices
Utilities Menu

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Movie Window

Movie Window

How to get there


From the Window Menu, choose Movie Window.
What it does
Finale’s integrated Movie Window allows you to view a QuickTime or Windows Media video while working with your Finale project. This is a convenient alternative to
using SMPTE to synchronize Finale with a separate video device. In this window, you can choose to lock the movie and Finale in sync with each other, or turn off
synchronization to simply watch the movie without playing the Finale file. If you like, you can associate a movie with any Finale document.

[Play • Pause • Progress Bar • Beginning • End]. These controls are the same as those you would find in a standard media player. Click these button to
play, pause, move to the beginning and move to the end. You can also click and drag the progress bar to navigate to a specific point in the movie.
Select. Click this button to navigate and select a movie file. Finale supports QuickTime and WMV movie formats.
Sync. Check this box to synchronize Finale playback with movie playback. When Sync is checked, Finale’s Playback Controls also apply to movie playback.
Similarly, the playback controls in the Movie Window apply to Finale playback. When Syncronized, Finale and the Movie Window are linked using MIDI Time
Code information.
Size; Actual • Half • Double • Other. Use these controls to adjust the size of the Movie Window viewer area.

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Moving Split Point

Moving Split Point

How to get there


Click the HyperScribe Tool, and select Transcription Mode from the HyperScribe Menu. Click a measure. You enter the Transcription window; choose Moving from the
Split Point submenu of the Transcription Menu.

What it does
The Moving Split option tells Finale to transcribe your performance onto two staves. To decide which music to put on each staff, Finale splits the performance into
"right-hand" and "left-hand" parts according to the widest interval you spanned with one hand during your performance, based on the number you enter into this dialog
box. The advantage of this method of splitting your performance into right- and left-hand parts (as compared with the Fixed split point option) is that Finale will be able
to follow your hands as they move up and down the keyboard, provided there’s a wide enough interval between them for it to discern which hand is which.

Current Right Hand Position • Current Left Hand Position. These indicators let you know where Finale believes your right and left hands to be as it
transcribes the music you’ve recorded. The default right hand position is 65, and the default left hand position is 48; these numbers correspond to synthesizer
keys in the MIDI key numbering system (middle C is key number 60).

If you’ve transcribed any part of your performance, these indicators change to tell you where Finale believes your hands to have been at the end of the
transcribed portion. To reset these numbers to the default values (65 and 48), click Reset.

Hand Width. In this text box, enter the widest interval, in half steps, played by either hand during your performance. Instead of calculating the number of half
steps, you can click Listen to MIDI, which allows you simply to play the interval.
Listen. Click this checkbox to let Finale know you’re about to play an interval representing your hand width. With one hand (anywhere on the synthesizer), play
the widest interval played by either hand during your performance. The alert is no longer displayed, and the Hand Width text box displays a number
corresponding to the width interval.
Reset. Click this button to set the current left and right hand positions back to their default MIDI note values of 65 and 48, respectively.
OK • Cancel. Click OK to confirm, or Cancel to discard, the hand-width settings you’ve just made. You exit the dialog box.

Tip: middle C=60=C4.

See Also:
Transcription Menu
HyperScribe Tool

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Multimeasure Rest

Multimeasure Rest

How to get there

Click the Measure Tool , select a multimeasure rest in Page View, then click on the Measure Menu and choose Multimeasure Rests, then Edit.

What it does
Use the Multimeasure Rest dialog box to define how Finale will display an existing multimeasure rest. These settings are almost identical to those in Document
Options-Multimeasure Rests. You can choose between using a shape or Finale’s alternate style of notation for multimeasure rests. The alternate method combines
whole and double-whole rests to represent block rests of different lengths, commonly those of eight or less measures. To select the default measurement units, click
on the Document Menu, then Measurement Units, then select the desired units. To define the appearence of Multimeasure rests througout your document, see
Document Options-Multimeasure Rest.

Select. The shape for the multimeasure rest itself is identified by the number in the text box next to the Select button. If a number other than zero appears in the
text box, a rest has already been selected. If a zero appears in the text box, click Select to enter the Shape Selection dialog box, which contains the shapes
available in this file. Click Select if you want to select an exist-ing rest shape. If you want to create your own shape, click Create in the Shape Selection dia-log
box to enter the Shape Designer.
Adjust Start Point • Adjust End Point. Use these values to adjust the start and end points of the shape used for the multimeasure rest. Changing these
values lengthens or shortens the shape. You usually won’t need to change these settings, but you may find them useful if you have a cautionary clef sign that
appears in the multimeasure rest grouping. Enter positive values to shift the shape’s start or end point to the right; enter negative values to shift the start or end
point to the left.
Number Adjustment: H: • V:. Set the horizontal and vertical position of the rest number by entering values (in measurement units) in the Number Adjustment
fields. Enter a positive value in H: to move the number to the right. Enter a positive value in V: to raise the rest number higher on the staff.
Select. The shape for the multimeasure rest itself is identified by the number in the text box next to the Select button. If a number other than zero appears in the
text box, a rest has already been selected. If a zero appears in the text box, click Select to enter the Shape Selection dialog box, which contains the shapes
available in this file. Click Select if you want to select an exist-ing rest shape. If you want to create your own shape, click Create in the Shape Selection dialog
box to enter the Shape Designer.
Adjust Start Point • Adjust End Point. Use these values to adjust the start and end points of the shape used for the multimeasure rest. Changing these
values lengthens or shortens the shape. You usually won’t need to change these settings, but you may find them useful if you have a cautionary clef sign that
appears in the multimeasure rest grouping. Enter positive val-ues to shift the shape’s start or end point to the right; enter negative values to shift the start or end
point to the left.
Number Adjustment: H: • V:. Set the horizontal and vertical position of the rest number by entering values (in measurement units) in the Number Adjustment
fields. Enter a positive value in H: to move the number to the right. Enter a positive value in V: to raise the rest number higher on the staff.

See Also:
Multimeasure rests
Measure Menu

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Multiple Splits

Multiple Splits

How to get there


Choose Open from the File Menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import
MIDI File Options dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping for Staves dialog box, click the top unassigned row of track
information. Click Multiple.

What it does
This dialog box works much the same as the Explode Music dialog box in the Finale program itself, but you use it when you’re transcribing a standard MIDI sequencer
file. In essence, it lets you strip a chordal passage (from the combined sequencer tracks you’ve specified) into individual single-line melodies on separate staves. This
is a good technique for separating single musical lines—for string parts, for example—into individual staves.
Before it will "explode" the specified tracks, however, Finale needs you to tell it, in this dialog box, how many resultant staves you want and how Finale should handle
cases where there are more notes in a chord than there are staves to put them on.

Split into __ Staves. In this text box, enter the number of staves you want to result from this separation process. Finale takes the top note on each beat and
places it in the top new staff; the second note on the second staff, and so on.
Overload Order. The Overload Order is the order in which "extra" notes are assigned to the resultant staves. For example, if you’re splitting the music from a
chordal sequencer track into three staves, and one of the chords contains five notes, where should Finale put the extra two notes? You indicate the order in
which you want extra notes distributed among the staves by entering a series of staff numbers in this text box.

If, in this example, you entered 12345678 in this text box, Finale would distribute "extra" notes from the original five-note chord sequentially among the resultant
staves. That is, it would notate the top two notes on the first exploded staff, the next two on the second staff, and the fifth (bottom) note on the third exploded
staff. If the Overload Order was 11111111, however, Finale would place all the "extra" notes (the top three of the original five-note chord) on the top exploded
staff; the remaining staves would receive one note apiece.

OK • Cancel. Click OK to confirm your split setup, or Cancel to discard it, and return to the Track/Channel Mapping dialog box, where None will appear in the
Split column for the row you clicked.

See Also:
Track/Channel Mapping

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Native Instruments VST Setup

Native Instruments VST Setup

How to get there


From the MIDI/Audio Menu, choose VST Setup.

What it does
With this dialog box, choose a desired Native Instruments VST Instrument for use with Finale. Finale includes the Kontakt Player 2 which is designed to use Finale as
its host sequencer and includes an accompanying library of Garritan Personal Orchestra sounds. See Kontakt Player 2 and Garritan Personal Orchestra Finale Edition.
Kontakt Player 2 can also load other sample libraries compatible with the Kontakt Player 2.
Note that the original Kontakt for Finale with GPO is also included with Finale 2008 for compatibility with old files configured to use the original Kontakt Player
distributed with Finale 2006. The original Kontakt for Finale can also load the same GPO sounds. See Kontakt Player with GPO for details.

Play Finale file through Native Instruments . Check this box to use a Native Instruments VST sound library during playback.
Finale Channel • VSTInstrument • Edit. Each one of these drop-down menus displays all Native Instruments sound libraries installed on your computer.
Kontakt Player 2 is included with Finale. Choose Kontakt Player 2 to open the Kontakt Player 2 with Garritan Personal Orchestra where you can assign
instruments to channels and make other settings. See Kontakt Player 2. Finale GPO is the original Kontakt Player distributed with Finale 2006 which can still be
used in Finale 2008. It is included for compatibility with files set to playback using this old player. See Kontakt Player with GPO.
Ambience Reverb; Edit. Check Ambience Reverb to apply a reverb effect to playback of Native Instruments sounds. To adjust reverb settings, click the Edit
button.
Close. Click Close to apply your settings.

See Also:
MIDI/Audio Menu

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New Staves

New Staves

How to get there

Click the Staff Tool . Choose New Staves from the Staff Menu to add staves to the bottom of your score.
Or, click the Staff Tool, then click a staff handle. Choose Add Staves from the Staff Menu to insert staves before the selected staff or staves in your score.

What it does
The New Staves dialog box contains settings for the number of new blank staves to be added below the bottom-most staff, or inserted above a selected staff, as well
as how far apart they should be placed.

Number of Staves. Enter the number of new blank staves you want added below the existing staves or inserted above the selected staff in the score.
Topline to Topline Distance. This is the distance between the new staves (in currently selected measurement units), measured from the top line of one staff
to the top line of the next. Enter a value to place the new staves closer or farther apart than they already are in the score. You’ll usually want to enter a negative
number, because you’re measuring down from the top line of the previous staff.

Note: Finale always measures Topline to Topline Distance from the top line of a standard, 5-line staff.
To locate Finale’s "Topline" position on staves with fewer than five lines (such as percussion staves),
look for the staff handle; it always indicates the top line position.

OK • Cancel. Click Cancel to return to the score without adding staves. Click OK to add staves and return to the score.

Hint: Set the distance you want between the new staves. Use negative numbers to add staves
beneath the existing staves.

See Also:
Staff Menu
Staff Tool

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Nonstandard Key Signature

Nonstandard Key Signature

How to get there

Click the Key Signature Tool , and double-click the measure at which you want the key to change. The Key Signature dialog box appears. From the drop-down
list, choose Nonstandard.

What it does
Most music is written with one of the "standard" key signatures. This traditional system is based on a scale of twelve half steps and a harmonic scheme in which keys
are arranged around the circle of fifths, and the addition of each new accidental marks an increment in that circle.
In certain modern music schemes, however, these traditional key signature practices don’t apply. A piece may be based on the quarter-tone scale, for example, in
which there are three chromatic steps between C and D instead of one; in these contexts, a "chromatic step" doesn’t necessarily mean a half step.
In this dialog box, you can create your own key signatures in any format, based on scales with any number of chromatic steps between one note and the next. Using
the five dialog boxes accessed by this one, you can create up to 128 linear key formats (systems of related key signatures) or nonlinear key signatures (key signatures
with any configuration of sharps or flats, and which are unrelated to any other key signature) per document. These key formats or key signatures are then available at
any time within the document (or, if you save them as a Key Signatures library, in other documents as well).

[Scroll bar]. Use this scroll bar to scroll from one key to another in a linear key format. The standard key system is a linear key format—thus you can use the
scroll bars to scroll from C to F to B flat, and so on around the circle of fifths.

Note: This scroll bar is inactive if you’ve specified a nonlinear key signature. By definition, a non-linear
key signature is not part of a key system. Instead, it’s a key signature unto itself, so there’s no
purpose served by the scroll bar.

Tone Center: (#) • Altered: (#). These indicators identify the tone center—the root of the key. The Tone Center and Altered indicators are always related to
C, which is Tone Center zero. The Tone Center number tells you how many diatonic steps away from C the currently displayed key is; the Altered number tells
you how many additional chromatic steps away it is.

If the key signature for G major is displayed, then, the Tone Center is 4, because G is the fourth diatonic step away from C. (The Altered amount—the amount
of chromatic alteration—is zero.) If the key signature is E flat, however, the Tone Center is 2, but the Altered amount is –1. (E flat is two diatonic steps away
from C, but it’s been lowered by one chromatic step.)
These indicators, as well as the Number of Accidentals (see below) and the key signature display, change as you scroll up or down through the key signatures.

Number of Accidentals: (#). This indicator tells you how many accidentals appear in the currently displayed key signature. The number can range from –127
(signifying 127 flats) to 127 (signifying 127 sharps).
Linear Key Format. A linear key format is one whose scale is composed of a repeating sequence of diatonic and chromatic steps. The normal major scale,
for example, is a linear key format—in Finale, it’s called Linear Key Format 0. (Linear Key Format 1, which you can choose by clicking the Next button, is the
standard natural minor scale format; if a key signature with no sharps or flats has been set to this key format, Finale considers A, not C, to be the first note of the
scale. Because these two formats have been predefined, you’ll find that only the ClefOrd and Attribute icons are operational. Once you’ve selected Key Format 2
or higher [which haven’t been predefined], all five icons are active.)

A linear key format, however, need not proceed around the circle of fifths. You could create a system that proceeds around a circle of sixths, for example. As
long as (1) the total number of diatonic steps is an odd number, (2) the scale in each "key" is formed by the same sequence of whole and half steps, and (3)
both halves of the scale are formed by the same sequence of whole and half steps (like the tetrachords in a standard scale), it’s considered a linear key format,
and sharps and flats may therefore be progressively added to the key signatures as they are in the standard key system.

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Nonstandard Key Signature

You specify how many notes are to comprise an octave by clicking the KeyMap icon; the order in which accidentals appear in each sequential key signature by
clicking the AOrdAmt icon; the relationship of the new "key" (tone center) to the appearance of new accidentals by clicking the ToneCnt icon; the octave in
which each of the accidentals appears (on the staff) by clicking the ClefOrd icon; and the font and character to be used in place of the normal sharps and flats
(if you want) by clicking the Attributes icon.
You can define 64 such linear key formats, and scroll through them using the Prev and Next buttons. The scroll bar, on the other hand, lets you move through
the different keys within a single key format system.

Nonlinear Key Signature. A nonlinear key signature is one for which there’s no "circle of fifths"; in fact, there’s no sequence of keys at all. Whereas a linear
key format is a system of related keys and key signatures, a nonlinear key signature is a single key signature unto itself, unrelated in any way to any other key
signature. A nonlinear key signature can contain one sharp and one flat, for example, on any notes of the scale, and there need not be any logic to their
positions.

Because a nonlinear key signature has no related progressions to other keys, you’ll discover that the scroll bar is inactive if you’ve selected the Nonlinear Key
Signature button.

KeyMap. Click this icon to display the Key Step Map dialog box, in which you specify how many steps you want in an octave, as well as which steps are
"diatonic" and which "chromatic." See Key Step Map dialog box.
AOrdAmt. Click this icon to display the Accidental Order and Amount dialog box, in which you specify which accidentals you want to appear with each
progression to a new key (if you’re in a linear key format), and which lines or spaces they should appear on. See Accidental Order and Amount dialog box.
ToneCnt. Click this icon to display the Tone Center(s) dialog box, where you can specify the tone center, or "root," of each key, as specified by each
appearance of a new accidental in the key signature. See Tone Center(s) dialog box.
ClefOrd. Click this icon to display the Accidental Octave Placement dialog box, where you can specify the octave in which you want each accidental to appear,
based on each individual clef. See Accidental Octave Placement dialog box.
Attribute. Click this icon to display the Special Key Signature Attributes dialog box, in which you can specify a number of miscellaneous attributes for the key
format you’re creating. For example, you can specify nonstandard symbols to be used instead of the normal sharps and flats in the key signature. See Special
Key Signature Attributes dialog box.
Next • Previous. Click these buttons to scroll from one linear key format (or nonlinear key signature) to another. Remember that linear key formats 0 and 1
have been predefined as the standard major and (natural) minor key systems, respectively.
OK • Cancel. Click OK to tell Finale that you want to proceed with your key signature selection. You proceed to the next dialog box. Click Cancel to return to
the score without changing the key signature. Any key signatures you’ve already created or modified in the Nonstandard Key Signature dialog box, however, will
be preserved.

Tip: Treble Clef=0; Bass Clef=3.

See Also:
Key Signature
Key Signature Tool

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Note Expression Assignment

Note Expression Assignment

How to get there

Click the Expression Tool , and Shift-double-click on a note expression's handle. Or right-click a note expression's handle and choose Edit Note Expression
Assignment.

What it does
After you’ve selected a note expression to place in the score, Finale displays this dialog box, offering you several additional options pertaining to the marking’s
placement and playback definition.

Distance from Top Note • Bottom Note • H: • V:. These controls let you specify the precise vertical and horizontal position of the expression mark. If
you’re attaching this expression to a chord, first decide whether you want it "fastened" to the top or bottom of the chord, by choosing Top Note or Bottom Note
from the drop-down list.

Next, specify the marking’s distance from that note by entering values in the H: (horizontal) and V: (vertical) number boxes. (A higher number moves the marking
to the right or upward.) Of course, you can also simply drag the marking’s handle when you return to the score.

On Playback, Affect: Current Layer • Layer 1 • Layer 2 • Layer 3 • Layer 4 • Chord • Dynamic Layer. The essential function of these drop-
down list choices is to let you specify which of these musical elements you want affected by a marking’s playback definition. For example, it’s possible to specify
that a dynamic marking affect only the chord symbol above the music to which it’s attached, or to attach a patch change to only one of Finale’s four layers.

If you leave Current Layer selected, the expression you’re assigning will affect the layer of the note it’s attached to.

Begin Playback at Assigned Note • Position in Measure. If the expression you’re placing has been defined for playback, you can control where its
playback effect will "kick in." When Assigned Note is selected, you’ll hear its effect beginning with the note to which you attached it. When Position in Measure is
selected, you won’t hear the marking’s effect until Finale reaches the marking itself while playing back, no matter where it falls (even if it’s in a different measure).
OK • Cancel. Click OK to confirm your settings and return to the score, where you’ll see the expression marking. Click Cancel to return to the score without
adding or editing an expression marking.

See Also:
Expressions
Expression Selection
Expression Tool

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Note Shapes dialog box

Note Shapes

How to get there

Click the Staff Tool , and double-click a staff whose note shapes you want to modify. Select Note Shapes from the Notation Style drop-down list, and then click
Select.

What it does
The Special Tools Tool lets you change normal noteheads to X noteheads, diamond noteheads, and so on, on a case-by-case basis. There may be times, however,
when you need every occurrence of a certain pitch to have a certain shape. "Shape-note" gospel music uses such a system, for example, as do many drum parts.
This dialog box not only lets you specify a different note shape for every note of the scale, but even a different note shape for every rhythmic value for every note of
the scale. See also Staff Styles. You can also use this feature for creating rhythm part slashes by using the slash mark instead of a notehead.

Replace: Double Whole • Half • Quarter. Using this drop-down list, select the traditional notehead shape you want to change. The default notehead for
Double Whole is , for Whole is , for Half is , and for Quarter (and smaller values) is . Bear in mind that you can specify a different notehead shape
for each of these noteheads for each step of the scale.
Noteheads on Scale Degree ___ • [Arrow controls]. Either type, or click the arrow controls to select, the scale degree number for which you want to
change the selected notehead shapes. For example, to change every occurrence of G to an X-notehead in the key of C, enter 5 in this text box, since G is the
fifth note of the scale.
With This Symbol: ___ • Select. The character displayed in this text box is the alphabetic equivalent of the particular notehead shape you’re specifying; it
appears in the system font, regardless of what it looks like in the music font. For example, even if you’ve selected an X notehead in the Maestro music font, you’ll
see an upside-down question mark in this text box.

Instead of having to look up the alphabetic equivalent for the music symbol you want, simply click Select. Finale displays a palette containing every symbol in
the music font; double-click the shape you want to use as the replacement notehead. When you return to the dialog box, Finale enters the symbol’s alphabetic
system font equivalent in the text box automatically.

Use Note Shapes. This checkbox, which only appears if you’ve chosen Note Shapes from Document Options - Notes and Rests, is the master switch for the
settings you’ve made in this dialog box. When it’s selected, the document displays your new notehead shapes; deselect this checkbox to restore normal
noteheads (until you re-select it).
OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, any changes in the note shape scheme you’ve established and dismiss the dialog box.

See Also:
Staff Styles
Staff Attributes

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Notehead Settings

Notehead Settings

How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click a measure containing notes. Click the Note Shape Tool; handles
appear on each notehead. Right-click the handle on the notehead and choose Edit.

What it does
The Notehead Settings dialog box allows you to specify the horizontal and vertical positioning of a notehead, relative to the default position; change the size of the
notehead; and choose an alternate character or font for the notehead, and choose Edit.

Positioning: Horizontal • Vertical • Allow Vertical Positioning. Enter the precise amount to offset the notehead. Positive numbers will move the
notehead to the right; negative numbers will move the notehead to the left. This dialog box will use the same measurement units found in the Edit Menu,
Measurement Units submenu. Check the Allow Vertical Positioning box to access the Vertical text box.
Size: Resize To __ %. This text box specifies how much you want to resize the notehead, expressed as a percentage of the original full size.
Font: Use Default Accidental Font • Set Font • [Font]. Check this box to use the default font in the Select Default Fonts dialog box for noteheads. To
select a different font, click Set Font. Underneath the Set Font button, Finale will display the currently selected font for noteheads.
Alternate Character: Select. Click Select to display the Symbol Selection dialog box, where you can select a font character to replace the selected
notehead.
OK • Cancel. Click OK to return to the score, where you’ll see the effects of your notehead changes. The handle you clicked remains selected to remind you
that you’ve modified it. Click Cancel to return to the score without changing any noteheads.

See Also:
Special Tools Tool

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Open File

Open File

How to get there


This dialog box appears when you use Finale's File Menu to open or save files. It appears when you choose Place Graphics from the Graphics Menu (or when you
click in the Shape Designer's drawing area when the Graphics Tool is selected). It appears when you import Encore, Rhapsody, MIDISCAN or SmartScore files. Use
this dialog box to open an existing Finale or MIDI file that you want to work on in Finale. Or, use it to open Finale libraries which contain music markings that you can
use in your score. Or, use it to place graphics that you want to place directly onto the score, such as a company logo, or place graphics into the Shape Designer to
use as an articulation or an expression. Or, use this dialog to import files from other programs, such as Encore, Rhapsody, Score, MIDISCAN or SmartScore.
You can also use this dialog box to save the current score that you're working in Finale. Or, use it to save Finale libraries which contain the current set of music
markings present in your score. This dialog box works the same as any standard Windows Open or Save dialog box. The only difference is the File Type.

What it does
In this dialog box, you can specify what kind of file you want to save or open.

List Files of Type


Choose the file type you want to open or save from the drop-down list, or choose All Files to display all the files in the current directory regardless of file type. Choose
Finale Notation File (.MUS) to display "regular" Finale files. Choose MIDI File to display Standard MIDI Files created in Finale or a sequencer program. Choose Coda
Template File (.FTM) to display Finale files saved as templates. These files open as "Untitled," but contain all the custom score settings contained in the template file.
Choose Lesson File (.LSN) to open a lesson created in the Exercise Wizard.
In the Load Library dialog box, choose Library File (.LIB) to display the available Finale libraries (sets of musical markings such as Articulations, Text Expressions and
Shape Expressions).
In the Place Graphic dialog box, choose TIFF File (.TIF), Windows Metafile (.WMF), or Encapsulated PostScript Listing (.EPS) to display the files of the selected type
in the scrolling list. Choose All Files to display files of all types in the scrolling list.

In the Import dialog box, choose Encore, Rhapsody, MIDISCAN, SmartScore, or Score to display the files of the selected type in the scrolling list.

See Also:
File Menu

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Ossia Measure Designer

Ossia Measure Designer

How to get there

From the Window Menu, choose Advanced Tools. Click the Ossia Tool . If you’re in Page View, double-click the location on the page to which you want to
attach the "floating measure." If you’re in Scroll View, click the measure to which you want it attached (or click again if there’s already a floating measure attached to
it). Or, to edit an existing floating measure, double-click its handle.

What it does
An "ossia" measure is a floating measure, unattached to the score itself, that you can place anywhere in the score (for use as an explication of a trill, for example). The
contents of such a measure are created and edited in an actual measure, called the "source measure," which you can later hide. This dialog box lets you specify the
source measure on which you’re basing the floating one, as well as several visual aspects of the floating measure.
There are two kinds of ossia measures. A measure-assigned ossia measure, which you create in Scroll View or Page View, remains attached to its measure in the
score, even if that measure’s position in the score changes. A page-assigned ossia measure, which you create in Page View, remains fixed to a given place on the
page, regardless of any repositioning of the music around it.

Attach to: Measure • Page. Click on Measure to have the ossia move with the measure listed. Click on Page to have the ossia only appear on the page
listed. If you entered the dialog box from Scroll View, you will only have Attach to Measure as a choice. Once created, you cannot edit the attachment.
Source Staff. In this text box, enter the number of the staff in which the source measure is found. (If you’re not sure of the staff’s number, click the Staff Tool,
then select the staff’s handle. Select Staff Usage from the Staff Menu; its number appears at the top of the resultant dialog box.) In Scroll View, Finale
automatically enters the nearest staff for the Source Staff.
Source Measure. In this text box, enter the number of the source measure. In Scroll View, Finale automatically enters the nearest measure for the Source
Measure.
Bracket Group • Select. If you wish, you can provide the Ossia measure with its own brace or bracket. (If you want to bracket the floating measure together
with staves in the score, remember that you can always drag one end of a normal staff bracket until it’s long enough to enclose the floating measure.)

To specify a bracket for a floating measure, click Select; the Bracket dialog box appears, in which you can select a bracket and specify its positioning. See
Bracket dialog box.

Barline. Click the barline icon that you want to be the floating measure’s right barline. For a more complete discussion of these options, see Measure Attributes
dialog box.
Clef • Select • Key Signature • Time Signature. Click Select to set the floating measure’s clef (double-click your selection from the Clef palette that
appears). Click the Key Signature or Time Signature button to set the floating measure’s key or time signature. (Otherwise, the floating measure uses the same
default key and time settings of the source measure.)

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Ossia Measure Designer

Items to Display: Endings and Text Repeats • Measure Attached Expressions • Left Line • Staff • Key Signature • Time Signature •
Clefs. Deselect the appropriate checkbox for any of these musical elements you don’t want drawn in the floating measure (assuming they were present in the
source measure). Staff refers to the staff lines; Endings and Text Repeats refers to any repeat barline or text repeats you’ve created using the Repeat Tool. Left
Line is the left barline.
Scale to __ %. The number in this text box determines how large or small the floating measure will be (as a percentage of normal size). (Many music
publishers print such annotative music at a smaller size than the rest of the music.)
Top Margin. The number in this text box sets the distance between the top line of the floating measure and the floating measure’s handle. A positive number
moves the floating measure upward in relation to its handle; a negative number moves it downward (but it’s easier to position the measure by dragging its handle
once you’ve returned to the score).
Left Margin • Right Offset. When you create a measure-assigned floating measure (in Scroll View), its initial width setting is determined by the width of the
measure you assigned it to (by clicking). By changing the number in the Left Margin and Right Offset text boxes, however, you can change the floating measure’s
width. (These parameters also adjust the width of a page-assigned floating measure, but are less necessary, because you specify the width of a page-assigned
floating measure in another dialog box.)

A positive Left Margin value moves the left barline to the right (making the measure narrower), and a positive Right Offset value moves the right barline to the
right (making the measure wider).

Center Pull. The number in this text box moves the music within the floating measure. A positive number moves the music farther to the right (away from the
clef and key signature); a negative number moves it to the left (closer to the clef and key signature).
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and proceed to the next dialog box—or return to the score. Click Cancel to tell
Finale to ignore any changes you made in this dialog box. You return to the score, and no floating measure appears (unless you were editing an existing floating
measure).

See Also:
Ossia
Ossia Tool

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Page Assignment for Ossia Measure

Page Assignment for Ossia Measure

How to get there

From the Window Menu, choose Advanced Tools. Click the Ossia Tool . In Page View double-click the location on the page to which you want to attach the
"floating measure." The Ossia Designer dialog box appears; click OK.
Or, if an Ossia is already in the score, shift-double-click its handle (Page View only).

What it does
There are two distinctly different kinds of "ossia" measures. One kind of floating measure, called measure-assigned Ossia has a position that remains fixed relative to
the measure to which it is attached. The other, called page-assigned Ossia, can be created only in Page View, and is attached permanently to a particular spot on the
page, where it will remain even if the "real" music around it changes position. In this dialog box, you specify a page-assigned floating measure’s precise positioning in
relation to the page to which it’s attached.

Distance from Top of Page: H: • V:. The numbers in these text boxes determine the precise position of the floating measure in relation to the margins of the
page to which it’s attached. A positive H: (horizontal) number moves the measure to the right; a positive V: (vertical) number moves the measure upward. (Keep in
mind, however, that you can also move the floating measure into position in the score by dragging its handle.) If H: and V: were both zero, the floating measure
would be squarely superimposed on the intersection of the top and left page margins.
Measure Width. The number in this text box determines the horizontal width of the floating measure. (The Left and Right Offset values are measured in relation
to this master width measurement.)
OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box. You return to the score.

See Also:
Ossia Measure Designer
Ossia Tool

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Page Format for Parts

Page Format for Parts

How to get there


From the Page Format submenu of the Document Menu, choose Parts. Or, choose Extract Parts from the File Menu. Click Page Format to access the Page Format for
Parts dialog box.

What it does
The text boxes in the Page Format for Parts dialog box let you globally define various page layout aspects for your document: parameters for margins, page size, and
music size. Settings in the Page Format for Parts dialog box let you define page formats separately for new left and right pages in your score. You can also position
the first page’s top margin and the first staff system. The Page Format for Parts dialog box affects the page layout settings for the parts you create, instead of the full
score.

Page Size: Height • Width • Portrait • Landscape. The numbers in the height and width text boxes specify the default size for new pages yet to be
created. The default page size is 8.5 by 11 inches. The Portrait and Landscape radio buttons lets you determine your score’s orientation. You can also choose
from the page sizes in the drop-down menu, which displays your choices from your pagesizes.txt file.
System Scaling: Staff Height • And Scale System • Resulting System Scaling. Set the staff height, then apply a percentage to the value. The
static text is the cumulative effect for all staves in the score.

Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm.

Scale Page to:. You can change the number in this text box to specify the percentage of enlargement or reduction you want applied to the music on all pages,
expressed as a percentage of normal size.
Staff System Margins: Top • Left • Bottom • Right • Distance Between Systems. The System Margins represent the distance from the edge of
each system to the Page margins (Right and Left), or the distance between one system and the one above it (Top), or the extra space between the bottom of one
system and the top of the next (Bottom). The distance between the bottom of one system and top of the following system is the distance between systems.
First Staff System Margins: Top • Left • Distance from Top. Use these controls to make room for the title on the first page of your score. Enter a value
in the Top text box to tell Finale how far down the page to place the first system, measured down from the top page margin. The Left value specifies how far you
want Finale to indent the first system on the first page. Enter a value for the distance from the page margin.
Left Page Margins: Top • Bottom • Left • Right. The settings in this group box apply to newly created left pages when you’ve selected Facing Pages. All
even-numbered pages are considered left pages (as Finale numbers them in Page View). When Facing Pages is not selected, these settings apply to all newly
created pages.
Facing Pages. When this checkbox is selected, Finale automatically uses the settings in both the Left and Right Page Margins group boxes for new left and
right pages in your score. Select this option if you want different formats or margins for your left and right pages. To Finale, all even pages are left-facing pages,
and all odd pages are right-facing pages (as Finale numbers them at the bottom of the window in Page View). If Facing Pages is not selected, Finale uses the
Left Page Margins settings for every page.
Right Page Margins: Top • Bottom • Left • Right. These settings apply to newly created right pages when Facing Pages is selected. All odd-numbered
pages are considered right pages (as Finale numbers them in Page View). When Facing Pages is not selected, Finale does not use these settings.

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Page Format for Parts

First Page Top Margin. Check this box to use a different value for the first page than the default for other pages. This value sets the position of the top page
margin on the first page of your music. Enter a value to specify where, measured from the top of the page, Finale should place the music.
Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Select the measurement unit for the values in this dialog box only.
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score. Click Cancel to tell Finale to ignore any changes you
made in this dialog box. You return to the score.

See Also:
Extract Parts
Document Menu

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Page Format for Score

Page Format for Score

How to get there


From the Page Format submenu of the Document Menu, choose Parts.

What it does
The text boxes in the Page Format for Score dialog box let you globally define various page layout aspects for your document: parameters for margins, page size, and
music size. Settings in the Page Format for Score dialog box let you define page formats separately for new left and right pages in your score. You can also position
the first page’s top margin and the first staff system.
Once you’ve changed any of the page layout variables, Finale will only apply the changed format to any new pages it creates—not the pages already created. You can
use this trait to your advantage, since it allows you to use several different page layout schemes within a single document, if you wish.
To update staff margins and page margins of pages that are already in the score, you’ll use the Page Layout Menu’s Redefine Pages submenu, which allows you to
update all existing pages in your piece, just the left pages, or just the right pages. You can also easily insert and delete blank pages in your score.

Page Size: Height • Width • Portrait • Landscape. The numbers in the height and width text boxes specify the default size for new pages yet to be
created. The default page size is 8.5 by 11 inches. The Portrait and Landscape radio buttons lets you determine your score’s orientation. You can also choose
from the page sizes in the drop-down menu, which displays your choices from your pagesizes.txt file.
System Scaling: Staff Height • And Scale System • Resulting System Scaling. Set the staff height, then apply a percentage to the value. The
static text is the cumulative effect for all staves in the score.

Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm.

Scale Page to:. You can change the number in this text box to specify the percentage of enlargement or reduction you want applied to the music on all pages,
expressed as a percentage of normal size.
Staff System Margins: Top • Left • Bottom • Right • Distance Between Systems. The System Margins represent the distance from the edge of
each system to the Page margins (Right and Left), or the distance between one system and the one above it (Top), or the extra space between the bottom of one
system and the top of the next (Bottom). The distance between the bottom of one system and top of the following system is the distance between systems.
First Staff System Margins: Top • Left • Distance from Top. Use these controls to make room for the title on the first page of your score. Enter a value
in the Top text box to tell Finale how far down the page to place the first system, measured down from the top page margin. The Left value specifies how far you
want Finale to indent the first system on the first page. Enter a value for the distance from the page margin.
Left Page Margins: Top • Bottom • Left • Right. The settings in this group box apply to newly created left pages when you’ve selected Facing Pages. All
even-numbered pages are considered left pages (as Finale numbers them in Page View). When Facing Pages is not selected, these settings apply to all newly
created pages.
Facing Pages. When this checkbox is selected, Finale automatically uses the settings in both the Left and Right Page Margins group boxes for new left and
right pages in your score. Select this option if you want different formats or margins for your left and right pages. To Finale, all even pages are left-facing pages,
and all odd pages are right-facing pages (as Finale numbers them at the bottom of the window in Page View). If Facing Pages is not selected, Finale uses the

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Page Format for Score

Left Page Margins settings for every page.


Right Page Margins: Top • Bottom • Left • Right. These settings apply to newly created right pages when Facing Pages is selected. All odd-numbered
pages are considered right pages (as Finale numbers them in Page View). When Facing Pages is not selected, Finale does not use these settings.
First Page Top Margin. Check this box to use a different value for the first page than the default for other pages. This value sets the position of the top page
margin on the first page of your music. Enter a value to specify where, measured from the top of the page, Finale should place the music.
Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Select the measurement unit for the values in this dialog box only.
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and return to the score. Click Cancel to tell Finale to ignore any changes you
made in this dialog box. You return to the score.

See Also:
Document Menu
Page Layout Tool

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Page Offset

Page Offset

How to get there

Click the Text Tool . Select a page number insert in a text block then select Edit Page Offset from the Text Menu.

What it does
The Page Offset dialog box allows you to enter a number to add to Finale’s current page number.
Select a page number insert in a text block, then choose this command. The Page Offset dialog box appears, where you can enter a number to add to Finale’s current
page number.

Add to Current Page Number. If you start a movement in a new file, you might want to start numbering the first page of the new file at page 5; in this case
enter 4 in the text box (page 1 of the current file, plus 4 pages offset). To number pages using the current page number (Finale’s page number), do not change
the Page Offset number (it should be zero).
OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score.

See Also:
Text Menu
Text Tool

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Page Setup

Page Setup

How to get there


Choose Page Setup from the File Menu.

What it does
In this dialog box, you can specify which paper size you want to print on, but note that the page size of your score itself is completely independent of the page size
you specify here. (Use the Page Layout Tool to set the actual printed image size.) To ensure that no music will be chopped off when you print, the size of the page as
set by the Page Layout Tool should be equal to or smaller than that specified in the Page Setup dialog box. Finally, you can specify your choice of orientation (Portrait
or Landscape) in this dialog box.

See Also:
Printing
File Menu

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Page Size

Page Size

How to get there

Click the Page Layout Tool . From the Page Layout Menu, choose Page Size.

What it does
Use this dialog box to change the size or orientation of the specified pages.

[Page sizes] • Width: • Height: • Portrait • Landscape. Select the desired page size from the drop-down list or type in the desired Width and Height
(custom will be displayed in the drop-down list). Select Portrait or Landscape as well.
Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the
score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you
can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply
changes to the full project - all parts and the score.
Change: Page __ only • All Pages • Left Pages • Right Pages • Page Range: From • To. Use these options to select the pages you would like
affected by the page size settings you have made.
OK • Cancel. Click OK to execute the selected changes. Click Cancel to return to the Page Layout window without any changes.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Part Creation Preferences

Part Creation Preferences

How to get there


From the Documents Menu, choose Manage Parts. Click Part Creation Preferences.
What it does
Use this dialog box to specify properties of newly generated linked parts including multimeasure rests, music spacing, and measure layout. These settings only apply
to newly created parts or staves added or removed from an existing part.

Create Mulitmeasure Rests; Multimeasure Rests. Check this box to specify you want to automatically replace consecutive empty measures (containing
only default whole rests) with multimeasure rests while generating parts. Note: If this box is checked while creating a part from an empty instrument staff, that
instrument’s part will display as a single multimeasure rest. Click Multimeasure Rests to open Document Options-Multimeasure Rests to edit multimeasure rest
options.
Apply Beat Spacing • Apply Note Spacing • Apply Time Signature Spacing • Copy Spacing From Score. Choose one of these options to
specify the type of music spacing to use in newly generated parts. For a description of Beat, Note, and Time Signature spacing. Choose Copy Spacing From
Score to use the same measure widths from the score in new parts. Click Music Spacing Options to open Document Options-Music Spacing for more music
spacing options.
Fit ___ Measures per System • Treat Multimeasure Rests as One Measure. The Measures per System option lets you specify how many measures
per line you want for new parts. You may optionally treat multimeasure rests as one measure (when checked) or count each measure inside the multi-measure
rest individually (when unchecked).
Space Systems Evenly. Check this box to instruct Finale to place systems evenly spaced on the page vertically, to make maximum use of the page. See
Space Systems Evenly dialog box.
Page Format for Parts. Choose this option to open the Page Format for Parts dialog box where you can establish the default values for the page layout of
new parts. See Page Format for Score and Page Format for Parts dialog boxes.
OK • Cancel. Click OK to confirm your part settings and return to the active document. Click cancel to discard your changes and dismiss the dialog box.

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Partial Measure Selection

Partial Measure Selection

This alert appears when you select only part of a measure, but then choose a command that works only on full measures.

To view this dialog box, click the Selection Tool. Select a region containing partial measures. Choose one of the following Utilities Menu commands, which can only be
applied to increments of a full measure: Check Ties, Convert Mirrors, Explode Music, Implode Music; Music Spacing submenu: Apply Beat Spacing, Apply Note
Spacing, Apply Time Signature Spacing; Fit Measures; Move/Copy Layers.

See Also:
Edit Menu

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Percent Alteration Continuous Data

Percent Alteration Continuous Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the
highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Continuous Data from the MIDI Tool Menu. If you’re in
the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose
MIDI data you want to edit. Choose Percent Alter from the MIDI Tool Menu.

What it does
This dialog box’s function is to change the continuous data value of every note in the selected region by a percentage of its current value. Because it changes the data
of every selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values.

___ percent of current value. In this text box, enter the percentage by which you want the MIDI controller settings changed for the selected notes. This value
can be any number above zero—you can enter 300%, for example, to make a particular value three times its current value. (The absolute value of MIDI
controllers can’t exceed 127, however.)

When you select Continuous Data from the MIDI Tool Menu, a dialog box appears in which you can specify the MIDI controller or wheel data you want to edit
—pedaling, patch changes, pitch wheel, and so on. In this case, the number in the Percent Alteration text box specifies a percentage by which you want that
controller’s values multiplied for all the selected music. The Percent Alter command isn’t relevant if you’ve specified a non-continuous controller such as the
sustain pedal or a patch change; it may be useful, however, if you want to increase the degree of pitch bend or monophonic aftertouch by a uniform amount for
every note in the selected region.

OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Percent Alteration Key Velocities

Percent Alteration Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the
highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Key Velocities from the MIDI Tool Menu. If you’re in the
MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI
data you want to edit. Choose Percent Alter from the MIDI Tool Menu.

What it does
This dialog box’s function is to change the key velocity of every note in the selected region by a percentage of its current value. Because it changes the data of every
selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values.
For example, you can specify that each note in a selected region should be played back with half its volume by entering 50 (%) in the text box.

___ percent of current value. In this text box, enter the percentage by which you want the key velocities changed for the selected notes. This value can be
any number above zero—you can enter 300%, for example, to make a particular value three times its current value. (The absolute value of key velocities can’t
exceed 127, however.) The number in this text box represents a percentage of each note’s current MIDI velocity level; MIDI key velocity is measured on a scale
from zero, which is silent, to 127, which is very loud.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Percent Alteration Note Durations

Percent Alteration Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the
highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Note Durations from the MIDI Tool Menu. If you’re in the
MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI
data you want to edit. Choose Percent Alter from the MIDI Tool Menu.

What it does
This dialog box’s function is to change the duration of every note in the selected region by a percentage of its current value. Because it changes the data of every
selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values.

___ percent of current value. In this text box, enter the percentage by which you want the note durations changed for the selected notes. This value can be
any number above zero—you can enter 300%, for example, to make a particular value three times its current value. The number in this text box represents the
amount by which you want to shorten or lengthen the playback durations of all selected notes (regardless of their notated durations). Note that this is the only
MIDI Tool command that directly modifies the durations of existing notes (the other commands modify the notes’ durations indirectly, by manipulating their Start
and Stop Times). For example, if you want a region of eighth notes and quarter notes to play back staccato, enter 50 (%) in this box; the notes will be sustained
for only half their original durations.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Percussion Map Designer

Percussion Map Designer

How to get there

Click the Staff Tool . Double-click a staff handle. Select Percussion from the Notation Style drop-down list if it’s not already selected. Click Select. Click Edit or
Create in the Percussion Map Selection dialog box.

What it does
Use the Percussion Map Designer dialog box to create or edit a map for percussion notation. Each note definition you create or edit for a percussion instrument (such
as a hi-hat, bass drum, snare drum, and so on) has a particular notehead shape and occupies a specific space or line on the staff. You can also specify a MIDI note
for playback that is different than the MIDI note entered in the score. If you’ve specified that Finale should use the note definition (Notes to Use is selected), Finale
automatically applies these settings whenever that note is entered on the staff. For example, you might follow the common convention of notating hi-hat cymbals with X
noteheads that always appear above the top line of a staff. When a note definition is in use for a note that you enter using Speedy Entry with MIDI, HyperScribe and
Transcription Mode, or Import MIDI File, Finale knows to display it as an open or closed (depending on the note’s duration) X notehead above the top line of the staff,
without any further action on your part.
If you enter notes without MIDI, Finale looks in the percussion map assigned to the staff for note definitions on that line or space on the staff. If you enter notes with
MIDI, Finale looks at the MIDI note entered (MIDI Pitch), and uses that note definition. Whenever a staff is played back, Finale automatically refers to the MIDI
Playback note to play the correct percussion sound.
To make it easy for you to set up a percussion staff, we’ve provided a Finale library that includes some percussion maps based on General MIDI, or on standard
notation practice. You can use the maps as they are, or customize them for your percussion staves.

Map. Enter a name for the percussion map. You can use this map for any staff in your score, and select which notes you want to use in each particular staff.
MIDI Pitch • Playback • Noteheads • Name. This list box displays all your note definitions for the current percussion map. The list always contains 128
items, numbered 0–127, which correspond to MIDI note numbers. These are actual MIDI notes that are used during MIDI entry. For example, the MIDI note
numbers on a full 88-key keyboard range between 21 and 108. In Finale, MIDI note number 60 is equivalent to C4, which is middle C. To set up a note
definition, click the item that you want to change. For example, if the percussion sound you want to change is on MIDI note 35, scroll to 35 in the list and select
it, then make your changes in the Note Definition text boxes by entering values in the text boxes or by dragging the handle in the Notehead display area. Each
item in the list box shows the current settings for each note.

Note: Finale updates the selected list box item to reflect your changes.

Note Definition: Name. Enter a name for the percussion instrument (snare drum, bass drum, cymbal, and so on) that the note represents. Finale doesn’t use
this name in the score—it’s simply there for your reference.
Note Definition: Playback Note • Listen. This text box defaults to the same MIDI note number as the item you are editing in the list box. Change the
Playback note if you want to use a different percussion sound during playback once you’ve already set up the note definition. Enter a new number to specify a
different MIDI note, or click the Listen button and play the desired note on your MIDI instrument. During playback, Finale plays the sound corresponding to the
MIDI note number that you entered rather than the actual pitch you entered.
Note Definition: Staff Position. This text box shows the line or space on the staff on which the notehead is placed, measured (in lines and spaces) from the
first ledger line below the staff. Positive values place the notehead above the ledger line, and negative values place it below. Enter a new value or drag the handle

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Percussion Map Designer

in the notehead display area to change the note’s position.


Note Definition: Closed Notehead • Select; Open Notehead • Select. Enter the character that you want to use for the note in the list box. Or, click
Select to display the Symbol Selection dialog box, which shows all the characters in the notehead font in a graphical palette. Finale supports open and closed
noteheads on each staff line. The type of notehead used depends on the duration of the note. Closed noteheads are used for quarter notes or smaller, and open
noteheads for half or whole notes. By default, the closed and open noteheads for each entry in the list box use the standard quarter and half noteheads. The list
box changes to reflect your selections.
Note Definition: Notehead Display Area. Drag the handle up or down to raise or lower the noteheads. Open and closed noteheads are placed on the
same line or space. Finale updates the Staff Position value as you drag, increasing it as you drag the handle up, and decreasing it as you drag the handle down.
The list box item is updated to reflect your changes.
Notes to Use: Highlighted Note. If a checkmark appears to the left of an item in the list, the settings are turned "on" for the note, so the note definition will
be used for the current staff. If no asterisk shows, the settings are turned "off" and Finale will use standard notation for any note on the current staff. Click this
checkbox to select it if you want Finale to use the note definition for the note selected in the list box. If the checkbox is selected, click to deselect it and Finale
will ignore the note definition for the note and display the note in standard notation.
Notes to Use: Highlighted Note. If an asterisk appears to the left of an item in the list, the settings are turned "on" for the note, so the note definition will be
used for the current staff. If no asterisk shows, the settings are turned "off" and Finale will use standard notation for any note on the current staff. Click this
checkbox to select it if you want Finale to use the note definition for the note selected in the list box. If the checkbox is selected, click to deselect it and Finale
will ignore the note definition for the note and display the note in standard notation.
Notes to Use: All Notes • All Named Notes • None (Clear). Use these buttons to change the Notes in Use. Click All Notes to select all of the notes for
use in the map. This may lead to numerous overlaps and should be used with caution. Click All Named Notes to select notes if they have a name defined for
them. Click None to remove the selection for use for all of the notes in the map.
Go to Note: Listen. Instead of scrolling to the note that you want to edit in the list box, click the Listen button and play the desired note on your MIDI
instrument. Finale selects the corresponding item in the list box.
View Only Named Notes. Check this box to display in the list box only notes that have a defined name. Uncheck this box to display all notes in the list box.
Done. Click this button when you’ve finished creating or editing the percussion map. You return to the Percussion Map Selection dialog box.

Use Note
If an asterisk (*) appears to the left of the number in the MIDI Pitch column, the settings are turned "on" for the note, so the note definition will be used for the current
staff. If no asterisk shows, the settings are turned "off" and Finale will use standard notation for any note on the current staff. Think of it like a light switch. If it’s "on"
then you can see the room and use it; if it’s "off" then the room is dark and can’t use it.

Think of the Percussion Map as characteristics of a car. The MIDI Pitch is like the car frame. It’s the foundation and thus what Finale looks at. The MIDI Pitch is the
note you play in to be mapped and what all other parts are attached to. The Playback is like the engine. It’s the sound generated by Finale. If you want a note to have
a unique sound, edit the Playback. Make it sound like a SAAB two stroker, a VW Beetle or a Chevy V-8. The Notehead is like the body style. It’s what the note looks
like and what the drummer/driver sees. You can make the Note look like an AMC Gremlin, a BMW Isetta or a Nash Rambler. The Name is like the model name, what
you/the car maker calls it.

Tip: All templates that incorporate a percussion staff have the percussion map already defined for
General MIDI notes.

See Also:
Percussion
Percussion Map Selection
Staff Attributes
Staff Tool

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Percussion Map Selection

Percussion Map Selection

How to get there


Click the Staff Tool. Double-click a staff. Choose Percussion from the Notation Style drop-down list if it’s not already selected. Click Select.

What it does
The Percussion Map Selection dialog box displays the percussion maps available in this document. Finale’s default percussion maps (which were saved in Finale’s
percussion library) appear in this dialog box, as well as any percussion maps you create or edit. Use this dialog box to edit, create, and delete percussion maps (that
can be used for any staff), and to select the current map that Finale will use with the current staff.

Note: To load a percussion library, which can contain one or more predefined percussion instrument
maps, choose the Load Library command from the File Menu and select the library you want to open.
To save a percussion library, choose Save Library from the File Menu. Finale saves all the percussion
maps listed in the Percussion Map Selection dialog box into one library.

Edit. Click a percussion map in the list, then click Edit to display the Percussion Map Designer dialog box, where you can modify the note definitions and change
which notes are used for the current staff.

Note: Changes made to a percussion map apply to all staves that use that particular percussion map.

Create. Click Create to create a new map. Finale displays the Percussion Map Designer dialog box, where you can set up the note definitions and specify
which notes are used for the current staff.

Note: Rather than create new maps, you may find it easier to edit the percussion maps contained in
Finale’s default percussion library. This library is based on percussion sounds found in General MIDI
and generally held notation practice. (See General MIDI Percussion Map Table for a listing of General
MIDI percussion sounds.)

Duplicate. Click this button to create a duplicate copy of the selected percussion map. Use Shift-click to select an additional item and include all the items in
between. Use ctrl-click to select only a specific additional item in the list.

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Percussion Map Selection

Delete. Click this button to delete the currently selected percussion map from the list. If the map is selected for the current staff or any other staff in the piece,
you must choose an alternate percussion map for those staves before you can delete the percussion map. Use Shift-click to select an additional item and include
all the items in between. Use ctrl-click to select only a specific additional item in the list.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Select. Click the percussion map that you want to use for this staff, then click this button to return to the Staff Attributes dialog box. Finale will use the selected
percussion map for this staff until you select a different map, reset the staff to standard notation, or choose another option from the Notation Style drop-down list
in the Staff Attributes dialog box. Remember that Finale only remaps a particular note if you select Use Note in the Percussion Map Designer dialog box.
Cancel. Click this button if you decide not to change the percussion map used by this staff. The percussion map selected when you entered the dialog box will
be saved. All other changes that you made using the Edit, Create or Delete buttons are also saved.

Note: Changes made to a percussion map apply to all staves that use that particular percussion map.

Remember that Finale only remaps a particular note if you select "Use This Note" in the Percussion Map Designer dialog box.

See Also:
Percussion
Selection Overview
Staff Attributes
Staff Tool

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Pickup Measure dialog box

Pickup Measure

How to get there


From the Document Menu, choose Pickup Measure.

What it does
Use this dialog box if the first measure of your score is a pickup measure; Finale will automatically add blank "count-off beats" before the pickup itself and adjust the
measure numbers. You can enter an EDU value yourself (1024 per quarter note); a simpler route is to click on the palette of note values. Click the value of the pickup
and click OK. Finale fills in the text box for you. When you return to the score, Finale will have created invisible "rests" at the beginning of the measure for a duration
long enough to fill the measure and still leave room for the pickup value you specified. Any notes you now enter will appear after these invisible rests. This method is
only effective if the pickup measure is the first measure of the document.

[Note durations]. Click on a note that equals the sum of your pickup notes.
EDUs. Click in the EDUs text box and enter an EDU value (1024 per quarter note) for your pickup notes. This text box will display the EDU equivalent for the
selected note duration.
Clear Pickup. Click on Clear Pickups to remove a pickup and restore the measure to a normal, non-pickup, measure.
OK • Cancel. Click Cancel to dismiss the dialog box without changing any pickup settings. Click OK to confirm your pickup settings and return to the score.

See Also:
Pickup measures
Document Menu

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Placeholder

Placeholder

How to get there

From the Window Menu, choose Advanced Tools. Click the Mirror Tool . Click a measure with notes in it. (Or, if you’ve already created a Placeholder—and its
Placeholder icon is visible—click the measure.)

What it does
This dialog box creates pickup measures. In other words, it creates an invisible "placeholder" of a rhythmic duration you specify at the beginning of the measure. Any
existing notes in the measure slide to the right side of the measure, thus becoming pickup notes.
(Finale provides a second method of creating a pickup measure if it’s the first measure in your score. See Pickup Measure)

Placeholder for Frame (#). This indicator identifies the frame (one measure on one staff) you clicked.
Rest for __. Finale multiplies the number in this text box by whatever durational value you’ve selected (see below). At the beginning of the measure, Finale
inserts "placeholders" (hidden rests) of the resulting duration, pushing any existing notes to the right (to become pickup notes).

For example, if you want to create a pickup in 4/4 consisting of three eighth notes, you need to create a "rest" the equivalent of five eighth notes to precede
them. Enter 5 in the text box and select Eighth(s) from the list of durations (see below).

Half(s) • Dotted Quarter(s) • Quarter(s) • etc. Select one of these durational values, which is then multiplied by the number in the Rest for text box. In
this way you indicate how many placeholders of the specified duration you want Finale to insert before the pickup notes.
Delete. If you entered this dialog box by clicking an existing pickup measure (identified by a Placeholder icon), you can restore it to "normal" measure status by
clicking Delete.
OK • Cancel. Click OK to confirm your placeholder definition. If you’re creating a new placeholder, another dialog box appears, asking whether this is to be a
pickup measure in every staff, or just the staff you clicked. Click the appropriate response. You then return to the score, where Finale displays a Placeholder icon
on the pickup measure to help you identify it. Click Cancel if you decide not to create (or change) a pickup measure.

You can modify your placeholder settings at any time by clicking any measure displaying a placeholder icon.

See Also:
Mirror Tool

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Playback Controls

Playback Controls

How to get there


Choose Playback Controls from the Window Menu.

What it does
Playback Controls is a docked toolbar or floating window that give you tape-deck–like buttons for controlling the playback of your score. Click on the Playback Settings
button to open the Playback Settings dialog box where you can specify a number of playback options, such as the tempo, range of measures to be played, overall
volume level, and so on. Also, Playback Settings give access to the Playback Options dialog box, where you can further specify Finale’s playback behavior.
Playback Controls supports Finale’s HyperScribe recording and playback functions as well. To start recording, you can click Record in Playback Controls after
selecting “R” for a staff in the Mixer, Staff Controls or Instrument List.

Rewind to Beginning . Click this button to enter the number 1 into the Measure text box, which indicates where playback will begin. If the music is already
playing back when you click this button, Finale will stop playback for a moment, jump to the beginning of the score, and resume playback from there.

Rewind . Click this button and hold the button down to make the number in the Measure text box decrease rapidly. If the music is already playing back and
you want to hear something again, click this button for a moment, then release; playback will resume from the measure number (that you just changed) in the
Measure box.

Stop • Play • Pause. Click Stop to halt playback and reset the Measure text box to its original value (or, rather, to the value indicated by the Play
From controls; see below). Click Play to begin playback. While the music is playing, the Measure text box shows you the measure being played. If you click
Pause playback will stop and the Measure text box will show the measure you stopped at. After you click Pause, click Play to resume playback from the place
you stopped.

Record . Click Record to start recording when HyperScribe is the selected tool. Be sure that you have specified a staff for recording into in the Instrument
List window. Based on your settings in the Click and Countoff dialog box, Finale will either start recording immediately, or after playing the indicated number of
countoff measures. Unless you’re tapping to provide the beat (Tap is checked in HyperScribe’s Beat Source submenu), Finale will wait for the start signal you
selected in the Playback and/or Click dialog box before playing the countoff measures and recording your performance.

Note: As a shortcut you can click a measure in your score to start recording, instead of using the
Record button. Finale will start recording into the measure you clicked, according to the click and
countoff settings, just as if you clicked the Record button. If Multitrack Record is selected in
HyperScribe’s Record Mode submenu, you must set up the Instrument List to specify the recording
information (which staves or layers to record into, and which channels to receive from).

Fast Forward . This button makes the number in the Measure text box advance rapidly. If the music is already playing back and you want to skip ahead,
click this button for a moment, then release; playback will resume from the measure number (that you just changed) in the Measure text box.

Fast Forward to End . When you click this button, the Measure text box shows the number of the last measure in the score.

If the music is already playing back when you click this button, Finale will stop playback for a moment, play the last measure of the score, and stop.

Measure__ • Time. This text box has two functions. Before you begin playback, it indicates the first measure and beat to be played. And while playback is
underway, it changes to show you the current playback location and EDU.

If Current Counter Setting is selected in the Playback Settings dialog box, you can click the up and down arrows to adjust the measure. To specify a start point
within the measure, simply enter the desired measure, beat, and EDU separated by “|”s [measure]|[beat]|[EDU]. (See Equivalents for an explanation of EDUs).
Note that when you do this, the beat and EDU may temporarily disappear from the display.

Playback Settings icon. Most of the time, the controls described above are adequate for controlling playback. If you want to use some of Finale’s more
powerful options, click the Playback Settings button. The Playback Settings dialog box opens to reveal several other controls and options. See Playback Settings
dialog box.

Tempo: Whole Note • Half Note • Quarter Note • [etc.]. The Playback Tempo is used for playback only. The tempo used for recording is set in the
Playback and/or Click dialog box. The Playback tempo controls let you establish the playback tempo for your piece. Of course, if you’ve set up the tempo in other
ways—by recording tempo changes played into the Transcription Mode of HyperScribe, for example, or by placing tempo markings into the score—then this
tempo setting will have no effect. See Playback and/or Click dialog box.

Not every tempo is measured in quarter notes per minute, of course, so you can select the basic unit of the tempo pulse (Half Note, Dotted Quarter Note, and
so on) from the Tempo drop-down list. To set the number of beats per minute—the actual tempo—either type a new number into the text box, or click the
arrows to increase or decrease the displayed number.
See Also:
Playback
Playback Options

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Playback Controls

Click and Countoff


HyperScribe Tool

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Playback Data Dump

Playback Data Dump

How to get there

Click the Expression Tool , and double-click a note or measure. Click Create (or click an existing marking and click Edit). Click Playback Options to expand the
dialog box; choose Dump from the Type drop-down list.
If the expression is already in the score, double-click its handle; click Playback Options; from the Type drop-down list, choose Dump.

What it does
This option requires an in-depth understanding of the MIDI protocol. This dialog box offers several data-dump functions, one of these is its ability to enable multiple
MIDI channels for the staff in which it appears. You can also use it to transmit System Exclusive MIDI data or a sequencer Start message.

Number of Units. The number in this text box tells Finale how long the MIDI message transmitted by the expression will be, in bytes.

If you’re creating an expression whose function is to send a staff’s music over additional MIDI channels, enter 2 or 3 (depending on whether you want the
staff’s playback routed to 1 or 2 additional MIDI channels). A staff can play up to three MIDI channels, including the primary MIDI channel you’ve established for
the staff.

Data. Enter the codes you want Finale to transmit when it plays back the expression you’re defining for playback. If you prefer, you can enter standard (decimal)
notation directly into these boxes (but delete the "$00" first); Finale will automatically convert each number into hexadecimal MIDI notation.

If you’re creating a note expression that tells Finale to begin sending a staff’s output to additional MIDI channels, enter $FF in the first of these three text boxes.
In the next boxes, enter one or two numbers, corresponding to the MIDI channels you want the staff’s playback routed to minus one. In other words, if you want
the staff to play over channels 5 and 6 (in addition to its primary MIDI channel), enter 4 in the second Data box and 5 in the third, because you need to
subtract one from each MIDI channel number.
Technical note: Here are some other codes you may find useful if you plan to make extensive use of the Data Dump feature. If, at some point in the staff, you
want to change only one of the additional two MIDI channels you’ve specified, create another note expression whose playback definition is a Data Dump. But in
the Data text box that originally displayed the MIDI channel that you don’t want to change at this point, enter the code $FE. Example: Your first Data Dump
expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5. You want the additional channels now to be 5 and 12, so
you create a new Data Dump expression; its Data boxes should display $FF, $FE, and 11.
Finally, you can "turn off" any additional MIDI channels you’ve specified with a Data Dump expression by entering $FF in the appropriate Data box. Example:
Your first Data Dump expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5. You now want channel 5 to drop out,
so you create a new Data Dump expression; its Data boxes should display $FF, $FF, and $FE (because $FE, remember, is the "don’t change this channel"
command).

OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box and return to the Expression Designer dialog box.

See Also:
Shape Expression Designer
Text Expression Designer
Expression Selection

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Playback Options

Playback Options

How to get there


From the Document Menu, choose Playback Options. Or, choose Playback Controls from the Window Menu. Click the Playback Settings button; then click Playback
Options.

What it does
In this dialog box, you can define Finale’s handling of a number of playback variables, for real-time playback, MIDI files and Audio Files. For example, you can specify
whether or not it should scan the music and "chase" expression markings that occur before the measure you click (if you’re starting playback in mid-piece); and
whether or not Finale should use the tempo, pedaling, and velocity information from your original real-time performance (if your piece is a transcription created with the
HyperScribe Tool).

Play Recorded Key Velocities • Play Recorded Note Durations • Play Recorded Continuous Data • Play
Recorded Tempo Changes. There are four kinds of playback data Finale stores invisibly with the notes in your score.
Key Velocity data describes how hard each note was struck, which usually determines how loudly it plays back. Note
Durations means Start and Stop Time data, the small rhythmic deviations from the beat that give a performance a certain
rhythmic feel; swing, rolled chords, and rushing the beat are all products of Note Duration data. Continuous data is data
generated by the pitch wheel, patch changes, and controllers such as the pedal. And tempo changes, in this case, are
tempo changes you created using the Transcription Mode of HyperScribe and adding Time Tags.

All of this MIDI information is generated when you record a live performance using HyperScribe. To capture this information in the Transcription Mode, select
the two corresponding checkboxes in the lower-left corner of the Transcription window before transcribing your performance. To record key velocity and Note
Duration information using HyperScribe, choose Quantization Settings from the MIDI/Audio Menu, then More Quantization Settings before recording, and check
Record Key Velocities and Record Note Durations.
You can also create this data directly in the score using the MIDI Tool (except for tempo changes, which you can create with the Tempo Tool). Of course, you
can place articulation or expression markings into the score that produce similar playback effects.
If you select all four checkboxes, then, you’ll hear a playback that precisely duplicates your original performance—complete with pedaling, subtle dynamics,
ritards and accelerandi, and uneven rhythms—even if the resulting notated version looks considerably different. If you don’t select any of these checkboxes,
Finale will sight-read your notated score exactly as it appears on the screen—which will be a rhythmically square, expressionless playback with no dynamics
and no tempo fluctuations.

Ignore Repeats. Select this checkbox if you want Finale to play through your piece, ignoring any repeat barlines or text repeats as though they didn’t exist.
Reset Repeats. Select this checkbox if you want Finale to treat any repeat barlines (or text repeats) it encounters as though it’s reaching them for the first
time. If you don’t specify Reset Repeats, Finale will remember how many times it’s encountered each repeat sign each time you stop playback, and—when you
start again—it will continue playing your piece as though you’d never stopped. If you’re proofreading a score by playing a section at a time, you probably won’t
want to select this option; Finale will "remember its place" as you play each section.
Dynamics and Markings: Reset • Use Current Settings • Chase from First Measure. If you choose Chase from First Measure from this drop-down
list, Finale will take a moment to read through, or "chase," any expressions, and patch changes that occur between the beginning of your piece and the first
measure you’ve selected to play back. In so doing, Finale can take into account changes in tempo, volume, and patch settings that occurred earlier in the piece
so that all MIDI variables will be at the correct current settings. (The "chasing" process may take awhile before playback begins, depending on how far you are
from the beginning of the piece.)

Choose Reset, on the other hand, if you don’t want Finale to "chase" those tempo, volume, and other markings from the first measure before beginning
playback in the middle of a piece. (Instead, Finale will begin playback using the Tempo and Base Key Velocity you’ve indicated in Playback Controls and
Playback Settings, until it encounters any other expression markings while playing back.)
But if you plan to play your piece a section at a time, you may want Finale to simply remember the tempo, volume, and controller settings at the end of each
passage you play, so that it will be ready to continue with the next measure. If you select Use Current Settings, Finale doesn’t have to "chase" these
expressions from the beginning of the piece each time you continue playback; it remembers them.

Duration of Grace Notes _ EDUs • Set Duration. Enter a value in the EDUs text box to specify the grace note duration (there are 1024 EDUs in one
quarter note), or click Set Duration. If you choose Set Duration, the Set Duration dialog box appears and you can choose a duration value from the note palette.

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Playback Options

Finale will automatically enter the corresponding EDU value in the text box. Grace notes on any given note will play back according to the duration that you
specify.
OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box. Finale will use the option settings you’ve just made whenever it plays back your
score. Click Cancel to exit the dialog box without changing any settings.

See Also:
Playback Controls
Document Menu

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Position Measure Number

Position Measure Number

How to get there


Click the Measure Tool and select Edit Region from the Measure Numbers submenu of the Measure Menu. Click Position.

What it does
This small graphic display lets you position your measure numbers (relative to the staff) by dragging it within a mock-up of a staff.
You don’t have to drag the 0 (the stand-in for a measure number) itself. Instead, drag anywhere in this graphic box; the 0 moves as you drag.

Align: Left • Right • Center. The options in this drop-down list specify the alignment of measure numbers relative to the left and right barlines (closer to one
or the other, or centered between them). Your choice here affects the point from which the numbers in the H: and V: text boxes are measured.
Distance from Staff: H: • V:. The numbers in these text boxes specify the exact default position of the number within the measure. As always, a positive H:
measurement moves the measure number to the right, and a positive V: measurement moves it upward.
OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in the measure number’s position. You return to the Measure Number dialog
box.

See Also:
Measure Number
Measure Tool

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Position

Position

How to get there


To set the global position for all full or abbreviated group names in your score, click the Staff Tool. Choose Full Group Name or Abbreviated Group Name from the Set
Default Name Positions submenu of the Staff Menu. The Position Full Group Name--Default or Position Abbreviated Group Name--Default dialog box appears.
To individually position a full or abbreviated group name, click the Staff Tool. Select a group handle. Choose Full Group Name or Abbreviated Group Name from the
Position Names submenu of the Staff Menu. Or, choose Edit Group Attributes from the Staff Menu, then click the Group Name (or Abbr. Group Name) Position button
in the Group Attributes dialog box. Or, ctrl-shift-click a group handle. The Position Full Group Name or Position Abbreviated Group Name dialog box appears.
To set the position of a custom line text, click the Smart Shape Tool. Choose Smart Shape Options from the Smart Shape Menu. Click Select next to Smart Line Style,
then Create or Edit. Click Position. The Position Smart Line Text dialog box appears.

What it does
Use these dialog boxes to adjust the position of group names in relation to the group of staves—either globally or group-by-group; adjust either the full group name or
its abbreviated name; or set the position of custom line text relative to the line. By default, Finale vertically centers all group names between the first and last staff in
the group (the top line of the first staff and the bottom line of the bottom staff). A horizontal line indicates the center of the group.
Once you’re in this dialog box, you see the default group or staff name or custom line text displayed in the font and style you’ve selected as the initial font. Drag
anywhere in the display area to move the text; place the text wherever you want it in relation to the beginning of the staff or line. Note that Finale measures the vertical
distance from the top of the text.

Display area. Drag in the display area to adjust the position of the text relative to the staves or line.
Alignment: Left • Right • Center. From this drop-down list, choose how you want the text aligned, relative to the group of staves or line. The group handle
that appears in the score will be placed on the left, right, or center of the name, depending on the alignment you select. When you change the alignment of a
group name, Finale automatically updates the Justification drop-down list selection to match your selection. Since group names are most often single line names,
you would generally want the justification (the placement of the text within a frame) to match the alignment (used for positioning and handle placement) you
select.

These staff names are left-aligned


(and left-justified). These staff names are right
aligned (and right-justified).

H: • V:. In these text boxes, you can precisely position the handle for the group names (or the individual group name), relative to the group of staves. The left
barline of the staves is the point where H: is zero, so this value will almost always be a negative number. Finale automatically centers group names vertically
between staves so the center is the point where V: is zero; the center is also indicated by the horizontal line between the staves in the display area.
Justification: Left • Right • Center • Full • Forced Full. This setting generally matches the Alignment setting (Left, Right or Center) for the group name,

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Position

however, it’s provided for multi-line group names. (Position Smart Line Style Text does not have this option.)

From this drop-down list, choose how you want multi-line group names (or individual group names) justified. The longest line of text determines the width of
the invisible text frame that surrounds group names. Choose Left, Right, Center, Full, or Forced Full from the Justification submenu to select how you want the
text positioned in a frame. Choose Left or Right to place the text on the left or right edge of the frame, or choose Center to center the text between the left and
right edges. If you want full justification, choose Forced Full to spread the text evenly between the left and right edges of the frame, including the last line if it
contains two or more words. (Choosing Full for group names will left-justify each line, because each line is treated as the last line of a paragraph; choose
Forced Full instead.)
Remember that Finale will automatically update the Justification drop-down list selection when you choose an option from the Alignment drop-down list.

Expand Single Word. Expand Single Word works with the full justification commands only; it affects the appearance of lines of text containing only one word. It
currently has no effect for group names when you choose Full justification, since each line is treated like the last line of a paragraph. However, when Expand
Single Word is selected and you choose Forced Full, Finale spreads the letters of single words on lines evenly between the left and right edges of the invisible
frame. When Expand Single Word is not selected, all lines containing a single word are left-justified. (Position Smart Line Text does not have this option.)

When Expand Single Word is selected and you choose Forced Full justification, Finale spreads the text evenly between the left and right edges of the frame. In
lines of text containing only one word, Finale spreads the letters of that word evenly between the left and right edges of the frame. When Expand Single Word is
not selected, all lines containing a single word are left-justified.

Cancel • OK. Click OK to confirm the new position of the group names, or click Cancel to discard any changes you made to the group name positions. You
return to the Group Attributes dialog box or to the score.

See Also:
Staff Tool
Smart Shape Tool

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Print

Print

How to get there


Choose Print from the File Menu.

What it does
This dialog box lists several printing options, which vary depending on your printer. You can specify, for example, which pages of the score you want to print, and how
many copies.
You can control whether just odd or even pages print, and you can control how the pages print—in reverse order, or collated, or tiled. These options appear when you
print your score by choosing Print or Print Parts from the File Menu. You can also print ranges of pages, include registration and crop marks on each page, and print
one, two, or four pages of music on one printed page.

[Score/parts list]. Check the box to the left of the parts you want to print. Check Score if you would like to print the score. Click the number to the right of an
option to specify the number of copies for that part (or the score). See Printing linked parts.
Check All. Click this button to check every item listed in the score/parts list.
Check None. Click this button to uncheck every item in the score/parts list.
Check Current. Click this button to check the selected items in the score/parts list.
Print Range: All • From: ___ Through: ___. Specify the page range that you want to print. Click All to print your entire score, or click From:___ Through:
___ to specify a particular range. If you want to print a discontinuous range of pages, See the Page Ranges text box (below).
Right & Left • Right Only • Left Only. Select Left & Right to print both the left and right pages in the specified page range. Select Left Only or Right Only to
print only the left or right pages, respectively, in the specified page range. For example, to print a document on both sides of the paper, print the right pages first,
then print the left pages. Be sure to load the pages in the correct order!

Tip: Keep in mind that Finale numbers its pages consecutively in Page View regardless of which page
number you choose to display in the footer; it is the number Finale displays in Page View that you
should enter.

Page Ranges. Enter the pages you want printed, separated by commas. You can also specify a range of pages by typing a hyphen. For example, enter “2, 5,
7-10, 16” to print pages 2, 5, 7, 8, 9, 10, and 16 of your document.
Print to File. Select this checkbox to print to a file instead of the printer.
Print Quality. Choose the resolution setting you want from this drop-down list.
1-up • 2-up • 4-up. We’ve provided these options in case your printer driver does not offer them. When 1-up is selected, a single page of music will appear
on the printed page. Check Fit to Page to automatically scale the music to fit on the chosen page size. Select 2-up to print two pages of music side-by-side;

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Print

Finale automatically scales the music to fit on the printed page. If you select 2-up, make sure to select Landscape when you print, or the two pages of music will
be placed in the upper half of the printed page. (If you would like to print 2-up in landscape orientation, you must uncheck Use Finale’s Page Orientation Instead
of the Printer’s Page Orientation in Program Options-Save. This setting is checked by default so the orientation in Page Setup will be ignored which is convenient
for normal 1-up printing). Select 4-up to print four pages of music on one page; Finale automatically scales the music to fit on the printed page.
Fit to Page. Check Fit to Page to automatically scale the music to fit on the chosen page size.
Ignore Printer Margins For N-up Printing. Select this option if you have already accounted for the non-printable area of your printer, and you prefer these
margins to Finale resizing the page for you. Note that your score may be cut off by the printer if you have not taken the printer margins into account correctly.
Reverse Order • Tile Pages • Tile Overlap. Select these options to print the pages in the reverse order—from the last page to the first page, or if you
want Finale to print a page of music on more than one page of paper (to accommodate a large score). This option is useful for oversized scores, and works the
same as the Tile Pages option in the Compile PostScript Listing dialog box. For more information, see Compile PostScript Listing dialog box and Tiling pages for
printing. To specify the amount of overlap, type the amount in the Tile Overlap text box (using the units specified by the Measurement Units submenu of the Edit
Menu).
Crop Marks • Display Colors • Registration Marks • Registration Filename. Select Crop Marks or Registration Marks if you want crop and
registration marks to appear on the printed page. Crop marks identify the finished page size of the document, and registration marks help align overlapping pages
or plates for printing purposes. Check Display Colors to print the colors used by Finale to identify the different score elements (see Program Options-Display
Colors). Note that if you do not have a color printer, this will only print in shades of gray. Registration and crop marks appear on a printed page when the page is
larger than the document size. When this option is selected, Finale automatically centers the music on the page. If you select Registration Filename, Finale will
print the filename outside the page margins with the crop and registration marks.
Setup. Choose your printer or change your print settings from within the Page Setup dialog box. Click the Setup button to display the Page Setup dialog box.
Print • Cancel. Click Print (or press enter) to print. Click Cancel to dismiss the dialog box without printing.

See Also:
Page Setup
File Menu

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Program Options dialog box

Program Options dialog box

How to get there


From the Edit Menu, choose Program Options.

What it does
The Program Options dialog box lets you configure Finale’s program-wide settings. Click a category on the left to see its corresponding options appear on the right
side of this dialog box. For example, click the Save category to specify whether to save your preferences automatically when you exit Finale, or only when you explicitly
use the Save Preferences command. You can make as many changes as you like before returning to your score by pressing the Apply button when you have finished
changing the settings for any category. The settings in this dialog box are saved in the Finale.INI file (in your Finale folder).

OK • Cancel • Apply. Click OK (or press enter) to save the new settings and return to the document. Click cancel and you will be prompted to save or discard
unapplied changes. Click Apply to save the selected changes in your dialog box and keep the Program Options box open.

See:
Program Options-New
Program Options-Open
Program Options-Save
Program Options-View
Program Options-Edit
Program Options-Folders
Program Options-Display Colors
Program Options-Palettes and Backgrounds

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Program Options-Display Colors

Program Options-Display Colors

How to get there


From the Edit Menu, then Program Options and select Display Colors. Or, choose Select Display Colors from the View Menu.

What it does
The Display Colors options allow you to assign colors to different layers as well as to different elements in your scor such as articulations, Text Blocks and Smart
Shapes. This is useful for differentiating between various objects in order to easily identify which tools created them, or to which layer they belong. Display colors can
be printed. Select Print Display Colors in the Print dialog box. The color display settings are Program Options that are daved when Finale saves your preferences in the
Finale.INI.

Color Unlinked Items. With this box checked, items that have been broken in a linked part change color (to orange). The item in the score also changes color
indicating this item is broken in one or more parts. For example, if an expression is repositioned in a linked part, it will change color in the part indicating future
score edits to the positioning will not apply to that item in the part (see Linked Parts).
Use Score Colors. Select this checkbox if you want Finale to display musical items in color. If it is not selected, color is not used for musical items, but is still
used for the interface elements. To print using the display colors, this checkbox must be selected.
Layer Colors Apply to All Layer Items. Select this checkbox if you want Finale to set all items in layers 1–4 to the specified colors for each layer, including
items such as expressions, chords and lyrics.
Musical Elements: Layer 1 • Layer 2 • Layer 3 • Layer 4 . . . Note Expressions. A number of items in your score can be assigned different colors.
Click on any item button to choose a color for the item. The color specified for Staff Names will be used for all staff names in the score—both full and abbreviated
names and the default, non-printing names. The color specified for Group Items will be used for all group names in the score—both full and abbreviated names
and the default, non-printing names. It will also be used for the brackets and alternate barlines for the group of staves.
Interface Colors: Selected Notes • Playback Cursor • Staff Style Bar • Selected Staff Style Bars. Some items in Finale appear only in the
display to help you see how Finale is functioning behind the scenes. You can control the color of the interface items listed here. Click on any item button to
choose a color for the item. Selected Notes refers to control-clicking a note in Simple Entry. The Playback Cursor appears during Scrolling Playback. Staff Style
Bars appear when Show Staff Styles is selected in the Staff Menu.

See Also:
Print

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Program Options-Display Colors

Staff Styles
Finale 2008 Menu/Program Options

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Program Options-Edit

Program Options-Edit

How to get there


From the Edit Menu, choose Program Options and select Edit.

What it does
Here, specify undo settings, settings for movable items and font annotation.

Measurement Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. In a number of Finale dialog boxes, you’re asked to specify a
measurement: the margins of each page, for example, or the thickness of eighth-note beams. Using the submenu of the Measurement Units command, you can
select the measurement unit you want Finale to understand—and display—in all of its dialog boxes.

You’re already familiar with inches and centimeters. Points and picas are typographical measurements; there are 72 points per inch, and 12 points in a pica.
EVPU stands for ENIGMA Virtual Page Unit, of which there are 288 per inch.
Select spaces when you want Finale to display spaces as the measurement unit in all the dialog boxes. Although one space is defined as the distance between
staff lines, in Finale one space is equal to 24 EVPUs (which is Finale’s default distance between staff lines). Note also that one half-space equals one step,
which is one line or space in a staff.
You can override your global choice on a case-by-case basis, however. Just include the units, or their abbreviation, when you type any measurement number
into Finale. For example, suppose you’ve selected Inches as your global unit of measurement. When you’re telling Finale how thick you’d like your slurs to be,
however, inches may be slightly unwieldy for such a fine adjustment. Therefore, you might type “2 pt.” Finale will automatically convert what you’ve entered into
inches.

Allow Undo. You can undo almost any Finale operation by choosing Undo from the Edit Menu. After extensive Utility Menu operations, however, you may
discover that it takes Finale a long time to "catch up with you" when you click a different tool. If so, you might want to deselect this checkbox before you perform
an extensive editing procedure (such as copying or pasting a large section of music). Finale will not only recover from large operations faster, but won’t require
the disk space necessary to store the score’s pre-operation condition.

Warning: Deselecting this checkbox will throw away the undo list. You CANNOT use this option to
pick and choose which actions to record in the undo list.

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Program Options-Edit

Allow Undo Past Save. Select this option to undo even past actions you have saved. If this option is not selected Finale will throw away your undo
transactions after every save.
Maximum Undo Levels. Set the number of Undo levels to allow or how far "back" you will be able to undo your edits. Setting this option to 0 will allow an
unlimited number of undo levels.
Reflow Measures: Do Not Reflow. Selecting this option from the drop-down menu will update your layout without affecting the layout or the size of your
existing measures.
Reflow Measures: Only Within Systems. Selecting this option from the drop-down menu allows Finale to update the spacing of the measures only within
systems. When selected, Finale will respace the measures without changing what systems the measures appear in.
Reflow Measures: Across Systems (Maintain System Locks). Selecting this option from the popup menu allows Finale to reflow measures into
different staff systems, based on the measure width. When this option is selected, Finale calculates how many measures will fit on each system, and moves
measures to new staff systems as needed. Locked systems are created when you use the up and down arrows to move measures with the Selection Tool, or
when you choose Fit Measures or Lock Systems from the Utilities Menu. When this option is selected, Finale will maintain any system locks, but will reflow any
ungrouped measures into other staff systems as needed.
Reflow Measures: Across Systems (Remove System Locks). Selecting this option from the drop-down menu allows Finale to reflow measures into
different staff systems and removes all system locks. (Pressing shift while choosing Update Layout removes the system locks as well.)
Reflow Systems Across Pages. This option determines whether Finale reflows staff systems into different pages. When this option is selected, Finale
calculates how many staff systems will fit on each page, and moves systems to new pages as needed. If you prefer to maintain the current layout of systems in
pages, make sure that this option is not selected.
Automatic Update Layout. This option has no effect in Scroll View. In Page View, this option determines whether Finale will update the layout each time it
redraws the screen. When this option is selected, Finale will update the layout each time it redraws the screen (it will take a little extra time to perform the
additional task). Finale actually updates the layout for the current page and discards the layout for all subsequent pages, although it doesn’t take the time to
update the layout until you display the subsequent pages. When Automatic Update Layout is not selected, Finale will still, on occasion, update the layout. For
instance, if you adjust the position of a staff or add staves, Finale will update the layout. Checking this option also checks Automatic Update Layout under the Edit
Menu.
Automatic Music Spacing. Select this option to have your music automatically spaced as you enter it—at the end of a
Speedy Entry measure, at the end of a HyperScribe session, or after each note in Simple Entry. The music spacing applied
is based on the currently loaded spacing width library. See Music Spacing.
Use Fonts and Resolution from: Screen • Printer. These options account for the differences between the screen and printer resolution. Choose Printer
to ensure that the computations use printer fonts and resolution from the currently selected printer.
Arrow Keys Nudge Items by. Enter a value to specify the number of pixels Finale should move a selected Special Tools element, such as a dot or an
accidental, each time you press a nudge key. For even finer adjustments, you can choose a larger view percentage in the View Menu. For example, to move an
element such as a stem length by one space, set the nudge amount in the Movable Items dialog box to six pixels (six pixels are equivalent to one space, which is
the distance between staff lines). When you press the nudge key, if the scale view is 100%, the element is adjusted by six pixels (or one space). At 200% scale
view, Finale still moves the element by six pixels when you press the nudge key. However, at 200%, six pixels are equal to one half-space, giving you twice as
much control over the placement of the element. Note: The nudge "amount" only applies when you’re working with certain tools. When you use the nudge keys at
other times, Finale adjusts the element by one pixel each time you press the nudge key.
Automatically Constrain Dragging. Auto-constrain is off by default. When it’s not selected, elements can be moved in any direction in the score. To
temporarily constrain dragging in the initial direction of your drag, press shift. If you prefer that dragging is automatically constrained, select this option. Dragging
will then be constrained in the initial direction of your drag. To temporarily allow dragging in any direction, press shift. Think of shift as "reversing" the setting of
this checkbox.

Note: Constrained dragging is temporarily disabled while slurs are being edited. Use Shift to enable it
while editing slurs.

Chime When Edit Complete. Deselect this checkbox to prevent Finale from notifying you after a long edit action is complete.
Font Annotation. Click this button to open the Font Annotation dialog box, where you can fine-tune the selection area for font characters. For more information
on annotating fonts, see Font Annotation.

Warning: Deselecting the Allow Undo checkbox will throw away the undo list. You CANNOT use this
option to pick and choose which actions to record in the undo list.

See Also:
Edit Menu
Font Annotation
Finale 2008 Menu/Program Options

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Program Options-Folders

Program Options-Folders

How to get there


From the Edit Menu, choose Program Options and select Folders.

What it does
In this category, you can specify different folders to store your files in.

Folders: Music • Backup • Auto Save • Templates • Libraries • Plug-ins • User Manual • Component Files • Font Annotations •
Temporary Files ; Browse. You can specify different folders to store your files in. When Finale saves or opens music or library files, it looks in the specified
folders. Note that Finale will use the settings from the Maestro Font Default file, if the default file is stored in the music folder. If you do not enter alternate folders
for the temp files, libraries and music files, Finale will store those files in the current folder. To select a new folder, type in the path and folder name, or use the
Browse button for the folder you are changing.

See Also:
File Menu-Save
File Menu-Open
Finale 2008 Menu/Program Options

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Program Options-Open

Program Options-Open

How to get there


From the Edit Menu, choose Program Options and select Open.

What it does
Use the Open category to specify how Finale treats various types of files while opening them.

Open Older Documents As "Untitled". This option is checked by default. When this option is checked, Finale opens a file created with an earlier version
of Finale as an untitled document, requiring you to enter a name before it can be saved. This is done to protect you from inadvertently overwriting your older file,
making it unreadable in an earlier version of Finale.
Require Confirmation After Conversion of Older Documents. This option is checked by default. Finale presents a conversion warning message after
reading and converting an older file. This message requires you to click OK before proceeding. The reason for this is to ensure you are aware that the file has
been converted from a previous version. However, there are times when you are aware or unconcerned that a file has been converted, such as when converting
many old files at once via drag-and-drop (when you already have a backup of the original versions). In these cases, having to click OK after each file is tedious.
By deselecting this checkbox, the warning message will still appear during the file conversion, but will disappear without requiring confirmation. Use this feature
with caution!
Open Templates As "Untitled". This option is checked by default. When this option is checked, Finale opens a template file as an untitled document,
requiring you to enter a name before it can be saved. This is done to protect you from inadvertently overwriting the template when you actually wish to save it as
a new document. However, there are times (such as when making modifications to the template files themselves) when you would prefer to open templates with
their original names, allowing you to overwrite them without prompting. This can be done by deselecting this checkbox. Use this feature with caution!
Playback: Set Human playback for Finale Notation Files Created Prior to Finale 2004. Choose this option to automatically enable Human
Playback while opening files created in earlier Finale versions (pre-Finale 2004). See Playback Settings dialog box.

Automatically Convert Text In Files From Other Operating Systems • Show Dialog On Automatic Conversion. Check to Automatically
Convert to translate upper-ASCII characters (such as è, ö and hard spaces) into the appropriate character on the current system. If Finale was unable to
translate the character, it will display the problem character as a question mark. Finale will only check text fonts, as defined in the MacSymbolFonts.txt file, not
music or symbol fonts. See Configuring Macsymbolfonts.txt . Check "Show Dialog on Automatic Conversion" to display a list of text items
checked, items converted and other information about the conversion process.

Number Of Recent Files In File Menu. By changing this option you can control how many files appear in the list of recently used files in the File Menu.

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Program Options-Open

Tie Conversion: PostScript • Screen • Ask When Converting. These options are used when converting files previous to Finale 97 for determining how
to handle ties. In versions before Finale 97 ties were represented differently on the screen than when they were printed on a PostScript printer. Since Finale 97
and later versions no longer have this difference, older files can be converted either using the screen representation of ties, or using PostScript settings of ties.
You can also have Finale ask about converting ties during the conversion process by selecting the Ask When Converting checkbox.

See Also:
File Menu-Open
Edit Menu/Program Options
Finale 2008 Menu/Program Options

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Program Options-Palettes and Backgrounds

Program Options-Palettes and Backgrounds

How to get there


From the Edit Menu, choose Program Options and select Palettes and Backgrounds

What it does
This category allows you to customize the appearance of all of Finale’s palettes as well as customize the background color. You can change the size and style of all
the tool palettes and menu bars, as well as when you want them to appear based on the tool selected.

Size: Large • Medium • Small. You may want to change the size of your palettes from the default size to better fit within the area of your screen. You may
also want to specify larger tool icons for higher quality graphics. Choose large for the highest quality graphics, which will display tool icons at 32x32 pixels.
Choose medium for medium quality tool graphics, which will display at 26x26 pixels. Choose Small to specify the smallest tool size with minimal graphic quality.
The small palette size will display the tool icons as they appeared in versions of Finale prior to Finale 2003. You must restart Finale before these new settings
take effect.

Note: After changing palette size and restarting Finale, you may notice the palette configuration has
reset on your screen. You will need to reconfigure the palettes so they fit optimally on your screen
after resizing them in the Program Options.

Style.Click this drop-down arrow to choose from a variety of styles for your tool palettes. The number of options available in this drop-down list depends on the
tool palette size selected. For example, the Traditional palette style is only available in the Small size.
Close Subsidiary Palettes When Leaving Tool. If this item is selected, Finale will close the Smart Shape Palette and Special Tools Palette whenever you
change to another tool. If you prefer to leave the palettes displayed, deselect this checkbox.
Close Simple Entry Palette When Leaving Tool. When this item is selected. Finale will close the Simple Entry Palette whenever you change to another
tool.
Show Rest Palette for Simple Entry. Select this option to display the rest palette for Simple Entry.
Document Window Background: Graphic File; Select • Default • Tile • Stretch • Solid Color; Select. Click the Select button for Graphic File to
choose one of Finale's backgrounds to place behind the score, or to choose your own background graphic. Choose Tile to tile the background graphic. Choose
Stretch to automatically stretch the graphic to fit the background area. Click the Select button for Solid Color to choose a solid color for your background.
Manuscript Texture: Graphic File; Select • Default • Tile • Stretch • Solid Color; Select. Click the Select button for Graphic File to choose one of
Finale’s manuscript backgrounds to place behind the music, or to choose your own manuscript graphic. Click Default to use Finale’s default manuscript
background. Choose Tile to tile the manuscript graphic. Choose Stretch to automatically stretch the graphic to fit the page area. Click the Select button for Solid

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Program Options-Palettes and Backgrounds

Color to choose a solid color for your background.

See Also:
Finale 2008 Menu/Program Options

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Program Options-Save and Print

Program Options-Save

How to get there


From the Edit Menu, choose Program Options and select Save

What it does
In this category, set Finale to save automatically at regular intervals, make backups while saving
or save preferences while quitting Finale.

Auto Save File(s) Every ___ Minutes. If you tend to forget to save your work to your hard disk every so often (by choosing Save from the File Menu),
Finale’s Auto Save command is a good safety net. When this feature is on, Finale will update a second copy (not the one you’re working on) at regular intervals.
This second copy of your file is stored in the folder specified in the Folders page of the Document Options dialog box. Select this checkbox; in the text box,
specify how often Finale should save your work to the duplicate copy of the file you have open. After the number of minutes you specified have passed, a
message will appear, letting you know that Finale is saving your work. (This feature does not save your changes when you exit from Finale, however. Be sure to
save changes to your primary file when you exit.)
Make Backups When Saving Files. If this option is selected, Finale will automatically save a backup copy of your file in the Backup folder specified in the
Folders group box. If no folder is specified, the backup files are stored in the Music folder. Although the concept of a backup seems simple enough, it does
warrant a little explanation. The first time you save a file, you have to give the file a name. All subsequent times you save this file, you are automatically replacing
an earlier version of the file with the same name. When you turn the Make Backups When Saving Files feature on, and perform a Save command, this earlier
version of the file is preserved as a backup. Therefore the backup is always one version behind your current file (in case you just saved something you shouldn't
have). Keep in mind that the first time you save a file, no backup is made, since there isn't a previous version to preserve. Similarly, no backup is made when
you perform a Save As function.
Save Preferences When Exiting Finale. This option is selected by default. When selected, Finale automatically saves your preferences each time you exit
the application. However, if you prefer that Finale saves your preferences only on command, make sure this option is not selected. If that’s the case, Finale will
only save your preferences when you choose the Save Preferences command from the File Menu.

See Also:
File Menu-Save
Finale 2008 Menu/Program Options

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Program Options-View

Program Options-View

How to get there


From the Edit Menu, choose Program Options and select View

What it does
Make settings regarding appearance of certain items program wide.

Show Tools Menu. Select this checkbox to display the Tools Menu where you can select Tools from the menu instead of the Main Tool Palette.
Show All Messages. Select this option to re-enable all messages that have a "Don’t Show This Again" checkbox.
Save Window States When Exiting Finale. If this item is selected, Finale will save the position of the palettes and windows when you exit Finale. To
make the most use of these settings, position your palettes and the document window, make sure this item is selected, and then exit Finale. The next time you
use Finale, click this item to select it, and make sure that Save Window States When Exiting Finale is selected.
Load Window States When Starting Finale. If this item is selected, Finale will load the last saved position of the palettes and windows when you start
Finale.
Custom Zoom 1 • Custom Zoom 2 • Custom Zoom 3. Enter custom zoom percentages as you wish them to appear
in the Zoom submenu of the View Menu. See View Menu.
Pitch Representation: MIDI Note Number • Pitch. Choose how you want Finale to represent MIDI notes throughout the application—by note number
(middle C is always 60) or by pitch (C1, D1, E1, and so on). Click MIDI Note Number to display MIDI pitches by their MIDI note number. Click Pitch if you want
Finale to spell out the pitch. Your choice is reflected in any dialog box that displays MIDI pitch, such as the MIDI Tool split-window. You can choose to enter a
MIDI pitch value in a dialog box as a pitch or as a MIDI note number. If the first character you type is a number, Finale assumes you’re entering a MIDI note
number. Otherwise it’s assumed that you’ve entered a pitch, and Finale will match the pitch representation. The next time you enter the dialog box, the edit field
displays the MIDI pitch value as a number or pitch, according to your program options selection. This setting is saved with program preferences.
Pitch Representation: Middle C = C3 • C4 • C5. Use this drop-down list to choose whether you want Finale to spell middle C as C3, C4 or C5. MIDI
manufacturers use various representations for middle C, so you can now change the display in Finale to match your MIDI gear. This setting is saved with
program preferences.
Measure Number: Display Defined Measure Numbers • Display Actual Measure Numbers. Select one of these options to control whether Finale
will display the measure numbers that you defined in the Measure Number dialog box, or the actual measure numbers in the document. Finale counts actual
measure numbers consecutively from 1, starting with the first measure in the document even if it is a pickup measure. This option is saved with your preferences.

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Program Options-View

Depending on your selection, the "actual" or "defined" measure numbers are displayed in the Document Window’s Measure Control, and in edit boxes in any
dialog boxes that display measure numbers (such as the Measure Attributes, Key and Time Signature, and Select Region dialog boxes). When "defined" measure
numbers are displayed, and a measure number is defined in more than one measure number region (for example, in a document with several movements, each
defined by a region), type the region number followed by a colon (:), then enter the measure number that you want to use. For example, if you have three measure
number regions defined for a three-movement piece, with each region starting at measure 1, type 1:1 to jump to the start of the first movement (region 1), type 2:1
to jump to the start of the second movement (region 2), and type: 3:1 to jump to measure 1 of the third movement (defined by region 3). To specify Finale’s actual
measure numbers when "defined" measure numbers are displayed, type #, the number sign (shift-3), followed by the "actual" measure number. When entering
Finale’s "actual" measure numbers, remember that Finale always considers the first measure of the document to be measure number 1 even if it is a pickup
measure.
Hidden Object Shading. In this text box, enter the shade percent age for hidden expressions (100% = hidden completely, 0% = no shading).
Smooth Staff Lines • Smooth Barlines. Finale’s display includes font smoothing technology which enhanced the on-screen display for most items.
However, smoothing produces what many report to be an undesireable ‘fuzzy’ effect for staff lines and barlines. Therefore, smoothing for staff lines and barlines
has been turned off by default. Use these check boxes to enable smoothing for staff lines and/or barlines.

See Also:
View Menu
Finale 2008 Menu/Program Options

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Punch In PreRoll

Punch In PreRoll

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure to enter the Transcription window. Choose Punch In
PreRoll from the Transcription Menu.

What it does
If you’re recording a real-time performance in the Transcription window and make a mistake, you don’t have to rerecord the entire sequence. You can, instead, punch
in and out, meaning that you can rerecord only those few seconds of the original performance that need replacing.
You’ll probably want Finale to play a few seconds of the music just before the spot you want to rerecord, however, so you can hear the desired spot in context and in
tempo. This dialog box allows you to specify how many seconds of the existing music you want Finale to play before switching into record mode (at which point you
should begin to play the new music).

Play the note file for __ second(s). In this text box, enter the number of seconds of music you want Finale to play just before the punch-in point. (Enter
zero if you don’t want any "preroll" at all.)
OK • Cancel. Click OK to exit this dialog box and return to the Transcription window. When you click Start, Finale plays the music preceding the punch-in point
for the number of seconds you specified, then begins recording your new performance. Click Cancel to disregard any changes and return to the Transcription
window.

See Also:
Transcription
Transcription Menu
HyperScribe Tool

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Randomize - Key Velocities

Randomize Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing
Key Velocities from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by
selecting the handles of individual notes whose MIDI data you want to edit. Choose Randomize from the MIDI Tool Menu.

What it does
In this dialog box, you can direct Finale to alter the velocity for all selected notes at random. This can be a useful option if you want to give your playback a more
imperfect, "human" feeling. (The Randomize command isn’t available if you’ve selected Continuous Data from the MIDI Tool Menu.)

Randomize the Key Velocities but Limit the Change to ___. In this text box, enter the maximum amount by which you want Finale to randomly vary
the key velocity values of the notes in the selected region. The number in this text box represents MIDI velocity units, which are on a scale from zero, which is
silent, to 127, which is very loud. You’ll probably find that a number between 10 and 20 produces satisfactory results (a more human "feel") without introducing
obvious accents.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

Tip: Enter values between 5-20 to achieve a more "human" feel.

See Also:
MIDI Tool Menu
MIDI Tool

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Randomize - Note Durations

Randomize Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing
Note Durations from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or
by selecting the handles of individual notes whose MIDI data you want to edit. Choose Randomize from the MIDI Tool Menu.

What it does
In this dialog box, you can direct Finale to alter the duration values for all selected notes at random. This can be a useful option if you want to give your playback a
more imperfect, "human" feeling; or, by very slightly randomizing the Start Times of the notes in your piece, you can alleviate MIDI playback problems caused by too
much note information being sent at the same instant to your MIDI instrument. (The Randomize command isn’t available if you’ve selected Continuous Data from the
MIDI Tool Menu.)

Start Times limited to ___ • Stop Times limited to ___. The numbers in these text boxes represent the amount by which you want to randomly vary the
attack or release points of all selected notes’ playback (regardless of their notated durations). You’re specifying the maximum number of EDUs, of which there are
1024 per quarter note, you want added to (or subtracted from) the Start or Stop Times of the selected notes (see Start and Stop Times for a discussion of Start
and Stop Times).

You might enter an EDU value of 1/16 (or less) of the predominant rhythmic values in the music, unless you want to produce unpredictable, strange rhythmic
effects. To subtly soften the rhythmic precision of an eighth note (512 EDUs) passage, for example, you might type 32 into the Start and Stop Times boxes.

OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Rebar Options

Rebar Options

How to get there

Click the Selection Tool ; select a region. From the Rebar submenu of the Utilities Menu, choose Rebar Options.

What it does
When you change the time signature of a score, use the Rebar command, or add too many notes to a measure, Finale can automatically redistribute the notes in your
score so that each measure contains the proper number of beats. In this dialog box, you can specify how far you want Finale to go with this rebarring—all the way to
the end of the piece, only to the next major section, and so on. (In the process, Finale adds or deletes measures as necessary. If there aren’t enough notes to fill the
last measure before the stopping point, Finale adds enough rests to round out the measure.)

The End of the Region. If you select this checkbox, Finale will only rebar music to the end of the selected region. No music after that point will be affected.
Key Signature Changes • Time Signature Changes • Special or Repeat Barlines, or Forward Repeats. If you select these checkboxes,
Finale’s rebarring process won’t proceed past the next key or time signature change. A "special barline" is a double, solid, dotted, or other unusual barline; a
repeat barline is one you’ve created using the Repeat Tool.
Empty Frames. A frame is one measure of one staff. Therefore, if you select this option, Finale will only rebar music as far as the next empty measure.
Rebeam. If this checkbox is selected, Finale will also rebeam eighth notes (and smaller values) as necessary, in the process correcting any irregular beaming
patterns introduced by the rebarring.
OK • Cancel. Click OK to confirm, or Cancel to discard, your rebarring stopping-point selections.

Note: If you didn’t select any of the checkboxes, Finale will rebar your score all the way to the end of
the piece whenever it’s asked to rebar (when you change the time signature, insert a partial measure,
use the Rebar command, and so on).

See Also:
Rebarring music
Time Signature

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Rebeam to Lyrics

Rebeam to Lyrics

How to get there

Click the Selection Tool , and select a region of measures. From the Rebeam submenu of the Utilities Menu, choose Rebeam to Lyrics.

What it does
A convention used in opera or art song notation is beaming to lyrics. In this scheme, eighth, sixteenth, and shorter notes are never beamed together in the vocal line
except when a syllable is sustained through more than one note (as a melisma). This dialog box lets you specify the lyrics you want rebeamed in this way.

Break Beams at Each Syllable in: All Lyrics • All Verses • All Choruses • All Sections. When the first radio button is selected the drop-down list
allowing you to select All Lyrics, All Verses, All Choruses, and All Sections is used. With this menu you can instruct Finale to impose word-by-word beaming for
a certain lyric type, such as Verses or Sections. (Verses, Choruses, and Sections are functionally identical; they just give you a convenient method of subdividing
your lyrics.)
Verse • Chorus • Section ___ . When the second radio button is selected, this drop-down list and the associated text box are used. With this drop-down list
you can select a specific set of lyrics whose notes you want to rebeam. Choose the lyric type from the drop-down list, then type the lyric number (Verse 1, for
example) into the text box.
Also Break Beams at Each Beat in the Time Signature. Select this checkbox if you want the beams in melismatic passages (where a single syllable is
sustained through more than one note) broken at the beginning of each beat, as they would be if they were beamed normally, according to the time signature. If
you don’t select this option, Finale will beam together all notes in a melismatic passage, even if it results in (for example) all eight eighth notes in a 4/4 measure
being beamed together.
OK • Cancel. Click OK to confirm the settings you’ve made; you return to the score, where Finale performs the rebeaming operation. Click Cancel if you decide
not to do any rebeaming. You return to the score.

See Also:
Rebeam to Time Signature

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Rebeam to Time Signature

Rebeam to Time Signature

How to get there

Click the Selection Tool , and select a region of measures. From the Rebeam submenu of the Utilities Menu, choose Rebeam to Time Signature.

What it does
Finale normally beams the eighth notes (and smaller values) in your piece according to the time signature. In other words, if the meter is 3/4, Finale groups eighth
notes together in quarter-note groups (two to a beam). To specify a certain beaming pattern before you enter music, be sure to change the time signature accordingly.
If you need to change the beaming of your piece after you’ve already entered the music, however, you can do so in this dialog box, which looks identical to the one in
which you set the time signature. You can even rebeam your piece in asymmetrical groupings—3+3 eighth notes in 3/4, for example.
The basic rhythmic value you use to define the "meter" in this window defines the new beaming patterns. For example, you can create 6/8 as six individual eighth
notes (no beaming), as two dotted quarter notes (notes beamed in groups of three), and so on.

Composite. Click this button to display the Composite Time Signature dialog box, where you can create a "beaming" signature that includes asymmetrical
groupings of notes on each beam (3+3/8, for example, to group eighth notes into groups of 3 and 3 in 3/4). See Composite Time Signature dialog box.
Number of Beats. Using this scroll bar, you can increase or decrease the top number of the new "beaming signature." Watch the display, which shows you the
groupings your newly rebeamed notes will fall into.
Beat Duration. Using this scroll bar, you can increase or decrease the bottom number of the new "beaming signature."
OK • Cancel. Click OK to return to the score; Finale rebeams the selected measures according to your specifications. Click Cancel to tell Finale to exit the
dialog box without rebeaming anything.

See Also:
Rebeam to Lyrics
Utilities Menu

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Redefine Pages

Redefine Pages

This alert appears after you choose Current Page, All Pages, Left Page or Right Page from the Page Layout Menu/Redefine Pages submenu. It warns you that any
individual edits to the pages will be lost if you proceed.

To view this dialog box, choose Redefine Selected pages from the Redefine Pages submenu of the Page Layout Menu while the Page Layout Tool is selected. Once
you click O.K, the alert will appear.

See Also:
Page Format for Score
Redefine Pages Menu
Page Layout Menu
Page Layout Tool

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Redefine Selected Pages

Redefine Selected Pages

How to get there

Click the Page Layout Tool . Choose Selected Pages from the Redefine Pages submenu in the Page Layout Menu.

What it does
Use this dialog box to redefine the pages you specify according to the settings in the Page Format for Score dialog box.

Redefine: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to redefine the
score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you
can choose to redefine any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the
full project - all parts and the score.
Page Range: Page___Through__. Specify whether you want to redefine the settings for all pages, or only the pages you specify. Enter the page numbers
that define the page range you want.
Include Pages: Left Pages • Right Pages • Left and Right Pages. Specify whether you want to change only the left (even-numbered) or the right
(odd-numbered) pages or both left and right pages in the specified page range. Note that Facing Pages does not need to be selected in the Page Format for
Score dialog box to change only the left or right pages in the score.
OK • Cancel. Click OK to redefine pages according to your selections. Click Cancel to ignore any changes made in this dialog box.

See Also:
Page Format for Score
Redefine Pages Menu
Page Layout Menu
Page Layout Tool

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Remove Staff

Remove Staff

How to get there


Click on the Page Layout Tool. From the Page Layout Menu, choose Optimize Staff Systems. Check Optimize Staff Systems, Remove Empty Staves, and Ask Before
Removing Staves. Click OK.

What it does
Use this dialog box to control whether an empty staff is removed from a staff system during the optimization process.

Yes • Yes All • No • No All. Click Yes to remove the staff listed in the system listed only. Click Yes All to remove the staff listed in all systems where the staff
is empty. Click No to leave the staff listed in the system listed only. Click No All to leave the staff in all systems.
Cancel. Click Cancel to stop the optimization process without removing any staves.

See Also:
Page Layout Menu
Page Layout Tool

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Repeat Designer

Repeat Designer

How to get there

Click the Repeat Tool , and click a measure. (If there’s already a graphic repeat sign or text repeat in the measure, double-click the measure.) When the Repeat
Selection dialog box appears, click Create. If you’ve placed a text repeat in the score, you can also enter this dialog box by double-clicking its handle.

What it does
In this dialog you can create a text repeat which will function as a fully operational repeat marking, such as "To Coda," "D.S. al Coda," and "D.C." Here you write your
own text and specify the font and justification for the repeat. If you used the Document Setup Wizard, one of the included templates, or a new Default Document to
start your score, repeats are already available for you. If you’ve started a document that does not already include text repeats, you can use predefined text repeats in
the Text Repeats Library (Text Repeats.LIB) provided with Finale. Note that this dialog box defines only the text itself and appearance of the text repeat (font and
positioning specifications); to define its playback effects, you have to access the Text Repeat Assignment dialog box (see Text Repeat Assignment dialg box).

Repeat Text. Enter the text for the repeat marking itself in this text box. The characters in this text box are displayed in the System font, regardless of the
actual font you’ve chosen.
Set Font. Click this button to display the Font, dialog box in which you can set the font for your text repeat.
Replace ‘#’ with: Number of Times Played • Text Repeat ID in Target • Measure Number in Target. When you type #, (or shift-3) in the
Repeat Text text box, the ‘#’ sign is a stand-in for the number of times played, text repeat ID in target, or measure number in target which are all specified in the
Text Repeat Assignment dialog box. When the text repeat appears in the score, Finale will display the selected value instead of the # symbol. For example, you
might want your text repeat to say "Jump to Coda #th Time Only"; when the mark appears in the score, it will read "Jump to Coda 4th Time Only" (substituting
the number you’ve indicated in the Play Section_Times text box of the Text Repeat Assignment dialog box).
Use This Font. If you select this option, the entire text repeat you’re designing will appear in the font you’ve selected (by clicking the Set Font button). If you
don’t select this option, however, the Mark-defined text repeat you’re incorporating into this text repeat will appear in its own font, regardless of the font you’ve set
for the text repeat you’re designing.
Enclose Repeat. When you click this checkbox, the Enclosure Designer dialog box appears, in which you can choose a geometric shape to enclose your text
repeat..
Justification: Left • Right • Centered. Click the radio button corresponding to your choice of the text repeat’s alignment in the measure: flush with the left
barline, flush with the right barline, or centered between the barlines.
OK • Cancel. Click OK (or press enter) to confirm the creation of your new text repeat. You return to the score, or to the Repeat Selection dialog box, where
the new text repeat appears in the list. Click Cancel to return to the Repeat Selection dialog box (or to the score) without creating or editing a text repeat.

See Also:
Repeats (barlines and text indications)
Repeat Assignment
Repeat Selection
Repeat Tool

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Repeat Selection

Repeat Selection

How to get there

Click the Repeat Tool , and click a measure in the score. (If the measure already has a repeat, click it again.)

What it does
In this dialog box, you can choose either a repeat barline or a text repeat you want to insert in the score. You can select one of the four repeat barlines pictured in the
window.

[The four graphic repeat icons]. The first icon, the Forward Repeat, is a purely graphic repeat barline. Normally, a musician relies upon such a barline to
indicate the beginning of the repetition (the target measure). In Finale, however, this barline type has no playback functions of its own; that’s because you specify
both the beginning and ending measures of the repeated section when you create the ending barline.

The second icon, the Backward Repeat, can have a playback effect assigned to it: in other words, it can operate in the way you’d expect—by directing the
playback flow back to an earlier measure. Note, however, that like any of Finale’s repeats, it doesn’t have to direct playback to an earlier measure; you could
define it to direct the playback to a later measure, if necessary.
The third icon, the Backward Repeat with Bracket, is identical to the Backward Repeat, except it has an adjustable bracket. You might use this barline to create
a first ending, for example.
The fourth (rightmost) icon, the Multiple Ending Repeat bracket, offers a bracket alone. You can use this repeat bracket as the first measure of a two-measure
first ending, or drag the rightmost handle toward the staff to create a final ending.
This repeat bracket has one significant difference from the other two functional graphic repeats. The two graphic Backward Repeats which contain barlines, jump
to the specified target when the end of the measure is reached. In a measure containing a Multiple Ending Repeat Bracket, however, the playback jumps to the
target when it reaches the beginning of the measure—once again, making this repeat bracket appropriate for the first measure of a first ending that’s several
measures long.
To select one of these graphic repeats, double-click its icon. If you selected the first icon, you return to the score. If you selected either of the middle icons,
you proceed to the Backward Repeat Bar Assignment dialog box. If you selected the rightmost icon, you go to the Ending Repeat Bar Assignment dialog box.
See Backward Repeat Bar Assignment dialog box and Ending Repeat Bar Assignment dialog box for more information.

[Text Repeats]. In the scrolling display area of this dialog box, Finale lists any text repeats you’ve created in (or loaded into) your document. (To load a

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Repeat Selection

predefined Text Repeats Library into your document, see Load Library under the File Menu.)

A text repeat is a piece of text, such as "To Coda," that functions as a fully operational repeat marking, just like a repeat barline. To create a new one, click
Create; the Repeat Designer dialog box appears, where you can enter the text and define the appearance of the new text repeat. (You don’t define its playback
effects until you actually place it in the score by double-clicking it in the Text Repeats list, whereupon the Repeat Assignment dialog box appears.)
For a more complete discussion of the options available when you’re creating a text repeat, see Repeat Designer dialog box. For details on defining the
playback of a text repeat you’ve already created, see Repeat Assignment dialog box.

Edit. To edit an existing text repeat, click it once and then click Edit. The Repeat Designer dialog box appears, where you can change any aspect of the
appearance of the text repeat. (Note that when you edit any text repeat, the changes apply to every occurrence of it in the score.)
Create. Click Create to design a new text repeat; the Repeat Designer dialog box appears. See Repeat Designer dialog box.
Duplicate. Click this button to create a duplicate of the selected Repeat Text Expression with the selected settings and attributes.
Delete. After clicking a text repeat, click this button to remove it from the list of available text repeats. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list. (You can’t remove it from the list if
the repeat is in use in your score.)
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list.
Cancel. Click Cancel to exit this dialog box without adding a repeat to your score.
Select. Instead of double-clicking a repeat icon (or a text repeat), you can click it once and then click this button. You proceed to the score or to the next dialog
box.

See Also:
Repeats (barlines and text indications)
Repeat Assignment
Repeat Designer
Repeat Tool

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Reposition Guide

Reposition Guide

How to get there


Right-click on a guide and select Reposition Guide from the contextual menu.

What it does
Use the Reposition Guide dialog boxes to numerically adjust or nudge a guide into a specific position on the page.

Guide Location. Enter the specific location for the guide in this text box in the units specified in the drop-down list.
Nudge Guide. Select this option to nudge the selected guide the specified number of pixels.
OK • Cancel. Click OK to move the guide and return to the score, or click Cancel to cancel any changes you made.

Tip: Create a Guide by double clicking in the ruler area while in Page view.

See Also:
Document Options-Grids and Guides
View Menu

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Resize Fretboards

Resize Fretboards

How to get there

Click the Chord Tool . From the Chord Menu, choose Resize Fretboards.

What it does
The Resize Note dialog box lets you specify how much you want to reduce or enlarge all of your guitar fretboards.

Global Fretboard Percent. This text box specifies how much you want to resize all fretboards, expressed as a percentage of the original full size.
OK • Cancel. Click OK to return to the score. Click Cancel to disregard any current selections and return to the score.

See Also:
Chord Menu

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Resize Note

Resize Note

How to get there

Click the Resize Tool . Click on a note stem. For beamed notes, click on the first note of the beamed group.
To restore a note group (a chord or beamed group) to its normal size, you need to click again where the normal-size notehead or stem would be, or else the Resize
dialog box may not appear.

What it does
The Resize Note dialog box lets you specify how much you want to reduce or enlarge a note, chord, or beamed group of notes.

Resize Note to ___%. This text box specifies how much you want to resize the note group, expressed as a percentage of the original full size. When you click
on a note stem, you actually resize the note group. If you click the stem of a quarter note or a flagged eighth note, only that note is resized; if you click the stem
of a beamed group, such as eighths or 16ths, the entire group is resized.
Cancel • OK. Click OK to proceed with the note resizing, or Cancel if you decide not to resize anything. You return to the score.

Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

Note: If you want to resize a note group in Voice 2, you must press shift as you click.

See Also:
Resize Tool

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Resize Notehead

Resize Notehead

How to get there

Click the Resize Tool . Click on a notehead. To restore a notehead to its normal size, you need to click again where the normal-size notehead or stem would be,
or else the Resize dialog box may not appear.

What it does
The Resize Notehead dialog box lets you change the size of a single notehead.

Resize Notehead to ___%. This text box specifies how much you want to resize the notehead, expressed as a percentage of the original full size.
Cancel • OK. Click OK to proceed with the note resizing, or Cancel if you decide not to resize anything. You return to the score.

Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

Note: If you want to resize a note group in Voice 2, you must press shift as you click.

See Also:
Resize Tool

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Resize Page

Resize Page

How to get there

Click the Resize Tool . In Page View, click the upper-left corner of a page.
Or, click on the Page Layout Tool. From the Page Layout Menu, choose Resize Pages.

What it does
This dialog box lets you specify how much you want to reduce or enlarge all the music (as well as text and expressions) on a page of your score (or many pages); if
you wish, you can also change the actual page dimensions in the process.

Resize Page to ___%. The number in this text box specifies how much you want to resize the page, expressed as a percentage of the original full size.
Hold Margins. If you select this item, you won’t actually change the dimensions of the page itself, only the music itself. The result is that a different amount of
music will fit on a page. (Be sure to choose Update Layout from the Edit Menu when you’re finished, so you can see the effects of your resizing on the number
of measures that fit on a line.) See Resize Staff System dialog box for an illustration.
Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the
score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you
can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply
changes to the full project - all parts and the score.
Page ___ Through ___ • Page ___ Through End of Piece. These options let you specify what range of pages you want to resize.
Update Page Format. When selected, Finale automatically updates the page size percentage in the Page Format for Score dialog box (Document Menu) to
the current setting in the Resize Page dialog box.
Cancel • OK. Click OK to confirm, or Cancel to discard, your reduction or enlargement specifications. You return to the score. (If you clicked OK, be sure to
choose Update Layout from the Edit Menu to correct any uneven measure spacing introduced by the resizing.)

Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

See Also:
Resize Tool
Page Layout Menu

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Resize Staff

Resize Staff

How to get there

Click the Resize Tool . In Page View, click directly to the left of a staff.

What it does
This dialog box lets you specify the percentage of enlargement or reduction you want applied to a staff.

Resize Staff to ___%. This number specifies how much you want to resize the staff, expressed as a percentage of the original full size.
System ___ Through ___ • System ___ Through End of Piece. These options let you specify the range of systems in which you want to resize the staff.
OK • Cancel. Click OK to proceed with the staff resizing, or Cancel if you decide note to resize anything. You return to the score.

Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

See Also:
Resize Tool

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Resize Staff System

Resize Staff System

How to get there

Click the Resize Tool . In Page View, click directly to the left of, and between, two staves that are part of the same system.
Or, click on the Page Layout Tool. From the Page Layout Menu, choose Resize Staff Systems.

What it does
This dialog box lets you specify the percentage of enlargement or reduction you want applied to a staff system.

Staff Sizing: Staff Height • Units • And Resize System • Resulting System Scaling. Set the staff height, then apply a percentage to the value. The
Resulting System Scaling is the cumulative effect for all staves in the system.

Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm. Select the measurement unit
for the values in this dialog box only.

Hold Margins. This item offers you the chance to resize the system without actually resizing its image on the page proportionally—in other words, to maintain
the current margins. The result is that the music is resized, so a different amount of it fits on a line. (Be sure to choose Update Layout from the Edit Menu when
you’re finished, so you can see the effects of your resizing on the number of measures that fit on a line.)

If you reduce a system with Hold Margins and Resize Vertical Space selected, the music gets smaller, but the system still stretches from margin to margin, and
the space between it and the following system is reduced proportionally (left). If neither option is selected, the system shrinks in every direction, including
horizontally, but the space between it and the next system doesn’t change (right).

Resize Vertical Space. This item lets you proportionally resize the space between the system you’re changing and the next system. If you didn’t select this
option before reducing a system, you may discover that there’s too much space between the reduced system and the next; and if you’ve enlarged a system, you
might find that there’s too little space between the enlarged system and the next.
Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or Score to apply changes to the
score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box where you
can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply
changes to the full project - all parts and the score.
System ___ Through ___ • System ___ Through End of Piece. These options let you specify what range of systems you want to resize. To resize only
the system you clicked, leave the numbers (that Finale proposes) alone.
Update Page Format. When selected, Finale automatically updates the staff sizing in the Page Format for Score dialog box (Document Menu) to the current
setting in the Resize Staff System dialog box.
OK • Cancel. Click OK to confirm your reduction or enlargement specifications. You return to the score. Be sure to choose Update Layout from the Edit Menu
to correct any uneven measure spacing introduced by the resizing. Click Cancel if you decide not to resize anything. You return to the score.

Tip: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

See Also:
Resize Tool

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Resize Staff System

Page Layout Menu

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Respace Staves

Respace Staves

How to get there

Click the Staff Tool , and select Respace Staves from the Staff Menu.

What it does
The Respace function adjusts the vertical spacing of all the staves in your document. It can either space them evenly, or—if your staves aren’t evenly spaced to begin
with—it can preserve the gaps between staves, but make all gaps proportionally larger or smaller.

Respace Staves In: Choose Current Part or Score to apply changes to the score or part that is currently active in the document window. Choose Selected
Parts/Score and click Select to open the Select Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts.
Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all parts and the score.
Top Staff Position: Keep Current Position. Leave this option selected if you don’t want to move the top staff.
Top Staff Position: Set to ___ . If you want to place the top staff a certain distance from the top of the screen, select this option and enter the distance in the
text box.
Top Staff Position: Scale to ___ %. If you want to adjust the top staff’s position by a percentage of its current position, select this option. For example, to
place it twice as far down from the top of the screen, you’d enter 200 (%) in the text box. You’d usually use this option only if you’re also adjusting the other
staves by a percentage.
Distance Between Staves: Set to ___ . This option lets you specify a fixed amount of space between staves in the score; in the text box, enter the distance
you want between staves.
Distance Between Staves: Scale to ___ %. If you don’t want all staves to be equidistant, but simply want to place them all closer together or farther apart,
select this option, which preserves their relative distances. For example, if you’ve created a larger-than-usual gap between the woodwind staves and the strings,
you could enter 50% in this text box. There would still be extra space—but both the gap and the distances between staves within the woodwind or string sections
would all be half as large.
OK • Cancel. Click OK to confirm, or Cancel to discard, your new spacing settings.

Tip: If your score has different distances between groups (such as between woodwinds and brass),
use Scale to a percentage to maintain those unique distances.

See Also:
Staff Tool

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Rulers and Grid

Rulers and Grid

How to get there


Enter the Shape Designer (see Shape Designer dialog box). Choose Rulers and Grid from the Shape Designer Menu.

What it does
This command lets you establish the units of measurement you want to use while creating a graphic shape in the Shape Designer. It also lets you specify how
frequently you want grid points to appear (when Grid is selected in the Show submenu of the Shape Designer Menu).
When this visual background grid is visible, you can use it for helping you draw straight lines, or for gauging the size of an object you’re manipulating. The grid doesn’t
appear in printouts, and lines you draw don’t "snap to" it; it’s purely an on-screen visual aid.

Inches • Centimeters • Picas • Points • EVPUs • Eighth Notes. Select the units of measurement you want Finale to use in displaying rulers and grids
(and in displaying position coordinates in the H: and V: text boxes. (The Eighth Notes choice is primarily useful for creating Executable Shapes, for use in creating
a playback effect.)
Grid Points Every ___ . Enter the distance you want between grid points in the visual grid.

If you’re designing an Executable Shape, the imaginary horizontal gridlines don’t represent a unit of spatial measurement. Instead, each time your Executable
Shape crosses a horizontal gridline, it generates a new playback value, representing an increase or decrease in the playback variable's value (one beat per
minute, one unit of MIDI velocity, and so on).

OK • Cancel. Click OK to confirm, or Cancel to undo, the changes you’ve made to the ruler and grid setup, and return to the Shape Designer window.

See Also:
Shape Designer

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Sample List for Executable Shape

Sample List for Executable Shape

How to get there

Click the Expression Tool , and double-click a note or measure. Click the desired expression in the selection box, and click Edit; then click Playback Options.
Click Execute Shape, and then Select; in the selection box that appears, either click an existing Executable Shape and click Edit, or click Create. In the Executable
Shape Designer box, click Use List.
If the expression already appears in the score, ctrl-shift-double-click its handle, then click Playback Options, Execute Shape, Select, Create, and Use List.

What it does
An Executable Shape is a line whose contours Finale "reads" as it plays back your music in order to produce changes over time of some musical aspect: tempo or
volume, for example. You draw the Executable Shape itself in the Shape Designer.
Normally, Finale samples (consults the contour of) an Executable Shape at regular intervals. For example, Finale might sample the shape you’ve drawn for a
rallentando every eighth note, so that the tempo decreases with each passing eighth note.
If you want Finale’s playback to respond only to specific samples (instead of every sample), select Use List. This technical dialog box appears, where you can enter a
series of numbers, one in each text box, to tell Finale which samples provided by the Executable Shape you want it to register for playback. See Executable Shape
Designer dialog box for more information.

[Text boxes]. The numbers in these text boxes specify which of the samples generated by the Executable Shape you want Finale to "notice" (respond to) in
creating the playback effect. Enter the sample numbers, in sequence, in the successive text boxes. Use the right and left arrow buttons to scroll the display to the
right or left by one text box at a time; you can have up to six specified sample numbers.
<< >> [buttons]. Click the right or left arrow button to scroll through the six text boxes.
Clear. Click Clear to reset the numbers in all the text boxes to 0. If you click OK at this point, Finale removes the X, if any, from the Use List checkbox, and will
sample the Executable Shape at regular intervals in the usual way (every eighth note if the Time Scale is 1:1).
OK • Cancel. Click OK to return to the Executable Shape Designer dialog box, where Finale puts an X in the Use List checkbox. The sequence of samples you
entered will now repeat in an endless loop for as long as the Executable Shape (or the music it affects) lasts. (Endless, that is, unless you also select Quit at End
of Sample List, in which case Finale only plays through your list once). Click Cancel to return to the Executable Shape Designer dialog box without changing the
Sample List. (If you didn’t put numbers in any of the boxes, Finale doesn’t put an X in the Use List checkbox.)

See Also:
Executable Shape Designer
Multiple Pass and Sample List Overview

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Save Library

Save Library

How to get there


Choose Save Library from the File Menu. Or, from the Document Menu, choose Document Options and click the Save Library button.

What it does
In the course of working on scores, you may create your own markings and symbols. Finale allows you to save these musical elements (articulations, chord symbols,
and so on) into separate files called libraries. These sets of musical elements may then be "loaded into" any document.
This dialog box lets you specify which elements of your document you want to save into a library.

[Library Types]: A summary of the options listed in this dialog box appears below. Click the radio button of the element of the currently open document you
want to save separately.

Articulations: One-character articulation or other musical markings (accent, fermata, and so on) created with the Articulation Tool.
Chords & Fretboards: Chord suffixes you’ve created or edited with the Chord Tool, including chords you’ve "taught" Finale to recognize. This library also
saves any custom fretboards you’ve created. Finale will check for duplicate suffixes and only load new unique chord suffixes.
Clefs: Eighteen clefs, which you can edit in the Clef Designer. Clef libraries include accidental placements for major and minor keys.
Default Fonts: Font choices for many aspects of the score, as found in Document Options-Fonts (from the Document Menu, choose Document Options, then
Fonts).
Document Options: Finale settings having to do with the active document, including almost every setting in the Document Menu (such as clefs, music
characters, PostScript settings, line widths, and so on).
Executable Shapes: Any Executable Shapes you’ve created with the Shape Designer and Executable Shape Designer.
Fretboard Styles: Settings that determine how Finale draws custom fretboards, such as number of frets, string spacing, and fret number font. See Fretboard
Styles dialog box.
Instruments: A set of staff-to-MIDI channel relationships for your particular MIDI setup, as established in the Instrument List Window.
Key Signatures: Any nonstandard key signatures you create with the Key Signature Tool.
Music Spacing: Saves settings from Document Options-Music Spacing dialog box.
Page Format: Saves settings from the Page Format for Score and Page Format for Parts dialog boxes.
Percussion Maps: Maps you’ve created with the Staff Tool in the Percussion Map Designer.
Shapes: Anything you’ve drawn in the Shape Designer, including multimeasure rests, custom stem shapes, fonts, as well as the "raw shapes" that form the
basis of Shape Expressions and Executable Shapes.
Shape Expressions: Note and Measure Expressions consisting of a shape drawn in the Shape Expression Designer (and a related playback definition).
Smart Lines: Custom Smart Shapes defined in the Smart Line Style dialog box.
Staff Styles: Staff Styles, such as slash notation or transpositions, created with the Staff Tool.
Stem Connections: Adjustments to how the stem attaches to specific noteheads. See Stem Connection Editor dialog box.
Text Expressions: Note and Measure Expressions consisting of text (and a related playback definition): "Allegro," "ritard," and so on in the Text Expression
Designer.
Text Repeats: Text repeats, such as "To Coda," created with the Repeat Tool.

OK • Cancel. Once you’ve chosen the element of your piece for which you want to create a library, click OK. Finale asks you to title the new library; the next
time you’re working on a piece that requires the contents of that library, you can simply load it using the Load Library command. Click Cancel if you decide not to
create a new library. You return to the score.

See Also:
File Menu

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Save Library

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Save Tempo Changes

Save Tempo Changes

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure. Record a performance and add Time Tags in the usual
way. Click Save Tempo Changes.

What it does
When you record a performance in the Transcription Mode, Finale offers you the option of preserving any tempo changes so that you can hear them later applied to
the finished transcription. (To calculate this information, Finale compares the evenness of your Time Tags with real time; if your Time Tags grow farther apart, for
example, Finale infers a decrease in tempo.) In this dialog box, you can specify how you want the tempo information captured.

Do Not Save Tempo Changes. Click this radio button if you do not wish to save any tempo changes.
Save Tempo Changes as an Absolute Tempo. Click this radio button if you want Finale to remember each tiny tempo change as an absolute tempo
change. In other words, Finale might think to itself: "60 beats per minute...65...70." Any expression you place in the score (whose playback definition has been
set to affect tempo) will have no effect on the playback tempo. Similarly, you can’t affect the playback tempo by adjusting the Tempo parameter on the Playback
Controls. This is the most precise method of preserving your tempo fluctuations.
Save Tempo Changes as a Percent Alteration. Click this button if you want Finale to remember each tiny tempo change as percentage of the tempo that
preceded it. In other words, Finale might think to itself: "60 beats per minute…8% faster…10% faster." While this kind of tempo information is slightly less precise
than the Absolute type, it allows you to change the starting tempo (with an expression, or by changing the Tempo in the Playback Controls) without destroying the
relative tempo changes from moment to moment.
Save Tempo Changes as a Percent Alteration with an End-of Measure Reset. Click this button if you want Finale to remember each tiny tempo
change as percentage of the tempo that preceded it (see "% Alteration," below)—but to remember it in one-measure segments. Finale keeps track of the tempo at
the beginning of each new measure, therefore, making it easier for you to edit the tempo for a specific measure with the Tempo Tool.
OK • Cancel. Click OK (or press enter) to retain tempo information, or click Cancel if you decide you don’t want to retain tempo information with your
transcription. You return to the Transcription window.

See Also:
Transcription
HyperScribe Tool

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Scale - Continuous Data

Scale Continuous Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing
Continuous Data from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or
by selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool Menu.

What it does
This dialog box’s function is to let you scale the values of the continuous data gradually from one value to another.

from ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region. The
numbers you enter in the From and To boxes pertain to the controller you’ve specified (on a scale from -8192 to 8192). For example, you could create a smooth
pitch bend by scaling the pitch wheel data for a selected region from 0 (the pitch wheel’s at rest value) to 8192. (Be sure you then scale it back down to 0 later
in the piece, or your synthesizer will think that its pitch wheel is "stuck," and all notes your synthesizer plays will be transposed.)
Absolute • Percent of Original. When Finale scales the selected MIDI data from the value in one text box to the value in the other, it needs to know
whether these specified values are the actual absolute values or percentages of the existing values. For example, if you click Absolute when creating a crescendo,
the crescendo will be perfect; any subtle variations in key velocity among the notes of the selected passage (recorded from your original performance) will be lost.
If you clicked Percent of Original, however, you could scale key velocities from, say, 50% to 200% of all notes’ current velocities, thus preserving individual
dynamic fluctuations within the passage while still creating an effective crescendo.
in Increments of ___. This text box has no effect unless you’ve selected Absolute (see above). It lets you specify the increments by which you want Finale to
scale the specified data type. For example, if you scale the pitch wheel from -8192 to 0 in increments of one, the pitch bend will be extremely smooth. But such a
pitch bend will also take Finale a long time to calculate, and the storage of such large amounts of data will increase the amount of disk space consumed by your
document. If you create the same pitch bend in increments of five or ten, however, Finale has far fewer calculations to make, but the pitch bend may sound less
smooth.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Scale - Key Velocities

Scale Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing
Key Velocities from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by
selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool Menu.

What it does
This dialog box’s function is to let you scale the Key Velocity values gradually from one value to another. For example, you can create a smooth crescendo by scaling
the key velocities of the notes in the region from 10 to 90. (MIDI velocity is measured on a scale from zero, which is very quiet, to 127, which is very loud.)

from ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region. The
numbers in these text boxes represent either MIDI velocity values or percentages of the existing key velocity values, depending on whether you’ve selected
Absolute or Percent of Original (see below). (MIDI key velocity values range from 0 [very quiet] to 127 [very loud]). If you enter a larger value in the first text box,
the result will be a decrescendo; if you enter a larger value in the second box, the result will be a crescendo.
Absolute • Percent of Original. When Finale scales the selected MIDI data from the value in one text box to the value in the other, it needs to know
whether these specified values are the actual absolute values (from 0 to 127 for Key Velocities, for example) or percentages of the existing values. For example, if
you click Absolute when creating a crescendo, the crescendo will be perfect; any subtle variations in key velocity among the notes of the selected passage
(recorded from your original performance) will be lost. If you clicked Percent of Original, however, you could scale key velocities from, say, 50% to 200% of all
notes’ current velocities, thus preserving individual dynamic fluctuations within the passage while still creating an effective crescendo.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Scale - Note Durations

Scale Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing
Note Durations from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or
by selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool Menu.

What it does
This dialog box’s function is to let you scale the values of the specified MIDI data type gradually from one value to another.

Start Times • Stop Times. These two radio buttons let you specify which MIDI data type you want to scale from one value to another—either the Start Time
(the difference between the notated attack of a note and the time you actually played it) or the Stop Time (the difference between the notated release of a note
and the time you actually released it).
from ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region (for the
selected MIDI data type). The values you’re scaling are Start Times or Stop Times. The Start Time is the difference between the notated, or quantized, attack of
a note and the moment you actually struck the note in your performance. The Stop Time is the difference between the notated release of the note and the
moment you actually released the note. The Start and Stop Times are measured in EDUs (1024 per quarter note). Therefore, by scaling the Start Times from,
say, zero to –512 over a specific range, the notes will sound as though they’re being struck more and more before the beat, until they’re an entire eighth note
(512 EDUs) early. If you scale the Stop Times from, say, 1024 to zero, the notes will sound as though they’re being sustained for shorter and shorter amounts of
time beyond their notated values.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Scale Fonts

Scale Fonts

How to get there


Choose Scale Fonts from the Data Check submenu of the Document Menu.

What it does
This dialog box tells Finale to inspect the font of every musical element in your piece—articulations, expression marks, chord symbols, the music itself—and scale each
occurrence of a certain font to a smaller or larger size, which you can specify. For example, if you want to make the notes and symbols in your music slightly smaller
relative to the staff itself, you might tell Finale to look for all occurrences of Maestro 24 point (Finale’s standard music font) and scale it down to 20 point, for example.
If you happen to have some characters—for example, a component of a chord symbol suffix—that you defined as Maestro 22 point, it will be resized too, in proportion
to the primary resizing you’ve specified.

Specify Font Name And Style To Be Scaled • Set Font. Click here to select the font to be scaled. Finale presents the Font dialog box.
Scale Size By This Percentage. Type the percentage to scale your selected font by. Any occurrences of the font you’ve chosen will be enlarged or reduced
proportionally.
Scale Fonts in Shapes. This option determines whether Finale will search shapes, as well as text, for font changes when you select any of the data check
options relating to fonts. When this option is not selected, Finale only searches text—such as text expressions, lyrics, staff and group names, text blocks—for
font changes. Finale does not change the fonts for any font characters embedded in shapes. Make sure this option is selected if you want to change the fonts for
characters embedded in shapes as well as lines of text.
OK • Cancel. When you click OK, when it’s finished scaling the fonts, you return to the document. Click Cancel to dismiss the dialog box without making any
changes.

Note: When Scale Fonts in Shapes is selected, any data check operation may take slightly longer,
depending on the number of shapes and the fonts used in the shapes.

See Also:
Data Check Menu

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Scale View

Zoom

How to get there


From the Zoom submenu of the View Menu, choose Other (or type ctrl-0).

What it does
In this dialog box, you can specify the size at which you want the score displayed on your screen, expressed as a percentage of its actual size—in other words, you
can "zoom in" to magnify fine details of your score or "zoom out" if you want to see many staves at once. Note that this screen display size has nothing to do with the
actual (printed) size of the music.

Scale View to: ___ %. In this text box, enter the percentage by which you want the screen display enlarged or reduced. Type 200, for example, to "zoom in"
so that the music is displayed at twice its normal size.
OK • Cancel. Click OK to return to the score, where Finale displays the music at the size you specified—or Cancel to return to the score without changing the
display size.

Tip: numbers larger than 100 will increase the size.

Tip: To change the size of the printed music, use the Resize Tool

See Also:
View Menu

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Search and Replace

Search and Replace

How to get there

From the Window Menu, choose Advanced Tools. Click the Note Mover Tool , then click a measure. Select the handles of the notes you want to indicate as the
subject of a search-and-replace operation; select a single note by clicking its handle, additional notes by shift-clicking, several notes by drag-enclosing them, or all
notes in the measure by choosing Select All from the Edit Menu. Choose Search and Replace from the Note Mover Menu.

What it does
When you perform a Search and Replace operation, you can search for a pitch, a specific pitch-and-rhythm combination, or even an entire motif anywhere in a score
and modify every occurrence of it in one of several ways. For example, you can flip every G flat to its enharmonic equivalent (F sharp), or change two of the notes in a
recurrent theme.
In this dialog box, you tell Finale whether it should search for occurrences of the selected motif in other octave registers or just the original register. You also tell Finale
whether to confine its search to note patterns whose rhythmic values match those of the selected motif.
All of these options take key changes into account when searching. For example, if you’re searching for a motif that begins on C in the key of C, one that begins on C
in the key of F won’t be considered a match. Instead, Finale will look for the same motif beginning on F in the key of F.
When you click any of these four buttons, you proceed to the Alteration for Slot dialog box, where you tell Finale how you want to modify each occurrence of the motif;
see Alteration for Slot dialog box.

In All Octaves. Click this button if you want Finale to search your file for occurrences of the selected notes in any octave.
In Selected Octave Only. Click this button if you want Finale to search your document for occurrences of the selected notes but in the original octave.
Match Durations. Place a check mark in Match Durations to confine the search-and-replace process to notes with the same pitches and rhythmic values as
the selected notes, regardless of the octave. For example, if you’ve selected a C-D-E pattern whose rhythm is quarter half quarter, Finale won’t locate a C-D-E
pattern whose rhythm is quarter quarter eighth—only notes, in any key, whose scale degrees and durations exactly match the selected notes.
OK • Cancel. Click OK to confirm your search criteria and display the Alteration for Slot dialog box in which you specify the transpositions. Click Cancel to
return to the score without making any changes.

See Also:
Note Mover Tool

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Secondary Beam Break Selection

Secondary Beam Break Selection

How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click a measure containing beamed sixteenth notes (or smaller values).
Click the Secondary Beam Break Tool; handles appear above each beamed note. Double-click the handle above the note after the desired beam break.

What it does
The Secondary Beam Break Tool lets you create breaks in the inner beams of sixteenth notes and smaller values. (To break eighth note beams, click the measure
with the Speedy Entry Tool (or choose the Simple Entry Tool), click the note after the desired beam break, and press the slash key [/].) In this dialog box, you can
specify which beams you want to break.

Break Through. Select this radio button if you want all beams broken to a certain level. When you specify the level (by clicking one of the rhythmic value
checkboxes, below), the level you clicked and all smaller values are automatically selected.

Break Only. If you only want selected (not necessarily adjacent) beams to be broken, select this radio button, then select the checkboxes of the duration
values whose beams you want broken.
16th • 32nd • 64th… 4096th. These checkboxes identify the beams you want broken, as shown above.

Note: Some of these duration values are smaller than you can enter with the Speedy Entry Tool (the
4096th note, for example). You can create such a note by setting the duration manually in the Edit
Frame dialog box or through the Change Note Durations command in the Mass Mover. See Edit Frame
dialog box or Change Note Durations dialog box..

OK • Reset • Cancel. Click OK to return to the score, where you’ll see the effects of your beam breaking. The handle you clicked remains selected to remind
you that you’ve modified it. Click Reset to restore the beaming to normal or double-click the handle after returning to the score. Click Cancel to return to the
score without changing any beaming.

See Also:
Special Tools Tool

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Secondary Beam Break Selection

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Select Region

Select Region

How to get there


Choose Select Region from the Edit Menu. (Used with the Selection Tool, Staff Tool, Measure Tool, Clef Tool, Time Signature Tool, Key Signature Tool and MIDI
Tool.)

What it does
When you want to select a region of measures to edit, erase, or copy, you normally click to select one measure, shift-click to select additional measures, drag-enclose
to select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit Menu to select the entire document.
However, many of these methods require that the measures you’re selecting be visible on the screen. With this dialog box, however, you can select large or small
sections of your score without scrolling; in fact, if you’re viewing measure 200, you can even select measures 1 through 10 remotely (without actually clicking any
measures) from this dialog box. Finale will select the specified measures, even if you can’t see them. This dialog box even lets you select a certain range of beats
within the measures.

From Staff: ___ • Measure: ___ • Beat. Using these controls, specify the staff name and measure number, respectively, of the first measure of the region you
want selected. Choose the staff name from the drop-down list, and type a number into the Measure text box.

If you select any measures before you choose Select Region from the Edit Menu, Finale identifies the first selected measure’s number and staff name in these
boxes automatically. That’s useful to remember if the first measure of the desired region is visible on the screen—then, when you arrive at this dialog box, you
only have to specify the ending measure of the region (see below), which saves you several steps.
With the beat selection you can specify which beat in the measure you want to begin the selection. Type it into the text box at the right side of the dialog box.
For example, if the fourth beat of the measure is supposed to begin the selected region, type a 4 into the box. Alternatively, you can choose EDUs from this
drop-down list, and enter an EDU value (1024 per quarter note) to specify a starting point with high precision.

Through Staff: ___ • Measure: ___ • Beat. Using these controls, specify the staff name and measure number, respectively, of the last measure of the region
you want selected. Choose the staff name from the drop-down list, and type a number into the Measure text box.

Again, if you select any measures before you choose Select Region from the Edit Menu, Finale enters the last selected measure’s number and staff name (or
number) in these boxes automatically. That’s useful to remember if the last measure of the desired region is visible on the screen—then, when you arrive at this
dialog box, you only have to specify the beginning measure of the region (see above).
And here, too, you can also specify which beat in the measure you want to end the selection by typing a beat number into the text box at the right side of the
dialog box. Alternatively, you can choose EDUs from this drop-down list, and enter an EDU value (1024 per quarter note) to specify an ending point.

OK • Cancel. Click OK to return to the document, where Finale selects (highlights) the measures in the region you specified. Click Cancel dismiss the dialog
box without selecting any measures.

See Also:
Selection Tool
Edit Menu

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Select Parts/Score

Select Parts/Score

How to get there


This dialog box is available in any dialog box that includes options that can be applied to multiple parts including Page Size, Insert Blank Pages, Delete Blank Pages,
Resize Page, Resize Staff System, Edit System Margins, Edit Page Margins, and Space Systems Evenly. Choose Select Parts/Score from the "In" drop-down menu
and click Select.
What it does
This dialog box allows you to choose any combination of the score and/or parts to which you would like to apply changes.

[Parts/Score list]. The score and all parts are listed here. Check the box next to the item to which you would like to apply changes.
Check All • Check None. Click Check All to select all items in the list. Click Check None to uncheck all items in the list
OK • Cancel. Click OK (or press enter) to confirm your settings. Click Cancel to discard settings and dismiss the dialog box.

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Select Staff Systems

Select Staff Systems

How to get there

Click the Page Layout Tool . From the Page Layout Menu, choose Systems, then Select Staff System Range.

What it does
Use this dialog box to specify which staff systems you want updated when you adjust a single staff system in the score (such as indenting it, dragging it up or down,
and so on)

System __ Through __. Enter the numbers that define the staff system range you want.
OK • Cancel. Click OK to return to the score where any adjustments will affect the selected range of staff systems. Click Cancel to return to the score without
making any changes.

See Also:
Page Layout Tool

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Selective Mirror

Selective Mirror

How to get there

Click the Mirror Tool . After creating a mirror with the Mirror Tool: From the Window Menu, choose Advanced Tools. Shift-click the mirror measure (which
displays the Mirror icon). Click Selective Mirror ID.
When creating a composite mirror: From the Window Menu, choose Advanced Tools. Click the Mirror Tool. Click an empty measure; the Tilting Mirror dialog box
appears. Create a composite mirror in the usual way, ending by clicking Yes. Click Selective Mirror ID.

What it does
An intelligent copy of a full measure is called a mirror; a measure composed of selected notes from several different measures is called a composite mirror. There may
be times, however, when you want to display only selected notes from a mirror or composite mirror. For example, you might want a certain measure to display only a
single monophonic musical line distilled from the chordal right-hand piano part from which it was mirrored.
For this purpose, Finale offers you the ability to choose individual notes from a mirror or composite mirror; the result is a selective mirror.
In this graphic window, you can click the handles of the notes you want to include in the selective mirror. You can pick individual notes out of a chord or, by drag-
enclosing several handles, you can select groups of notes within chords. Finale will automatically provide rests to replace any notes you don’t select.
Click Prev and Next to scroll through other mirror measures. When you’re finished, click OK; Finale automatically enters the number of the selective mirror in the text
box.

ID:. This indicator identifies the selective mirror by number. Finale assigns each new selective mirror a sequential ID number. If the number in the Selective Mirror
ID text box was 0, Finale knows you’re creating a new selective mirror, and this indicator says NEW. If you entered a number in the Selective Mirror ID text box,
Finale displays the selective mirror assigned to that number, so that you can edit it.
OK • Cancel. When you’ve chosen all the notes you want included in your selective mirror by clicking their handles, click OK. You return to the Mirror Attributes
dialog box, where Finale places an X in the Selective Mirror checkbox and displays the new selective mirror’s number in the text box. Click Cancel to return to the
previous dialog box without creating (or editing) a selective mirror.
Prev • Next. If you’ve created more than one selective mirror, click Prev and Next to scroll through them.

See Also:
Mirror Tool

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Send MIDI Value

Send MIDI Value

How to get there


Choose Send MIDI Value from the MIDI/Audio Menu.

What it does
This dialog box simply provides a convenient way to transmit any MIDI message directly to your MIDI device. You might send a "note off" message on all channels in
the event of MIDI lock (the same function as the All Notes Off command–see MIDI Menu); you might use it to change the patch setting of one of your keyboards; or
you could reset a MIDI keyboard’s sustain pedal or pitch wheel that’s become "stuck" in the down position, for example. The permissible range of values in any of the
text boxes is zero to 127.
To send bank and program changes immediately, enter the program change and bank select values into the Send MIDI Value dialog box. Sending controller data is
simple. To choose a controller, click Controller, then choose the name of the controller, such as 64:Sustain Pedal, from the Controller drop-down list.

All MIDI Channels • Only MIDI Channel ___. With these controls, you specify the MIDI channel on which you want Finale to transmit the specified MIDI
data. If you select All MIDI Channels, Finale transmits the specified data on all sixteen MIDI channels (from both ports). If you select Only MIDI Channel ___,
Finale only transmits the data on the MIDI channel whose number you enter in the text box.
Key Off • Key On. Click one of these buttons if you want Finale to transmit a Key Off ("release the key") or Key On ("play the key") message to the key whose
number you’ve entered in the first text box. (MIDI key numbers increase sequentially as you move to the right on the keyboard; middle C is key number 60.) In the
second text box, enter the key velocity value with which you want the note struck (or released, for synthesizers that respond to key off velocity data).
Controller. Click this button and place the controller number in the first text box (or select the desired controller from the drop-down list). In the second text box,
enter the value you want sent for the controller whose number you’ve entered in the first text box.
Patch. Click this button to make a Patch change. From the drop-down list choose whether you want to make a simple program change, or a bank and program
change; then use the Bank Select and Program Change text boxes to make the changes. Or just select the instrument you desire from the General MIDI drop
down list and the Bank Select and Program Change will be set for you automatically.
Pitch Wheel • Channel Pressure. Click one of these buttons if you want Finale to transmit the pitch wheel or channel pressure (monophonic aftertouch)
value you’ve specified in the text box.
Other. If you’re very familiar with the MIDI protocol, you can use this button and set of text boxes to transmit other kinds of MIDI data—system exclusive data,
for example. The first text box contains the highest portion of the status byte. The contents of the remaining text boxes depend upon that status byte.
Done • Send. Click Send to transmit the data you’ve specified. Click Done to exit the dialog box.

See Also:
MIDI/Audio Menu

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Set Distances

Set Distances

How to get there


Choose Open from the File Menu, and Select MIDI from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI
File Options dialog box, click the Set Track-to-Staff List radio button. Define track-to-staff mappings for the desired tracks by clicking each row of information (see
Track/Channel Mapping dialog box). When you’re finished, click Set Dist.

What it does
In this dialog box, you can specify a uniform distance between staves in the Finale document that results from your MIDI file transcription, as well as the distance
between the top staff and the top page margin. Note that you can override these settings on a staff-by-staff basis by clicking the staff name and changing the Distance
number in the Track/Channel Mapping dialog box.

Distance to Top Staff. The number in this text box specifies the distance between the top line of the first staff and the top of the window in Scroll View (the
default is –.28 inches, because it’s being measured down from the top of the window). You can think of this distance as the distance between systems.
Distance Between Staves. The number in this text box specifies the distance from the top line of one staff to the top line of the next. The default is –.83
inches, because each successive staff is placed below the previous one in the system.
OK • Cancel. Click OK to confirm your staff placement settings and return to the Track/Channel Mapping to Staves dialog box. Your distance settings will be
reflected in the Distances column. Click Cancel to return to the Track/Channel Mapping to Staves dialog box without specifying a uniform distance between
staves and systems.

See Also:
Track/Channel Mapping
Import MIDI File Options

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Set Duration

Set Duration

How to get there


This graphic palette of rhythmic values appears any time you’re asked to specify a rhythmic value by clicking (for example) a Set Duration button in a Finale dialog box.

What it does
The Set Duration dialog box is available almost any time Finale asks you to specify a rhythmic value for a note. You usually have the option of entering a number in a
text box to specify the duration —in EDUs (1024 per quarter note)—but the dialog box provides a quicker and more visual method of selecting a rhythmic value. If you
select a rhythmic value using this dialog box, Finale automatically enters the appropriate EDU value in the text box.

[duration icons]. Click the icon representing the rhythmic value you want to select. You can only select one note icon at a time
OK • Cancel. Click OK to confirm, or Cancel to discard, your note duration selection.

See Also:
Document Options-Music Spacing

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Set Patch to

Set Patch To

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing
Continuous Data from the MIDI Tool Menu, then check Patch Changes. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through
the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool Menu.

What it does
This dialog box’s function is to allow you to set the patch values of the selected region.

Patch • Bank Select 0 • Bank Select 32 • Program Change • General MIDI. To enter bank and program change data from the MIDI Tool, follow the
procedure for entering simple patch changes, then enter the program change and bank select values into the Set Patch To dialog box that appears. You can also
select the instrument you want from the General MIDI drop down list to automatically set up the Bank Selects and Program Change required.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool

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Set Swing Ratio

Set Swing Ratio

How to get there

From the Window Menu, choose Advanced Tools. Click the Tempo Tool . Click a measure, then click Set Swing.

What it does
The Tempo Tool offers a method for creating a swing playback feel in your music. You’ll rarely need to use this method, however, because you can use the MIDI Tool
much more directly and easily to produce a true swing feel.
In this dialog box, you can specify the degree of swing you want applied to your music.

Percent. The number you type in this text box indicates the amount of swing you want. Briefly, the higher the number, the later the second eighth note in a
swing pair. (A value of 200 produces perfect, triplet-feel swing.) Because of the method the Tempo Tool uses to create the swing effect, the overall tempo of your
piece also drops. Note that you’ll also hear erratic results when Finale attempts to apply Tempo to a triplet. For these reasons, you’ll probably want to use the
MIDI Tool (instead of the Tempo Tool) to create a true, quick and easy swing effect that preserves the overall tempo of the piece and plays triplets correctly.

Technical note: The Tempo Tool creates swing by actually slowing the tempo while playing the first
eighth note of each pair. The number in the Percent box is the reciprocal of the amount by which
Finale first slows the tempo. Thus if the value is 200%, the tempo drops to half its speed. If the
Percent is 300%, the tempo drops to 1/3 its speed. (The second eighth note is always played at the
regular tempo. But because the tempo during the first eighth note was much slower, the effect is that
the second eighth note sounds delayed.) The higher the Percent, the more a pair of eighth notes
sound like a dotted-eighth-and-sixteenth pair.

Duration. The number in this text box specifies the durational value of the notes to which you’re applying swing, in EDUs (1024 per quarter note). For standard
eighth-note swing, for example, this number should be 512. (This text box is provided in case you want to swing your sixteenth notes, for example, or any other
value.) Instead of having to calculate the EDU equivalent for the rhythmic value you want to specify, you can click Duration. Finale displays a palette of note
durations; click the one you want to select and click OK.
OK • Cancel. Click OK to confirm the swing setting you’ve made and return to the Tempo Adjustment dialog box, where Finale has filled in the text boxes
according to your swing specifications. Cancel tells Finale to ignore any changes you made to the swing setting. You return to the Tempo Adjustment dialog box.

Tip: An easier method to add swing can be found in the Playback Controls or the Expression Tool.

Tip: The higher the number, the later the second note in a swing pair and the heavier the swing.

See Also:
MIDI Tool
Tempo Tool

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Set To - Continuous Data

Set To - Continuous Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing
Continuous Data from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or
by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool Menu.

What it does
This dialog box’s function is to allow you to set the values of the selected MIDI data type to a specified value.

Set Continuous Data to ____. In the text box, enter the value to which you want to set the continuous data within the selected region. The number you enter
in the text box pertains to the controller you’ve specified (on a scale from 0 to 127). For example, the sustain pedal (controller 64) only has two possible values:
127 (pedal down) and zero (pedal up). Therefore, to insert a "pedal down" message, click in the "graph area" of the MIDI Tool split-window at the location where
you want it to occur and drag to the right. (It doesn’t matter whether you select a large region by dragging or only a tiny vertical sliver—all Finale needs to know
is where the beginning of the selection falls, because that’s where it will insert the "pedal down" message.) Choose Set To from the MIDI Tool Menu, and enter
the 127 in the text box. (Be sure to use the Set To command again later in the passage to set the sustain pedal’s value to zero, or Finale will play back your
piece as though the sustain pedal was never released.)
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Set To - Key Velocities

Set To - Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Key
Velocities from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by
selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool Menu.

What it does
This dialog box’s wording changes to reflect your MIDI data type selection (key velocities, note durations, or continuous data). Its function is to allow you to set the
values of the selected MIDI data type to a specified value. For example, if you’ve selected Key Velocities, you can specify that all notes in the selected region should
be played back with the same volume by setting their velocity values to a single MIDI velocity value. (MIDI velocity is measured on a scale of zero, silent, to 127, very
loud.)

Set Key Velocities to ____. The numbers in these text boxes represent MIDI velocity values (which range from 0 to 127); Finale will set all notes in the
selected region to the key velocity value you enter in the text box.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Set To - Start/Stop Times

Set To - Start/Stop Times

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Key
Velocities, Note Durations, or Continuous Data from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging
through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool Menu.

What it does
This dialog box’s wording changes to reflect your MIDI data type selection (key velocities, note durations, or continuous data). Its function is to allow you to set the
values of the selected MIDI data type to a specified value. For example, if you’ve selected Key Velocities, you can specify that all notes in the selected region should
be played back with the same volume by setting their velocity values to a single MIDI velocity value. (MIDI velocity is measured on a scale of zero, silent, to 127, very
loud.)

Start Time • Stop Time. The Start Time is the difference between the notated, or quantized, attack of a note and the moment you actually struck the note in
your performance. The Stop Time is the difference between the notated release of the note and the moment you actually released the note. In this case, then,
you’re setting the Start and Stop Times of all notes in the selected region to a certain number of EDUs (1024 per quarter note). If you enter zero in both text
boxes (and select both checkboxes), Finale will adjust the attacks and releases of the notes in the selected region so that they’re perfectly "quantized" with their
notated values; when you play them back, they’ll sound rhythmically perfect. If you click Stop Times and enter 512 in the text box, for example, Finale will sustain
every note in the selected region one eighth note’s time beyond its notated value.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Shape Designer dialog

Shape Designer

How to get there

Click the Expression Tool , and double-click a note or measure. Click Shape. To create a new Shape Expression, click Create, Select, then Create (or, to edit an
existing Shape Expression, click it and then click Edit, then Edit again). Enter zero in the Select text box and click Select, then click Create.
You can also enter the Shape Designer dialog box when you’re choosing a multimeasure rest; a custom stem shape (Special Tools Tool); a Custom Frame for the
Text Tool; an Executable Shape as part of the playback definition for an expression; custom barline; custom arrowheads for Smart Shapes, or articulation shapes.

What it does
The Shape Designer is Finale’s built-in graphics designer. You might create, for example, a harp pedaling diagram, or a custom barline. You can also design
rectangles to use as frames when you’re creating text blocks, block rests to serve as multimeasure rests in extracted parts, and special shapes for use as custom
stems.
There are a number of drawing tools at the top of the screen; to create a shape, you click the tool you want to use, then click or drag in the blank display area. Each
time you do so, you create a separate, movable, resizable, reshapable object. Objects may be grouped together, sent behind or in front of other objects, copied or
pasted.
Using the Shape Designer Menu, you can display a background grid, change the shading and line thickness of objects, and specify Font for text objects; see Shape
Designer Menu.
To reshape an object, click it using the Selection Tool, so that its handles appear. Drag these handles to resize the object—or, if it’s a curve, slur, bracket, multiline or
polygon shape, double-click to reveal a number of individually-adjustable control point handles. For more precision, you can also select a single control point handle
and reposition it by typing numbers into the H: and V: boxes. These numbers are like plane geometry coordinates (horizontal and vertical, respectively). (After entering
a number, press tab to see the change reflected in the display.)
At the top of the window are the drawing tools. Here’s a summary:

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Shape Designer dialog

Selection Tool. Use this tool for selecting, re-shaping, and moving objects. Click an existing object to make its handles appear; shift-click to select multiple
objects. Drag a handle to re-shape the object, drag the object to move it, or press delete to remove it. Double-click a polygon, multiline shape, curve, or bracket
to display its control handles.
Hand Grabber Tool. This tool works just like the Hand Grabber Tool in Finale’s main tool palette; it lets you adjust the drawing’s position in the window. Drag
in the drawing area to shift the entire drawing in any direction.
Text Tool. Use this tool to create and edit text blocks, or text objects. Click in the drawing area, and then type. You change the Font using the Select Font
command in the Shape Designer Menu—either by first clicking in the text block just before the text you want to change, or by first selecting the entire text block
with the Selection Tool. Click an existing text block to position it. Click the mouse to exit the text block. Text doesn’t wrap automatically within a text object; as
you type, therefore, you need to press enter to create a new line within a text block.
Line Tool. Use this tool to draw single straight lines, anchored at the point of your first click, by dragging in the drawing area. Describe the line’s thickness,
shading, and dashed quality using the Shape Designer Menu, before creating it or when it’s selected. Press shift while dragging to create a perfect horizontal,
vertical, or 45-degree line.
Rectangle Tool. To draw a square or rectangle anchored at the point of your first click, drag diagonally in the drawing area. Press shift while dragging to
create a perfect square. Describe the rectangle’s thickness, shading, and dashed quality using the Shape Designer Menu, before creating it or when it’s selected.
Ellipse Tool. Drag diagonally in the drawing area to draw an oval, anchored at the point of your first click. Press shift while dragging to create a perfect circle.
Describe its thickness, and shading using the Shape Designer Menu, before creating it or when it’s selected.
Curve Tool. Drag in a straight line to create a shallow Bézier, non-tapered (reshapable) curve, anchored at the point of your first click, that bows away from the
imaginary line. You determine the direction of the arc by the direction you drag: drag to the right to produce an upward arc, drag upward to produce a leftward
arc, and so on. Describe the curve’s thickness and dashed quality using the Shape Designer Menu, before creating it or when it’s selected. Using the Selection
Tool, click a curve to see its bounding handles, which you can drag to resize the curve; double-click a bounding handle to display its control points, which you
can use to reshape the arc.
Slur Tool. Drag in a straight line to create a shallow solid or dashed Bézier (reshapable) tapered slur, anchored at the point of your first click. As with the Curve
Tool, you determine the direction of the arc by the direction you drag: drag to the right to produce an upward arc, drag upward to produce a leftward arc, and so
on. The Shape Designer Menu’s line settings don’t affect a slur. Using the Selection Tool, click a slur to see its bounding handles, which you can drag to resize
the curve; drag-select a bounding handle (by, for example, clicking to the upper left of the slur and dragging to the lower right) to display its control points, which
you can use to reshape the arc.
Multiline Tool. This tool creates shapes with more than one line segment. Drag to create the first line segment, and then click to specify each additional point
(an additional line segment is drawn with each click). Describe the shape’s thickness and dashed quality using the Shape Designer Menu, before creating it or
when it’s selected. Using the Selection Tool, click a multiline shape to see its bounding handles, which you can drag to resize the object; double-click a bounding
handle to display its control points, which you can use to reshape the individual segments.
Polygon Tool. This tool lets you create fully-enclosed shapes composed of multiple line segments. Drag to create the first line segment, and then click to
specify the next point. An additional line segment is drawn with each additional click. Double-click to close the shape (by drawing a final line back to the starting
point). Describe the shape’s thickness, shading, and dashed quality using the Shape Designer Menu, before creating it or when it’s selected. Using the Selection
Tool, click a polygon to see its bounding handles, which you can drag to resize the object; double-click a bounding handle to display its control points, which you
can use to reshape the sides of the shape.
Bracket Tool. Select a bracket style by choosing Bracket Style from the Shape Designer Menu. To draw the bracket, click once in the drawing area; a full-
fledged bracket appears. To resize it, click the Selection Tool; click the bracket and drag one of its bounding handles. Drag-select (by, for example, clicking to the
upper left of the bracket and dragging to the lower right) to display its control point handles, which you can drag to reshape a curly piano brace.
Graphics Tool. This tool allows you to place and export graphics using Finale’s Graphics Tool. (See Graphics Tool.)
View. This drop-down list lets you select a percentage of actual size at which you want your shape displayed. Use it if you want to "zoom in" on a very small
shape, or "zoom out" to see all of a very large shape. You can also specify a degree of magnification not listed in the drop-down list by typing a number directly
into the text box. Press tab after typing the number in the text box to display the change immediately.
Positioning: H: • V:. These text boxes display the horizontal and vertical coordinates, respectively, of your cursor as you move it around the screen. If you
click a handle of an object, these boxes show the handle’s coordinates—which you can edit, and then when you press enter, tab, or click outside the number box,
the handle will jump to the new coordinates. A positive number in the H: box indicates a position to the right of the origin (the small white circle that anchors your
shape), and a negative number indicates a position to the left. A positive number in the V: box indicates a position above the origin, and a negative number
indicates a position below it.
OK • Cancel. When you’re finished creating the shape, click OK to return to the previous dialog box; your shape is now ready for use. Click Cancel to return to
the previous dialog box without creating or editing a shape.

See Also:
Shape Selection
Shape Expression Designer

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Shape Designer dialog

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Shape Expression Designer

Shape Expression Designer

How to get there


If a shape expression has already been entered in your score, you can access this dialog box by selecting the Expression Tool and ctrl-double-clicking the
expression's handle.
Otherwise, select the Expression Tool, and double-click on a note or in a measure. Click Shape. Click on any of the Shape Expressions displayed, then click the edit
button. If no expressions are displayed, you'll need to create a shape expression first (see Shape Designer).

What it does
A Shape Expression is a graphic expression mark, such as a slur, crescendo, or glissando. You draw the basic shape in the Shape Designer (see Shape Designer). In
this dialog box you can define a playback effect for a shape; the box also gives you access to the Shape Designer, so that you can edit the shape itself.
It’s important to understand, however, that if you use this dialog box to edit a Shape Expression you’ve already placed in the score, you make every occurrence of that
shape in the score snap back to its original shape and size, even if you have carefully stretched and reshaped each after placing it into the score.

Shape • Select. The number in the text box identifies the raw shape you’re editing. If there’s a zero in this box, click Select to display the Shape Selection
dialog box, where you can double-click an existing shape (or click Create to enter the Shape Designer, where you can create your own. In either case, when you
return to the Shape Expression Designer, Finale enters the number of the shape you selected in the text box.
Edit. If there’s a number in the Shape text box, click Edit to enter the Shape Designer, where you can make changes to the shape.
Playback Options. When you click this button, the dialog box expands to reveal several options that govern this Shape Expression’s playback effect.
Allow Horizontal Stretching. When Finale creates the image of a page of your score in Page View, it tends to stretch each measure by a small amount in
order to justify each system neatly to the page margins. In many cases you’ll want any Shape Expressions (such as slurs, crescendo hairpins, and glissandi) to
stretch along with the measures in which they occur. In such cases, select this item. Deselect this checkbox if you don’t want to permit a shape to be stretched
horizontally—for example, you might prefer that a harp pedaling diagram retain its original dimensions.
Display On Screen Only (Do Not Print). Select this checkbox to prevent the shape expression from printing.
Break Multimeasure Rest. Select this checkbox to force a multimeasure rest to break when this expression is placed.
OK • Cancel. Click OK to confirm your settings and exit this dialog box. If you’ve just created a new Shape Expression, it appears in the selection box. Click
Cancel to return to the Expression Selection dialog box without creating or modifying a Shape Expression.

To apply playback settings to the shape expression, click the Playback tab. See Expression Designer-Playback. To set the default positioning for the expression
assigned as a note expression, click the Note Positioning tab. See Expression Designer Note Positioning. To set the default positioning for the expression assigned as
a measure expression, click the Measure Positioning tab. See Expression Designer Measure Positioning

See Also:
Expression Tool
Shape Designer

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Shape Expression Designer

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Shape Selection

Shape Selection

How to get there

Click the Expression Tool , and double-click a note or measure. Click Shape. To create a new Shape Expression, click Create (or, to edit an existing Shape
Expression, click it and then click Edit). Enter zero in the Select text box, and click Select.
This dialog box also appears when you’re choosing a multimeasure rest; a custom stem shape (Special Tools Tool); or an Executable Shape as part of the playback
definition for an expression.

What it does
When you’re editing or creating a new Shape Expression, custom stem, Executable Shape, or multimeasure rest, this selection box lets you choose the shape on
which to base it. If the Maestro Font Default file isn’t in place, and you haven’t loaded a Shape Expression Library or created any new shapes yourself, this selection
box will contain only the hard-wired multimeasure rest shape.

Edit. After clicking a raw shape, click Edit to enter the Shape Designer, where you can edit it. (For a discussion of creating your own shapes, see Shape
Designer.)
Create. Click Create to enter the Shape Designer, where you can "draw" your own shape. See Shape Designer.
Duplicate. Click Duplicate to make a duplicate copy of the highlighted expression. You can select more than one item. Use Shift-click to select an additional
item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. Click Delete to remove a shape from the selection box. You can select more than one item. Use Shift-click to select an additional item and include all
the items in between. Use ctrl-click to select only a specific additional item in the list. You can’t delete any shape that’s already being used (as a Shape
Expression or Executable Shape, for example).
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Cancel. Click Cancel to return to the previous dialog box without specifying a shape.
Select. After clicking one of the raw shapes in the selection box, click Select. You return to the previous dialog box. Note that you can simply double-click a
shape instead of clicking it and clicking Select.

See Also:

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Shape Selection

Selection Overview

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Shift Lyrics

Shift Lyrics

How to get there

Click the Lyrics Tool . Choose Shift Lyrics from the Lyrics Menu.

What it does
When you’re working with lyrics, you may occasionally need to push all the syllables in the music to the right or left by one note. For example, suppose you enter the
lyrics in the Edit Lyrics window but forget to anticipate a melismatic passage (where one syllable is sustained over several melody notes) in the melody. When you use
the Click Assignment feature to place the lyrics into the score, Finale will assign a syllable to each note of the melisma, and no subsequent syllables will align with their
correct notes for the rest of the melody. You can use the Shift Lyrics feature to shift all the syllables simultaneously so that they’re aligned with the correct melody
notes.
In this dialog box, you have several options for shifting the lyric syllables. You can specify that you want them shifted forward, backward, all the way to the beginning
(or ending) of the score, or only as far as the next melody note without a syllable.

Shift Lyrics to the Left • Right. From the drop-down list, choose the direction in which you want Finale to slide the lyric syllables, relative to the notes.

If you choose Left, then when you return to the score, click within the staff lines at the position of the note just to the left of the first syllable you want moved;
Finale will move that syllable (and subsequent syllables) to the left by one melody note, automatically skipping over rests and tied notes. Click again (in the staff
lines at the position of the note just before the first syllable) for each additional one-note shift.
If you choose Right, click within the staff lines at the position of first syllable you want moved; Finale will push that syllable (and subsequent syllables) to the
right by one melody note, automatically skipping over rests and tied notes. Click again (in the staff lines above the first syllable) or each additional one-note
shift.

Shift Syllables by One Note, to the End of the Lyric • Shift Syllables by One Note, to the Next Open Note. Finale needs to know what range
of syllables you want it to shift. If you click the first option, Finale will slide every syllable (from the one you click) all the way to the end of the lyric. (See Specify
Current Lyric dialog box for a full description of Finale’s three lyric types.) If you click the second option, Finale will only shift syllables from the one you click
through the next note that has no syllable attached to it.
Rotate Syllables. This option is only useful if you’ve created a set of lyrics with more syllables than there are notes to attach them to. Select this option on
those rare occasions when you want to replace the syllable on each note with the syllable to its right or left—but without changing which notes have lyrics.
OK • Cancel. Click OK to return to the score. If you selected To The Right, click in the staff above the first syllable you want to shift to the right. If you selected
To The Left, click in the staff at the position of the note just before the first syllable you want shifted to the left. Click Cancel to return to the score. Finale won’t
shift any lyrics if you click the staff.

See Also:
Lyrics
Lyrics Tool

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Simple Entry Options

Simple Entry Options

How to get there

Click the Simple Entry Tool . Then, from the Simple Menu, choose Simple Entry Options.

What it does
This dialog box controls the behavior of Simple entry.

Check for Extra Notes. This command is selected by default. When selected, Finale checks each note you enter, and will not allow you to enter extra notes
in the measure. If you try to add too many notes for the measure, or extend the duration of an existing note too far, Finale will beep to warn you, and won't allow
you to enter the note in the measure. When Check for Extra Notes is not selected, you can enter as many notes in a measure as you'd like. Remember that any
extra notes will extend past the barline of the measure, unless you choose Position Notes Evenly Across Measure in the Measure Attributes dialog box.
Create New Measures. When this item is checked, Finale automatically creates a new blank measure at the end the piece if you advance the caret beyond
the last existing measure. In other words, if you fill the last measure of the document using the Simple Entry Caret, Finale adds a new one.
Fill With Rests at End of Measure. When this item is selected, Finale will add rests to complete the measure whenever you finish working in a measure.
Playback Notes on Entry. When this item is selected, every time you enter or change the pitch of a note, you will hear the new pitch, and any other pitch in
the chord, played through your MIDI device. Deselect this item to turn off playback of pitches. This command is linked to the Playback during Drag option in the
Speedy Menu. If you change the selection here, it will also change in the Speedy Entry Tool and vice versa.
Use Simple Entry Caret. Select this item to display the Simple Entry Caret, which indicates the beat to which the next note entered will appear.
Select Notes on Mouse Entry. This option is available when Use Simple Entry Caret is unchecked. When this item is selected, you can immediately use
keyboard shortcuts to modify the note that was just entered. Note that selection is cleared after leaving the Simple Entry Tool.

Note: While using the Simple Entry Caret, you can always immediately use keyboard shortcuts to
modify the note that was just entered.

Select Tab Notes on Mouse Entry. This option is available when Use Simple Entry Caret is unchecked. When this item is selected, you can immediately
use keyboard shortcuts to modify the last fret number added to a tablature staff. Note that selection is cleared after leaving the Simple Entry Tool.

Note: While using the Simple Entry Caret, you can always immediately use keyboard shortcuts to
modify the note that was just entered.

Edit Keyboard Shortcuts. Click this button to open the Keyboard Shortcuts dialog box where you can edit the keystrokes used for simple entry commands.
OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to these settings. You return to the score.

See Also:
Simple Entry
Simple Menu
Simple Entry Tool
Edit Keyboard Shortcuts

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Size

Size

How to get there

Click the Text Tool . Select Other from the Size submenu of the Text Menu.

What it does
The Size dialog box allows you to select any point size for your text. You can also specify Fixed Size to display the text at the specified point size, regardless of any
reductions that would otherwise resize the text.

Point Size. Enter the point size for your text.


Fixed Size. Select Fixed Size if you want to display the text at the specified point size, regardless of any reductions that would otherwise resize the text.
OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score.

See Also:
Text Menu
Text Tool

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Slur Contour

Slur Contour

How to get there

Click the Smart Shape Tool . Choose Slur Contour from the Smart Shape Menu.

What it does
Use the Slur Contour dialog box to define the general shape Finale will automatically give to all new slurs when they’re created. Slurs already in the score aren’t
affected by changing Slur Contour settings. If you want to change the look of individual slurs that are already in the score, use the Smart Shape Tool to make your
adjustments.
In general, slurs have varying heights, depending on the length of the slur. Settings in the Slur Contour dialog box specify a flexible range of heights that Finale
automatically applies as you create a slur. With this feature, most of the slurs you create will require no extra editing. Of course you still have the ability to edit each
slur individually for those circumstances that require special consideration.
Slur height settings are arranged according to slur length — short, medium, long and extra long:

Type Length Finale’s default height setting


Short 1/8th inch or less .04861 inch
Medium 1 inch .14583 inch
Long 3 inches .25 inch
Extra Long 4 inches or more .25 inch

As you create a slur, Finale senses the length of the slur and automatically applies an appropriate height from among these settings.

When the length of the slur falls somewhere between short and medium, or between medium and long, Finale finds a proportional height somewhere between the
respective settings. When the slur’s length is less than the short or greater than the extra long slur lengths, Finale simply applies the height from the short or extra long
setting, respectively.
The Slur Contour dialog box focuses on slur height, but you can also set an inset value for each slur length to control the amount of "bow" or "hook" at the ends of the
slur. The amount of inset you choose for your slurs is a matter of style, and it might even be the same for each of the three slur lengths in the Slur Contour dialog box.
As you create a slur, Finale determines the inset value in the same way it determines the height, sensing the length of the slur and automatically applying an
appropriate inset based on the settings.
The height and inset values combine to form a control point, which is positioned in relationship to the start of the slur. When a slur is drawn, its arc approaches, but
does not actually reach, the height of the control point. So the visual height of the slur itself is actually somewhat less than the height of the control point.

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Slur Contour

Active display area. This area shows a slur that you can edit. Drag the control point handle beside the slur to adjust the default height and inset.
Staff display area. This display area simply shows the slur in proportion to other elements in your score.
Control Points for: Short Span • Medium Span • Long Span • Extra Long Span. Each slur length (short, medium, long and extra long) has its own
height and inset values. Choose the slur length for which you want to change height and inset settings.
Height. This is the vertical height of the slur’s arc; see the explanation earlier in this section.
Inset. Changing the default inset value affects the look of the ends of the slur. The slur ends are more rounded when the inset is a low number. They take on a
flatter look when the inset is a high number. The inset is a percentage of the length of the slur.
Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. The first time you enter the Slur Contour dialog box, the measurement drop-down list
defaults to the current unit selected in the Measurement Units submenu of the Edit Menu. Choose an alternate measurement unit if you prefer to work in other
units.
Reset • OK • Cancel. Click Reset to restore the built-in Finale default settings. Click Cancel to cancel any changes you made to the settings, or click OK to
save any new settings and return to the score.

Important: Remember that whenever you create a slur, Finale uses the current Slur Contour settings.
However, the settings are never applied to manually edited slurs already in the score.

See Also:
Slurs
Smart Shape Tool

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SmartFind and Paint

SmartFind and Paint

How to get there

Select a region with the Selection Tool . From the Utilities Menu, choose SmartFind and Paint > Set SmartFind Source Region. Then, from the Utilities Menu,
choose SmartFind and Paint > Apply SmartFind and Paint.

What it does
This dialog box allows you to copy items, such as articulations, expressions, slurs, and other Smart Shapes, to other rhythmically identical regions, leaving the pitches
intact. Use the checkboxes to control what markings to copy or paint onto the target measures.

Slurs • Articulations • Smart Shapes • Note Expressions • Measure Expressions. Check the items Finale should create in the target measures.
Check Slurs to paint slurs created with the Smart Shape Tool. Check Articulations to paint articulations created with the Articulation Tool. Check Smart Shapes to
paint any non-slur Smart Shapes created with the Smart Shape Tool. Check Note Expressions or Measure Expressions to paint markings created with the
Expression Tool.
Delete Target Markings Before Paint. Check this box to erase markings of any type selected in the target region before painting new markings. To
preserve markings in the target region, uncheck this box. Note that checking this option will only erase markings checked to paint. For example, if all markings to
paint were checked except articulations, SmartFind would erase markings in the target but leave articulations untouched. The checked marking types will be
deleted regardless of whether the markings appear in the source region.
Find • Find Next. Click the Find button to search for the first rhythmic pattern match. After finding the first match, the button will change to Find Next. Finale
will search in the following order: first measure of the top staff in the selected region to the last measure of the top staff of the region, layers one to four and
finally, down through the rest of the staves. SmartFind and Paint ignores grace notes, Voice 2 notes, and mirrors. Only rhythms and markings in the current layer
of the source region are used for the pattern matching and painting process. Patterns in all layers of the target region are considered for matches.
Paint. Click the Paint button to copy the source markings into the measure found by SmartFind and Paint. Only the markings on the first note of a group of tied
notes are painted to the target measures.
Paint All. Click the Paint All button to copy the source markings into all measures found by SmartFind and Paint. Clicking Paint All after clicking Find/Find Next
paints the current and all remaining matches. Measures skipped before clicking Paint All are left untouched.
Close • Cancel. Click Close or Cancel to tell Finale you’re done. You return to the score.

See Also:
Utilities Menu

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Smart Shape Placement

Smart Shape Placement

How to get there

Click the Smart Shape Tool . Choose Smart Shape Placement from the Smart Shape Menu.

What it does and how it works


Settings in the Smart Shape Placement dialog box let you control with precision how slurs, bends and glissandos attach to notes or noteheads in a score, by defining
their position relative to the top center or bottom center of a note or the tip of a stem. This guarantees exact positioning and consistent placement by Finale that would
be time-consuming and difficult to achieve if you had to manually adjust each Smart Shapes yourself. Any changes you make to a particular type of Smart Shapes in
the Smart Shape Placement dialog box will affect the corresponding end points of similar Smart Shapes in the score, except for any end points that have been
manually adjusted.
The horizontal and vertical positions of a slur or bend end are measured from a reference point that is different for slurs attached to noteheads and those attached to
stems.
For slurs or bends attached to noteheads, the reference point is the top center or bottom center of the notehead. When the horizontal and vertical offsets are zero, the
slur or bend end will touch the reference point on the notehead as illustrated below.

For slurs or bends attached to stems, the reference point is the end of the stem. When the horizontal and vertical offsets are zero, the slur or bend end will touch the
end of the stem.

Important: Remember that whenever you create a slur, bend, slide or glissando, Finale uses the
current Smart Shape Placement settings. Changes to these settings also apply to corresponding end
points that haven’t been manually adjusted in existing Smart Shapes. However, end points that you’ve
manually adjusted are never affected by Smart Shape Placement settings.

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Smart Shape Placement

Slur • Tab Slide • Glissando • Guitar Bend. Select the type of Smart Shape you would like to set placement options for from the drop-down list. The
appropriate list box is displayed for each type.
Slur List box. The different notational contexts upon which the attachment of slurs and bends is based are modeled in the list box. The general placement of
slurs and bends is based upon standard music notational practice. However, the precise placement is entirely up to you.

Finale makes intelligent decisions about a slur or bend’s direction and end position based on the stem positions of notes, as well as conditions of voicing and
beaming. The slurs in the list box represent the rules that Finale automatically follows.
Although there are a limited number of examples in the list box, they cover most of the contexts for controlling how note-attached slurs will connect to
noteheads and/or stems. In the first slur model shown in the list box above, you have control over two separate connections, even though they appear in the
same example.

The start of a slur or bend where a normal stem-down note begins a slur or bend (i.e., the stem is not frozen downward), and
The end of a slur or bend where a normal stem-down note ends a slur or bend.

The examples shown in the list box are meant to be general; the above example controls all similar situations of normal stem-down notes, not merely notes that
begin and end on the same pitch.
When you want to change how slurs and bends are attached in specific contexts, select the specific model and edit its Start Point and End Point. You can edit
the settings by dragging the slur ends in the display area (or by typing new values in the text boxes).

Important: These changes are global. In other words, changes to the Smart Shape Placement settings
affect all the existing and yet-to-be-entered slurs and bends in your score, unless you’ve manually
adjusted the end points of a particular slur or bend; Finale won’t change any slur or bend you've
deliberately edited. Note that any settings that refer to up-stem or down-stem layers also apply to
Voice 1 and Voice 2 notes, as well as stems frozen using the Mass Mover, Special Tools or Speedy
Entry tools.

The list box slur models (contexts) are shown below, with an explanation of how each slur connects to its start and end notes (Remember that since bends are
just a special case of a slur, they are affected by these settings as well):

Starting Connection Context Ending Connection

Over notehead. Over notehead.


Applies to a down-stem Applies to a down-stem note at
note at the beginning of a the end of a down-stem or mixed
down-stem or mixed stem stem context.
context.
Down-Stem Notes

Under notehead. Under notehead.


Applies to a note at the Applies to a note at the end of an
beginning of an up-stem upstem context.
context.

Up-Stem Notes

Over stem. Over stem.


Applies to an up-stem Applies to an up-stem note at the
note at the beginning of a end of a mixed-stem context.
mixed stem context.

Mixed Stem Notes

Over stem. Over stem.


Applies to a note at the Applies to a note at the end of an
beginning of an up-stem up-stem layer context.
layer context.

Up-Stem Layer

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Smart Shape Placement

Under stem. Under stem.


Applies to a note at the Applies to a note at the end of a
beginning of a down-stem down-stem layer context.
layer context.

Down-Stem Layer

Over flagged stem. Can’t be set for this style.


Applies to a flagged stem (Uses the connection from the
at the beginning of a over mixed-stem notes context.)
mixed-stem context.
Mixed-Stem Notes With Flag

Over flagged stem. Can’t be set for this style.


Applies to a flagged stem (Uses the connection from the up-
at the beginning of an up- stem layer context.)
stem layer context.

Up-Stem Layer With Flag

Under flagged stem. Can’t be set for this style.


Applies to a flagged stem (Uses the connection from the
at the beginning of a down-stem layer context.)
down-stem layer context.

Down-Stem Layer With Flag

Over stem.
Applies to an up-stem
Over stem.
note in a beamed group,
unless it’s the last note in Applies to an up-stem note in a
the group (so it’s treated beamed group, unless it’s the first
as a stemmed note). note in the group. Context may be
Context may be mixed- mixed-stem or an up-stem layer.
stems or an up-stem
layer Over Beams

Under stem.
Applies to a down-stem Under stem.
note in a beamed group,
Applies to a down-stem note in a
unless it’s the last note in
beamed group, unless it’s the first
the group (so it’s treated
note in the group. Context is a
as a stemmed note).
down-stem layer.
Context is a down-stem
layer.
Under Beams

Under notehead. Under stem side of


notehead.
Applies to an up-stem
grace note that precedes Applies to a down-stem principal
a down-stem principal note that follows an up-stem
note. Mixed-Stem Grace Note (down-stem grace note.
principal)

Over stem. Over stem.


Applies to a grace note in Applies to a principal note in an
an up-stem layer. up-stem layer.

Grace Note in Up-Stem Layer

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Smart Shape Placement

Under stem. Under stem.


Applies to a grace note in Applies to a principal note in a
a down-stem layer. down-stem layer.

Grace Note in Down-Stem Layer

Over fret number. Over fret number.


Applies to fret numbers in Applies to fret numbers in a TAB
a TAB staff. staff.

Fret numbers in a TAB staff

Under fret numbers Under fret numbers with


with stems. stems.
Applies to fret numbers Applies to fret numbers with stems
with stems in a TAB staff. in a TAB staff.

Fret numbers in a TAB staff with stems

As you’d expect, there are exceptions to these rules, and these exceptions allow you more flexibility. If you freeze note stems (for example, when you’re working
with two layers or voices or using the Selection Tool, Finale may automatically flip the slur. You can also override individual slur or bend directions by using the
Direction submenu in the Smart Shape Menu. Collision avoidance in Engraver slurs can also override Smart Slur Placement settings.

Tab Slide List box. The different notational contexts upon which the attachment of tab slides is based are modeled in the list box.

Finale makes intelligent decisions about a tab slides’s direction and end position based on the positions of notes, as well as the pitch direction. The slides in the
list box represent the rules that Finale automatically follows.
When you want to change how tab slides are attached in specific contexts, select the model from the list box and edit its Start Point and End Point. You can
edit the settings by dragging the slide ends in the display area (or by typing new values in the text boxes).

Important: These changes are global. In other words, changes to the Slide Placement settings affect
all the existing and yet-to-be-entered slides in your score, unless you’ve manually adjusted the end
points of a particular slide; Finale won’t change any slide you've deliberately edited. The slide list box
models are shown below, with an explanation of how each slide connects to its start and end notes:

Starting Connection Context Ending Connection

Notehead on line. Notehead on line.


Applies to a note on a line Applies to a note on a line where
where the pitch is the pitch is increasing from the
increasing to the next note previous note on a different staff
on a different staff line. line.
Different V, Lines, Increasing Pitch

Notehead on space. Notehead on space.


Applies to a note on a Applies to a note on a space
space where the pitch is where the pitch is increasing from
increasing to the next note the previous note on a different
on a different staff space. staff space.
Different V, Spaces, Increasing Pitch

Notehead on line. Notehead on line.


Applies to a note on a line Applies to a note on a line where
where the pitch is the pitch is decreasing from the

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Smart Shape Placement

decreasing to the next previous note on a different staff


note on a different staff line.
line. Different V, Lines, Decreasing Pitch

Notehead on space. Notehead on space.


Applies to a note on a Applies to a note on a space
space where the pitch is where the pitch is decreasing from
decreasing to the next the previous note on a different
note on a different staff staff space.
space. Different V, Spaces, Decreasing Pitch

Notehead on line. Notehead on line.


Applies to a note on a line Applies to a note on a line where
where the pitch is the pitch is increasing from the
increasing to the next note previous note on the same staff
on the same staff line. line.
Same V, Lines, Increasing Pitch

Notehead on space. Notehead on space.


Applies to a note on a Applies to a note on a space
space where the pitch is where the pitch is increasing from
increasing to the next note the previous note on the same staff
on the same staff space. space.
Same V, Spaces, Increasing Pitch

Notehead on line. Notehead on line.


Applies to a note on a line Applies to a note on a line where
where the pitch is the pitch is decreasing from the
decreasing to the next previous note on the same staff
note on the same staff line.
line. Same V, Lines, Decreasing Pitch

Notehead on space. Notehead on space.


Applies to a note on a Applies to a note on a space
space where the pitch is where the pitch is decreasing from
decreasing to the next the previous note on the same staff
note on the same staff space.
space. Same V, Spaces, Decreasing Pitch

Notehead on a space
or line. Notehead on a space or line.
Applies to a note on a Applies to a note on a space or
space or line where the line where the pitch is the same
pitch is the same to the from the previous note on the same
next note on the same staff space or line.
Same V, Same Pitch
staff space or line.

Glissando List box. When you want to change how glissandos are attached edit its Start Point and End Point. You can edit the settings by dragging the
glissando ends in the display area (or by typing new values in the text boxes).

Important: These changes are global. In other words, changes to the Glissando Placement settings
affect all the existing and yet-to-be-entered glissandos in your score, unless you’ve manually adjusted
the end points of a particular glissando; Finale won’t change any glissando you've deliberately edited.

Active display area. Use the Active display area to alter the Smart Shape model selected in the list box. Simply drag the Smart Shape’s end points to adjust

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Smart Shape Placement

where they’re placed relative to the notehead or stem. Note that the values for the Start and End Points are updated as you drag. Changes you make to the
Smart Shape’s end points will apply to all Smart Shapes of this type that you create. These changes will also apply to end points that haven’t been manually
adjusted in all similar Smart Shapes in the score.

Starting Connection Context Ending Connection

Notehead. Notehead.
Applies to all notes that Applies to all notes at the
begin a glissando. termination of a glissando.
Different V, Lines, Increasing Pitch

Guitar Bend List box. There are three figures Finale defaults to while creating Guitar Bend Smart Shapes, Bend (top option), Release, (second option) and
Quarter Bend (third option). Choose the figure you want to edit from the list on the left. Then, use the preview window to make desired edits to its default
appearance. Important: These changes are global. In other words, changes to the Guitar Bend Placement settings affect all the existing and yet-to-be-entered
guitar bends in your score, unless you’ve manually adjusted the end points of a particular guitar bend; Finale won’t change any guitar bend you've deliberately
edited.

Starting Connection Context Ending Connection

Arrowhead.
Bend. Applies to the default arrowhead
placement. Further discreet
Applies to a fret number
adjustments can be made to each
on any line but the top.
guitar bend arrowhead in the
score.
Different V, Lines, Increasing Pitch

Arrowhead.
Release. Applies to the default arrowhead
Applies to a fret number placement. Further discreet
on any line but the top one adjustments can be made to each
on a TAB staff. guitar bend arrowhead in the
score.
Different V, Spaces, Increasing Pitch

Arrowhead.
Quarter Bend. Applies to the default arrowhead
Applies to a fret number placement. Further discreet
on any line but the top one adjustments can be made to each
on a TAB staff. guitar bend arrowhead in the
score.
Different V, Lines, Decreasing Pitch

Arrowhead.
Bend on top line. Applies to the default arrowhead
Applies to a fret number placement. Further discreet
on the top line of a TAB adjustments can be made to each
staff. guitar bend arrowhead in the
score.
Different V, Spaces, Decreasing Pitch

Arrowhead.
Release on top line. Applies to the default arrowhead
Applies to a fret number placement. Further discreet
on the top line of a TAB adjustments can be made to each
staff. guitar bend arrowhead in the

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Smart Shape Placement

score.
Same V, Lines, Increasing Pitch

Arrowhead.
Quarter Bend on top line. Applies to the default arrowhead
Applies to a fret number placement. Further discreet
on the top line of a TAB adjustments can be made to each
staff. guitar bend arrowhead in the
score.
Same V, Spaces, Increasing Pitch

Start Point H: • Start Point V: These settings define the horizontal and vertical positions of the Smart Shape in relation to its start point. The Smart Shape
initially attaches to the note stem or to the center top (or bottom) of the notehead, depending on the rule.

Drag the cursor to the left or right to change the Smart Shape’s horizontal position. As you move to the left, the H: text box changes from zero (the initial
setting) to a negative number. As you drag the cursor to the right, the H: text box becomes a positive number.
To change the vertical distance or angle between the Smart Shape and the note, drag the Smart Shape up or down as far as you need. Drag the cursor up or
down to change the vertical offset. The further you move the Smart Shape up from its initial setting, the positive number in the V: text box increases. If you drag
the Smart Shape downward, the number becomes negative.

End Point H: • End Point V: These settings show the horizontal and vertical positions of the Smart Shape in relation to its end point. The Smart Shape initially
attaches to the note stem or to the center top (or bottom) of the notehead, depending on the rule.

Drag the cursor to the left or right to change the Smart Shape’s horizontal position. As you move to the left, the H text box changes from zero (the initial setting)
to a negative number. As you drag the cursor to the right, the H text box becomes a positive number.
To change the vertical distance or angle between the Smart Shape and the note, drag the Smart Shape up or down as far as you need. Drag the cursor up or
down to change the vertical offset. The further you move the Smart Shape up from its initial setting, the positive number in the V: text box increases. If you drag
the Smart Shape downward, the number becomes negative.

Units: EVPUs • Inches • Centimeters • Points • Picas. The first time you enter the Smart Shape Placement dialog box, the measurement drop-down list
defaults to the current unit selected in the Measurement Units submenu of the Edit Menu. Choose an alternate measurement unit if you prefer to work in other
units.
Reset • Cancel • OK. Click Reset to restore the built-in Finale default settings. Click Cancel to cancel any changes you made to the settings, or click OK to
save any new settings and return to the score.

See Also:
Smart Shape Tool
Slurs

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Smart Slur Options

Smart Slur Options

How to get there

Click the Smart Shape Tool . Choose Smart Slur Options from the Smart Shape Menu.

What it does
The Smart Slur Options dialog box allows you to specify how your slurs will appear in Finale. The dialog box gives you access to Engraver slurs, where slurs will avoid
collisions with other items. You can decide how much to move the Engraver slur to avoid other objects, such as articulations or note stems. Other settings determine
the limits of how far the Engraver slurs will distort to avoid a collision.
Finale lets you provide placement options for slurs and bends that break over systems, and lets you control the thickness of all Smart Shape slurs in your piece. Slur
Thickness is the desired thickness of the solid slur lines for every slur in your score.
You can specify exactly where slurs and bends will end horizontally on a staff line and at what point horizontally they will start on the next staff line within a system
break. You can also specify slurs’ and bends’ distances from the staff lines. Finale automatically breaks all slurs and bends according to the current Slur System
Breaks settings.

Note: Most changes you make to the Smart Slur Options settings affect existing Smart Slurs in the
score, except slurs that have been manually edited. Slur thickness and tip width changes affect all
slurs.

Use Engraver Slurs. Check this box to have slurs avoid collisions with other items, such as stems, beams and noteheads. If this box is checked, Finale will
use the settings below to deter-mine how Engraver Slurs should reshape to avoid collisions. Any manual edit to an Engraver slur will make it immune to Engraver
slur settings. It will still be marked as an Engraver slur in the contextual menu, but will be frozen. When frozen, Engraver slurs will no longer reshape to changes
in the notes. Remove Manual Adjustments in the contextual menu or the Selection Tool Utilities will revert the slur to behaving like an Engraver slur or unfreeze
the slur.

Note: Engraver slurs make extensive use of font annotation, to determine the size of other musical
items in collision avoidance. If you are using a music font not supplied by Coda, we strongly
recommend you annotate the font for improved performance in Engraver slurs.

Maximum Slur Angle In Degrees. Enter a value between 0 and 90 to restrict the angle of a slur. Note: settings made in the Slur Contour dialog box will be
ignored if this value is small.
Slur Symmetry Percentage. Enter a percent value (between 0 and 100) to influence slur symmetry. This slur symmetry value controls the tendency toward
symmetry for the slur, although other factors may override it. For example, on a flat baseline with 100% symmetry, the slur will tend to be symmetrical. However,
if the slur’s baseline is not horizontally flat with 100% symmetry, the slur will reflect the skewed baseline symmetrically.
Space Around Objects. Enter a value for how much space Engraver slurs should leave to avoid collisions with other objects.
Avoid Accidentals. Check this box to have Engraver slurs take accidentals into account for collision avoidance.
Space Around Accidentals. Enter a value for how much space Engraver slurs should leave to avoid collisions with accidentals.

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Smart Slur Options

Initial Adjustment: Stretch. Choose this options to tell Finale to stretch the curve of engraver slurs vertically and leave the endpoints anchored.
Initial Adjustment:Maximum Stretch, As Percentage of Slur Length • Fixed Amount. Enter a percentage or fixed amount to control the maximum
amount of vertical stretch allowed for engraver slurs.
Initial Adjustment: Maximum Lift. Enter a value to restrict the lift of a slur. Engraver slurs use lift to move the entire slur to avoid collisions with other
objects.
Slur System Breaks: Avoid Staff Lines by at Least. This is the distance (in the current measurement unit) between slurs and bends, and the top or
bottom staff line.
Slur System Breaks: System Start Adjustment • System End Adjustment. These text boxes contain the horizontal start and end points (in the
current measurement unit) of slurs and bends continuing over system breaks. They default to zero. Enter a positive number for the System Start Adjustment to
move the start point to the right (into the staff system) for slurs and bends that continue over a system break. Enter a negative number for the System End
Adjustment to specify the horizontal distance from the end of a staff system to the end of a slur or bend on that system. Distances are in current measurement
units. The System Start and End Adjustments control only the location of the slur or bend ends located at the end of one staff and the beginning of the next, not
the placement of the very beginning and end of the whole slur or bend.
Slur Thickness: Left • Right • H• V. The Slur Thickness text boxes contain values for how thick you want Finale to draw slurs (in the current measurement
unit). Each slur is composed of two curves, an inner curve and an outer curve. These settings determine the relationship between the curves - how fat the slur is,
how fast it tapers and whether one side is thicker than the other (for a "hand drawn" look). The V setting determines the general thickness of the slur. Equal
values give a balanced slur; unequal values make it thicker on one end than the other. The H settings can make the slur taper more or less quickly: a positive
value on the left (mirrored by the opposite value on the right) will make it appear to taper more quickly, a negative value less quickly.
Slur Tip Width. Enter the desired width for the slur tip.

Tip: Slur Tip Width for Shape Designer Slurs is set in Document Options-Lines and Curves .

Slur Tips Avoid Staff Lines. Check this box to have the ends of slurs shift to avoid staff lines.
Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. Select the measurement unit for the values in this dialog box only.
Reset. Click Reset to restore the settings to the defaults.

OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the default Smart Slurs. You return to the score.

See Also:
Smart Shape Tool
Font Annotation
Smart Shape Placement
Document Options-Lines and Curves
Slurs

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SmartMusic Accompaniment Options

SmartMusic Accompaniment Options

How to get there


From the File Menu, choose Save Special, then Save As SmartMusic Accompaniment.

What it does
Finale supplies a quick, convenient way to turn your score into a SmartMusic Public Accompaniment.

Note: SmartMusic Public files require a subscription to SmartMusic Studio 7.0 to open.

Solo With Accompaniment: Choose this option to create a SmartMusic Intelligent Accompaniment .le containing a single solo line and accompaniment.
Solo Staff: From this drop-down lists, designate a specific staff as the solo instrument that the Intelligent Accompaniment will follow. The selected Staff tells
SmartMusic Studio which staff or track to use for "matching " against the musician’s performance. It will also playback when Hear Solo Line is active in
SmartMusic.
Corresponding instrument (or closest match) in SmartMusic: From this drop-down lists select the type of instrument that most closely matches the
performance instrument. The instrument selected here tells SmartMusic Studio what the intended instrumentation is, particularly important for transposing
instruments. If the musician plays a different instrument, they will be able to select a different instrument and the solo line will automatically be transposed to the
appropriate transposition.
Full Ensemble or Group. Choose this option to save the accompaniment without specifying a particular solo instrument. The generated SMP file will contain
the staves selected in the list to the right. When this option is selected, the Intelligent Accompaniment feature is not available when playing the .le in SmartMusic.
Create Unique Instrument for Each Staff. Check this box to tell Finale to create a separate accompaniment track for each staff selected to the right. In
SmartMusic, each track can be turned on and off independently for playback.
File Info. Click this button to open the File Info dialog box, where you can specify the title and composer as it will appear in SmartMusic.
Select Accompaniment Staves. These settings allow you to designate staves to be combined into an accompaniment. In SmartMusic 8.0, these
instruments correspond to the actual playback sound when played in SmartMusic. In SmartMusic 7.0/7.1, all staves will play back with a piano sound, regardless
of the sounds assigned in the Instrument List. Note that percussion staves should be excluded.
OK • Cancel. Click OK to use the information entered. Give the file a name in the Save As dialog box and click Save. Click Cancel to return to the score
without saving a SmartMusic accompaniment.

See Also:
File Menu

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Space Systems Evenly

Space Systems Evenly

How to get there

Click the Page Layout Tool . From the Page Layout Menu, choose Space Systems Evenly.

What it does
The Space Systems Evenly command, which displays this dialog box, lets you specify which pages to space evenly, whether to allow systems to move from one page
to another, and when to skip spacing a partially-empty page. Finale will move the systems so that they are evenly spaced between the top and bottom margins of the
page.

Space Systems Evenly on: Current Part or Score • Selected Parts/Score • All Parts • All Parts and Score; Select. Choose Current Part or
Score to apply changes to the score or part that is currently active in the document window. Choose Selected Parts/Score and click Select to open the Select
Parts/Score dialog box where you can choose to apply changes to any combination of the score and/or parts. Choose All parts to apply changes to all parts and
All Parts and Score to apply changes to the full project - all parts and the score.
Space Systems Evenly on: Page _ only • All Pages • Page Range: From __ Through __. Select Page only to space that page only. Click All
Pages to space every page in the document. In the Page Range boxes, specify the range of pages you want spaced.
Place_Systems on Each Page. Enter the number of systems you want Finale to place on each page.
Place Maximum Number of Systems on Each Page. Choose this option to tell Finale to automatically adjust systems from page to page in order to
fit each page with the maximum number of systems while spacing them evenly.
Do Not Change the Number of Systems on Each Page. Choose this option to leave the same number of systems on each page and space them
evenly.
Space Pages More than __% Full. Enter a percentage in the text box to control when Finale will space systems. When the systems take up less
space, Finale will leave the systems alone, so you don’t end up with two systems and a vast white space between them.
OK • Cancel. Click OK (or press enter) to return to the score where any adjustments will affect the selected range of staff systems. Click Cancel to return
to the score without making any changes.

See Also:
Page Layout Menu
Page Layout Tool

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Spacing Widths

Spacing Widths

How to get there


From the Document Menu, choose Document Options, then select Music Spacing. Click Spacing Widths.

What it does
In this dialog box, enter width durations and scaling for music spacing, either using a Width Table or entering specific values.

Use Spacing Width Table; Widths. Select Use Spacing Width Table to use the spacing set-ting in the currently loaded Spacing Table. Click the Widths
button to enter the Spacing Widths dialog box, where you can view or change the actual pairings of rhythmic values to width allotments.
Use These Values: Reference Duration; Duration • Reference Width • Scaling Factor. Use These Values to use a spacing ratio for all values
instead of setting individual values using the Spacing Table. The Reference Duration is the selected note to base the spacing on, such as the quarter note or
whole note. Click Duration to bring up the Set Duration dialog box to select from a palette instead of typing in the EDU for the specified duration. See Set
Duration. The Reference Width tells Finale the amount of space to allocate to the Reference Duration. The Scaling Factor (a number from 1.0 to 2.0) determines
the spacing relationship between the Reference Duration and other durations in the document. For example, if a quarter note has a Reference Width of 72 EVPUs
and the Scaling Factor is set to 2.0, the half note will receive 144 EVPUs (or twice as much) space. Conversely, a Scaling Factor of 1.0 will give the same
amount of space to every note. The Scaling Factor for Fibonacci Spacing, a commonly used relationship in many fields, not just music spacing, is 1.618.
Use Default Width If Duration Not In Table. In each of the Spacing Width Libraries Finale uses to calculate the appropriate spacing to give each note,
there are width allotments assigned to each of two dozen note values. For example, Finale knows precisely how much space to give a quarter note, an eighth
note, and so on. Sometimes, however, Finale will encounter a note in your score for which it doesn’t have a predetermined width value—a quintuplet sixteenth
note, for example. If you leave Use Default Width unselected, Finale will automatically consult its Spacing Library to find out the widths assigned to the nearest
note values—a sixteenth note and a 32nd note, in the quintuplet example—and interpolates a new value automatically. This intelligent method will always give
you the most professional results. If you select Use Default Width, Finale will assign all unknown note values to a single default catch-all width value.

OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made in this dialog box. You return to the Document Options
dialog box.

See Also:
Music Spacing
Document Options-Music Spacing

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Special Key Signature Attributes

Special Key Signature Attributes

How to get there

Click the Key Signature Tool , and double-click the measure in which you want the key to change. The Key Signature dialog box appears. (There are a variety of
other ways to access this dialog box.) Choose Nonstandard from the drop-down list. Click the Attribute icon.

What it does
This dialog box concerns the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In
brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed in any order you
want.
For any such key system you create, you can specify a number of special attributes, such as the symbols you want to use in the key signature (instead of the flat and
sharp symbols).

Harmonic Reference. The number in this text box identifies the note that all other dialog boxes in Finale’s key system will consider to be the C, or
fundamental root tone. Enter zero for C, 1 for D, 2 for E, and so on. There’s little reason ever to change the default setting in this text box (zero, or C).
Middle Key Number. The number in this text box specifies the MIDI key number that corresponds to the Harmonic Reference number. (In the MIDI key
numbering system, the keys on a synthesizer are numbered sequentially from bottom to top. Middle C is note 60, C sharp is 61, and so on.)

You can use this parameter to good advantage if you want to transform your synthesizer into a transposing synthesizer (as far as Finale is concerned). For
example, if you set the Middle Key Number to 48 (C below middle C), Finale will interpret every note you play as a note an octave higher; likewise, when Finale
plays back a score, it will play notes on your synthesizer an octave lower than written.

Symbol Font. The number in this text box corresponds to the font which has the symbols you want to use for accidentals. To choose a new font, click Symbol
Font; Finale displays the Font dialog box, from which you can choose the new font.
Symbol List ID. The number in this text box identifies a symbol list you’ve created— an array of accidental Amounts (where one sharp has an Amount of 1,
one flat has an Amount of –1, and so on) and corresponding characters you want to appear in the key signature to represent them. To create a symbol list, click
Symbol List ID; the Symbol List dialog box appears, in which you can define the character you want to appear in place of the usual sharp, flat, double-sharp, or
other standard symbol. (See Symbol List dialog box.)
Go to Key Unit. Enter a number in this text box to specify the number of scale steps Finale should consider to be between each pair of keys on your MIDI
keyboard. In other words, if you’ve specified a quarter-tone scale, tell Finale that the Key Unit is 2—there are two scale tones, not one, between one synthesizer
key and the next. (If your synthesizer can produce quarter tones, however, leave the Key Unit at 1, so that Finale will correctly play back your quarter-tone score.)
If you’ve specified the correct Key Unit value, Finale will transcribe and play any music performed in the usual way correctly. If you created a quarter-tone scale
without changing the Key Unit, by contrast, you’d have to drastically modify your playing style.
Delete. Click Delete to restore all the settings in this dialog box back to their default "traditional" values.
OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box. You return to the Nonstandard Key Signature dialog box.

See Also:
Nonstandard Key Signatures
Key Signature Tool

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Specify Current Lyric

Specify Current Lyric

How to get there

Click the Lyrics Tool . Choose Specify Current Lyric from the Lyrics Menu.

What it does
Your lyrics can include up to 512 of each of Finale’s three lyric types: Verse, Chorus, and Section. There’s no technical distinction between these three types—the
lyrics you enter as a Verse can be used in the chorus of your song, and vice versa. They’re only there to help you keep track of your lyrics, and to make it easy to
change the font or style for a large chunk of lyrics at once (you can specify different fonts for Verses, Choruses, and Sections in Document Options-Fonts).
In this dialog box, you can specify the lyric type you want to edit (in the Edit Lyrics window), insert into the score (using the Click Assignment or Type Into Score
commands, or copy (using the Clone command). In the text box, you can also specify by number which Verse, Chorus, or Section you want to edit.

Verse • Chorus • Section. Click the radio button corresponding to the lyric type you want to select.
Number. The number in this text box identifies the specific Verse, Chorus, or Section that’s currently selected.
OK • Cancel. Click OK to return to the score. Now you’re ready to edit, type (with Type Into Score), or "click-assign" the lyric you specified. Click Cancel to
return to the score without changing the lyric type or number.

Tip: To Scroll through Lyrics in the score while in Type Into Score mode, use Ctrl -Up and Down
arrows.

See Also:
Lyrics Tool

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Speedy Options

Speedy Options

How to get there

Click the Speedy Tool . From the Speedy Menu, choose Speedy Options.

What it does
When you click on a measure with the Speedy Entry tool, an editing frame is drawn around the measure clicked. The Speedy Options dialog box allows you to control
the size of this editing frame. You can also change other functions of the Speedy Frame in this dialog box. In the bottom of the dialog box, you can specify how Finale
responds to your MIDI keyboard.

Speedy Frame: Size to Staff • Minimum Percentage • Maximum Percentage. Select this radio button to adjust the size of the Speedy Frame based
on a combination of the view percentage and the size of the staff. Use the Minimum and Maximum text boxes to keep the Speedy Frame within reasonable limits.
Speedy Frame: Use Fixed Scaling of. Select this radio button to set the size of the Speedy Frame to a specific percentage. Enter a percentage of the
original staff in the text box. The Speedy Frame will be displayed in the selected percentage.
Fill With Rests when Leaving Measure. Check this box to have Finale add enough rests to make a full measure upon exiting the measure. See Mass
Mover/Utilities/Fill With Rests.
Auto Launch Speedy Frame. With this option checked, selecting the Speedy Entry Tool will open a measure for editing. No mouse click is needed.
Use MIDI Keyboard for Input • Use MIDI Modifier Keys when in MIDI Input Mode. The Use MIDI Keyboard for Input checkbox mirrors the Use
MIDI Keyboard for Input item in the Speedy Menu. When Use MIDI Modifiers is checked, Finale will respond to MIDI signals to set the duration, tie notes and
other functions, as specified in the selected Key Map.
MIDI Modifier Assignments: [Key Map list] • Create Key Map • Edit Key Map • Delete Key Map. Select a map of MIDI keys from the drop-down
list to use, edit, or delete. To create a new map, click Create Key Map. Select a map and click Edit Key Map to modify the selected map. See Edit MIDI Modifiers
dialog box. To remove a map, select it then click Delete Key Map.
OK • Cancel. Click OK to confirm, or Cancel to discard, your speedy frame settings and return to the score.

See Also:
Speedy Entry Tool

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Staff Attributes

Staff Attributes

How to get there

Click the Staff Tool . Choose Edit Staff Attributes from the Staff Menu. Or, double-click a staff handle, or a staff name handle.

What it does
In the Staff Attributes dialog box, you can specify dozens of staff-specific traits for the staff whose handle you clicked, including its name, transposition, and clef. You
can also tell Finale whether or not certain musical elements should appear in this staff—measure numbers, default whole rests, time signatures, and repeat ending
brackets, to name a few.
You can create and edit full and abbreviated staff names mixing fonts and styles. You can also allow or prevent optimization of the current staff.

Staff Attributes for: Arrow controls. These arrows appear to the right of the staff name drop-down list, making it easy for you to move consecutively
through the staves to select staff attributes. Click the arrows to change staves instead of choosing a new staff name from the drop-down list.
Full Name • Edit; Abbr. Name • Edit. The full or abbreviated names you enter for the staff appear in a regular text font. Click the Edit button to display the
Edit Text window, where you can enter or edit the full or abbreviated staff name and set fonts and text styles. See Edit Text window.
Full Name • Position. It’s important to understand that you establish the position for staff names globally using the Set Default Name Position command in the
Staff Menu. Use the Position button here only to override the global position for this particular staff. To do so, click the Position checkbox, then click Position, to
display the Position Full Staff Name dialog box (see Position dialog box.)
Abbr. Name • Position. Here, too, you should realize that you set the global position for staff-name abbreviations using the Set Default Name Position
command. Use the Position checkbox and button here only to override the global position for this particular staff.
First Clef • Select. This display identifies the clef that will appear at the beginning of the staff. To change this clef, click Select. The Clef Selection dialog box
appears, displaying Finale’s eighteen default clefs. Double-click the one you want; you return to the Staff Attributes dialog box, where Finale displays the clef you
clicked.
Alternate Notation • Select. Use this checkbox and select button to set alternate notation for the entire staff. See Alternate Notation dialog box.
Transposition • Select. If the instrument whose staff you’re establishing is a transposing instrument (such as a trumpet or clarinet), select Transposition, then
click the Select button. The Staff Transpositions dialog box appears, in which you can specify the interval by which you want the music on the staff to be

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Staff Attributes

automatically transposed. See Staff Transpositions dialog box. To make the staff non-transposing again, click the checkbox again to deselect it.

Once you’ve established the transposing instruments’ staves, you can tell Finale to display the full score either in its transposed form or in its untransposed
(concert pitch) form. Choose Display in Concert Pitch from the Document Menu to show the score untransposed.
The staves in the full score always print out exactly as they appear on the screen (whether transposed or in concert pitch); when you extract parts, however, the
resultant parts are always printed in their transposed form. (The exception is the Special Part Extraction method of extracting parts, which will print staves
transposed or not according to your Display score in concert pitch setting.)

Staff: Standard 5-line • 1-line with Full Barline • 1-line with Short Barline• 0-line with Full Barline • Other. Choose from four commonly-used
staves, or choose Other to display the Staff Setup dialog box, in which you can specify a custom staff. See Staff Setup dialog box.
Allow Optimization. Use this option to control whether Finale will remove the staff during the optimization process. (When you optimize a score using the
Page Layout Tool, Finale hides resting instruments on each staff system.) Click to select this checkbox if you want to allow Finale to hide this staff (if it contains
no music) in optimized staff systems. Deselect the checkbox to prevent Finale from hiding the staff; the staff will appear, even if it contains no music. For example,
select this option for the Treble and Bass staves of piano staves, since scores usually display both staves of piano parts, even when other parts drop out.
Break barlines between staves • Break repeat barlines between staves. Normally, when you group some staves together, the barlines are drawn
continuously through them (including the blank spaces between them). Select "Break Barlines Between Staves" if you want barlines—both normal and repeat
barlines—not to continue through to the next staff above this one. (If this staff isn’t part of a staff group, you won’t notice any difference. You group staves by
selecting their handles with the Staff Tool and double-clicking one of the selected handles.)

Select "Break Repeat Barlines Between Staves" if you want to break repeat barlines that would normally continue through to the next staff above this one. This
option doesn’t affect normal barlines.

Display rests in empty measures. To save you time, Finale normally draws a default whole rest in every blank measure. Deselect this checkbox if you don’t
want Finale to draw these "false" whole rests for this staff. You might wish to suppress them if, for example, you simply want to print out blank score paper.
Flat Beams. Select this option to force all the beams in the staff to draw flat instead of at an angle.
Hide Staff. Select this option to hide the current staff. Use this control when you want to hide a staff used for ossia measure source staves, or if you’ve created
a staff that contains playback effects such as written out trills or tremolos. The word "(hidden)" appears in Staff Lists next to the staff name for any staves that are
hidden.
Ignore Key Signatures. Finale retains this setting for compatibility with older version files. Select this option if you want Finale to transpose all the notes in
the staff to the key of C for the entire piece, regardless of any key changes that occur.
Independent Elements: Key Signature • Time Signature • Notehead Font; Select. "Independent" means that these elements are allowed to vary
from staff to staff. These options let you specify key signatures, time signatures, music font, or notehead shapes for each staff independently.

For example, click Key Signature or Time Signature if you want this staff to be in a different key or meter than the other staves in the piece. When you click the
Key Signature or Time Signature Tool, a handle appears on every barline of each staff for which you’ve selected Key Signature or Time Signature. Click the
handle to access the Key Signature or Time Signature dialog box for that staff alone.
You can choose any font for your noteheads without affecting flags, rests, and accidentals on the notes in the staff. When the Notehead Font checkbox is
selected, Finale uses the font you select for the current staff. When this checkbox is not selected, Finale uses the font specified in the Select Default Fonts
dialog box. Click Select to display the Font dialog box. The Maestro Percussion font included with Finale contains noteheads for use on percussion staves, as
well as noteheads to use for hymnals requiring shape notes.

Items to Display: Augmentation Dots • Barlines • Clefs • Endings and Text Repeats • Key Signatures • Measure Expressions •
Measure Numbers • Repeat Bars • Rests • Staff These checkboxes specify which musical elements will appear in this staff. For example, you
probably wouldn’t want measure numbers to appear in both staves of a piano part; to omit them from the bass-clef staff, you’d deselect the Measure Name in
Score • Staff Name in Part • Stems;Select • Time Signatures. Numbers checkbox. Click the Select button to the right of the Stem check box to
customize your stem settings. See Staff Stem Settings.

Tip: If you don’t want barlines to appear in a particular measure in all the staves in your piece, select
the "Invisible" barline in the Measure Tool. Or, if you don’t want barlines to appear in your entire
score, deselect Display All Barlines in Document Options-Barlines.

Notation Style: Standard • Percussion • Note Shapes • Tablature; Select. Choose a notation style, then click the Select button to display the
dialog box for that style. See Percussion Map Designer for detailed information about setting up a percussion staff. Refer to Document Options-Notes and Rests
and Tablature Staff Attributes if you selected either of those options.
Color Noteheads • Define. Check this box to use color noteheads in the staff. Finale's colored noteheads were designed for use with Boomwhacker®
methods. Click Define to open Document Options-Notes and Rests where you can customize the color of each pitch.
OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve made in this dialog box and return to the score.

See Also:
Staff Tool
Staff Setup
Percussion Map Selection
Percussion Map Designer
Note Shapes
Tablature

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Staff List

Staff List

How to get there

Click the Expression Tool . Double-click a measure. Select Measure Expression in the Expression Selection dialog box. Double-click an expression in the
Expression Selection dialog box, or click an expression in the list and click Select. The Measure Expression Assignment dialog box appears. Click Staff List, then
choose New Staff List from the Staff List drop-down list, or select an existing Staff List from the drop-down list, and click Edit.
If an expression is already in the score, shift-double-click its handle to display the Measure Expression Assignment dialog box. Click Staff List, then choose New Staff
List, or select an existing Staff List from the Staff List drop-down list, then click Edit.
Or, click the Repeat Tool, click a measure, then double-click one of the two middle graphic repeat icons (both of which are backward repeat barlines). Or, if a backward
repeat barline is already in the score, double-click its handle, or right Control -click its handle and select Edit Repeat Bar Assignment. From the Staff List drop-down
list, select New Staff List, or select an existing Staff List then click Edit.

What it does
The Staff List dialog box provides control over creating and editing Staff Lists, which are used for showing measure expressions. You can name each Staff List that
appears in the drop-down list and cycle through every Staff List in your score using the arrow controls or by choosing a Staff List name from the drop-down list. Staff
Lists can be added or removed with the click of a button. You can also force Finale to always show a measure expression, overriding settings in the Staff Attributes
dialog box.

Staff List. Choose the Staff List you want to edit from the drop-down list, or click the up or down arrow control to cycle through the Staff List names. Information
about the currently selected Staff List appears in the dialog box.
List Name. The name of the currently selected Staff List appears here. If you’re adding a new Staff List, change the name that appears in the text box, then
click Add. The names of the Staff Lists appear in alphabetical order.
Add • Delete. Click Add to add a new Staff List after you’ve entered the name of the new list. The new list will be added to the drop-down list in alphabetical
order. You can create over 1000 staff lists (1023 to be exact). Click Delete to remove the currently selected Staff List. Finale removes the Staff List from the
drop-down list.
Staves • Score • Parts. The name of each staff in the score appears in the Staves column. Entries in the Score and Parts columns for each staff indicate
whether measure expressions or repeat endings for the staff should appear. Click in the Score or Parts column to set the Score and Parts entries for a staff. The
Score and Parts columns cycle between three states as you click: hide an expression for the staff (the column is blank), show an expression (an "X" appears in
the column), or force an expression to always appear (an "F" appears in the col umn). When an "F" appears, the expression will always appear in that staff, even
if you’ve elected to hide expressions or repeat endings for the staff in the Staff Attributes dialog box.
Set Score • Clear Score • Set Parts • Clear Parts. Use these buttons to control all the settings in the Score or Parts columns at once. Click Clear Score
(or Clear Parts) to remove "X" or "F" from every staff in the Score or Parts column. Click Set Score (or Set Parts) to add an "X" to every staff in the Score or
Parts column.
OK • Cancel. Click Cancel to return to the Measure Expression Assignment dialog box without choosing any Staff List for the expression you’re adding or
editing. Click OK to confirm your selection of a Staff List for the expression you’re adding or editing.

See Also:
Expressions
Measure Expression Assignment

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Staff List

Expression Selection
Expression Tool

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Staff Setup

Staff Setup

How to get there

Click the Staff Tool , then double-click a staff. Choose Other from the Staff drop-down list.

What it does
In the Staff Setup dialog box you define the number of lines in the current staff, set the length of barlines, the placement of rests, and the point on a staff at which
Finale will flip stem direction automatically.

Custom Staff. When Custom Staff is selected, you can create a staff with up to 27 lines. Simply click the handles to show or hide staff lines. Finale
automatically adjusts barlines to enclose the staff lines. The arrow indicates Finale’s reference staff line, above which you can add up to 11 staff lines, and below
which you can add up to 15 lines. This is the line from which Finale infers musical information and measures the placement of items such as clefs and the default
placement of rests.
Staff Lines. Click Staff Lines if you want to create a staff with up to 100 lines. This value shows the number of staff lines that will appear in your score. The
arrow indicates Finale’s reference staff line, which is the top staff line of the default 5-line staff. This is the line from which Finale infers musical information and
measures the placement of items such as clefs and the default placement of rests. All staff lines are added below the 5-line staff. Finale automatically adjusts the
barlines to enclose the staff lines.
Reset Staff to: • Standard 5-line • 1-line with Full Barline • 1-line with Short Barline. Use this drop-down list to reset the staff to a standard five-
line or common one-line staff (with a full or short barline). If you specify a single-line staff with full barline, Finale draws the barline the length of a five-line staff
and centers it on the selected line.
Line Spacing. Here, enter the space between each staff line. The value you enter will automatically round to an even number of EVPUs (or equivalent).
Top Barline • Bottom Barline. These offsets allow you to extend the upper and lower parts of a barline beyond the outer staff lines. To lengthen or shorten
the barlines, enter new values in the text boxes. Enter a positive value to move the endpoint up, and a negative value to move an endpoint down. These values
default to zero, so that the barlines automatically enclose the staff lines.
Units. Click the drop-down list to select the measurement unit you want Finale to understand and display in the Settings section of this dialog box.
Default Rest Placement: Double Whole Rests • Whole Rests • Half Rests • Other Rests. Enter values, in steps, for where you want Finale to
place each rest. The value is measured from Finale’s reference staff line. Enter a positive value to move the rest higher, and a negative value to move the rest
lower. Note that Finale displays the default whole rest at the same position as the whole rest you enter.
Stem Reversal. The Stem Reversal value, which is measured in lines and spaces, controls the point in a staff at which Finale will flip stems up or down. Enter
-4 to set the center line in a regular 5-line staff as the point to use for flipping stems. Enter a positive value to specify a line above the reference line, and a
negative value if you want to specify a line below the reference line.
Show Top Repeat Dot • Show Bottom Repeat Dot. Use these options to control whether Finale draws repeat dots on any repeat bars on a custom staff.
These options are selected by default so Finale displays both dots. If you do not like where Finale displays the dots, deselect these options to hide the repeat
dots on the staff. If you prefer only one dot (e.g. for a tablature staff) then deselect either Show Top Repeat Dot or Show Bottom Repeat Dot.
OK • Cancel. Click OK to save the new settings, or click Cancel to discard any changes you made to the settings. You return to the Staff Attributes dialog box.

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Staff Setup

Tip: Enter -4 to set the center line in a regular 5-line staff as the point to use for flipping stems.
See Also:
Staff Tool
Percussion Map Designer

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Staff Stem Settings

Staff Stem Settings

How to get there

Click the Staff Tool , and double-click any staff. Click the Stem Settings button in the Items
to Display subsection.

What it does
In this dialog box, specify the direction, staff offset and beam offset for stems in a staff. These settings are particularly useful for TAB notation.

Stem Direction: Default Direction • Always Up • Always Down. Choose Default Direction to use the document’s default stem direction as defined in
Layer options (see Document Options-Layers). Choose Always Up to freeze all steps in the staff up. Choose Always down to freeze all stems in the staff down.
Horizontal Stem Offsets: Up Stem • Down Stem. Enter a value in the Up Stem or Down Stem text box to specify the horizontal gap between the
notehead (or fret number) and the up and/or down stems in a staff.
Use Vertical Offset For NoteHead End of Stems • Offset from Notehead(s) • Offset from Staff • Up Stem • Down Stem. With Offset from
Notehead selected, specify a value in the Up Stem or Down Stem text box to define a specific vertical gap between the notehead (or fret number) and the start
(notehead end) of up and/or down stems in a staff. With Offset from Staff selected, specify a value in the Up Stem or Down Stem text box to define the absolute
vertical position of the notehead end of up and/or down stems relative to the staff.
Use Vertical Offset for Beam End Of Stems (Offset From Staff) • Up Stem • Down Stem. Check this box, and enter a value in the Up Stem
and/or Down Stem text box to define an absolute vertical position, relative to the staff, for the stem endpoints (beam end of the stem).
Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. When you enter the Staff Stem Settings dialog box, Units defaults to the current
measurement unit selected in the Measurement Units submenu of the Document Menu. If you prefer, choose a different measure-ment unit for beaming from the
drop-down list.

OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your stem settings and return to the Staff Attributes dialog box.

See Also:
Stems
Staff Attributes
Document Options-Stems
Document Options-Layers

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Staff Stem Settings

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Staff Styles

Staff Styles

How to get there

Click the Staff Tool . Choose Define Staff Styles from the Staff Menu.

What it does
Use the Staff Styles dialog box to create, edit and delete various sets of staff attributes that can be applied to sections of the staff. You can use staff styles to set up
instrument doubling, cutaway scores, partial measure alternate notation, and other items.

Available Styles • Style Name • New • Delete. This drop-down list contains all the currently available staff styles. Select one from the list to edit or
delete. You can also view the drop-down list using the arrows next to the list. Select New to create a new staff style. Type the new staff style name in the edit
window.
Copyable. Check this box to copy the staff style when the measure is copied with the Selection Tool.
Display in Context Menu. Check this box to have the Staff Style listed when you right-click a staff region.
Remaining Settings. The remaining settings are the same as in the Staff Attributes dialog box except that these settings allow you to select, deselect or
remain "as is" or grayed out so that whatever setting is already used remains unchanged. The drop-down list have an additional (no change) setting as well. See
Staff Attributes dialog box.
OK • Cancel. Click Cancel to return to the score without making changes. Click OK to confirm your changes and return to the score.

Tip: To apply a Staff Style, select a measure of a staff and choose Apply Staff Style from the Staff
Menu.

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Staff Styles

Tip: If you want the Staff Style to copy when the measure is copied, check Copyable.

See Also:
Staff styles
Apply Staff Style
Staff Tool

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Staff System Optimization

Staff System Optimization

How to get there

Click the Page Layout Tool . Choose Optimize Staff Systems from the Page Layout Menu.

What it does
In published full scores, it’s customary to omit from a system any staves that consist of entirely of rests. The result is a more compact and readable score. In Finale,
this process of suppressing the printing of empty staves within each system is called optimizing systems.
Use this dialog box to place or remove optimization on the specified staff systems. Optimizing can perform two functions: it always makes the staves in the staff
systems independently adjustable in Page View for a single staff system; and—depending on your settings—it removes empty staves from the staff systems.
Using this dialog box, you can specify the systems you want optimized—all of them, for example. Finale redraws your score (in Page View), omitting blank staves from
the specified systems; you’ll find that your score now fits on fewer pages.
Optimizing systems in Finale has another important benefit: it permits staves within staff systems to be independently movable in Page View. Under normal
circumstances, when you move, respace, or rearrange staves using the Staff Tool all staff systems are affected. If you have optimized a system, however, you’ll find
that the Staff Tool now allows you to vary the positioning and spacing of staves for a single staff system. Furthermore, again using the Staff Tool, you can create a new
grouping of staves which will affect only that staff system, letting you change the way in which your staves are bracketed. With groups, you can also tell Finale to
optimize staves together for instruments that require more than one staff, such as piano and harp.
Finale locks in this staff configuration. If, for example, you return to Scroll View after optimizing systems, and add some music to a staff which no longer appears in
Page View (because the system has been optimized), the staff won’t reappear. If you want to edit, reformat, enlarge, or reduce your music, remove optimization before
you do it (by choosing the Optimize Staff Systems command again and selecting Remove System Optimization), and later reapply optimization. For this reason, it’s
best to make optimization the last thing you do before printing, after the piece has been formatted, proofread, and ready to be given its final layout. See Staff Attributes
dialog box.
A measure with a "real" whole rest—one you’ve entered with the Simple Entry or Speedy Entry Tool—is not considered empty. If you notice that an apparently empty
staff won’t disappear from its system, it probably contains a "real" whole rest, which you must remove before reapplying the Optimize All Staff Systems command.
You can, however, use this fact to your advantage to prevent the disappearance of a staff you don’t want removed—the treble-clef staff of a piano part, for example;
simply enter a "real" whole rest in one of the empty measures, and it won’t be removed from the system (and hence it won’t be separated from the bass-clef staff).
Note that you can tell Finale to ask you before removing each empty staff from the system, which means you can leave certain blank staves in place, if you want (the
same result you get by inserting "real" whole rests).
After optimizing a staff system, Finale will display a non-printing Optimization icon in Page View to the right of the system.

Optimize Staff System(s). Select this button if you want Finale to hide empty staves from the systems specified in the Staff System(s) __ through __ boxes.
In Page View and in printouts, the empty staves won’t appear in the affected systems. If you optimize a completely empty staff system, Finale will still display the
top staff, even though it’s blank.
Remove Empty Staves. This option determines whether Finale will remove empty staves from the staff system. When this option is selected, Finale optimizes
and removes empty staves from the staff system. When this option is not selected, Finale optimizes the staff systems, but keeps all staves—even if they’re
empty.
Ask Before Removing Staves. Finale uses this option only when Remove Empty Staves is selected. When Ask Before Removing Staves is selected and
Finale finds an empty staff in the staff system, Finale asks you to confirm that you want the staff removed for that system. You can click on Yes All or No All to
skip the remaining confirmations for all staves in all systems. When this option is not selected, Finale removes any empty staves from the staff system
automatically.
Keep At Least One Staff. This option is used only when Remove Empty Staves is selected. It determines whether at least one staff will remain in an
optimized staff system—even if all staves are empty.

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Staff System Optimization

Remove Staff System Optimization. Select this button if you want to restore all empty staves to the systems specified in the Staff System(s) __ through __
boxes. You might wish to remove optimization, for example, if the page layout has shifted, or you’ve added music in a previously empty measure, such that some
of your music now doesn’t appear (because it falls on an optimized staff). Once you’ve made such staves reappear with this command, reoptimize the score to
ensure that only truly empty staves are omitted.
All Systems of Current Part/Score • System(s) __ Through __. Click on All Systems of Current Part/Score to optimize the entire document. In the
System text boxes, specify the range of systems you want optimized. These numbers are inclusive; Finale optimizes the systems whose numbers appear in the
text boxes and all systems in between. Leave the second box empty if you want to optimize to the end of the score.
OK • Cancel. Click OK to return to the score, where Finale has hidden (or restored) the empty staves in the systems you specified. Click Cancel to return to
the score without affecting optimization.

See Also:
Page Layout Tool

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Staff Transpositions

Staff Transpositions

How to get there

In the score: Click the Staff Tool . Click the staff handle you want to set as a transposing instrument, then choose Edit Staff Attributes from the Staff Menu. In the
Staff Attributes dialog box, click Transposition, then click Select.
Transcribing a MIDI file: Choose Open from the File Menu, and choose MIDI File from the List Files of Type drop-down list. Double-click the name of a MIDI file you
want transcribed. In the Import MIDI File dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping for Staves dialog box, click the
topmost unassigned row of track information. Click Transposition.

What it does
You can define any staff in Finale to have any instrument transposition; for example, a trumpet staff can be notated up a whole step, yet Finale will still play back the
music at concert pitch. While you’re working on the score, you can view the instrumental staves in either their transposed or concert-pitch forms.
In this dialog box, you can specify one of several common transpositions, or you can create your own. You can also tell Finale that it should use a different clef for this
instrument when the staff is displayed in its transposed form. (Finale will use the normal clef you’ve specified as the First Clef for the untransposed staff.)
You can set up a staff to transpose chromatically, moving notes on a staff without changing the key signature. You can also direct Finale not to transpose the staff at
all by choosing None from either the Key Signature or Chromatic drop-down list. The Set to Clef option lets you simply click on a graphic display containing all the clef
choices to select a clef.

Key Signature. The Key Signature transposition drop-down list shows the most common transpositions that you might want to use. Make an appropriate
selection from the choices. In this list, M = major, m = minor, P = Perfect, and the numbers represent intervals (for example, 6 = sixth). Choose None to deactivate
all transposition settings in this dialog box, except Set to Clef. Choose Other if you prefer to make your own transposition settings for less common instruments. If
you choose Other, be sure to enter values into the Interval and Key Alter text boxes (see below). Finale will use these and the Set to Clef settings when
transposing the staff.
For this instrument… Choose this transposition
None Create Set to Clef transposition
A instrument (e.g. A clarinet) (A) Up m3, Add 3 flats
B flat instrument (e.g. clarinet, trumpet) (Bb) Up M2, Add 2 sharps
B flat instrument-treble (e.g. tenor sax, bass clarinet) (Bb) Up M9, Add 2 sharps
D instrument (e.g. trumpet) (D) Down M2, Add 2 flats
E flat instrument (e.g. E flat clarinet) (Eb) Down m3, Add 3 sharps
E flat instrument (e.g. alto sax) (Eb) Up M6, Add 3 sharps
E flat instrument-treble (e.g. baritone sax) (Eb treble clef) Up M6+Octave, Add 3 sharps
F instrument (e.g. French Horn) (F) Up P5, Add 1 sharp
G instrument (e.g. alto flute) (G) Up P4, Add 1 flat

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Staff Transpositions

Instrument (e.g. contrabass) Up Octave


Instrument (e.g. piccolo) Down Octave
Other Create your own transposition settings
Simplify Key. If checked, Finale examines the key produced by a transposition and determines if an enharmonic spelling would result in fewer sharps or flats.
For example, a passage in B Major for B flat trumpet, when unchecked, would be notated in C sharp Major (which has 7 sharps). When checked, the passage is
notated in D flat Major instead (with 5 flats). This checkbox is checked by default, and can be changed for each staff.
Interval. Enter a number for the desired degree of diatonic transposition. A positive number notates the part higher than the instrument’s sound, and a negative
number makes it lower. A value of zero indicates that no transposition will take place, 1 raises the part one step (an interval of a second), 2 raises it a third, and
so on. Negative numbers lower the part. To lower a part one octave, for example, you’d enter -7.
Key Alter. Use the Key Alter text box to tell Finale how to modify the key signature. A positive number in this text box adds sharps to the key signature (or
subtracts flats), and a negative number subtracts sharps (or adds flats).
Chromatic. The Chromatic transposition drop-down list contains the same options as the Key Signature drop-down list, except for the key change settings.
Instead, Finale will show the appropriate accidental on each transposed note without affecting the key signature. Choose None to deactivate all transposition
settings in this dialog box, except Set to Clef. Choose Other if you prefer to make your own transposition settings for less common instruments. If you choose
Other, the Interval dialog box appears. Finale will use the Interval settings and the Set to Clef settings when transposing the staff.
For this instrument… Choose this transposition
None Create Set to Clef transposition
A instrument (e.g. A clarinet) (A) Up m3
B flat instrument (e.g. clarinet, trumpet) (Bb) Up M2
B flat instrument-treble (e.g. tenor sax, bass clarinet) (Bb treble clef) Up M9
D instrument (e.g. trumpet) (D) Down M2
E flat instrument (e.g. E flat clarinet) (Eb) Down m3
E flat instrument (e.g. alto sax) (Eb) Up M6
E flat instrument-treble (e.g. baritone sax) (Eb treble clef) Up M6+Octave
F instrument (e.g. French Horn) (F) Up P5
G instrument (e.g. alto flute) (G) Up P4
Instrument (e.g. piccolo) Down Octave
Instrument (e.g. contrabass) Up Octave
Other Create your own transposition settings

Set to Clef. To change the clef for a transposed staff (such as a treble clef baritone part), select this checkbox, then click the clef that you want displayed for
the staff in its transposed form. If you don’t want Finale to use a different clef than the clef specified in the Staff Attributes dialog box, deselect Set to Clef.

Note: When Set to Clef is selected, Finale displays the selected clef regardless of any other clef changes in
the staff (unless you have Display Score in Concert Pitch" selected in the Document Menu). If you want all clef
changes to appear for a staff, make sure that Set to Clef is not selected in this dialog box, then choose the
proper clef in the Staff Attributes dialog box.

OK • Cancel. Click Cancel to return to the Staff Attributes dialog box without changing the transposition settings. Click OK to confirm the transposition settings
for the staff and return to the Staff Attributes dialog box. Finale selects the Transposition checkbox.

Note: When Set to Clef is selected for a staff, no clef changes will appear on the score. If you want clef
changes to appear for the staff, deselect Set to Clef, then specify the Starting Clef in the Staff Attributes dialog
box instead.

See Also:
Staff Tool
Staff Attributes
Track/Channel Mapping to Staves

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Staff Usage List

Staff Usage List

How to get there

Click the Staff Tool k. Choose Staff Usage from the Staff Menu.

What it does
Use the Staff Usage List dialog box to specify the exact vertical position of a selected staff, measured from the top of the window in Scroll View, and to verify which
staves in the score will be affected by your positioning changes.

Staff Usage List: Global • Special Part Extraction • Staff System (plus the current system number). Finale displays which staff systems will
be affected when you position a staff or staves. Finale has three ways of displaying information in Page View. The first is the default, or "Global", view. Finale can
temporarily display the page formatting in two other ways: during Special Part Extraction, and when a staff system or systems are "optimized" to remove resting
parts. The Staff Usage List indicator lets you know whether the positioning changes you make affect the "Global" view, or whether they only affect the temporary
formatting during Special Part Extraction or optimization.

When "Global" appears, dragging a staff or changing its Distance From Top value will alter its position in every staff system in Page View, and its position in
Scroll View.
When "Special Part Extraction" appears, dragging a staff or changing its Distance From Top value in Page View will affect its position in each staff system, but
won’t change its position in Scroll View. Dragging a staff in Scroll View will affect the staff’s position in Scroll View, but won’t change its position in Page View
until Special Part Extraction is turned off (no checkmark appears next to the Special Part Extraction command in the Edit Menu).
"Staff System" (plus the current staff system number) appears when the selected staff system has been optimized using the Page Layout Tool. Any positioning
change in Page View will affect the current staff system only.

Staff Number • Prev • Next. This number shows Finale’s internal number for the current staff (Finale numbers staves in the order that they’re created). There
is usually no reason to enter a different number for a staff. However, if you enter a new staff number, Finale will change the contents of a staff to match the
contents of an existing staff (it will not change the staff’s order in the score). When two staves share the same ID number, their contents are identical and
dynamically linked, so that any change you make in one will appear in the other. Click Prev and Next to move through the staves. Remember that Finale numbers
staves as you create them, so if you’ve rearranged or deleted staves, they might not be numbered sequentially in the score.
Distance From Top. This number sets the distance from the top line of the staff to the top of the window in Scroll View. Enter a negative value (in
measurement units) to adjust the vertical position of the staff down from the top of the window. If you enter the same number for two staves, Finale will
superimpose the staves.

Tip: Finale uses this value as a starting point for positioning a staff; staff positions in Page View and
printouts are also affected by any resizing you do with the Resize Tool.

OK • Cancel. Click Cancel to return to the score without changing the staff’s position. Click OK to confirm your changes and return to the score.

See Also:
Staff Tool

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Standard Frame

Standard Frame

How to get there

Click the Text Tool . Click a text block handle. Choose Standard Frame from the Text Menu.

What it does
Use the Standard Frame dialog box to specify whether a border appears around the text block, and to specify the thickness of the border. Also specify the amount, in
measurement units, to indent the text from the frame. This setting affects the text block both on-screen and on printed music.

Show Border. Use this option to determine whether a border will appear around the text block. When this option is selected, Finale displays a border around
the text block using the line thickness specified in this dialog box. When this option is not selected, the text block will appear without a border.
Expand Horizontally • Expand Vertically. These options control how text typed into the score will flow into an editing frame. Sometimes you will want the
frame to remain a fixed size, while other times you’ll want it to expand as you type. To have the frame automatically expand as you type, double-click a location
in the score and start entering text without dragging to create a frame; or, display the Frame Attributes dialog box for a text block already in the score and select
the Expand Horizontally option. The edge of the frame will expand left or right—depending on its horizontal alignment—as long as you enter text, until you press
enter (type a carriage return) to start a new line. To allow an unlimited number of lines of text in a frame, double-click a location in the score and start entering
text without dragging to create a frame; or, display the Frame Attributes dialog box for a text block already in the score and select the Expand Vertically option.
The edge of the frame will expand up or down—depending on its vertical alignment—as long as you enter text.

Neither of these options will be selected if you create a text block by double-clicking and dragging to create the size frame that you want the text to flow into.
Dragging the frame on-screen to adjust the text block’s width or height will also deselect these settings. Make sure that Expand Horizontally is not selected if
you want the text to wrap when it reaches the edge of the frame, and that Expand Vertically is not selected if you want the text to flow into the height of the
existing frame.
The sides of the frame show a single line on-screen to indicate that the frame will expand horizontally or vertically. A double line indicates that the frame is a
fixed size; drag the side of the frame to resize it.

Line Thickness. Enter the line thickness, in current measurement units, for the border.
Inset Text. Enter the distance, in measurement units, that you want the text to be inset from the border or the frame shape. This value is always used, even if
you don’t show the border or shape.
OK • Cancel. Click Cancel to return to the score without changing the settings for the frame that the text flows into. Click OK to confirm your settings and return
to the score.

See Also:
Text Tool
Custom Frame

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Stem Connection Editor

Stem Connection Editor

How to get there


From the Document Menu, choose Document Options and select Stems. Click the Stem Connections button. Then, click Edit to edit an existing stem connection for a
notehead, or click Create to create a new stem connection.

What it does
Use this dialog box to graphically adjust where stems connect to every occurrence of a notehead, such as an X or a diamond, in your score. You can adjust how
upstems and downstems connect to noteheads by entering values in the dialog box; or you can drag and precisely position stems on the notehead that appears in the
display area.

Display area. This area displays the alternate notehead shape with its upstem and downstem. Adjust how the stems connect to this notehead in the score by
dragging the stems vertically and horizontally. Drag the upstem and downstem to adjust their connections to the notehead. As you drag, the values in the Upstem
and Downstem H: and V: text boxes change to match the new stem positioning.
Connection. Up to 128 stem connections for alternate noteheads (such as X noteheads, diamonds, and so on) may be defined in a single document. The
number of the currently displayed connection (1 through 128) appears in the text box; this number matches the slot number of the connection in the Stem
Connections dialog box. To move forward or backward through the list of stem connections in the current Finale document, just click on the spin controls, or type
the number of the connection you want to adjust.
Notehead: Select • Set Font. Click Select to choose the notehead whose stem connections you want to adjust. The alphabetic equivalent of the notehead
character appears in the notehead text box. Note that this character always appears in a regular text font, regardless of the music or text font you selected for the
notehead shape. Click Set Font to tell Finale which font to use for the notehead. The Font dialog box appears; make your selection and click OK. The notehead
symbol in the font that you’ve selected appears in the display area.
Stem Adjustments: • Upstem: H: • V: Downstem: H: • V: • Reset. Instead of dragging the stems in the display area, you can adjust the stems by
typing values. Enter new values in the H: and V: text boxes, in the current measurement unit, to adjust the horizontal and vertical positioning of the upstems and
downstems in relation to the notehead. A positive number in the Upstem or Downstem H: text box moves the downstem or upstem to the right, and a negative
number moves it to the left. A positive number in the Upstem or Downstem V: text box moves the stem’s base (where the stem connects to the notehead) up; a
negative number in a V: checkbox moves the base of the stem down, at a resolution of 1/64s of an EVPU. Click Reset to reset all H: and V: settings to zero (the
default value).
View. For more precise control over positioning of stems, you can enlarge the view of the notehead from its actual size (100%) up to over 32,000%. Type a
value for the percentage into the checkbox, or select a percentage from the drop-down list.
OK • Cancel. Click Cancel to return to the Stem Connections dialog box without changing any settings for the currently displayed stem connection. Click OK to
confirm your stem connection settings and return to the Stem Connections dialog box.

See Also:
Stem Connections

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Stem Connections

Stem Connections

How to get there


From the Document Menu, choose Document Options and select Stems. Then, click the Stem Connections button.

What it does
Use the Stem Connections dialog box to control whether special stem connections are used in your score. Create new stem connections and edit or remove stem
connections for the custom noteheads in your score. The available stem connections in the Stem Connections dialog box support 128 custom noteheads. The
adjustments are measured in 1/64ths of an EVPU.

Edit • Create. Click Edit or Create to display the Stem Connection Editor dialog box, where you edit an existing stem connection or create a new one. Each
newly created stem connection appears at the end of the list.
Duplicate. Click Duplicate to make a copy of the selected stem connection. The new item appears at the end of the list. You can then edit it to change the
notehead.
Delete. Click Delete to remove the currently selected stem connection from the list.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list.
Cancel. Click Cancel to return to the score discarding any changes to the Stem Connections dialog box.
Done. Click Done to return to the score. Any changes made in the Stem Connections dialog box, including any change to the Use Stem Connections option (that
indicates whether Finale will use the special stem connections), will take effect.

See Also:
Selection Overview

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Suffix Keynumber Offsets

Suffix Keynumber Offsets

How to get there

Click the Chord Tool . Choose Manual Input from the Chord Menu. Click a note (if it already has a handle, double-click the handle). Click Advanced. If the Suffix
ID text is zero, click Select, click a suffix, click Edit, and click Set Play. Otherwise, click Suffix Edit and click Set Play.

What it does
In this dialog box, you can define the voicing you want Finale to use when it plays back the chord suffix you clicked. Each note of the chord is identified by a number
that represents its interval, in half steps, from the root; this number is called the keynumber offset. Either enter each keynumber offset in a text box and click the right
and left arrows to scroll the display, or—more efficiently—click Listen and play the chord in whatever voicing you prefer (see Listen dialog box); you can build a suffix
of up to sixteen notes. A negative number specifies a note that’s been played below the root of the chord, and a positive number specifies one above.
Every time Finale encounters a chord symbol with that suffix in playback, it will use the voicing you specified. Because the notes of the playback definition you’re
creating are measured from the root, a given suffix will always play back correctly, no matter what the root of the chord—in other words, a minor ninth will always
sound like a minor ninth.
Technical note: This dialog box is also where Finale stores its knowledge of chord symbols; when you play a Cm7, Finale consults the information in this dialog box to
decide which chord symbol to display (when you’re using one of its automatic-chord input features). Technically, you could edit Finale’s associations of chord suffix to
a group of notes (and their intervals from the root) in this dialog box, so that Finale would display Csus4 when you played a Cm9 (if you really wanted it to), for
example. However, if your aim is to teach Finale to recognize unusual or complex chords, you’ll find Finale’s learned chords feature to be a far more convenient
method. See Chord Symbols.

<< >>. Click these arrow buttons to scroll to the right or left through the series of sixteen keynumber offset values.
Clear. Click Clear to set all the text boxes to zeros, removing the chord’s playback definition.
Listen. Instead of typing in half-step values, you can enter the appropriate numbers in all of the text boxes at once simply by playing the complete chord on
your MIDI keyboard. Click Listen; Finale displays a message asking you to first play the root of the chord, so it will have a point of reference from which to
compute the keynumber offsets. Now Finale prompts you to play the suffix itself (without the root). Finale enters the appropriate numbers in the text boxes.
Remember that even though you just played a specific root and suffix voicing, Finale will remember this suffix voicing no matter what its root—so, for example,
you can define all your major seventh chords at once.
OK • Cancel. Click OK to confirm the playback definition for the chord suffix and return to the Chord Suffix Editor dialog box. Click Cancel to return to the
Chord Suffix Editor dialog box without modifying the suffix’s playback definition.

Tip: Each number or offset represents the interval, in half steps, from the root. Clear sets the numbers
in all the text boxes to zero, removing the chord's playback definition. Press Listen to let you play the
chord on your MIDI keyboard and have Finale automatically enters the offsets for you.

See Also:
Chord Suffix Editor
Chord Tool

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Superscript

Superscript

How to get there

Click the Text Tool . Select Superscript from the Text Menu.

What it does
The Superscript dialog box allows you to adjust the vertical position of the text, adjusting the spacing between lines by the same amount.

Amount. Enter the amount (in measurement units) that Finale should shift the selected text characters vertically above or below the baseline. A positive value
raises the text (making it superscript), and a negative value lowers the text (making it subscript).
OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score.

See Also:
Text Menu
Text Tool

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Swap One Font for Another

Swap One Font For Another

How to get there


Choose Swap One Font for Another from the Data Check submenu of the Document Menu.

What it does
This dialog box tells Finale to inspect the font of every musical element in your piece—articulations, expression marks, chord symbols, the music itself—in search of the
font you’ve specified, and replace each occurrence of it with a different font you specify. This is particularly useful if, for example, you decide you want to change the
font for all your tempo markings at once, or all your chord symbol suffixes.

Search For This Font • Set Font. Click here to select the font, size and/or style to search for. Finale presents the Font dialog box.
Replace With This Font • Set Font. Click here to select the font, size and/or style with which to replace the found items. Finale presents the Font dialog
box again.
Swap Fonts in Shapes. This option determines whether Finale will search shapes, as well as text, for font changes when you select any of the data check
options relating to fonts. When this option is not selected, Finale only searches text—such as text expressions, lyrics, staff and group names, text blocks—for
font changes. Finale does not change the fonts for any font characters embedded in shapes.
OK • Cancel. When you click OK, when it’s finished swapping the fonts, you return to the document. Click Cancel to dismiss the dialog box without making any
changes.

Note: When Swap Fonts in Shapes is selected, any data check operation may take slightly longer,
depending on the number of shapes and the fonts used in the shapes.

See Also:
Data Check submenu

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Sweep For Channels Present In A Track

Sweep For Channels Present In A Track

How to get there


Choose Open from the File Menu, and Select MIDI from the File Type drop-down list. Double-click the name of a MIDI file you want to transcribe. In the Import MIDI
File Options dialog box, click the Set Track-to-Staff List radio button. Click Sweep.

What it does
This dialog box is a reference feature; it helps you identify the tracks of the MIDI file you’re transcribing by showing you which MIDI channels contain recorded data.

Sweep Track. Enter the number of the sequencer track you want to scan for information in this text box.
Key On/Key Off. When you click Sweep, Finale places an X in this row for each MIDI channel in which you recorded notes (Finale searches for "note on" and
"note off" data).
Controller • Patch Change • Pitch Wheel. When you click Sweep, Finale places an X in these rows for each MIDI channel in which you recorded MIDI
controller (pedaling, for example), patch change, and pitch wheel information, respectively.
Sweep. Click this button to tell Finale to display an X in the column for each MIDI channel number in which one of the four data types was recorded on the
specified track. This process has no effect on your data; it’s strictly an indicator to help you identify the track you’re working with.
Done. Click this button to return to the Track/Channel Mapping to Staves dialog box.

See Also:
Import MIDI File Options
Track/Channel Mapping to Staves

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Symbol List

Symbol List

How to get there

Click the Key Signature Tool , and click the measure in which you want the key to change. The Key Signature dialog box appears. From the drop-down list,
choose Nonstandard. Click the Attribute icon, then click Symbol List ID.

What it does
In this dialog box, you can specify a different character (or set of characters) you want to be used in place of each kind of accidental that appears in a key signature.
For example, if you’re creating a quarter-tone scale, you’ll need to create a system for labeling the notes between C and C sharp and between C sharp and D.

Symbol List (#). This indicator identifies, by number, the set of accidental/symbol pairings you’re defining here.
List Element (#). This indicator identifies, by number, the currently displayed pairing of an accidental (as identified by the Alter Amount, below—sharp, flat, or
quarter-sharp, for example) with the symbol you want to represent it.
Alter Amount. The number in this text box identifies the amount of chromatic alteration for which you’re defining a new symbol. For example, in the normal
scale, the amount of alteration for F sharp is 1; in a quarter-tone scale, however, the amount of alteration for F sharp is 2, because there’s an intermediate
alteration step (F quarter-sharp). A negative number indicates a downward chromatic alteration (in the "flat" direction).
Characters. In this text box, type the character (or characters) that represent the symbol (or symbols) you want to use for the displayed degree of chromatic
alteration. The characters in this text box are the system equivalent of the actual symbols, regardless of the actual font you’ve chosen in the previous dialog box.
For example, you’ll see a lower-case b in this text box if you’re using the Maestro music font and specifying a flat symbol.

Note that you can use more than one character to represent a particular accidental—up to eight, in fact. In the quarter-tone scale, for example, you might want
to use a pair of symbols—such as s$—to indicate the third quarter-step (between C sharp and D, for example). (This third quarter-step would have an
Alteration value of 3.)

Insert. Once you’ve created an accidental/symbol pairing, click this button to store it and add it to the Symbol List. Even though it may appear that you’ve
replaced a set of existing pairing data (by typing over them), Finale saves both the old and new information.
Delete. Click Delete to remove the currently displayed accidental/symbol pairing from the Symbol List.
Prev • Next. Click Prev or Next to view the previous or next accidental/symbol pairing in the Symbol List.
OK • Cancel. Click OK to confirm, or Cancel to discard, the accidental/ symbol pairing changes you’ve made. You return to the Special Key Signature Attributes
dialog box.

Tip: enter a lower case b for a flat and a # (Sh+3) for a sharp.

See Also:
Nonstandard Key Signature
Key Signature Tool

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Tablature Staff Attributes

Tablature Staff Attributes

How to get there

Click the Staff Tool , and double-click any staff. From the Notation Style drop-down list choose Tablature, then click Select.

What it does
Use this dialog box to make custom settings for a TAB staff including string tuning. You can use Finale to create tablature notation (for guitar or banjo, for example),
where small numbers appear on a special "staff" to indicate fret numbers.

Instrument: Standard Guitar • Lute; Edit Instrument. Select the type of tablature staff you want to create from this drop-down list. Click the Edit
Instrument button to define a dif-ferent fretboard instrument. See Fretboard Instrument Definition .
Default Lowest Fret. Type in this text box to indicate the lowest fret to use in the staff by default.
Capo Position. Type a fret number in this text box to indicate the location of a capo.
Show Tuplets. Check this box to display tuplet definitions in the TAB staff.
Show Clef Only On First Measure. Check this box to display the TAB clef on the first mea-sure only, and not at the beginning of subsequent systems.
Vertical Offset. Use this field to specify the vertical offset for the positioning of fret numbers on the strings of the staff. Click the drop-down list to specify a
different measurement unit.

Font; Set Font. Indicates the current fret number font. To change the font, size and style, click the Set Font button. The Font dialog box appears. See Font
Dialog box for more infor-mation.
Use Letters. Check this box to use fret letters in the TAB staff instead of numbers.
Break Tablature Lines At Numbers. Select this option to have space between the tablature lines and the tablature numbers.
On "OK", Reset Staff’s Attributes To Tablature Defaults. Check this box to revert to Finale’s default TAB staff settings.

OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your tablature set-tings. You return to the Staff Attributes dialog box. If you clicked
OK, Tablature will be selected in the Notation Style drop-down list.

See Also:
Tablature
Staff Attributes
Staff Tool

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Tablature MIDI Channels

Tablature MIDI Channels

How to get there


From the MIDI/Audio Menu, choose Tablature MIDI Channels.

What it does
While using a MIDI guitar for entry, each string will use an independent MIDI channel for transcription
into the score. This allows Finale to transcribe the correct fret number while recording into a tablature staff with HyperScribe.

Map MIDI Channels To Tablature Staff Strings. Check this box to use independent channels for each string in a Tablature Staff.
Listen for String #. Click in the text box under the channel column of the string you want to assign. Then, click the Listen For String button. Play the string on
the MIDI guitar to send Finale the MIDI channel information. To configure the channels sent the your MIDI guitar, refer to the instructions that came with the
guitar to MIDI interface.

OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your settings and return to the score.

See Also:
MIDI/Audio Menu

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Tap Source

Tap Source

How to get there

Click the HyperScribe Tool , and choose Tap from the Beat Source submenu of the HyperScribe Menu.

What it does
When you use HyperScribe to transcribe a real-time performance, Finale needs to know where the beats fall in relation to the music you’re playing. One of the easiest
ways to provide a tempo reference is to tap in time with your own playing by either playing a note on a MIDI keyboard or using a foot pedal. As long as your taps and
your playing are synchronized, with this option, you can speed up or slow down and Finale will still transcribe the performance correctly.
In this dialog box, you tell Finale what key, pedal, or controller you’ll be tapping to provide a tempo reference as you play.

Standard Sustain Pedal • Nonstandard Sustain Pedal • MIDI Note: • Channel: • Listen. If you’ll be needing both hands for your performance, you
might opt to tap the foot pedal to provide a tempo reference. Standard Sustain Pedal is the standard MIDI instrument sustain pedal (Controller #64). Nonstandard
Sustain Pedal refers to Yamaha sustain pedals and a few others, whose pedal down/pedal up polarity is reversed (relative to most pedals).

If you’ll only be playing with one hand, you can use the other to tap a key to serve as the tempo reference. Click MIDI Note. Then type a key number into the
MIDI Note text box (middle C = 60) and the Channel text box.
Instead of typing numbers, you can let Finale fill in these text boxes automatically—click Listen, whereupon Finale will prompt you to play a key. Finale will
enter the correct information. (If Finale doesn’t respond when you play a key or pedal, then your MIDI system may not be connected properly.) See Listen
dialog box.

Other • Select. If the beat reference will be neither a pedal nor a key, click Other. Then click Select to display the MIDI Event dialog box, where you can
specify any other MIDI signal to serve as the beat reference. See MIDI Event dialog box.
Beat equals • EDUs. Click the note duration you would like to use for your tap beat. Type in the number of EDUs for any duration that is not available from
the palette.
Tap States • Select. If there’s a meter or tempo change in the piece you intend to play, you can switch beat and quantization setups in midstream using Tap
States. Click Select to enter the Tap States dialog box; see Tap States dialog box for a full description. To return to a single tap/quantization setup, deselect the
Tap States checkbox.
OK • Cancel. Click OK to confirm, or Cancel to discard, your selection of tap signal and return to the score.

See Also:
HyperScribe Menu
HyperScribe Tool

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Tap States

Tap States

How to get there

Click the HyperScribe Tool . From the Beat Source submenu of the HyperScribe Menu, choose Tap; click the Tap States Select button.

What it does
Every now and then, you may need to transcribe a piece in which the meter or the "feel" changes. Instead of making you interrupt your transcription to change the tap
equals and smallest note settings, Finale lets you preprogram three additional settings, allowing you to switch freely from one to the next in the middle of your
performance. You create these settings, or states, in this dialog box.

Tap States __. The number identifies which of the three extra HyperScribe "setups" you’re going to be editing. Click the small up or down arrow buttons to
cycle between states 1, 2, or 3.
Tap Equals; Select • Smallest Note; Select • MIDI Trigger; Listen. In the first text box, enter the rhythmic duration of the each tap, in EDUs (1024 per
quarter note). Or simply click Select; the Set Durations dialog box appears. Click the desired tap value and click OK; Finale fills in the Tap Equals text box for
you.

The Smallest Note is your quantization value. This is the smallest note you will be playing. Click Select and the Set Duration dialog box appears where you can
select the note duration (including a dot if needed). Finale fills in the Smallest Note text box for you. See Set Duration dialog box for more information.
The three MIDI Trigger text boxes display MIDI codes identifying the trigger that will make Finale switch to the next Tap State you’ve defined. The quickest way
to enter these values is to click Listen, then simply play the key or pedal you want to designate as a trigger. Note that in order to switch to a different Tap State
setup, you don’t start tapping a different key or pedal—you continue to use the same tap device. Just tap the desired Tap State’s trigger once to tell Finale
you’re changing the meter or "feel"; then continue playing (and tapping the same tap device).

Note: You can specify the three Tap States in addition to the "main" duration/division setup you
establish in the Tap Source dialog box. As you play, you can switch freely among Tap States 1, 2,
and 3, as described above. However, you can’t switch back to the "main" duration/division setup while
you’re playing.

OK • Cancel. Click OK to confirm, or Cancel to discard, the Tap State settings you’ve made and return to the Tap Source dialog box.

See Also:
HyperScribe Menu
HyperScribe Tool

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Tempo Adjustment

Tempo Adjustment

How to get there

From the Window Menu, choose Advanced Tools. Click the Tempo Tool , and click a measure.

What it does
The Tempo Tool lets you edit tiny, moment-by-moment tempo fluctuations within the playback of a piece. You’ll rarely need to know about the fairly technical concept
of the Tempo Tool; nonetheless, you can use it to create certain unique temporal effects.
You can use it, for example, to create a swing effect, although the Playback Controls provide a much more efficient and effective method of creating swing.
In the Tempo Adjustment dialog box, "beats" refers to the beat in the current time signature, rather than assuming a quarter note is the beat. The measure range
defaults to this measure only (instead of through the end of the piece). Most tempo adjustments, except for "swing", should be placed only at the beginning of the area
they are supposed to affect.
Tempo data is what you "capture" in Transcription Mode from your real-time performance (by clicking Save Tempo) so that Finale can recreate your tempo changes
when it plays back the transcription. In this dialog box, however, you can directly edit the Tempo data for the measure you clicked.

Unit (#). You can change the tempo as many times as you want within a single measure. Each tempo change is called a Unit; this indicator specifies the Unit
whose data is displayed in the dialog box. Scroll among the Units you’ve created by clicking the small up and down arrow buttons.
Starting Time in Measure: Beat • EDUs. This drop-down list and text box allow you to specify the precise moment in the measure where you want the
tempo to change. You can enter any beat or EDU value, even one that corresponds to a point in the measure where no note is being struck. For example, in a
4/4 measure (even an empty one), you can specify a tempo change on the third beat by setting these controls to say Beat 3.

Set to ___ Beats Per Minute. Click this option if you want Finale to store each tiny tempo change as an absolute tempo change. In other words, Finale might
think to itself, over the course of a single measure: "60 beats per minute… 65… 70." This is the most precise method of tempo programming. Enter the
metronomic tempo marking in the text box (120, for example, for 120 beats per minute).
Change by ___ %. Use this option if you want Finale to establish a new tempo as a percentage of the tempo that preceded it. In other words, Finale might think
to itself: "60 beats per minute... 8% faster than that... 10% faster than that." Enter the amount of tempo change into the text box. While this kind of tempo change
is slightly less precise than the Set To kind, it lets you change the starting tempo (with an expression, for example), while still preserving the relative tempo
changes over the course of the piece.
Set Swing. Click this button to display the Set Swing dialog box, where you can specify a degree of swing for the measures. For standard triplet-feel, eighth-
note swing, just click OK. (See Set Swing Ratio dialog box.)
Measure ___ Through ___ • Measure ___ Through End of Piece. Using these controls, specify what range of measures you want to affect with this
tempo change. The change you specified will be repeated in each measure of the range.
OK • Cancel. Click OK to confirm, or Cancel to discard, your tempo settings and return to the score.

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Tempo Adjustment

See Also:
Tempo Tool
Set Swing Ratio

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Text Expression Designer

Text Expression Designer

How to get there

Click the Expression Tool , and double-click a note or measure. (If you want to edit a text expression that’s already in the score, double-click or ctrl-double-click
its handle.) Click Create, or click a text expression and then click Edit.

What it does
There are two kinds of Expressions: Text Expressions, composed of words or symbols you can type (Allegro, ritard, dynamic markings, and so on), and Shape
Expressions, composed of shapes you’ve created in the Shape Designer. Either can be defined for playback.
In this dialog box, you can create a new Text Expression or edit an existing one. This dialog box is separated into four tabs, each responsible for different attributes of
the expression. Use options under the Text tab to edit the spelling, font, or description, options under the Playback tab to edit how the expression affects playback,
such as volume or tempo, and options under the Note Positioning and Measure Positioning tabs to specify precise positioning of the expression relative to its
corresponding note or measure.

[Text box]. This text box is where you type the expression text itself, which appears in the system font regardless of the actual font you’ve chosen.

You can incorporate the number sign (#, or shift–3) into the text for your expression; it acts as a stand-in for data that may change, depending on the situation.
When the Text Expression appears in the score, Finale will substitute a number for the number sign, depending on the Replace ‘#’ Sign option you’ve selected.

Description. You can use this text box to label each expression for reference later. The description entered here displays to the right of the expression in the
Expression Selection dialog box. The description can be particularly helpful if you have a number of expressions that do not contain any text, such as
expressions defined only to modify the playback.
Enclosure: Shape • Edit. If you want your expression framed by a geometric enclosure, click this drop-down menu to choose the desired shape. Click Edit to
open the Enclosure Designer dialog box, where you can specify the shape, size, and line thickness of the enclosure. (See Enclosure Designer dialog box for
more information.) You might use this feature, for example, when creating rehearsal letters—you can enclose each letter in a neat rectangle.
Break Multimeasure Rest. Select this checkbox to force a multimeasure rest to break where this expression is placed, such as for a rehearsal number.
OK • Cancel. Click OK to return to the Expression Selection dialog box, where your new (or edited) text expression appears in the list (in the font you’ve
specified)—or to return to the score. Note that when you edit an expression, your editing will affect every occurrence of the marking in the score. Click Cancel to
return to the Expression Selection dialog box (or to the score) without creating or editing a text expression.

Tip: Set an opaque enclosure to have the Text Expression cut away other items underneath it in the
score.

To apply playback settings to the text expression, click the Playback tab. See Expression Designer-Playback. To set the default positioning for the expression assigned

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Text Expression Designer

as a note expression, click the Note Positioning tab. See Expression Designer Note Positioning. To set the default positioning for the expression assigned as a
measure expression, click the Measure Positioning tab. See Expression Designer Measure Positioning

See Also:
Expression Selection
General MIDI Patch Numbers & Names
Enclosure Designer
Playback Data Dump
Expression Tool

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Text Repeat Assignment

Text Repeat Assignment

How to get there

Click the Repeat Tool , and double-click a measure. When the Repeat Selection dialog box appears, double-click one of the displayed text repeats (if any). (If
none appear, click Create to create your own, type the repeat text; click OK, then double-click the new text repeat.) If you’ve placed a text repeat in the score, you can
also double-click its handle (or right-click its handle and choose Edit Repeat Assignment) to enter this dialog box.

What it does
A text repeat is a piece of text that functions as a fully operational repeat marking, such as "To Coda," "D.S. al Coda," and "D.C." You can either design your own or
use the ones in the Text Repeats Library provided with Finale, which you can load into your piece by choosing Load Library from the File Menu.
Once you’ve selected a text repeat by double-clicking it, this dialog box appears, where you can define its playback effect and positioning. If you simply want it to
appear as a graphic marking (with no playback function), just click OK without changing anything in the dialog box.

Text Repeat ID: (#). This indicator identifies the text repeat by number.
Never Jump. Choose this radio button to specify that this repeat indication does not direct playback anywhere.
Always Jump. Choose this radio button to always jump to the target on every pass. A Jumper directs playback to another measure or to another repeat defined
as a Mark—for example, to the coda.
Jump on Passes. Choose this radio button to specify the pass(es) you want playback to jump to the defined target. To indicate multiple passes, separate the
pass numbers with commas, or indicate a range with a hyphen (e.g. "2-4").
Play Section_Times. Choose this radio button and in the text box to the right, enter the number of times you want the defined repeated section to play.
Reset on Repeat Action. Once Finale has played the music the number of times specified in the Jump on Pass(es) or Play Section _Times text boxes—and
thus performed the Repeat Action—it will, if you wish, reset its internal "counter" back to zero and begin counting toward the Total Passes number again. This
option could be useful if you’re creating nested repeats, and want an inner repeat to be fully executed with each pass of the larger repeated region.
Stop on Pass_. Choose this radio button, and enter a number to indicate the pass you want Finale to stop playback.
Jump if Ignoring Repeats. Select this option if you want a text repeat to jump to its target even if "Ignore Repeats" is checked in the Playback Options dialog
box. (To tell Finale to ignore repeats, from the Document Menu, choose Playback Options, and then check Ignore Repeats.)
Target. The number in this text box is used to direct the flow of playback to another measure, a Mark-defined text repeat, forward a number of measures, or
backward a number of measures, depending on what is selected under the drop-down list. Each text repeat in the repeat selection dialog box is assigned an ID
number. If you want a text repeat to jump to another text repeat, select Text Repeat ID from the drop-down list and indicate the ID number of the text repeat to
which you want playback to jump. When Measure # is selected, this text box indicates the measure number to which the text repeat should direct playback.
When Backward is selected, Finale directs playback backward the number of measures entered. When Forward is selected, Finale directs playback forward the
specified number of measures.
Auto Update Target. If this option is checked, the target will update to accommodate measures in the repeated section that have been added, deleted, or
inserted.
Allow Individual Edits Per Staff. Finale usually places a text repeat in the same place in every staff. Check Allow Individual Edits Per Staff to allow each
staff’s text repeat to be independently movable.
Horizontal Offset • Vertical Offset. In these text boxes, specify the horizontal and vertical positioning from the top staff line, left barline of the measure. If
you are creating a new Text Repeat, these values indicate where you originally clicked.
Show On: All Staves • This Staff Only. Select All Staves to show the text repeat on every staff in the score and parts. All Staves is selected by default.
Select This Staff Only to assign the text repeat to the current staff only. Use the This Staff Only option if you want a text repeat to appear only in the current staff.

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Text Repeat Assignment

Staff List: New Staff List • (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will
display text repeats. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List dialog
box for the selected Staff List, and change which staves the text repeat should appear in.
OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box and place the new (or modified) text repeat in the score. Click
Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score.

See Also:
Repeats (barlines and text indications)
Repeat Designer
Repeat Selection
Repeat Tool

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There Are Too Many Beats In This Measure

There Are Too Many Beats In This Measure

How to get there

Click the Speedy Entry Tool . Make sure Check for Extra Notes is checked in the Speedy Menu. Click a measure, if needed, and enter more notes than are
permissible according to the time signature (five quarter notes in a 4/4 measure, for example). (If the dialog box doesn’t appear immediately, you’ve turned off the Jump
to Next Measure feature in the Speedy Menu; click the screen or press zero to exit the editing frame, and the dialog box will appear.)

What it does
This dialog box lets you know you’ve put too many beats into a measure, and asks how you want to handle the extra beats. If you’re in the middle of editing a
measure, you can tell Finale to wait until you exit the measure before determining whether or not to display. Exit the editing frame by pressing zero, and choose Jump
to Next Measure from the Speedy Menu, so that there’s no longer a check mark beside it. The dialog box will now appear only when you try to exit the editing frame
(with check extra notes selected) of a measure with too many beats.
Note: As in any dialog box, you don’t have to click the radio button itself to select one of the following options; you can also click anywhere on the words themselves
that label the radio button.

Leave the measure alone. Click this option to exit the editing frame, leaving the extra beats where they were. (You’d want to select this option if you were
creating a cadenza, for example, which typically has more beats than the time signature would normally allow.) However, until you adjust the positions of the
notes in the measure, you may see the extra notes "floating over" into the next measure.
Delete the extra notes. Click this option if you want Finale to eliminate the extra notes or rests from the end of the measure, even if it means truncating the
value of the last note or rest.
Move the extra notes to the next measure. Click this option if you want Finale to cut the extra notes or rests from the end of the measure and notate
them in the following measure. This could result in the last note being tied over the barline.
Keep moving the extra notes until all measures contain the correct number of beats. Click this option if you want Finale to cut the extra notes
or rests from the end of the measure and notate them in the following measure; if that measure then has too many beats, Finale cuts the extra notes from the end
and puts them in the third measure, and so on until every measure contains the proper number of beats. In effect, this option rebars the music, redistributing the
notes until every measure has the proper number of beats, according to the time signature.
OK. Click OK to exit the dialog box—and the Speedy editing frame—and process the extra beats as you specified.

See Also:
Speedy Entry Tool

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Tie Alterations

Tie Alterations

How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure containing ties to edit. Click the Tie Tool. Three handles
appear on each tie in the measure. Double-click the starting or ending handle of a tie you want to edit. The Tie Alterations dialog box appears.

What it does
Use the Tie Alterations dialog box to change the appearance and placement of individual ties in the score. Settings in the Tie Alterations dialog box for an individual tie
override the global tie settings in Document Options-Ties and Tie Contour dialog boxes. To edit all the ties in your document on a global basis, from the Document
Menu, choose Document Options and select Ties. See Document Options-Ties and Tie Contour dialog box for details.
Note: Instead of changing settings in the dialog box, you can drag individual ties by their handles to change their placement and shape onscreen as well as flip ties
using ctrl-F. As the tie’s position changes, Finale updates the Tie Direction, Start and End, Height, and Inset settings in the Tie Alterations dialog box to match your
adjustments.

Tie Placement: Start • H: • V: • End • H: • V:. Enter a value (in measurement units) into the Start H: text box for the tie’s distance horizontally from the
inside edge of the first note tied note. A larger number moves the tie to the right, farther away from the note. A smaller number moves the tie to the left, closer to
the note.

Enter a value (in measurement units) into the Start V: text box for the vertical distance of the tie’s left end over or under the first tied note. A larger number
moves the tie up and a smaller number moves the tie down.
Enter a value (in measurement units) into the End H: text box for the tie’s distance horizontally from the inside edge of the second tied note. A smaller number
moves the tie to the left, farther away from the note. A larger number moves the tie to the right, closer to the note.
Enter a value (in measurement units) into the End V: text box for the vertical distance of the tie’s right end over or under the second tied note. A larger number
moves the tie up and a smaller number moves the tie down.

Tie Contour: Height • Left • Right. Height is not the actual height of the tie, but of its left and right control points (imaginary points above the tie’s arc that
Finale uses, along with the Inset setting, to calculate the height and curve of the arc). When a tie is drawn, its arc approaches, but does not actually reach, the
height of the control points. Enter a value (in measurement units) into the Height text boxes to set the height of the left and right control point of the tie. A larger
number increases the height of the arc. A smaller number decreases the height.
Tie Contour: Inset: Left • Right %. The Inset value determines the amount of "hook" or "flatness" of the tie ends. When Inset percent is the selected Inset
Style, enter values into the Left and Right Inset text boxes to set the amount of "hook" of the left and right tie ends for each span. Inset is a percentage of the
span (tie length). Enter a lower percentage to hook the tie end more, curving it more sharply. A higher percentage will flatten the tie end.

When Inset Fixed is the selected Inset Style, enter a value (in measurement units) into the Inset text box. Inset is a fixed number that applies to the three
spans. The tie ends are always hooked by this amount, regardless of the tie length. Enter a lower number to hook the tie end more, curving it more sharply.
Enter a higher number to hook the tie end less, flattening it.

Tie Direction: Automatic • Over • Under. Set the direction for the tie as frozen under, frozen over or use Automatic to let Finale decide which direction the
tie should go based on your settings in Document Options-Ties. You can also use ctrl-F to flip the tie without even entering the Tie Alterations dialog box.
Break for Time Signature: Default • On • Off. Choose an option from the drop-down list to specify whether the tie breaks or continues at a time signature
change. Default is the initial setting. When Default is selected, Finale uses the global Break for Time Signature setting in Document Options-Ties. Choose On to
always break the tie at a time signature change and continue it immediately after the signature change, regardless of the global setting. Choose Off to draw the
tie through the time signature without any break.
Break for Key Signature: Default • On • Off. Choose an option from the drop-down list to specify whether the tie breaks or continues at a key signature
change. Default is the initial setting. When Default is selected, Finale uses the global Break for Key Signature setting in Document Options-Ties. Choose On to
always break the tie at a key signature change and continue it immediately after the signature change, regardless of the global setting. Choose Off to draw the tie

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Tie Alterations

through the key signature without any break.


Outer Placement: Default • On • Off. Choose and option from the drop-down list to specify whether the tie uses Outer Placement settings or not. (Note that
if the tie is an inside tie of a chord the Inner Placement settings will still be used.) Choose On to use separate settings for ties with outer placement. Choose Off
to use the inner placement settings for all ties.
Avoid Staff Lines. When the checkbox is selected, Finale uses the Avoid Staff Lines By: setting in the Tie Contour dialog box to determine whether to modify
the position of the peak of the arc in relation to staff lines. When not checked, Finale does not avoid staff lines.
Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. To position the selected tie using a different measurement unit than the current unit,
make a selection from the drop-down list.
OK • Reset • Cancel. Click OK to save your new settings and return to the score. Click Reset to restore the original settings, and Click Cancel to return to the
score without saving any changes.

See Also:
Ties
Document Menu
Special Tools Tool
Document Options-Ties

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Tie Contour

Tie Contour

How to get there


From the Document Menu, choose Document Options and select Ties. Click the Tie Contour button.

What it does
Use the Tie Contour dialog box to define global settings for the length, height, and overall shape and appearance of ties.
Ties are identified by their spans—short, medium, and long. Each span has its own settings for appearance and shape. The height of a tie varies, depending on the
span and other settings in the Tie Contour dialog box. Finale uses the Height settings in the Tie Contour dialog box to calculate the curve of the arc when a tie is
drawn. Separate Height settings for the left and right sides of the arc allow very precise control over the curve. Note that the "height" setting is not the tie’s actual
height, but the height of the tie’s control points, which Finale uses (along with the Inset setting) to calculate the curve of the arc. When a tie is drawn, its height does
not quite reach the control point height. Combined with the Height and Span settings, the Inset setting determines a tie’s overall shape. Inset controls the amount of
"hook" at tie’s endpoints.
Changes to these settings affect all ties to be added to the score as well as ties already in the score (note that you can override some settings for individual ties—see
Tie Alterations dialog box).

Span: Short • Medium • Long. Enter a value (in measurement units) into each text box to specify a length for each tie span (Short, Medium, and Long).
Finale uses the Span settings to size ties proportionally.
Style: Short • Medium • Long • Tie Ends. This drop-down list allows you to have different settings for your ties depending on the length of the tie. The
Height and Inset shown are for the style selected in this drop-down list.
Use Tie End Style. This checkbox is provided for compatibility with previous versions of Finale. Files created in Finale 97 should not use this checkbox.
Height: Left • Right. Height is not the actual height of the tie, but of its left and right control points (imaginary points above the tie’s arc that Finale uses, along
with the Inset setting, to calculate the height and curve of the arc). When a tie is drawn, its arc approaches, but does not actually reach, the height of the control
points. Enter a value (in measurement units) into the Left and Right Height text boxes to set the height of the left and right control points of the tie. A larger
number increases the height of the arc. A smaller number decreases the height.
Inset Percent: Left • Right. The Inset value determines the amount of "hook" or "flatness" of the tie ends. When Inset Percent is the selected Inset Style,
enter values into the Left and Right Inset text boxes to set the amount of "hook" of the left and right ends of the tie for each span. Inset is a percentage of the
span (tie length). Enter a lower percentage to hook the end of the tie more, curving it more sharply. A higher percentage will flatten the end of the tie. You can
inset all spans by the same percentage to give them the same look, or use a different percentage for each span so each has a different appearance.
Inset Fixed: Left • Right. When Inset Fixed is the selected Inset Style, enter a value (in measurement units) into the text box. Inset is a fixed number that
applies to the three spans. The left and right ends of the tie are always hooked by this amount, regardless of the tie length. Enter a lower number to hook the end
of the tie more, curving it more sharply. Enter a higher number to hook the end of the tie less, flattening it.
Inset Style: Inset percent • Inset Fixed. Select an inset style to specify how you want Finale to interpret the Inset value. Click Inset percent to make Inset
a percentage of the tie span. When selected, the Left and Right Inset (Percent) text boxes appear for each tie span and you can enter a percentage. Click Inset
Fixed to make Inset a fixed amount, regardless of the tie span. When selected, the Inset (Fixed) text box appears, and you can enter a fixed amount that applies
for all three spans.
Interpolate height between short and long span. Click to select. When selected, Finale automatically calculates a proportional height for ties that fall
somewhere between the short and medium, or the medium and long span lengths and their defined heights.
Use medium height between short and long span. Click to select. When selected, all ties whose lengths fall somewhere between the specified short
and long span lengths, are set to the defined height of medium span ties. This can provide a consistent looking tie height across your score.
Avoid Staff Lines By ___ • In Staff Only. To always draw the peak of an arc so it avoids a staff line, check Avoid staff lines by and enter the desired
distance from the staff line (in measurement units) into the text box. If you only want this behavior in the staff select In Staff Only.

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Tie Contour

Note: This setting only affects ties already in the score when Avoid Staff Lines is selected in the Tie
Alterations dialog box for a tie. See Tie Alterations dialog box.

Tie Thickness: Left • Right. Enter a value (in measurement units) into the Left text box to set the thickness of the arc on the left side of a tie. Enter a value
(in measurement units) into the Right text box to set the thickness of the arc on the right side of a tie. Larger numbers make the arc thicker, smaller numbers
make it less pronounced.
Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. The first time you enter the Tie Options dialog box for the selected tie type, Units
defaults to the current measurement unit selected in the Measurement Units submenu of the Edit Menu. If you prefer, choose a different measurement unit for
ties from the drop-down list.
OK • Reset • Cancel. Click Reset to restore the original settings, and Click Cancel to return to the Tie options without making any changes. Click OK to save
your changes and return to the Tie options.

See Also:
Tie Alterations
Edit Menu
Document Options-Ties

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Tilting Mirror

Tilting Mirror

How to get there

From the Window Menu, choose Advanced Tools. Click the Mirror Tool , and click an empty measure (to create a new composite mirror) or a measure with a
Mirror icon (to edit a composite mirror).

What it does
The Tilting Mirror is so named because you can maneuver this one-measure "window" around the score, copying individual notes from various measures. The result is
a composite mirror, each note of which is dynamically linked to the note from which it was mirrored.
The Tilting Mirror initially appears blank, because you’re viewing the measure you originally clicked (which, you’ll recall, was empty). Click the up, down, left, and right
arrows to move from measure to measure in the score; the contents of each measure appear in this window.
To specify several notes of a measure you want included in your composite mirror, click the arrow buttons until the source measure appears in the window. Then drag
the handle at the top of each cut bar—the dotted vertical lines—until the cut bars enclose the notes you want included in your composite mirror. Click Prev, Next,
Insert, or OK; Finale asks you if you’re sure you want to add the selected notes—hereafter called a mirror fragment—to the composite mirror.

Prev • Next. Click these buttons to scroll among the mirror fragments you’ve already assembled in the measure. If the music displayed between the two dotted-
line cut bars is a fragment you haven’t yet selected for inclusion in this composite mirror, click Prev or Next to select it.
Delete. Click Delete to remove the fragment you’re viewing from this mirrored measure.
Insert. Click Insert if you want to place a new mirror fragment just before the one you’re viewing. Finale returns the cut bars to the ends of the display window
so that you can choose a new musical fragment (click the arrow buttons if necessary). Click OK, Prev, Next, or Insert again in the usual way. This time, however,
Finale inserts the fragment instead of adding it to the end of the composite mirror.
Layer: 1 • 2 • 3 • 4. This drop-down list identifies the layer (of the source measure) whose contents you’re viewing. Switch to a different layer by choosing its
name. (Your composite mirror fragment can include notes from all layers.)
[Up, down, left, and right arrow buttons]. These arrows let you change your view of the source measure. Click the up arrow to view the measure in the
staff immediately above, the right arrow to view the next measure, and so on. As you proceed, you’ll see the contents of each measure you view, adjusted for the
mirror measure’s clef. (If you move your "view" to another mirrored measure, it will appear blank in this window.)
Cancel. Click Cancel to return to the score without creating a mirror (or, if you’ve been editing an existing mirror, without saving your changes).
OK. Click OK to conclude your assembly of the composite mirror measure. (If the music displayed between the two dotted-line cut bars is a fragment you haven’t
yet selected for inclusion in this composite mirror, Finale asks if you want to save changes.) If you’ve just created a new composite mirror, the Mirror Attributes
dialog box appears, in which you can specify a number of additional characteristics for the composite mirror. See Mirror Attributes dialog box.

See Also:
Mirror Tool

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Time Signature

Time Signature

How to get there

Click the Time Signature Tool , and double-click a measure.

What it does
In this dialog box you can specify a new meter for the measure you clicked (and following measures), including composite meters (3+2+2/8, for example). You can also
create one time signature that controls beaming of eighth notes, and a separate one that appears in the score.
The Time Signature dialog box contains an Options button which, when clicked, makes the dialog box expand so that it reveals some additional options.
Finale will default to a time signature of 4/4 in the few cases where Finale needs a default setting.

Composite. Click this button if you want to create a composite (complex) time signature, such as 3+2+2/8. The Composite Time Signature dialog box appears;
see Composite Time Signature dialog box.
Options. Click this button to make the dialog box expand, revealing a lower portion containing display options. At that point, click Options again to restore the
dialog box to its compact form.
Number of Beats • Beat Duration. Use the upper scroll bar to specify the upper number of the time signature—the number of beats in each measure. Use
the lower scroll bar to specify the lower number of the time signature—the rhythmic value of each beat. For greatest control, click the right and left arrow buttons
to change the number one increment at a time.

The way that you define your meter is very important, because it also governs beaming in the affected region. In the case of cut time, for example, you should
set the scroll bars so that the display shows two half notes. This way, the eighth notes will be beamed together in groups of four.
Even if you want Finale to display a completely different time signature in the score (by using the options described below), you still need to create an
appropriate time signature using these primary scroll bars to govern the beaming of your piece.

Measure ___ Through ___. Click this option, and then specify the range of measures you want to be affected by this new time signature by entering their
numbers in these text boxes. Finale will display the measures numbers for any region you have drag-selected in these text boxes.
Measure ___ Through End of Piece. If you want the meter to be changed from the measure you clicked all the way to the end of the document, click this
option. (In the text box, Finale proposes the measure you originally clicked.)
Measure ___ To Next Time Change. If you want the meter to be changed from the measure you clicked until the next measure with a different time
signature, click this option. (In the text box, Finale proposes the measure you originally clicked.)
OK • Cancel. Click OK to exit this dialog box and change the time signature in the specified measures. Click Cancel to exit this dialog box without changing the
meter.
Use a Different Time Signature for Display. This option, which only appears after you click Options, gives you complete control over beaming. Here’s
how it works:

Using the primary time signature scroll bars (described above), create a meter that will produce the beaming pattern you want. For example, suppose you want
a time signature of 3/4, but you want eighth notes beamed together automatically in groups of three. In such a case, you could use the primary scroll bars to
create a 6/8 time signature. But since you want 3/4 to appear in the printed score, click Use a Different Time Signature for Display, and set up the lower pair of
scroll bars to display 3/4 time. See Document Options-Time Signatures.

Composite • Number of Beats • Beat Duration. These elements, which only appear after you click Options, duplicate the functions of the Composite,
Number of Beats, and Beat Duration controls in the un-expanded dialog box. These, however, only affect the time signature that will appear in the score, and
don’t affect beaming.
Rebar Music. Use the Rebar Music checkbox to control whether Finale rebars (rebeams) the music when changing the time signature. When selected, Finale
rebars the music according to the time signature. When deselected, Finale leaves the beaming of the notes as it currently appears in the score.

Abbreviate. Use the Abbreviate checkbox to specify whether to abbreviate ( ) or not (4/4) in a particular occurrence of a time signature. The initial setting of
the Abbreviate checkbox (checked if the time signature is abbreviated, unchecked if non-abbreviated) matches the global settings for Abbreviate common time and
Abbreviate cut time in the Time Signature Options dialog box.

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Time Signature

You can decide whether or not to use the symbols ( or ) each time a cut or common time signature appears in your music. This capability lets you easily

mix and 4/4 (or and 2/2) in one piece. You use a simple option, the Abbreviate checkbox in the expanded Time Signature dialog box.
Here’s an example. Perhaps you normally use the symbols for common and cut time in a piece, but you occasionally need to use 4/4 or 2/2 in the same piece.
First, make sure that you have chosen the Abbreviate cut time to and Abbreviate common time to options in the Time Signature Options dialog box. (These
global settings control the appearance of the time signatures in your piece.) Next, edit the time signatures in the measure where you want to change their
appearance, and choose the appropriate option in the expanded Time Signature dialog box.
See Document Options-Time Signatures for more information.

See Also:
Time signatures
Time Signature Tool
Composite Time Signature

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Time Style

Time Style

How to get there

Click the Measure Tool and select Edit Regions from the Measure Numbers submenu of the Measure Menu. Or, shift-double-click on the Measure Tool. Then,
from the Style drop-down menu, choose Time.
What it does
Use these settings to control the appearence of measure number time indicators added to the score.

Include Hours. Check this box to display hours in time indicator measure numbers.
Display as; Whole Seconds • Tenths of a Second • Hundredths of a Second • Thousandths of a Second • Frames. From this drop-down
menu, choose the desired granularity of time to be displayed for the time indicator measure numbers in this measure region. Frames refers to the SMPTE frame
rate.
OK • Cancel. Click Cancel to discard any changes you made to the settings. Click OK to confirm the settings you’ve made and return to the Measure Number
dialog box.

See Also:
Measure Number
Measure Menu

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Tone Center(s)

Tone Center(s)

How to get there

Click the Key Signature Tool , and double-click the measure in which you want the key to change. Choose Nonstandard from the drop-down list. Click Next
twice, then click the ToneCnt icon.
(You clicked Next twice because this dialog box doesn’t appear if Linear Key Format 0 or 1 is selected; these key formats are predefined as the standard major and
minor key systems, respectively.)

What it does
This dialog box concerns the creation of linear key formats and nonlinear key signatures; see Nonstandard Key Signature dialog box for a more complete discussion. In
brief, Finale lets you create nonstandard key systems and key signatures, based on scales with any number of steps, and with accidentals placed in any order you
want.
In this dialog box, you specify the relationship between the number of accidentals in a key signature and the tone center of the key so defined. (You can think of the
tone center as the root scale degree. You establish this relationship for every key in your linear key format. (In the case of nonlinear key signatures, there’s no
particular relationship between one and another; each nonlinear key signature is a special situation.)
You’ll see the effects of these settings any time Finale needs to associate the notes in your piece to the "root" of the scale (the tone center). For example, if these
relationships haven’t been constructed properly, you may notice strange effects when you create chord symbols or perform transpositions.

Unit (#). A Unit is an accidental that appears in the key signature. The Units are numbered in the order in which they appear; thus, in a standard key signature
system, the first accidental to appear (the F sharp in the key of G) would be Unit 1; the second (the C sharp in the key of D) would be Unit 2; and so on. Flats
are labeled with negative Unit numbers: the first flat to appear (the B flat in the key of F) would be Unit –1 (in the standard key system), the next (E flat in the key
of B flat) would be Unit –2; and so on.

This indicator identifies the Unit, or accidental, for which you’re changing the relative tone center. In the standard key system, if the Unit is 3 (signifying the
appearance of the third sharp), you’d set the tone center to be A. Click the Previous and Next buttons at the bottom of the dialog box to change the Unit
indicator.

Step Level. The number in this text box specifies the tone center—the key you’re in—that corresponds to the appearance of the accidental identified by the Unit
(above). It’s always measured in scale degrees from C, which is considered scale degree zero.

For example, in the traditional key system, Unit –1 refers to the first flat to appear—B flat (in the key of F, as it happens). For the key identified by the
appearance of the B flat, you’d specify a Step Level of 3, because the Tone Center (or key) is F, which is three diatonic steps above C (remember, C is
considered scale degree zero).

Delete. Click Delete to restore all Tone Center settings back to their default "traditional" values.
Previous • Next. Click these buttons to decrease or increase the displayed Unit number. (These buttons are dimmed if Nonlinear Key Signature is selected,
because there are no other key signatures you can scroll to.)
OK • Cancel. Click OK to confirm, or Cancel to discard, the tone center settings you’ve made. (If you click OK, Finale asks you if you want to save your
changes.) You return to the Nonstandard Key Signature dialog box.

See Also:
Nonstandard Key Signature
Key Signature Tool

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Track/Channel Mapping

Track/Channel Mapping

How to get there


Choose Open from the File Menu, and Select MIDI from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import MIDI
File Options dialog box, click the Set Track-to-Staff List radio button. In the Track/Channel Mapping for Staves dialog box, click the topmost unassigned row of track
information.

What it does
This dialog box offers you a great deal of control over the way in which your sequencer-file tracks are transformed into Finale staves.
For example, you can tell Finale to create up to eight staves out of a single sequencer track. You can also tell Finale to create one Finale staff from up to four
sequencer tracks—to transcribe several woodwind tracks onto a single staff, for example.
Furthermore, you can create four staves from four tracks, but without necessarily having a track-to-staff correspondence; for example, you can tell Finale to treat the
notes in all four tracks as if they came from a single track, and then to split them into Finale staves by register—the highest notes into one staff, and so on.
This dialog box also lets you specify the staff name, clef, transposition, and spacing of each resultant Finale staff. You can also select a Percussion Map which adjusts
the percussion notehead, placement and alternate playback.

Track/Channel Mapping for Slot (#). This number indicates which "slot" or row of track information you’re creating or editing.
Track/Channel. There are four pairs of text boxes at the top of the screen, letting you specify the track number (and, within that track, the MIDI channel
number) of each sequencer track whose music you want included in the staves you’re about to create.

To create a single staff from a single track, enter the track’s number and the MIDI channel from which it was recorded in one pair of the Track/Channel boxes.
Note: You normally don’t have to enter anything in the MIDI Channel text box (the second text box of each pair). Enter a MIDI channel value only if you want to
specify that a single MIDI channel’s data be transcribed from a track containing music recorded from several MIDI channels.
Next, enter a staff name, transposition, clef, and so on. Of the Split options, leave None selected—otherwise, you’ll transcribe the selected track onto more than
one staff.
To create a single staff from multiple sequencer tracks, enter up to four track/MIDI channel number pairings in the text boxes. (Note again that you can leave
the MIDI Channel boxes blank—or enter zero—if each track was only recorded from a single channel, or if it’s OK for Finale to notate the contents of all
channels in the track onto one Finale staff.) Once again, enter a staff name, and leave the None radio button selected—or, if you want to include on the
resultant staff only the notes within certain pitch ranges, click Filter (see below).
To create several staves from either a single sequencer track or several tracks, enter the track and channel numbers in the text boxes, as before. This time,
however, you must specify one of the Split options (see below). As far as Finale is concerned, the music on all the tracks you’ve specified in the text boxes are
part of a single "source" track, which you can then split, by register, into as many as eight staves.

Split: None. If this radio button is selected, Finale will place the music from all the tracks you’ve specified in a single staff, instead of splitting it into separate

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Track/Channel Mapping

staves.
Fixed. When you click this radio button, Finale displays a special Split Point dialog box, in which you can specify up to four split points for the music in the
specified tracks. In each pair of text boxes, you enter a low and a high key number; in this way, you can specify up to four registers, each of which will be
notated on its own staff (in the same top-to-bottom order as the text box pairs) in the resultant Finale document. (Middle C is key number 60, and the numbers
increase sequentially as you move up the keyboard. But you don’t have to type in these numbers; you can enter them simply by clicking the Listen button and
then playing the notes. Finale will enter their key numbers in the text boxes automatically. See Fixed Split dialog box for a more complete discussion.)
Multiple. Click this button to display the Multiple Splits dialog box, where you can "explode" all the music on the specified tracks onto as many as eight staves.
The advantage of this method is that notes are "separated out" in order from top to bottom, instead of by register; in other words, this would be a more
appropriate way to separate single musical lines—for string parts, for example—into individual staves.

This dialog box works in much the same way as the Explode Music command in the Utilities Menu, letting you specify the number of resultant staves as well as
the Overload Order. For a more complete discussion, see Multiple Splits dialog box.

Hand Width. Click this radio button to display the Hand Width Split dialog box, which lets you transcribe the contents of the sequencer tracks you’ve specified
onto two staves, splitting the notes by tracking the positions of your hands on the keyboard. Finale follows your hands as they move up and down the keyboard,
eliminating the need to specify a single, fixed split point—provided there’s always enough distance between the hands for Finale to tell which hand is which. For a
more detailed discussion of this dialog box, see Hand Width Split dialog box.
Filter. Click this radio button to display the Filter Channels dialog box. With this option, you can specify certain ranges of notes from each of several tracks that
you want to be merged onto a single Finale staff. See Filter Channels dialog box for more information.
Staff Names. In these text boxes, enter staff names for the Finale staves you’re creating.
Transpose. Click the appropriate Transpose checkbox to display the Staff Transpositions dialog box, in which you can specify an instrumental transposition (for
a trumpet or clarinet, for example). This is the same dialog box that appears when you click Transposition in the Staff Attributes dialog box; see Staff
Transpositions dialog box for a complete description of the options.
Clef • Select. This text box identifies, by number, the staff’s starting clef. Finale offers eighteen standard clefs, numbered 0 through 15.

Enter the number in each Clef text box corresponding to the clef you want to designate as the starting clef for the resultant Finale staff. You can also click
Select to choose from a graphic of each available clef.

Distance. The number in this text box specifies the distance, between the top line of the staff you’re defining and the top of the Finale window (in Scroll View).
It’s a negative number, because this staff appears below the top of the window. Note that if you want all your staves evenly spaced, you don’t have to enter
numbers in these boxes; instead, when you return to the Track/Channel Mapping to Staves dialog box, click Set Dist. A dialog box appears, in which you can
enter a global staff distance measurement. (See Set Distances dialog box.)
Percussion Map • Select. The number in this text box specifies which Percussion Map you’ve selected for this staff. Click the Select button to open the
Percussion Map Selection dialog box, where you can select from any Percussion Maps available in the default file. See Percussion Map Selection dialog box.
OK • Cancel. Click OK to confirm, or Cancel to discard, the track-to-staff configurations you’ve created. You return to the Track/Channel Mapping to Staves
dialog box.

See Also:
Fixed Split
Multiple Splits
Hand Width Split
Filter Channels
Import MIDI File Options
Track/Channel Mapping to Staves

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Track/Channel Mapping to Staves

Track/Channel Mapping to Staves

How to get there


Choose Open from the File Menu, and select MIDI File from the File Type drop-down list. Double-click the name of a MIDI file you want transcribed. In the Import
MIDI File Options dialog box, click the Set Track-to-Staff List radio button. If you have already selected Set Track-to-Staff List and Don’t show this during File Open,
Finale will display the Track/Channel Mapping to Staves dialog box without first going through the Import MIDI File Options dialog box.

What it does
The easiest way to translate the "tracks" from your MIDI sequencer file into notated Finale staves is to leave the default option, Tracks Become Staves, selected. When
you do, each track from your sequencer file is transcribed onto its own staff in Finale.
If you want more flexibility, however, you can display this dialog box, in which you can specify a number of track, MIDI channel, and staff configurations. You can
specify the top-to-bottom order of the resulting Finale staves, as well as staff transpositions, clefs, and the distance between staves in the resultant Finale document.

AutoSet to Tracks • AutoSet to Channels. Click these buttons to create a Finale staff for each sequencer track or MIDI channel, respectively. You’ll notice
that these are exactly the same as the Tracks Become Staves and Channels Become Staves options in the previous (Import MIDI File Options) dialog box. The
difference is that after clicking one of these buttons, you can then modify the assignments that appear in this dialog box. For example, you can set the staves’
clefs, transpositions, names, and so on—options that aren’t available when you click the Tracks Become Staves or Channels Become Staves buttons.
Track/Channel • Split • Name • Trans • Clef • Distance • Perc. The largest part of this dialog box is devoted to this display, which is a scrolling list of
the 128 possible staves you can create in any Finale document. In the Track/Channel column, you see the name of each track and the MIDI channel to which it
was assigned in the original sequencer file. In the Split column, Finale displays the split option, if you’ve specified one (for example, you might want the track split
into two staves—for a piano part, for example). The Name column displays the staff name; Trans is the transposition, if any (for a transposing instrument such as
a trumpet or clarinet); Clef indicates the clef, by number (0 through 15); and Distance indicates the distance between the top line of the staff and the top line of the
one above it. The Perc column indicates which Percussion Map will be used to adjust the display of percussion noteheads, placement and alternate playback.

Each row of information represents one Finale staff. To specify all of the variables mentioned above, click anywhere in a row (but define the rows from top to
bottom). The Track/Channel Mapping dialog box appears, where you can split the sequencer track you clicked into as many as eight Finale staves. You can
base this split on MIDI channel, the range of notes (like the Split Point and Hand Width options in the Transcription Mode, or the top-to-bottom order of notes in
each chord (like the Explode Music command in the Utilities Menu). See Track/Channel Mapping dialog box for more information.

Load • Save. Once you’ve created a mapping setup, you needn’t re-create it the next time you want to transcribe a similarly configured MIDI file. Instead, after
creating the mapping by working through this dialog box, click Save; Finale asks you to title this "TrackMap file." Later, if you want to transcribe the same MIDI
file—or a similarly configured one—click Load. Double-click the TrackMap File’s title in the list box that appears; the Track/Channel Mapping dialog box fills itself
out automatically.
Set Dist. Click this button to display the Set Distances dialog box, in which you can specify a uniform distance between staves in the resultant Finale document,
as well as the distance between the top staff and the top page margin. See Set Distances dialog box for details.
Sweep. This button lets you find out which MIDI channels were assigned to a given track. Click the button; the Sweep For Channels Present In A Track dialog
box appears. In the text box, enter the number of the track you want scanned, then click Sweep. In the display, Finale places an X below each MIDI channel
number on which you recorded data in this track. Finale displays this information for each of four data types; see Sweep For Channels dialog box.
OK • Cancel. Click OK to confirm your track-to-staff mapping and return to the Import MIDI File Options dialog box. Click Cancel to return to the Import MIDI
File Options dialog box without changing the track-to-staff mapping.

See Also:
Track/Channel Mapping
Import MIDI File Options

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Track/Channel Mapping to Staves

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Tracking

Tracking

How to get there

Click the Text Tool . Select Tracking from the Text Menu.

What it does
The Tracking dialog box allows you to control the amount of horizontal space, in em’s, that Finale should leave between characters for the selected text.

Amount. Enter the amount (in em’s) of horizontal space, in em’s, that Finale should leave between characters for the selected text. One em is equivalent to
1/1000 of the point size. Em’s are proportional measurement units; if you increase or decrease the point size of the text, Finale adjusts the distance between
characters accordingly, keeping the same proportional distance, relative to the new font size.
OK • Cancel. Click OK to confirm your settings and return to the score. Click Cancel to return to the score.

See Also:
Text Menu
Text Tool

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Transcription

Transcription

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Transcription

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure.

What it does
In this window, you can record and play back your performances, "punch in and out," and record and edit both notes and Time Tags. In creating the transcription, you
can also capture certain rhythmic and dynamic elements of your performance pertaining to its "feel," which Finale can re-create when it plays back the transcribed
notation.
When you record a performance, the notes you played appear as thin horizontal lines in the Keyboard display area (the lower part of the display area, marked at the
left edge by a piano keyboard). The length of each line corresponds to its duration, and its vertical position corresponds to the "keys" of the on-screen piano keyboard.
You can edit these notes graphically, changing their durations, inserting new notes, or deleting notes from selected areas. See Keyboard, below.
Once you’ve recorded your performance, Finale needs to know where the beats and barlines fall in relation to the notes you played. To provide this information, you
can tap along with your music (on a key or pedal) as it plays back, providing Finale with a tempo reference. These taps are called Time Tags. They appear as small
quarter notes (or whatever note value you specified before recording) in the top half-inch or so of the screen—the Time Tag display area—marked at the left side by a
metronome.
Note that you can save a Transcription window recording of your performance into a separate file, called a Note File, by choosing Save As from the File Menu. The file
you create has a unique extension (*.NOT) and is completely independent of the normal Finale document (consisting of notation) you have open. Choose Open from
the File Menu to open an existing Note File. Choose New from the File Menu to create a new, empty Transcription window.
Because the File Menu’s New, Open, and Save As commands—when you’re in the Transcription window—only apply to performances you’ve recorded, you can think
of the Transcription window as a completely independent mini-program. You can flip back and forth between the actual score and the Transcription window: click the
Cancel button to return to the score (your recorded performance is preserved), and click any measure to return to the Transcription window. You can even close your
Finale document and open a different one; when you enter the Transcription window, your most recently recorded performance will still be there.
Finally, in addition to the two display areas in the graphic part of the window, there are two sets of radio buttons on the right side of the screen. They’re labeled
Keyboard and Time Tag. By making sure the correct radio button is selected before you click Start (or Wait Till), you can tell Finale exactly what you’re about to
record (or listen to).
For example, to record Time Tags, you’d want the Play radio button selected in the Keyboard section, because you’ll want to hear your performance playing back so
you can tap along with it. You’d want the Record radio button selected in the Time Tag section, to tell Finale to interpret your key taps as beat indications.

Keyboard. The word Keyboard (on the right side of the window) has two purposes. First, it identifies the three radio button options beneath it (see below). Note
that it’s possible to have no radio buttons selected; click a selected button again to "deselect" it.

Second, you can click the word Keyboard to highlight it; by doing so, you’ve just indicated to Finale that you’ll be editing the recorded notes directly. To delete
notes, drag through their starting point and press Delete. To insert a new note, double-click in the Keyboard area. When you double-click, a new note appears,
whose pitch is determined by the location of your click; use the piano keyboard at the left side of the screen as a guide. The note’s default duration is 1.5
seconds. If you keep the mouse button pressed after your second click, you can drag backward to increase the duration of the note. You can also make
existing notes longer or shorter—just double-click the beginning or ending of a line; on the second click, keep the mouse button pressed and drag left or right.
(You can magnify the Keyboard display area if you find the "notes" too small to manipulate; just choose View Resolution from the Transcription Menu. In the
dialog box that appears, enter a smaller value—20, for example—to enlarge the display. Click OK.)
Technical note: When you double-click to create a new note, its default duration is actually 15 units, where a unit is determined by the number in the View
Resolution dialog box (choose View Resolution from the Transcription Menu). In other words, if the View Resolution is 100 (thousandths of a second), the note
produced by a double-click is 1500 thousandths of a second long—which is 1.5 seconds.

Record at End. When this radio button is selected, Finale starts recording any new music you play at the end of the music you’ve already recorded, if any. (If
there’s none, Finale simply records your new music at the beginning of the Transcription window.) Click Start or Wait Till to begin recording.
Punch In/Out. When this radio button is selected, Finale records over a region of music; you specify the region by setting the In: and Out: counters in the lower
right corner of the screen. (Note that you can also set these counters simply by dragging through [highlighting] the music you want to record over in the display
area.)

This feature allows you to rerecord only part of a performance that was otherwise perfect, for example. (By clicking the Keyboard Play radio button and the Time
Tag Record radio button, you can also rerecord Time Tags for a certain passage.) You can tell Finale to play a "countoff" measure or so of music before
switching to "record" mode, if you want; choose Set Punch PreRoll from the Transcription Menu, and enter the number of seconds of music you want to hear
before Finale starts recording. Click Start or Wait Till to begin recording.

Play (Keyboard section). When this radio button is selected, Finale plays the selected music when you click Start. You select music by dragging through it in
the display area, so that it’s highlighted. To select the entire performance, choose Select All from the Edit Menu.
Time Tag. The label Time Tag (on the right side of the window) has two purposes. First, it identifies the three radio button options beneath it (see below). Note
that it’s possible not to have any of the radio buttons selected; click a selected button again to "deselect" it.

Second, you can click the words Time Tag to highlight them; by doing so, you’ve just indicated to Finale that you’ll be editing the Time Tags directly. To insert
a new Time Tag, double-click in the Time Tag display area; its duration (Half, Quarter, Eighth, Sixteenth) and its type (Time Tag, Measure Tag, or Beat Tag)
are determined by the appropriate settings in the Time Tag Menu. (You can’t insert Measure or Beat Tags until after you’ve entered standard Time Tags.) To
move a Time Tag, drag its notehead. If you select a group of tags (by dragging through them or by choosing Select All from the Edit Menu), drag any one
notehead to move them all.
To change the duration of a tag, double-click its notehead—but on the second click, hold the button down. Drag left or right. As you drag the Time Tags, they
cycle through the durational values: sixteenths, eighths, quarters, and so on. Drag to the right for larger values, to the left for smaller values. If you select a
range of tags (by dragging through them or by choosing Select All from the Edit Menu), you can use this technique to effectively renotate an entire piece at
once—change a 4/4 piece to 2/4 time, for example, or vice versa—because you’re effectively telling Finale that every quarter note is now an eighth note (in this
example). If you try this, however, don’t forget to choose Assign Measure Tags again from the Time Tag Menu before clicking Transcribe.
You can magnify the display area if you find the Time Tags too close together to manipulate; just choose View Resolution from the Transcription Menu. In the
dialog box that appears, enter a smaller value—20, for example—to enlarge the display. Click OK.

Record. When this radio button is selected, Finale will interpret a tap on any key (on MIDI channel 1) as a Time Tag. You can specify which kind of Time Tag
—and what its rhythmic value is—by choosing the appropriate commands from the Time Tag Menu. (See Time Tag Menu for a complete description of the
commands.)

You’ll usually want to select the Play radio button in the Keyboard section while you do this, in order to hear your performance playing back so you can tap
along with it. Note, however, that you can record Time Tags and a performance simultaneously—if you want to tap the pedal as you play (as in HyperScribe),

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Transcription

for example; or if you’re recording a sequence being played by an external sequencer (one that can provide its own click as it plays). In these cases, select
Record At End (Keyboard section) and Record (Time Tag section), after first letting Finale know which signal to interpret as the Time Tags by choosing Click
Input from the Time Tag Menu. (See Click Input dialog box.)
Click Start to begin recording immediately, or click Wait Till, which will make Finale wait, in pause mode, until your first tap. Your first tap is recorded.

Play [Time Tag section]. Select this radio button if you want Finale to play the Time Tags you’ve already recorded. You might use this feature as a
metronome, for example.

To specify the note (or other MIDI signal) you want Finale to use as the "click" sound, choose Click Output from the Time Tag Menu. (See Click Output Type
dialog box.)

Set to. Instead of recording Time Tags by tapping along as your performance plays back, you can enter evenly spaced Time Tags automatically. This feature is
most useful if you create these Time Tags before you record your performance. Finale will play them as you record, serving as a metronome or click track for you
to play along with.

The number you enter in the text box is the metronome setting (beat notes per minute) at which you want Time Tags placed. (You define "beat" by your
selection from the Time Tag Menu: Half, Quarter, Eighth, or Sixteenth.) Finale places these evenly spaced tags only in the region specified by the In: and Out:
counters (see below) in the lower-right corner of the screen. Finally, to record your performance while Finale provides the click, click Record at End (Keyboard
section); click Start or Wait Till, and begin.

Wait Till. Click this button to put Finale in "pause" mode. Only when you produce any MIDI signal—play a note or tap a pedal, for example—does Finale begin
to record or play, according to your radio button selections. Note that the first MIDI signal you produce isn’t merely a trigger; it’s actually the first event recorded.
For example, if you want to record Time Tags by tapping a key, your first key tap not only starts Finale recording but also serves as the first Time Tag (if Wait Till
is selected). To stop recording or playing, click anywhere except on a button.
Start. Click Start if you want Finale to begin recording or playing immediately, according to your radio button selections in the Keyboard and Time Tag sections.
To stop, click anywhere except on a button.
Now:. This indicator displays the precise temporal position of the cursor as you move it through the display area, expressed in the
Hours:Minutes:Seconds:Thousandths of a second format. (Until the music is converted into standard notation, Finale refers to points in your performance in terms
of real time.)
In: [Counter] • Out: [Counter]. These indicators specify the starting and ending points of the selected region, expressed in the
Hours:Minutes:Seconds:Thousandths of a second format. To edit these numbers directly, click the word In or Out and change the numbers by typing new values.
You may find it easier, however, to select a region by simply dragging through a section of the display area. These counters change automatically to reflect your
selection. You can also set either indicator by clicking—click the word In: or Out:, then click in the display area. To select the entire recorded performance,
choose Select All from the Edit Menu. Double-click the word In or Out to scroll the display area so that the beginning or ending point you’ve specified scrolls into
view.
Start: [Counter]. This counter tells Finale at what point it should begin playing the background file (see Background File, below). The counter displays real
time, in the Hours:Minutes:Seconds:Thousandths of a second format. To edit these numbers directly, click the word Start and change the numbers by typing new
values (or by clicking in the display area).
Reset Counters. Occasionally, you may record a few moments of silence at the beginning of a performance you recorded. Click this button if you want
Finale’s counters (Now, In, Out, and Start) to consider your first note their "zero" point (instead of the beginning of the silence).
Save Tempo Changes • Save Continuous Data. These options tell Finale to remember the precise "feel" of your original performance, and to keep this
data handy for playback once you return to the score. If you don’t choose these options, then when you play back the transcribed music from the score, Finale
will simply play the "sheet music"—the notated version, which will be rhythmically precise but expressionless and "square"—instead of an exact re-creation of
your original performance. (Important note: To play back your music with these captured nuances, make sure the corresponding checkboxes are selected in the
Playback Options dialog box; see Playback Options dialog box and the Save Tempo Changes dialog box)

There are four kinds of playback data Finale stores invisibly with the notes in your score. Key Velocity data describes how hard each note was struck, which
usually determines how loudly it plays back. Note Durations means Start and Stop Time data, the small rhythmic deviations from the beat that give a
performance a certain rhythmic feel; swing, rolled chords, and rushing the beat. Continuous Data is data generated by the pitch wheel, patch changes, and
controllers such as pedaling. And Tempo Changes, in this case, are tempo changes you created by using the Transcription Mode and adding Time Tags.
To capture this information with the Transcription Mode, select the four corresponding checkboxes before transcribing your performance. Continuous Data and
Tempo Changes are available in the Transcription window. Key Velocity and Note Durations options are accessed through the Quantization Settings dialog box
in the More Quantization Settings dialog box as part of Finale’s global quantization settings. See More Quantization Settings dialog box.

Background File. In a true sequencer program, you can record one track while listening to a previously recorded track. You achieve this effect in Finale by
transcribing the first track, creating a playback file from it, then reentering the Transcription Mode; Finale plays the playback file in the "background" while you
record the new track.

After you’ve created a playback file (consisting of the tracks you’ve already transcribed), Finale automatically loads it into the "background" of the Transcription
window, ready to play back when you record a new track. To let you know that it’s prepared to do so, it displays an X in the Background File checkbox. If you
don’t want to hear the previously transcribed tracks while you make a new recording, click Background File, then Cancel.
If you want to load a different playback file, click Background File. An Open dialog box appears, displaying any such files you’ve created; double-click the one
you want to hear in the "background."
Note that you can also specify where you want the Background File to begin its playback by entering the precise time in the Start: counter (see below). Note,
too, that once you’ve recorded a new track, you don’t have to reenter Time Tags manually—you can tell Finale to use the Time Tags you entered in the earlier
tracks. To do so, select the region for which you want Time Tags inserted (or choose Select All from the Edit Menu), then choose Create Tags From
Background File. (See Time Tag Menu.) You still need to insert Measure Tags, however, so choose Assign Measure Tags from the Time Tag Menu.

Transcribe in Measures. In some situations, you may not want your performance transcribed entirely onto a single staff. If you’re orchestrating, for example,
you might want the first few measures of the transcription to appear in one staff, and the next few on another staff.

If so, select this option. When you return to the score, Finale won’t transcribe anything until you click a measure, into which Finale then transcribes the first
measure of your performance. Click another measure (in any staff) to transcribe the next measure, and so on.
Because you usually click a measure to enter the Transcription window, you need to ctrl-click a measure to do so if you’re in Transcribe in Measures mode.

Quant Settings. Click this button to display the Quantization Settings dialog box. In this dialog box and the More Quantization Settings dialog box, you can set
various options that affect quantization in Finale including the Transcription Mode. See Quantization Settings dialog box and More Quantization Settings dialog
box for more information.

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Transcription

Transcribe. After recording your performance, adding Time Tags, adding Measure Tags, editing the tags and notes as desired, and setting the quantization and
split point parameters from the Transcription Menu, you’re ready to have Finale transcribe the performance. Make sure the music you want transcribed is selected
(highlighted). Click Transcribe.

Finale begins to notate the transcription on the measure you clicked (to enter the Transcription window) and continues on subsequent measures. If you’ve
specified a Split option, Finale notates the transcription on the staff you clicked and the one just below it.

Cancel. Click Cancel to return to the score without transcribing your performance. Your performance, however, is preserved in its current state, along with any
Time Tags and menu settings you’ve made. To return to it, click the Transcription Mode and click any measure.

See Also:
Quantization Settings
Click and Countoff
Transcription Menu
HyperScribe Menu
HyperScribe Tool

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Transcription Filter

Transcription Filters

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure. Choose Transcription Filter from the Transcription
Menu.

What it does
In this dialog box, you can specify certain MIDI channels and ranges of notes you want to include or exclude from the transcription. You could, for example, specify
that only the notes within a certain octave range to be transcribed, even though your performance included notes all over the keyboard.
If you’ve just played a multichannel sequence into the Transcription window (from an external sequencer), for example, you’ll probably want the notes from each MIDI
channel to be transcribed onto their own Finale staff. In this dialog box, you can specify a single MIDI channel at a time for transcription, or as many as four channels.
Similarly, if you just entered a keyboard performance that you want transcribed by register—for example, you want to transcribe only the notes above middle C—you
can use this dialog box to specify a range of notes for transcription.

Channel. In this column of text boxes, you can specify up to four MIDI channels you want transcribed from the recorded performance.

Suppose, for example, you’ve just played a sixteen-channel sequence from an external sequencer into the Transcription window, and you want the contents of
each channel to appear on its own Finale staff. Choose Transcription Filter from the Transcription Menu, and enter 1 in the first Channel text box. In the Low
and High text boxes, enter 1 and 200—unless you only want to include a certain range of notes in the transcription (see Key Range: Low/High, below). Proceed
with the transcription in the usual way; Finale will notate only the music it received from channel 1 of the original sequence. Repeat the process with the other
MIDI channels (transcribing one at a time onto different staves).

Key Range: Low • High • Listen. In each pair of Low/High text boxes, enter a low and a high key number to specify the range of notes you want to
transcribe. (Middle C is key number 60, and the numbers increase sequentially as you move up the keyboard.)

Note that you don’t have to calculate the key numbers and type them in manually. An easier method is to click the Listen button beside each pair of text boxes,
and play the notes—the lowest, then the highest; Finale enters their key numbers in the text boxes automatically.
In this way you can specify up to four different ranges of notes you want transcribed from your performance. You can use these text boxes to exclude notes
from the transcription, too, by entering a higher value in the Low text box than the value in the High text box. If you want to transcribe all notes except for
middle C, for example, enter 61 in the Low text box and 59 in the High text box (middle C is key number 60).

Use Filters • No Filters. Click Use Filters to confirm (or No Filters to discard) your MIDI channel and note range selections. You return to the Transcription
window. A check mark appears beside the Transcription Filter command in the Transcription Menu when the filters are in use.

See Also:
Transcription Menu
HyperScribe Tool

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Transposition

Transposition

How to get there

Click the Selection Tool , and select a region of measures. Choose Transpose from the Utilities Menu. Or, with any tool that supports measure selection selected
(see Selecting music), hold down the Ctrl and Shift key and press 6, 7, 8, or 9 to open this dialog box (to program a transposition metatool).

Note: Use the following metatool key commands to quickly transpose a selected region of music:
-6 = Down M2, -7 = Up M2, -8 = Down octave, -9 = Up Octave. These
are Finale's default settings, but can be changed by reassigning the metatool definition.

What it does
In this dialog box you can specify a transposition of any interval, from a half step to many octaves, you want to be applied to the selected measures (or to the mirror,
or to a note in the selected motif). This kind of transposition has nothing to do with the key signature; it merely transposes the selected music up or down by the
interval you specify, adding or subtracting accidentals as necessary.

Up • Down. Choose the direction of the transposition relative to the existing notes.
Diatonically • Chromatically. Specify what kind of transposition you want—a diatonic one (that moves notes up and down the scale) or a chromatic one
(that can move notes by half steps).
Interval: • Perfect Unison • minor second […etc.] • Perfect Octave • Other. From this drop-down list, choose the interval by which you want the
selected music transposed. To transpose an interval greater than an octave, you can add one octave (or several) to the selected interval by entering a number in
the Plus __ octaves text box (see below). If you choose Other, the Interval dialog box appears, so that you can specify an interval not listed in the drop-down list.
(See Interval dialog box.)
Plus ____ Octaves. If you enter a number in this text box, Finale will add that number of octaves to the radio-button interval you’ve specified. (You can enter a
negative number if you want to transpose the selected music by that number of octaves in the opposite direction from the radio-button interval you’ve specified.)
Preserve Original Notes. Select this option when you want to keep the original line of music when transposing notes to a selected interval. In effect, you’re
doubling the notes in your score. When this option is not selected, Finale transposes the existing line of notes without keeping the original line.
OK • Cancel. Click OK to confirm, or Cancel to discard, your transposition selection. If you click OK, Finale performs the transposition.

See Also:
Utilities Menu

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Tuplet Definition

Tuplet Definition

How to get there


To display the Tuplet Definition dialog box, click the Tuplet Tool, then click the first note to include in the tuplet group, or click the first note of a tuplet, then double-click
one of its handles. Or, click the Speedy Entry Tool, click a measure to display the editing frame, then press ctrl-1 to define the tuplet you want to enter.

What it does
In this dialog box you can define both the rhythmic and visual aspects of a tuplet grouping—the number of eighth notes that are to be played in the time of a quarter
note, for example—and whether or not a bracket or slur should appear, and so on.
Note that you can predefine the default visual aspects of the tuplets in your score, so that every tuplet you create automatically appears with a neatly positioned
bracket (for example). To do so, ctrl-click the Tuplet Tool; Finale displays Document Options-Tuplets, where you can specify these parameters. (See Document
Options-Tuplets for a more complete discussion—although its contents are identical to almost all of this dialog box.)
Note also that you can store tuplet "definitions"—the settings you make in this dialog box—in a tuplet Metatool, so that you can instantly transform non-tuplet notes
into tuplet notes (having the tuplet definition you prefer) with the press of a key. In fact, you can assign a different set of Tuplet Definition settings to each of the
number and letter keys on your keyboard.
When you create a new tuplet, Finale usually places a number over it (such as the 3 above a triplet). In this dialog box, you can change the tuplet notation for each
individual notation; for example, you could tell Finale to display a slur or bracket in addition to the number.

__ ____in the space of __ _____ • Half(s) • Dotted Quarter(s) • Quarter(s) (etc.). Define the rhythmic qualities (temporal definition) of the tuplet by
entering numbers in these two text boxes (to specify how many) and selecting the rhythmic-value from the drop-down list (to specify "of what value").

For example, suppose you want to create an eighth-note triplet. In the score, click the Tuplet Tool, and click the first of the three normal eighth notes you want
to transform into triplets. When this dialog box appears, enter 3 and 2 in the text boxes ("3 in the space of 2"); choose eighths from the drop-down list: 3
eighths in the space of 2 eighths. (Alternatively, you could create an eighth-note triplet by specifying 3 eighths in the space of 1 quarter.) These text boxes
apply only to the tuplet you’re currently placing in the score.

Number: Nothing • Number • Ratio. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet.
Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with
slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered
ends).

Placement:

Manual • Stem/Beam Side • Note Side • Above • Below. When Manual is selected in this dropdown list, Finale uses the settings from the Document

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Tuplet Definition

Options-Tuplets to position the tuplet on the notes in the score. Drag to reposition the tuplet in the score. When Beam Side is selected and you create a tuplet on
beamed notes, Finale automatically places the tuplet on the beam side and matches the beam angle. If Beam Side is selected and you create a tuplet on
unbeamed notes, Finale places the tuplet using the Document Options-Tuplets settings. You can then drag to adjust the tuplet in your score. Choose Above to
place the tuplet above the staff by default. Choose Below to place the tuplet below the staff by default.
Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver Tuplets automatically reposition to account for raised or lowered notes in the staff.
They also update to avoid rests and staff lines. Bracket placement and slope for Engraver Tuplets is determined by the stem direction of the majority of stems in
the tuplet (rather than the first stem in the tuplet as is the case when this box is not checked).
Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or below the bottom line of the staff.
Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in the score. If this box is not checked, tuplets can only be
adjusted vertically in the score.
Use Bottom Note. If the first note in the tuplet group is a chord, the numbers in the Position text boxes are generally measured from the top note; if you
transpose that note up or down, the entire tuplet moves with it. Select this option, however, if you want these numbers measured from the bottom note instead.
Appearance:
Number: Nothing • Number • X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet.
If you choose, for example X:Y, Finale will display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display "3?:2?". Finale does
not display X or Y values of 1. If durations are different (i.e. 3 quarter in the space of one half) X:Yq will display as Xq:Yq.
Shape: Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with
slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered
ends).
Break Slur or Bracket. If you’ve chosen a slur as the shape for the tuplet, then select Break Slur or Bracket, to have Finale break a slur or bracket to allow
for a number to be placed there.
Always Use Specified Shape • Bracket Unbeamed Notes Only • Never Bracket Beamed Notes on Beam Side. Choose Always Use
Specified Shape to place a bracket (of the shape defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets on
unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct Finale to place brackets on tuplets defined to appear on the
note side of the staff (for example, if the beam appears above notes tuplets will only contain brackets if placed below the staff).

Position:

Number: Horizontal • Vertical. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score.
Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic center of the tuplet (rather than equidistant from the first
and last note/rest of the tuplet).
Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in your tuplets, select this option if you don’t want it to
apply to this tuplet.
Shape: Horizontal • Vertical. Enter values here to specify the horizontal and vertical adjustments for placing the shape (slur or bracket) in relation to the
tuplet number. Enter a smaller or larger value for H: to change the position of the entire shape in relation to the notes. To move the shape closer to or further
away vertically from the note, enter a smaller or larger value for V:.
Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets.
Bracket full duration. Check this option to extend the right edge of the bracket to enclose the full duration of the tuplet.
Match Length of Hooks. Check this box to always use same length for left and right hooks. If the values for Hook Length are different, Finale uses the
smallest value for both hooks.
Left Hook • Right Hook. These options replace the Left Offset and Right Offset text boxes that controlled the length of the left and right hooks on horizontal
brackets in previous versions of Finale. Enter a negative value (in measurement units) in Left Hook or Right Hook to set the length of the left-most or right-most
hook. The value is negative because Finale measures down from the bracket. If Match Length of Hooks is selected, Finale updates the Right Hook text box with
the new Left Hook value. If Match Length of Hooks is not selected, you can enter different values in each text box.
Left Extension • Right Extension. By default, Finale initially creates a tuplet that surrounds the position of notes in the measures. However, in some cases
it’s easier for a musician to interpret the music if the tuplet can encompass the visual space of the beat instead of just surrounding the notes. You can accomplish
this by using these settings to specify how far the bracket or slur should extend beyond the notes. Enter a larger value to lengthen the bracket or slur.
Manual Slope adjustment. Enter a positive value to specify the maximum angle of brackets or slurs when the right side is higher than the left. Enter a
negative value to specify the maximum angle when the right side of the tuplet lower than the left.
OK • Cancel • Set Default • Reset. Click OK (or press enter) to confirm, or Cancel to discard, the tuplet appearance you’ve created. Click Set Default to
lock the current settings for all new tuplets you create (existing tuplets will not change). Choose Reset to rever to this session’s original settings.

Tip: Enter a smaller value for Horizontal of the Shape to change the position of the entire shape in
relation to the notes. Enter a smaller Vertical of the Shape to move the Shape closer to the note. Hook
is defined as the small lines at the end of the bracket while Extension are the longer lines of the
bracket.

See Also:
Tuplets
Tuplet Tool
Document Options-Tuplets
Change Tuplets

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Undo/Redo Lists

Undo/Redo Lists

How to get there


Choose Undo/Redo Lists from the Edit Menu.

What it does
Choosing Undo/Redo Lists displays the Undo/Redo Lists dialog box from which you can select a point in the list of past actions in which to undo all the actions down to
and including that point or redo all the actions up to and including a specified point.

Select Edit(s) to Undo. Click on an action in this list to undo all the action down to and including that action.
Select Edit(s) to Redo. Click on an action in this list to redo all the actions up to and including that action.
OK • Cancel. Click OK to perform the undo or redo, or Cancel to dismiss the dialog box without making changes.

See Also:
Edit Menu

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Unknown Chord Suffix

Unknown Chord Suffix

How to get there

Click the Chord Tool . Choose one of the three Chord Analysis Options from the Chord Menu (MIDI Input, One-Staff Analysis, or Two-Staff Analysis). Click a
chord in the score, or click a note and play a chord on your MIDI keyboard, whose suffix hasn’t been loaded into, or created in, this piece.

What it does
When Finale encounters a chord it doesn’t recognize, this dialog box appears, asking how to handle the situation. (You can dramatically decrease the number of times
this box appears if you load a Chord Suffix Library into your piece—or if you have the Maestro Font Default file in place, which already has a Chord Suffix Library
loaded.)

I’ll do it. If you click this button, you enter the Chord Suffix Editor dialog box, where you can construct the chord yourself, including its suffix (see Chord
Definition dialog box). If the chord you played was one that Finale doesn’t usually understand (such as a major sixth chord or a "V–11" chord like F/G), clicking
the I’ll Do It button also means "I’ll teach it to you." Once you’ve created the chord symbol, Finale will recognize this chord in any inversion and register (but only
if it’s built on the same root), and will correctly identify it the next time it occurs.
Let Finale do it. Click this button if you want Finale to do its best to identify the chord. Finale always identifies a chord correctly—but it doesn’t always label it
the same way you would, particularly in the case of very complex chords, or ones from which some tones are missing.
Cancel. Click Cancel to return to the score, where you can re-enter the chord.

See Also:
Chord Definition
Edit Learned Chords
Chord Tool

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Unknown Font

Unknown Font

How to get there


From the File Menu, choose Load Library. Double-click the name of a library that was created with a font that’s no longer installed on your System.

What it does
You’ll encounter this dialog box when you try to open a library of symbols or expressions that were created with fonts that are no longer installed, or a library that was
created on someone else’s computer (with a different set of fonts installed). Finale gives you two options for handling the missing fonts. You can either select a new
font to replace the missing one, or you can tell Finale to go ahead and load the library, substituting the System font for the missing fonts until you later install the
missing font into your Windows Font folder. At that point, the library elements will reappear in their original fonts.

Add the Font to the Font List. Click this button (or press return) if you want Finale to display the library element in the system font until such time as the
missing font is reinstalled.

Finale doesn’t actually install a font in your system when you click Add. Instead, it adds the missing font’s name to its font selection boxes; it will appear dimmed
(like the names of any other missing fonts). When you later install the missing font in your System, its name will no longer be dimmed, and the library elements
in question will reappear in their original fonts (instead of the substitute font).

Select Another Font. Click this button if you want to substitute a different font for the one that’s missing. Finale responds by displaying the Font dialog box, in
which you can select the new font. If there are other fonts that were used to create the library (that are now missing), Finale displays the Font dialog box again
so that you can repeat the process.
OK • Cancel. Click OK to do the selected action. Click Cancel to return to the score without making any changes.

See Also:
Font

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Update Available

Update Available

How to get there


From the Help Menu, choose Check for Finale Updates in a version of Finale not current with the latest maintenance update.
What it does
This dialog box allows you to update your version of Finale.

Update Now. Click this button to download and install the latest maintenance update.
Update Later. Click this button to dismiss the dialog box and return to the score.
Settings. Click this button to open the Automatic Check for Updates dialog box where you can set the frequency for automatic update checks.

See Also:
Help Menu

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View Continuous Data

View Continuous Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool and select a region of measures in a staff. Double-click the selected region to enter the
MIDI Tool split-window, if you want. Choose Edit Continuous Data from the MIDI Tool Menu.

What it does
The MIDI Tool allows you to edit the values of any MIDI continuous data (controllers, wheels, and so on). In this dialog box, you specify the controller whose data you
want to edit.

Controller ___. [Controller drop-down list] In this text box you can specify a controller by entering its number, or use the drop-down list to see a list of
standard controller messages with a brief description. Here are some common controllers and their numbers:
Controller number Controller Controller number Controller
1 Modulation wheel or lever 64 Sustain pedal
2 Breath Controller 65 Portamento
4 Foot Controller 66 Sostenuto
7 Main volume 67 Soft Pedal
10 Pan
Patch Changes • Channel Pressure • Pitch Wheel. Select the data you want to view and edit. When you click OK, you’ll be able to edit the specified
data type. For instructions on editing these data types, see MIDI Tool window.

Listen. If you’re not sure of the number or name of the MIDI controller type whose data you want to edit, click Listen. Finale goes into listening mode until you
"play" the controller; it then enters the correct controller number in the text box.
OK • Cancel. Click OK to confirm, or Cancel to discard, your controller selections. You return to the MIDI Tool split-window or the score.

See Also:
MIDI Tool Menu
MIDI Tool

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View Resolution

View Resolution

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the HyperScribe Menu. Click a measure. Record some music. Choose View Resolution from the
Transcription Menu.

What it does
In this dialog box, you can specify the amount by which you want to "zoom in" to the display area—for example, in order to have better manual editing control over the
tiny Time Tags. A smaller number in this dialog box magnifies the display area; in any case, Finale only magnifies your view horizontally, so that the thin lines
representing the notes you played are stretched horizontally, but still align correctly with the keyboard at the left side of the screen.
The View Resolution also determines the initial duration of any new note you create by double-clicking in the keyboard display area (the bottom three-quarters of the
display window). Its default duration is 15 units, where a unit is equal to the number in this text box. In other words, if the View Resolution is 100 (thousandths of a
second—that is, one-tenth of a second), the note produced by a double-click is 1500 thousandths of a second long, which is 1.5 seconds. See Transcription window
for further details on editing notes and Time Tags.

Each unit in the viewing area equals __ /1000th(s) of a second. In this text box, enter the number, in thousandths of a second, you want to be
represented by a single screen dot (pixel) in the display area of the Transcription window. Enter a small number (15 or 20) to "zoom in" on the notes and Time
Tags so you can manipulate them at a higher resolution. Enter a high number (200 or 400) to "zoom out" so that you can see a larger portion of your recorded
performance.

Technical note: The number in the View Resolution text box actually specifies the time, in thousandths of a second, represented by a single dot (pixel) on the
screen. Suppose the View Resolution is set to 1000 (thousandths of a second); when you move a Time Tag one pixel to the right, you’ve just shifted it one
second in real time.

OK • Cancel. Click OK to confirm, or Cancel to discard, your change in view resolution. You return to the Transcription window.

See Also:
Transcription Menu
HyperScribe Tool

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Voicing for Staff in Part

Voicing for Staff in Part

How to get there


From the Documents Menu, choose Manage Parts. Click Edit Part Definition to expand the dialog box. In the middle column, choose the staff that you would like to
change and click Edit Voicing.
What it does
This dialog box allows you to display select notes on individual instrument staves. For score staves that contain multiple parts (e.g. "Flutes 1 &2"), Flute 1 could be
assigned to its own part, containing only the Flute 1 notes; likewise for the Flute 2 part. Layers or individual notes from chords (of the same layer) can be assigned to
a part while other notes are hidden. To divide a multi-part score staff into two or more parts, first add the staff to different parts. Once the multi-part staff appears in
two (or more) parts, use this dialog box to specify which notes to show for each part.

All notes in Layer _ only. Choose this option and select a layer to display the selected layer only for this staff.
Selected notes from one or more layer(s). Choose this option to use the settings below to identify which notes within chords of the same layer should be
displayed in the selected staff.
In All Measures Containing a Single Layer, Use: All notes • Top Note • Bottom Note • Selected Note(s); 1st Note • 2nd Note • 3rd Note
• 4th Note • 5th Note. Use these options to specify which notes should be displayed in chords of the same layer. Choose All Notes to show every note in
measures containing a single layer. Choose Top Note to hide all but the top note in entries containing multiple notes (chords). Choose Bottom Note to hide all but
the bottom note in entries containing multiple notes. Choose Selected Notes, and then the desired check box below to specify which note to use in the case of
chords.
Count Notes: From the Top • From the Bottom. These options are available when the Selected Note(s) option is chosen and control the direction Finale
counts from when choosing the part voicing. For example, with "2nd Note" and "From the Top" selected, Finale hides all but the second note from the top of
chords in the same layer.
Include Single Note Passages. Check this box to also include monophonic passages in the voice you are defining.
In Measures Containing Multiple Layers, Display Layer _. If the score contains multiple layers in one or more sections, from this drop-down menu,
choose the layer you want to show.

See Also:
Document Menu

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Word Extensions

Word Extensions

How to get there


From the Document Menu, choose Document Options, and then select Lyrics. Click Word Extensions.

What it does
In this dialog box, you can adjust the behavior of Smart Word Extensions, and well as their visual appearance.

Use Smart Word Extensions. Check this box to enable Smart Word Extensions. Smart Word Extensions appear automatically as lyrics are entered in the
score, and can me modified using the options in this dialog box. With this box unchecked, word extensions act as they did in Finale version 2003 and earlier.
Create Automatically When Notes Follow Without Lyrics. Choose this option to tell Finale to create word extensions automatically when appropriate
as lyrics are being entered. While using Type Into Score, word extensions appear after switching out of Type Into Score mode, or after changing tools. To define
word extensions on certain lyrics only, uncheck this option, and then enter an underscore (_) after typing a syllable to specify a word extension on that syllable.
Minimum Length. In this text box, you can specify the minimum length for word extensions. Finale will not create a word extension automatically in the score if
there is not enough space between lyrics to accommodate the length entered here.
System Break Alignment: System Start • System End. Enter a value for System Start to adjust the alignment of the start of a word extension that
extends over a system with the start of the system. Enter a value for System End to adjust the alignment of the end of a word extension that extends over a
system with the end of the system.
Align to Notehead: Plain Notehead • Dotted Notehead. Enter a value for Plain Notehead to specify the distance between a non-dotted note and the
word extension’s end point. Enter avalue for Dotted Notehead to specify the distance between a dotted note and the word extension’s end point.
Stretch to Note Duration • Offset. Choose this option to extend word extensions for the duration of the note. Enter a value for Offset to adjust the
extension’s endpoint relative to the endpoint of the note duration.
Lyric Allignment: Vertical Offset from Baseline • Horizontal Offset from Syllable. Enter a value for Vertical Offset from Baseline to adjust the
vertical distance between the baseline of the lyrics and the word extension. Enter a value for Horizontal Offset from Syllable to adjust the horizontal space
between the end of the syllable and the beginning of the word extension.
Line Thickness. This option sets the line thickness for word extensions in your score. Enter a value for the line thickness.
OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box and return to Document Options - Lyrics. Click Cancel to tell
Finale to ignore any changes you made in this dialog box and return to Document Options-Lyrics.

See Also:
Document Options-Lyrics
Lyrics Menu

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Key signatures

Key signatures
See also Nonstandard key signatures.

To change the key

1. Click the Key Signature Tool , and double-click the measure where the key will change. The Key Signature dialog box appears.
2. Click the up and down scroll-bar arrows until the desired new key signature appears. Scroll up for sharp keys, and down for flat keys. If you
want to select or create a nonstandard key signature (based on a quarter-tone or other nontraditional scale), choose Nonstandard from the drop-down list menu.
See Nonstandard key signatures.
3. Using the Measure ___ Through ___ (or Through End of Piece or To Next Key Change) text boxes, specify the range of measures you
want to be affected by the key signature.
4. Specify the transposition effect. The three choices are: Transpose Notes, in which any existing music will be transposed to the new key; Hold Notes
to Original Pitches, which holds each note at its original absolute pitch, adjusting accidentals where necessary; or Hold Notes to Same Staff Lines
(Modally), in which each existing note remains on its original line or space, but no new accidentals appear.

If you select Transpose Notes, choose either Up or Down from the drop-down list menu to specify the direction in which you want to transpose the music. If
the measure range you’ve specified contains keys whose relationships you want to preserve, click Transpose All Keys Proportionally. Subsequent key
changes will be preserved, but will be affected by the same interval as the key change you’re now creating.

5. Click OK (or press enter).

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Special Tools Tool

Special Tools Tool

This tool lets you create a number of special beaming, stemming, and note positioning changes in one measure at a time. For example, you can use it to rearrange the
noteheads on a stem, change the length of a stem, change the angle of a beam, or adjust the position of a dot or a tie. You can select more than one element (of the
same type) at once, make exact adjustments using the nudge keys, view the relative position of some selected elements in the message bar, perform on-screen
dragging of dots or ties to alter their position, and change the vertical positioning of ties.

See Stems, Beaming across barlines, Note positioning, Dotted notes, Ties, and related topics.

For detailed information, see the Special Tools Palette.

Special mouse clicks

Contextual menus

See Also:
Advanced Tools Palette
Special Tools Tool

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Accidentals (Simple Entry)

Accidentals (Simple Entry)

You can add and edit accidentals with the Simple Entry Tool.

To add a sharped or flatted note

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Click the icon representing the desired note’s duration.

3. Click the Sharp Tool or Flat Tool .


4. Click the staff. A sharped or flatted note appears where you clicked. Also, after entering a note, press the left arrow key to select it. Then, use a keystroke to
apply an accidental. Press + to specify a sharp, - to specify a flat and N to specify a natural.
5. After entering a note with the caret, press + to add a sharp or - to add a flat.

To raise or lower a note


1. Double-click the Half Step Up Tool or Half Step Down Tool; then click the note. Use the same technique to add accidentals that raise or lower a
note by two half steps (that is, to double-flat or double-sharp a note).
2. Ctrl click a note or enter a note with the caret, and then press numpad + to increment up a half step or numpad - to increment down
a half step.

To add parentheses around accidentals

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click the note with an accidental, or enter a note with the caret. The note is selected.
3. Type P. To remove the parentheses, type P again.

To hide or show an accidental

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click the note or enter a note with the caret. The note is selected.
3. Type Ctrl-Shift--(hyphen). To toggle between hiding or showing the accidental, hit Ctrl--(hyphen) again.

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Accidentals (Speedy Entry)

Accidentals (Speedy Entry)


Accidentals (such as sharps, flats, and naturals) appear automatically if you’ve entered the music from a MIDI keyboard.

To change an accidental to its enharmonic equivalent


See Enharmonics.

To hide (or show) an accidental

1. Click the Speedy Entry Tool . Click the measure containing the accidental. The editing frame appears.
2. Position the insertion bar and crossbar on the note in question. Use the arrow keys or the mouse.
3. Press the asterisk (*) key. The accidental disappears (or, if there was no accidental, one now appears). The note’s pitch, however, doesn’t change; Finale
still plays it back as though the accidental were visible. If you press the asterisk again, the accidental reappears.

To add or change an accidental

1. Click the Speedy Entry Tool . Click the measure containing the accidental.
2. Position the insertion bar and crossbar on the notehead in question. Use the arrow keys or the mouse.
3. Press the plus (+) key to raise the note’s pitch, and the minus (–) key to lower it, by half steps. If you press these keys repeatedly, you can
add up to seven sharps or flats to a note. If you press the ctrl key as you do so, all subsequent notes on the same line or space in the measure also change.
See Speedy Entry Tool for more accidental shortcuts.

To correct accidentals on tied notes


After entering music in step time (using the Simple or Speedy Entry Tools), you may discover that Finale hasn’t correctly notated notes that are tied across a barline—
and the notes that follow them in the second measure. Using the Check Accidentals command, you can quickly update all accidentals so that they follow the usual
musical rules: a note tied from a previous measure doesn’t show the accidental, but any notes of the same pitch in the second measure do repeat the accidental, as
shown below.

1. Click the Selection Tool , and select the region whose tied-accidental notes you want to correct. See Selecting music for some
region-selecting shortcuts.
2. From the Utilities Menu, choose Check Notation, then Check Accidentals. Finale takes a moment to update and correct all ties and accidentals.

To move an accidental

1. Click the Special Tools Tool . The Special Tools Palette appears.
2. Click the measure you wish to edit.

3. Click the Accidental Tool . Handles appear on any accidentals in the measure. Deselect Show Handles from the Special Tools Menu if the handles are
obscuring the accidentals you want to move.
4. Drag any handle. If you’ve made the handles invisible (by deselecting Show Handles), drag the accidental itself. If you want to undo any accidental
repositioning you’ve done, click the accidental’s handle and press delete. To drag the handle vertically, double-click on the handle and check Allow Vertical
Positioning.

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MIDI

MIDI
MIDI, or Musical Instrument Digital Interface, is the computer language that computers and MIDI instruments use to speak to each other. If you need help setting up
your MIDI system, consult Setting Up Your MIDI System in Installation & Tutorials. If you’re interested in some of the technical aspects of MIDI, see the More on MIDI.
Dozens of Finale features make use of MIDI. If you’re interested in affecting MIDI playback through the use of graphic expression marks, see Expressions (or see the
entry for the individual marking). If you want to edit a specific MIDI data type, see the entries Key velocity; Start and Stop Times; Patches; Continuous data; and
Pitch wheel.
If you’re interested in step-time MIDI input, see Speedy Entry or Simple Entry.For information on recording and transcribing real-time MIDI performances, see
Recording with HyperScribe and Transcribing a sequence.
To create or transcribe a standard MIDI file for exchanging with sequencer programs, see To export a MIDI file.
To assign the staves in a piece to MIDI playback channels, see MIDI Terminology –MIDI channels . For information on sending patch changes, see Patches. To
synchronize Finale’s MIDI input or output to that of an external sequencer or another computer, see MIDI Sync.
You have a wide range of MIDI driver choices and can send and receive MIDI on more than one instrument per port. Furthermore, supports up to 64 channels.

To copy or erase captured (or edited) MIDI data


Once you’ve either captured MIDI data or edited MIDI data in the score (using the MIDI Tool), you can either copy this MIDI data to other parts of the score or erase it
completely from a selected region. For example, if you’re creating a piano piece in which the sustain pedal should be pressed at the beginning of each measure and
released at the end, you only have to create this pattern of MIDI controller data once using the MIDI Tool. Thereafter, you can simply copy the “pedaling” data from
that one measure to any other measures in the score.
When you “erase” MIDI data, you’re erasing variations from the default value of the particular MIDI data you’re editing. For example, if you erase Key Velocity data
from a region, you’re effectively restoring the default velocity value (such as 64) to every note in the region. (You set this default velocity value in the Base Key Velocity
box [choose Playback Controls from the Windows Menu, click the speaker icon].) Similarly, if you erase Note Duration (Start/Stop Time) data from a region, you’re
erasing the difference between the notated attacks and releases of the notes and the actual attack and release points (as recorded in HyperScribe or edited with the
MIDI Tool). In short, you’re restoring the playback of the selected region to a straightforward, “perfect” rhythmic feel.

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool Menu appears.
2. From the MIDI Tool Menu, select the MIDI data type you want to erase or copy. Choose Key Velocities, Note Durations, or Continuous Data; if
you choose Continuous Data, a dialog box appears so that you can specify which kind of MIDI continuous data you want to edit. Click the appropriate button
(Sustain Pedal, Modulation Wheel, and so on), or enter the continuous data number in the text box. Click OK.
3. Select the region whose playback data you want to affect. Click to select one measure, shift-click to select additional measures, drag-enclose to
select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit Menu.
4. To erase the selected MIDI data type from the selected region, press Backspace, or use the Selection Tool to clear Continuous Data.
5. To copy the selected MIDI data type to another region, drag the selected region so that it’s superimposed on the first target
measure. If the first target measure is not on-screen, scroll until you see it. Then, while pressing ctrloption and shift simultaneously, click the first target
measure. The Copy MIDI Data dialog box appears (unless the first target measure is directly above or below the first source measure).
6. Type the number of times you want the material (horizontally) copied. Click OK (or press enter).

To send an All Notes Off message


On rare occasions, you may encounter a situation called MIDI lock, in which your synthesizer is “stuck” on a certain note or chord.

From the MIDI/Audio Menu, choose All Notes Off. Finale sends an “all notes off” message to every note of every channel. You should find that, after
a moment, the situation is corrected.

To correct erratic MIDI playback


If you’re working with a very “notey” score, you may at times find that your computer gets overwhelmed by the amount of MIDI data it’s asked to play. For suggestions,
see To correct erratic MIDI playback.

To specify the MIDI device


In order to specify a MIDI device (sound card or MIDI interface), you must first ensure it is properly installed on your computer. For details, consult your MIDI Device
manual.

1. Choose MIDI Setup from the MIDI/Audio Menu. The MIDI Setup dialog box appears.
2. Specify the MIDI IN Device (from which you want Finale to receive MIDI input). While Finale can play back up to eight devices, it only records
from one device at a time, and will not address the MIDI channels on all eight cards discretely.
3. For MIDI OUT or playback, specify the devices from the drop-down list. If you have more than one MIDI card installed, specify which one you want
to carry MIDI channels 1 through 16 by entering the number in the Base Channel field.
4. Click OK (or press enter).

To change a MIDI channel in mid-staff


To change a staff’s MIDI channel within a piece, you create an expression that’s been defined for playback as a MIDI channel number.

1. Click the Expression Tool .


2. Click on, above, or below the note to which you want to attach the channel-change expression. The Expression Selection dialog box
appears.
3. Click Create. The Text Expression Designer dialog box appears.

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MIDI

4. Type the text for your Text Expression. You might want to call an expression that switches playback to channel 2 “To channel 2,” for example. To change
the font, highlight the text, then from the Text menu, choose Font. If you want this marking to be invisible, don’t type anything at all.
5. Click the Playback tab. The playback options appear.
6. From the Type drop-down list menu, choose Channel. Enter the channel number in the Set To Value box. Click OK or Select in each
dialog box until you return to the document.

To move or delete the channel-change expression

1. Click the Expression Tool , and click the note to which the expression was attached. Its handle appears.
2. Drag the handle to reposition the expression; select it and press delete to remove it.

To assign a staff to more than one MIDI channel


Finale normally allows you to route each staff to a single MIDI channel. For some effects, however, you may want the staff’s contents transmitted on more than one
channel—for example, if you want to mix the sounds from two different patches. To create this arrangement, you have to create an expression (which can be invisible,
if you like) defined for playback. This marking’s playback definition involves the creation of a MIDI data dump.

1. Click the Expression Tool ; click on, above, or below the note at which the music should begin playing over additional MIDI
channels. The Expression Selection dialog box appears.
2. Click Create. The Text Expression Designer dialog box appears.
3. Enter the text (if any) for your data dump expression. To change the font, highlight the text, then from the Text Menu, choose Font. (You can leave the
text box blank, if you wish.)
4. Click the Playback tab. The playback options appear.
5. From the Type drop-down list menu, choose Dump. The Playback Data Dump dialog box appears.
6. In the Number of Units text box, enter 2 or 3 (depending on whether you want the staff’s playback routed to a total of 2 or 3
additional MIDI channels). A staff can play over up to three MIDI channels, including the primary MIDI channel you’ve established for the staff.
7. In the first Data box, enter $FF. This code, including the dollar sign, is a special notation that tells your MIDI Instrument to prepare to receive additional
MIDI channel information.
8. In the next Data text boxes, enter one or two numbers, corresponding to the MIDI channels you want the staff’s playback routed to
minus one. In other words, if you want the staff to play over channels 5 and 6 (in addition to its primary MIDI channel), enter 4 in the second Data box and 5 in
the third. (Also be sure to delete the default “$00” value from each text box before entering your MIDI channel numbers.) When Finale plays your score and
reaches the expression you’re creating, it will reroute the playback to the MIDI channels you’ve just specified.
9. Click OK or Select in each dialog box until you return to the document. You return to the document.

Technical note: Here are some other codes you may find useful if you plan to make extensive use of
the Data Dump feature. If, at some point in the staff, you want to change only one of the additional two
MIDI channels you’ve specified, create another expression. Define this expression, too, to have a Data
Dump Playback Definition; however, in the Data text box that originally displayed the MIDI channel
that you don’t want to change at this point, enter the code $FE. Example: Your first Data Dump
expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5.
You want the additional channels now to be 5 and 12, so you create a new Data Dump expression; its
Data boxes should display $FF, $FE, and 11.

Finally, you can “turn off” any additional MIDI channels you’ve specified with a Data Dump expression by entering $FF in the appropriate Data box. Example:
Your first Data Dump expression added channels 5 and 6 to the staff’s playback; its Data boxes displayed $FF, 4, and 5. You now want channel 5 to drop
out, so you create a new Data Dump expression; its Data boxes should display $FF, $FF, and $FE (because $FE, remember, is the “don’t change this
channel” command).

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Measures

Measures
See also Measure layout.

To add blank measures at the end of the document

1. Double-click the Measure Tool . Or, to add more measures at once, from the Edit Menu, choose Add Measures.
2. Enter the desired number of measures. Click OK (or press enter).

To insert blank measures within a document


1. Choose any tool that allows regional selection. See Selecting music.
2. Select the measure after the point of insertion. Even if there is more than one staff, click a single measure. Finale will add a blank measure in every
staff.
3. From the Measure Menu, choose Insert Measure Stack or, if the Measure Tool is selected, you can right-click on the top measure
handle and choose Insert Measure Stack. A dialog box appears, asking how many measures you want to insert.
4. Enter the desired number of measures. Click OK (or press enter).

To erase or remove measures


1. Choose any tool that allows regional selection. See Selecting music.
2. Double-click a measure to select the full measure stack. Highlighting should extend between the staves (or above and below the staff if there is only a single
staff).
3. Press the Delete key, or, from the Edit Menu, choose Delete Measure Stack. This removes the selected measures from every staff. The result:
your score contains fewer measures.

To delete a measure from a single staff


When you remove a measure from the score as described above, Finale removes the measure in question from every staff in the score. Using the following technique,
however, you can remove a measure from a single staff (in effect) by sliding the subsequent measures one measure to the left.

1. Click the Selection Tool , and click the next measure after the measure you want to delete.
2. Hold down Shift and press the End key to select all measures to the right of the one you selected. Alternatively, you could choose Select
Region from the Edit Menu, delete the number in the Through Measure text box, and click OK. (Leaving this text box blank indicates the end of the piece.)
3. Drag the first selected measure to the left, so that it’s superimposed on the measure you want to delete. Finale asks you how many times
you want the selected music copied. The default value, once, is what you want.
4. Click OK (or press enter). Finale moves the music you selected one measure to the left, in effect eliminating the measure you wanted to remove. There may
now be an extra measure at the end of the staff; just erase or remove it (see “To erase or remove measures”).

To change one measure’s width

1. Click the Measure Tool . A handle appears on each barline.


2. Click the top handle and drag the right barline of the measure in question to the right or left. You can also click inside the measure itself and
drag to the right or left.

To adjust measure widths in a system


It’s useful to remember that you can adjust the relative widths of the measures in any particular system.

1. Go to Page View, if you’re not already there. You change views by choosing Page View from the View Menu.
2. Choose Update Layout from the Utilities Menu.

3. Click the Measure Tool . A handle appears on every barline.


4. Drag the handle of any measure to the right or left. As you make one measure wider, the one to its right becomes narrower. (You can adjust all
measures in a system except the last one with this method.)

To change the widths of many measures

1. Click the Selection Tool .


2. Select the measures to be resized. You only need to select the region in one staff; the measure widths will be changed in all staves. See Selecting music
for some region-selecting shortcuts.
3. From the Edit Menu choose Edit Measure Attributes. The Measure Attributes dialog box appears, letting you specify a fixed width for all selected

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Measures

measures or to add or subtract a certain amount from all selected measures. The units are whatever you’ve selected using the Measurement Units command in
the Edit Menu.
4. If you want to set the selected measures to a uniform width, enter a value into the Width text box. If you want to add or subtract the same
amount of width in all the selected measures, enter a positive number (to widen) or negative number (to narrow) in the other text box.
5. Click OK (or press enter). Be sure to choose Update Layout from the Utilities Menu (or press ctrl-U) before printing or viewing in Page View.

To specify minimum or maximum measure widths


Using this method, you can tell Finale not to make any measure wider or narrower than a certain width.

1. From the Document Menu, choose Document Options and select Music Spacing. The Music Spacing options appear.
2. In the Minimum Measure Width text box, enter the minimum measure width you want to allow in the selected region. The units are
whatever you’ve selected using the Measurement Units command (Edit Menu). Enter a Maximum Measure Width too, if you want.
3. Click OK (or press enter). When you use the Music Spacing command, Finale will check all the measures you’ve selected, to make sure they’re within the
width range you specified. If any measures are narrower than the minimum, Finale sets them to that minimum width (and shortens any that are longer than the
maximum width).

To split a measure across a system break


There may be times when you want a very long measure (such as a cadenza measure) to break in half if it straddles a system break. The point at which the measure
can be split into two, and the latter half moved to the next system is called the horizontal split point. The following instructions result in a measure that may break at
the end of a system, but only if Finale thinks it’s necessary. (You can, however, force the measure to break, as described in the note below.)

1. Click the Measure Tool , and double-click the barline handle of the measure you want to split. The Measure Attributes dialog box
appears.
2. Select Allow Horizontal Split Points. Click OK (or press enter). When you dismiss the dialog box, a new handle appears at the bottom of the
measure’s right barline.
3. Click the handle at the bottom of the barline. A special “split-point rectangle” appears above the measure.
4. Double-click in the split-point rectangle. A handle appears. Drag it horizontally to tell Finale precisely where it may break the measure (if necessary).
Double-click in as many places as you want to provide additional permissible split points. To remove a split point handle, click it and press delete.
5. Choose Update Layout from the Edit Menu. You won’t see the effects of your split point until you choose Update Layout.

Note: If you want to force the measure to split, after you have added a split point, click the Selection
Tool, click the portion of the measure you want to move, and press the up or down arrow, as
described in To move a measure to the previous (or next) system. (If you’ve specified more than one
split point, Finale breaks the measure at the first designated split point, regardless of whether you
press up or down.)

To arrange measures on the page


See Measure layout.

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Page layout

Page layout
Many instructions for setting the page layout for your documents appear under their own entries. See, for example, Document Options-Music Spacing; Distances;
Margins; Page size; Measure layout; and To change the widths of many measures. For instructions on arranging measures within the score (setting the number of
measures per line, for example, or moving a measure to another system), see Measure layout. For details on printing large scores that require taping several laser
printed pages together into composite pages, see Tiling pages for printing.
The initial layout of any document’s pages is determined by the settings in the Page Format for Score dialog box (from the Document Menu, choose Page Format, and
then Score). In this dialog box, you can specify dozens of page layout measurements (see Distances). Changes you make to the page layout in the Page Format for
Score dialog box, however, don’t immediately affect existing pages—only pages yet to be created. If you want the changes applied to existing pages as well, choose
Redefine Pages > All Pages from the Page Layout Menu (which appears only when the Page Layout Tool is selected).
An easier way to make formatting changes, however, is to use the Page Layout Tool. See “To change the page layout,” below.
A common use of Finale’s page layout tools is to specify how much music should fit on a page—how many measures per line, for example, or how many systems on
a page. It’s important to realize that there are four elements affecting the amount of music on a page. First, look at the distance between staves in each system; if you
decrease the total height of the system (by clicking the Staff Tool and dragging the staves closer to each other), more systems fit on the page.
Second, you can adjust the distance between systems. If you’re trying to fit another system onto a page, the simplest solution is to slightly decrease the space between
all systems, so that the cumulative effect is to create just enough room for another system on each page (see “To change the distance between systems,” below). You
can also specify the number of systems on a page by using the Space Systems Evenly command (see “To specify a number of systems on each page). The third
factor affecting the amount of music that fits on the page is the amount of reduction you’ve applied to the music on a page—you may find that a reduction of even a
percentage point or two is just enough to fit another measure per line, or another system per page (see Reducing/Enlarging). Finally, don’t forget that you control the
“tightness” of the spacing of the music itself, with the Music Spacing command in conjunction with a Spacing Width Library (see Document Options-Music Spacing).
The tighter the music, the more measures will fit on a line, and hence the more music will fit on the page.

To change the distance between systems

1. Click the Page Layout Tool . Dotted-line margins appear around each system.
2. From the Page Layout Menu, choose Systems, then Edit Margins. The Edit System Margins dialog box appears.
3. In the Change section, click Select All. In other words, you want the change you’re about to make to affect every system in the piece. Make sure
Distance Between Systems is checked and uncheck all other boxes. We don’t want to make all of the margins the same, just the distance between systems.
4. In the Distance Between Systems text box, enter a new value. This value is measured in whatever your Measurement Units are set to. See the
Document Menu for details. If you prefer, you can click within any system and drag instead of typing numbers.
5. Click Apply. If you like what you see, click Close. You’ve just changed the amount of space between every system in the piece. In so doing, you may
also have changed the number of systems able to fit on a page. (The bottom text box governs the amount of extra space below each system.)

Finale initially won’t let you enter negative values, so that a system overlaps the system above it. If you really want to create this cluttered effect, turn off
Avoid Margin Collisions by choosing it from the Page Layout Menu, so that a check mark no longer appears.

To specify a number of systems per page

1. Click the Page Layout Tool . Dotted-line margins appear around each system.
2. From the Page Layout Menu, choose Space Systems Evenly. The Space Systems Evenly dialog box appears.
3. In the Space System Evenly on section, specify the desired pages, or choose All Pages to include the entire document. For more
information, see Space Systems Evenly dialog box.
4. Select Place_Systems on Each Page, and in the text box, enter the number of systems you want to place on the selected pages.
5. Click OK. Pages in the specified region will appear with the number of systems you entered. If the number of systems on the pages specified does not change,
you will need to edit the system margins or reduction so the number of systems you choose will fit on the page. See “To change the page layout” and “To reduce
or enlarge a system”. For information on resizing pages, see Reducing/Enlarging.

To change the page margins


See “To change the page layout,” below, or see Margins for a more detailed discussion.

Note: If you’re printing on a PostScript printer and you find that brackets and staff names are being
“chopped off” in your printouts, you may not need to change the page margins at all. Instead, choose
Printer Setup from the File Menu, click Options, and then select the Paper tab and click Unprintable
Area. If you make this setting, most laser printers can print 1 /8 inch closer to every page edge.

To set the page size


See “To change the page layout,” below, or see Margins for a more detailed discussion.

To change the page layout

1. Click the Page Layout Tool .


2. Move to the page you want to change. If you want to change the page layout of all pages at once, it doesn’t matter which page you’re on. If you’re
unsure about your changes, and you don’t want your changes to affect your settings in the Page Format for Score dialog box, make sure to first deselect Update
Page Format in the Page Layout Menu. Remember, you can always choose Undo from the Edit Menu to restore your piece to its previous state.
3. If you want to change the Page Size, choose Page Size from the Page Layout Menu.
4. In the Page Size dialog box, choose the page size from the drop-down list or enter values using the currently selected measurement units.

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Page layout

5. Choose Landscape or Portrait.

Tip: This setting affects how Finale lays out the page. Printing settings are set in the Page Setup
dialog box under the File Menu.

6. Select the range of pages you want to affect. Page 1 is a Right page.
7. Click OK.
8. If you want to change the page margins, first set the range of the pages to affect in the Page Margins submenu of the Page Layout
Menu.
9. Drag the handles at the edge of the page margins. You can also enter values directly into the number boxes of the Edit Page Margins dialog box. See
Edit Page Margins dialog box for more information.
10. If you want to reposition or respace a staff system on the page, drag from the middle of the system. Note that while Avoid Margin Collisions
is checked the Page Layout Menu, Finale won’t let you drag one system on top of another one. Ctrl-drag to prevent other systems from moving.
11. If you want to respace the staff systems evenly across the page, choose Space Systems Evenly from the Page Layout Menu. See
Space Systems Evenly dialog box.
12. If you want to insert a page break, select a system handle, then choose Insert Page Break from the Page Layout Menu.
13. If you want to indent or resize a system, drag a handle. Each system appears bounded by a dotted line. To indent a system, drag its upper-left
handle. Instead of dragging, you can enter values directly into the number boxes. See Edit System Margins dialog box for more information. When you’re viewing
Staff Systems, you’ll notice a boldface number to the right of each system. The numbers on the systems (the first system is number 1) help you identify each
system, so you’ll be aware if the system layout has shifted.
14. To edit another page use the arrows at the bottom of the document window to move the next or previous page.
15. From the Edit Menu, choose Update Layout.

To change the default page layout (Page Format for Score dialog box)
See Distances; Margins.

Note: The changes you’ll be making in these instructions establish the page layout for pages yet to be
created. To apply them to existing pages, see the final two steps below.

1. From the Document Menu, choose Page Format, then Score. The Page Format for Score dialog box appears.
2. Enter new values in the text boxes. The units are whatever you’ve selected in the Measurement Units in the drop-down list. The Page Size numbers
specify the default page dimensions. The Page Margin numbers are the distances from the edge of the page; thus, if the page size changes, the margins remain
the same distance from the page edge. In these text boxes, all numbers are positive and measure an absolute change from the page edge. The System Margin
numbers define the placement and shape of the individual systems. The Right and Left margins are the distances from the edge of the system to the right and left
page margins, respectively (both are usually zero); the Top margin is the distance between the top staff of each system and any extra space for ledger lines or
other symbols which normally appear above the staff; and the Bottom margin measures the distance between the bottom staff of one system and any extra space
for ledger lines or other symbols which normally appear below the staff. The last measurement is Distance Between Systems. See Page Format for Score and
Page Format for Parts dialog boxes. .
3. Click OK (or press enter). The changes you’ve made will affect only new pages added to the piece by Finale, unless you perform one of the following
additional steps.

4. To apply the new page layout to one existing page, click the Page Layout Tool ; go to the page you want to edit; Select Current
Page from the Redefine Pages submenu of the Page Layout Menu.
5. To apply the new page layout to all existing pages, choose Redefine All Pages from the Redefine Pages submenu of the Page Layout
Menu, and click OK.

To apply a different page layout to selected pages


The fact that there are two places to make page layout changes—the Page Layout Tool and the Page Format for Score dialog box—gives you some extra flexibility.
Suppose you need to format a score with right and left facing pages that are formatted differently, and have different margin requirements. Using this system, you can
apply a secondary page layout to specified pages (just the odd-numbered pages, for example).

1. Create the primary page layout in the usual way. Either enter numbers into the Page Format for Score dialog box (Document Options in the Document
Menu) and then choose Redefine All Pages from the Page Layout Menu, or see “To change the page layout,” above.
2. From the Document Menu, choose Page Format, then Score. The Page Format for Score dialog box appears.
3. Enter the numbers that define the secondary page layout. For help in interpreting the various measurement boxes in this dialog box, see “To change
the default page layout (Page Format for Score dialog box),” above.
4. Click OK (or press enter).

5. Click the Page Layout Tool .


6. Go to the first of the pages you want to change. From the Redefine Pages submenu Select Left Pages, Right Pages, Selected Pages, to give a second
Layout to certain pages.
7. As always, choose Update Layout from the Edit Menu.

See Also:
Main Tool Palette
Page Layout Menu

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Transcription Mode

Transcription Mode
Note: It is no longer necessary to use Transcription Mode to record continuous data. Continuous data
(sustain pedal, pitch bends, etc) can be recorded in a standard HyperScribe session. See Record
Continuous Data dialog box.

What it does
The Transcription Mode is another real-time transcription mode; you use it to record a live keyboard performance, which you can then turn into notation.
The Transcription Mode differs from the rest of HyperScribe, however, in that after you’ve played your piece, it retains your performance in a graphic sequencer-like
window. (You can even save these performances as separate files on your hard disk and open them later.) See To transcribe a sequence.Quantization Guide . See
also
The Transcription Mode borrows certain elements from a sequencer, but it exists for the purpose of notating your performances. Unlike the rest of HyperScribe, in which
you provide a tempo reference by tapping as you play or use a metronome, the Transcription Mode lets you provide these taps after you’ve recorded the performance
(or before or during, for that matter). While Transcription Mode’s gratification isn’t instant, it offers you the chance to try various transcription settings, quantization
levels, and so on, without ever having to rerecord your original performance. See Quantization Settings dialog box.
If you haven’t worked with a sequencer before, you may encounter some terms that are new to you; one example is quantization. Finale’s sense of rhythm is much
finer than ours; it perceives subdivisions of rhythm down to 1024ths of a quarter note. Because Finale’s sense of time is so precise, the program can round off, or
quantize, your performance to the nearest eighth note, quarter note, or whatever rhythmic value you specify. If it didn’t, your transcription would be much too accurate
—it would be filled with 128th rests, hundreds of ties, and a forest of 64th notes.
Controllers are devices on your MIDI device that modify the music in some way: volume and sustain pedals, pitch and modulation wheels, and breath controllers are
some examples. You can record any of this data when you use the Transcription Mode to transcribe your music; furthermore, using the MIDI Tool, you can graphically
edit these controllers. See Continuous data.

Special mouse clicks

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Transcription Mode

Click any measure in the score to enter the Transcription window, where you can record a performance. When you
turn your performance into notation, the transcription will begin in the measure you clicked.
Click a measure after recording a performance to transcribe a single measure if you’ve selected Transcribe in Measures
in the Transcription window. This feature allows you to transcribe a measure at a time from your performance, so that the
transcription can appear in non-consecutive measures.
Ctrl-click a measure in the score to re-enter the Transcription window if you’ve been transcribing a performance one
measure at a time, using the Transcribe in Measures option.

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Note Mover Tool

Note Mover Tool

This tool lets you move one note at a time (or several within a measure) to another measure, even on a different staff. For example, you can create cross-staff
notation. Or, after transcribing a two-handed performance with HyperScribe (or the Transcription Mode), you can correct split-point errors by moving notes from the
upper staff to the lower staff. You can move several notes in a measure horizontally as well; for example, you can copy a particular motif into the next measure. For full
instructions, see Cross-staff notes, Recording with HyperScribe, and Transcribing a sequence. The target (destination) measure must be within 128 measures of the
source (original) measure.
The Note Mover Tool also gives you access to Finale’s Search and Replace feature, which lets you search for every occurrence of a particular note or group of notes
and modify them in some consistent way. For full instructions, see Search and replace.
When you click this tool, the Note Mover Menu appears, containing all the commands you need to move selected notes in a measure to other measures. See Note
Mover Menu for a complete description.

Special mouse clicks

Contextual menus

See Also:
Advanced Tools Palette

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Search and replace

Search and replace


You can search for a pitch, a specific pitch-and-rhythm combination, or even an entire motif anywhere in a score and modify every occurrence in one of several ways.

For example, you can flip every occurrence of a G to its enharmonic equivalent (F ), or change two of the notes in a recurrent theme.

To change occurrences of a note or motif (search and replace)

1. From the Window Menu, choose Advanced Tools. Click the Note Mover Tool . Click the measure containing the first occurrence
of the note you want to change. A handle appears on each notehead.
2. Select the notes to be changed. Select one note by clicking, additional notes by shift-clicking, a group of notes by drag-enclosing, and additional groups of
notes by shift–drag-enclosing. Note that you can select nonadjacent notes, as long as they’re in the same measure.
3. Choose Search and Replace from the Note Mover Menu. The Search and Replace dialog box appears, letting you further specify criteria for the
search-and-replace process. If you want Finale to look for the selected notes only in their original octave, select In Selected Octave Only. If you want to search
for the selected notes in any octave, select In All Octaves. Furthermore, you can confine the search-and-replace process to notes with the same rhythmic values
by checking Match Duration.c

With all of these options, Finale considers the selected notes’ scale degrees. For example, if you’re searching for a C in the key of C, Finale won’t consider C in
the key of F a match. Instead, it will consider F a match in the key of F.

4. Click OK. The Alteration for Slot dialog box appears, asking what sort of transposition you want to apply. You can specify a different transposition for each of
the selected notes; in effect, you have the option of completely rewriting a selected motif.
5. Click Transpose to specify a transposition option for the first selected note (or click Enharmonic to flip the note to its enharmonic
equivalent). If you click Transpose, a dialog box appears, in which you can specify the precise transposition that you want to apply to the note. Make your
selections from the drop-down list, and then click OK.

Note: If you’ve selected several notes, all of which are to receive the same transposition, click Set All.
The transposition you just specified will be assigned to all selected notes. Skip to step 7.

6. If more than one note was selected, click Next. The number in “Slot (#),” advances. (A “slot” is a selected note; Finale numbers them from bottom to
top within a chord, and from left to right in the measure.) Set the transposition option for this note in the same way. Continue through the selected notes (“slots”),
clicking Prev or Next as necessary, and setting the transposition option for each.
7. Click OK (or press enter). A new menu, Search, appears. Its commands are Find, which finds the next occurrence of notes matching your criteria; Replace,
which modifies the currently selected notes according to your transposition specifications; Replace then Find, which modifies the current notes and then finds the
next occurrence; and Replace All, which reads through your piece, measure by measure, in every staff, changing all notes that meet your search criteria.
8. Choose a command from the Search Menu. The Replace All command may take Finale some time to complete.
9. Choose Quit Search from the Search Menu.

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Staff Tool

Staff Tool

In addition to adding and deleting staves, use the Staff Tool to edit staff-specific characteristics using the Staff Attributes dialog box. Define attributes such as the
staff's name, clef, transposition (if you're notating a transposing instrument's part) and so on. Or, specify the number of lines in the staff, and show or hide certain
musical elements in the staff such as measure numbers, expression markings, time signatures and so on.
You can also create groups of staves; use the Group Attributes dialog box to define groups of instruments in the score and for part extraction, add a bracket to a group
and specify how the barline appears on the grouped staves. An individual staff can belong to any number of groups.
When you click the Staff Tool, a Staff Menu appears that contains all the commands for working with staves and groups of staves: adding, deleting, positioning and
spacing staves, creating customized staff attributes, defining groups of staves, adding brackets and piano braces, and so on.

Special mouse clicks

See Also:
Main Tool Palette
Staff Menu

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Articulations

Articulations

Articulations are generally added with the Articulation Tool or Simple Entry Tool , but can also be

applied to notes with the Selection Tool . You can also use the Selection Tool to quickly and easily
move or delete articulations. Articulations indicate
They are positioned in relation to that entry either above or below the note/entry. performance information including the
In Finale, articulations can be applied either one note at a time (see To put one articulation mark in the style of attack, delay, and manner or
score), or to a whole group of notes at once (See To apply an articulation to every note in a region). Finale extent to which notes are connected or
will automatically center the markings, if you wish, and place them the proper distance from the noteheads; disconnected. These indications are
you’ll even hear their effect on the music when you play it back. represented by accents, staccato
marks, or harmonic symbols, for
The Articulation Tool is also used for creating and editing the appearance of these markings. Each consists of example.
a single character (letter) from any font or a shape; most of the time, you’ll want to use Finale’s Maestro
music font, in which all the characters are musical symbols. A complete list of Maestro characters appears on
the Quick Reference Card.
An articulation must be attached to a note (or a rest); you can’t insert one into an empty measure. The
marking maintains its position relative to that note, even if you transpose it; in fact, the symbol will
automatically flip to the opposite side of the note if the stem changes direction, and even switch to a different symbol if the new stem direction warrants (as when a
fermata symbol flips upside-down).

Most markings commonly regarded as articulations fall into Finale's definition, however, some others used to articulate musical passages, such as slurs

and dynamics , are added with different tools (see Slurs and Expressions respectively).

Working with articulations globally (by document)

Designing an articulation

Defining an articulation for playback

Creating an articulation metatool

Articulations in linked parts

Removing an articulation from the list

Working with articulations by region

To apply an articulation to every note in a region

To copy markings based on a rhythmic match

To center and reposition existing articulations

To erase articulations from a region

To copy articulations

To put one articulation mark in the score

1. Click the Articulation Tool . Click on, above, or below a note. (If you are using voices, click above the staff for Voice 1 and below for Voice 2.) The
Articulation Selection dialog box appears.
2. Double-click the symbol you want.

Or, to add an articulation while entering music in Simple Entry:

1. Choose the Simple Entry Tool .


2. Select a note and press numpad * or Alt-A and press an articulation metatool key to add an articulation to the note. For example, A for an accent, S for
staccato, etc. Click Select (or press Enter) to open the Articulation Selection dialog box where you can choose from a list of articulations. (Note the metatool
assignment appears in the upper right corner of each articulation in the Articulation Selection dialog box.)
3. Press Ctrl-numpad * or Ctrl-Alt-Shift-A and then press an articulation metatool key (or click select or press Enter to choose an
articulation) to add a sticky articulation to the caret and mouse cursor. Now, the chosen articulation will appear on all notes entered until the
sticky articulation is removed. Press Ctrl-numpad * or Ctrl-Alt-Shift-A again to remove the articulation from the caret and mouse cursor.

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To move or delete an articulation

1. Click the Articulation Tool .


2. Drag the handle to move the marking. Select it and press the arrow keys to "nudge” it for fine positioning; select it and press delete
to remove it.

To change the articulation character

1. Select the Articulation Tool .


2. Select the articulation’s handle and double-press the desired metatool key. The articulation changes to the definition assigned to the metatool
key you used. (A "double-press" simply means pressing the keystroke twice in rapid succession). Or, double-click the articulation handle to open the Articulation
Selection dialog box where you can choose from a number of articulations.
3. Double-click the desired articulation.

To design an articulation
Follow these steps to add a new symbol to the Articulation Selection dialog box.

1. Click the Articulation Tool , and click a note in the score. It makes no difference what note you click; the symbol you’re about to design won’t
appear in the score until you want it to. The Articulation Selection dialog box appears.
2. Click Create. The Articulation Designer dialog box appears. If the symbol you want to create is not a musical symbol in the Maestro music font, click Set Font
to specify a different font.
3. Next to the Main Symbol display, click Main. The Symbol Selection dialog box appears. Use the scroll bars to view all the musical symbols available in
the font.
4. Double-click the marking you want. You return to the Articulation Designer dialog box.
5. Describe how you want this marking to appear, using the Positioning Options.
6. If this marking is supposed to flip "upside down" when the stem direction changes, click the Flipped button and select the flipped
character. Some symbols, such as are supposed to appear inverted when below a note. Finale can’t turn a symbol upside down; instead, Maestro
and other music fonts contain both the normal and inverted versions of each such symbol. When a note’s stem direction changes, Finale can substitute the
appropriate "upside-down" symbol automatically.
7. Find the drop-down list that begins, "When Placed Below a Note, use the…", and choose Flipped Symbol. See Finale Libraries in the
Appendix for the settings for typical markings.
8. Define the marking for playback, if you wish. Your marking can affect key velocity (i.e., volume—an accent, for example) or timing (a staccato mark, for
example). See To define an articulation for playback.
9. Click OK (or press enter). From now on, you may click as sloppily as you wish when attaching this marking to a note; Finale will neatly center it, place it on
the correct side of the note, and substitute an inverted symbol when necessary—if you’ve set the marking up that way. Once you’ve placed an articulation on a
note, of course, you’re still free to drag it to a new position.

To define an articulation for playback


Human Playback interprets and performs articulations during playback automatically. See Human Playback. To hear manual changes to the MIDI playback definition of
any articulation you must first set Human Playback to None in the Playback Settings dialog box.

1. Click the Articulation Tool . If you haven’t yet placed the Articulation in the score, click any note. When the Articulation Selection
dialog box appears, click the desired symbol and click Edit; then skip to step 3.
2. Double-click the handle. The Articulation Designer dialog box appears.
3. To specify how the marking will affect playback, make a selection from the Playback Effect drop-down list. You have three playback
choices: Change Attack, Change Duration, and Change Key Velocity. Choose Change Attack to shift the attack point forward or backward in time—a useful option
for producing rolled chord effects.

Choose Change Duration to affect the note’s length by changing its release point—to create a staccato mark, for example.
Finally, choose Change Key Velocity for accents, stress markings, and marcato markings—symbols that affect a note by striking it with more or less force
(generally making it louder or softer).

4. In the Top Note Value and Bottom Note Value text boxes, enter the amount of playback effect you want this Articulation to have.

When Change Attack is selected, the numbers you enter in these text boxes are 1024ths of a quarter note. To create an Articulation that strikes a note earlier
or later than notated, therefore, enter numeric values large enough to create a noticeable rhythmic difference on playback: 256 (a sixteenth note) and higher, for
example.
A Change Attack marking makes especially good use of the Top Note Value and Bottom Note Value text boxes. These text boxes come into play when you’re
attaching an Articulation to a chord, because the top and bottom notes can have different values; Finale scales any middle notes proportionately. With this
setup, it’s easy to create effects such as rolled chords. For example, you might enter -256 as the Bottom Note Value, and 0 as the Top Note Value. Finale
would roll the chord from bottom to top, and the top note would land on the beat.If you’re creating a Change Duration marking, the numbers in these text boxes
are, once again, 1024ths of a quarter note. Generally, however, you wouldn’t use the Change Duration setting to lengthen or shorten a note’s notated value by
a fixed amount. Instead, you’d want an articulation to change a note’s duration by a percentage—a staccato mark should shorten a note’s playback duration by

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Articulations

50%, for example, regardless of whether it’s a quarter note or an eighth note. Therefore, click the Values Are Percentages checkbox, so that the numbers
represent percentages of the note’s written value. You’ll usually want to leave the Bottom Note Value blank, so that the Top Note Value affects the entire chord
to which it’s attached.Finally, if you’ve selected Change Key Velocity, the numbers you enter are MIDI velocity values. These range from –127 to 127, where a
negative number will make the affected note softer than unaffected notes, and a positive number will make the affected note louder (0 = no change). If you’re
creating an accent mark, for example, you could enter, say, 40 into the Top Note Value text box; if an affected note has an original MIDI velocity value of 60, it
will now play back with a velocity of 100.
Of course, it may be easier to click the Values Are Percentages checkbox, so that the numbers you enter represent percentages of the note’s original value. If
you enter 200 into the Top Note Value text box, the note would be twice as loud as an unaffected note.

5. Click OK (or press enter). The changes you’ve just made affect all occurrences of this Articulation, even those you’ve already placed into the score.

To apply an articulation to every note in a region

1. Click the Articulation Tool , and drag-enclose a region of notes. The Apply Articulation dialog box appears. If you have programmed a
metatool for the particular articulation press the metatool while drag-enclosing the notes, and you’re done! See To create an Articulation Metatool.
2. Click Select. The Articulation Selection dialog box appears.
3. Double-click the symbol you want.

At this point, you can specify a number of other parameters. Click Notes within Range of Durations to select a range of note values you want affected by the
marking—for example, you might want the articulations to appear only on eighth notes and quarter notes; you’d click the eighth note in the upper palette and
the quarter note in the lower one. You can also specify whether or not Finale should place the articulation mark on notes beginning or ending a tie (since an
accent mark, for example, doesn’t mean much on a note at the right end of a tie). Select Include Notes that Start a Tie or Include Notes that Continue or End a
Tie, respectively.
Finally, you can specify an additional amount of distance added to (or subtracted from) the marking’s usual distance from the notehead. See Apply Articulation
dialog box for more information.

4. Click OK (or press enter). You return to the document, where Finale places the marking on every selected note.

To erase articulation from a region

1. Click the Articulation Tool .


2. Press delete while drag-enclosing a region. The articulations in the selected region are removed.

To center and reposition existing articulations


When you place an articulation marking onto a note, Finale automatically centers it and places it a precise distance away from the notehead. Once the marking
appears in the score, you’re free to drag it into a new position.
To restore the markings’ original positions, eliminating any hand-positioning you’ve done, drag-enclose the desired articulations and press the Backspace key (laptop
users Fn-6).
The following procedure can be used to move a specific marking into a new position, such as moving breath marks a uniform distance to the right of the notes to
which they’re attached.

1. Click the Selection Tool and select the region of music you want to affect. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Change, and then Articulation Assignments. The Change Articulation Assignments dialog box appears.
3. If you want Finale to reposition all articulations in the selected region back to the default position, click OK.
4. If you want Finale to reposition only a certain articulation marking, click Position Selected Articulations; click Select, and double-
click the symbol you want.

You can also swap one marking for another throughout the selected region: select Change All Articulations (or Selected Articulations) to Articulation, and click
Select to specify the replacement symbol.
You can also specify new positioning information by entering numbers into the H: and V: text boxes. You’re adding distance to either the usual or existing
positions of the selected markings, depending on your selection from the drop-down list. The units are whatever you’ve selected using the Measurement
Units command (Edit Menu). For articulations designed to be placed On Notehead Side, or On Stem Side, positive numbers move the symbols to the right (H:)
and away from the staff (V:); negative numbers move them left and in toward the staff. For articulations designed to be placed Manually, Above Note or Below
Note, positive numbers move the symbols to the right (H:) and upward (V:); negative numbers move them down and left. See Change Articulation Assignments
dialog box and Articulation Designer dialog box for more detailed explanations of these options.

5. Click OK (or press enter). Finale neatly positions every articulation mark in the selected region, according to your specifications.

To quickly change an articulation

1. Select the Articulation Tool .


2. Select the articulation’s handle and double-press the desired metatool key.

The articulation changes to the definition assigned to the metatool key you used. (A "double-press" simply means pressing the keystroke twice in rapid
succession).

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Articulations

To copy articulations

You can copy any musical elements—such as articulations—from one passage to another. In this discussion, the source region is the music that contains the
articulations, and the target region is the music to which you want to copy them.

1. Click the Selection Tool .


2. From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears.
3. Select Articulations; then click OK (or press enter). You’ve just told Finale to copy and paste only articulation markings, and to leave all other musical
elements alone.
4. Select the source region. See Selecting music for some region-selecting shortcuts.
5. Drag the selected region so that it’s superimposed on the beginning of the target region. If the first target measure is offscreen, scroll to it;
then, while pressing and shift together, click it.

The Copy Measures dialog box appears (unless you drag to a region directly above or below the source region). In that case, specify the number of times you want
the articulations copied, and click OK.
Finale only copies articulations to notes that fall on the same beats as they did in the source measures. The articulations maintain their positions relative to the
noteheads.

To copy markings based on a rhythmic match

1. Click the Selection Tool .


2. Select a region.

Click or drag-enclose any region of music to select it. Add additional measures to the selection by shift-clicking. Double-click to select a full measure, and
double-click a second time if you want to include all other staves in your selection. The selection must occur on a single staff, not spanning multiple staves.
Only rhythms and markings in the current layer of the source region are used for the pattern matching and painting process.

3. From the Edit Menu, choose SmartFind and Paint, then Set SmartFind Source. An outline box appears around the selected region. If you selected
the wrong region, choose Deselect SmartFind Source from the SmartFind and Paint submenu, and try again.

Select a target region to paint. If no region is selected, SmartFind will assume you wish to scan the entire document. You may include partial measures in your
target region.

1. From the Edit Menu, choose SmartFind and Paint, then Apply SmartFind and Paint. The SmartFind and Paint dialog box appears. See SmartFind
and Paint dialog box.
2. Check the box for the markings you want to copy.

If you’ve already entered some markings into your document, you may wish to check "Delete Target Markings Before Paint." With this box checked, SmartFind
will erase the markings before painting the new markings, so you get an exact duplicate. Note that checking this option will only erase markings checked to
paint. For example, if all markings to paint were checked except articulations, SmartFind would erase markings in the target but leave articulations untouched.
The checked marking types will be deleted regardless of whether the markings appear in the source region.

3. Click Find.

SmartFind shows you the first match, if any. SmartFind will look for matches in all layers of the target region, regardless of the source layer. SmartFind will
search the first measure of the top staff selected to the last measure of the top staff in the region, then continue through layers, then down through the rest of
the staves. SmartFind will search for a match based on the rhythmic or note durations and therefore will consider tied notes. SmartFind will ignore grace notes,
Voice 2 and mirrored notes.

4. Click Paint to apply the markings to the match, or Paint All to apply the markings to all matches, or click Find Next to skip this
match. SmartFind copies the select markings from the source region onto the rhythmic match target region. Only the first note of a tied note will receive copied
markings.
5. When you’re finished, click Cancel or Close. You return to the document.

To create an articulation metatool


A Metatool is a keyboard equivalent for a certain Articulation. By creating a Metatool for a symbol, you can pop it into the score with a single click of the mouse. You
bypass the selection box that would otherwise appear.

1. Click the Articulation Tool .While pressing shift, press the letter or number key you wish to use for your metatool.

It makes no difference whether you use the top row of the alphabet keyboard or the numeric keypad with num lock on to use the numbers. The Articulation
Selection dialog box appears. If the marking you want isn’t present in the Articulation Selection dialog box, you can create it in the usual way; see To design an
articulation for instructions. (Predefined metatools are in parentheses in the Articulation Selection dialog box).

2. Double-click the desired marking.

You return to the document, having successfully prepared the Metatool for use. You’ve just assigned a specific Articulation mark to a number or letter key; you
might want to write down which symbol you assign to each number. Repeat this procedure for other number or letter keys, if you wish; you can re-assign your

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Articulations

Metatools at any time by repeating this procedure.


Here’s how to place the marking in the score:

3. While pressing the appropriate letter or number key, click the note on which you want the marking to appear.

The Articulation appears in the score. By pressing a different key each time you click a note, you can rapidly add articulations to your score. You can also
drag-enclose a number of notes while pressing the metatool key and apply the articulation to all the notes at once.

To remove an articulation from the list

1. Click the Articulation Tool . Click any note. The Articulation Selection dialog box appears.
2. Click the symbol you want to remove; then click Delete. If the item is being used in the score, the Delete Element dialog box appears. Select whether
to replace the articulation with a different articulation, or simply delete all instances from the score. See Delete Element dialog box.
3. Click Cancel.

See Also
Articulation Tool
Articulation Selection
Articulation Designer
Symbol Selection
Handle Positioning

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Music spacing

Music spacing
Music spacing is automatically applied when you enter music into Finale. However, if you decide to turn off Automatic Music Spacing, the spacing is linear; in other
words, a whole note gets exactly the same horizontal space as four quarter notes. Furthermore, this newly-entered music may contain collisions between lyric syllables,
overlapping chord symbols, and crowded 32nd notes.
One of Finale’s most important features—and one not found in any other notation program—is its many customizable music spacing options. Finale can apply a
sophisticated system of width allotments to each note of your document or scale all note durations proportionally. This feature is modeled on traditional professional
music typesetting, where the engraver would consult a table of width measurements for each note value. The result is nonlinear spacing, where notes of different
duration occupy only as much space as they need. Music Spacing Options have the added benefit of neatly adding additional space to each measure, as necessary, to
accommodate lyrics, chord symbols, and “notey” passages.
In Finale, the width tables used to space the music are stored in Music Spacing Libraries. Spacing tables are width measurements, one per rhythmic value. For
example, in the library called Loose Spacing, a quarter note is given 1/3 inch of width and an eighth note is given 1/4 inch. By spacing your music with the aid of a
Music Spacing Library, you can create extremely professional-looking scores, which are neither wider nor narrower than they need to be. See Finale Libraries for more
Music Spacing Libraries.
You apply a music spacing to your music using the Music Spacing command or you can use the default Automatic Music Spacing option that applies music spacing as
you enter notes or edit your music.

This example is spaced


with Beat Spacing. Each
beat is spaced non-
linearly first, then spaced
within the beat linearly.

This example is spaced


with Note Spacing. Each
note is spaced non-
linearly.

This example is spaced


with Time Signature
Spacing. Each note is
spaced linearly.

You can edit Finale’s Music Spacing libraries so that they distribute width differently, and you can also create your own Music Spacing Libraries. Aside from the tables,
you can use a scaling factor to smoothly set the relationship between the different note durations in you document. The picture below illustrates this difference
between Time Signature Spacing (or a scaling factor of 2.0) and a Fibonacci scaling factor of 1.618.

Scaling
factor of
2.0

Scaling
Factor of
1.618
Fibonacci
spacing

For information regarding the relationship between music spacing the score and linked parts, see Music Spacing in linked parts.

To turn off Automatic Music Spacing


From the Edit Menu, choose Program Options, then Edit. Uncheck Automatic Music Spacing. When the checkmark is not shown, Automatic
Music Spacing is not enabled. Check the box to turn it back on.

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Music spacing

To load an Music Spacing library into an open document


1. From the File Menu, choose Load Library. The Open dialog box appears, letting you navigate through the folders on your disk. Find and open the
Libraries folder.
2. Double-click the name of the desired Music Spacing Library.

To reapply music spacing over a region

1. Click the Selection Tool .


2. Select the music you want to respace. In general, you’ll want to select all the staves in a system. If you select only one staff, for example, you could get
unexpected results, because the respacing command sets the measure widths for all staves according to the spacing of the selected region. Thus, if you select
and respace measure 1 in the flute staff, which contains only a whole note, the running eighth notes in another staff’s measure 1 will be compressed and
overlapping.
3. From the Music Spacing submenu of the Utilities Menu, choose either Apply Beat Spacing or Apply Note Spacing. If you use Beat
Spacing, Finale calculates where each beat should be positioned in the measure; any notes within the beat are spaced linearly (where an eighth note gets half as
much space as a quarter note, and so on). If you use Note Spacing, Finale uses the table of values to determine the exact position of each note or rest in a
measure. Thus, the Note Spacing command provides more exact spacing than does the Beat Spacing command. Either command takes time. But when done
processing, you’ll find that your music has been carefully respaced according to the Music Spacing Library’s specifications. Note: For a more complete discussion
of Finale’s spacing feature, see Document Options-Music Spacing. The final step is extremely important:
4. Choose Update Layout from the Options Menu. The Music Spacing commands are responsible for laying out the notes within each measure. In doing
so, Finale adjusts the widths of the selected measures, and they may no longer fit neatly into one line of music across the page. The Update Layout command is
responsible for laying out the measures across the page; it justifies the measures with the page margins.

If you don’t choose Update Layout after respacing your music, you may find measures at the ends of systems in Page View that seem much too wide or too narrow.
(Choosing Update Layout will solve the problem immediately.)

Note: When Finale spaces the notes of your document, it widens the selected measures as necessary
to make room for lyrics, if any. If you choose Music Spacing in the Document Options dialog box, you’ll
discover that there are other elements you can take into consideration when spacing measures: chord
symbols, and accidentals, for example. Select the appropriate checkboxes, and click OK.

To edit an existing Music Spacing library


Finale’s music spacing libraries were constructed by listing rhythmic values—from 64th note to double whole note—and assigning each a horizontal space
measurement. Depending on your own tastes, you may sometimes want to alter the music spacing libraries.

1. Load an existing Music Spacing Library as described above.


2. From the Document Menu, choose Document Options and select Music Spacing. The Music Spacing options appear.
3. Click Spacing Widths, select Use spacing widths table, then click Widths. The Widths dialog box appears, displaying a durational value (measured
in EDUs, 1024 per quarter note) in the top box and its allotted horizontal width in the bottom box. (The units of the lower box are whatever you’ve selected using
the Measurement Units command in the Edit Menu.) Click Duration to see the closest notated equivalent of the EDU value. If you click the Prev and Next buttons,
you can step through the various rhythmic values to see what horizontal space each has been assigned. (To help you with the math, remember that 512 EDUs is
an eighth note.) Or click Duration and click the durational value whose allotment you want to change.
4. Click Prev or Next until you locate the rhythmic value whose width you want to alter. Enter its new value in the bottom text box. In
the quintuplet example, you’d actually want to create a new rhythm/width pair, and insert it into the existing library.
5. To create a new rhythm/width pair, enter the rhythm value (in EDUs) in the top box, and its width allotment in the bottom box; then
click Insert. When you do this, it will appear that you’ve typed over an existing duration/allotment pairing. But in fact, when you click Insert, you merely add
your new pair to the library.
6. Similarly, you can remove the displayed duration/allotment pairing by clicking Delete.

Note the other options in this box, by the way—by selecting the appropriate checkboxes, you can
specify which musical elements you want Finale to consider when calculating new measure widths:
Notes and Accidentals, Articulations, Chords, Lyrics, Note-attached Expressions, Clefs, Unisons and
Seconds. See Document Options-Music Spacing for details.

7. When you’re finished, click OK. Use the Music Spacing command (Utilities Menu) to apply the new allotments to your document.

To restore a region to proportional spacing

1. Click the Selection Tool , and select the region you want to restore.
2. From the Utilities Menu, choose Music Spacing, then Apply Time Signature Spacing. Finale restores the music to proportional spacing, where a
whole note is allotted the same width as four quarter notes. Adjust the widths of the measures, if you wish (see Measures).

To create a new Music Spacing library from scratch


1. Load one of the existing libraries. You’ll save time by simply modifying the allotment values of an existing library.
2. From the Document Menu, choose Document Options and select Music Spacing. The Music Options appear.
3. Click Spacing Widths, then click Widths.
4. Type over the existing allotment value for each duration value. Insert new duration values as needed, following the steps in “ To edit

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Music spacing

an existing Music Spacing Library,” above.


5. When you’re finished, click OK. Use the Music Spacing command (Utilities Menu) to apply the new allotments to your document.

To save your edited or newly created Music Spacing library


1. Choose Save Library from the File Menu. The Save Library dialog box appears.
2. Click Music Spacing; then click OK. You’re then asked to title the new library.
3. Type in a new title and click Save (or press enter). The next time you need your customized spacing, load the modified library (choose Load Library
from the File Menu) and use one of the Music Spacing commands.

To specify minimum or maximum measure widths


If, after using Finale’s music spacing feature, you feel that the measures in your piece that contain whole rests (or whole notes) are too narrow or wide, you can adjust
them all at once. For instructions, see To specify minimum or maximum measure widths.

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Staff styles

Staff styles
Staff styles are named sets of staff attributes that can be applied to a region. Everywhere the same staff style is applied, the same staff attributes apply. If a staff style
is changed, it changes everywhere in the document the staff style is applied. Staff styles can be used to create transpositions, change the number of staff lines, or the
notation style for the selection region. A number of staff styles have already been created for you in the default file.
For information regarding staff styles in scores with linked parts, see Linked parts.

Note: While most staff styles can be layered on top of each other (i.e. 1-bar repeat and a saxophone
transposition), some styles conflict (i.e. 1-bar repeat and blank notation). Finale will alert you to this
conflict when you apply or copy a staff style. It will not, however, warn you if you create conflicting
styles by editing a layered style.

To create a staff style

1. Click the Staff Tool . The Staff Menu appears.


2. Choose Define Staff Styles from the Staff Menu. The Staff Styles dialog box appears.
3. Click New and type in the style name in the Style Name text box.
4. Select the items you wish to include in your staff style. See Staff Styles dialog box for details. Remember that a checkbox can be selected,
unselected or grayed out which means to leave it as it is.

Tip: choose Copyable to allow the staff style to be copied with the Selection Tool.

5. Click OK. You are now ready to apply the staff style you created.

To edit a staff style

1. Click the Staff Tool . The Staff Menu appears.


2. Choose Define Staff Styles from the Staff Menu. The Staff Styles dialog box appears.
3. Select the staff style you wish to change from the Available Styles drop-down list.
4. Make any changes you require in the Staff Styles dialog box.
5. Click OK. Any changes you have made will be applied to the everywhere that style is used.

To apply a staff style

1. Click the Staff Tool . The Staff Menu appears.


2. Select the region you want to affect. See Selecting music for hints on selecting shortcuts.
3. While pressing the number or letter corresponding to the Metatool, (for example, S for Slash Notation) click a measure. Finale applies
the staff style over the range or measures you selected. See the Staff Style library in the Appendix for a listing of metatool assignments in the default file. If you
don’t know the metatool, use the steps below.
4. Choose Apply Staff Styles from the Staff Menu. You can also select Apply Staff Styles from the contextual menu by right-clicking in the staff. The Apply
Staff Style dialog box appears.
5. 5. Select the staff style you wish to apply from the drop-down list.
6. 6. Click OK. The chosen staff style will be applied to the selected region.

To clear a staff style

1. Click the Staff Tool . The Staff Menu appears.


2. Select the region you want to affect. See Selecting music for hints on selecting shortcuts.
3. Choose Clear Staff Styles from the Staff Menu. You can also select Clear Staff Styles from the contextual menu by right-clicking in the staff. Or press
the backspace (laptop users Fn-6) key on the keyboard. The staff style will be removed from the selected region.

To delete a staff style

1. Click the Staff Tool . The Staff Menu appears.


2. Choose Define Staff Styles from the Staff Menu. The Staff Styles dialog box appears.
3. Select the staff style you wish to delete from the Available Styles drop-down list.
4. Click Delete.
5. Click OK. The staff style will be deleted from the list and the document.

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Staff styles

To create a staff style metatool

1. Click the Staff Tool . The Staff Menu appears.


2. Press shift and a number key or a letter. Finale displays the Apply Staff Style dialog box.
3. Select the staff style you wish to assign from the drop-down list.
4. Click OK.

To apply a staff style metatool

1. Click the Staff Tool . The Staff Menu appears.


2. Select the region you want to affect. See Selecting music for hints on selecting shortcuts.
3. Press the number or letter corresponding to the Metatool you programmed. Finale applies the staff style over the range or measures you
selected. See Finale Libraries in the Appendix for a listing of Staff Style metatool assignments in the default file.

To load a staff style library


1. From the File Menu, choose Load Library.
2. Navigate to the folder containing the desired library. The default libraries are found in the Libraries folder in the Finale folder.
3. Select the library and choose Open.

To save a staff style library


1. Create only the staff styles you want to move. Delete redundant staff style if needed.
2. From the File Menu, choose Save Library. The Save Library dialog box appears.
3. Click Staff Styles and click OK.
4. Name the library and click Save. The library is now available to load into other files.

To display a staff differently in one part than another


A common case would be using the same score staff for both bass clef baritone and treble clef baritone parts. In these steps you will create a new part and apply a
staff style to show it in a different clef and with a different transposition.

1. From the Document Menu, choose Manage Parts. The Manage Parts dialog box appears. If the score does not yet contain parts, click Generate Parts
to create them based on the existing score staves.
2. Click New Part. The dialog box expands and a new part appears in the list above.
3. Click Edit Part Name to open the Edit Text dialog box. Enter the name of the part and click OK.
4. Click the staff you want to use for the part in the right column. Then click Add to Part to add it to the middle column.
5. Click OK. You have just added a part containing the same score staff as another part. Now, you can use a staff style to apply a different transposition, clef, or
other notation style to this part. Notation (and other) changes to this staff in the score will apply to this part as well as the original part.
6. From the Document Menu, choose Edit Part, and then the part you just created.
7. Choose the Staff Tool.
8. From the Edit Menu choose Select All (or press Ctrl-A) to select all measures in the part.
9. From the Staff Menu, choose Apply Staff Style. If the style you need is here, choose it and click OK and you’re done - the part is now displayed in the
new style. If the style is not in the list, click Define. The Staff Styles dialog box appears. Move ahead to step 10.
10. Click New. Replace “(New Staff Style)” with a new name. Then, make the desired changes. For example, to create a B flat baritone part, click the Select button
next to the clef, choose the treble clef, and click OK. Then, click the Select button next to transposition and from the Key Signature drop-down menu, choose Bb
treble clef. Click OK. For more details, see Staff styles.
11. Click OK to return to the Apply Staff Styles dialog box. The style you just created is highlighted.
12. Click OK. The part is now displayed in the staff style you just defined.

See Also:
Staff Tool

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Custom Arrowhead Selection

Custom Arrowhead Selection

How to get there


Click the Smart Shape Tool. Choose Smart Shape Options from the Smart Shape Menu. Choose Custom Line from the Smart Line Designer drop-down list. Click
Select, then Create or Edit. Click Select next to Custom Arrowhead.

What it does
The Custom Arrowhead Selection dialog box allows you to select from a number of shapes you’ve created to use for your arrowhead.

Edit. After selecting an arrowhead, click Edit to enter the Shape Designer dialog box. You can modify the arrowhead, however, keep in mind that when you edit
an arrowhead, your editing affects every occurrence of it in the score. See Shape Designer dialog box.
Create. Click Create to enter the Shape Designer, where you can design an arrowhead.
Duplicate. Click Duplicate to create a copy of the selected arrowhead to modify. You can select more than one item. Use Shift-click to select an additional item
and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Delete. After selecting an existing arrowhead, click Delete to remove it from the Custom Arrowhead Selection dialog box. You can select more than one item.
Use Shift-click to select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Move Up • Move Down. Click these buttons to move the selected item or items up or down in the list. You can select more than one item. Use Shift-click to
select an additional item and include all the items in between. Use ctrl-click to select only a specific additional item in the list.
Cancel. Click Cancel to return to the Smart Line Designer dialog box without selecting a preset arrowhead.
Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line Designer dialog box. Instead of using the Select button, you can
simply double-click the desired arrowhead.

See Also:
Arrows
Smart Shape Tool

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Custom Arrowhead Selection

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Arrows

Arrows
If you want to create an arrow, for example, to indicate the direction of a strum or for a worksheet example, you can do so with Finale's Shape Designer. The shape
can be added as a note or measure expression. See Shape Designer and Arrowheads dialog box.

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Measure numbers

Measure numbers
You can create different regions of measure numbers in your piece, each with a different font, position, and numbering scheme. If you want measure numbers to occur
only at specific places in the score to serve as rehearsal numbers, see Easy Measure Numbers and Rehearsal letters.
For information regarding measure numbers in scores with linked parts, see Measure Numbers in linked parts.

To create measure numbers

1. Click the Measure Tool and select Edit Regions from the Measure Numbers submenu of the Measure Menu. The Measure Number
dialog box appears. If there is no measure number region click Add.
2. Enter the Measures to include for this region. The Include Measure and Through text boxes are the actual measures in the piece; they have nothing to
do with what you’re going to call them. For example, if the piece begins with a pickup measure, you’ll probably want what is actually measure 2 to be numbered
as measure 1; if so, type 2 into the first text box. If you simply want to number every measure sequentially (a single region), type 1 into the first text box and
1000 (or any number larger than your actual measure count) in the second text box. If you want to define a region to number only part of the piece, the End
Measure is the last measure to be numbered.
3. Enter the number you want to start your region numbering with in the First Measure in Region text box. If you want to use letters, type in a
number corresponding to its place in the alphabet.
4. Select the style of measure numbers (numeric, alphabetic, etc.) from the Style drop-down list menu.
5. Click Set Font to choose a font and style for this region. Click OK (or press enter).
6. Click Position. The Position Measure Number dialog box appears, displaying a symbolic measure number.
7. Drag anywhere in the graphic box to position the measure number relative to the measure. Click OK (or press enter). You return to the
Measure Number dialog box, where you can make various other settings.
8. Specify the incidence of the numbers. If you click Show Measure Number at Start of Each System, a measure number will only appear at the beginning
of a new system. If you click Show every __ Measures beginning with __, you can specify how often a number appears and where it should start from. Multiple
of 1 would number every measure in the region.
9. If you want each measure number to be prefixed, enter the Prefix number or letter. If you entered the letter A in the Prefix text box for a region
with numbered measures, for example, you’d create a sequence of measures labeled A15, A16, A17, and so on. On the other hand, if you entered the number 21
in the Prefix text box for a region with lettered measures, you’d create a sequence of measures labeled 21a, 21b, 21c, and so on.
10. If you want an enclosure around each measure number, select an enclosure from the drop-down list menu. If you don’t see one you like,
click Edit Enclosure and the Enclosure Designer dialog box appears. See Enclosure Designer dialog box.

If you want every measure number in the region to be enclosed, select Show Enclosure on Every Number. If you click Show Enclosure on Selected Numbers,
no measure numbers will be enclosed when you first return to the document; to add the enclosure you specified to a particular measure number, simply
double-click the number’s handle and click Use Enclosure.

11. If you want a range of measure numbers on multimeasure rests select Show Measure Number Ranges on Multimeasure Rests. If you want the
range to always appear, also select Always Show on Multimeasure Rests. If you want a bracket around the range, enter the bracket in the Left and Right boxes.
12. If you don’t want the measure numbers to begin with 1, enter a number in the First Measure in Region text box. See Measure Number
dialog box for more information.
13. To set up the parameters for another region, click Add. To remove a region, click Delete.
14. Click OK (or press enter). The numbers appear in every measure in every staff. Each number has a handle.

To remove measure numbers from a single staff

1. Click the Staff Tool , and double-click the staff whose numbers you want to “turn off.” The Staff Attributes dialog box appears.
2. In the Items to Display section, click Measure Numbers to de-select it. Click OK (or press enter). Note that “Always Show on Top/Bottom
Staff” in the Measure Number dialog box will override this setting. See Measure Number dialog box.

Note: You can also remove measure numbers with the Selection Tool. Click a measure number
handle and press Delete (or right-click and choose Delete).

To move a single measure number

1. If the measure number handles aren’t already visible, click the Measure Tool . A handle appears on each measure number in the score.
2. Drag a number by its handle to reposition it. Select it and press the arrow keys to “nudge” it for fine positioning. To restore a number to
its original positioning, click its handle and press backspace. To remove the measure number press delete.

To add a measure number to an existing region

Click the Measure Tool . Ctrl-click a measure which is part of a region, but is not currently displaying a number. To add a
measure number to the entire system, ctrl-shift-click. To remove a forced measure number, click its handle and press delete.

To reshape or remove a measure number’s enclosure


The Measure Number dialog box offers two ways of creating enclosures around measure numbers. If you select an Enclosure and then click Every Number, Finale

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Measure numbers

places an enclosure around every number in the region.


If you select an Enclosure and then click Selected Numbers in the Measure Number dialog box, you add enclosures to one number at a time in the score, by double-
clicking its handle and then clicking OK. You can both resize and remove an individual enclosure of this type.

1. Click the Measure Tool . Double-click the handle of an enclosed measure number. The Enclosure Designer dialog box appears, letting you
reshape the enclosure and reposition the number within it.
2. If you want to remove the enclosure, select None for the enclosure shape and click OK. You return to the document (provided that the
enclosure isn’t an Every Number type).
3. If you want to modify the enclosure, drag the top and side handles to change its height and width. Drag the number’s handle to
reposition the number within the enclosure. Change the line thickness, if desired. The line thickness is measured in the current measurement
units.
4. Click OK.

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MicNotator

MicNotator
For best results with MicNotator, follow these basic guidelines:
The purpose of MicNotator is to allow users to input notes via a wind instrument instead of a MIDI keyboard. This version of MicNotator is not designed for use with a
vocalist (i.e., does not accommodate wide vibrato, glissandi, etc.). When using MicNotator, keep in mind that the desired result is to notate and print the music as you
want it, not to record your performance. So think of it more like a typewriter and less like a tape recorder.

Setting up MicNotator
1. Plug the microphone into your computer. Make sure it is plugged into the Mic In port, not Line In. If you’re using a Mac that does not have a Mic port,
you may need a USB to microphone adapter, such as the iMic from Griffin Technology.
2. From the MIDI/Audio Menu, choose Audio Setup. Or, click the MicNotator icon on the MIDI/Audio Menu Toolbar. The Audio Setup Dialog
box appears.
3. Place a checkmark on Enable MicNotator.
4. Under Mic Level, use the slider to control the microphone input level. THE MIC LEVEL IS VERY IMPORTANT TO SUCCESSFUL NOTE ENTRY
WITH MIC NOTATOR. For best results, use the small clip-on microphone available from MakeMusic Customer Service at 1.800.843.2066. To set the mic level,
follow these steps:
5. Place the microphone as follows:

Instrument Placement

Flute, Piccolo left side of shirt collar

Bassoon, Oboe, English Horn shirt above the stomach

Clarinet, Soprano Sax shirt above the stomach

Alto and Bass Clarinet music stand

Alto, Tenor and Baritone Sax neck strap

All brass outside of bell

6. Play your instrument and watch the level lights.


7. Move the slider next to the level light up or down to obtain the correct input level. The lights should be green most of the time; red is too high,
blue is too low. Occasional red readings are acceptable. To ensure accurate pitch detection, follow the guidelines for mic placement and mic level above.

Using MicNotator with Speedy Entry


Before you begin, make sure you’ve set up the MicNotator for your instrument. See Setting Up MicNotator. You’ll need to use the Hands-Free MIDI method (unless
you can play one-handed). For more details, see Speedy Entry.

1. Click the Speedy Entry Tool , and click a measure. The editing frame appears.
2. Press caps lock; then press the number key on the computer keyboard corresponding to the value you want to enter. In other words,
you’re now telling Finale what the note values are going to be before you specify the pitches.

The number you press appears in the lower-left corner of the editing frame.

3. Play the notes on your instrument. Each note you play appears in the document; if Jump to Next Measure is checked in the Speedy Menu, the editing
frame advances automatically as soon as you fill each measure. It’s safe to outplay Finale, too; it will remember up to 500 notes (and continue to notate them as
fast as your computer allows).

Using MicNotator with Simple Entry


Make sure you’ve set up the MicNotator for your instrument. See Setting Up MicNotator. You’ll be using the Simple Entry Caret to do this. For more details, see Simple
Entry.

1. Click the Simple Entry Tool .


2. From the Simple Menu, choose Use MIDI Device for Input.
3. From the Simple Menu, choose Simple Entry Options, and ensure Use Simple Entry Caret is checked. Then click OK. The Simple Entry
Caret appears.
4. Click or use the arrow keys to place the caret where you would like to start entering notes.
5. Choose the duration of the note you want to enter (by clicking a duration icon or pressing its corresponding keystroke). See
Keycuts-Simple Entry Tool for details.
6. Play the notes on your instrument. Each note you play appears in the document of the duration selected. Use keystrokes to quickly change durations
between notes. It’s safe to outplay Finale, too; it will remember up to 500 notes (and continue to notate them as fast as your computer allows). To record notes
without help from the computer keyboard to specify duration, use the HyperScribe entry method (see below).

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MicNotator

Using MicNotator with HyperScribe


Before you begin, make sure you’ve set up the MicNotator for your instrument. See Setting Up MicNotator. For more details about HyperScribe, see Recording with
HyperScribe.
MicNotator will notate what you play, so your performance should reflect the desired printed results, rather than the desired sound. For instance, if you play eighth
notes in a staccato style, they may come out as sixteenth notes rather than eighth notes. So you should play the full duration of all notes. Also, you will experience
better results if you input notes at a slow tempo.
Follow the basic guidelines for quantization that you would use with MIDI input. As a general rule, you should quantize to the smallest duration that you will play (i.e., if
your smallest duration is an eighth, quantize to the eighth note rather than the sixteenth). The No Tuplets quantization setting produces the best results. Even if you
have triplets in your performance, you will have better results using the No Tuplets setting and then editing the triplet measures (using the speedy note tool).
If you encounter small rhythmic errors when entering sixteenth note passages, click on the More Settings in the Quantization Settings dialog box and change the Very
Short Notes value from 20 EDUs to 0 EDUs.

1. From the MIDI/Audio Menu, choose Quantization Settings. The Quantization Settings dialog box appears.
2. Click on the More Settings button. The More Quantization Settings dialog box appears.
3. Under Very Short Notes, click in the Remove Notes Smaller text box and enter 20.
4. Choose Remove Grace Notes.
5. Under Options, ensure Include Voice Two and Allow Dotted Rests are unchecked.
6. Click OK. You return to the Quantization Settings dialog box. Adjust the settings, then click OK. See Quantization Settings dialog box for more information.

7. Click the HyperScribe Tool . The HyperScribe Menu appears.


8. From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. The Playback and/or Click dialog box appears. (See Playback
and/or Click dialog box) If you’d rather provide the tap or tempo yourself, see Tap Source dialog box.
9. Click the note duration you would like to use for your beat. Type in the number of EDUs for any duration that is not available from the palette.
10. If you know what tempo you want to record at, enter the tempo into the Tempo text box. If you prefer to have Finale calculate the tempo for
you, click Listen, then tap your mouse in the dialog box at the desired tempo. Finale will enter the tempo you play.
11. Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay starting the countoff measures and recording until it
receives a start signal. Choose None (Record Immediately) if you don’t want to use a signal to start recording—Finale will immediately start recording (after
playing the countoff if one was specified); choose Any MIDI Data for Finale to start recording upon receiving any MIDI signal that’s played; choose Current
Metronome Sound to use the same MIDI signal as the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain Pedal to signal the start by
depressing the foot pedal; choose Other to define an alternate MIDI signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box).
12. Deselect Play Staves While Recording or make sure MicNotator is set to a unique input channel. See Audio Setup dialog box.
13. Click on Click and Countoff to set up your click and countoff options. For details, see Click and Countoff dialog box.
14. Click OK. You return to the document.
15. From the HyperScribe Menu, choose Record into One Staff. MicNotator only supports single pitch instruments.
16. To start recording, click the measure in which you want Finale to begin recording. Signal Finale to start (if you selected a start
signal). Click a measure. Or, choose Playback Controls from the Window Menu, if it isn’t already selected. Change the measure if necessary, then click Record
in the Playback Controls.

Note: If you click a measure to start recording, Finale will start recording into the measure you clicked,
not the measure displayed in the Playback Controls.

17. When you’re finished, if you are providing the beat, give one extra tap. The extra tap is required to fill out the beat, for the benefit of Finale’s
quantization feature.
18. Click anywhere on the screen to stop recording. If the quantization or split point settings weren’t quite right, change them; then click the first measure
and try the performance again. HyperScribe will overwrite whatever music is already on the staff.

Note you can also adjust Finale’s MIDI In Latency setting for improved recognition. If notes tend to
appear behind the beat during a recording session, do the following.

19. From the MIDI/Audio Menu, choose MIDI Setup, and then click the Advanced button.
20. For MIDI In Latency, enter “50” and click OK. Try recording. You may need to experiment with different values until you find the amount of MIDI latency
that works best.

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Speedy Entry Tool

Speedy Entry Tool

This tool allows you to rapidly enter one note, chord, or rest at a time. You specify the rhythmic value of each entry by pressing a number key on your computer
keyboard; you can specify the pitches either by pressing the desired keys on your MIDI keyboard or by pressing the appropriate letter keys on your computer keyboard.
The Speedy Entry keyboard commands are summarized in the diagram that appears on your Quick Reference Card.

Special mouse clicks


Metatools
See Also:
Main Tool Palette
Speedy Menu

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Finale Music Composing & Notation Software

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Installation for Macintosh

Installation for Macintosh

Installing Finale
Windows users: see the previous chapter Installation for Windows or skip over this chapter.

If you are viewing this on-screen, you have likely already installed Finale. Skip to Preparing for
Printing.

Installing Finale onto your hard disk is easy, whether you’re upgrading from a previous version or working with Finale for the first time.
Before you begin installing Finale, make sure there’s enough room on your hard disk to hold the program and its associated files. For a full installation, you’ll need
about three hundred twenty-five megabytes (325,000K) of free space on your hard disk. An additional 1.6GB is required for all the Garritan sounds. You should also
bear in mind that, like many other software programs, Finale creates and makes use of “temporary files” during its normal operations, which it then deletes from your
hard disk when you exit the program. We recommend having an additional ten megabytes (10,000K) of free disk space for these files.

The Installer sets up a folder called “Finale 2008” for the Finale program and its associated files and
folders. Do not alter this setup.

Insert the Finale disc into your CD/DVD drive. Its icon appears on your desktop.
Double-click the CD/DVD icon. The contents of the CD/DVD appear on your screen.
Double-click the Installer icon. You are prompted to enter your computer administrator’s password.
Enter your password and click OK. In a moment, the Finale Installer screen appears.
Follow the instructions on the screen until the installation is complete. The Finale Installer lets you select which files you want installed and
where you want them placed on your hard disk. The Installer offers to create a folder called “Finale 2008.” We recommend that you install all of the Finale files
into this new folder. For the most part, you can press Return to confirm the defaults.

Finale 2008 will not disturb an older Finale folder. You can copy any custom files and song files into
the new Finale folders, then delete the previous Finale folder if you want to free up disk space.

When you open an older Finale family notation file (choose File, then Open and navigate to your older file), Finale 2008 takes a moment to convert it into the
new format, then opens it as an “Untitled” file. If you save the file in Finale 2008 using the same name as before, you will not be able to reopen that file using
an earlier version of Finale. It is suggested, therefore, that you save the file with a slightly different name (for instance, “My Score” could become “My Score 2”),
unless you are sure that you won’t need to reopen the file in an earlier version of Finale.
The Installer sets up a folder called “Finale 2008” for the Finale program and its associated files and folders. Do not alter this setup.
Finale 2008 will not disturb an older Finale folder. You can copy any custom files and song files into the new Finale folders, then delete the previous Finale
folder if you want to free up disk space.

Preparing for Printing


These instructions cover the basic preparations for printing from Finale or any program. If you can print successfully from other programs already, skip ahead to the
next section. Before you print for the first time, you must tell the Macintosh where to send its printing information, especially if you have more than one printer.

To Set up Your Printer


Install OS X drivers for your printer. If the printer is compatible with OS X, you’ll find these drivers on a CD included with your printer. You can also
usually download the necessary drivers from the printer manufacturer’s web site. See the printer’s user manual for additional information.
Navigate to the hard drive, and choose Applications, Utilities, and then Printer Setup Utility. The Print Center dialog box appears.
If your printer isn’t already listed, click the Add button.
In the new window, choose the appropriate zone from the pop-up menu.
Click your printer’s name and click Add.
Quit Print Center/Printer Setup Utility.

Setting Up Your MIDI System


MIDI stands for Musical Instrument Digital Interface. It’s the language spoken by computers and electronic musical instruments. We’ll assume that you’re connecting a
MIDI keyboard, although you can use any MIDI instrument. In this manual, “MIDI keyboard” refers to whatever type of MIDI device you are using.
At the very least, you’ll need the following equipment for an operational MIDI system (not including your computer):
A MIDI keyboard
Amplifier/speaker or headphones
Two MIDI cables
A MIDI interface with appropriate USB cable
The last item, a MIDI interface, is a box that translates the signals arriving from the MIDI keyboard into signals the computer understands, and vice versa. Interfaces
can be very simple or very elaborate. The most basic ones require no external power and have ports (jacks) for a single MIDI keyboard; more expensive models have
ports for multiple MIDI devices or other features. Most Macs have USB (Universal Serial Bus) ports, a standard that allows users to connect devices to their computers
without needing to restart for the devices to become active.

Place the computer, keyboard, and MIDI interface where you want them. Go ahead and plug in any power cords, but don’t turn anything on yet.
Plug one end of the MIDI interface cable into the interface (if applicable). Plug the other end into the USB or serial port on the back of your
Macintosh.

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Installation for Macintosh

Plug one end of a MIDI cable into the MIDI keyboard port marked MIDI In. Plug the other end into the MIDI interface port marked MIDI Out. Plug
the second MIDI cable into the interface port marked MIDI In and the MIDI keyboard port marked MIDI Out. The most common problem encountered by a new
MIDI user is improperly connected cables. The trick is to think of the route the music data is taking. The notes you play will leave your MIDI keyboard from the
port marked Out, and enter the interface through the port marked In, then on to the computer. Similarly, when the computer plays back your music, the notes go
out from the computer to the interface, leave the interface through the port marked Out, and enter your MIDI keyboard through the port marked In. So, although it
may seem contrary to common sense, plug the In to the Out and vice versa.

Your connections should resemble those in this figure:

Turn on all your equipment.

Your MIDI system is now configured. To name a MIDI device or configure additional settings, jump ahead to Configuring MIDI in OS X. If you do not wish to
name a MIDI device or make additional settings, you can skip ahead to Starting Finale.

Configuring MIDI in OS X
You can use helper utilities already available on your computer to configure your MIDI devices by following these steps.

Navigate to your hard drive, and choose Application, Utilities, Audio MIDI Setup. The Audio MIDI Setup dialog box appears. Now, we’ll add new
devices.
Click the MIDI Devices tab. Audio MIDI Setup will search for MIDI hardware and software. After the search, your MIDI interface will appear.

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Installation for Macintosh

In the button bar, click Add Device to add a new device icon to the window below. If necessary, drag the new icon so it isn’t overlapping any
others.
Double-click the new device icon. The New External Device Properties dialog box appears.
Enter a device name, then select or enter the manufacturer and model. If more options are required, click the More Properties arrow.
Click Apply and close the dialog box. Repeat the last four steps for any other devices. Now, we’ll connect new devices to the interface.
If you are using a controller for MIDI input, drag the outgoing arrow of the MIDI controller to the incoming arrow on the MIDI
interface.
If you are using a sound module for playback, drag the incoming arrow of the sound module to the outgoing arrow on the MIDI
interface.
If you are using a device such as a MIDI keyboard for both input and playback, connect the outgoing arrow on the MIDI device to the
incoming arrow on the MIDI interface, and then connect the incoming arrow of the MIDI device to the outgoing arrow of the MIDI
interface. Now, to ensure your devices are installed properly on your computer, we’ll test the MIDI setup.
Click the “Test Setup” button on the upper right. The cursor changes into two eighth notes.

Click the down arrow beneath a device’s icon . Your computer sends a message to your MIDI device. You see the “Out” light illuminate
on your MIDI interface and/or a sound played on the MIDI device.
Click the Internal Speaker icon in the upper right corner of the finder and drag the slider near the top to ensure the volume is up (as
shown here).

Play a note on the external MIDI device. The external MIDI device sends a message to your computer. You see the “In” light on your MIDI interface
illuminates and/or hear a beep from your computer’s internal speaker.
Quit Audio MIDI Setup.

Now that you have set up MIDI with OS X, skip directly to Starting Finale.

Starting Finale
Double-click on the “Finale 2008” icon on your Desktop. When you launch Finale for the first time, you will see the Authorize Finale dialog box. This
dialog box continues to appear each time you launch Finale until the product is authorized.
Click Authorize Now! to start the Finale Authorization Wizard. Follow the simple instructions to authorize your copy of Finale. Or, click Remind Me Later to
authorize at a later time. You have 30 days to authorize your copy of Finale. After 30 days, printing and saving are disabled until your copy of Finale is
authorized.

If you have Internet access (and are not running firewall, security, or virus software that would block information from being received back at your computer),
simply select this option, and the rest is taken care of automatically.
Otherwise, select one of the other options for phone, FAX, or standard mail, and a window will be displayed containing a User Code. You may print out this
page and FAX or mail it to us, or you can call with your serial number and User Code. In either case, we will generate an Authorization Code that you manually
type in to complete the process. In each case (including Internet), our system automatically sends an e-mail confirmation of the information. If you had selected
the Internet option, but have a firewall that blocked the information from being received, then you can manually type in the Authorization Code information
provided.
Your copy of Finale can be authorized on two computers simultaneously. However, with an Internet connection, authorization can be moved from one computer
to another at will. Simply choose Deauthorize Finale from the Help Menu to open up a free authorization slot. Your copy of Finale can now be authorized on a
different computer. Also, deauthorize prior to making hardware changes to your computer, such as replacing a hard drive. Doing so will ensure a slot is open to
authorize after updating your hardware. When you deauthorize, printing and saving are disabled until authorization has been restored.

PLEASE NOTE that the User/Authorization Codes are computer specific, and will only work on the
given computer installation. Make sure that the Authorization Code is typed in using capital letters, and
also verify that the correct serial number has been entered. If you have made a change to the
computer (replaced the hard drive or motherboard, or installed a new operating system), and didn’t
deauthorize prior to doing so, contact Customer Service directly by phone, FAX, or standard mail with
your serial number and the location ID for the specific installation in question, and one of our
representatives can clear the previous authorization from your account. If the software is not
"reminding" you to authorize when you run the program, then the authorization has been successfully
completed.

Click OK. The Launch Window appears. From here, you can choose how you want to begin a new score, continue working on an existing project, or access
reference materials. For example, choose Setup Wizard to begin a new custom document by specifying the title, staves, key signature, time signature, and other
attributes. You’ll learn more about the Setup Wizard in chapter 1a.

The MIDI Setup Dialog Box


The MIDI Setup dialog box is where you instruct Finale which devices you’d like to use for MIDI functions. On the left side of the dialog box, you’ll choose the MIDI

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Installation for Macintosh

input device. On the right side, you’ll choose the desired output device. What you choose here will determine on which device Finale will play back your music.

Setting Up MIDI with OS X


Start Finale.
Navigate to the MIDI Menu and choose MIDI Setup. The MIDI Setup dialog box appears.
For the MIDI System, choose CoreMIDI.
Select the proper input and output devices from their respective menus. If only ports are listed, select the port on your interface to which your
MIDI device is connected.

Click OK. You’re all set to explore Finale on your own.

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How to learn Finale

How to learn Finale


The remainder of this book contains step-by-step tutorials. It is best to take them in order, because each tutorial is more advanced than the one before it.
For some of the tutorials, you’ll be working on prepared documents that are located in the Tutorials folder within the Finale folder on your hard disk. In addition to
these tutorials, high-quality sample scores are also included which offer a glimpse of Finale’s capabilities. Finale itself contains powerful instructional tools: the Status
or Message Bar along the edge of the application window, QuickStart Video Tips, and the User Manual (Reference and Encyclopedia).

If you don’t read any other tutorials, do take a look at Tutorial 1a.

The Status Bar (Win) or Message Bar (Mac) shows you the name of each tool you click, and tells you what your next step should be. On Windows, it also
displays a description of each menu or .
Help provides context-sensitive help. Click the Help button or press F1 (Win) or Help (Mac) in any dialog box to show a discussion of the dialog box.
QuickStart Video Tips are a series of videos that run on your computer and give you step-by-step instructions on the use of many of Finale's tools and features.
The Video Tips, which can be accessed through the Help Menu, are designed to enhance and support these tutorials. Feel free to use these Tips at any time to
review any of the procedures outlined in this book.
The User Manual is the most powerful and comprehensive of the instructional tools available to you. Here you will find detailed descriptions of each of Finale's
tools, dialog boxes, and other features, as well as step-by-step instructions on how to perform any task in Finale. It is highly recommended that you take a few
moments to familiarize yourself with this tool: Select the Help Menu, then choose User Manual.

Some Terminology
If this is your first encounter with a computer, you should take some time to learn the basics from its manual. If your computer didn’t come with an owner’s manual,
many excellent books are now available on basic computer usage, often with insulting names like “Macintosh for Complete Morons” or “Windows for Blithering Idiots.”
Despite such uninviting names, these books can be indispensable if you’ve never used a computer before. In any case, you should certainly familiarize yourself with
your operating system, making sure that you understand important concepts such as pointing, clicking, double-clicking, dragging, and opening and closing windows.

This Finale book assumes that you know how to choose a command from a menu and how to navigate through a dialog box. In addition, be sure you’re familiar with
the parts of a window, including the scroll bars, the title bar, the close button, and the sizable frame.

In many applications, including this one, you’re sometimes asked to -click (Mac: -click) something on the screen. That simply means that while pressing
the (or ) key, you click the mouse button—then release both. Once you’ve mastered that principle, the meanings of -click and even -
-click should be clear.
Because Finale does some things that music programs have never done before, you’ll also be running into terms we’re certain will be new to you. You’ll be introduced
to these terms as you go through the tutorials. But keep in mind that if you encounter an unfamiliar term while using the program, you can learn about it in the User
Manual; just look up the dialog box or menu in which it appears.

Simplified Order of Entry


In general, you can make the most of your time by creating your documents in the following order. You may wish to refer to this list after performing the tutorials.

1. Specify the title, number of instruments, and beginning time and key signature. (See the Setup Wizard in Tutorial 1a.)
2. Enter the notes.
3. Listen to your piece to check for mistakes.
4. Edit the music.
5. Put in the lyrics.
6. Add repeats, chord symbols, and fretboards.Add repeats and chord symbols.
7. Put in all markings: dynamics (F ), articulations (U ), and slurs.
8. Verify that the music is spaced correctly.
9. Look the piece over. Resize the page to fit more music on the page, if desired.
10. Fix bad page turns or system breaks.

See the Order of Entry in the Making the Most of Finale chapter for more detailed steps after you’ve
learned some important Finale concepts.

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File/Launch Window

File/Launch Window

Opens the Launch Window that appears when you first start Finale. From the Launch Window, you can choose from a variety of methods to start a new file, open
existing documents, and access reference materials. See Launch Window.

See Also:
File Menu

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File/New

File/New

Choose from the following list of ways to begin a new project:

Document With Setup Wizard


Default Document
======================
Document From Template
Document Without Libraries
======================
Exercise Wizard
SmartMusic Accompaniment Wizard

Tip: If you already have a file you are working on, choose Open from the File Menu.

Tip: Choose the New File Tool from the File Menu Toolbar to begin a new work as well.

See Also:
Program Options-New
File Menu

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File/Open

File/Open

When you choose the Open command, the Open dialog box appears, in which there are the kinds of files Finale is capable of opening: Finale Notation File (*.MUS),
Standard MIDI File (*.MID), Finale Template File (*.FTM), and Lesson File (*.LSN). Choose All Files (*.*) if you want Finale to display all files in the current folder,
regardless of file type. Use shift-click to select more than one file to open. You can also use the File Menu Toolbar icon to open a file.

A Finale Notation File is the usual notation file you’ve been working with all along. It can be read by either the Macintosh or Windows version of Finale. A MIDI File is
a standard music file format that most sequencer programs can read and create. A Lesson File is a text file that contains a collection of exercises for the Exercise
Wizard.
As you select each of the file types from the File Type drop down list, the names in the File Name list box change to the files with the corresponding extension. The
Folder list box works like any Windows Folder list box; double-click a folder to see its contents and use the scroll bars if necessary to view more folders. Select a
different drive from the “Look in” drop-down list to view the contents of another drive.

See Also:
Program Options-Open
File Menu

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File/Close

File/Close

Choose Close to close the active (frontmost) window. If you’re closing the last open window containing a document to which you’ve made changes not yet saved,
Finale will ask you if you want to save your changes; click Yes (or press enterreturn) to save your changes, or click No if you don’t want your changes preserved. Click
Cancel to return to that document without closing it. (You can also close a document by double-clicking the Control menu in the upper-left corner of the window.)

See Also:
Window Menu
File Menu

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File/Close All

File/Close All

Choose Close All to close all the open documents. Finale will ask you if you want to save each window that has had any changes; click Yes (or press enter) to save
your changes, or click No if you don’t want your changes preserved. Click Cancel to return to that document without closing it.

See Also:
Window Menu
File Menu

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File/Save

File/Save

Choose Save to store any changes you’ve made to the active document. You can also use the File Menu Toolbar icon to save a file.
When you’re working on a Finale document (or any computer file), your changes to the file are stored in temporary files that are deleted when you exit the program. As
long as you’re in Finale and the computer is on, the computer’s memory retains your editing.
If the power fails or a system error occurs, however, all your editing is lost forever, unless you have remembered to save the changes onto a disk by choosing this
command. It’s a good idea to save your work fairly often—every ten minutes, perhaps; if you’re the kind of person who forgets, consider using Finale’s automatic
backup feature (see Save under Program Options). If you intend to open the file on a machine running Windows, make sure Append File Extensions is checked.

Backup files. Finale can automatically save a backup copy of your file in the same folder as the original file. You can also select the folder to save Backup files.
See Save (under Program Options).
Although the concept of a backup seems simple enough, it does warrant a little explanation. The first time you save a file, you have to give the file a name. All
subsequent times you save this file, you are automatically replacing an earlier version of the file with the same name. This earlier version of the file is preserved as a
backup. The backup file is saved with the extension .BAK, to help you identify it. Therefore the backup is always one version behind your current file (in case you just
saved something you shouldn't have). Keep in mind that the first time you save a file, no backup is made, since there isn't a previous version to preserve. Similarly, no
backup is made when you perform a Save As function.
Note: The Save command saves only the active document (the one in the frontmost window).

Tip: Choose the Save File Tool from the File Menu Toolbar to save your work as well.

See Also:
Program Options-Save
File Menu

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File/Save As

File/Save As

This command has two purposes. First, as in many computer programs, the Save As command offers you a chance to create a duplicate of the document you’re
working on, with a different name, and—if you wish—in a different folder or on a different disk. (When you choose the command, Finale displays a dialog box and asks
you to give the document a new name, which can’t be exactly the same as the current document’s in the same folder.)
This command’s second purpose is to let you save the current document as another kind of document—namely, a Finale Template File or a standard MIDI File. After
choosing Save As, select the file format you want to use, give the new file a name, and click Save.

See Also:
Program Options-Save
File Menu

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File/Save All

File/Save All

Choose the Save All command to store any changes you’ve made to all of your open documents.

See Also:
Program Options-Save
File Menu

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File/Save Special

File/Save Special

Choose from this submenu to access different ways of saving.

Save As Audio File


Save As SmartMusic Accompaniment
Save Preferences

See Also:
File Menu

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File/Extract Parts

File/Extract Parts

This command allows you to automatically create individual part documents from the main project document. Open the full-score document, so that it appears on the
screen. Choose Extract Parts. The Extract Parts dialog box appears, which lets you specify which staves you want to extract. See Extract Parts dialog box for a more
complete discussion of its options. You can format, inspect, and adjust the resultant documents, fixing any awkward page turns, for example, before you print them out.
(Of course, linked parts can also be printed directly from the main project document. See Linked Parts).

See Also:
File Menu

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File/Post on Finale Showcase

File/Post at Finale Showcase

This command will save your file, then open your browser to place your file on MakeMusic’s website at www.finaleshowcase.com. The file will be freely shared with
other Finale users. Please follow the directions on the website.

See Also:
File Menu

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File/Revert

File/Revert

If, in experimenting with a file, you create a hopeless muddle, all is not lost. The Revert command restores your document to whatever condition it was in the last time
you saved your work. (This command does the same thing as closing the document without saving it, then reopening it.)

See Also:
File Menu

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FIle_ScoreMerger

File/ScoreMerger

Finale's Score Merger allows you to combine several files into one. This can be done horizontally, with files appended after each other, such as different movements of
a symphony or a collection of songs. Or, it can be done vertically, consolidating individual parts into a full conductors score.

See Also:
File Menu
ScoreMerger

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File/Import

File/Import

Choose this menu item to open the Import submenu, where you can choose the file type to import into Finale. Finale can import Encore, Rhapsody, MIDIScan, Score,
and SmartScore files.

See Also:
File/Import/Encore
File/Import/MIDIScan
File/Import/Rhapsody
File/Import/SmartScore
File/Import/Score
File Menu

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File/Scanning: SmartScore Lite

File/Scanning SmartScore Lite

Choose this command to Import a scanned file from your scanner or open the SmartScore Lite dialog box where you can import a scanned TIFF file for conversion to
Finale document.

Scan and Import


Import Existing TIFF File

See Also:
File Menu

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File/Load Library

File/Load Library

Because you may want to use different kinds of symbols in different kinds of pieces, Finale allows you to save any special symbols you create while working in a
document (articulations, chord symbols, and so on) into separate files called libraries. These sets of musical elements may then be “loaded into” any document. See
Save Library dialog box.
A Finale document with no libraries loaded will seem stripped-down, because each time you open a selection dialog box (to place an articulation or chord symbol, for
example), it will be empty. That’s why the Maestro Font Default file has already been loaded with the most commonly used libraries so you can begin work
immediately. You can also load additional libraries into any document by choosing Load Library; an Open dialog box appears, letting you double-click the name of the
library you want to load.
A starter set of libraries is included with your Finale package; they’re in a folder called Libraries. A full description of these libraries and their contents appears in the
Appendix (See Finale Libraries).

See Also:
File Menu

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File/Save Library

File/Save Library

Saves the specified set of special symbols (or settings) you create while working in a file (articulations, chord symbols, and so on) into a separate file called a library.
These sets of musical elements may then be "loaded into" any file.

For detailed information, see the Save Library dialog box.

See Also:
File Menu

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File/File Info

File/File Info

This command displays the File Info dialog box which allows you to enter information specific to your document. You can enter information such as Title, Composer
and Copyright. This information can be placed automatically in your documents using Text Inserts. See File Info dialog box and Text Menu.
You can also reach the File Statistics dialog box from the dialog box by clicking on Statistics. This dialog box provides information on the number of pages, measures,
etc. that you have used in your document. See File Statistics dialog box. (See also Count Items under Plug-ins.)

See Also:
File Menu

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File/Page Setup

File/Page Setup

This command displays the standard Windows Page Setup dialog box, which differs depending on the kind of printer you’re using. For example, you can specify the
size of paper you want to print on, but note that the page size of your document itself (that is, the size of the printed image) is completely independent of the paper size
you specify here. (Use the Page Layout Tool to set the actual page size; see Page size.) To make sure that no music will be chopped off when you print, the size of
the page as set by the Page Layout Tool should be equal to or smaller than that specified in the Page Setup dialog box. For a more complete discussion, see Page
Setup dialog box.

See Also:
File Menu

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File/Print

File/Print

Prints the score and/or parts as they appear in Page View. When you choose this command, the standard Print dialog box appears listing additional printing options,
which vary depending on your printer. You'll be able to specify, for example, which pages of the score you want to print, and how many copies.

Tip: Choose the Print File Tool from the File Menu Toolbar to print the file as well.

For detailed information see the Print dialog box.

See Also:
File Menu

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File/Print Parts

File/Print Parts

This command extracts the parts from your score by sending each directly to the printer. It provides options for the various attributes of block rests in the printed parts.
However, you won't have a chance to reformat each part before it prints; you won't even see it. Unless your score contains measures of fairly uniform width, you may
prefer to use one of the other two part extraction methods, which give you some control over the page layout.

See Also:
Extract Parts
Special Part Extraction
File Menu

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File/Compile PostScript Listing

File/Compile PostScript Listing

This command provides options for compiling a PostScript listing - a printer file of your score that Finale can print faster than it can print the score itself.

For more detailed information, see the Compile PostScript Listing dialog box.

See Also:
File Menu

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Document/Edit Score

Document/Edit Score

Choose this option to view the full score in Finale’s document window.

See Also:
Document Menu

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Document/Edit Part

Document/Edit Part

Use these commands to navigate through parts. Alternatively, use the accompanying keyboard shortcuts listed in this menu to more conveniently navigate through
parts.

Next Part
Previous Part
Last Viewed Part

See Also:
Document Menu

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Document/Manage Parts

Document/Manage Parts

Choose this option to open the Manage Parts dialog box where you can add, remove, and customize parts.

See Also:
Manage Parts
Document Menu

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Document/Page Format

Document/Page Format

From this submenu, choose Score to open the Page Format for Score dialog box where you can edit the format for the score document. Choose Parts open the Page
Format for Parts dialog box where you can specify the page format for extracted parts.

See Also:
Document/Page Format/Parts
Document/Page Format/Score
Page Format for Parts
Page Format for Score

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Document/Display In Concert Pitch

Document/Display In Concert Pitch

With Finale, any staff that’s had a transposition applied in the Staff Attributes dialog box or with Staff Styles —a trumpet or clarinet part, for example—always prints in
its transposed key in parts. However, you also have the option of viewing the music in either its transposed or concert form. Choose this command if you want Finale
to display the score or part in concert key. This setting applies to the currently visible score or linked part independently. If this command is not selected, staves will
display transposing instruments in their transposed keys. (Music you enter using the Simple or Speedy Entry tools is considered already transposed. In other words, if
you play a C on the MIDI keyboard using the MIDI input feature of the Speedy Entry Tool, it appears as a C on the transposed staff, even though it will play back as
some other note, because you’ve just entered a written C.)

See Also:
Document Menu

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Document/Show Active Layer Only

Document/Show Active Layer Only

Each Finale staff is actually four transparent layers, each of which can contain its own rhythmically independent inner voice. Only one layer can be active (frontmost) at
a time, however; the active layer is always identified by the push buttons in the lower-left corner of the file window.

When this item is selected (displaying a check mark), Finale hides the three inactive layers. Bear in mind that hidden layers are unaffected by almost every tool. For
example, the music in a hidden layer won't play back. Nor will it be copied, pasted, or otherwise affected by Selection Tool operations - a useful fact to remember if
you want to copy or paste the music of one layer only.

Choose this command a second time to make the check mark disappear (and make the other three layers reappear).

See Also:
Document Menu

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Document/Show Expressions and Repeats for Parts

Document/Display Expressions and Repeats for Parts

Choose this option to display expressions and repeats as they will appear on extracted parts (as defined by Staff Lists).

See Also:
Document Menu
Staff List

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Edit/Add SmartMusic Markers

Document/Add SmartMusic Markers

Choose this option to open the Add SmartMusic Markers dialog box where you can easily create performance markers such as breath marks, rehearsal letters, repeats
indications, and more. When you save the file as a SmartMusic Accompaniment, these markers appear in the SmartMusic interface during the performance.

See Also:
Edit Menu

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Document/Set Default Music Font

Document/Set Default Music Font

Choose this option to display the Fonts dialog box where you can choose the default music font for the document.

See Also:
Font dialog box
Document Menu

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Document/Pickup Measure

Document/Pickup Measure

Choose this command to display the Pickup Measure dialog box, where you can define a pickup measure for your score.

For detailed information, see the Pickup Measure dialog box.

See Also:
Document Menu

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Document/Edit Measure Number Regions

Document Menu/Edit Measure Number Regions


And

Measure Menu/Edit Measure Number Regions

Choose this menu item to alter how measure numbers appear throughout the document.

Tip: A measure can have more than one region assigned. This allows for difference series of numbers
to appear.

For more details see Measure Number dialog box.

See Also:
Document Menu
Measure Menu

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Document/Special Part Extraction

Document/Special Part Extraction

This command provides access to one of Finale's three part-extraction methods. Using Special Part Extraction, you can see the full score in Scroll View, while the
extracted part appears, ready for editing and printing, in Page View.

Before the Special Part Extraction command will work, you must select a staff (or staves) in Scroll View by clicking the Staff Tool and then selecting their handles.
When you choose Special Part Extraction, a dialog box appears, letting you select the multimeasure (block) rest shape you want to use, specify a font for the number
to appear above such a rest, and so on. After you've made your settings, click OK. You return to the score.

At first you won't notice anything different. But if you look at the Edit Menu, you'll see that there's now a check mark beside Special Part Extraction, telling you that
Page View now contains the extracted part. Choose Page View from the View Menu to examine and edit the extracted part.

To exit Special Part Extraction mode (and return to viewing the full score in Page View), choose Special Part Extraction again from the Edit Menu.

For detailed information, see the Multimeasure Rest dialog box.

See Also:
Document Menu

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Document/Data Check

Document/Data Check

The Data Check commands performs a variety of "housekeeping" tasks, mostly having to do with fonts and Finale's retention of deleted musical material.

Check Document Fonts Against System Fonts


Swap One Font For Another
Scale Fonts
================
File Maintenance
================
Convert Text for Windows

See Also:
Document Menu

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Document/Playback Options

Document/Playback Options

Choose this command to display the Playback Options dialog box where you define a number of variables that affect how Finale plays back the music.

For detailed information, see the Playback Options dialog box.

See Also:
Document Menu

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Sync and Video Options

Sync and Video Options

How to get there


From the Document Menu, choose Sync and Video Options.
What it does
Use settings in this dialog box to control how Finale handles MIDI Sync and SMPTE MTC synchronization with other devices and the movie window. This dialog box
allows you to, for example, adjust the base time and MTC frame rate.

Internal Sync. Choose Internal Sync to specify you want Finale to be the sync master. Choose this option when you intend to configure another device to
recieve Finale’s MTC timing for synchronization.
MIDI Sync. If your computer is connected to an external drum machine or other sequencer, and you want Finale to be the "slave" device for synchronization
purposes, select this box. Finale won’t begin playback until it receives a MIDI Sync signal from the external device. Note that when Wait for MIDI Sync is
selected, the start measure displayed in Playback Controls is considered to be measure 1. For example, if the Playback Controls’ start measure is measure 10,
and the master sends sync information to go to measure 5, Finale will advance 5 measures to measure 15.
Send Patch Changes During MIDI Sync • Send Continuous Data During MIDI Sync. These technical options are only available if you’ve selected
Wait for MIDI Sync (and your computer is connected to an external sequencer).

In the event that the external sequencer is playing a sequence of its own, there’s a danger that your synthesizer will be confused by duplicate MIDI data being
generated by Finale and the sequencer. Using these options, you can specify what kinds of MIDI data you want Finale to transmit, so that you can avoid
simultaneous transmissions of the same kinds of data to the same synthesizer. Choose Send Patch Changes During MIDI Sync if you want Finale to transmit
any patch changes you’ve created in your score as it plays back. Choose Send Continuous Data During MIDI Sync if you want Finale to transmit continuous
data (use of the pedals, pitch or modulation wheels, aftertouch, and so on).

SMPTE Frame Rate. The Frame Rate is the number of frames per second. When writing to picture, this setting much match the Frame Rate of the movie,
whether played within the internal movie window or in a piece of external software/hardware.
SMPTE Start Frame. This is the MTC time Finale sends at the beginning of measure 1 while playing back the Finale file. This feature is useful if your Finale
score begins anywhere but the beginning of the accompanying video, or if the external hardware/software begins at hour 1 rather than 0.
Movie Window; Video Starts at _ in Score • Video Starts at_ in Video. These settings only apply to Finale’s integrated Movie Window. Enter a time
for Video Starts at _ in Score to tell Finale to leave the Movie Window blank until reaching that time during playback of the document. Enter a time for Video
Starts at _ in Video to the Video will start at this time at the beginning of the score.
OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made in this dialog box. Finale will use the option settings you’ve just made whenever it
plays back in this document. Click Cancel to leave the dialog box without changing any settings.

file:///C|/...ents%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/IDD_RECEIVE_SYNC.htm[01/01/2009 2:34:00 PM]


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Plug-in filenames

Plug-in filenames

Plug-in Name Filename

Add Cue Notes Cuenotes.FXT

Apply Human Playback ApplyHumanPlayback.FXT

Auto-Dynamic Placement Autody32.FXT

Auto-Slur Melismas AutoSlurMelismas.FXT

Automatic Barlines Autobr32.FXT

Band-in-a-Box Auto-Harmonizing BIABAutoHarmonizer.FXT

Beam Over Barline BmOvrBar.FTX

Canonic Utilities Seruti32.FXT

Cautionary Accidentals Ctnacc32.FXT

Change Font Chngfnt.FXT

Change Noteheads ChangeNoteheads.FXT

Change to Default/Real Whole Rests DefaultRests.FXT

Check Range Chkrng32.FXT

Check Region for Durations CHKDUR32.FXT

Chord Analysis ChordAnalysis.FXT

Chord Morphing ChordMorphing.FXT

Chord Realization ChordRealization.FXT

Chord Reordering ChordReordering.FXT

Chord Splitting ChordSplitting.FXT

Classic Eighth Beams CEBeams.FXT

Clear Lyric Positioning ClearLyricPos.FXT

Clear Measure Number Positioning MeasNumPos.FXT

Command Line CommandLine.FXT

Common Tone Transposition CommonToneTransp.FXT

Count Items Cntitm32.FXT

Create Coda System CreateCodaSystem.FXT

Create Tempo Marking CreateTempoMarking.FXT

Drum Groove DrumGroove.FXT

Easy Measure Numbers MEASNU32.FXT

Export To OpenMusic OMExport.FXT

Extract Lyrics lextract.FXT

FinaleScript FinaleScript.FTX

Find Parallel Motion ParallelMotion.FXT

Find Range Fndrange.FXT

Flat Beams / Flat Beams Remove flatbm.FXT

file:///C|/...ments%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Plug_in_filenames.htm[01/01/2009 2:34:21 PM]


Plug-in filenames

Frequency Modulation Chord Generator FMChordGenerator.FXT

Global Staff Attributes Gstfatt.FXT

Import From OpenMusic OMImport.FXT

Ledger Lines - Hide & Show Hsledg32.FXT

MiBAC Jazz Rhythm Section Generator RhyGen.FXT

Mid-Measure Repeats MidMeasureRepeats.FXT

MusicXML Import/Export MusicXMLLight.FTX

Melodic Morphing MelodicMorphin.FXT

Menu Shortcuts TGToolsLE2002.FXT

Midline Stem Direction MidlineStemDirections.FXT

Move Rests MoveRests.FXT

Notes and Rests - Hide & Show flatbm.FXT

Number Repeated Measures NUMRPT32.FXT

Patterson Beams PatBeams.FXT

Piano Reduction PianoReduction.FXT

Resize Noteheads ResizeNoteheads.FXT

Rhythm Generator RhythmGenerator.FXT

Rhythmic Subdivisions RHYTHS32.FXT

Score System Divider ScoreSystemDivider.FXT

Single Pitch SinglePitch.FXT

Slash Flagged Grace Notes (Remove) flatbm.FXT

Smart Cue Notes SmartCueNotes.FTX

Smart Page Turns PageTurns.FTX

Split Measure SplitMeasure.FXT

Split Point MoveSplitPoint.FXT

Text Search and Replace TextSearchReplace.FXT

Tie Common Notes TieCommonNotes.FXT

TGTools: Align/Move Dynamics, Cross


Staff, Easy Harmonics, Easy Tremolos,
Handbells Used, Modify Rests, Process TGToolsLe.FXT
Extracted Parts, Smart Playback, Smart
Split Point

Virtual Fundamental Generator Virtfund.FXT

Voice 2 to Layer Voice2toLayer.FXT

file:///C|/...ments%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Plug_in_filenames.htm[01/01/2009 2:34:21 PM]


Auto-Dynamic Placement Plug-in

Auto-Dynamic Placement Plug-in

How to get there


From the Plug-ins, choose Expressions, and then Auto-Dynamic Placement. If you prefer to apply Auto-Dynamic Placement to a specific region, select the region
using the Selection Tool before selecting the plug-in from the Plug-ins Menu. See Plug-ins Menu for more information on plug-ins.

What it does
The Auto-Dynamic Placement plug-in allows you to place dynamics in your score automatically based on the recorded MIDI key velocity. You can specify the range of
key velocities associated with each dynamic.

Min. Velocity Change Between Dynamics. Change the number in this text box to vary the amount of velocity change required to place the next dynamic
marking.
Place By Entry · Place By Beat · Place By Measure. Select the one of these placement options to determine where dynamics should be placed. Place
By Entry will place dynamics at every entry if there is a great enough change in Key Velocity (specified in Minimum Velocity Delta between Dynamics). Place
By Beat will place dynamics at every beat where the change in key velocity is greater than the specific minimum. Place By Measure will place dynamics by
measure where the average of the key velocities over that measure indicates a change in dynamic level.
Avoid Accents. Deselect this checkbox to have the plug-in place dynamics on accented notes as well as unaccented notes.
Dynamic Marking: pppp · ppp · pp · p · mp · mf · f · ff · fff · ffff. Select the dynamic from the drop-down list to change the minimum key velocity
assigned to that dynamic level.
Minimum Velocity. Enter the minimum key velocity for the selected expression in this text box. It is not influenced by the current text expression library. The
key velocity range is 0-127.
Expression. Click on Expression to select the a different expression not available from the Dynamic drop-down list.
Placement: Layer 1 · Layer 2 · Layer 3 · Layer 4. With this drop-down list, specify the layer to which the placement settings below will apply. Auto-
dynamic placement scans each layer and will create overlapping expressions if the same dynamic marking is needed for multiple layers on the same beat. You
can offset each layer’s expression by adjusting the placement settings for each layer here.
Placement: Voice 1 · Voice 2. Select which voice to place the dynamics into with this drop-down list.
Place Above Staff. Choose Place Above to place generated expressions above the staff.
Distance from Staff. The number in this text box represents the distance from the staff the dynamic will be placed. The larger the number the farther away
from the staff the dynamic will be placed, the smaller the number, the closer to the staff. This is measured from the top or bottom line of the staff depending on
whether the Place Above Staff checkbox is selected or not.
Minimum Distance From Entry. Place the desired minimum amount of distance between entries and dynamics in this text box. Even though you have set a
specific distance from the staff, sometimes notes and rests above and below the staff may collide with dynamics unless you have specified that the dynamics
must be placed some distance away (either above or below) the entries.
OK · Cancel. Click OK to place dynamics using the specified settings. Click Cancel to return to the document without placing any dynamics.

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Auto_Dynamic_Placement_Plug_in.htm[01/01/2009 2:34:22 PM]


Create Tempo Marking Plug-in

Create Tempo Marking Plug-in

How to get there


Select a measure with the Selection Tool. From the Plug-ins Menu, choose Expressions, and then . See Plug-ins Menu for more information.

What it does
The plug-in allows you to easily create a tempo marking as an expression and set the playback features for the selected measure.

Display Tempo Text. Check this box and enter the desired text in the field below (e.g. Allegro). This text will appear before the
metronome marking if Display Metronome Marking is checked.

Display Metronome Marking. Check this box to display the metronome marking defined in the note value selection palette and tempo text box ( =100).
Define Expression for Playback. Select this checkbox for the tempo marking to speed up or slow down the playback of the score.
[Note value selection palette]. Select the note value you want to use in your tempo marking.
[Tempo text box]. Type the tempo in this text box.
Create As: Measure Expression · Note Expression. Select whether you would like the tempo marking attached to measures or notes. If you choose
Measure Expressions, your tempo marking will appear on all staves by default.
Show On: All Staves · This Staff Only. Select All Staves to show the tempo marking on every staff in the score and parts. All Staves is selected by default.
Select Top Staff Only to assign the tempo marking to the top staff only.
Staff List: New Staff List · (All defined Staff Lists); Edit. Select New Staff List to display the Staff List dialog box, where you define which staves will
display tempo markings. To select a Staff List already created for use in the score, choose its name from the drop-down list. Click Edit to display the Staff List
dialog box for the selected Staff List, and change which staves the tempo marking should appear in. See Staff List dialog box.
OK · Cancel. Click OK to create a tempo marking. Click Cancel to return to the document without making any changes.

file:///C|/...d%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Create_Tempo_Marking_Plug_in.htm[01/01/2009 2:34:24 PM]


Auto Slur Melismas Plug-in

Auto Slur Melismas Plug-in


How to get there
Select a region of your document containing lyrics with the Selection Tool. From the Plug-ins Menu, choose Lyrics, and then Auto Slur Melismas

What it does
The Auto Slur Melismas plug-in scans a document for lyric syllables that carry over two or more pitches and adds slurs accordingly. This is a standard practice for
notating melismas.
After running this plug-in, melismas appear wherever there are word extensions or hyphenated syllables under note changes. After running the plug-in a message
appears indicating the number of slurs that were added.
Dashed slurs are added for any melisma that applies to subsequent verses (and not the first verse). Solid slurs are always used for the first verse.

Before

After

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Clear Lyric Positioning Plug-in

Clear Lyric Positioning Plug-in


How to get there
From the Plug-ins menu, choose Lyrics, and then select the Clear Lyric Positioning.

What it does
The Clear Lyric Positioning plug-in allows you to clear any individual positioning of lyrics for the selected lyrics.

Choose the lyric section(s) to reset [list box]. Select the lyric sections to be reset here.
Horizontal · Vertical. Select the checkboxes to reset only vertical changes, horizontal changes or both.
OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

file:///C|/...d%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Clear_Lyric_Positioning_Plug_in.htm[01/01/2009 2:34:26 PM]


Extract Lyrics Plug-in

Extract Lyrics Plug-in

How to get there


From the Plug-ins Menu, choose Lyrics, then select Extract Lyrics.

What it does
The Extract Lyrics plug-in allows you to save the lyrics in your file to a text file. These lyrics could then be imported into a word processor for spell-checking or sent to
a lyricist for collaborations. You may choose to extract all lyrics, all lyrics of a specified type, or any single lyric of a specified type.

All Lyrics · Verse/Chorus/Section Number · All Verses/Choruses/Sections. Choose which lyric or lyrics to extract from the current score. When
Verse Number, Chorus Number or Section Number is chosen, the text box and arrow items become enabled. Use the up or down arrow keys to change the
selected number or type directly into the box.
Remove Hyphens and Underscores. When this checkbox is selected, the extraction process will strip normal hyphens and underscores out of the text
before saving it to the text file.
Include Labels. When this checkbox is selected, the plug-in will add a label for each lyric of each type to be extracted. The label will appear on a line by itself
in the following form:

Verse_Lyric: 1
The digit indicates the number of the lyric which has been extracted.

Linebreaks After Sentence End. When checked, this feature will add linebreaks after punctuation marks, such as periods, question marks, and semi-colons.
If you have already formatted your lyrics in the Edit Lyrics dialog box, you may wish to leave this option unchecked.
Info · Extract · Close. Click Info for more information about the author of this plug-in. Click Extract to extract the lyrics to a text file. Finale will prompt for a
name and folder to save the resulting text file. Click Close to dismiss the dialog box without making any changes.

file:///C|/...ts%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Extract_Lyrics_Plug_in.htm[01/01/2009 2:34:28 PM]


Automatic Barlines Plug-in

Automatic Barlines Plug-in


How to get there
Select a region using the Measure Tool (or any other tool with regional selection). From the Plug-ins Menu, choose Measures, and then Automatic Barlines. If there is
no music selected when you invoke the Automatic Barlines command, it will ask you if you want to process the entire document. See Plug-ins Menu for more
information on plug-ins.

What it does
The Automatic Barlines plug-in allows you to automatically set up barlines, matching the key changes in your document.
In a high variety of music it is conventional to use a double barline when the key changes. The Automatic Barlines plug-in supports this convention by: (1) setting all
barlines between measures in the same key to a single (normal) barline and (2) setting all barlines between measures where a key change is initiated to a double
barline. Additionally, if the last measure of the selection is the last measure in the document, a final barline is placed in this measure. (Repeat barlines are not affected
by this plug-in.)
If there is no music selected when you invoke the Automatic Barlines command, it will ask you if you want to process the entire document.

Using the Automatic Barlines Plug-in


Use the Measure Tool to select a region (or any other tool with regional selection) in which you wish to have the barlines match key changes, then choose the
Automatic Barlines command from the Plug-ins Menu. The plug-in will go through the selected region, measure by measure, and compare consecutive pairs of
measures. If a pair of measures is in the same key, the plug-in will set the measure attributes of the first measure to use a single (normal) barline. If there is a change
of key, the plug-in will set the measure attributes of the first measure to use a double barline. If the last measure in the document is included in the selection, the
measure will be set to use a final barline (double barline with a thick second line).

Notes
The Automatic Barlines plug-in recognizes that relative Major and Minor keys (for instance: C Major and A Minor) have the same key signature (in this case, no
sharps or flats). In cases such as these the plug-in sets a single barline since it recognizes that the key signatures are identical, even though, technically
speaking, the key has changed. However, the plug-in cannot analyze the key signatures of Non-Linear Key Signatures, nor of Linear Key Signatures beyond the
conventional Major and Minor modes. If your music uses non-standard signatures and two adjacent measures use different keys with identical key signatures, the
plug-in will “think” a key change has taken place. In this case, a double barline will be set between the two measures in question.

file:///C|/...0and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Automatic_Barlines_Plug_in.htm[01/01/2009 2:34:29 PM]


Clear Measure # Positioning Plug-in

Clear Measure # Positioning Plug-in


How to get there
Select a region with the Measure Tool (or any other tool with regional selection). From the Plug-ins Menu, choose Measures, and then Clear Measure # Positioning.

What it does
The Clear Measure # Positioning plug-in allows you to clear any individual positioning applied to measure numbers in the selected region.

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Clear_Measure_Positioning_Plug_in.htm[01/01/2009 2:34:30 PM]


Create Coda System Plug-in

Create Coda System Plug-in

How to get there


Select the first measure of the desired coda region with the Selection Tool. From the Plug-ins Menu, choose Measures, and then Create Coda System.

What it does
This plug-in allows you to automatically define a coda, including a gap between measures in order to create an independent coda system on the same line. You are

also given the option to add a Coda marking or symbol as well as the text repeat markings “D.C. al Coda” or “D.S. al Coda.” You can also add a Segno ( ) and “To
Coda” marking, and specify the appropriate measure for these items. Finale defines playback automatically based on your settings. A double barline is added to the
end of the measure prior to the new coda system automatically.

Horizontal Space Between Systems. Here, enter the space desired between the first measure of the coda system and the previous
measure. The default space is .5 inches. The value is represented in the measurement unit selected in the Measurement Units
submenu of the Edit Menu.
Coda Symbol · “Coda” Text · Create “To Coda” in Measure _. Check Coda Symbol to place the standard coda symbol at the beginning of your coda
system. Check “Coda” text to place the text “Coda” at the beginning of your coda system. Both of these options are checked by default. Check Create “To Coda”
in measure and enter a measure number to add a “To Coda” marking.
D.C. al Coda · D.S. al Coda · None · Create Segno in Measure_. Check D.C. al Coda to place this marking at the end of the system prior to the coda
system. Check D.S. al Coda to place this marking at the end of the system prior to the coda system. Choose none to place no text at the end of the system prior
to the coda system. Check Create Segno in Measure and specify a measure number to add a segno marking. These markings are added to the document as
Text Repeats which can be edited with the Repeat Tool. They are automatically defined to apply to playback. In the case of a D.S. al Coda, playback will return

to the Segno ( ) marking added in a previous measure.


OK · Cancel. Click OK to apply your settings. Click cancel to dismiss the dialog box without adding a coda system.

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Create_Coda_System_Plug_in.htm[01/01/2009 2:34:31 PM]


Easy Measure Numbers Plug-in

Easy Measure Numbers Plug-in

How to get there


Select the region using the Measure Tool (or any other tool with regional selection). From the Plug-ins Menu, choose Measures, and then Easy Measure Numbers. See
Plug-ins Menu for more information on plug-ins.

What it does
The Easy Measure Numbers plug-in allows you to easily place measure numbers over a region of the score. If you already have a measure number map in that region,
you will be notified. You may have more than one measure number map for a region of measures. Click OK to continue creating another measure number map, or
cancel to dismiss the dialog box without creating a measure number map.

Number the measures in the selected region starting with:. Enter the first number of the measure number range you want to create.
OK · Cancel. Click OK to create a measure number map starting with the specified number. Click Cancel to dismiss the dialog box with making any changes.

file:///C|/...%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Easy_Measure_Numbers_Plug_in.htm[01/01/2009 2:34:32 PM]


Merge Measures Plug-in

Merge Measures Plug-in


How to get there
Choose the Selection Tool and select two measures you would like to merge. From the Plug-ins Menu, choose Measures, and then Merge Measures.

What it does
This plug-in can be used to merge two measures created by the Split Measure plug-in, or it can be used to merge any two adjacent measures. It combines two
measures selected with the Selection Tool into a single measure. Finale changes the time signature to represent the full value of the new measure. For example, if the
first measure has a time signature of 3/4 and the second has a time signature of 5/8, the resulting merged measure will have a time signature of 11/8. Finale also
updates the Measure Number dialog box accordingly.

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Merge_Measures_Plug_in.htm[01/01/2009 2:34:33 PM]


Mid-Measure Repeats Plug-in

Mid-Measure Repeats Plug-in


How to get there

Choose the Selection Tool . Select the region of the score (including at least one partial measure) that you want to enclose in repeat barlines. From the Plug-ins
Menu, choose Measures, then Mid-Measure Repeats.

What it does
This plug-in automatically encloses a region including partial measures with repeat barlines. This plug-in is identical to the Create Simple Repeat option under the
Repeat Menu, with the exception of its added capability to enclose partial measures.

Before:

After:

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Number Repeated Measures Plug-in

Number Repeated Measures Plug-in


How to get there
From the Plug-ins Menu, choose Measures, and then Number Repeated Measures. If there is no music selected, when you invoke the Number Repeated Measures
plug-in, it will ask you if you want to process the entire document. See Plug-ins Menu for more information on plug-ins.

What it does
The Number Repeated Measures plug-in looks for runs of repeating measures in the current selected region. When it finds a run of three or more measures, it places
repetition count numbers over the measures as a performance aid. This is done by creating expressions and placing them over the relevant measures.

Using the Number Repeats Plug-in


Normally you will use the Number Repeated Measures plug-in after music has been entered and formatted. It is important to note that to position repeat numbers
accurately, this plug-in needs formatting information from the Page View. You will have the most satisfactory results if you switch to Page View (and have Finale
recalculate any changes to layout that are pending) before invoking the plug-in. See the Notes section for more information.
Use the Selection Tool to select the measures that should be numbered. The plug-in will look for runs of at least three repeating measures and number them
automatically, placing repeat count numbers over the middle of every measure in a run.

As you can see in the above example, Number Repeats also recognizes all appropriate Alternate Notation when looking for runs of repeating measures.

Notes

IMPORTANT: The Number Repeated Measures plug-in needs information from the Page View of the
current Staff Set to accurately calculate the correct position of the repeat count numbers. This
information is not calculated by Finale until the first time you switch to Page View. If you have never
viewed the current Staff Set in Page View when you invoke the Number Repeated Measures plug-in,
the plug-in recognizes this condition and posts an Alert suggesting that you switch to Page View first.
Once Finale has calculated the Page Layout information, you are free to switch back to Scroll View if
you prefer. You do not need to be in Page View when you use the plug-in. However, you should be
aware that some editing changes can invalidate Finale’s Page Layout information (in particular,
changing Alternate Notation). For most accurate results, it is a good idea to switch to Page View (even
if you immediately switch back to Scroll View) before invoking Number Repeated Measures.

When looking for runs of repeating measures, Number Repeated Measures compares measures and their entries, but ignores other attributes such as expressions,
Articulations, or MIDI Performance information. Entries must be rhythmically identical and contain the same notes in order for the measure to count as a repetition.
Also, measures must have the same Key and Time Signatures to qualify as a repetition.
The Number Repeated Measures plug-in recognizes Alternate Notation (Slash Notation, Rhythmic Notation, and Single-Measure Repeat Notation) when looking for
runs of repeating measures. In fact, use of Slash Notation and Single-Measure Repeat Notation overrides the normal rules used when testing for repetition. If a
measure uses either of these two styles of Alternate Notation, it will always qualify as a repetition. Measures using Rhythmic Notation must match on an entry-by-entry
basis for rhythmic value, but the notes in the entries are ignored in the comparison. In short, Number Repeated Measures treats a measure as a repetition based on its
appearance, not on playback.
Number Repeated Measures positions the repetition count expressions one space (24 EVPUs) above the highest note or stem in the measure. The expressions are
placed over the middle beat of the measure.
Number Repeated Measures uses Text Expressions for the repetition count numbers. It is economical in generating Text Expressions: it will not create a new Text
Expression if an appropriate Expression is already available.
Since the Number Repeated Measures plug-in will never put repetition count numbers over a run of only two measures, the command is disabled if the selected region
is shorter than three full measures. Similarly, if your document only contains one or two measures, the Number Repeated Measures plug-in is disabled in the Plug-ins
Menu.

file:///C|/...Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Number_Repeated_Measures_Plug_in.htm[01/01/2009 2:34:36 PM]


Split Measure Plug-in

Split Measure Plug-in


How to get there
Select the Selection Tool and select the full measure you wish to split. From the Plug-ins Menu, choose Measures, and then Split Measure.

What it does
This plug-in automates process of dividing a measure into two sections and editing the measure number map accordingly. You can use this plug-in to create, for
example, a dashed barline within an existing measure or split part of the measure over a system break.
Example - Splitting a measure across a system break:

Example - Creating a dashed barline:

Split measure after beat. Specify the beat prior to the measure split here. For example, if you would like to split a measure in common time in
half, enter “2” here. This value must be in the range of one to one less than the total "Number of Beats" setting (as displayed in the Time Signature dialog box) for
the selected measure. For example, in 2/4 or cut time the only valid entry is 1.

Instead of specifying a beat, you can enter a fractional value, such as .25, .50, or .75. This value must be numeric and be in the range of .25 to .25 less than
the numerator of the time signature of the measure. For example, the valid entries for 2/4 time are .25, .5, .75, 1, 1.25, 1.5, and 1.75.
The following table illustrates some time signatures that will result from the use of this plug-in. Rows 1-9 represent the time signature of the selected measure.
Columns A - D represent the first half of the split measure that would result from each valid entry for the parameter "Split Measure After Beat:"

Number of Beats .25 .50 .75 1

Time Signature A B C D

1 1/16 1/64 1/32 3/64 --

2 3/32 1/128 1/64 3/128 1/32

3 1/8 1/32 1/16 3/32 --

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Split Measure Plug-in

4 3/16 1/64 1/32 3/64 1/16

5 1/4 1/16 1/8 3/16 --

6 3/8 1/32 1/16 3/32 1/8

7 1/2 1/8 1/4 3/8 --

8 3/4 1/16 1/8 3/16 1/4

9 1/1 1/4 2/4 3/4 --

In example A5, a 1/4 time signature and an entry of 0.25 would generate one bar of 1/16 time and one bar of 3/16 time.
In example B8, a 3/4 time signature and an entry of 0.5 would generate one bar of 1/8 time and one bar of 5/8 time.

Barline Style: Invisible · Dashed. Choose the type of barline you would like to add at the split point. It is common to choose Invisible
for a measure you would like to split across a system break.
Move second part of measure to next system. Choose this option to move the second part of the split measure to the next system.
OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Window/Instrument List

Window/Instrument List

Choose this item to display the Instrument List, Finale's floating window that controls the playback, MIDI channels, and bank and program assignments of the staves in
your file. Choose this item a second time - so that the check mark disappears - to hide the Instrument List.

For detailed information, see the Instrument List dialog box.

See Also:
Window Menu

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Window/Mixer

Window/Mixer

Choose this command to open the Mixer. Finale’s Mixer offers master and staff controls that allow you to adjust playback output in real-time.

See Also:
Window Menu
Mixer

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Window/Movie Window

Window/Movie Window

Movie Window. Choose this command to open Finale’s integrated Movie Window which allows you to view movie clips and Finale’s scrolling playback simultaneously.
See Movie Window.

See Also:
Window Menu

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Window/Playback Controls

Window/Playback Controls

Choose this item to display the Playback Controls, the floating window that controls playback in your file. Choose this item a second time - so that the check mark
disappears - to hide the Playback Controls.

For detailed information, see the Playback Controls dialog box.

See Also:
Window Menu

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Window/Main Tool Palette

Window/Main Tool Palette

When this item is checked, Finale’s Main Tool Palette is open on the screen. The Main Tool Palette always floats in front of all other windows; you can close it by
choosing this item so that the check mark disappears. You can close it by choosing this item so that the check mark disappears. The default position of the Main Tool
Palette is docked at the top of the screen. You can also dock the palette in a vertical strip or create a floating palette. Click on the edge of a docked palette and drag it
into the middle of the screen to create a floating palette. As you drag the palette, an outline will appear showing the shape and position of the palette in that location. If
a floating palette is minimized, (displayed as a small icon in the lower part of the screen), double-click the icon to restore it to its previous size.

For detailed information, see the Main Tool Palette

See Also:
Window Menu

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Window/Advanced Tools Palette

Window/Advanced Tools Palette

This palette contains the MIDI Tool, Special Tools Tool, Graphics Tool, Ossia Tool, Mirror Tool, Note Mover Tool, and Tempo Tool.

See Also:
Advanced Tools Palette
Window Menu

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Navigational Tools Palette

Navigational Tools Palette


How to get there
From the Window menu, choose Navigational Tools Palette.

What it does
This palette contains the Hand Grabber Tool and Zoom Tool..

[Close box]. Click this small button at the upper-right corner of the palette to close the palette. Once it’s hidden, you make the palette reappear by choosing
Advanced Tool Palette from the Window Menu.
[Title bar]. Drag the strip across the top (or left) edge of the palette to move the entire palette to a new screen location.
[Sizable frame]. Click on the very edge of the palette and drag the sizable frame to reshape the entire palette. As you drag, the palette snaps into new
configurations: tall and thin, short and stout, square, and so on. If your monitor is wider than it is tall, for example, you might consider rotating the palette so that
it’s a short horizontal strip.

If you drag the resize box inward toward the upper-left corner, you hide tools. Drag the resize box outward again to bring them back into view.

[Tool icons]. See the individual tool for a complete discussion of each tool and what it does. In the meantime, note that you can rearrange the icons within the
palette. To do so, press shift and drag an icon into a new position; it will trade places with the icon onto which you drop it. Keep in mind, too, that you can save
these configurations of tools for quick access; see View Menu for instructions. See the Customize Toolbar dialog box.

Hand Grabber Tool


Use this tool to drag music in any direction to shift its position on your screen, as though you’re sliding the score page across your desk.

Zoom Tool
Use this tool to magnify or reduce the music as it’s displayed on the screen.

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Window/Simple Entry Palette

Window/Simple Entry Palette

When this item is checked, the Simple Entry Palette appears on the screen. You can close the palette by choosing the item from the Window Menu so that the check
mark disappears. Depending on the settings in Program Options-Palettes and Backgrounds, you may have to click the Simple Entry Tool to display this palette.

For detailed information, see the Simple Entry Palettes and Program Options-Palettes and Backgrounds.

See Also:
Window Menu
Simple Entry Tool

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Window/Simple Entry Rests Palette

Window/Simple Entry Rests Palette

When this item is checked, the Simple Entry Rests Palette appears on the screen. You can close the palette by choosing the item from the Window Menu so that the
check mark disappears. Depending on the settings in the Program Options dialog box, you may have to click the Simple Entry Tool to display this palette.

For detailed information, see the Simple Entry Rests Palette and Program Options-Palettes and Backgrounds.

See Also:
Window Menu
Simple Entry Tool

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Window/Smart Shape Palette

Window/Smart Shape Palette

When this item is checked, the Smart Shape Palette appears on the screen. You can close the palette by choosing the item from the Window Menu so that the check
mark disappears. Depending on the settings in Program Options-Palettes and Backgrounds, you may have to click the Smart Shape Tool to display this palette. See
Program Options dialog box.

For detailed information, see the Smart Shape Palette and Program Options-Palettes and Backgrounds.

See Also:
Window Menu
Smart Shape Tool

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Window/Special Tools

Window/Special Tools Palette

When this item is checked, the Special Tools Palette appears on the screen. You can close the palette by choosing the item from the Window Menu so that the check
mark disappears. Depending on the settings in Program Options-Palettes and Backgrounds, you may have to click the Special Tools Tool to display this palette. See
Program Options dialog box.

For detailed information, see the Special Tools Palette and Program Options-Palettes and Backgrounds.

See Also:
Window Menu

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Window/Customize Palettes

Window/Customize Palettes
Choose a palette from this submenu to open the Customize Palettes dialog box where you can rearrange tools and/or remove them from the palette.

For detailed information, see the Customize Palettes dialog box.

See Also:
Window Menu

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Window/Menu Toolbars

Window/Menu Toolbars

Choose from several toolbars based on commands found in menus.

File Menu Toolbar


Edit Menu Toolbar
View Menu Toolbar
Document Menu Toolbar
MIDI Menu Toolbar
Help Menu Toolbar
Layout Toolbar
View Percent Toolbar

See Also:
Window Menu

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Window/Status Bar

Window/Status Bar

The status bar is the thin strip at the bottom of Finale's application window, where Finale shows help messages and identifies each tool as you click it. Choose this
item to make the status bar disappear, so that you have more space for the display of your music. Note that the check mark disappears from the Window Menu. Select
this item again to make the status bar reappear. The item should now be checked.

See Also:
Window Menu

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Window/Cascade

Window/Cascade

If more than one file window is open on the screen, this command neatly stacks them so that they overlap by a half-inch or so, as though they're a deck of cards being
fanned from upper-left to lower-right. Because this arrangement leaves each window's name bar visible, it's easy to jump from one window to another (by clicking any
visible part of it). The active window is the one in the lower-right.

See Also:
Window Menu

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Window/Tile Vertically

Window/Tile Vertically

If more than one file window is open on the screen, this command neatly places them side-by-side, subdividing your screen area so that all windows are the same
size. The active window is the one whose title bar is highlighted.

See Also:
Window Menu

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Window/Tile Horizontally

Window/Tile Horizontally

If more than one file window is open on the screen, this command neatly places them one atop the other, subdividing your screen area so that all windows are the
same size. The active window is the one whose title bar is highlighted.

See Also:
Window Menu

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Window/Arrange Icons

Window/Arrange Icons

If you've minimized any windows on a document (by clicking the Minimize button in the upper-right corner), icons for the windows appear within Finale's application
window. Choose this command to align the document icons neatly at the bottom of the application window.

See Also:
Window Menu

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Window/New Window

Window/New Window

Choose New Window to create a duplicate of the active window (and of the same file), in which you can scroll, enlarge, reduce, or change views independently of the
original window. The various windows of a single file are identified in the bottom portion of the Window Menu.

See Also:
Window Menu

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Window/Close Window

Window/Close Window

Choose Close Window to close the current active window. If you close the last active window on a document, Finale will close the file, asking if you want to save
changes (if any changes were made since you last saved the file).

See Also:
Window Menu

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Help Menu

Help/User Manual

U se these menu commands to visit the following documentation resources.

Table of Contents
Finale Tutorials
Keyboard Shortcuts
Engraver Character Map
Jazz Character Map
Maestro Character Map
What's New

See Also:
Menus

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Help/QuickStart Videos

Help/QuickStart Videos

Choose this menu item to launch a separate application that will show you basic functionality in Finale via a video on your computer monitor. The video is narrated and
shows how to access tools and menus throughout the programs. If you don't like to read tutorials and manuals, this video is for you.

See Also:
Help Menu

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Help/Finale Website

Help/Finale Website

Choose this menu item to go to the FinaleMusic Website for information about Finale and other products made by MakeMusic.

See Also:
Help Menu

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Help/Register Finale

Help/Authorize Finale

Choose this menu item to authorize and register your version of Finale with MakeMusic via the Internet. Registered Users of Finale have access to Technical Support
and notification of future updates and upgrades.

See Also:
Help Menu

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Help/Check for Finale Updates

Help/Check for Finale Updates

Choose this menu item to view the latest updated version of Finale from MakeMusic via the Internet. These updates can be downloaded to registered users.

See Also:
Help menu

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About Finale

About Finale

This dialog box displays the user's name and serial number along with the current software version number and ways to contact Customer Support.

To view this dialog box, go to the Help Menu and choose About Finale

See Also:
Customer Support

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Chord/Manual Input

Chord/Manual Input

When this option is selected, you can click a note or rest in the score to bring up the Chord Definition dialog box, where you can construct a chord symbol by typing
the chord symbol into a single text box. Or, you can enter the three parts of the chord symbol separately by entering the scale degree for the root and alternate bass
and choosing a suffix (such as "maj7"). You also use the Chord Definition dialog box to edit an existing chord symbol; double-click the chord symbol's handle. You can
use the Chord Definition dialog box to create a custom fretboard for your chord.

For detailed information, see the Chord Definition dialog box.

See Also:
Chord Menu
Chord Tool

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Chord/Type Into Score

Chord/Type Into Score

Choose Type Into Score to select this command; when selected (a checkmark appears next to the command), you can enter chords directly into your score. Click on
the note to which you want to attach a chord; a blinking cursor appears above the note. (If no cursor appears, make sure the note you click is in the active music
layer.) Type the chord’s root, suffix and alternate bass note, if any. When you’ve completed one chord, you can move quickly to the next note to continue entering
chords; Finale displays the fully formatted chord after you enter it. (See the Keystroke table for a summary of the available keystrokes for entering chords and what
they do.)
When you type chords directly on-screen (or type them in the Chord Definition dialog box), Finale follows some simple conventions to interpret what chord symbol was
entered. A chord symbol is made up of one or more of the following parts: root, suffix, and alternate bass. Although you are not required to enter all parts of a chord
symbol, Finale interprets the chord symbol’s root, suffix and alternate bass, in that order. See Chord Definition dialog box.

First, enter the root with any alterations (sharps or flats). For example, type “Eb”, “F” or “G#” (shift-3) to enter an E , F or G chord, respectively. Second, enter the
suffix; Finale will look at the suffix characters you type, if any, and try to find a matching suffix in your document (all suffixes in your document appear in the Chord
Suffix Selection dialog box). Last, Finale will check whether the chord should display an alternate note in the bass; enter a slash (/) or an underscore (shift-hyphen) to
display the alternate bass next to or below the chord symbol, then enter the alternate bass note with any alterations (sharps or flats).
For example, enter an FMaj7 chord simply by typing “Fmaj7”; press the spacebar to enter your chord and move to the next note. Entering chords with alternate bass

notes is simple too; add a Cmin7/B chord simply by typing “Cmin7/Bb”. Finale knows that you want a flat when you type a lowercase “b”, and that you’d like an
alternate bass note when you type the slash. (Finale also intelligently handles alterations in suffixes.) If you prefer to put the root “over” the alternate bass, type
“Cmin7_Bb” instead—Finale intelligently determines the difference and displays the chord the way you want it.

Here are more tips:

Display and Entry: Finale displays chords in any style you wish, using the Chord Style feature in the Chord Menu. For
chord entry, though, you need to type your chords using the Standard style convention. For more information on styles, see
Chord Style.
Fonts: Finale ignores display fonts when you type chords into your score—in fact, all the characters in your chords will
appear in a regular text font as you type them. Finale does care about the keystroke, however; for example, even if your
chord suffix mixes music characters and regular text characters, Finale will examine only the keys you press when looking
for matches. So, feel free to mix fonts as much as you wish—it won’t affect Finale’s Type Into Score feature.
Alterations: Type a “b” or “#” (shift-3) to tell Finale that the root or alternate bass has a sharp or flat, or that a sharp or
flat appears as a character in the suffix. (Just type two or more consecutive characters for other alterations, like double- or
triple-sharps.) In rare cases, Finale may not know where an alteration belongs, such as the chords G 9 and G 9. In this
case, when you type “Gb9”, Finale normally associates the alteration with the root (and will display G 9). When you want a
suffix that begins with an alteration (such as G 9), tell Finale that the alteration isn’t part of the root by typing a comma
after the root (in this case, by typing “G,b9”).
Suffixes: When typing suffixes (like those provided in the Maestro Font Default file, or those provided in the chord suffix
libraries), type them as you’d read them. Finale looks at the characters in the order they’re entered when it tries to find a
match for the suffix (all suffixes in your document appear in the Chord Suffix Selection dialog box); what you type must
match the order of the suffix characters exactly. If Finale doesn’t find an exact match, it assumes you want to create a new
suffix and displays the Chord Suffix Editor dialog box to let you finish defining the suffix.

Tip: When you create your own suffixes, add characters to the suffixes in the order you’d say them out
loud—it will make typing chords easier in the long run. Whatever you enter (whether it follows
convention or not), Finale will faithfully match the characters in the order you type them with the order
they were created in the Chord Suffix Editor dialog box.

Alternate Bass: Type a slash (/), an underscore (shift-hyphen), or a bar symbol (|) to indicate whether an alternate bass
note should appear next to, below, or slightly to the right of the chord, respectively. Finale knows that what you type after
the slash, underscore or bar is the alternate bass note for the chord.
Capitalization: Finale displays chords like “F” and “e”, or “IV” and “iii”. When you enter chords, it is case-sensitive. For
example, if you type a lowercase “d” in the key of C Major, and Roman is selected as the chord style, Finale will display “ii”,
as opposed to “II” if you enter an uppercase “D”. Finale also knows the difference between a lower case “b” chord and the
character representing the flat (also a “b”). For example, type a b-flat lowercase chord simply by typing “bb”—Finale knows
the first character is the root, but the second is an alteration. Capitalization also matters in suffixes—that’s how Finale
distinguishes a “CM7” from “Cm7”.
Special Characters: You can type a “b” for flat and “#” (shift-3) for sharp. Finale also makes other common chord
characters available at a keystroke, the diminished “ ” and half-diminished “ ” symbols. Since their key combinations
may be difficult to remember, Finale offers easy to remember substitutes: the “o” (lower-case letter o) and “%” (shift-5) keys
add diminished and half-diminished symbols respectively. You can turn off this automatic substitution by deselecting the
Substitute Symbols command in the Chord Menu. These special characters only work with the Arial, Times or JazzText
chord libraries.

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Chord/Type Into Score

Shortcuts: In addition to keystroke shortcuts for musical symbols like diminished and sharp, Finale offers a fast entry
shortcut for users who know their Finale suffixes well. If you know a particular suffix’s number, enter a chord with a suffix
directly by typing the root, a colon (:), and the number, then move to the next note—Finale adds the suffix automatically. If
you don’t remember the number, you can type the root, a colon, a zero (such as C:0), then hit the spacebar; before leaving
the current note, Finale will display the Chord Suffix Selection dialog where you can choose the suffix you need. For
example, when working with the Maestro Font Default file, you can easily enter a “Cm7(s5)” by typing “C:9” instead of all the
individual characters, “Cm7(s5). Since the “m7(s5)” suffix appears in slot number 9 in the Chord Suffix Selection dialog box,
Finale knows to enter it automatically. If you take a moment to remember the suffixes you use frequently, this shortcut can
save you a lot of typing.

Use these keys to perform the indicated actions when you type chords into the score:

Keystroke Action

enter Accept changes to the selected chord

esc Discard changes to the entered chord

spacebar, tab, shift- right arrow Move to next entry


shift-spacebar, shift-tab, shift-left Move to previous entry
arrow
(up-arrow) Move to the next chord on the same entry, or get ready to create a new chord

(down-arrow) Move to the previous chord on the same entry

b f
Display flat symbol ( )

# (shift-3) Display sharp symbol ( ) s

o (lower-case letter o) † Display diminished symbol ( )

% (shift-5)† Display half-diminished symbol ( )


/ Put alternate bass note next to the chord root

_ (shift-hyphen) Put alternate bass note below the chord root

| (vertical bar) Put alternate bass note below and to the right of the chord root

(up-arrow) Move to previous character in the chord

(down-arrow) Move to next character in the chord

Letter with and without shift (press Display corresponding pitches for the root (A, B, C, D, E, F, G) and alternate bass notes
shift for uppercase display) (a, b, c, d, e, f, g)

, (comma) Distinguish the chord root from the suffix

Display the chord suffix assigned to a specific slot number in the Chord Suffix Selection
:# (colon number) dialog box

:0 (colon zero) Display the Chord Suffix Selection dialog box, where you can choose any suffix

Display the fretboard assigned to a specific slot number in the Fretboard Selection dialog
:f# box (must follow the suffix)

† Finale displays the diminished and half diminished symbols only when Substitute Symbols is selected in the Chord Menu, and
Finale finds a matching chord suffix. For more information, seeSubstitute Symbols.

See Also:
Chord Menu
Chord Tool

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Chord/MIDI Input

Chord/MIDI Input

When you select this option, you can click a note or rest in the score, and a tiny ear icon will appear. Finale will add a chord symbol above the note you clicked when
you play the chord on your synthesizer. (It's "listening" to the chord you play.) The register of the chord you play doesn't matter, but the inversion does: if you play a C
chord with an E on the bottom, Finale will place a C/E chord symbol above the note. If it doesn't recognize the chord, it will display the Unknown Chord Suffix dialog
box letting you know. See Unknown Chord Suffix dialog box.

To advance the ear cursor to the next note, press any MIDI instrument key above middle C; to make the ear cursor retreat to the left, play any key below middle C. If
you don't move the cursor in this way, each time you play a chord, each new chord symbol will appear stacked above the previous one.

See Also:
Chord Menu
Chord Tool

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Chord/One Staff Analysis

Chord/One-Staff Analysis

If you select this menu item, Finale will immediately analyze the notes in any chord you click (including notes sustained from an earlier beat). This command only
considers notes in the staff you clicked. If it doesn't recognize the chord, it will display the Unknown Chord Suffix dialog box letting you know. See Unknown Chord
Suffix dialog box.

Use the Chord Analysis Plug-in to analyze any selected region of a staff (or two staves) and add chord symbols automatically. See Chord Analysis Plug-in.

See Also:
Chord Menu
Chord Tool

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Chord/Two Staff Analysis

Chord/Two-Staff Analysis

If you select this item, Finale will immediately analyze the notes in any chord you click, also taking into account the notes in the next staff down. In other words, it will
use the notes struck simultaneously in both staves, as well as sustained notes, to formulate its chord guess, making this a useful option for deriving chord symbols
from piano parts.

Once again, if Finale doesn't recognize the chord, it will display the Unknown Chord Suffix dialog box letting you know. See Unknown Chord Suffix dialog box.

Use the Chord Analysis Plug-in to analyze any selected region of a pair of staves (or single staff) and add chord symbols automatically. See Chord Analysis Plug-in.

See Also:
Chord Menu
Chord Tool

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Chord/All-Staff Analysis

Chord/All-Staff Analysis

If you select this item, Finale will immediately analyze the notes in any chord you click, taking into account the notes in all staves of the score. In other words, it will
use the notes struck simultaneously in all staves, as well as sustained notes, to formulate its chord guess, making this a useful option for deriving chord symbols from
piano parts or a larger score containing any number of staves. Use the Chord Analysis Plug-in to analyze any selected region of a staff (or two staves) and add chord
symbols automatically. See Chord Analysis Plug-in.

Once again, if Finale doesn’t recognize the chord, it will display the Unknown Chord Suffix dialog box letting you know.

See Also:
Chord Menu

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Chord/Chord Style

Chord/Chord Style

Choose a style for all chord roots and alternate bass notes in the piece. A checkmark appears by the style in use for the piece. The following examples show the
available styles.

Standard
European
German
Roman
Nashville A
Nashville B
Solfeggio
Scandinavian

See Also:
Chord Menu
Chord Tool

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Chord/Left-Align Chords

Chord/Left-Align Chords

Normally, Finale centers each chord symbol above the note to which it's attached. When this item is selected, however, Finale aligns the leftmost edge of each chord
symbol with the note below it. Choose this command a second time to restore chord symbols to their centered position.

See Also:
Chord Menu
Chord Tool

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Chord/Italicize Capo Chords

Chord/Italicize Capo Chords

If you’ve checked Capo At Fret in the Chord Definition dialog box, select this command to display the capo chord italicized.

See Also:
Chord Definition
Chord Menu
Chord Tool

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Chord/Show Fretboards

Chord/Show Fretboards

When this item is selected, Finale displays full-blown fretboard-chart diagrams beneath each chord symbol in the score (or will do so as soon as you add chord
symbols).

Finale uses the Lowercase setting for the Root Scale Tone in the Chord Definition dialog box to determine whether it will display the corresponding major or minor
fretboard diagram. When you don’t specify a particular suffix and Lowercase is selected for the Root Scale Tone, Finale will display a minor fretboard diagram; if
Lowercase is not selected, Finale will display a major fretboard diagram.
When you choose Show Fretboards a second time, all fretboards disappear. See Fretboard diagrams and Chord Definition dialog box–Show Fretboard for more
information.

See Also:
Chord Menu
Chord Definition
Chord Tool

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Chord/Resize Fretboards

Chord/Resize Fretboards

Use this command to globally change the size of the guitar fretboards. The Resize Fretboards dialog box will appear. Type the desired percentage of the current size
you want to resize the fretboards. See Resize Fretboards dialog box.

See Also:
Chord Menu
Chord Tool

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Chord/Position Chords

Chord/Position Chords

When Position Chords (or Position Fretboards) is selected in the Chord Menu, four small triangles appear at the left side of the screen. These triangles govern the
position of the baseline for the chord symbols or diagrams (the imaginary horizontal line against which the bottoms of the chord symbols align).
Drag the first (leftmost) triangle up or down to move all the chords in the piece. Drag the second triangle to move the chords up or down in this staff only, regardless of
the position of the leftmost triangle. Drag the third triangle, in Page View, to move the chords in this staff in this system only. Dragging the rightmost triangle doesn’t
move any existing chord symbols; instead, it sets the position for the next one you enter.
You specify whether you want these triangles to adjust the chord symbols themselves or the fretboard diagrams by choosing either Position Chords or Position
Fretboards from the Chord Menu. (Position Fretboards is dimmed if Show Fretboards isn’t selected in the menu.) See Fretboard diagrams for more information.

For information regarding baselines in linked parts, see Baseline Positioning in linked parts.

See Also:
Chord Menu
Chord Tool

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Chord/Position Fretboards

Chord/Position Fretboards

When Position Fretboards (or Position Chords) is selected in the Chord Menu, four small triangles appear at the left side of the screen. These triangles govern the
position of the baseline for the chord symbols or diagrams (the imaginary horizontal line against which the bottoms of the chord symbols align).
Drag the first (leftmost) triangle up or down to move all the chords in the piece. Drag the second triangle to move the chords up or down in this staff only, regardless of
the position of the leftmost triangle. Drag the third triangle, in Page View, to move the chords in this staff in this system only. Dragging the rightmost triangle doesn’t
move any existing chord symbols; instead, it sets the position for the next one you enter.
You specify whether you want these triangles to adjust the chord symbols themselves or the fretboard diagrams by choosing either Position Chords or Position
Fretboards from the Chord Menu. (Position Fretboards is dimmed if Show Fretboards isn’t selected in the menu.) See Fretboard diagrams for more information.

For information regarding baselines in linked parts, see Baseline Positioning in linked parts.

See Also:
Chord Menu
Chord Tool

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Chord/Simplify Spelling

Chord/Simplify Spelling

Choose this command to switch between spelling chord roots enharmonically, or spelling chord roots exactly as defined in the Chord Definition dialog box. When

selected, Finale spells the root using the "simplest" enharmonic spelling (for example, Finale spells E as F). When this command is not selected, Finale spells the
root using the exact root and alteration that appears in the Chord Definition dialog box.

See Also:
Chord Menu
Chord Tool

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Chord/Substitute Symbols

Chord/Substitute Symbols

When selected, Finale substitutes the Maestro diminished ( ) and half-diminished ( ) symbols when you type "o" (lower case letter o) or "%" (Shift-5),
respectively. When not selected, Finale simply maps the keys directly, without substituting symbols. Deselect this command if you are using a font other than Maestro,
and want to use the characters mapped to the o and Shift-5 slots in that font.

Note: This command is used for chord entry only. Choosing this command will not affect any
characters on chords already entered in the document

See Also:
Chord Menu
Chord Tool

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Chord/Edit Learned Chords

Chord/Edit Learned Chords

Select this command to display the Edit Learned Chords dialog box, where you can teach Finale to recognize new chords (or to label chords it does recognize in
different ways), or to "forget" chords you've already taught it.

For detailed information, see the Edit Learned Chords dialog box.

See Also:
Chord Menu
Chord Tool

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Chord/Change Chord Suffix Fonts

Chord/Change Chord Suffix Fonts

Choose this command to display the Change Chord Suffix Fonts dialog box, which lets you swap one font and style for another in your chord suffix library.

For detailed information, see the Change Chord Suffix Fonts dialog box.

See Also:
Chord Menu
Chord Tool

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Expression Menu/Metatools: Measure Attached

Expression Menu/Metatools: Measure Attached

Choose this menu item to make all metatools attach expressions to the measure, regardless of whether there is a note or rest in the measure.

Tip: To create a metatool, hold down the Shift key while pressing a number or letter. Then, choose the
expression you wish to assign to that number or letter when the Expression Selection dialog box
appears. To attach a metatool, hold down the assigned number or letter and click in the measure.

See Also:
Expression Menu
Expression Tool

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Expression Menu/Metatools: Note Attached

Expression Menu/Metatools: Note Attached

Choose this menu item to make all metatools attach expressions to a note or rest. Note that if there is no note or rest in the measure you click, an expression will not
be attached.

Tip: To create a metatool, hold down the Shift key while pressing a number or letter. Then, choose the
expression you wish to assign to that number or letter when the Expression Selection dialog box
appears. To attach a metatool, hold down the assigned number or letter and click in the measure.

See Also:
Expression Menu
Expression Tool

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Expression Menu/Metatools: Context Sensitive

Expression Menu/Metatools: Context Sensitive

Choose this menu item to make metatools attach expressions depending on where you click. For example, if you click in an empty measure, the expression will attach
to the measure. However, if you click near a note or rest, the expression will attach to the note.

Tip: To create a metatool, hold down the Shift key while pressing a number or letter. Then, choose the
expression you wish to assign to that number or letter when the Expression Selection dialog box
appears. To attach a metatool, hold down the assigned number or letter and click in the measure.

See Also:
Expression Menu
Expression Tool

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Expression Menu/Adjust Above Staff Baseline

Expression Menu/Adjust Above Staff Baseline

Choose Adjust Above Staff Baseline to adjust the baselines for expressions set to Above Staff Baseline in the Vertical Positioning drop-down menu of the Text/Shape
Expression designer dialog box. If neither Adjust Above Staff Baseline OR Adjust Below Staff Baseline is selected, the positioning triangles to the left do not display.
You can find the Vertical Positioning drop-down menu under the Measure and Note positioning tabs of the Text Expression Designer dialog box and Shape Expression
Designer dialog box.

See Also:
Expression Menu

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Expression Menu/Adjust Below Staff Baseline

Expression Menu/Adjust Below Staff Baseline

Choose Adjust Below Staff Baselines to adjust the baselines for expressions set to Below Staff Baseline in the Vertical Positioning drop-down menu of the Text
Expression Designer dialog box. If neither Adjust Above Staff Baseline OR Adjust Below Staff Baseline is selected, the positioning triangles to the left do not display.
You can find the Vertical Positioning drop-down menu under the Measure and Note positioning tabs of the Text Expression Designer dialog box and Shape Expression
Designer dialog box.

See Also:
Expression Menu

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Graphics/Export Selection

Graphics/Export Selection

This command is only available in Page View when a region of music is selected. Choose this command to display the Export Selection dialog box, where you can
export the selection on the current page or on a range of pages. When you choose this command, the Export Selection dialog box settings will default to exporting the
selection on the current page only; save the graphic as an EPS or TIFF file. For more information, see Export Selection and Export Pages dialog boxes.

See Also:
Graphics Menu
Graphics Tool

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Graphics/Export Pages

Graphics/Export Pages

This command is only available in Page View. Choose this command to display the Export Pages dialog box, where you can export a single page, a range of pages, or
all pages, as separate graphics files. When you choose this command, the Export Pages dialog box settings will default to exporting the current page. Save the graphic
as an EPS or TIFF file. For more information, see Export Selection and Export Pages dialog boxes.

See Also:
Graphics Menu
Graphics Tool

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Graphics/Place Graphic

Graphics/Place Graphic

Choose this command to place an EPS or TIFF file graphic into your score in Scroll View or Page View. The Place Graphic dialog box appears, listing the available
graphic formats, as well as the option to display all files.

Note: Finale doesn't actually embed the graphics placed into your Finale document. Instead, it places
a link to the graphic's location. Use the Check Graphics command for a list of graphics placed into a
document; when you copy Finale documents, make sure that you copy all the graphics used in the
documents as well.

For detailed information, see the Place Graphic dialog box.

See Also:
Graphics Menu
Check Graphics
Graphics Tool

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Graphics/Alignment

Graphics/Alignment

You must be in Page View and have a page-assigned graphic selected to use the commands in the Alignment submenu. Otherwise, the commands in the Alignment
submenu are not accessible (they will be grayed out). Choose a command to specify how you want the graphic positioned on the page. Checkmarks appear by the
alignment settings currently in use for the graphic. When you change the horizontal or vertical alignment of the graphic, Finale clears any manual positioning done in
the score, and resets the H: or the V: positioning settings in the Graphic Attributes dialog box to zero. Choose Position from Page Edge or Position from Page Margin
to align the selected graphic with the edge of the page or with the page margin, respectively.

Note: This is a useful shortcut for positioning a page-assigned graphic when you’re in Page View. If
you prefer, however, you can choose the Attributes command from the Graphics Menu and change the
Page Alignment settings in the Graphic Attributes dialog box.

Left
Center Horizontally
Right
================
Top (Header)
Center Vertically
Bottom (Footer)
================
Position from Page Edge
Position from Page Margin

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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Graphics/Attributes

Graphics/Attributes

This command is available when a single graphic is selected. Choose this command to display the Graphic Attributes dialog box for the currently selected page-
assigned or measure-assigned graphic. Use this dialog box to change the placement of the graphic in your score, its alignment on the page (left, right or centered), its
scaling, and what pages, if applicable, the graphic appears on. For more information, see Graphic Attributes dialog box.

See Also:
Graphics Menu
Graphics Tool

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Graphics/Check Graphics

Graphics/Check Graphics

Choose this command to display a listing of all the graphics you’ve placed directly into your score or into the Shape Designer. If any graphics files are missing, they are
listed with an asterisk next to the name. Use this command to make sure you have all the necessary graphics for your document if you’ll be printing the file on another
system. For more information, see Check Graphics dialog box.

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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HyperScribe/Beat Source

HyperScribe/Beat Source

Using this submenu, you tell Finale what MIDI signal will serve as the tempo reference while you play—and who will provide it (either you or Finale).

Tap
Playback and/or Click
External MIDI Sync

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/Record Mode

HyperScribe/Record Mode

Use this submenu to tell Finale whether you'll be recording your performance into one staff, or splitting the performance into two staves. If you prefer, you can record
into two or more staves -- or layers of a staff at one by using the multitrack record mode.

Record into One Staff


Split into Two Staves
Multitrack Record

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/HyperScribe Options

HyperScribe/HyperScribe Options

Choose this item to display the HyperScribe Options dialog box, which holds a number of specialized transcription choices such as the incoming channel for the Record
into One Staff, or Split Into Two Staves record modes, and whether you want Finale to record key velocities and note durations as you play.

For detailed information, see the HyperScribe Options dialog box.

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/Transcription Mode

HyperScribe/Transcription Mode

Choose this menu item to use Finale’s mini sequencer.

Tip: Once the menu item is checked, click in a measure to open the Transcription window.

For more information see Transcription mode

See Also:
HyperScribe Menu
HyperScribe Tool

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Lyrics/Edit Lyrics

Lyrics/Edit Lyrics

Choose this command to enter Finale’s text processor. If you have copied lyrics from an external word processor, press ctrl-V here to paste them. Otherwise, you can
create lyrics from scratch; just type them in, being sure to insert a hyphen between syllables. (Finale recognizes a space, hyphen, or carriage return as the end of a
syllable.) For a full description of the Edit Lyrics window, see Edit Lyrics window.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Adjust Syllables

Lyrics/Adjust Syllables

This command lets you move an individual syllable anywhere you want it. Click the staff above a syllable; two handles appear. Click a handle to select its syllable;
shift-click to select additional syllables attached to the same note. Drag a lower handle to move its syllable (or all selected syllables) to a new position; press
backspace to restore a selected syllable to its original position. To remove a selected syllable (or all selected syllables) from the score, press delete. You can also use
Adjust Syllables in conjunction with the alignment and justification commands (see below). Click the upper handle to set alignment and justification.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Click Assignment

Lyrics/Click Assignment

After you’ve typed lyrics into the Edit Lyrics window, choose Click Assignment from the Lyrics Menu. The scrolling Click Assignment window appears; (move the Click
Assignment window out of the way, if necessary, by dragging its title bar). A syllable from the left end of this window attaches itself to each note you click (or, if the note
is in Voice 2, each one you shift-click).
If you ctrl-click a note, however, Finale will zip through your entire set of lyrics, intelligently distributing them to the notes in the score skipping rests and tied notes, as
well as notes in different layers and voice two, for as many notes as there are syllables. (Click Assignment will stop at default whole rests.) See Click Assignment
dialog box for a more complete discussion.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Clone Lyric

Lyrics/Clone Lyric

Use this command when you want to copy the lyrics from one staff (the “source” staff) to another (the “target” staff). This technique, however, only copies one set of
lyrics at a time—either the Verse, Chorus, or Section currently specified by the Specify Current Lyric command, or the last lyric you edited.
After choosing this command, select the measures containing the source lyrics by clicking, shift-clicking, the same techniques you use with the Selection Tool.
Once the source measures are selected, drag the first selected measure so that it’s superimposed on the first target measure. (If the target measure isn’t visible in the
same screen, scroll so that you can see it, then ctrl–shift-click it.) Finale will copy the lyrics from the source measures to the target measures. Bear in mind that only
notes that fall on the same beats as those in the source measures will receive syllables. (Note, too, that the vertical positions of the baseline-positioning triangles will
be the same in the target staff as they were in the source staff.)

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Edit Word Extensions

Lyrics/Edit Word Extensions

A Word Extension is the underline following a syllable sustained beyond the note to which it’s attached. In new documents, or documents that do not contain lyrics
created before Finale 2004, these lines are generated automatically as you type lyrics into the score. To edit a Word Extension, choose this command from the Lyrics
Menu, then click in the staff above the syllable in question. A square handle appears. Drag it to the right as far as you want to draw the Word Extension underline. To
remove the Word Extension, click its handle and press Delete. You can edit the default appearance of word extensions for your document in the Word Extensions
dialog box.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Shift Lyrics

Lyrics/Shift Lyrics

When you choose this command, Finale displays the Shift Lyrics dialog box, where you can specify the direction in which you want all the syllables shifted.

For detailed information, see the Shift Lyrics dialog box.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Type Into Score

Lyrics/Type Into Score

Instead of typing lyrics into the Edit Lyrics window separately, you can enter them directly into the music so that you know at all times where you are relative to the
melody.
To do so, first specify the lyric type and number for the lyrics you intend to create (by choosing Specify Current Lyric or Edit Lyrics from the Lyrics Menu). Choose
Type Into Score from the Lyrics Menu. A set of four positioning triangles appears at the left edge of the screen. These control the baseline of the lyrics (against which
the bottom edges of the words line up).
Click on the staff at the position of the first melody note. Don't click the notehead - instead, click in the staff lines. A small blinking cursor - the insertion point - appears
beneath the staff where you clicked. Type the lyrics normally; each time you type a space or a hyphen, Finale automatically moves the insertion point to the next note
in preparation to enter the next syllable. As you type, Finale automatically scrolls the music so you always know where you are.
If you make a mistake, just backspace over it by pressing the backspace key. To change a word you've already typed, click in the staff lines above it so that it's
highlighted, then type its replacement. If you encounter a melismatic passage, where one syllable is sustained through several melody notes, skip past each sustained
note by pressing the Space bar.
Note that as you type, Finale stores each syllable in the Edit Lyrics window - the Lyrics Tool's text processor. It's important to understand that the Edit Lyrics window
and the lyrics in the score are dynamically linked. If you change a syllable in the Edit Lyrics window, the syllable instantly changes in the score - and vice versa.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Alignment

Lyrics/Alignment

These commands, only available when Adjust Syllables is selected in the menu, are similar to the alignment and justification option in the Text tool. They allow you to
easily set the horizontal position of your lyrics on a syllable by syllable basis. These commands are useful when you want all the syllables (in several verses) beneath
a particular note neatly aligned. You might use this feature to left-justify a specific syllable of each verse under the first note of a hymn, for example. For global
settings see Document Options-Lyrics.

If you wish to align all lyrics you may do so in Document Options-Lyrics. If you wish to be aligned with a celestial body, you'll have to look further than
Finale.

Set the alignment and justification by selecting it from the menu, or using the keyboard shortcuts listed in
the menu. The handle will move from one side of the syllable to the other depending on which type of
justification you have selected.

Default
===================

Center
Left
Right

See Also:

Lyrics Menu
Justification
Lyrics Tool

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Lyrics/Justification

Lyrics/Justification

Use the following menu items to justify the selected syllables relative to each other. If you wish to justify all lyrics you may do so in Document Options-Lyrics.

Default
===================
Center
Left
Right

See Also:
Lyrics Menu
Alignment
Lyrics Tool

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Lyrics/Specify Current Lyrics

Lyrics/Specify Current Lyric

Choose this command to display the Specify Current Lyric dialog box, where you can specify whether you want to edit, Type Into Score, Clone, or Click-Assign a
Verse, Chorus, or Section. In the text box, you can also specify by number which Verse, Chorus, or Section you want to manipulate.
You can also switch one lyric type to another in the Edit Lyrics window- for example, if you've just used Click Assignment to place Verse lyrics in the score, but you
now want to use the Edit Lyrics window to enter the chorus, choose Chorus from the Lyric drop-down list.

For detailed information, see the Specify Current Lyric dialog box.

See Also:
Lyrics Menu
Edit Lyrics
Lyrics Tool

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Lyrics/Adjust Baselines

Lyrics/Adjust Baselines

This command displays the Adjust Baselines dialog box, where you can specify the exact vertical location for the baseline of each lyric type and number (the invisible
line against which the bottoms of the words align).

For detailed information, see the Adjust Baselines dialog box.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Lyric Options

Lyrics/Lyric Options

Choose this command to display Document Options-Lyrics where you can specify alignment, spacing and line thickness options as well as settings for hyphens and
word extensions.

See Also:
Lyrics Menu
Lyrics Tool

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Measure/Add Measure Number Enclosures

Measure/Add Measure Numbers Enclosures

Choose this menu item to add a shape around the measure numbers of the selected measures.

For more detail, see Enclosure Designer dialog box.

See Also:
Measure Tool
Measure Menu

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Measure/Show Measure Numbers

Measure/Show Measure Numbers

Choose this menu item to force measure numbers to appear in the selected measures.

Tip: If numbers do not appear after choosing this item, choose Edit Region and confirm that the
selected measures are within a region.

See Also:
Measure Tool
Measure Menu

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Measure/Hide Measure Numbers

Measure/Hide Measure Numbers

Choose this menu item to force measure numbers to disappear in the selected measures.

See Also:
Measure Tool
Measure Menu

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Measure/Restore Measure Number Defaults

Measure/Restore Measure Number Defaults

Choose this menu item to return the measure numbers in the selected measures to settings in the Measure Number dialog box.

See Also:
Measure Tool
Measure Menu

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Measure/Show Measure Spacing Handles

Measure/Show Measure Spacing Handles

Choose this option to display the measure spacing handles on each measure. With these two handles (on the bottom staff line) you can control the space between the
left barline and the first note in the measure and the space between the last note in the measure and the right barline. These values are represented in the Measure
Attributes dialog box after “Extra Space at Beginning” and “Extra Space at End”.

See Also:
Measure Menu

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Transcribing a sequence

Transcribing a sequence
To record a performance

1. Create an empty score; establish the meter, key signature, and configuration of staves. You can transcribe onto one or two staves at a time.

2. Click the HyperScribe Tool and select Transcription Mode from the HyperScribe Menu. Click the measure at which the
transcription will begin. You enter the Transcription window.
3. Click Wait Till. Finale is in “pause” mode. The recording begins with the first note you play (or any other MIDI signal—be careful not to use the sustain pedal
until you’re ready to record).
4. Play your piece. Click anywhere (except on a button) to stop recording. When you stop recording, you’ll see your music expressed as a sort of
horizontal bar graph; the length of the bars indicate the notes’ durations, and their relationship to the piano keyboard indicates their pitch.

Tip: if your performance begins with a pickup measure, fill the first part of the measure with “dummy”
beats; the Transcription window always transcribes on the assumption that the first note is beat 1.

5. If you want to preserve your performance as a sequence, choose Save As from the File Menu. Note that as far as Finale is concerned, the
Transcription window is a different program. The File Menu’s commands (New, Open, Save As) no longer refer to the Finale document (notation) you currently
have open. They refer instead to the performance, or sequence, you just recorded. If you choose New from the File Menu, for example, you’re specifying a new
sequence; you’re not creating a new Finale (notation) document.

When you save your Transcription window performance, you create a special Finale file called a Note File. When you exit Finale and return to the desktop,
you’ll notice that your note file has a different icon. You can open this file any time you’re in the Transcription window; you can, for example, record a piece
today, save it, and transcribe it tomorrow.

6. To play your performance back, choose Select All from the Edit Menu. The display area is highlighted.
7. Under the word Keyboard, click Play; then click Start. Finale plays back your performance.

To hear a click track while recording in the Transcription Mode


In the Transcription Mode, a click track is nothing more than playback of Time Tags that Finale has placed automatically. You can specify various characteristics of the
click: its pitch, MIDI channel, length, and so on.

1. Click the HyperScribe Tool and select Transcription Mode from the HyperScribe Menu. Click a measure in the score. The measure
you click will be the first measure of the transcription when you transcribe the performance. You enter the Transcription window.
2. Click the word In at the lower-right corner of the Transcription window, and enter the time, in hours, minutes, seconds, and
thousandths of a second, at which you want the click track to begin. If you want the click track to begin immediately at the beginning of your
recording, leave the indicator set at 00:00:00:000. (Instead of typing numbers, you can also specify the appropriate point in the music by clicking in the display
area.)
3. Click the word Out at the lower-right corner of the Transcription window, and enter the time, in hours, minutes, seconds, and
thousandths of a second, at which you want the click track to stop. In other words, if you guess that your performance will last two minutes, type
2:00:000. (Instead of typing numbers, you can also specify the appropriate point in the music by clicking in the display area.)

Instead of entering numbers with the In: and Out: indicators, you may prefer to simply drag the mouse through the keyboard display area (marked by a piano
keyboard at the left side). The In: and Out: numbers will change to accurately record the width of the highlighted area.

4. Enter the tempo in the Set to text box. The number you enter here is a standard metronome marking (beats per minute), and allows you to specify the
tempo of the click track. (You set the rhythmic value of this metronome setting—usually quarter notes per minute—using the First Tag submenu of the Time Tag
Menu.)
5. Choose Click Output from the Time Tag Menu. The Click Output Type dialog box appears.
6. Specify the sound of the click track by clicking Listen and playing the appropriate note. Finale automatically takes note of the MIDI channel
you used to generate the sample click.

You might want to use a rim shot or other short percussive sound on a drum machine, or a very high note on your MIDI keyboard. If you like, you can change
the duration of the click sound by changing the Duration number; the default duration is a half second.

7. Click OK (or press enter). You return to the Transcription window.


8. Click Wait Till. When you click Wait Till, Finale places a set of Time Tag note icons across the top of the selected Keyboard region; when you begin to play, it
will play each of these back as one click of the metronome.

Finale is now in pause mode, awaiting the first note of your performance. Make sure that the Record at End radio button is selected (under the word
Keyboard) and that Play is selected (under the words Time Tag).

9. Record your performance as usual. As you play, Finale will record your performance while generating a click track of the tempo, sound, and duration you
specified.

To transcribe a sequence from a sequencer using the Transcription Mode


If you’re interested in notating a performance that’s currently stored in a hardware or software sequencer, you have several options. If your sequence is stored in a
sequencing program (software), you can usually transfer it to Finale by saving it as a standard MIDI file; read your sequencer’s instructions, then seeTo import a MIDI
file for instruction on converting a MIDI file to standard notation.
If the sequence is stored in a physical (hardware) sequencer, or if you have a second computer equipped with its own MIDI interface, you can plug the sequencer (or

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Transcribing a sequence

extra computer) into your computer and play the sequence into the Transcription Mode window. As far as Finale is concerned, the MIDI signals it’s receiving in this
way are no different from the ones you produce when you play your synthesizer. The Transcription Mode can record tracks simultaneously from as many MIDI
channels as you like, and then transcribe up to four channels at a time.

1. Create the empty score, including meter, key signature, and staff configuration. You can transcribe onto one or two staves at a time.
2. Click the HyperScribe Tool g and select Transcription Mode from the HyperScribe Menu. Click the measure at which the transcription
will begin. You enter the Transcription window. If the sequence is capable of providing a MIDI “click track,” or if you can add a separate track consisting solely
of quarter-note (or some other value) “clicks” on a single pitch, you’ll save time in the long run, because Finale will be learning where the beats fall at the same
time as it’s hearing the music. If your sequence does not contain a click track, skip to the instruction marked by the asterisk (*).
3. Choose Click Input from the Time Tag Menu. Specify the incoming MIDI signal that will serve as the click. The easiest way to enter the
click description is to click Listen, and then play the click itself. Note that if the click itself is to be a pitch, make sure it’s either a very high or very low pitch—one
that won’t be mistaken for a note in your sequence.
4. Click Ignore First Data Byte (so that it’s no longer selected). This checkbox essentially tells Finale whether or not it should be particular about the
MIDI signal it’s interpreting as Time Tag information—in other words, whether or not to consider any key (or controller) to be a Time Tag. You don’t want this
option selected, because you’re going to record both Time Tags and keyboard notes simultaneously.
5. Click OK (or press enter). If the clicks will be “tapping” any duration other than a quarter note, be sure to let Finale know by choosing the correct duration
value from the First Tag is submenu of the Time Tag Menu.
6. Click Record under the words Time Tag. If the sequence won’t be providing a click track, leave Play selected under the words Time Tag; you can add
the Time Tags separately after you’ve recorded the sequence.

7. Click Wait Till. Finale is now in “pause” mode, where it will remain until it receives the first MIDI signal from the external sequencer.
8. Play the sequence. Click anywhere (except on a button) to stop recording. When you stop recording, you’ll see your music expressed as a sort of
scrolling horizontal bar graph; the lengths of the bars indicate the durations of the notes, and their position in relation to the piano keyboard (left side of the
screen) indicates their pitch. If you recorded the Time Tags (“click track”) as the sequence played, you’ll also see note icons at the top of the screen, indicating
the placement of the beats.
9. To play your performance back, choose Select All from the Edit Menu; under the word Keyboard, click Play; then click Start. You hear
the sequence played back. Note that Finale records the MIDI channel information from the sequence, too; when it plays back, it will transmit the MIDI signals over
the same channels on which they were received. Keep this in mind if you’re having trouble hearing all the tracks in the sequence when you play it back.
10. If the sequence didn’t contain a click track, add Time Tags. See To transcribe a sequence.
11. Select the MIDI channel and pitch information to be transcribed by choosing Transcription Filter from the Transcription Menu. The
Transcription Filter dialog box appears, in which you can specify the range of notes within each MIDI channel you want transcribed.

For example, if your sequence contained tracks recorded on several different MIDI channels, you can now transcribe them onto individual staves, one at a
time; if the flute and clarinet were both on channel 2, for example, enter 2 in the first MIDI channel text box. Then, to make sure you only transcribe the flute
part, enter the highest and lowest notes of the flute’s register in the Key Range: High and Low text boxes. (To enter this information by playing it, click Listen;
play the lowest note, and then the highest note of the range you want to specify.)
You can also use this high note/low note filter in reverse. If, for example, you specify a Low note that’s higher than the High note, you’ll have defined a range
of notes you want to omit from the transcription; only notes lower or higher than the specified range will be transcribed.

12. Click Use Filters. You’ve just told Finale, in terms of MIDI channel and range of notes, what it should extract from the complete sequence for notation onto its
own staff. When you’re finished transcribing this element, you can return to the Transcription window, choose Transcription Filter again, and specify the next MIDI
channel setting to extract the next “track” out of the sequence, and so on, until you’ve filtered out each individual “track” from the sequence.
13. Choose Assign Measure Tags from the Time Tag Menu. For each downbeat, Finale automatically puts a tiny M above the other Time Tags in the Time
Tag display area, according to the time signatures in the score itself.
14. If you’re transcribing onto two staves, choose a split option (Fixed or Moving) from the Split Point submenu of the Transcription
Menu. If you choose Fixed, a dialog box appears. Enter the number of a synthesizer key whose pitch you want to designate as the dividing point between upper
staff (usually treble clef) notes and lower staff (usually bass clef) notes. (Or, if you prefer, click Listen and play the key.)

If you choose Moving, Finale will split a two-handed performance onto the correct staves (treble clef or bass clef) by tracking the positions of your hands as
they move up and down the keyboard. Enter (or, by clicking Listen, play the interval of) the largest hand span (in half steps) that occurs in the sequence. As
long as there’s a discernible gap between your two hands, Finale can track a changing split point automatically. Click OK to exit either Split dialog box.

15. Click Quant Settings in the Transcription window. The Quantization Settings dialog box appears.
16. Choose a smallest note value and type of quantization. Choose the smallest predominant note value in the piece. Select either Mixed Rhythms, Space
Evenly (for a swing feel) or No Tuplets. See Quantization Settings dialog box for more information.
17. Click More Settings. The More Quantization Settings dialog box appears.
18. If you like, click Key Velocities, Note Durations.
19. Click OK twice.
20. If you like, click Save Continuous Data, and Save Tempo Changes. When the dialog box appears (when you click Save Tempo Changes), press
enter.

These four options tell Finale to remember the precise feel of the original performance, and to keep this data handy for playback when you dismiss the dialog
box. If you don’t choose these options, then when you play back the transcribed music from the score, Finale will simply play back the sheet music—
mechanically reproducing the notes, but without expression or feeling—instead of an exact re-creation of your original performance.

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Transcribing a sequence

21. Click the Transcribe button. If the results aren’t perfect, remember that your performance is still intact, in the Transcription window. Click the first measure
of the transcribed notation to switch back into the Transcription Mode, where you can correct any split point or quantization settings; then click Transcribe again.

If you still don’t get good results and you can’t figure out what’s wrong, read the section called Quantization Settings Guide in the Appendix. If you discover
occasional split-point errors in the transcription (where a right-hand note was notated on the left-hand staff, for example), see Recording with
HyperScribeQuantization Guide –To correct split point errors and.

To transcribe a performance
1. Record the music. See “To record a performance,” above.
2. Choose Select All from the Edit Menu. The display area is highlighted. You’re about to tap along with your music as it plays back, providing Finale with a
tempo point of reference. These taps are called Time Tags.
3. Choose a rhythmic value for your taps from the First Tag is submenu of the Time Tag Menu. If you plan to tap even rhythmic values (all quarter
notes, for example), also choose Record Equal Durations from the Time Tag Menu. (If you don’t select Record Equal Durations, you can actually vary the
rhythmic value of your tap—sometimes eighths, sometimes quarters—and Finale will attempt, by interpolating and extrapolating, to assign the Time Tags
correctly.)
4. Under the word Keyboard, click the Play option. There are two distinct layers of MIDI information in the Transcription Mode: the Keyboard layer, which
records every aspect of your synthesizer performance, and the Time Tag layer, which records only your beat taps. You want the Keyboard layer to play while you
record the Time Tags.
5. Under the words Time Tag, click Record. If you’re about to generate Time Tag taps on any channel other than MIDI channel 1, choose Click Input from
the Time Tag Menu. Click Listen to MIDI, and play the note (or MIDI controller) you’ll be tapping. Click OK.
6. Click the Wait Till button. Finale goes into pause mode, where it will remain until you touch a key or pedal on the synthesizer.
7. Tap any key in time to the music. Click anywhere (except on a button) to stop recording. If you need to start over, choose Select All from the Edit Menu
and repeat the last four steps. When the music ends, Finale automatically stops recording, and you should see small note symbols (Time Tags) across the top of
the screen.
8. Choose Align Tags to Notes from the Time Tag Menu. This command “quantizes” your taps to the nearest notes. A small dialog box appears, asking
you to specify the search width. The number in this text box, in thousandths of a second, tells Finale how far from each tag it may “search” for a note with which
to align it. If the performance was slow, you can increase this number; if it was very fast and “notey,” you may want to use a smaller number (so as not to move a
Time Tag inadvertently to the note after the one with which it should align, for example). In most cases, however, you can simply keep the default search width
setting (200 thousandths of a second).
9. Click OK (or press enter).
10. Choose Assign Measure Tags from the Time Tag Menu. Finale automatically puts a tiny M at the beginning of every measure, according to the time
signature (or time signatures) you’ve already established in the score itself. If your piece has several different time signatures but you haven’t already established
them in the score, choose Measure from the Time tag Menu and repeat the tapping process, but this time tap at each downbeat. When you’re finished, choose
Convert to Time Signatures from the Time Tag Menu; this will automatically create time signature changes in the correct measures in your score.
11. If you’re transcribing onto two staves, choose a split option (Fixed or Moving) from the Split Point submenu of the Transcription
Menu. If you choose Fixed, a dialog box appears. Enter a synthesizer key number at which to split the performance into two staves. (Click Listen, if you prefer,
and play the key.) If you choose Moving, a dialog box appears in which you can enter (or, by clicking Listen, play) the largest hand span that occurs in your
performance (in half steps). This doesn’t necessarily mean the widest interval you can play with one hand; rather, it means the widest interval you played in the
piece. When transcribing, Finale will attempt to split your two-handed performance onto the correct treble- and bass-clef staves by tracking the positions of your
hands as they move up and down the keyboard. As long as there’s a discernible gap between your two hands during the performance, Finale can track a
changing split point automatically.
12. Click OK to exit either dialog box.
13. Choose a smallest note value and type of quantization. Choose the smallest predominant note value in the piece. Select either Mixed Rhythms, Space
Evenly (for a swing feel) or No Tuplets. See Quantization Settings dialog box for more information.
14. Click More Settings. The More Quantization Settings dialog box appears.
15. Select Include Voice Two if desired. If there are few places where you’ll be needing an inner voice, however, don’t select this option. This will prevent
Finale from creating secondary voices where you didn’t intend them—for example, where two successive notes were accidentally overlapped in the sequence.
The status of this option can have a dramatic effect on the “cleanness” of your transcriptions. Use the Retranscribe function in the MIDI/Audio Menu to correctly
place Voice 1 and Voice Two in the few places you want them. See Retranscription.
16. If you like, click Key Velocities, Note Durations.
17. Click OK twice.
18. If you like, click Save Continuous Data, and Save Tempo Changes. When the dialog box appears (when you click Save Tempo Changes), press
enter. These options tell Finale to remember the precise “feel” of your original performance, and to keep this data handy for playback when you dismiss the dialog
box. Save Key Velocities tells Finale to retain key velocity information (see Key velocity). Save Note Durations preserves Start and Stop Time data, such as
rolled chords and swing (seeStart and Stop Times); Save Continuous Data retains continuous data (pedal, pitch bend, and so on); and Save Tempo Changes
captures your tempo fluctuations, including ritards and accelerandi. If you don’t choose these options, then when you play back the transcribed music from the
score, Finale will simply play back the sheet music—mechanically reproducing the notes, but without expression or feeling—instead of exactly re-creating your
original performance.
19. Click the Transcribe button. If the results aren’t perfect, remember that your performance is still intact, in the Transcription window. Click the first measure
of the transcribed notation to switch back into the Transcription Mode, where you can correct any split point or quantization settings; then click Transcribe again. If
you still don’t get good results and you can’t figure out what’s wrong, read the section called Quantization Settings Guide in the Appendix. If you discover
occasional split point errors in the transcription (where a right-hand note was notated on the left-hand staff, for example), you can either change the split point
settings in the Transcription window and try again, or simply go to the score and fix the wrong notes manually. See Recording with HyperScribe–More
Quantization Settings dialog box ,Quantization Settings dialog box . See alsoQuantization Guide To correct split point errors and and Retranscription.

To edit Time Tags


Sometimes you need to change the durational value of a Time Tag, or move the Time Tag so that it aligns with a note, or to add or remove a Time Tag completely.
The following instructions assume you’ve already recorded a performance and entered Time Tags, as described in “To record a performance ,” above. They also
assume that you’re still in the Transcription window.To transcribe a sequence” and “

1. Click the words Time Tag. The words become highlighted. You’ve just indicated that you’ll be editing Time Tags only. For better control, you can “zoom in”
by choosing View Resolution from the Transcription Menu. In the dialog box that appears, enter a smaller value to enlarge the display—50, for example; click OK.
2. To insert a new Time Tag, double-click in the Time Tag display area. The Time Tag display area is the top strip of the display window, where the
Time Tags appear (in a line with the small metronome icon). When you double-click, a new tag appears, whose duration is determined by the First tag is setting
in the Time Tag Menu.

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Transcribing a sequence

3. To move a Time Tag, drag its notehead. If you select a group of tags (by dragging through them or by choosing Select All from the Edit Menu), you can
drag any one notehead to move them all.
4. To change the duration of a Time Tag, carefully double-click its notehead; on the second click, hold the button down. Drag it to the
left or right. As you drag, the Time Tags cycle through the durational values: sixteenth notes, eighth notes, quarter notes, and half notes. Drag to the right for
larger values, to the left for smaller values. By selecting a range of tags (by either dragging or by choosing Select All from the Edit Menu), you can use this
technique to effectively renotate an entire piece at once. You could change a piece to cut time, for example, by changing quarter note Time Tags to eighth note
Time Tags; you’re effectively telling Finale that every quarter note is now an eighth note. (If you try this, however, don’t forget to choose Assign Measure Tags
again from the Time Tag Menu before clicking Transcribe.)

To edit keyboard notes


While it’s much easier to edit your performance once it’s been transcribed into standard notation, you can, if you wish, edit notes directly in the Transcription window.

1. Click the word Keyboard. The word becomes highlighted. You’ve just indicated that you’ll be editing notes only. For better control, you can “zoom in” by
choosing View Resolution from the Transcription Menu. In the dialog box that appears, enter a smaller value to enlarge the display—50, for example; click OK.
2. To delete notes, drag through their starting point and press delete.
3. To insert a new note, double-click in the Keyboard area. The Keyboard area is the bottom three-quarters of the display window, where the other
notes appear. When you double-click and drag to the right, a new note appears, whose pitch is determined by the location of your click; use the piano keyboard
at the left side of the screen as a guide.

Technical note: The note’s initial duration is 15 units; the value of a unit is determined by the number
in the View Resolution dialog box. In other words, if the View Resolution (the unit) is 100 (in
thousandths of a second), the note produced by a double-click is 1500 thousandths of a second long
—which is 1.5 seconds. If you hold the mouse button down on your second click, you can drag
backward (to the right) to increase the duration of the note.

4. To move the attack (or release) of the note, carefully double-click the line; on the second click, keep the mouse button down and
drag the first (or second) half of the line right or left.

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Playback

Playback
Finale can play your score in one of three ways: as recorded during a Hyperscribe or Transcription Mode session, using Finale’s built-in Human Playback technology,
or literally based soley on the notes, rhythms, and dynamics exactly as they appear in the score - and any MIDI data added deliberately with the MIDI or Expression
Tool.
When you record music using Transcription Mode, HyperScribe, or when you import a MIDI sequencer file, Finale captures the expressive data including key velocity
data (how hard you struck the keys), MIDI continuous data information (the pitch wheel, and other controllers and wheels), and tempo fluctuations. If you “capture” this
data before transcribing the performance into notated form, Finale will retain it even after the performance has been turned into notation, and can play it back—nuance
for nuance—at any time. However, if a score was not recorded from a live performance, you can still listen to Finale’s interpretation which was designed to replicate a
live human performance. This feature is called “Human Playback.”
Human Playback, which applies to playback by default, generates a MIDI performance far more sophisticated than a straight MIDI performance. This method of
playback is designed to read the MIDI data from a score, interpret additional markings, and replicate a human performance during playback. Finale intelligently
interprets markings such as tempo indications (i.e. “accel.” or “rall.”), hairpins, tremolo markings, harmonics, and more. You may notice other subtle changes as well,
like a slight ritardando at the end of a piece, or an increased volume applied to a solo staff. Since an accurate performance of notated music heavily depends on the
style, Finale offers several style choices, including Romantic, Classical and Jazz, to more accurately interpret the score. See Playback Settings dialog box.

IMPORTANT! To playback a piece using recorded MIDI data, or if you want to include any
adjustments to playback added with the MIDI Tool or Expression Tool, first set Human Playback to
None. Human playback overrides all other MIDI information. See To specify playback parameters. The
Human Playback Preferences dialog box allows you to have HP on, but select what types of data you
want HP to ignore or incorporate. You can also enable or disable human playback by region by adding
expressions defined for Human Playback On and Human Playback Off in the playback tab of the Text
Expression Designer dialog box or Shape Expression Designer dialog box.

When Finale plays back without Human Playback enabled, it responds to any custom musical markings you’ve placed in the score, such as staccato or accent marks,
dynamics, and MIDI patch and channel indications. Human Playback interprets default markings automatically, so no further intervention is needed. For details on
creating your own playback-intelligent symbols, see Articulations, Expressions.
If you plan to transcribe your real-time performances or use Finale as a notation-based “sequencer,” then it’s important to understand the distinction between a
playback of the score and a playback using the captured MIDI data. A number of Finale functions apply to one or the other kind of playback only; the MIDI Tool is a
good example. Many of its options are specifically intended for the editing of the captured MIDI data, just as you would edit the raw MIDI data of a performance in a
sequencing program.
Finally, remember that the notated score and the captured MIDI data aren’t completely independent. Suppose you transcribe a performance with the Transcription Mode
and capture the MIDI data. When you play the piece using the captured MIDI data (with Human Playback set to None), you’ll hear it played with your original “feel”—
volume, tempo, pedaling, and so on. Yet you can edit the transcription by changing notes, transposing, adding dynamics or other playback expressions—and you’ll
hear the edited music play back with the captured MIDI data still intact.
For instructions on capturing performance data, see Transcribing a sequence and To import a MIDI file.

To play back a score


1. While pressing the Space bar, click the measure at which you want to begin playback. See the table below for various options in starting
playback.It doesn’t matter which tool is currently selected. The behavior of the playback is governed by the settings in the Playback Options dialog box (see “To
specify playback parameters” below).

Command Keyboard Shortcut

Begin/Pause playing (Playback Controls open) Spacebar

Begin playing from the current measure Spacebar–click in staff

Begin playing from current measure in the current staff only Shift-spacebar–click in staff

Begin playing from current measure in the global staff list Spacebar–click in between staves

Begin playing from measure one in the global staff list Spacebar–click to the left of a staff system

Begin playing from measure one in the current staff only Spacebar-click to the left of a staff

“Scrub” onscreen music - all staves Ctrl-spacebar (and drag across music)

“Scrub” onscreen music - current staff only Ctrl-Shift-spacebar (and drag across music)

2. Click on the screen to stop the playback. Finale may take a moment to respond.

Note: If you notice Finale missing notes or instruments during playback, Garritan Personal Orchestra
may be exhausting your computer’s resources. You can disable GPO at any time by unchecking Play
Finale through Native Instruments VST under the MIDI/Audio Menu. To use Finale’s internal
SmartMusic SoftSynth, from the MIDI/Audio Menu, choose MIDI Setup, select a SmartMusic SoftSynth
from the MIDI Out drop-down menu and click OK.

To use Playback Controls


Playback Controls reside on a movable/dockable window. They give you several additional controls over the way your score plays back—for example, they contain
Play, Stop, Rewind, and Fast Forward buttons. They also let you listen to any portion of the score, even if you’re viewing a different section on the screen.

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Playback

1. From the Window Menu, choose Playback Controls. Playback Controls appears.

2. Adjust the Measure control, if necessary. This text box shows the first measure to be played. To change this number, either type in a new one, click the
up or down arrows, or click one of the large buttons on Playback Controls. (To edit the counter, the Current Counter Setting option must be checked in the

Playback Settings dialog box). The button (Rewind to Beginning) enters 1 in the Measure text box. The and buttons quickly decrease or increase

the number in the Measure text box, and the button (Fast Forward to End) puts the last measure’s number in the text box.
3. Click Play. The music plays. To Stop, click Stop; to pause, press the space bar again (or click Pause); when you’re ready to go on, click Pause again.

If, while you’re listening, you catch something you’d like to hear again, click the button for a few seconds; Finale will suspend playback, the Measure text

box number will decrease (as the program “rewinds”). Release the button, and playback will begin again (with the number in the Measure text box).

Similarly, you can click the , (Rewind to Beginning), and (Forward to End) buttons at any time during playback.

4. For additional playback options, click the Playback Settings button The Playback Settings dialog box opens.

Using Always start at and Stop at, specify what range of measures you want Finale to play; the default settings tell Finale to play from Measure 1
displayed on the screen through the end of the piece. By changing these numbers, you can even tell Finale to play measures that aren’t on the screen. Or, by
entering a small range and repeatedly clicking the Play button, you could, in effect, “loop” through a certain segment.
The Tempo control sets the playback tempo unless you’ve created tempo changes by recording them, by placing Expression marks, or by using the Tempo
Tool. The Base Key Velocity, on a scale from 0 (silent) to 127 (very loud), establishes the overall key velocity setting, from which all dynamics are
measured. In other words, you can make the piece generally softer by decreasing this number, but individual dynamics within the piece will still have an effect.
For a discussion of Playback Controls, see Playback Controls. To make real-time adjustments to volume, panning, and other playback attributes, see To use
real-time mixer controls (below).

To use real-time mixer controls


Volume, panning, the instrument sound, and other playback attributes can be adjusted as you listen to Finale’s performance using Finale’s mixer controls. Mixer
controls are available in three places; the Mixer window, the Staff Controls (in Studio View), and the Instrument List. Adjustments made to any of these controls applies
to them all. All mixer changes are supplemental to all playback data currently specified in the score (HP, MIDI Tool data, etc.). For example, an increase in volume
applied with the mixer does not affect the contour of volume within the score, only the master or staff volume as a conventional mixer would affect the master volume
or volume of individual tracks.

1. From the Window Menu, choose Mixer. The Mixer controls appear including master and staff controls. You can also view the set of staff controls, called
the Staff Controls, to the left of your score in Studio View. To do so, from the View Menu, choose Studio View. The same controls (with the added capability of
individual control for layers and chord symbols) are also available in the Instrument List Window (Window Menu > Instrument List).
2. Start playback using any of the methods described under To use Playback Controls. Mixer controls apply to playback regardless of the measure or
type of playback you initiate.
3. Click and drag the sliders or wheels to customize output. See Mixer for an illustration of the controls. Note that the configuration of the mixer controls
is saved when you save the Finale document. Also, changes to a control for one staff apply to all staves set to the same channel. If you want to assign a staff a
unique channel you can do so by defining a “New Instrument” in the Instrument List. (To do so, in the Instrument List choose View by Instruments and click New
Instrument. Choose the same instrument sound (patch) for your new instrument and assign it a different channel).

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To play back selected staves


1. From the Window Menu, choose Instrument List. The Instrument List appears.
2. Click the Mute button for each staff you want to silence, or click the Solo button to silence all other staves). In other words, if your score
has 40 staves, and you just want to hear the piano part, it’s much quicker to click Solo for the two piano staves than to mute the other 38 staves. But if you want
to hear everything but the piano, click in the Play button for the piano staves. If both Mute and Solo are selected for the same staff, Mute overrides Solo.

To send an All Notes Off message


On rare occasions, you may encounter a situation called MIDI lock, in which your synthesizer is “stuck” on a certain note or chord.

From the MIDI/Audio Menu, choose All Notes Off. Finale sends an “all notes off” message to every note of every channel. You should find that, after
a moment, the situation is corrected.

To correct erratic MIDI playback

If you experience erratic playback with SoftSynth defined as your output device in MIDI Setup, and are using a machine with a dual processors or hyper threading
capability, set Finale to run on a single CPU. To do this, press Ctrl-Alt-Delete and then select Task Manager. Choose the Processes tab, right click “Finale.exe” and
choose Set Affinity. Then, ensure only one CPU is selected. Click OK, close out of the Task Manager, and the erratic playback problem should be resolved. If your
score has many chords, consider using the MIDI Tool’s Randomize command to offset the notes’ attacks (Start Times) slightly from each other—not enough to hear, but
enough so that your MIDI system doesn’t have to handle many notes being struck precisely together. See MIDI Tool Menu.
If you notice Finale missing notes or instruments during playback, Garritan Personal Orchestra may be exhausting your computer’s resources. You can disable GPO at
any time by unchecking Play Finale through Native Instruments VST under the MIDI/Audio Menu. To use Finale’s internal SmartMusic SoftSynth, from the MIDI/Audio
Menu, choose MIDI Setup, select a SmartMusic SoftSynth from the MIDI Out drop-down menu and click OK.

To specify playback parameters


To adjust Finale’s playback interpretation of a score, you can adjust the Human Playback settings located in the Playback Settings dialog box. Human Playback
overrides all performance data, MIDI Tool data, and other playback information deliberately added to the score (with the exception of MIDI data set to “Incorporate” in
the Human Playback Preferences dialog box). Therefore, if you would like to listen to a performance as it was recorded, or if you would like to playback performance
details added to the score with the MIDI or Expression Tool, set Human Playback to None. To do this:

1. From the Window Menu, choose Playback Controls. Playback Controls appears.
2. Click the Playback Settings button. The Playback Settings dialog box appears, offering additional controls.
3. Click the drop-down for Human Playback Style and choose None.
4. Close out to the Playback Settings. When you play back your score with Human Playback disabled, Finale checks the Playback Options to find out
certain playback parameters, as described here.
5. From the Document Menu, choose Playback Options. The Playback Options dialog box appears.
6. Select the playback parameters you prefer from the Playback Options dialog box. Choose Chase from First Measure(from the Dynamics
and Markings drop-down list) if you want Finale to quickly scan your piece and “chase” any expression markings that occurred earlier in the piece up to the point
you clicked. These might include tempo, dynamics, patch changes, and so on; select this option if you’re starting playback in the middle of the piece and want
these playback variables to be current (and transmitted to your synthesizer) as of the starting point you clicked. If you choose Reset instead, Finale will ignore
any changes that have occurred prior to this point in the score, and will begin playing based on the markings available in the measure you clicked. Choose Use
Current Settings if you’ve interrupted playback at a certain spot, and now want to continue using the expression settings in effect when you stopped playback.
Click Ignore Repeats if you want Finale to play through repeat barlines (and text repeats) as though they didn’t exist. Select Reset Repeats if you want
such repeats to be “set to zero” each time you begin playback again. If you don’t specify Reset Repeats, Finale will remember how many times each repeat has
been “activated.” If you’re proofreading a score by playing one section at a time, you will want Finale to “remember its place” each time you stop, so you probably

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won’t want to select this option. Next, specify any captured MIDI data you want to incorporate into the playback. Captured MIDI data is captured from a real-time
performance in the Transcription Mode, created with the MIDI Tool, or imported in a standard MIDI file from another sequencer. Select Play Recorded Key
Velocities and Play Recorded Note Durations if you want the playback to incorporate the key velocity (volume) information and Start and Stop Time data
(tiny anticipations or delays of the beat such as rolled chords and swing) from the original performance. Select Play Recorded Continuous Data if you want
the playback to use the pedaling, pitch wheel, and other MIDI continuous datainformation from the original performance. Click Send Patches Before Play
from the Instrument List windowif you want Finale to send initial patch settings to your synthesizers before beginning the playback. The initial patch settings are
determined by the Instrument List (see Patches).
7. Click OK (or press enter).

To make the music scroll during playback


If you want, you can tell Finale to scroll the music, so you can follow the score as you’re listening to the playback.

1. From the Window Menu, choose Playback Controls. Playback Controls appears.
2. Click the Playback Settings button. The Playback Settings dialog box appears, offering additional controls.
3. Check Scrolling playback. You may now play the music in the normal way.

To “audio spot-check” music


No particular tool has to be selected.

While pressing ctrl and the Space bar, drag the cursor across your score. As the cursor strikes each note, you hear it played on your MIDI
keyboard. You can drag in any direction, and at any speed, and from one staff to another. You might use this trick for checking chord voicings, scanning small
sections for wrong notes, or just for fun.

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MIDI Tool/Key Velocities

MIDI Tool/Key Velocities

Choose this command to tell Finale that you want the editing commands (Set To, Add, Scale, Percent Alter, Limit, Alter Feel, and Randomize) to affect the key velocity
of the selected music. If you select this command while you're in the MIDI Tool split-window, you see the velocities of the notes on the screen represented as a bar
graph.

After you select this command, a check mark appears beside it in the MIDI Tool Menu.

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Note Durations

MIDI Tool/Note Durations

Choose this command to tell Finale that you want the editing commands to affect the Start Times and Stop Times of the selected music. If you select this option while
you’re in the MIDI Tool split-window, you see the durations of the notes on the screen represented graphically as horizontal lines—the longer the line, the longer the
note; see MIDI Tool split-window.

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Continuous Data

MIDI Tool/Continuous Data

When you choose this command, the View Continuous Data dialog box appears, in which you can specify which MIDI controller data you want to edit (and view, if
you're in the MIDI Tool split-window). Sustain pedal usage, pitch or modulation wheel changes, patch changes, and monophonic aftertouch are a few of the options; if
you have other kinds of controllers, you can identify them by number. After you've specified the continuous data type you want to edit, you return to the score (or MIDI
Tool split-window); you can now use the MIDI/Audio Menu commands to affect the specified controller data. (Note that the "Alter Feel" and "Randomize" commands
aren't available if you're editing continuous data.)

After you select this command, a check mark appears beside it in the MIDI Tool Menu.

For detailed information, see the View Continuous Data dialog box.

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Set To

MIDI Tool/Set To

When you choose this command, the Set To dialog box appears, in which you can set the values of the specified MIDI data type (velocity, durations, or continuous
data) for all selected notes to a single value. For example, you could set the key velocities for all selected notes to 100 (on the MIDI velocity scale of 0 to 127).
Use this command to create pedaling, after using the Continuous Data command (see below) to specify that you want to edit sustain pedal data. Select the point at
which you want the sustain pedal to go down by dragging through a small sliver of the graph area. (The “pedal down” message will occur at the beginning of the
selected [highlighted] region.) Choose Set To, and enter 127; when Finale plays back the music, it will push the pedal “down” at the point you specified. Repeat the
process at the point where you want the pedal released, but choose Set To and enter zero. See Pedal markings.

Set To - Key Velocities


Set To - Note Durations (Start - Stop Times)
Set To - Continuous Data
Set Patch To
Set To - Tempo

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Scale

MIDI Tool/Scale

When you choose this command, the Scale dialog box appears, in which you can scale the values of the specified MIDI data type (velocity, durations, or continuous
data) evenly from one value to another across the selected region. You could scale the velocities of the notes in a selected region, for example, from a low value to a
high one; Finale would play the notes back with a smooth crescendo. See Smart Playback Plug-in. This command is also useful for creating pitch bends.
You can scale the MIDI velocity values either from one specified absolute value to another, or from one percentage of the original value to another (from 15% to 50%
of the original values, for example).

Scale - Key Velocities


Scale - Note Durations
Scale - Continuous Data
Scale - Tempo

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Add

MIDI Tool/Add

When you choose this command, the Add dialog box appears, in which you can add a positive or negative amount to the values of the specified MIDI data type
(velocity, durations, or continuous data) for all selected notes. You could add a certain amount to the key velocity data for every note, for example, or make a pitch
bend less "deep."

For detailed information, see the following dialog boxes.

Add - Key Velocities


Add - Note Durations
Add - Continuous Data
Add - Tempo

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Percent Alter

MIDI Tool/Percent Alter

When you choose this command, the Percent Alteration dialog box appears, in which you can increase or decrease the values of the specified MIDI data type (velocity,
durations, or continuous data) for all selected notes by a percentage of their original values. You could make the key velocity for every note twice as high, for example,
by specifying an increase of 200%.

For detailed information, see the following dialog boxes.

Percent Alteration - Key Velocities


Percent Alteration - Note Durations
Percent Alteration - Continuous Data
Percent Alteration - Tempo

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Limit

MIDI Tool/Limit

When you choose this command, the Limit dialog box appears, in which you can limit the values of the specified MIDI data type (velocity, durations, or continuous
data) for all selected notes to a certain minimum and maximum value. Any notes with values above the maximum you specify will be clipped back to that maximum
value; any notes with values below the minimum will be boosted to that minimum value. For example, if you discover that you can't hear any of the guitar notes in your
score when the synthesizer keys are "struck" (during playback) with a velocity under 50, you could "limit" the entire guitar staff to a minimum velocity value of 50.

For detailed information, see the following dialog boxes.

Limit - Key Velocities


Limit - Note Durations
Limit - Continuous Data

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Alter Feel

MIDI Tool/Alter Feel

Like the Add or Percent Alter commands, the Alter Feel command displays a dialog box that lets you add a positive or negative number to the velocities or durations of
every note in the selected region. However, in the Alter Feel dialog box, you can target individual beats in each measure to receive the alterations. For example, if
you've selected Key Velocities, you can specify that the downbeat of each measure in the selected region should be played back with 50% more volume, while the
other beats in the measure are unaffected. In fact, you can specify a different value for Downbeats, Other Beats, and Backbeats.

For detailed information, see the following dialog boxes.

Alter Feel - Key Velocities


Alter Feel - Note Durations

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Randomize

MIDI Tool/Randomize

When you choose this command, the Randomize dialog box appears, in which you can specify an amount by which you want to randomly alter the velocity or duration
values for all selected notes. This can be a useful option if you want to give your playback a more imperfect, "human" feeling. Type a fairly small number into the box -
to randomize key velocities, for example, you might enter a number between 10 and 20 (unless you really want some unpredictable, madcap accents).

For detailed information, see the following dialog boxes.

Randomize - Key Velocities


Randomize - Note Durations

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Edit MIDI Note

MIDI Tool/Edit MIDI Note

When you choose this command, the Edit MIDI Note dialog box appears, in which you can set the start and stop times, and the key velocity of a note in one place.

For more information, see Edit MIDI Note dialog box.

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Play

MIDI Tool/Play

This command, available if the MIDI Tool split-window is open, plays the displayed music immediately using the captured MIDI data.

See Also:
MIDI Tool Menu
MIDI Tool

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MIDI Tool/Show Selected Notes

MIDI Tool/Show Selected Notes

This command, only available if the MIDI Tool split-window is open, tells Finale to draw lines in the graph area for only notes whose handles are selected. If you're
working with a "notey" score, for example, or if you're trying to work with an inner melody in a chordal passage, choose this option to hide the graph lines for the notes
that aren't essential to what you're doing. (Because MIDI controller data isn't associated with individual notes, this command is not available if Continuous Data is
selected in the MIDI/Audio Menu.)

See Also:
MIDI Tool Menu
MIDI Tool

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Page Layout/Insert Blank Pages

Page Layout/Insert Blank Pages

Choose this command to display the Insert Blank Pages dialog box in which you can insert blank pages anywhere in your score.

For detailed information, see the Insert Blank Pages dialog box.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Delete Page Break

Page Layout/Delete Page Break

Select a system with a page break, then choose this command to remove a page break and allow the system to float.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Insert Staff Systems

Page Layout/Insert Staff Systems

Choose this command opens the Insert Staff Systems dialog box, where you can insert systems into your score without disturbing current systems.

See Also:
Page Layout
Insert Staff Systems
Page Layout Menu
Page Layout Tool

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Page Layout/Delete Staff Systems

Page Layout/Delete Staff Systems

Choose this command to insert a system or systems of measures while keeping the rest of the systems intact or reflowing measures across systems and pages.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Redefine Pages

Page Layout/Redefine Pages

Choose which pages Finale should update to the settings in the Page Format for Score dialog box. Note: Redefining Pages will remove all changes made with the
Page Layout Tool, including optimization. To update the current page of the part you are editing, choose Current Page of Current Part/Score. To update every page of
the current part or score, choose All Pages of Current Part/Score. To update just the left-hand (even) or right-hand (odd) pages of the current part (or score), choose
Left Pages of Current Part/Score or Right Pages of Current Part/Score respectively. You can choose Left Pages and Right Pages even if Facing Pages is not selected
in the Page Format for Score dialog box. To update a particular page range in your part/score, or pages in multiple parts (or the score), choose Selected Pages of
Selected Parts/Score to open the Redefine Selected Pages dialog box where you can choose which page regions and parts you wish redefine. See Redefine Selected
Pages dialog box.

Use the commands in this submenu to redefine the pages in the score to the settings in the Page Format for Score dialog box.

Current Page of Current Part/Score


All Pages of Current Part/Score
Left Pages of Current Part/Score
Right Pages of Current Part/Score
Selected Pages of Current Part/Score

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Optimize Staff Systems

Page Layout/Optimize Staff Systems

In Finale, the process of hiding empty staves within each system is called optimizing systems.
Using this command, you can specify the systems you want optimized - all of them, for example. Finale instantly redraws your score (in Page View), omitting blank
staves from the specified systems; you'll find that your score now fits on fewer pages. If you optimize a completely empty staff system, Finale will still display the top
staff, even though it's blank.

Optimizing systems in Finale has another important benefit: it permits staves to be independently movable in Page View. Under normal circumstances, you can only
move, respace, or rearrange staves for all systems using the Staff Tool. If you have optimized a system, however, you'll find that the Staff Tool works in Page View as
well, letting you vary the positioning and spacing of staves as they'll appear on the printed page. Furthermore, again using the Staff Tool, you can change the staff
grouping of staves that have been optimized, letting you change the way in which your staves are bracketed.

When you choose this command, the Staff System Optimization dialog box appears, letting you specify the range of systems you want optimized and whether to ask
before removing each staff.

For detailed information, see the Staff System Optimization dialog box.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool
Staff Tool
Brackets
Groups
Update Groups and Brackets plug-in

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Page Layout/Fit Measures

Page Layout/Fit Measures

This command displays the Fit Measures dialog box, which lets you specify how many measures you want on a line (in each system). See Fit Measures dialog box.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Space Systems Evenly

Page Layout/Space Systems Evenly

Choose this menu item to display the Space Systems Evenly dialog box, where you can tell Finale to place the systems evenly spaced vertically on the page, to make
maximum use of the page. You can even tell it to skip pages that are only partially full.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Avoid Margin Collision

Page Layout/Avoid Margin Collision

If this menu item is selected (that is, if it displays a check mark) in the Page Layout window, Finale won't let you drag a system so that it's superimposed on another
system or beyond the page margins; nor will it let you drag the page margins beyond the boundaries of the page. It's a good idea to leave this option selected. Without
it, you could accidentally drag a system so that it overlaps the preceding system - or is even off the page completely.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Update Page Format For Score

Page Layout/Update Page Format For Score

Choose this menu item to have changes you make in the Page Layout tool apply to the Page Format For Score dialog box in the Page Format submenu of the
Document Menu.

Tip: You can make changes in the Page Format For Score dialog box and then choose Redefine
Pages from the Page Layout Menu to affect all pages at once.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/System

Page Layout/Systems

To edit systems by number, select Edit System Margins. See Edit System Margins dialog box. To adjust the spacing between staves in the selected system, choose
Allow Individual Staff Spacing. You can then drag the lower handle with the Staff Tool without affecting the spacing in every system. If Select Staff System Range is
selected, Finale updates the staff systems in the range you specify to match the changes made to the staff system you’re editing. You must drag the system by the
handle to adjust the Staff System Range; if you drag the system by clicking in the middle of the system, it will affect only that system. To edit space before or after
music in a selected system or region of systems choose System Space Before/After Music to open the System Space Before/After Music dialog box.

Edit Margins
Allow Individual Staff Spacing
System Space Before/After Music
================
Select Staff System Range

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Page Margins

Page Layout/Page Margins

To edit page margins by number, select Edit Page Margins. See Edit Page Margins dialog box. When Adjust Current Page Only is selected, Finale adjusts the
currently displayed page in your piece. When Adjust All Pages is selected, every change you make to the page size or margins on one page will be applied to all
pages in the score. When Adjust Left or Right Pages is selected, Finale adjusts only the left (even) or right (odd) pages or systems on the pages, depending on
whether the currently displayed page is a left or right page. When Adjust Page Range is selected, Finale adjusts the pages you specify to match the page you’re
editing.

Edit Page Margins


================
Adjust Current Page Only
Adjust All Pages
Adjust Left Or Right Pages
Adjust Page Range

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Page Size

Page Layout/Page Size

Choose this menu item to enter the Page Size dialog box. In this dialog box, you can define the size of paper Finale will allow for the music. Remember that Finale’s
page and the page of your Printer can be two different sizes and/or orientations.

To view this dialog box, choose the Page Layout Tool, then choose Page Size from the Page Layout Menu.

For more information, see Page Size dialog box.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Page Layout/Resize Pages

Page Layout/Resize Pages

Use this command to display the Resize Page dialog box, where you can change the size of an entire page or pages.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool
Resize Tool

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Page Layout/Resize Staff Systems

Page Layout/Resize Staff Systems

Use this command to display the Resize Staff System dialog box, where you can change the size of a particular system or systems.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool
Resize Tool

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Repeat/Create Simple Repeat

Repeat/Create Simple Repeat

Select a region of measures and then select this option to enclose the area in repeat barlines. A forward repeat bar appears at the beginning of the selected region
and a backward repeat appears at the end of the selected region.

See Also:
Repeats (barlines and text indications)
Repeat Menu

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Repeat/Create First and Second Ending

Repeat/Create First and Second Ending

Select the measure(s) you want to include in a first ending and then choose this menu item to create a first and second ending automatically. The first ending appears
above the selected region. A backward repeat bar appears at the end of the selected region, and a second ending appear over the measure following the backward
repeat bar. This repeat is automatically defined for playback. When playback reaches the backward repeat bar, it will jump back to the nearest forward repeat bar (or
the beginning of the score if a forward repeat bar does not exist earlier in the score), and then skip over the first ending to the second ending on the second pass.

See Also:
Repeats (barlines and text indications)
Repeat Menu

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Repeat/Create Ending

Repeat/Create Ending

Select a measure and choose this option to open the Create Ending dialog box where you can configure settings for a repeat ending. Click OK to place the ending
over the selected measures.

See Also:
Repeats (barlines and text indications)
Repeat Menu

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Repeat/Create Forward Repeat Bar

Repeat/Create Forward Repeat Bar

Select a measure and choose this option to add a forward repeat bar at the beginning of the measure. Forward repeat bars do not contain any information for
playback. They can be used as markers for backward repeat bars and text repeats.

See Also:
Repeats (barlines and text indications)
Repeat Menu

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Repeat/Create Backward Repeat Bar

Repeat/Create Backward Repeat Bar

Select a measure and choose this option to add a backward repeat at the end of the selected measure. Double-click the handle on the backward repeat bar to open
the Backward Repeat Bar Assignment dialog box where you can assign playback attributes for your repeat.

See Also:
Repeats (barlines and text indications)
Repeat Menu
Backward Repeat Bar Assignment

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Repeat/Align Brackets

Repeat/Align Brackets

Select measures containing endings and choose this option to align ending brackets vertically. All brackets in will align to the vertical position of the first ending bracket
in the selection.

See Also:
Repeats (barlines and text indications)
Repeat Menu

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Repeat/Reset Bracket to Default

Repeat/Reset Bracket to Default

Select measures containing ending brackets and choose this option to reset brackets to their default settings.

See Also:
Repeats (barlines and text indications)
Repeat Menu

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Repeat/Delete

Repeat/Delete

Choose this option to delete repeat barlines and text repeats in the selected region.

See Also:
Repeats (barlines and text indications)
Repeat Menu

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Repeat/Check Repeats

Repeat/Check Repeats

Choose this option to scan the score and view the playback route. The sequence of measures appears in the Check Repeats dialog box.

See Also:
Repeats (barlines and text indications)
Repeat Menu
Check Repeats dialog box

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Repeat/Repeat Options

Repeat/Repeat Options

Choose this option to open the Repeat page of the Document Options where you can make global repeat settings.

See Also:
Repeats (barlines and text indications)
Repeat Menu
Document Options-Repeats

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Repeats (barlines and text indications)

Repeats (barlines and text indications)


Repeat barlines in Finale can be either purely graphic, or fully functional for playback. For standard repeat configurations, such as repeats with first and second
endings, and even repeats with several endings, Finale defines playback for you automatically. For more advanced repeats, such as a D.S. al Coda, you can create
text repeats and define them for any playback configuration. See Coda; D.S. al Coda; and D.C..
For information regarding repeats in scores with linked parts, see Repeats in linked parts.

To place a basic repeat in your score


If you want to create a backwards repeat bar that will return to the beginning of the score, do the following.

Click the Repeat Tool and right-click the measure prior to the desired repeat barline and choose Create Backward Repeat Bar.
Or, click to select the measure and from the Repeat Menu, choose Create Backward Repeat bar. If a forward repeat bar does not appear earlier in the score,
Finale automatically jumps to the first measure upon reaching this repeat barline during playback.

If you want to define a forward and backward repeat barline at the same time, do the following:

1. Click the Repeat Tool .


2. Highlight the measures you would like to enclose within repeat barlines. (If the section is too large to see at once, click the first measure, and
then hold down Shift and click the last measure of the desired region).
3. Right-click the highlighted region and select Create Simple Repeat. Or, from the Repeat Menu, choose Create Simple Repeat. A
forward and backward repeat barline appear on the first and last measure of the region respectively. Also, this section will repeat accordingly during playback.

There are several other options for creating repeat barlines. You could alsoright-click the fist measure of a section you would like to repeat and choose Create Forward
Repeat and then right-click the last measure of the desired repeated section and choose Create Backward Repeat. Of course, instead of using the contextual menus
(right-click), you can also click to select a measure and choose the desired option from the Repeat Menu. This applies for all contextual measure selections described
in this chapter.

To delete a repeat barline

1. Click the Repeat Tool ; then click the handle on the repeat barline (or any repeat indication) you want to remove.
2. Press the Delete key (or, right-click a repeat handle and choose Delete). The repeat barline, ending, or text repeat (depending on what you
clicked) disappears.

To break a repeat barline that connects staves


When you create a repeat barline, it’s ordinarily drawn as a solid line across the space between any grouped staves (those connected by a bracket, for example). If
you prefer, you can instruct Finale not to draw the barline continuously through the space between staves.

1. Click the Staff Tool , and double-click the staff that’s just below the space where you want to omit the barline. The Staff Attributes
dialog box appears.
2. Select Break Repeat Barlines Between Staves. Click OK.

To place a text repeat in your score


Text repeats are used to define any repeat indication that appears as text, including Fine, To Coda, D.S. al Coda, etc. Like repeat barlines, text repeats can display
graphically without affecting playback, or they can be used to direct playback to the appropriate measure.

1. Click the Repeat Tool ; then double-click the measure you want to contain the repeat. The Repeat Selection dialog box appears.
2. Select the text repeat you want to use from the list on the left. If the text you want to use does not appear in this list, click Create to define a new
text repeat. Or, select a text repeat and click Edit to change one. See Repeat Designer dialog box for more information regarding creating and editing text
repeats.
3. Click Select. The Text Repeat Assignment dialog box appears which offers several options for defining the appearance and playback definition. See Text
Repeat Assignment dialog box.
4. Click OK. The text repeat appears in the score.

For information on setting up common repeat configurations, see Coda, D.S. al Coda, and D.C..

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Shape Designer/Show

Shape Designer/Show

Using this submenu, you can make Finale display or hide any of these helpful, nonprinting alignment aids. (A checked item means that it’s being displayed; choose the
item a second time to make the check mark—and that onscreen element—disappear.)
The Rulers item makes rulers appear at the top and left side of the drawing area, whose units you specify using the Rulers and Grid command. The Grid is a series of
individual points that may help you align objects and give you a sense of scale. The spacing and units used by the grid, too, are determined by your Rulers and Grid
setting).
The origin is a small, white round handle that appears in the center of the drawing area. It anchors your shape, acts as the zero point for the rulers and positioning
coordinates (see Shape Designer), and indicates where your shape’s handle will appear once you’ve placed it into the score.
The Staff Template displays a picture of the staff in the Shape Designer window which is helpful when designing a custom barline. See also Measure Tool.

Rulers
Grid
Origin
Staff Template

See Also:
Shape Designer Menu

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Shape Designer/Send to Back

Shape Designer/Send to Back

If you’ve created objects that overlap each other, you can rearrange their front-to-back order by using these commands. Begin by clicking the Selection Tool, then
clicking the object you want to manipulate. Choose Send to Back to place the selected object “behind” all other objects, so that it’s covered up by them. Choose Bring
to Front to place the selected object “in front” of all other objects, so that they’re covered up by it.

See Also:
Shape Designer Menu

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Shape Designer/Bring to Front

Shape Designer/Bring to Front

If you’ve created objects that overlap each other, you can rearrange their front-to-back order by using these commands. Begin by clicking the Selection Tool, then
clicking the object you want to manipulate. Choose Send to Back to place the selected object “behind” all other objects, so that it’s covered up by them. Choose Bring
to Front to place the selected object “in front” of all other objects, so that they’re covered up by it.

See Also:
Shape Designer Menu

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Shape Designer/Group

Shape Designer/Group

Using the (Shape Designer's) Selection Tool, you can shift-click to select any number of objects, and then choose the Group command to bind them together into a
single, grouped object. A grouped object behaves just like any normal object: you can change its fill or line thickness, drag its corner handles to resize it, drag it by the
middle to move it around on the screen, and so on. You can even group grouped objects into still other groups, creating nested groups.
Finale always keeps track of what objects were combined into grouped objects, and can ungroup them in sequence. Select a group by clicking, then choose Ungroup;
you’ll see by the appearance of many more corner handles that the grouped object has now been split back into its component single pieces. (Or, if you Ungroup a
grouped object, it will split into its component grouped objects.)

See Also:
Shape Designer Menu

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Shape Designer/Ungroup

Shape Designer/Ungroup

Using the (Shape Designer's) Selection Tool, you can shift-click to select any number of objects, and then choose the Group command to bind them together into a
single, grouped object. A grouped object behaves just like any normal object: you can change its fill or line thickness, drag its corner handles to resize it, drag it by the
middle to move it around on the screen, and so on. You can even group grouped objects into still other groups, creating nested groups.
Finale always keeps track of what objects were combined into grouped objects, and can ungroup them in sequence. Select a group by clicking, then choose Ungroup;
you’ll see by the appearance of many more corner handles that the grouped object has now been split back into its component single pieces. (Or, if you Ungroup a
grouped object, it will split into its component grouped objects.)

See Also:
Shape Designer Menu

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Shape Designer/Select Font

Shape Designer/Select Font

If you're using the Text Tool to create or edit a text object, choose this command to display the Font dialog box, where you can change the font, size and style of the
selected text (or, if your cursor is inside a text object, the text that follows the cursor). If no text object is selected, use this command to specify the font for the next
text object you create.

For detailed information, see the Font dialog box.

See Also:
Shape Designer Menu

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Shape Designer/Line Style

Shape Designer/Line Style

If you've selected an object composed of lines (a line, rectangle, polygon, and so on), use this submenu to determine whether its outline (or the line itself) is dashed or
solid.

Solid
Dashed

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness

Shape Designer/Line Thickness

If you've selected an object composed of lines, use the commands in this submenu to determine the thickness of its outline (or the line itself). If no object is selected,
this command specifies the thickness of the next line object you draw.

None
Hairline
.5 pt
1 pt
1.5 pt
2 pt
5 pt
Other

See Also:
Line Thickness dialog box
Shape Designer Menu

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Shape Designer/Arrowheads

Shape Designer/Arrowheads

Choose this menu item to enter the Arrowheads dialog box and define what kind of arrowhead will appear on the line or curve you have selected.

See Also:
Shape Designer
Arrowheads dialog box

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Shape Designer/Fill

Shape Designer/Fill

If you've selected an object that's an enclosed shape (a rectangle, ellipse, or polygon), use this submenu to determine the shading of the hollow (enclosed) inside area
- none (transparent), black, white, or any shade of gray between. If no object is selected, this command specifies the shading of the next enclosed object you draw.

None
White
25%
50%
75%
Black
Other

See Also:
Fill dialog box
Shape Designer Menu

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Shape Designer/Bracket Style

Shape Designer/Bracket Style

Using the Shape Designer's Bracket Tool, you can add a bracket to a custom shape you're drawing with a single click. Choose this command to specify what bracket
style you want.

For detailed information, see the Bracket Style dialog box.

See Also:
Shape Designer Menu

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Shape Designer/Show/Rulers and Grid

Shape Designer/Rulers and Grid

Choose this command to display the Rulers and Grid dialog box, where you can specify the measurement units used by the grid, rulers, and the H: and V: text boxes.
You can also specify how far apart the tick marks on the rulers and grid should be.

For detailed information, see the Rulers and Grid dialog box.

See Also:
Shape Designer Menu

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Simple Entry Tool

Simple Entry Tool

When you click this tool, Finale displays the Simple Entry Palette, containing an individual icon for each rhythmic value (quarter note, eighth note, and so on) and other
tools for adding grace notes, sharps, tuplets and so on. (If the Simple Entry Palette doesn’t appear, choose its name from the Window Menu.) Using the tools on this
palette, you can enter music into your score by clicking one note at a time, typing in notes with your computer keyboard, or with aid from a MIDI keyboard. Each tool in
the Simple Entry palette corresponds to a keyboard shortcut, which allows you to easily change tools in preparation for entering, and then additional keyboard shortcuts
can be used to edit the note you just entered. You can use these keystrokes in tandem with the Simple Entry Caret, which works much like the cursor in a word
processing program, to enter all of your music with your computer keyboard. In addition, you can use special keyboard shortcuts to add articulations and expressions,
as well as clef, key, and time signature changes on the fly. The Simple Entry keyboard commands are summarized in the diagram that appears on your Quick
Reference Card.

For hands-on Simple Entry training, open EntryExercise.MUS (also located in the Finale 2008/Tutorials folder). See also Simple Entry QuickStart Video.

Special mouse clicks and keystrokes

Contextual menus

Metatools

See Also:
Simple Entry
Main Tool Palette
Simple Entry Palette
Simple Entry Options

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Simple/Simple Entry Options

Simple/Simple Entry Options

Choose this command to open the Simple Entry Options dialog box where you can customize the behavior of Simple Entry.

See Also:
Simple Entry Options dialog box
Simple Menu
Simple Entry Tool

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Simple/Use MIDI Device for Input

Simple/Use MIDI Device for Input

When this item is selected (displays a check mark in the menu), Finale assumes that you'll be entering notes in conjunction with a MIDI keyboard using the Simple
Entry Caret. With the caret active on the staff, play a note (or combination of notes) on your MIDI device to enter the pitch(es) on the staff at the position of the caret.
The rhythmic value of the entry is determined by the duration tool (such as quarter note or half note) selected in the Simple Entry Palette.

See Also:
Simple Menu
Simple Entry Tool
Simple Entry Palette

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Simple/Simple Edit Commands

Simple/Simple Edit Commands

This submenu lists the Simple Notes Tools commands and their keyboard shortcuts. Select the desired option from the menu, or just use the menu as a reminder for
the keyboard shortcut. These commands and their corresponding shortcuts, can be used to edit a selected note, or the note previously entered using the Simple Entry
Caret.

Enter Note
At Caret Pitch
Enter Rest
A
B
C
D
E
F
G

Add Interval
9th Above
Octave Above
7th Above
6th Above
5th Above
4th Above
3rd Above
2nd Above
Unison
2nd Below
3rd Below
4th Below
5th Below
6th Below
7th Below
Octave Below
9th Below

Add Pitch
At Caret Pitch
A
B
C
D
E
F
G

Change Pitch
Step Up Diatonically
Step Down Diatonically
Up Octave Diatonically
Down Octave Diatonically

Accidentals
Sharp
Flat
Natural
Double Sharp
Double Flat

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Simple/Simple Edit Commands

Up Half Step
Down Half Step
Show/Hide Accidental
Parenthesize Accidental

Modify Entry
Delete
Show/Hide
Flip Stem
Default Stem
Break/Join Beam
Default Beam
Flat Beam
Tie to Next Note
Tie to Previous Note
Toggle Note to Rest
Grace Note

Enharmonic

Add/Change Items
Add Articulation
Add Articulation (Sticky)
Add Expression
Change Clef
Change Key Signature
Change Time Signature

Change Duration
Double Whole
Whole
Half
Quarter
Eighth
16th
32nd
64th
128th
Augmentation Dot
Create Tuplet
Create User Defined Tuplet

See Also:
Simple Menu
Simple Entry Tool

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Simple/Simple Navigation Commands

Simple/Simple Navigation Commands

This submenu lists the Simple Notes Tools commands and their keyboard shortcuts. Select the desired option from the menu, or just use the menu as a reminder for
the keyboard shortcut.

Caret Up Step
Caret Down Step
Caret Up Octave
Caret Down Octave
Selection Left One Entry
Selection Right One Entry
Selection Left One Measure
Selection Rigth One Measure
Selection Up Note
Selection Down Note
Select All Notes in Chord
Clear Selection

See Also:
Simple Menu
Simple Entry Tool

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Simple/TAB Specific Commands

Simple/TAB Specific Commands

This submenu lists the Simple Notes Tools commands and their keyboard shortcuts to be used while entering tablature notation. Select the desired option from the
menu, or just use the menu as a reminder for the keyboard shortcut. These commands and their corresponding shortcuts, can be used to edit a selected note, or the
note previously entered using the Simple Entry Caret.

Enter Note on Fret


Enter Rest
==================
0 (A)
1 (B)
2 (C)
3 (D)
4 (E)
5 (F)
6 (G)
7 (H)
8 (I)
9 (K)
10 (L)
11 (M)
12 (N)
13 (O)
14 (P)
15 (Q)
16 (R)
17 (S)
18 (T)
19 (U)
20 (V)
21 (W)
22 (X)
23 (Y)
24 (Z)
Change To Fret Number
0 (A)
1 (B)
2 (C)
3 (D)
4 (E)
5 (F)
6 (G)
7 (H)
8 (I)
9 (K)
10 (L)
11 (M)
12 (N)
13 (O)
14 (P)
15 (Q)
16 (R)
17 (S)
18 (T)
19 (U)
20 (V)
21 (W)
22 (X)
23 (Y)
24 (Z)

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Simple/TAB Specific Commands

Add Note on String


At Caret String
==================
1
2
3
4
5
6
7
Move Caret To String
1
2
3
4
5
6
7

See Also:
Simple Menu
Simple Entry Tool

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Simple Entry

Simple Entry
Using the Simple Entry method, you can enter notes quickly and accurately with a mouse, computer keyboard, or with a MIDI keyboard. While using any of these
methods, keyboard shortcuts are available to select tools from the Simple Entry Palette previous to each entry, as well as keystrokes you can use to edit the note you
just entered, or any note in the score. These keystrokes also offer the capability to efficiently enter articulations and clef, key signature, and time signature changes.
See Simple Entry Tool for a list of these keystrokes. You can also customize these keystrokes to your own preference in the Edit Keyboard Shortcuts dialog box.
Note: Finale provides several methods for entering music quickly and accurately, one note or chord at a time. Another option, Speedy Entry, can be also be used to
quickly enter notes with or without a MIDI keyboard. See Speedy Entry.
For a hands-on Simple Entry tutorial, see EntryExercise.MUS.

Using a mouse to enter music

1. Click the Simple Entry Tool . The Simple Entry Palettes appear. (If they don’t, you’ve probably hidden the palette by double-clicking its control-menu
box. Choose Simple Entry Palette and Simple Entry Rests Palette from the Window Menu.) See Simple Entry Palette for more information on moving and resizing
the palette.
2. Click the desired note (rhythmic value) icon in the palette. Click additional tools as needed, such as Sharp, Flat, Grace, Tuplet, Dot
or Tie. Click the staff. A note appears at the pitch you clicked. To build a chord, click another pitch above or below the first note.
If you want to enter a tuplet (a triplet, quintuplet, etc.), click the Tuplet Tool on the Simple Entry Palette and the duration of the tuplet (an eighth note tuplet or a
half note tuplet, regardless of the duration of the first note). In any of these instructions, you can press one of the shortcut keys on your keyboard to switch tools
instead of clicking an icon (for example, press a number on the numeric keypad 1-8 to select a duration tool - 64th through double-whole note).

Consult your Quick Reference Guide (or Simple Entry Tool) for a complete list of Simple Entry keyboard shortcuts.

To change the rhythmic value of a note, click the icon representing the new value; then click the
note.
To change the rhythmic value of a rest, select the desired rhythmic-value icon on the Rests palette, and then click the rest.
To change a note to a rest, Ctrl-click the note to select it. Type R. The note turns into a rest.

To delete a note, click the Eraser ; then click the note. The note disappears. If you click on a notehead that’s part of a chord, only that note
disappears. If you click a rest, it disappears.
To move a note vertically, click and drag the note up or down. To move a rest, Ctrl-click the rest to select it, then drag it up or down.
If you want to move a whole chord up or down, Ctrl-click the chord, then press Ctrl-A.
To hide a note or rest, Ctrl-click the note to select it then press the letter H key. Press the H key again to display the note or rest again. See
also Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in.
To flip a stem, Ctrl-click the note to select it then press the L key. This process freezes the stem up or down, so that it’s no longer free to flip if, for
example, it gets transposed. To restore the note to its “flippable” status, press shift-L.

To make a note sharp, flat or natural, click the Sharp Tool , Flat Tool , or Natural Tool ; then click the note. A sharp, flat
or natural appears next to the note, if needed by the key signature.
To raise or lower a note by a half step, double-click the Half Step Up or Half Step Down icon; then click the note. The note is raised
or lowered a half step. If appropriate for the key signature, an accidental will appear or change.

To remove any accidentals from a note, click the Eraser Tool ; then click the accidental.
To hide a courtesy accidental, Ctrl-click the note to select it then press Ctrl-Shift--(hyphen). If no accidental is displayed, Ctrl-Shift--(hyphen)
forces a courtesy accidental to appear; for parentheses, press the P key.

To tie a note to the next one, double-click the Tie icon ; then click the notehead. To tie every note of a chord, click its stem.
Click the notehead (for a single note) or the stem (for a chord) to remove the tie.
To flip a tie, press Ctrl-F.

To dot a note, double-click the Dot icon ; then click the note. Click again to add another dot (you can add up to ten dots). To remove the dots,

click the Eraser Tool ; then click the dot. All of the dots are removed.

To change a note to a grace note, double- click the Grace Note icon , then click the note. Click the note again to restore it to full size.
Press Alt-G when the grace note is selected to toggle between grace note and full size. If “Always Slash Flagged Grace Notes” in unchecked in Document
Options-Grace Notes, press Alt-G to cycle between full size, grace note unslashed, and grace note slashed.
To create or break a beam, Ctrl-click the note to select it then press the / key. If the notes were flagged separately, they’re now beamed. If they
were beamed, the beam is broken (and the notes are individually flagged, if they’re not beamed to any other notes). Use Shift-/ to restore the beaming to the
defaults found in the Document Options-Beams.
To flatten a beam, Ctrl-click the note to select it then press Alt-/. If the beam was angled, it will now be flattened. If the beam was already
flattened, the beam will now return to the default angle. See Flat Beams Plug-in, Flat Beams (Remove) Plug-in.

To enter a tuplet, click the Simple Tuplet Tool and the desired rhythmic duration icon, then click the staff. For more complicated
tuplets, shift-click the staff to display the Simple Entry Tuplet Definition dialog box.

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Simple Entry

Using your computer keyboard to enter music (Simple Entry)


All of the functionality that exists for entering notes with a mouse, and more, is available using your computer keyboard, and the Simple Entry Caret. The Simple entry
Caret works much like the cursor in a word processing program. While using your computer keyboard with Simple Entry, the Caret allows you to specify pitches,
rhythms, and other entry items before entering.

You can also use modifier keystrokes to edit the note you just entered. In this section, you’ll first learn how to specify the next note to be entered using the Simple
Entry Caret, and then how to modify the previously entered note. The following instructions describe entry for standard notation staves. For information regarding entry
into a tablature staff, see To enter directly into a tablature staff (Simple Entry).

1. Click the Simple Entry Tool . The Simple Entry Palettes appear. (If they don’t, you’ve probably hidden the palette
by double-clicking its control-menu box. Choose Simple Entry Palette and Simple Entry Rests Palette from the Window
Menu.) See Simple Entry Palette for more information on moving and resizing the palette. Though the Simple Entry Palettes
do not need to be visible to enter notation with the Simple Entry Caret, it’s a good idea to display them at first until you have
become familiar with the corresponding keyboard shortcuts and modifiers.
2. From the Simple Menu, choose Simple Options, and then ensure Use Simple Entry Caret is checked.
Then click OK. When this option is checked, a vertical line appears. The caret also displays a note of the duration
selected in the Simple Entry Palette, as shown in the above image. Accidentals, ties, dots, and tuplets can also be indicated
on the caret before entering the note. If you do not see the caret, select one of the duration tools in the Simple Entry
Palette.
3. To choose the desired rhythmic duration for the next entry, click a duration tool in the Simple Entry
Palette, or type the corresponding keystroke in the numeric keypad (1-8). The caret displays the chosen
rhythmic duration. See the numeric keyboard diagram above (under Using a mouse to enter music), or refer to the diagram
on your Quick Reference Guide. Note that if you are using a notebook computer, as an alternative, you can hold down Ctrl-
Alt-Shift and press a number on the QWERTY keyboard.

Note: The QWERTY keyboard is the letter keys and the numbers above them. The Numeric Keypad
is the set of number keys on the right side of a standard desktop keyboard.

4. To specify the pitch before entering, you can use the up and down arrows on the computer keyboard
until the caret displays the desired pitch. The note moves up and down in the staff diatonically. You can move the
caret up an octave by pressing Shift-up arrow, or down an octave by pressing Shift-down arrow.
5. Select a tool, or a combination of tools, in the Simple Entry Palette to specify additional properties of

the next note to be entered. For example, to specify a dot and a sharp, click the Dot icon , and the Sharp icon

, or press the corresponding keystrokes for these tools to select them. The tools selected in the Simple Entry Palette tell
Finale what to add to the next note when entered. The mouse cursor displays this information as well.
6. Press the Enter key to enter the note. The note appears on the staff and the caret moves to the right. The note you
just entered is selected automatically, so you can use modifier keystrokes to edit it (explained below). Notice the tools
chosen in the Simple Palette are still selected, and will apply to the next note if you were to hit the Enter key again. To
select a single tool (like any of the duration tools), and deselect all others, double-click the icon on the palette, or double-
press the corresponding keyboard shortcut. For example, press the 5 key on the numeric keypad twice if you want to choose
only the Quarter Note 5 Tool for the next entry.
7. Press 0 (or Tab) to enter a rest of the chosen duration.
8. Hold down the Ctrl key and press a duration keystroke to specify a rest of that duration for the next entry.
9. Type the letter name of a pitch, A through G, to enter it. The pitch appears in the staff of the chosen duration,
along with any other items selected in the Simple Entry Palette. The caret moves to the right.
10. To add additional notes above the previous entry, type the interval (1 through 8 or Ctrl-Shift 9) on your
QWERTY keyboard. For example, to add a third to the note you just entered, type 3. To enter a fifth, type 5. The interval
entered is automatically selected, so, to enter a triad, you would type 3 for the first third, and then 3 again for the second.
To enter an interval lower than the note you just entered, hold down the Shift key and type the interval (2-9).

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Simple Entry

11. Also, you can hold down the Shift key and type the letter name of a note to add it to the note you just
entered. To add a note a fifth or more higher than the note you just entered, hold down the Shift key and press the up
arrow, and then type the note letter. To add a note a fifth or more lower than the note you just entered, hold down the Shift
key and press the down arrow, and then type the note letter. Note that the caret position changes, and will apply to the next
note entered as well. Use Shift-up/down arrow to move it to the desired octave in preparation for the next entry.

Note: The following shortcuts also apply to any selected note. (After entering a note, it is selected
automatically.)

12. After entering a note or rest, hold down Alt and press a number (1-8) to change the duration of the
note or rest you just entered (64th through double-whole note).
13. After entering a note, you can use additional modifier keystrokes to add a dot, tie, accidental, to the
note you just entered. Or, even change it to a grace note, flip the stem or break/add beams. To see a list
of modifier keystrokes, from the Simple Menu, choose Simple Edit Commands, and then Modify Entry.
14. After entering a note, to move it up or down in the staff, hold down the Alt key and press the up and
down arrows. Hold down Alt and Shift and press the up or down arrow key to move the note up or
down an octave.
15. After entering a note, use the up and down arrows to adjust the caret pitch. Then, hold down Ctrl and
press Enter to add a note to the previous entry.
16. After entering a note, press 9 to change it to the first note of a tuplet.
17. Hold down Shift and click the score to open the Simple Entry Tuplet definition dialog box where you
can specify more complicated tuplets. See Simple Entry Tuplet Definition dialog box.
18. To move the selection forward or back a note, press the right and left arrow keys. To move selection
forward or back a measure, hold down Ctrl and press the right or left arrow key respectively.
19. To activate the caret on an existing selected entry, press Enter.
20. To move selection up or down in a chord or to the staff above or below, hold down Ctrl and press the
up or down arrow key.

21. To change the pitch of existing notes, choose the Repitch Tool . Then, activate the caret and type the
new note letters (or play pitches on a MIDI keyboard) to alter the pitch without changing rhythmic values.

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Smart Shape/Slur Contour

Smart Shape/Slur Contour

This command displays the Slur Contour dialog box where you can specify the default height and contour of measure-based and note-based slurs. Note that these
settings only apply to slurs you are about to create. You can change Slur Contour settings at any time without affecting existing slurs.

For detailed information, see the Slur Contour dialog box.

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Smart Shape Placement

Smart Shape/Smart Shape Placement

This command displays the Smart Shape Placement dialog box where you can specify how a slur, glissando and Tab slide will appear next to the note. These settings
apply to the end points of shapes you are about to create. They will also apply to end points of similar types of shapes in the score, if those end points haven't been
manually adjusted. Once you manually adjust an end point of an existing shape, that end point is no longer affected by Smart Shape Placement settings.

Tip: You manually adjust a smart shape end point by clicking on it and dragging.

For detailed information, see the Smart Shape Placement dialog box.

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Smart Shape Options

Smart Shape/Smart Shape Options

This command displays the Smart Shape Options dialog box where you can alter the octave up or octave down symbols, alter the settings for slurs continuing over
system breaks, and change the overall appearance of lines, brackets, dashed lines and curves, and so on. You can also define what custom Smart Line will be
associated with the Custom Smart Line Icon on the Smart Shape palette

For detailed information, see the Smart Shape Options dialog box.

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Smart Slur Options

Smart Shape/Smart Slur Options

This dialog box allows you to set various parameters regarding slurs. You can select whether to use Engraver slurs, which avoid collisions with notes and some
articulations. You can also specify how much distance to allow between slurs and other items, how much slope to allow and other settings.

For detailed information, see Smart Slur Options dialog box.

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Guitar Bend Options

Smart Shape/Guitar Bend Options

Choose this command to display the Guitar Bend Options dialog box, where you can customize the appearance of Guitar Bend Smart Shapes.

For detailed information, see the Guitar Bend Options dialog box.

See Also:
Smart Shape menu
Slurs

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Smart Shape/Attach to Measures

Smart Shape/Attach to Measures

Choose Attach to Measures to determine whether the next smart shape you create will be attached to measures (no notes or rests need be present).

Note: Not available for Tab Slide smart shapes.

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Attach to Notes

Smart Shape/Attach to Notes

Choose Attach to Notes to determine whether the next smart shape you create will be attached to notes. When Attach to Notes is checked, Finale creates note-
attached smart shapes, automatically drawing and placing it the way you want, according to the smart shape settings.

Note: Only available for slurs, curves, and bends.

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Attach to Noteheads

Smart Shape/Attach to Noteheads

Choose Attach to Noteheads to determine whether the next smart shape you create will be attached to noteheads. When Attach to Noteheads is checked, Finale
creates notehead-attached smart shapes, automatically drawing and placing it the way you want, according to the smart shape settings.

Note: Only available for Glissando and Tab Slide smart shapes.

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Direction

Smart Shape/Direction

Finale makes intelligent decisions about slur or bend direction, based on whether the attached notes are above or below the middle staff line. When you transpose
music or change the key, slur directions are automatically changed, without requiring any action on your part. However, there will be times when you’ll probably want to
change the direction of individual slurs or bends that are attached to notes. This you can easily do using the Direction submenu.
The Direction submenu offers you four choices: flip the currently selected slur or bend, place a selected slur or bend over the entries; place the slur or bend under the
entries; or use automatic placement. Automatic placement uses the rules as shown in the Smart Shape Placement dialog box. Over and Under ignore the rules for
direction, but still use the attachment values that you set in the Smart Shape Placement dialog box. Flip and Automatic have keyboard shortcuts of ctrl-F and ctrl-shift-
F respectively.

Tip: you can set the default direction for all note-attached slurs by selecting the Direction menu item
with no slurs or bends selected.

These options for direction only apply to note-attached slurs or bends (when Attach to Notes is checked in the Smart Shape Menu). When Attach to Notes is
unchecked and you’re creating measure-based slurs or bends, Finale automatically senses their direction based on whether you add the slur above or below the
middle line of the staff. Press ctrl when you’re creating a measure-based slur or bend if you want the slur or bend to go in the opposite direction. To change an existing
slur or bend’s direction, select the slur or bend and drag the middle editing handle up or down to change its direction.
To summarize which settings affect which Smart Shapes:

Setting Affects

Slur Contour Current slurs and future slurs without manual edits.

Slurs, bends, and glissandos you’re about to create, plus slurs, bends, and glissandos with end
Smart Shape Placement
points that haven’t been manually adjusted.

Slur Thickness Future slurs and bends, plus all existing slurs and bends.

Future slurs and bends, plus start and end points (across staves) that haven’t been manually
Slur System Breaks
adjusted in existing slurs and bends.

Smart Slur Options All slurs, both current and future.

Note: For older Finale documents: All files created in Finale 3.2 or older and opened in later versions
will retain the measure-attachment of the existing slurs and any editing that you did. If you want the
convenience of note-attached slurs for any of these slurs as well, simply delete the old slur and
recreate it in the current version of Finale.

All files created in Finale 3.5 to Finale 2001 will have Engraver slurs turned off by default when opened in later versions of Finale. If you want the beauty of Engraver
slurs, click on the Smart Shape Menu, choose Smart Slur Options. In the Smart Slur Options dialog box, check Use Engraver Slurs. All new slurs and slurs that have
not been adjusted manually will convert to engraver slurs.
To also convert slurs that have been adjusted manually, choose the Selection Tool and then from the Edit Menu, choose Select All. Then choose the Utilities > Check
Notation > Remove Manual Slur Adjustments. For more information, see Smart Slur Options dialog box.

Flip
Automatic
Over
Under

See Also:
Smart Shape Menu
Smart Shape Tool
Slurs

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Special Tools/Show Handles

Special Tools/Show Handles

When Show Handles is selected (a checkmark appears next to the command), Finale displays a small square handle on each note, stem, beam, tie, or dot (depending
on which tool you're using). When Show Handles is not selected, the handles are hidden. This can be a useful feature if the handles are obscuring some elements in
your score. All the tools work the same way when handles are hidden, except that instead of clicking a handle, you'll have to click at the location where a handle would
be if it were visible.

See Also:
Special Tools Menu
Special Tools

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Special Tools/Update

Special Tools/Update

Normally, Finale draws an element after you drag it. When Update is selected, Finale uses “dynamic drawing” when you drag a handle, letting you see the current
position of the element you’re dragging the entire time it’s being dragged. When Update is not selected and you drag a handle to reposition an element, you don’t
actually see the attached note (or beam, and so on) moving. Instead, you see thin, dotted-line cross-axes that represent the handle’s position. When you stop
dragging, the note (or other element) jumps to its new location.

See Also:
Special Tools Menu
Special Tools

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Special Tools/Show Crosshairs

Special Tools/Show Crosshairs

This option lets you control whether vertical and horizontal lines appear when you drag the handle of a Special Tool object. These lines help you position the element
in the score. This option is selected by default, so that you see the crosshairs when adjusting objects. If you prefer to not see the crosshairs, choose Show Crosshairs
from the Special Tools Menu to deselect it; Finale removes the checkmark from the command.

See Also:
Special Tools Menu
Special Tools

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Special Tools/Tie Direction

Special Tools/Tie Direction

Choose Automatic (or press ctrl-shift-F) to have Finale determine the tie’s position over or under tied notes depending on whether the notes appear above or below
the middle line of the staff. A checkmark appears next to Automatic.
If tied notes appear above the middle staff line and Automatic is selected, Finale always places the tie over the notes; if the tied notes appear below the middle staff
line, the tie appears under the notes. If you subsequently change keys or transpose notes, Finale will reverse the tie’s direction as necessary.
For more information on all aspect of ties, see Document Options-Ties (under the Document Menu).

Flip
================
Automatic
Over
Under

See Also:
Special Tools Menu

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Speedy/Speedy Options

Speedy/Speedy Options

Use the Speedy Options dialog box to control the size of the frame around a measure while editing with Speedy Entry. You can also determine how Finale will accept
MIDI signals from your synthesizer to change durations, navigate and other commands.

See Also:
Speedy Options
Speedy Menu
Speedy Entry Tool

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Speedy/Use MIDI Device for Input

Speedy/Use MIDI Device for Input

When this item is selected (displays a check mark in the menu), Finale assumes that you'll be entering notes in conjunction with a MIDI keyboard. When you press
one of the number (rhythmic value) keys on the numeric keypad, Finale creates a rest of that value, unless you were pressing a key on the synthesizer at the time. In
that case, Finale displays a note of that pitch (or a chord, if you were pressing more than one key).

When Use MIDI Keyboard isn't selected, Finale enters a note of the specified rhythmic value when you press a number key - regardless of whether or not you were
pressing a key on the synthesizer (if any). To create a rest, enter a single note of the desired rhythmic value and press Backspace.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Playback

Speedy/Playback

When this item is selected, every time you move a note up and down in Speedy, you will hear the new pitch played through your MIDI device. You’ll also hear a note
when you enter it in non-MIDI. Deselect this item to turn off playback of pitches. This command is linked to the Playback selection in the Simple Entry Options dialog
box. If you change the selection here, it will also change in the Simple Entry Tool.

See Also:
Speedy Menu
Speedy Entry Tool
Simple Menu

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Speedy/Jump to Next Measure

Speedy/Jump to Next Measure

When this item is selected (displays a check mark in the menu), Finale automatically moves the editing frame to the next measure as soon as there are enough notes
to fill the current measure. Finale also displays the There Are Too Many Beats In This Measure dialog box immediately when you enter a note that puts the total
rhythmic values in the measure over the limit allowed by the time signature.

If this item isn't selected, Finale doesn't move the editing frame to the next measure when the current one is full; you must press the right bracket (]) key to advance to
the next measure. Finale also waits until you exit the current measure before it displays the There Are Too Many Beats In This Measure dialog box. See There Are Too
Many Beats In This Measure dialog box.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Create New Measures

Speedy/Create New Measures

When this item is selected (displays a check mark in the menu), Finale automatically creates a new blank measure at the end the piece if you advance the editing
frame beyond the last existing measure. In other words, if you're in the last measure of a piece and press the right bracket (]) key (or if "Jump to Next Measure" is
selected and you fill the last measure to its rhythmic capacity), Finale adds a new blank measure and moves the editing frame to this new last measure.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Check Beaming

Speedy/Check Beaming

When this item is selected (a check mark is displayed in the menu), Finale automatically beams eighth notes (and smaller notes) together as they’re created,
according to the time signature. If this item isn’t selected, Finale doesn’t beam any notes together. See Time signatures for a full discussion of the ways in which the
time signature affects beaming.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Check Accidentals

Speedy/Check Accidentals

When this item is selected (displays a check mark in the menu), Finale automatically keeps track of the accidentals on a given line or space in the measure, according
to the standard rules of accidental notation. For example, if the first E in a measure has a flat, the next E flat in the measure doesn't normally display an accidental too.
On the other hand, if the first E in a measure displays a flat, the next E that isn't flatted should display a natural.

If this item isn't selected, Finale doesn't keep track of the status of the accidentals on any particular line or space. If you add a new note or change a note's pitch,
Finale doesn't update the configuration of accidentals on other notes.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Check for Extra Notes

Speedy/Check for Extra Notes

When Check for Extra Notes is selected, Finale checks for extra notes when you leave the measure. If you try to add too many notes to a measure, or extend the
duration of an existing note beyond the maximum number of beats per measure, Finale displays the There Are Too Many Beats In This Measure dialog box when you
leave the measure. When Check for Extra Notes is not selected, you can enter as many notes as you'd like in a measure, and Finale will not display the There Are
Too Many Beats In This Measure dialog box. Any extra notes you enter will extend past the barline of the measure, unless you choose Position Notes Evenly Across
Measure in the Measure Attributes dialog box.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Use Five Line Staff

Speedy/Use Five Line Staff

When this item is selected (displays a check mark in the menu), Finale displays the standard five line staff in the editing frame even if the staff uses a different number
of lines.
If this item isn't selected, Finale displays the number of lines defined for the staff. For example, if you had a single line tablature or percussion staff, Finale would
display only one staff line in the editing frame.

Tip: You may prefer to have this item selected for tablature staves, but unselected for percussion
staves.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Edit TAB as Standard Notation

Speedy/Edit TAB as Standard Notation

When this item is selected (displays a checkmark in the menu), Finale displays the notes instead of fret numbers in the editing frame. This command only affects
tablature staves.

If this items isn't checked, Finale displays the fret numbers in the editing frame.

See Also:
Speedy Menu
Speedy Entry Tool
Tablature

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Speedy/Auto Freeze Accidentals

Speedy/Auto Freeze Accidentals


When Auto Freeze Accidentals is selected, Finale automatically freezes accidentals when you show or hide them in the Speedy editing frame. Frozen accidentals on
notes remain the same until you manually change them, even if Finale checks accidentals in a measure you’re editing (Check Accidentals is selected in the Speedy
Menu). When Check Accidentals is selected, Finale will scan the measure to determine what accidentals should appear according to general notation rules; Finale
then shows or hides the accidentals as needed, unless they are frozen.
When Auto Freeze accidentals is not selected, you must use ctrl-* to freeze accidentals.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Insert Notes or Rests

Speedy/Insert Notes or Rests

When Insert Notes or Rests is selected, Finale will insert the note or rest to the left of the cursor. If Use MIDI Keyboard is selected and you are holding down a key on
your MIDI keyboard, you will insert a note. Otherwise, you will insert a rest. If Use MIDI Keyboard is not selected, press ctrl-shift and the number (using the keyboard,
not the number pad) representing the rest duration you are inserting. To toggle Insert mode on or off, hit Insert or Shift-I0 (zero) on the number keypad.
Tip: Remember to turn off this mode, by selecting the item again, when you’re done inserting.

See Also:
Speedy Menu
Speedy Entry Tool

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Speedy/Speedy Edit Commands

Speedy/Speedy Edit Commands

This submenu lists the Speedy Edit commands and their keyboard Speedy Edit Commands submenu
shortcuts. Select the desired option from the menu, or just use the
menu as a reminder for the keyboard shortcut.
Command Keyboard Shortcut
Add Note
Delete Note Add Note enter
Delete Entry
Show/Hide Entry Delete Note backspace or shift-delete
================
Raise Half Step Delete Entry delete
Lower Half Step
Raise Half Step (entire measure) Show/Hide Entry O
Lower Half Step (entire measure)
Raise Half Step + (plus)
================
Show/Hide Accidental Lower Half Step – (minus)
Freeze/Unfreeze Accidental
Raise Half Step (entire measure) ctrl- + (plus)
Enharmonic
Enharmonic (entire measure) Lower Half Step (entire measure) ctrl- – (minus)
Add/Remove Accidental Parentheses
Show/Hide Accidental * (asterisk)
================
Flip Stem Direction Freeze/Unfreeze Accidental ctrl-* (asterisk)
Set Stem Direction to Automatic
Break/Join Beam Enharmonic 9

Flat Beam Enharmonic [entire measure] ctrl-9


================
Tie/Untie to Next Note Add/Remove Accidental Parentheses P
Tie/Untie to Prev Note
Flip Stem Direction L
================
Add Dot Set Stem Direction to Automatic ctrl-L
Grace Note
Break/Join Beam /
Slash Flagged Grace Note
Freeze/Float Rest Flat Beam \

See Also: Tie/Untie to Next Note =


Speedy Menu
Tie/Untie to Prev Note ctrl =
Speedy Entry Tool
Add Dot . (period)

Grace Note ;

Slash Grace Note ` (accent)

Freeze/Float Rest * (asterisk)

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Speedy/Speedy Navigation

Speedy/Speedy Navigation
Speedy Navigation submenu

This submenu lists the Speedy Navigation commands and their keyboard shortcuts. Select
the desired option from the menu, or just use the menu as a reminder for the keyboard Command Keyboard Shortcut
shortcut.
Previous Measure [ or shift - up arrow
Previous Measure
Next Measure ] or shift - Æ
Next Measure
Next Layer Previous Layer shift–up arrow
Change Voice Next Layer "
Up Staff
Change Voice ' (apostrophe)
Down Staff
Start of Measure Up Staff shift-up arrow
End of Measure
Down Staff shift-down arrow
Previous Note
Next Note Start of Measure ctrl - left arrow
Up Step End of Measure ctrl - right arrow
Down Step
Previous Note left arrow
See Also: Next Note right arrow
Speedy Menu
Up Step up step
Speedy Entry Tool
Down Step down step

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Speedy/Tie Direction

Speedy/Tie Direction

From the Speedy Menu choose Tie Direction to access tie controls with the Speedy Entry Tool. Place the cursor on the first note of the tie and then set the direction.
Choose ctrl-F to flip the tile or ctrl-Shift-F to set the tie to the automatic direction.

Flip
Automatic
Over
Under

See Also:
Speedy Menu
Speedy Entry Tool

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Staff/New Staves

Staff/New Staves

Choose this command to add new blank staves below the existing staves in your score. If you have a staff selected, new blank staves will be inserted above the
selected staff.

For detailed information, see the New Staves dialog box.

See Also:
Staff Menu
Staff Tool

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Staff/New (With Setup Wizard)

Staff/New (With Setup Wizard)

Choose New Staves when no staves are selected to add new blank staves below the existing staves. To insert blank staves above a particular staff, select a staff or
staves, then choose New Staves. The New Staves dialog box appears, in which you enter the number of staves to be added or inserted, and how far apart Finale
should space them. New Staves (with Setup Wizard) allows you to add new staves using the wizard which will name the staves and set up the instrument patch and
transposition as well.
Staves can only be added or deleted while viewing the score. Add or delete staves from parts in the Manage Parts dialog box.

Tip: The distance between staves is subject to any resizing you do with the Resize Tool.

Note: Although you can choose from the Garritan Personal Orchestra instruments using the New
Staves (with Setup Wizard) option, Finale will not load the new instrument sounds automatically when
you return to the document. You will need to load them manually in the Kontakt Player. See To load a
GPO Instrument into the Kontakt Player 2.0 for Finale.

Tip: If no staff is selected, the new staves will be created at the bottom of the score, however, if a
staff is selected, the new staves will be inserted above the selected staff.

See Also:
Staff Tool
Staff Menu

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Staff/Delete Staves

Staff/Delete Staves

The Delete and Delete Staves and Reposition commands are only available when one or more staves are selected. Select the staff or staves that you want removed,
then choose either command. Choose Delete Staves to remove the selected staves and leave the remaining staves in their current positions. Choose Delete Staves
and Reposition to remove the selected staves and reposition any staves that were below the deleted staves. Finale moves the remaining staves up to the position of
the top staff that was deleted.
Staves can only be added or deleted while viewing the score. Add or delete staves from parts in the Manage Parts dialog box.

Note: Only delete staves if you want them permanently removed. To recover deleted staves,
immediately choose Undo from the Edit Menu. To temporarily remove a staff, such as an ossia staff,
hide the staff using the Hide Staves checkbox in the Staff Attributes dialog box. See Hiding Staves—To
hide staves for ossia measures or special playback.

See Also:
Staff Menu
Staff Tool

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Staff/Delete Staves and Reposition

Staff/Delete Staves and Reposition

The Delete and Delete Staves and Reposition commands are only available when one or more staves are selected. Select the staff or staves that you want removed,
then choose either command. Choose Delete Staves to remove the selected staves and leave the remaining staves in their current positions. Choose Delete Staves
and Reposition to remove the selected staves and reposition any staves that were below the deleted staves. Finale moves the remaining staves up to the position of
the top staff that was deleted.
Staves can only be added or deleted while viewing the score. Add or delete staves from parts in the Manage Parts dialog box.

Note: Only delete staves if you want them permanently removed. To recover deleted staves,
immediately choose Undo from the Edit Menu. To temporarily remove a staff, such as an ossia staff,
hide the staff using the Hide Staves checkbox in the Staff Attributes dialog box. See Hiding Staves—To
hide staves for ossia measures or special playback.

See Also:
Staff Menu
Staff Tool

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Staff/Edit Staff Attributes

Staff/Edit Staff Attributes

Select a staff, then choose this command. Or, choose this command with no staff selected. The Staff Attributes dialog box appears, displaying the attributes for the
selected staff or the first staff, respectively. Here you can change the settings for the displayed staff.

Shortcut: Double-click the staff.

For detailed information, see the Staff Attributes dialog box.

See Also:
Staff Menu
Staff Tool

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Staff/Respace Staves

Staff/Respace Staves

Choose this command to display the Respace Staves dialog box, in which you can restore all the staves in your score to uniform vertical spacing, or, if they weren't
evenly spaced to begin with, you can preserve the gap between staves and make all gaps proportionally larger or smaller.

For detailed information, see the Respace Staves dialog box.

See Also:
Staff Menu
Staff Tool

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Staff/Sort Staves

Staff/Sort Staves

If you've changed the top-to-bottom order of staves in the score by dragging staves, you may notice that the left barline of the score or the brackets sometimes appear
to be broken or uneven afterward. Choose this command to restore their appearance based on the new staff order.

See Also:
Staff Menu
Staff Tool

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Staff/Auto Sort Staves

Staff/Auto Sort Staves

If you change the top-to-bottom order of staves in the score by dragging staves, Finale will automatically resort the staves to correct the left barlines or brackets.

See Also:
Staff Menu
Staff Tool

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Staff/Staff Usage

Staff/Staff Usage

Choose this command to display the Staff Usage List dialog box, in which you can specify the exact vertical position of a staff or staves in the score. You can also see
whether the changes will affect the entire score or, in Page View, whether the change will affect all staff systems or a single staff system.

For detailed information, see the Staff Usage List dialog box.

See Also:
Staff Menu
Staff Tool

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Staff/Define Staff Styles

Staff/Define Staff Styles


Choose this command to create and edit staff styles in the staff styles dialog box. A staff style is a set of staff attributes that can be saved and applied to parts of a
staff at different points. When any of the attributes of the staff style is changed (such as the staff name or transposition) all areas of the document that have that staff
style applied are also changed.

See Also:
Staff Styles
Staff Tool
Staff Menu

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Staff/Clear Staff Styles

Staff/Clear Staff Styles

Choose this menu item to remove Staff Styles from staves selected in the score.

See Also:
Staff Tool
Staff Menu

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Staff/Apply Staff Styles

Staff/Apply Staff Styles

Choose this command to display the Apply Staff Styles dialog box. This dialog box lists all the currently defined staff styles available. Select a staff style to apply to the
selected region. See Apply Staff Style dialog box.

See Also:
Staff Styles
Staff Tool
Staff Menu

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Staff/Reset Staff Styles to Score

Staff/Reset Staff Styles to Score

This option is only available while viewing a part. Choose this command to apply staff styles from the score to a selected part region. See also Staff Styles in linked
parts.

See Also:
Staff Menu

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Staff/Show Staff Styles

Staff/Show Staff Styles

Choose this command to show (or hide) the staff style markers in the staves. The markers appear as a bar above measures where staff styles have been applied.

Tip: double-click on the marker bar to edit the staff style.

Note: A thick line will appear above the staff that has a Staff Style in place.

See Also:
Staff Tool
Staff Menu

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Staff/Show Staff Style Names

Staff/Show Staff Style Names

Choose this command to show (or hide) the name of the staff style above the measures where staff styles have been applied. This command is only available when
Show Staff Styles is checked.

See Also:
Staff Tool
Staff Menu

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Staff/Add Group and Bracket

Staff/Add Group and Bracket

Choose this command to display the Group Attributes dialog box, where you can create and control the appearance of groups. Choose which consecutive staves you
want included in the group, name the group, choose an alternate barline, and choose a bracket to enclose them. You can also control how barlines appear.

For detailed information, see the Group Attributes dialog box.

See Also:
Staff Menu
Staff Tool

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Staff/Edit Group Attributes

Staff/Edit Group Attributes

Select a handle for a group in the score, then choose this command to display the Group Attributes dialog box, in which you can change which staves belong to the
selected group, and choose a different bracket and barline.

For detailed information, see the Group Attributes dialog box.

See Also:
Staff Menu
Staff Tool

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Staff/Remove Group

Staff/Remove Group

Select a group handle or handles (to delete more than one staff group), then choose this command to remove the selected group definitions from the score.

Tip: Select the groups - then press Delete.

See Also:
Staff Menu
Staff Tool

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Staff/Set Default Name Positions

Staff/Set Default Name Positions

Choose Full Staff Names or Abbreviated Staff Names from the Set Default Name Positions submenu to set up the default position and alignment for all full or all
abbreviated staff names, respectively. The Position Full Staff Name--Default or Position Abbreviated Staff Name--Default dialog box appears, where you can adjust the
position of the staff name, relative to the staff. The default positioning will be used unless you change the position of an individual staff name. For details, see Position
Full and Abbreviated Staff Names dialog boxes.
Choose Full Group Names or Abbreviated Group Names from the Set Default Name Positions submenu to set up the default position and alignment for all full or all
abbreviated group names, respectively. The Position Full Group Name--Default or Position Abbreviated Group Name--Default dialog box appears, where you can set
up the default position and alignment for all group names. By default, Finale vertically centers group names between the first and last staves in the group (from the top
line of the first staff, to the bottom line of the last). The default positioning will be used unless you change the position of a specific group name.

Full Staff Names


Abbreviated Staff Names
Full Group Names
Abbreviated Group Names

See Also:
Staff Menu
Staff Tool

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Staff/Position Names

Staff/Position Names

To adjust the position of an individual staff name, select the staff name’s handle, then choose Full Staff Names or Abbreviated Staff Names from the Position Names
submenu. The Position Full Staff Name or Position Abbreviated Staff Name dialog box appears, where you can adjust the position of the staff name, relative to the
staff. Or, simply drag the staff name handle to adjust the position on-screen. For details, see Position Full and Abbreviated Staff Names dialog boxes.
To adjust the position of an individual group name, select the group’s handle, then choose Full Group Names or Abbreviated Group Names from the Position Names
submenu. The Position Full Group Name or Position Abbreviated Group Name dialog box appears, where you can adjust the position of the group name, which is
vertically centered between the first and last staves in the group. Or, simply drag the group handle to adjust the position on-screen.

Note: When you change the individual position of a staff or group name by dragging the name on-
screen or by using a Position command, Finale automatically selects the Position checkbox in the Staff
Attributes dialog box or the Group Attributes dialog box. This means that the special positioning will
apply only to this staff name or group name wherever it appears in the document. To use the global,
default positioning for the name, click the Position checkbox in the Staff Attributes dialog box or the
Group Attributes dialog box to remove the selection. Or, simply select the staff name handle or group
handle on-screen, and press backspace.

Full Staff Name


Abbreviated Staff Name
Full Group Name
Abbreviated Group Name

See Also:
Staff Menu
Staff Tool

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Staff/Show Default Staff Names

Staff/Show Default Staff Names

Determines whether Finale's default staff names and staff name handles for unnamed staves appear on-screen. When selected, the default staff names, and their
handles, appear on the screen, enclosed in square brackets. When not selected, default staff names and their handles are hidden on-screen for unnamed staves.
Default names can help you identify staff handles. They will not appear in printed copies of the score; only staff names that you enter appear in your printed music.

See Also:
Staff Menu
Staff Tool

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Staff/Show Default Group Names

Staff/Show Default Group Names

Determines whether Finale's default names or "group names" for unnamed groups appear on-screen. When selected, the default group names appear on the screen,
enclosed in square brackets. When not selected, default group names are hidden on-screen for unnamed groups.
Regardless of whether this command is selected, Finale will always show group handles on-screen.
Default names can help you identify group handles. They will not appear in printed copies of the score; only group names that you enter appear in your printed music.

See Also:
Staff Menu
Staff Tool

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NoteMove/Copy and Replace

Note Mover/Copy and Replace

If this option is selected, a copy of the selected notes appears in the target measure, occupying the same beats. If your selection omitted notes on certain beats (for
example, if you selected only the first and third of four quarter notes), rests will appear in the appropriate positions in the target measure.

Note that this command replaces all notes in the target measure (if there are any), no matter how few you selected in the source measure. Therefore, it works best if
the target measure is empty.

See Also:
Note Mover Menu
Note Mover Tool

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NoteMove/Copy and Merge

Note Mover/Copy and Merge

If this option is selected, a copy of the selected notes appears in the target measure, occupying the same beats - but existing music in the target measure remains,
instead of being replaced by the copied notes. In fact, Finale will add a second (inner) voice, if necessary, to preserve the rhythmic integrity of both source and target
measures.

See Also:
Note Mover Menu
Note Mover Tool

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NoteMove/Delete After Replace

Note Mover/Delete After Replace

You can think of this command simply as Move; it replaces all notes in the target measure with a copy of the selected notes, then deletes the notes from the source
measure (leaving rests in their places). Once again, if you selected only certain notes from the source measure (for example, if you selected only the first and third of
four quarter notes), rests would also appear in the appropriate positions in the target measure.

This command, like "Copy and Replace," replaces all notes in the target measure (if there are any), no matter how few you selected in the source measure. Therefore,
it works best if the target measure is empty.

See Also:
Note Mover Menu
Note Mover Tool

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NoteMove/Delete After Merge

Note Mover/Delete After Merge

You can think of this command as another form of Move; a copy of the selected notes appears in the target measure, occupying the same beats - but existing music in
the target measure remains instead of being replaced by the copied notes, and the selected notes are deleted from the source measure, replaced by rests. (Compare
with the "Copy and Merge" command.)
This command can be very useful for moving notes from the treble-clef staff to bass-clef staff of a piano part - for example, to correct split-point errors following a real-
time transcription.

See Also:
Note Mover Menu
Note Mover Tool

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NoteMove/Cross Staff

Note Mover/Cross Staff

If you've chosen this command and dragged selected notes to a target staff above or below the source staff, Finale will draw their noteheads in the target measure as
cross-staff notes. If the selected notes are beamed to non-selected notes, Finale will preserve the beaming and extend the stems as necessary. (Nothing happens if
you drag notes to a target measure that's not above or below the source measure - for example, the next measure on the same staff.)

A cross-staff note created in this way still "belongs" to its source staff. It plays back over the source staff's MIDI channel and is affected by the source staff's dynamics.
And you can only edit it by clicking the source measure with the Speedy Entry Tool. To restore a cross-staff note to its original staff, click the source measure with the
Note Mover Tool ; handles appear on all notes in the measure (including cross-staff notes). Select the cross-staff notes by clicking or drag-enclosing their handles,
then press Delete. (You're not deleting the notes, just their cross-staff status.)

Note, by the way, that you can tell Finale to display cross-staff notes on their source staves, if you'd find your score easier to edit that way; you can restore them to
their cross-staff positions when you're finished. Read the description of the "Display cross-staff notes in original staff" checkbox in Document Options-Notes and Rests

See Also:
Note Mover Menu
Note Mover Tool

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NoteMove/Insert Before

Note Mover/Insert Before

If you've chosen this command, a copy of the selected notes will appear at the beginning of the target measure, regardless of their positions in the source measure. If
the target measure was already full, any extra notes will be deleted from the end of the target measure.

See Also:
Note Mover Menu
Note Mover Tool

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NoteMove/Append After

Note Mover/Append After

If you've chosen this command, a copy of the selected notes will appear at the end of the target measure, regardless of their positions in the source measure. If the
target measure was already full, the notes you just copied will themselves be deleted from the end of the target measure - in other words, nothing will happen as a
result of your copy. Therefore, it's best to use this command when the target measure is empty or only partially full.

See Also:
Note Mover Menu
Note Mover Tool

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NoteMove/Search and Replace

Note Mover/Search and Replace

After selecting a note or group of notes, choose this command if you want to perform a search and replace on the selected notes - in other words, to find every
occurrence of them in the score and modify each occurrence in some way.

For example, you could use the Search and Replace command to change every occurrence of a note to its enharmonic equivalent. You could also use it to renotate all
occurrences of a certain recurring motif.

The first dialog box to appear is the Search and Replace dialog box, where you can specify whether or not Finale should consider the octave register or the rhythmic
pattern of the selected notes in its search for matching motifs. See Search and Replace dialog box.

After you click the appropriate button, you see the Alteration for Slot dialog box, which lets you specify how you want to modify each occurrence of the selected motif.
You can specify a different transposition for each note in the pattern, if you want; see Alteration for Slot dialog box.

When you return to the score, Finale adds a new menu - Search - to the menu bar, containing several commands for conducting the search.

For detailed information, see the Search and Replace dialog box.

See Also:
Note Mover Menu
Note Mover Tool

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Search/Find

Search/Find

Choose Find to tell Finale to search your score for the next occurrence of the note or motif you've specified. Finale searches measure 1 in every staff, then proceeds to
measure 2, and so on; when it finds a match, it highlights the matching notes and waits for you to choose another menu command. Note that Finale won't be able to
find a certain motif if it crosses a barline.

See Also:
Search Menu
Note Mover Tool

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Search/Replace

Search/Replace

Choose Replace to tell Finale to modify the selected note or motif according to your specifications in the Alteration for Slot dialog box. It now waits for you to choose
another menu command.

See Also:
Search Menu
Note Mover Tool

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Search/Replace Then Find

Search/Replace Then Find

Choose Replace Then Find to tell Finale to modify the selected note or motif according to your specifications in the Alteration for Slot dialog box, and then to search
your score for its next occurrence. When it finds another match, it highlights the matching notes and waits for you to choose another menu command.

See Also:
Search Menu
Note Mover Tool

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Search/Replace All

Search/Replace All

Choose Replace All to tell Finale to search your score for the selected note or motif, changing every occurrence according to your specifications in the Alteration for
Slot dialog box. Finale searches measure 1 in every staff, then proceeds to measure 2, and so on. There's no way to interrupt this process once it's begun, so you
should allow some time for Finale to complete its task.

See Also:
Search Menu
Note Mover Tool

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Search/Quit Search

Search/Quit Search

Choose this command to return to the score. The Search Menu disappears, and Finale assumes you've concluded your search.

See Also:
Search Menu
Note Mover Tool

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Text/Font

Text/Font

Choose Font to display the Font dialog box, which lists all the fonts currently installed on your system. Select the font that you want to use. Finale highlights your
selection in the Font list. If you want, you can specify other font settings in the Font dialog box.

For detailed information, see Font dialog box.

See Also:
Text Menu
Text Tool

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Text/Size

Text/Size

Choose an option from the Size submenu for the font size for your text. Finale places a checkmark next to your selection. Choose Other to display the Size dialog box.
See Size dialog box. Select Increase or Decrease (or use the keyboard shortcuts Ctrl-shift-period, and Ctrl-shift-comma.) to change the point size by one. Select Fixed
Size to display the text at the specified point size, regardless of any reductions you’ve previously placed on a note, staff, staff system or page using the Resize Tool.
(See Resize Tool for information.)

3 pt
6 pt
8 pt
9 pt
10 pt
12 pt
14 pt
18 pt
24 pt
36 pt
48 pt
72 pt
Other
=============
Increase
Decrease
=============
Fixed Size

See Also:
Text Menu
Text Tool

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Text/Style

Text/Style

Choose a type style from the Style submenu. Finale places a checkmark next to your selection and applies the style to the selected text. Choose the command again to
remove the checkmark and the style. Choose Plain to remove the checkmark from all other styles. You can choose any combination of styles (such as Bold—
Underline, Italic—Bold, or a similar combination) from the submenu.

Note: Outline and Shadow styles do not appear in the Style submenu, since they are not supported in
Windows; however, we provide them to provide compatibility across different platforms in the
Character Settings and Font dialog boxes. For details see Character Settings dialog box and Font
dialog box.

Plain
Bold
Italic
Underline
Strikeout
Hidden

See Also:
Text Menu
Text Tool

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Text/Baseline Shift

Text/Baseline Shift

Choose this command to display the Baseline Shift dialog box where you can adjust the vertical position of the selected text without affecting the spacing between
lines.

For detailed information, see the Baseline Shift dialog box.

See Also:
Text Menu
Text Tool

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Text/Superscript

Text/Superscript

Choose this command to display the Superscript dialog box where you can adjust the vertical position of the selected text. If necessary, the spacing between lines
adjusts by the same amount.

For detailed information, see the Superscript dialog box.

See Also:
Text Menu
Text Tool

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Text/Tracking

Text/Tracking

Choose this command to display the Tracking dialog box, where you control the amount of horizontal space, in em’s, that Finale should leave between characters for
the selected text. One em is equivalent to 1/1000 of the point size.

For detailed information, see the Tracking dialog box.

See Also:
Text Menu
Text Tool

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Text/Character Settings

Text/Character Settings

Choose this command to display the Character Settings dialog box, where you can specify all the settings for the selected text. Change one or more of the following:
font, style, size, effects, baseline shift, superscript, and tracking.

For detailed information, see the Character Settings dialog box.

See Also:
Text Menu
Text Tool

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Text/Standard Frame

Text/Standard Frame

This command is selected by default so that text is surrounded by a rectangle. Choose this command to display the Standard Frame dialog box, where you specify
whether a border appears around the frame, the line thickness of the border, and the amount to inset the text from the frame.

For more detailed information, see the Standard Frame dialog box. (To add a custom frame, see Custom Frame).

See Also:
Text Menu
Text Tool

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Text/Custom Frame

Text/Custom Frame

Choose this command to display the Custom Frame dialog box, where you select the positioning of text within or around a custom frame that you can create in the
Shape Designer, and set the amount to indent the text from the frame. A checkmark by this command indicates that you’ve created a custom frame to surround the
text.

Note: If you choose Custom Frame, but leave Shape = 0 (no shape is selected) and H: and V:= 0,
Standard Frame will be selected when you dismiss the dialog box.

For more detailed information, see the Custom Frame dialog box.

See Also:
Text Menu
Text Tool

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Text/Justification

Text/Justification

Choose Left, Right, Center, Full, or Forced Full from the Justification submenu to select how you want the text positioned in a frame. Choose Left or Right to place the
text on the left or right edge of the frame, or choose Center to center the text between the left and right edges. Choose Full to spread the text evenly between the left
and right edges of the frame, except for the last line, which is always left-justified. Choose Forced Full to spread the text evenly between the left and right edges of the
frame, including the last line if it contains two or more words. Expand Single Word is selected by default when you choose either Full or Forced-Full justification.

Expand Single Word works with the Full and Forced Full justification commands only. When Expand Single Word is selected and you choose Full justification, Finale
spreads the text evenly between the left and right edges of the frame. In lines of text containing only one word (other than the last line), Finale spreads the letters of
that word evenly between the left and right edges of the frame; if the last line contains only one word, that word is left-justified. When Expand Single Word is not
selected, all lines containing a single word are left-justified.
When Expand Single Word is selected and you choose Forced Full justification, Finale spreads the text evenly between the left and right edges of the frame. In lines of
text containing only one word, Finale spreads the letters of that word evenly between the left and right edges of the frame. When Expand Single Word is not selected,
all lines containing a single word are left-justified.
Full justified text with Expand Single Word selected:

Force full-justified text with Expand Single Word Selected:

Full-justified text without Expand Single Word selected:

Force full-justified text without Expand Single Word selected:

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Text/Justification

Note: Use the Justification submenu in the Text Menu to position text within an editing frame; use the
Alignment submenu to align a text block itself on a page (or change the alignment settings in the
Frame Attributes dialog box).

Left
Right
Center
Full
Forced Full
================
Expand Single Word

See Also:
Text Menu
Text Tool

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Text/Alignment

Text/Alignment

The commands in this submenu are only available when you're in Page View and have a page-assigned text block selected. Use this submenu to specify how you
want the text block positioned on the page. Checkmarks appear by the placement settings currently in use for the text block. You can also set the placement for text
blocks in the Frame Attributes dialog box.

Left
Center Horizontally
Right
================
Top (Header)
Center Vertically
Bottom (Footer)
================
Position From Page Edge
Position From Page Margin

See Also:
Text Menu
Frame Attributes
Text Tool

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Text/Frame Attributes

Text/Frame Attributes

This command is available when a single text block is selected. Choose this command to display the Frame Attributes dialog box for the currently selected page-
assigned or measure-assigned text block. Use this dialog box to change the placement of the text block in your score, its placement on the page (left, right or
centered), and what pages, if applicable, the text block appears on.

For more detailed information, see the Frame Attributes dialog box.

See Also:
Text Menu
Text Tool

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Text/Line Spacing

Text/Line Spacing

Choose this command to display the Line Spacing dialog box, where you specify the exact line spacing (single-spaced, double-spaced, or some other spacing) you
want applied to all lines of text in the text block.

For detailed information, see the Line Spacing dialog box.

See Also:
Text Menu
Text Tool

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Text/Show Only On Screen

Text/Show Only On Screen

Determines whether a text block will appear on-screen only. When selected, the text block will appear on-screen, but not on your printed music. When this command
is not selected, the text block will appear on the printed page as it appears on-screen. Select this command for editorial comments, compositional notes, or other notes
you do not want to print.

See Also:
Text Menu
Text Tool

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Text/Word Wrap

Text/Word Wrap

Deselect this option to disable word wrapping in text blocks.

See Also:
Text Menu
Text Tool

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Text/Edit Text

Text/Edit Text

Choose this command to display the Edit Text window for the currently selected text block. Or, choose this command when no text block handle is selected to cycle
through and edit all text blocks in your score, including staff and group names.

For more detailed information, see the Edit Text dialog box.

See Also:
Text Menu
Text Tool

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Text/Assign To Measure

Text/Assign To Measure
These items allow you to specify whether Finale will create a text block that is attached to a particular measure or attached to a particular page. Note that these
commands only affect future text blocks. To change the assignment of a text block, see Frame Attributes dialog box. Select Assign to Measure to create Measure Text
Blocks that will move with a particular measure. Select Assign to Page to create Page Text Blocks that will stay on a particular page. These features are only
accessible while in Page View. In Scroll View, text blocks are always assigned to measures.

Note: When you copy measure-attached text blocks with the Selection Tool, they will clone
themselves so changes to one will affect all copies.

See Also:
Text Menu
Text Tool

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Text/Assign To Page

Text/Assign To Page

Use this command to create text blocks that are attached to a particular page by default. Note that this command only affects future text blocks. To change the
assignment of a text block, see Frame Attributes dialog box.

See Also:
Text Menu
Text Tool

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Trans/Split Point

Transcription/Split Point

If you’re recording a two-handed performance, you can specify that Finale split the transcription onto two staves automatically. If you choose Fixed, you can identify a
key on your MIDI keyboard corresponding to a pitch that divides all upper-staff notes from all lower-staff notes. (See Fixed Split Point dialog box.)
If you choose Moving, Finale decides which music to put on each staff according to the width of your hands, based on the hand width interval you enter in the dialog
box that appears. The advantage of this method of splitting your performance into right-hand and left-hand parts (as compared with the Fixed option) is that Finale can
track the positions of your hands as they move up and down the keyboard, provided there’s a wide enough interval between them for it to know which hand is which;
you don’t have to specify a static split point. See Moving Split Point dialog box.

None
Fixed
Moving

See Also:
Transcription Menu

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Trans/Input Filter

Transcription/Input Filter

Choose this command to display the MIDI Input Filter dialog box, in which you can tell Finale to record only certain types of MIDI data from your performance.

For detailed information, see the MIDI Input Filter dialog box.

See Also:
Transcription Menu

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Trans/Transcription Filter

Transcription/Transcription Filter

Choose this command to display the Transcription Filters dialog box, in which you can specify certain MIDI channels and ranges of notes you want to include or
exclude from your transcription.

If you've just played a multichannel sequence into the Transcription window (from an external sequencer), for example, you'll probably want the notes from each MIDI
channel to be transcribed onto their own Finale staff. In this dialog box, you can specify a single MIDI channel at a time for transcription, or as many as four channels.

For detailed information, see the Transcription Filters dialog box.

See Also:
Transcription Menu

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Trans/View Resolution

Transcription/View Resolution

When you choose this command, the View Resolution dialog box appears, in which you can specify the amount by which you want to "zoom in" to the display area, so
that you can more easily view and edit individual notes or Time Tags.

For detailed information, see the View Resolution dialog box.

See Also:
Transcription Menu

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Trans/Punch In PreRoll

Transcription/Punch In PreRoll

If you're re-recording only a certain part of your performance, or punching in, you'll probably want Finale to play a few seconds of the music just before the place you
want to rerecord, so you can hear the desired passage in context and in tempo. The dialog box that appears when you choose this command allows you to specify
how many seconds of the existing music you want Finale to play before switching into record mode.

For detailed information, see the Punch In PreRoll dialog box.

See Also:
Transcription Menu

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TimeTag/Tag

Time Tag/Tag

The Tag type is the normal Time Tag; with each tap on a key or pedal, you specify the position of a beat. (You specify the rhythmic value of your taps by choosing the
appropriate value from the "First Tag Is:" section of this menu - see below.) When you're finished recording these tags, a small quarter note symbol (or whatever note
value you specified) appears at the top of the display area for each of your taps.

See Also:
Time Tag Menu

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TimeTag/Beat

Time Tag/Beat

The Beat type is a special Time Tag you'll rarely need. It has no effect unless you're using the "Convert to Time Signatures" feature (described below), which creates
meter changes in the score based upon your measure and beat taps in the Transcription window. Each Beat Tag you record (after recording normal Time Tags) is
represented by a small accent symbol (>) at the top of the Time Tag display area.

When creating these time signature changes, Finale creates a subdivision of the time signature each time it encounters a beat tag in the Transcription window. By
creating a beat tag on the first and fourth beats of a 5/4 measure, for example, you signal Finale to divide the measure into two primary pulses; it will create a 3+2 over
4 time signature (instead of 5/4).

The placement of Beat Time Tags tells Finale how to subdivide the numerator of the meter in each measure.

See Also:
Time Tag Menu

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TimeTag/Measure

Time Tag/Measure

The Measure type is a Time Tag you'll only need to record in a separate pass (after recording normal Time Tags) if the meter changes during the section you're
transcribing (and you haven't created these meter changes in the score in advance).

After selecting Measure from this menu, record your Measure Tags by tapping the downbeat of each measure. When you're finished, a small M appears at the top of
the display area for each of your taps. If you then choose "Convert to Time Signatures" (see below), Finale automatically changes the meters for the corresponding
measures in the score. With this method, you can automatically create a transcription of a complex-metered piece by tapping your Measure Tags where you feel each
measure should begin; in this way you avoid having to calculate and insert the various time signatures manually.

See Also:
Time Tag Menu

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TimeTag/Clear All Tags

Time Tag/Clear All Tags

Choose this command to delete all Time Tags, of all types, from the Time Tag display area.
You can also remove just one Time Tag, or a few at a time, without using this command. To do so, click the words Time Tag in the Transcription window. Drag across
the Time Tags you want to clear (in the upper strip of the display area) and press Delete.

See Also:
Time Tag Menu

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TimeTag/Assign Measure Tags

Time Tag/Assign Measure Tags

When you choose this command, Finale puts Measure Tags into the selected region of your performance automatically, based on the time signature in the score
(starting with the measure you clicked). Even if there's a meter change in every measure of the score, this is a quick, easy way to apply Measure Tags - which,
incidentally, are mandatory if Finale is to transcribe your performance.

See Also:
Time Tag Menu

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TimeTag/Convert Time Signatures

Time Tag/Convert to Time Signatures

If the piece you're transcribing contains changing time signatures, you can use this command to create the meter changes in the score automatically. (You must first
record regular Time Tags before you begin the following steps.)

First record Measure Tags: Choose Measure from the Time Tag Menu, select the region for which you want to record Measure Tags (or choose Select All from the
Edit Menu), set the Keyboard option button to Play, set the Time Tag option button to Record, and click Wait Till - then tap a key or pedal at the downbeat of each
measure while the music plays back.

When you're finished, an M appears in the Time Tag display area for each of your taps. If you want Finale to create composite time signatures (for example, to create
a 3+2 over 4 meter instead of 5/4), record Beat Tags (see "Beat" command). Finally, make sure the desired region is selected, and choose "Convert to Time
Signatures." Finale automatically changes the time signatures in the corresponding measures in the score, based upon the placement of your Measure Tags and Beat
Tags. Finale will even create fractional and composite meters, if necessary (3.5/4, for example).

See Also:
Time Tag Menu

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TimeTag/Create Tags From First Two Tags

Time Tag/Create Tags From First Two Tags

If the performance you created was in a fairly strict tempo, you may not have to record Time Tags by tapping along with the entire performance while it plays back.
Instead, enter just two tags at the beginning of the recording. Make sure they're as accurately placed as possible; it's a good idea to choose "Align Tags to Notes" at
this point (see below). Choose Select All from the Edit Menu (or select the region you want to transcribe, beginning with the two Time Tags you placed manually).
Choose this command; Finale creates and places Time Tags automatically throughout the selected portion of your performance by extrapolating from the positions of
the first ones you entered.

See Also:
Time Tag Menu

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TimeTag/First Tag Is

Time Tag/First Tag is

Use these commands to tell Finale the rhythmic value of the first Time Tag you tap. If you've also selected Record Equal Durations, this rhythmic value is assigned to
all your taps.

If you want to create a Time Tag manually (by double-clicking in the Time Tag display area), your selection from these commands also specifies the rhythmic value of
the Time Tag you create.

Half
Quarter
Eighth
16th

See Also:
Time Tag Menu

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TimeTag/Record Equal Durations

Time Tag/Record Equal Durations

You don't have to tap steadily when you record Time Tags. You could, in fact, simply tap along to your melody; Finale infers the rhythmic value of each tap, even if it
changes.

You'll probably get the best results, however, if you choose Record Equal Durations; as your piece plays back, tap the same rhythm throughout (just quarter notes, for
example). You tell Finale what that one rhythmic value is by choosing the appropriate "First Tag Is" command.

See Also:
Time Tag Menu

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TimeTag/Click Input

Time Tag/Click Input

Normally, when you record Time Tags in a separate pass (after recording your performance), you can tap any key - you can even change keys during the process. As
long as the Keyboard Play option button is selected, and the Time Tag Record option button is selected, Finale interprets a press of any key on MIDI channel 1 as a
Time Tag.

With this command, you can tell Finale that you'll be tapping a key on some other MIDI channel - or that you'll be tapping a pedal or other controller instead of a key.
You'll also find this feature useful if you want to record your performance and the Time Tags simultaneously, so that Finale knows what key (or controller) it should
listen to for Time Tags (and not as part of the performance itself). For example, you could tell Finale that you want to tap your foot on a pedal (to provide Time Tags)
while you play, as you do in HyperScribe. Likewise, you'd want to use this method to transcribe a sequence from an external sequencer (one that provides a click track
Finale can use as the Time Tag source, for example).

For detailed information, see the Click Input dialog box.

See Also:
Time Tag Menu

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TimeTag/Click Output

Time Tag/Click Output

Choose this command to display the Click Output Type dialog box, in which you can specify which note and MIDI channel Finale should use when it plays back the
Time Tags.

There are two cases in which you might like Finale to play Time Tags as you record in the Transcription window. First, you might want Finale to provide a "click track"
as you record a real-time performance, so that you won't have to record Time Tags in a separate pass. (The "click track" is nothing more than playback of Time Tags
that Finale has placed automatically.)

Second, you might want Finale to drive an external sequencer or computer using MIDI Sync, so that the external device will play in tempo with Finale.

In either case, the Click Output Type dialog box lets you specify various characteristics of the click: its pitch, duration, MIDI channel, and so on.

For detailed information, see the Click Output Type dialog box.

See Also:
Time Tag Menu

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TimeTag/Align Tags to Notes

Time Tag/Align Tags to Notes

After you've recorded a MIDI performance and then told Finale where the beats fall by entering Time Tags, use this command to align the tags more precisely with the
beginnings of the notes in your performance. (Specify the region for which you want Time Tags aligned either by dragging through part of the keyboard display area or
by choosing Select All from the Edit Menu.) In effect, you're "quantizing" the tags to the nearest notes, so that Finale understands that the tag and the note fall exactly
together.

The Align Time Tags To Note Starts dialog box appears; the number in the text box tells Finale how far from each tag it may "search" for a note with which to align it.
If the performance was slow, you can increase this number; if it was very fast and "notey," you may want to use a smaller number so as not to move Time Tags
inadvertently, for example, to the note after the one with which it should align.

For detailed information, see the Align Time Tags to Note Starts dialog box.

See Also:
Time Tag Menu

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Chord symbols

Chord symbols
Finale’s chord symbols are intelligent with respect to key; if you decide to change the key, the
chord symbols are automatically transposed. Similarly, if you copy chord symbols to a passage
in another key, they’ll be transposed when you paste them. Even Finale’s guitar fretboard
diagrams, which can be created automatically, transpose according to the key.
If you’re going to add chord symbols to your score, you should prepare in two ways. First, load
(or build) a Chord Suffix Library (unless you’re working from the Maestro Font Default file).
Second, choose a font for the chord letter names. (The font for the suffixes is determined by
the Chord Suffix Library you use in your Libraries folder. You can change chord suffix fonts
either globally, by region, or one by one; see the appropriate sub-entries. See Fonts and
Document Options-Fonts for help in choosing fonts to meet your needs.)

Note that Finale offers two systems of chord labeling. The primary method operates according to the
standard rules of chord theory and allows Finale to “recognize” almost any kind of chord it encounters
—major, minor, augmented, diminished, suspended, sevenths, ninths, elevenths, and so on, even with
alternate bass notes.

Occasionally, however, you’ll want to create a chord that Finale doesn’t ordinarily recognize, such as C V/11, or you’ll want Finale to think of a certain chord in a
different way. For example, where Finale displays Am7/C, you may prefer C6. For these situations, you can use Finale’s second system of creating chords: you can
create a learned chord, a symbol that you’ve defined to represent a particular pattern of notes. Once you’ve defined a learned chord, Finale will correctly identify it in
the future, regardless of the voicing or register, and automatically display the correct symbol. Instructions for creating and editing learned chords appear below.
Note, however, that Finale will only recognize a learned chord if the root of the chord falls on the same scale degree as the one you originally taught it. For example, if
you teach Finale to recognize a C6 in the key of C, it won’t recognize F6 or G6 in the same key. It will, however, recognize an A6 in the key of A, because the A6 is
built on the same scale degree in A as the C6 was in C. In other words, it’s sometimes helpful to define the same learned chord for several different scale degrees
within a single key—such as C6, F6, and G6 in the key of C.

To enter chord symbols automatically


You’re about to learn three different methods for adding chord symbols to your score; all three depend on Finale’s intelligence in recognizing patterns of notes.
Occasionally, you may encounter a dialog box telling you that Finale doesn’t recognize the chord you just played (or the chord it just analyzed).
If you click the I’ll Do It button, Finale displays the Chord Definition dialog box; construct the chord as described in “To enter a chord symbol manually by typing
numbers,” below. At that point, you will be building a learned chord; in other words, Finale will recognize the chord the next time. Read the introduction to this entry for
details on learned chords.
If you click Let Finale Do It instead, Finale will construct the correct suffix automatically, displaying the chord symbol on the screen and adding its suffix to its current
library of chord suffixes. If you don’t care for Finale’s labeling of a chord (for example, if it calls a chord “Gm7” but you prefer “G–7”), you can edit the chord suffix (see
“To edit a chord suffix”).
If, however, you disagree with Finale’s analysis of a chord (for example, if it calls a chord Am7/C but you prefer C6), remove the chord symbol from the score (see “To
move and delete chord symbols”). Then teach Finale how you’d like the chord to be recognized henceforth (as a learned chord), using the procedure described below
in “To teach Finale ‘learned chords,’” and reenter the chord.

1. Click the Chord Tool . The Chord Menu appears.


2. If you want to add chord symbols to the score by playing them, one by one, on a MIDI keyboard, choose MIDI Input from the Chord
Menu, and then click a note or rest in the score. The ear-shaped cursor appears, indicating that Finale is listening to your MIDI instrument.
(Technically, you can’t add a chord symbol to an empty measure. But see “To enter a chord symbol when there’s no note below it.”) More
3. If you want Finale to analyze a chord notated in the score, choose One-Staff Analysis from the Chord Menu, and then click the chord.
Finale immediately analyzes the chord you clicked, and places the chord symbol into the score. Click again on each note for which you want a chord symbol to
appear.

To enter chords (Type Into Score)

1. Click the Chord Tool . The Chord Menu appears.


2. Choose Type Into Score from the Chord Menu.
3. Click on the note on which you want the chord to appear. A cursor appears above the note, aligned with the chord positioning triangles.
4. Type the chord that you want to appear in the score, such as “BbM7/C”. Type an underscore (shift-hyphen) instead of a slash if you want the
alternate bass note (C in this example) placed under the root.

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5. An alternate method of entering suffixes is to type a colon followed by the slot number of the suffix shown in the Chord Suffix
Selection dialog box. Or, type a colon followed by zero. If you type a slot number, Finale displays the corresponding suffix from the Chord Suffix
Selection dialog box. If you type a zero, the Chord Suffix Selection dialog box appears, where you can choose a suffix.

Note: Regardless of the chord style selected in the Chord Style submenu, you must type letters (C, D,
E and so on) for the chord root and alternate bass note. Finale will not accept Roman numerals (I, IV,
V and so on) or scale degrees typed into the score. For example, when Roman is selected (a
checkmark appears next to Roman in the Chord Style submenu), you’d type the letter “F” to display IV
in the key of C Major.

6. Type uppercase letters unless you want the root and alternate bass note to use lowercase letters. For example, Roman numerals typically
indicate quality (I for Major, ii for minor), so in the key of C Major, you’d type a lowercase “d” to display “ii” in the score (as opposed to “II” that appears if you
type an uppercase “D”).

Tip: Use the Caps Lock key when you know you want only uppercase chords.

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Chord symbols

7. Press enter to accept the change. Or, press spacebar, tab, or shift-right arrow to move to the next entry, or click the next note on which you want a chord
to appear. To move to the previous entry, press shift-spacebar, shift-tab, or shift-left arrow.

If Finale doesn’t recognize the suffix a dialog box appears in which you can choose to add the suffix to the chord suffix library.

8. If you want to enter or edit another alternate chord on the same note, press the up or down arrows.
9. Continue entering the chords in this manner.

To edit chords (Type Into Score)

1. Click the Chord Tool . The Chord Menu appears.


2. Choose Type Into Score from the Chord Menu.
3. Click on the note containing the chord you want to edit.
4. If more than one chord is assigned to the same note, press the up and down arrows to select the chord you want to edit.
5. Select the portion of the chord you want to change, and type the change.
6. Press enter to accept the change. Or, press spacebar, tab, or shift-right arrow to move to the next entry, or click the next note on which you want a chord
to appear. To move to the previous entry, press shift-spacebar, shift-tab, or shift-left arrow.

If Finale doesn’t recognize the suffix a dialog box appears in which you can choose to add the suffix to the chord suffix library.

To enter a chord symbol manually by typing numbers

1. Click the Chord Tool . From the Chord Menu, choose Manual Input.
2. Click the note or rest on which the chord symbol is to be centered. The Chord Definition dialog box appears.
3. Click on the Show Advanced button. The dialog box expands to show the Number Definition.
4. Enter the root scale tone number. If there’s a different bass note, click Alternate Bass and enter its scale tone in the Alternate Bass
text box. For an F/G chord in the key of C, for example, the Root Scale Tone (F) is 4, the Alternate Bass is 5.
5. If you need to alter the scale degree chromatically, type a number into the Alteration boxes. This number, positive or negative, alters the scale tone by half steps.

To create an A chord in the key of F, for example, the Root Scale Tone is 3 (the third note of the scale) and the Alteration is –1.

Note the Alteration box is especially important if you want a chord symbol that’s out of the key and Simplify Spelling is turned on in the Chord Menu.
Suppose, for example, that you’re in the key of A, but you want an A flat chord symbol. You might assume that entering a scale degree of 1 (A) and an

Alteration of –1 would do the trick—but in fact, you’d get a G chord symbol. To solve the problem, enter 2 in the Root box, and –3 in the Alteration box. In
effect, you get an A flat chord symbol by specifying a B triple-flat.

7. Click Select button next to Suffix. The Chord Suffix Selection box appears. If you have loaded or created a Chord Suffix Library, the suffixes appear here.
8. Double-click the desired suffix. If there are no suffixes in the palette, either click Create to create a new suffix, or load a chord-suffix library, as described
in “To create or load a Chord Suffix Library.”

If you don’t want the chord symbol to play back, uncheck the appropriate Play box.

9. Click OK (or press enter).

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Chord symbols

To enter a chord symbol manually with MIDI data input


Instead of creating a chord symbol by typing numbers and clicking a chord suffix, you can play this data from your MIDI keyboard.

1. Click the Chord Tool . Choose Manual Input from the Chord Menu.
2. Click the note or rest on which the chord symbol is to be centered. The Chord Definition dialog box appears.
3. Click the Listen box at the top right side of the box. Play the root scale tone on your synthesizer. Finale automatically fills in the Root Scale
Tone and Alteration text boxes for you.
4. Click the second Listen button. Play the bass note on your synthesizer. If the bass note is different from the root, Finale fills in the Alternate Bass
text boxes.
5. Click the third Listen button. Play the rest of the chord on your synthesizer. Finale will only fill in the Suffix ID if it recognizes the suffix—in other
words, if it matches a suffix definition in its Chord Suffix Library. (If no library has been loaded, or if Finale doesn’t find a match, nothing happens.)
6. Click OK (or press enter).

To edit chords (Manual Input)

1. Click the Chord Tool . The Chord Menu appears.


2. Choose Manual Input from the Chord Menu.
3. Click on the note that contains the chord you want to edit.
4. Double-click the handle of the chord. The Chord Definition dialog box appears.
5. Make the necessary changes in the Chord Definition dialog box. To force the root or alternate bass to appear in lowercase, click Lowercase to
select it. If you want the root or alternate bass to appear in uppercase, make sure that Lowercase is not selected.
6. Click OK to return to the document, where the changes now appear.

To edit a chord suffix


When you edit a chord suffix, the changes you make affect every occurrence of this chord suffix in the score.

1. Click the Chord Tool . Choose Manual Input from the Chord Menu.
2. Click the note to which the chord is attached. Its handle appears.
3. Double-click the handle. The Chord Definition dialog box appears.
4. Click Chord Suffix ID. The Chord Suffix Editor appears. In this window, you edit each character in the chord suffix individually, moving from one to the next
with the Prev and Next buttons.
5. Change a character by editing the Symbol box. You can only type one letter at a time into this text box, unless you select Number, which lets you type
a multidigit number into the box. Instead of typing a character into the Symbol box, you can simply click Symbol, and you’ll see the complete palette of characters
for the selected font.

Note that you can prefix any chunk in the suffix box with a +, -, or character: click Prefix With and select the appropriate button.

6. Change the type style of the current character by clicking Set Font. Remember, you must set the font for each character individually. Be careful to
match this chord suffix font with a complementary chord root font (which you choose in Document Options-Fonts. From the Document Menu, choose Document
Options and select Fonts). You can also change the font for all chord symbols in a piece; see “To change chord symbol fonts.”
7. Adjust the position of a character by dragging its handle. To produce its handle, you must be editing this character (move from one to the next with
the Prev and Next buttons). Alternatively, you can type coordinates into the H: (how far to the right?) and V: (how high up?) boxes. The units are whatever you’ve
selected using the Measurement Units command (Edit Menu). (The numbers you type, however, won’t affect the display until you click the Update box.)

If you’re having trouble positioning a character because the square handle obscures it, de-select the Show Handles checkbox. The handles become invisible
but are still draggable—just click where a handle used to be.

8. Define the voicing this suffix is to use for playback by clicking Set Play. The Suffix Keynumber Offsets box appears, presenting a series of text
boxes into which you can type the numbers that represent the notes of the suffix, as measured in half steps from the root. A quick way to enter this data is to
click Listen; Finale displays a message asking you to play the root of the chord, so it will have a point of reference from which to compute the keynumber offsets.
Immediately after you do so, Finale tells you that it’s still listening; now play the suffix itself. Finale enters the appropriate numbers in the text boxes. SeeSuffix
Keynumber Offsets dialog box.

Remember that even though you just played a specific root and voicing, this suffix will remember the voicing no matter what its root—you define the playback
voicing for your Fmaj7, Emaj7, and Cmaj7 chords all at once, for example.

To teach Finale “learned chords”


(For a full description of learned chords, see Chord symbols. These instructions describe how to teach Finale several learned chords before you enter them with either
of the automatic chord symbol entry methods described above. Of course, you can always create a learned chord while you’re entering chord symbols; when Finale
displays its Unknown Chord Suffix“Finale cannot find a match” dialog box, click I’ll Do It. The chord you then construct in the Chord Suffix Editor dialog box is a
learned chord.)
If you plan to enter chords from your MIDI keyboard (or by letting Finale analyze existing chords in the score), you can save time by anticipating the learned chords
you’ll need to teach Finale. For example, if your piece contains “V11” chords (such as F/G or Dm7/G), major sixth chords, or any chords with nonstandard names (C2,
for example), use this method to teach them to Finale before you enter them. Once Finale has learned such chords, it will automatically display the proper symbol
when it encounters them (via MIDI or by analyzing the notes in the score).

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Chord symbols

1. Click the Chord Tool , and choose Edit Learned Chords from the Chord Menu. The Edit Learned Chords dialog box appears. Remember that
Finale always associates a learned chord with a particular scale degree; therefore, if the key signature in the display isn’t the correct one for the music to which
you’ll be adding chord symbols, click the Set Key button and specify the correct key, so that Finale will be able to recognize the new chord in the correct context.
2. Click Learn. Finale asks you to play the chord on your MIDI keyboard.
3. Play the chord. What counts is the bass note and the selection of pitches in the chord; the voicing and the octave register don’t matter. As soon as you play
the chord, Finale displays the Chord Definition dialog box, where you can build the actual chord symbol you want to associate with the pattern of notes you just
played.
4. Construct the chord symbol in the usual way. Click OK (or press enter). See “To enter a chord symbol manually by typing numbers” or “To enter a
chord symbol manually with MIDI data input,” for instructions in the use of the Chord Definition dialog box.

When you return to the Edit Learned Chords dialog box, you can once again click Learn to repeat the process, teaching Finale as many new chord symbols
as you want. Note that Finale stores learned chords along with regular Chord Suffixes in a Chord Suffix Library (see “To create or load a Chord Suffix
Library”). Therefore, you can load the learned chords you create in one document into another one without having to redefine them.

5. Click OK (or press enter). The next time you add chord symbols to your score using Finale’s automatic (MIDI or note-analysis) methods, Finale will
recognize the chord you’ve just taught it, and it will display the chord symbol you’ve told Finale to use. (Finale will also recognize the learned chord in other keys
—but only if it falls on the same scale degree. That is, if you teach Finale to recognize Csus2 in the key of C, it will also recognize Fsus2 in the key of F—but it
won’t recognize Fsus2 in the key of C, unless you teach it that chord too.)

To edit or delete a learned chord

1. Click the Chord Tool , and choose Edit Learned Chords from the Chord Menu. The Edit Learned Chords dialog box appears.
2. Click Find. Finale asks you to play the learned chord you want to edit. (If you prefer to locate the chord you want to edit by scrolling through the existing
learned chords, click the Prev and Next buttons until it appears in the display.)
3. Play the chord. If Finale recognizes what you played as a learned chord that it already knows, the corresponding chord symbol appears in the display. (If
Finale doesn’t recognize the chord you played, it will tell you so, and offer you the option of adding it to its existing bank of learned chords.)

At this point you can edit the chord in one of several ways. To delete it, click Delete. To edit the chord symbol itself, click Edit to enter the Chord Definition
dialog box.

4. When you’re finished editing, click OK (or press enter).

To move and delete chord symbols

1. Click the Chord Tool . If it is not already selected, choose Manual Input from the Chord Menu.
2. Click the staff containing the chord symbols. Four small arrows appear at the left edge of the screen. These arrows control the baseline for the chord
symbols—the line against which the bottoms of the chord symbols align. (Make sure Position Chords is selected in the Chord Menu.)
3. If you want to move more than one chord symbol, drag the positioning triangles up or down. Drag the first (leftmost) triangle up or down to
move all the chords in the piece. Drag the second triangle to move the chords in this staff only, regardless of the position of the leftmost triangle. Drag the third
triangle, in Page View, to move the chords in this staff in this system only. Dragging the rightmost triangle doesn’t move any existing chord symbols; instead, it
sets the position for the next one you enter.
4. If you want to move a single chord symbol, click the note to which it’s attached. The chord’s handle appears.
5. Drag the handle to move the chord. Select it and press the arrow keys to “nudge” it for fine positioning; select it and press delete to
remove it.

To transpose chord symbols


Finale’s chord symbols are intelligent enough to transpose automatically when you change the key signature; a Cmaj7 in the key of C will become an Fmaj7 in the key
of F.
If you inadvertently enter chord symbols before setting the key signature, however, you can use the following method to transpose the chord symbols independently of
the key and the existing music.

1. Click the Selection Tool , and select the region containing the chord symbols that you want to transpose. See Selecting music for
some region-selecting shortcuts.
2. From the Utilities Menu, choose Change, then Chord Assignments. The Change Chord Assignments dialog box appears.
3. Click Transpose. The Transposition dialog box appears.
4. Specify the interval by which you want the chord symbols transposed, and click OK. Click OK again.

To enter a chord symbol when there’s no note below it


Thus far, you’ve seen that chord symbols must be attached to a note or rest (except that you can’t attach them to Finale’s default whole rests). There will certainly be
times, however, when you want to put a chord symbol where no note appears—such as several chord symbols over a single whole note, or even over a blank
measure.
Begin by entering the whole note (or whatever notes you want to appear) in Layer 1 (or 2 or 3). If you’ve already entered them in the Layer 4, it’s easy to send them
into another layer; see To move music from one layer to another. Once you’ve emptied Layer 4, proceed as follows:

1. Enter “dummy” notes in Layer 4, one for each chord symbol you’ll want to add. It makes no difference what pitches you select; these notes won't
appear.

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Chord symbols

2. Attach chord symbols to the “dummy” notes in the usual way. See “To enter chord symbols automatically.”
3. Click the Staff Tool s, and select the “dummy” measures.
4. Select Apply Staff Styles from the Staff Menu. The Apply Staff Styles dialog box appears.
5. Select Blank Notation - Layer 4, and click OK (or press enter). The “dummy” notes vanish, and your chord symbols remain in place. Using the
Speedy Entry Tool, however, you can still view your hidden Layer 4 notes (for spacing purposes, for example). For more information about creating Staff Styles,
see Staff styles.

In Layer 4, add some “dummy” notes, and attach your chord symbols to them. In the Layer 1 (or 2 or 3), enter the whole note (or whatever music you want ultimately
to appear). When you apply Blank Notation to Layer 4, the notes disappear, leaving the chord symbols behind.

To erase chords from a region

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. Choose Clear Items from the Edit Menu. The Clear Items dialog box appears, listing two categories of items to clear: Measures and Entries.
3. Click Only the Selected Items, then Entries, then Chords.
4. Click OK (or press enter) twice. Finale erases the chord symbols.

To copy chords from one region to another


In this discussion, the source region is the music that currently contain the chords, and the target region is the music to which you want to copy them.

1. Click the Selection Tool . Choose Edit Filter from the Edit Menu. The Entry Items dialog box appears.
2. Select Chords (only). Click OK.
3. Select the source region. See Selecting music for some region-selecting shortcuts.
4. Drag the highlighted region so that it’s superimposed on the beginning of the target region. If the target passage is offscreen, scroll to it; then,
while pressing ctrl and shift simultaneously, click it.

If you’re copying chords horizontally, the Copy Measures dialog box appears.Specify the number of times you want the chords copied, and click OK.
Finale only places chords on notes that fall on the same beats as they did in the source measures. The chords will automatically transpose if the source and
target passages are in different keys.

To change the display or position of all chord symbols in a region


See “To prevent chord symbols from playing back” and Change Chord Assignments.

To prevent chord symbols from playing back


When you create a chord symbol, the Play checkboxes in its Chord Definition window are initially selected—in other words, the chord will play back unless you specify
otherwise. Unchecking the Play checkboxes for each chord symbol would be one way to prevent the chords from playing, but it’s a technique best used on a case-by-
case basis. To prevent all chord symbols from playing back, use the following technique.

1. From the Window Menu, choose Instrument List. The Instrument List appears.
2. Click on the arrow next to the name of the staff that has chords attached. The list expands to display the components of the staff, including
Chords.
3. Click the square next to Chords in the P column. The chord symbols will no longer playback from this staff.

To program a chord symbol Metatool


You can assign a complete chord symbol to each of the number keys and each of the letter key on your keyboard, for use as described below in “To enter a chord
using a Metatool.”

1. Click the Chord Tool . While pressing shift, press a number or letter key. The Chord Definition dialog box appears.
2. Define the chord. See “To enter a chord symbol manually by typing numbers” and To enter a chord symbol manually with MIDI data input” for full instructions
on creating chord symbols.

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Chord symbols

3. Click OK (or press enter). When you return to the document, it will appear as though nothing has happened. In fact, you have prepared Finale to enter the
chord you just described whenever you use the Metatool.

To enter a chord using a Metatool


This example assumes that you have programmed a Chord Symbol Metatool (see above).

1. Click the Chord Tool .


2. While pressing the number or letter key corresponding to the desired Metatool, click a note or rest. The chord symbol appears. Using this
method, you can rapidly click fully-formed chord symbols into your score. (You still can’t enter a chord symbol over a default whole rest, however.)

To create or load a Chord Suffix Library


Once you’ve created or edited chord suffixes (or taught Finale to recognize “learned chords”) in a document, you can save them in a separate library with its own title
and icon on your hard disk. The next time you want to add chord symbols to a piece, you can load this library, thus saving yourself the time it would take to create or
edit the chord symbols (or learned chords) again.

1. To make a Chord Suffix Library of the chord suffixes and learned chords in a piece, choose Save Library from the File Menu. The Save
Library dialog box appears.
2. Click Chord Suffixes, and then click OK (or press enter). You’re then asked to title the new library.
3. Type in a title and click OK (or press enter). The next time you want to add those chord symbols to a piece, simply load the library you just created
(choose Load Library from the File Menu) and enter chord symbols in the usual way.

To change chord symbol fonts


This entry provides a quick way to change the font and size of the chord symbols and suffixes in your entire piece.

1. To change the font for the chord-symbol letter name, from The Document Menu, choose Document Options and select Fonts. The Font
Options appear.
2. Click Symbol. The Font dialog box appears. You’re about to choose a typeface for the root portion of all chord symbols in the piece—that is, the “C” portion of
“Cmaj7.”
3. Make your type style selection; then click OK twice.

4. To change the font for chord-symbol suffixes, click the Chord Tool . You’re now going to be changing the font for the suffix—for example, the
“maj7” portion of your chord symbols.
5. From the Chord Menu, choose Change Chord Suffix Fonts. The Change Chord Suffix Fonts dialog box appears.
6. To change the entire library of chord suffixes at once, click the Set Font button in the lower half of the screen. The FontFont dialog box
appears, letting you specify new font, size, and style characteristics for the suffixes.

To change one aspect of the suffixes—such as the size—select the appropriate checkbox in the upper half of the Font dialog box. Click Set Font to specify
which point size you want to replace (such as all 12-point elements). Then repeat the process in the lower half of the Font dialog box, this time clicking the
lower Set Font button to specify a new point size.
Similarly, you can, in effect, search-and-replace for one specific type style and replace it with another; Finale will leave suffixes in other type styles untouched.
For example, in the upper half of the Font dialog box, you could click Selected Fonts, then click all three checkboxes, click Set Font and specify Times New
RomanGeneva 12-point Plain. Repeat the process in the lower half of the FontFont dialog box, but this time choose, for example, Helvetica 10-point Italic;
Finale would replace every occurrence of the former type style with the latter.
Finally, for best results, be sure that the Fix Chord Suffix Spacing checkbox is selected, so that Finale automatically adjusts the individual characters in each
chord suffix to compensate for the new font and size.

7. Select a type style, and then click OK. You return to the document, where Finale has changed the font for your chord suffixes. Finale is smart enough,

however, not to change any musical symbols within the suffix, such as the in F7 9.

To left-justify chord symbols above the notes


Generally, Finale centers each chord symbol above the note to which it’s attached. If you wish, you can specify that each chord symbol be left-justified, so that the first
letter of the chord name falls above the note to which it’s attached.

Click the Chord Tool . From the Chord Menu, choose Left-Align Chords. To restore the chords, choose this command a second time.

To prevent changing the size of chord symbols attached to cue notes


See To prevent attached lyrics and chord symbols from shrinking.

See also:
Chord Tool

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Metatools

Metatools
Macros, or keyboard equivalents for mouse, menu, and dialog box actions, can dramatically increase your efficiency in working with Finale. One kind of macro is
already built into Finale: Metatools. These macros are always programmed to the number keys and the letter keys on your computer keyboard. By using a metatool to
place an expression marking into the score, for example, you can bypass three dialog boxes and several mouse clicks. See the individual tool for instructions for
programming Metatools.
Tools with Metatools

Articulation Tool Selection Tool

Expression Tool Key Signature Tool

Tuplet Tool Smart Shape Tool

Time Signature Tool Staff Tool

Clef Tool Repeat Tool

Chord Tool

To program an Articulation Metatool

Click the Articulation Tool . Press shift and a letter or number key. Finale displays the Articulation Selection dialog box; double-click the marking you want to
correspond to the letter or number you pressed.

To use an Articulation Metatool

Click the Articulation Tool . While pressing the number or letter key to which the desired marking was programmed, click on, above, or below a note or rest. If
you have notes in both Voice 1 and Voice 2, click above the staff for Voice 1 or below the staff for Voice 2 to place the articulation. The marking appears at the place
you clicked.
You can also press a metatool key and drag-enclose the desired notes to apply the articulation to those notes.

To program an Expression Metatool

Click the Expression Tool . Press shift and a letter or number key. Finale displays the Expression Selection dialog box; double-click the Expression you want to
correspond to the letter or number you pressed.

To use an Expression Metatool

Click the Expression Tool . While pressing the letter or number key corresponding to the Metatool you programmed, click on, above, or below a note or rest. If
you have notes in both Voice 1 and Voice 2, click above the staff for Voice 1 or below for Voice 2 to place the articulation. The expression appears at the place you
clicked.
To change an existing expression to a different one, select the expression’s handle and double-press the desired metatool key. The expression changes to the
definition assigned to the metatool key you used. (A “double-press” simply means pressing the keystroke twice in rapid succession).

Important note: If you use a Metatool to place a Shape Expression into the score, you create a
duplicate of that shape. This gives you an important advantage when you’re placing several of the
same Shape Expression into a score, because it means that you can reshape or resize each copy
individually. If you didn’t use a Metatool to place Shape Expressions into the score—and placed them
instead by selecting them from the selection box directly—you would reshape every occurrence of a
shape when you adjusted any one of them.

Metatools: Measure-attached Metatools: Note-attached Metatools: Context-Sensitive. Choose one of


these items to determine where expressions placed with metatools will be placed. Context-Sensitive will use the position in
the score where you clicked to determine whether the expression is attached to the note or the measure.

To program a Tuplet Metatool

Click the Tuplet Tool . Press shift and a number key or a letter key. Finale displays the Tuplet Definition dialog box; create the tuplet you want to correspond to
the number or letter key you pressed. Click OK.

To use a Tuplet Metatool

Click the Tuplet Tool . While pressing the number or letter corresponding to the Metatool you programmed, click a note (or, if the note is in Voice 2, click below
the staff). Finale automatically transforms the note you clicked and subsequent notes into the tuplet grouping you predefined, complete with a bracket or slur (if you
specified one) with the positioning you specified.

To program a Time Signature Metatool

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Metatools

Click the Time Signature Tool . Press shift and a number key or a letter key. Finale displays the Time Signature dialog box; create the time signature you want to
correspond to the number or letter you pressed. Click OK (or press enter).

To use a Time Signature Metatool

There are two ways to use a Time Signature metatool.

1. Click the Time Signature Tool. Select a region of music. While pressing the number or letter corresponding to the Metatool you programmed, click a
measure. Finale changes the meter over the region you have selected.
2. In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and Shift and type T. Then type the metatool key to
apply the new time signature. See also Simple Entry.

To use a Clef Metatool


There are two ways to use a clef metatool.

1. Click the Clef Tool . While pressing the number corresponding to the Clef you desire.

• Click before the first note of a piece to change the first clef displayed.
• Click before the first note of a measure to change the first clef for that measure and the remainder of the piece.
• Click between notes in a measure to set a mid-measure clef for the remainder of the measure and the remainder of the piece.

2. In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and Shift and type C. Then type the metatool key to apply the new clef.
The clef change will appear. See also Simple Entry.

To program a Chord Metatool

Click the Chord Tool . Press shift and a letter or number key. Finale displays the Chord Definition dialog box; create the chord symbol you want to correspond to
the letter or number you pressed (see Chord Definition dialog box). Click OK.

To use a Chord Metatool

Click the Chord Tool . While pressing the letter or number key corresponding to the Metatool you programmed, click a note or rest. The chord symbol appears
immediately, transposed according to the key signature if necessary.

To program a Selection Tool Transposition Metatool


Click the Selection Tool. Press shift and a number key (6-9). Finale displays the Transposition dialog box; set the transposition you want to program. Click OK.

To use a Selection Tool Metatool


To use a Selection Tool Metatool, select the measures you want to affect. Then, press the appropriate number key on your computer keyboard. the Selection Tool
Metatools are defined as follows:
Note: Selection Tool Metatools are program-specific, not document-specific like other metatools. You
can hold down Ctrl and press 3, 4, 5, and 6-9 to invoke these metatools with any tool that allows
regional selection. (Ctrl-1, 2, and 3 are used to change the view percentage.)

Metatool Predefined effects

1 Implode Music (displays the Implode Music dialog box)

I Drag-Implode Music for multiple staves (displays the Implode Music dialog box)

2 Explode Music (displays the Explode Music dialog box)

E Drag-Explode Music for multiple staves (displays the Explode Music dialog box)

Show elapsed time based on current tempo (displays the Elapsed Time“Time
3
at the Beginning of...” dialog box)

Respace notes, lyrics, and accidentals (Apply Note Spacing command) using
4
the settings in Document Options-Music Spacing

Respace notes, lyrics, and accidentals (Apply Beat Spacing command) using
5
the settings in Document Options-Music Spacing

6-9 Transpose (programmable)

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Metatools

To program a Key Signature Metatool


Click the Key Signature Tool. Press shift and a number key or a letter. Finale displays the Key Signature dialog box; choose the key signature you want to correspond
to the number or letter you pressed. Click OK (or press enter).

To use a Key Signature Metatool


There are two ways to use a Key Signature metatool.
Click the Key Signature Tool. Select a region. While pressing the number or letter corresponding to the Metatool you programmed, click a measure. Finale changes the
key signature over the range or measures you selected.
In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and Shift and type K. Then type the metatool key to apply the new key signature.
See also Simple Entry.

To use a Smart Shape Metatool


To use a Smart Shape Metatool, hold down the appropriate key on your computer keyboard. With the key down, double-click and drag to create the desired shape. For
slurs, glissandi, bends and slides, double-click and drag from note to note.

To program a Staff Style Metatool


Click the Staff Tool. Press shift and a number key or a letter. Finale displays the Apply Staff Style dialog box; choose the staff style you want to correspond to the
number or letter you pressed. Click OK (or press enter).

To use a Staff Style Metatool


Click the Staff Tool. Select a region. While pressing the number or letter corresponding to the Metatool you programmed, click a measure. Finale applies the staff style
over the range or measures you selected.

To program a Repeat Metatool

Click the Repeat Tool . Press shift and a letter or number key. Finale displays the Repeat Selection dialog box; double-click the repeat barline or the text repeat
you want to correspond to the letter or number you pressed (or, if the text repeat you want doesn’t appear in the list, click Create and design it at this point). Click OK.

To use a Repeat Metatool

Click the Repeat Tool . While pressing the letter or number key corresponding to the Metatool you programmed, click a measure. If the Metatool was
programmed to insert a repeat barline, Finale displays the Backward Repeat Bar Assignment dialog box, where you can specify the playback effects of the barline
(unless it was the purely graphic Forward Repeat barline). If the Metatool was programmed to insert a text repeat, Finale displays the Repeat Assignment dialog box,
where you can specify the playback effects of the text repeat.

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Lyrics

Lyrics
There are two ways to create lyrics within Finale. You can type the lyrics directly into the score, so
that you know at all times where you are in the music—a feature called Type Into Score. Or you
may prefer the faster Click Assignment method—where you type the lyrics in Finale’s text
processor (called the Edit Lyrics window), and then paste them into the score all at once. The
Click Assignment method also offers you the option of pasting your lyrics in from another program,
such as a word processor; see Importing.
Finale defines a syllable as any letters separated by a space or a hyphen. When you put the lyrics
into the score, Finale places the syllable in your score by the settings in the Lyrics Options dialog
box, centers the hyphen between notes, and moves any syllable correspondingly if its notehead
moves.
Lyrics are often written in distinct sections—verse and chorus, for example. For that reason, Finale
provides three different lyric types—Verse, Chorus, and Section. These types are identical in every
respect—you can write the verse of a song and define it as a Chorus, if you want to—except that
you can set the default font and positioning for each type differently. You could specify, for
example, that all Verses are to be set in boldface type, but that all Choruses are set in italic type.
(You can have as many as 512 of each lyric type. You can also change the font and style within
any lyric.)

To type lyrics directly into the score

1. Click the Lyrics Tool . The Lyric Menu appears. If you want to specify a lyric type (Verse, Chorus, or Section), from the Lyric Menu, choose Specify
Current Lyric. If you don’t specify a type, your first lyrics will be a Verse.
2. If you’re returning from other lyric editing, choose Type Into Score from the Lyric Menu.
3. Indicate the staff and the note to which you want to begin adding lyrics by clicking near the staff at the position of the first melody
note. A set of four positioning triangles appears at the left edge of the screen. The triangles control the baseline of the lyrics (against which the bottom edges of
the words line up). For a full discussion, see “To set the baseline (vertical position) for lyrics graphically,” below. The blinking cursor—the insertion point—jumps to
a position beneath the first note, in the staff you clicked.
4. Type the lyrics. Each time you type a space or a hyphen, Finale automatically moves the insertion point in preparation for entering the next syllable. As you
type, Finale automatically scrolls the music so you always know where you are.

If you make a mistake, just backspace over it by pressing backspace. (If you backspace to the previous syllable, Finale highlights the whole syllable so that you
can replace it all at once with anything you type.) To change a word you’ve already typed, click in the staff so that the syllable is highlighted, and then type its
replacement.
If you encounter a melismatic passage, where one syllable is sustained through several melody notes, press the space bar for each note of the melisma; the
cursor will skip ahead to the next note and a word extension will appear for the duration of the melisma.
As you type, Finale stores each syllable in its built-in text processor, the Edit Lyrics window. It’s important to understand that the Edit Lyrics window and the
lyrics in the score are dynamically linked. If you change a syllable in the Edit Lyrics window, every occurrence of the syllable is automatically changed in the
score—and vice versa.

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Lyrics

Important: When you enter lyrics using this method, pay special attention when entering additional
lyric lines, one beneath another. To add a new lyric line, be sure to change Verses before typing in
each new line; to do so, from the Lyric Menu, choose Specify Current Lyric. Otherwise, Finale will
believe that all the lyrics, even successive lines, are all part of the same “verse,” and unexpected
results may occur.

Tip: if you want a quick MIDI audio check of the notes you’re attaching lyrics to, hold down ctrloption
and the space bar and drag the cursor across the staff. Finale will play any note the cursor touches,
no matter which direction you drag.

To prepare lyrics in a separate window


This is the first step to adding lyrics to the score using the Click Assignment method.

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. From the Lyrics Menu, choose Edit Lyrics. The Edit Lyrics window appears.
3. Type the lyrics, including hyphens within polysyllabic words. If you’ve copied lyrics from another program (such as a word processor), press ctrl-V
(for Paste). If you make a mistake, backspace over it with the backspace key. If you’re anticipating a melisma (one syllable held over several notes), type
alt+0160 and a regular space for each extra note through which the syllable is held. (Word extensions will be placed in the score where appropriate).

You can cut (by pressing ctrl-X), copy (by pressing ctrl-C), or paste (by pressing ctrl-V) any selected text; select text by dragging through it. To view another
Verse (or Chorus, or Section), select it from the drop-down lists menus.

4. When you’re finished, click OK.

To place lyrics into the score (click assignment)

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Lyrics

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. From the Lyrics Menu, choose Click Assignment . A box appears, containing the lyrics you created in the Edit Lyrics window. The bottom scroll bar
scrolls through the syllables, left to right. The top scroll bar scrolls through the Verses, if there are more than one.
3. If you want to place one syllable at a time, click the first melody note. You must click on the staff at the position of the note—not necessarily on
the note itself. When you click, the first syllable displayed in the Click Assignment window disappears from the window and appears in the score, aligned with the
note you clicked. Note: you must have the layer in which the notes are placed active for lyrics to be attached. Also, if you want to attach lyrics to notes in Voice
two, hold down the shift key, then click on the note.
4. If you want to assign all the lyrics at once, click the first melody note while pressing ctrl. This technique, called Control–Click-Assigning, tells
Finale to assign each of the syllables, one after another, to consecutive melody notes, automatically skipping rests, tied notes, and notes in different layers and
voices. If any syllables are assigned to the wrong notes, see “To correct misaligned lyrics.”

You have to repeat this process for each Verse, Chorus, or Section. If you have a second verse, for example, simply scroll back to its beginning spot, advance
the upper scroll bar to Verse 2, and control–click-assign again.

To edit lyrics already in the score


The method described below is useful for making small changes to lyrics you’ve already placed in the score—correcting a misspelling, for example.
If the editing you need to do is more extensive, it may be easier just to do it directly in the Edit Lyrics window. After specifying the lyric type and number (by choosing
Specify Current Lyric from the Lyrics Menu), choose Edit Lyrics from the Lyrics Menu. Any changes you make in the Edit Lyrics window automatically affect the lyrics in
the score.

Note: If you have placed the same syllable on more than one note in your score, all instances of the
syllable will be changed.

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. If you’re returning from other lyric editing, from the Lyrics Menu, choose Type Into Score. Click on the staff at the position of the
syllable you want to edit. The syllable is highlighted.
3. Type the new syllable. Anything you type replaces the highlighted syllable.
4. Press the Space bar to advance to the next syllable. Press backspace to backspace over what you’ve just typed. To select any syllable, click within
the staff lines; the syllable becomes highlighted, so that you can replace it with whatever you now type.

To correct misaligned lyrics


You may discover that your lyrics don’t “scan” after Control–Click-Assigning (that is, they don’t correspond correctly to the melodic notes). You may have entered too
many syllables, failed to remember a melisma, or skipped a word. Using the following technique, you can shift all syllables by one note to the right from a selected
point.

1. Click the Lyrics Tool , and from the Lyrics Menu, choose Shift Lyrics. The Shift Syllable dialog box appears, letting you specify the direction
and range of the lyric shift you’re about to produce.
2. From the drop-down list menu, choose the appropriate direction (Left or Right). These directions tell you which way Finale will shift lyrics relative
to the melody.
3. Click the appropriate range option. If you click Shift Syllables by One Note, to the End of the Lyric, Finale will shift every syllable from the one you click to
the last one in the piece. If you click Shift Syllables by One Note, to the Next Open Note, the effect of your syllable-shifting will “ripple through” the score only as
far as the first note that doesn’t have a syllable attached to it. Subsequent syllables will remain where they are.

The Rotate syllables option is only useful if you’ve created a set of lyrics with more syllables than there are notes to attach them to. Click this option on those
rare occasions when you want to replace the syllable on each note with the syllable to its right or left—but without changing which notes have lyrics (see the
figure below).

If you select Rotate Syllables (and To The Right), you can click the first note of a melody (the first middle C, top) to shift the syllable assignments by one syllable to
the left (bottom).

4. Click OK (or press enter). You return to the document.


5. If you specified a Right shift, click the note above the first syllable you want to move. The syllable at which you clicked, and subsequent
syllables, shift to the right by one melody note, automatically skipping notes, rests, and tied notes. (You should click in the staff at the position of the note—not on
the note itself.)

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Lyrics

6. If you specified a Left shift, click in the staff above the note just before the first syllable you want to move. The syllable on the following
note, and subsequent syllables, shift to the left by one melody note, automatically skipping notes, rests, and tied notes.

To correct overlapping lyrics


You’ll often discover that some of your lyric syllables overlap—or have more space than they need. You can use the Music Spacing command (which you normally use
for respacing the notes in your music) to correct lyric collisions. See Document Options-Music Spacing for more information.

1. From the Document Menu, choose Document Options and select Music Spacing. The Music Spacing options appear.
2. Verify Lyrics is selected under Avoid Collision items.
3. Click OK.

4. Click the Selection Tool .


5. Select the music you want to respace. In general, you’ll want to choose Select All from the Edit Menu, so that all staves are highlighted. (If you select
only the lyric staff, for example, you could get unexpected spacing in other staves, because the Music Spacing command sets the measure widths for all staves
according to the spacing of the selected region.)
6. From the Music Spacing submenu of the Utilities Menu, choose either Apply Beat Spacing or Apply Note Spacing . For a description of the
differences between the two options, see Document Options-Music Spacing. they work equally well in correcting lyric overlaps. This process takes time. When the
Selection Tool cursor disappears, however, you’ll find that your music has been carefully respaced, with no lyric collisions.

To set the font for lyrics globally


This will set the default font for lyrics you are about to enter. It will not change the font for lyrics already entered in the score. See also Change Fonts Plug-in.

1. From the Document Menu, choose Document Options and select Fonts. The Font options appear. See Document Options-Fonts for more details.
2. From the drop-down list menu for lyrics, select the lyric type you want to change (Verse, Chorus, or Section).
3. Click Set Font. The FontFont dialog box appears.
4. Select the type style you want for your lyrics. Under normal circumstances, Finale scales the type size of lyrics proportionally with the piece; if you
reduce the music to half size (using the Resize Tool), the lyrics also shrink to half size.

If you’d prefer to specify a fixed size for the lyrics, so the text won’t vary with the size of the notes, select the Fixed Size checkbox.

5. Click OK (or press enter) twice. Use this method to set the primary font for your lyrics. If there are occasional variations within this primary font, see “To
change fonts within a lyric.”

To change fonts within a lyric


To set the primary font for a lyric, see “To set the font for lyrics globally.” Use the following method for exceptions to the primary font.

1. Click the Lyrics Tool . The Lyric Menu appears. If you want to specify a particular lyric type or number, from the Lyrics Menu, choose Specify Current
Lyric.
2. From the Lyrics Menu, Choose Edit Lyrics. The text editor appears. If you have several lyric sections of the same type, use the drop-down lists menus to
select the ones you want to change.
3. Select the text whose font you want to change by dragging through it (so that it’s highlighted).
4. From the Text Menu, select the desired font and click OK.
5. Click OK (or press enter) to confirm your settings.

To prevent changing the type size for lyrics attached to cue notes
See “To set the font for lyrics globally.” See also To prevent attached lyrics and chord symbols from shrinking.

To set the baseline (vertical position) for lyrics numerically


You can set the height of the lyric line with respect to its staff either before or after you’ve placed your lyrics in the score. You can also set the baseline (on which the
bases of the letters align) independently for each staff in each system—and for each set of lyrics of each type. Finally, you can drag any syllable anywhere you want
(see “To move or delete a syllable”). (For information regarding lyric baselines in linked parts, see Baseline Positioning in linked parts.)

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. From the Lyrics Menu, choose Adjust Baselines. The Adjust Baselines dialog box appears.
3. Specify the lyric type and number for which you want to set the baselines. Also specify the staff and system number, if desired. You
specify a staff and system number by clicking the Prev. and Next buttons beside the Staff and Staff System boxes. If you just want to move the baseline for the
entire piece at once, you don’t need to adjust the staff or system controls; just click in the Piece text box.
4. Enter the distance you want the baseline to be from the center line of the staff in the appropriate box or boxes. The center line of the
staff is the zero position. The units are whatever you’ve selected using the Measurement Units command (Edit Menu).

For example, to set the baseline half an inch below the center line, you’d type –.5 (inches) in the Piece box. It’s a negative number because you’re moving the
line down. If there were very low melody notes and you felt that the baseline in the third system needed to be a quarter inch lower still, you’d set the Staff
System counter to 3 (by clicking the Next button twice), and you’d enter –.25 in the Staff System: 3 box. (If you ever want to restore all baselines to their
original positions, click Set Piece Offsets to Default Font.)

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Lyrics

5. Click OK (or press enter).

To set the baseline (vertical position) for lyrics graphically

1. Click the Lyrics Tool . The Lyrics Menu appears. From the Lyrics Menu, choose Specify Current Lyric to specify the lyric type and number, if you want.
2. From the Lyrics Menu, choose Click Assignment or Type Into Score. Move the Click Assignment box out of the way, if necessary. At the left edge of
the screen is a row of four small triangles pointing to the right. They control the baseline for the lyrics. If necessary, click the staff whose lyrics need adjustment.
3. Drag the leftmost triangle up or down to set the baseline for the entire piece (for the selected lyric type and number). As you drag it,
the other three triangles move with it.
4. Drag the second triangle up or down to set the baseline for the selected staff only, all the way through the piece (for the selected
lyric). As you drag this triangle, the two triangles to its right move with it.
5. Drag the third triangle up or down to set the baseline for this staff, this system only (for the selected lyric). As you drag this triangle, the
rightmost triangle moves with it. Use this third triangle only in Page View (so you can see the system you’re affecting).
6. Drag the rightmost triangle up or down to set the baseline for the next syllable, before it’s entered. This option is useful when you’re
entering lyrics with the Type Into Score feature or by Click Assigning one syllable at a time.

For information regarding lyric baselines in linked parts, see Baseline Positioning in linked parts.

To move or delete a syllable

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. From the Lyrics Menu, Choose Adjust Syllables.
3. Click on the staff at the position of the syllable you want to move. Don’t click the syllable. Just click within the staff lines in line with the syllable you
want to move or delete; its handle appears.
4. Drag the handle to reposition the syllable. Select it and press the arrow keys to “nudge” it for fine positioning; select it and press
delete to remove the syllable. Note that this method of deleting a syllable doesn’t pull the following syllables one note to the left; it allows you simply to
remove a selected syllable, leaving all other syllables where they are. To delete a syllable where you want the remaining syllables to slide over to compensate,
see “To correct misaligned lyrics.”
5. To restore a syllable to its original position, click its handle and press backspace.

To erase lyrics

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. From the Edit Menu, choose Choose Items to Clear. The Clear Selected Items dialog box appears.
3. Under Entry Items, click None to deselect all items, then select Lyrics.
4. Click OK.

To copy lyrics

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears.
3. Check Lyrics (only). Click OK.
4. Drag the first selected measure so that it’s superimposed on the first target measure. If the first target measure isn’t on the screen, scroll to it,
and then ctrl–shift-click it. In either case, the lyrics are copied from the source selection to the target music. Note that Finale will only place lyrics in the target
region on notes that fall on the same beats as they did in the source region.

To clone lyrics

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. Choose Clone Lyric from the Lyrics Menu.
3. Select the region whose lyrics you want to copy. You use the Lyrics Tool to select a musical region just as you would with the Selection Tool: select
one measure by clicking, additional measures by shift-clicking, a screenful by drag-enclosing, or an entire staff by clicking to the left of it.
4. Drag the first selected measure so that it’s superimposed on the first target measure. If the first target measure isn’t on the screen, scroll to it,
and then ctrl–shift-click it. In either case, the lyrics are copied from the source selection to the target music. Note that Finale will only place lyrics in the target
region on notes that fall on the same beats as they did in the source region.

To change alignment and justification of syllables for individual notes

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. From the Lyrics Menu, choose Adjust Syllables.

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Lyrics

3. Click on the staff at the position of the syllables in question. Don’t click the syllable; click in the staff lines. The syllables’ handles appear.
4. Select the handle above the syllables.
5. Choose from the Alignment submenu to change the position of the syllables relative to the notehead. See Lyrics Menu–Alignment for more
details.
6. Choose from the Justification submenu to change the position of the syllables relative to each other. See Lyrics Menu–Alignment for more
details.

To set alignment and justification of syllables globally


1. From the Lyrics Menu, choose Lyric Options. The Lyric Options appear.
2. If you would like specific alignment and justification settings for word extensions, select the Syllables with Word Extensions
checkbox and set the alignment and justification settings. For example, you could set the alignment and justification both to Left.
3. If you would like specific alignment and justification settings for the first syllable in your score, select the First Syllable in Lyric
checkbox and set the alignment and justification settings. For example, you could set the justification to Left and leave the alignment (relative to the
note) to Center.
4. If you would like specific alignment and justification settings for the first syllable of every system, select the Syllables at Start of
System checkbox and set the alignment and justification settings. For example, you could set the justification to Left and leave the alignment
(relative to the note) to Center or set both the alignment and justification to Left.
5. Select the alignment and justification settings for the remainder of the syllables in your score using Others. The order of the alignment
and justification items in the dialog box also indicate order of precedence. For example, if you have a syllable which is the first syllable in the system, but also has
a word extension, the Syllables with Word Extensions settings will be used instead of the Syllables at Start of System (assuming you have both these items
checked).
6. Click OK.

To draw “word extension” underlines


When a syllable’s note is tied over to another note or sustained through several notes (as in a melisma), a common practice is to draw an underline following the
syllable to indicate its extension.

As you enter lyrics, word extensions are defined automatically where appropriate. While using Type Into Score, they do not appear immediately, only after switching out
of Type Into Score mode, or changing tools. These underlines are called Smart Word Extensions because they expand and contract along with the music as you enter
additional lyrics and modify the page layout. They can also automatically extend over a system breaks. You can edit the default visual appearance of Smart Word
Extensions, such as the baseline and offset from the left or right syllable, in the Word Extensions dialog box. Changes made in this dialog box apply to existing word
extensions, as well new ones added to the score.
A Smart Word Extension underline will extend to the next syllable of the same lyric type and number regardless of the baseline difference of the individual syllables. A
word extension underline will extend to any syllable of a different type (verse, section, or chorus) provided it lies on the exact same vertical baseline as the previous
syllable. Word extensions do not terminate at the startpoint of the next syllable if it is of the same type, but a different number (verse 1, verse 2) regardless of the next
syllable’s baseline position.

Note: Old documents (those created in Finale version 2003 or earlier) that contain lyrics retain all
word extension positioning information when converted to Finale 2008 format. However due to possible
conflicts with existing word extensions, Smart Word Extensions are not active in converted documents
by default. If you want to activate Smart Word Extensions in an older Finale Document, from the
Document Menu, choose Document Options, select Lyrics, and then click Word Extensions. Check
Use Smart Word Extensions. Then click OK twice to confirm your settings. Old word extensions
disappear and are replaced with Smart Word extensions. (Uncheck this option to revert back to the old
word extensions that existed in a document prior to turning Smart Word Extensions on).

After word extensions appear in the score, each can be edited manually. To edit word extensions individually:

1. Click the Lyrics Tool . The Lyrics Menu appears.


2. From the Lyrics Menu, choose Edit Word Extensions.
3. Click near the syllable to be extended. A handle appears at the end of the syllable.
4. Drag the syllable’s handle to the right. As you drag, you create an underline. To remove the underline, click its handle and press delete. To clear manual
positioning, press Backspace.

To add “word extensions” on specific syllables only


1. From the Lyrics Menu, choose Lyric options.
2. Choose Word Extensions. The Word Extensions dialog box appears.
3. Uncheck Create Automatically When Notes Follow Without Lyrics.
4. Make sure Use Smart Word Extensions is checked.
5. Click OK twice to confirm your settings.
6. Add an underscore (_) after a syllable to define a word extension either while using Type Into Score, or while entering into the Edit

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Lyrics

Lyrics dialog box.

Note: If Smart Word Extensions if turned Off in the Word Extensions dialog box, underscore characters
will not convert to word extensions.

To adjust the position of “word extension” underlines


1. From the Document Menu, choose Document Options, and then select Lyrics. The Lyric Options appear.
2. Click Word Extensions. The Word Extensions dialog box appears.
3. In the Lyric Alignment section, enter new values into the Vertical Offset from Baseline and Horizontal Offset from Syllable text
boxes. The Vertical Offset from Baseline is the distance between the underline and the baseline (against which the bottoms of the lyric syllables align). The
Horizontal Offset from Syllable is the distance between the end of the syllable and the beginning of the underline. The units are whatever you’ve selected using
the Measurement Units command (Edit Menu). See Word Extensions dialog box.
4. Click OK (or press enter).

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Beat positions

Beat positions
When using Finale, beats are positioned according to nonlinear spacing—in other words, the positioning of beats in a measure that contains a half note and four eighth
notes won’t be the same as in a measure with four eighths and a half note—even though the measures are the same width. See Document Options-Music Spacing for
a more complete discussion.
Each measure has beat chart (when using Automatic Music Spacing), providing handles that you can drag horizontally to reposition the beats in a measure. Moving a
beat is not the same as moving a note—when you move a beat, the note that falls on that beat in every staff moves at once.

To create a beat chart in one measure


Until a measure has a beat chart, you won’t have control over the positions of the individual beats. If you apply the Music Spacing command to a certain measure, you
affect the spacing of the notes and provide a beat chart; see Document Options-Music Spacing. The following method, on the other hand, adds a beat chart to the
selected measures
without changing the spacing of the music in them.

1. Click the Measure Tool , and double-click the barline handle of a measure. The Measure Attributes dialog box appears.
2. From the Position Notes drop-down list, choose Using Beat-Chart Spacing. Click OK. To copy the positioning mode you’ve just established to
other measures, you’ll need to turn off Automatic Music Spacing in Program Options-Edit. Next, click the Selection Tool. From the Edit Menu, choose Edit Filter;
check Note Positioning (only), and click OK. Drag the measure you’ve already modified so that it’s superimposed on the first target measure. Finale asks how
many times you want to copy the positioning mode; enter the appropriate number and click OK (or press enter).

To move a beat
This process won’t work unless the measure in question has a Beat Chart (see Document Options-Music Spacing or “To create a beat chart in one measure.”

1. Click the Measure Tool . Two stacked handles appear on each barline.
2. Click the second from the top barline handle of the measure in question. The beat chart appears above the measure. The top row of handles
indicates the positions of the beats according to the time signature (as they were before you respaced the music). By dragging a handle on the bottom row, you
can reposition a beat in all staves at once.

When you click on the bottom barline handle, a beat chart appears. The top row of handles indicates the positions of the beats as they’d fall with linear
spacing, and the bottom row of handles allows you to move beat positions by dragging them.

3. Drag the desired beat’s handle horizontally. If you press shift while dragging, all handles to the right of the dragged handle move in tandem. If you
double-click between two top-row handles, a new handle appears, which governs the position of the beat halfway between the handles on either side.
4. If you double-click any top-row handle (except the first), the Beat Chart Element (#) dialog box appears. See the Beat Chart dialog box for
more details.

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Page size

Page size
There are two places in Finale where you can set the page size: the Page Format for Score dialog box, Document Menu > Page Format > Score, or the Page Layout
Tool. A page in Finale can be as huge or as tiny as you can imagine—but some printers are limited in the sizes of paper they can handle.

.
Note: If you plan to print on any size paper larger than 8 5 by 14 inches, see Printing for special
instructions. For other instructions on mixing and matching page size layouts, and a more complete
discussion of page layout, see Page layout.

To set the page size for all pages

1. Click the Page Layout Tool .


2. From the Page Layout Menu, choose Page Size.
3. In the Page Size dialog box, choose the page size from the drop-down list or enter values using the currently selected measurement units.
4. Choose Landscape or Portrait. This setting affects how Finale lays out the page. Printing settings are set in the Page Setup dialog box under the File
Menu.
5. In the Change area, click All Pages.
6. Click OK.

To change the page size (Document Menu)


See Page layout—To change the default page layout (Page Format for Score dialog box).

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Systems

Systems
A system is one line of music across the page, including all the staves that constitute the staff system. This entry contains instructions for spacing, indenting, moving,
or resizing systems. See Page layout for information on setting initial system position and size settings. See System (line) break , Measure layout, or Page turns for
further instructions on laying out the measures that constitute systems.
For instructions on compacting staff systems by omitting empty staves (when printing orchestral scores, for example), and varying the number of staves in each system
by removing blank staves, see Optimizing systems.

To indent or move a system


It’s common practice to indent the first system of a piece—not only for aesthetic reasons, but often to allow room for staff names to be written out in full. The following
instructions show you how to indent or move a single system; if you want to indent all systems, a better method would be to simply increase the page margin. See
Margins for full instructions.

1. Click the Page Layout Tool . Each system is surrounded by a dotted-line rectangle.
2. Go to the page containing the system you want to change.
3. To indent a system, drag its upper-left handle. To move a system, click within the staff lines and drag.
4. Instead of dragging, you can enter values directly into the number boxes. See Edit System Margins dialog box for more information.
5. When you’re viewing Staff Systems, you’ll notice a boldface number to the right of each system. The numbers on the systems (the first system is number 1) help
you identify each system, so you’ll be aware if the system layout has shifted.
6. From the Edit Menu, choose Update Layout.

To force a system onto the next page


Use the following technique if you’re laying out the pages of your piece and find that you need to force the last system on one page to the top of the next page. If you
want the system to always appear at the top of a new page, see Page Turns.

1. Click the Page Layout Tool . Each system appears, surrounded by a dotted-line.
2. Go to the page containing the system you want to move.
3. Click to select the system.
4. From the Page Layout Menu, choose Systems, then Edit Margins.
5. Enter a larger number in the Distance Between Systems text box. Make sure the Distance checked is the only box checked.
6. Click Apply. If the system doesn’t move to the next page, continue increasing the Distance Between Systems and clicking Apply until it moves.
7. Click Close.
8. From the Edit Menu, choose Update Layout.

To reduce or enlarge a system


You must be in Page View to reduce or enlarge a system.

1. Click the Page Layout Tool . Each system appears, surrounded by a dotted-line.
2. From the Page Layout Menu, choose Resize Staff Systems. A dialog box appears, asking how to resize the system. Click Hold Margins if you want to
reduce (or enlarge) the music itself but not the system margins, thus increasing (or decreasing) the number of measures that fit on a line. Click Resize Vertical
Space if you want to tighten up (or expand) the space between this system and the next, proportional to the reduction (or enlargement).
3. Enter the desired reduction or enlargement percentage. Specify the region of systems you want to affect and click OK. The measure
widths will probably appear uneven at first.
4. From the Edit Menu, choose Update Layout. To restore a system to its original size, click on the Page Layout Menu and select Resize Staff Systems
again. When the dialog box appears, enter 100 (%).

To omit empty staves from a system (Optimizing)


See Optimizing systems.

To create variable-distance systems


See To create variable-distance systems.

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Margins

Margins
There are two kinds of margins in Finale: page margins and system margins. Both can be set either from a menu or with the Page Layout Tool. For information on
system margins, see Systems.

To change page margins

1. Click the Page Layout Tool .


2. First set the range of the pages to affect in the Page Margins submenu of the Page Layout Menu.
3. Drag the handles at the edge of the page margins. You can also enter values directly into the number boxes of the Edit Page Margins dialog box. See
Edit Page Margins dialog box for more information.
4. From the Edit Menu, choose Update Layout. This command re-calculates the layout of measures, based on the new margins.

To change default page margins numerically


Note: The changes you’ll be making with these instructions establish the page margins for pages yet
to be created. To apply them to existing pages, see the final two steps.

1. From the Document Menu, choose Page Format, then Score. The Page Format for Score dialog box appears.
2. Enter new values in the Page Margins boxes. These numbers are the distances from the edge of the page; thus if the page size changes, the margins
remain at the same distance from the page edge. These measurements are always positive and measure the absolute distance from the edge of the page.
3. Click OK (or press enter). The changes you’ve made will affect only new pages added to the piece by Finale, unless you perform one of the following
additional steps.

4. To apply the new margin settings to one existing page, click the Page Layout Tool ; and go to the page you want to change;
Click on the Page Layout Menu and choose Redefine Pages, then Current Page.
5. To apply the new margins to all existing pages, click on the Page Layout Menu, choose Redefine Pages, then Redefine All Pages.

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Reducing/Enlarging

Reducing/Enlarging
You can enlarge or reduce almost any element of your music: a notehead, an entire note, a staff, a system, or a page. The limits of the Resize Tool are 10% to
1000%.

To reduce or enlarge individual notes


See Note size and Cue notes.

To reduce or enlarge a staff or system


You must be in Page View to reduce or enlarge a staff or system.

1. Click the Resize Tool .


2. Click to the left of a staff (to resize the staff), or to the left of or between any two staves (to resize the system). The Resize Staff (or Staff
System) dialog box appears, asking you how you want to resize the staff or system.

If you’re reducing or enlarging a system, you see two important options. Click Hold Margins if you intend to reduce the music itself but not the system
margins, thus increasing the number of measures that fit on the line. Click Resize Vertical Space if, in reducing a system, you want less space between this
system and the next, proportional to the reduction.
If you’re reducing or enlarging a system, you’ll also want to look at the Staff Sizing. This section can be very useful for calculating the combined scaling of
staff and system. This can help avoid the necessity of resizing the page and scaling text blocks.

Tip: the absolute staff height is 96 EVPUs or .3333 inches or .8467 cm.

3. Enter the desired reduction or enlargement percentage. Specify the range of systems you want to affect. Click OK. If you reduced or
enlarged a system with Hold Margins selected, the measure widths will appear to be uneven.
4. Choose Update Layout from the Edit Menu. To restore a staff or system to its original size, click to the left of the staff or system with the Resize Tool.
When the dialog box appears, enter 100 (%) and click OK.

To reduce or enlarge all the music on a page (or the entire piece)
Use this technique for reducing or enlarging the printed size of the music itself, including text and expressions (without changing the actual page size). You must be in
Page View to reduce or enlarge a page.

1. Click the Resize Tool .


2. Click the upper-left corner of the first page you want to resize. The Resize Page dialog box appears.
3. Enter the reduction or enlargement percentage. Click Hold Margins, too, unless you want the entire printed page to shrink (or grow) proportionally.
(SeeResize Staff System dialog box for details.)
4. Specify the pages you want to resize.Click OK. As always, whenever you perform an operation that changes the measure widths, you should update
the measure layout.
5. Choose Update Layout from the Edit Menu.

To reduce or enlarge fretboards


See Resize Fretboards dialog box.

To prevent certain items from shrinking


When you shrink notes, Finale automatically shrinks anything attached to them proportionally—lyrics, chord symbols, articulations and expressions, and so on. Under
some circumstances, you may not want these attached items to change size along with the notes.

Note: For lyrics, a simpler alternative to the method below is to specify a Fixed Size when you select
a type size.

Note: For chords, a simpler alternative to the method below is to specify a Fixed Size in Document
Options-Fonts.

1. Open the selection dialog box that contains the entry you would like to remain a Fixed Size. For example, for an Articulation, choose the
Articulation Tool and double-click a note to open the Articulation Selection dialog box.
2. Select the item in the list that you wish to remain a Fixed Size and choose Edit.
3. Choose Set Font.
4. Select Fixed Size. This will prevent your item from shrinking when you use the Resize Tool.

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GuitarNotation

Guitar notation
Guitar parts are often more complex than other parts, because they often combine regular notation with slashes, or hash marks, representing chordal rhythms. There
are three ways to accomplish this combination, depending on the kind of part you want to create.

If there’s a passage where you want to indicate ad lib comping, you can let Finale fill in the measures automatically with either stemless, evenly-spaced slashes, or
beamed, stemmed rhythmic slashes. See Slashes.

If the part calls for a combination of notes and pitchless slashes, you can enter the melodic parts in one Finale layer, and add the slashes in another. See To combine
notes with pitchless slashes on one staff.

If there are only a few slashes that must fall on specific pitches, you can notate the entire part in one layer, temporarily notating the slashes as standard noteheads.
Once that’s done, you can change the appropriate noteheads to slashes with the Special Tools Tool. See“To create pitched slashes (note-by-note method).

To enter hammer-ons, pull-offs and other guitar-specific markings

1. Click the Smart Shape Tool in the Main Tool palette.

2. Click the Slur Tool .


3. Double click the first fret number. A slur will extend from the first fret number to the second.

4. Hold down the Option key and click the Custom Shape Tool . You should now see the Smart Line Selection dialog box.
5. Double-click the “H” to select a Hammer-On, or the ”P” for a Pull-Off. You will see many other guitar markings here as well including a bend (B),
release (R), palm mute (P.M.), a let ring marking and others. You can find a complete list in the Appendix under Guitar Markings.
6. Click the Select button.
7. Double-click the first fret number and drag to the second. You will see the H or P appear above the fret number. You will see two handles below the
hammer-on or pull-off indicating the endpoints of an invisible line. Click and drag either of these to position the H or P accordingly.

You can use predefined metatools to quickly enter these items, and even program your own. See Metatools and To Program a Smart Shape metatool for
details. You can also enter several guitar markings as articulations. See Articulations.

To combine notes with rhythmic notation slashes on one staff


1. Choose Layer 2 from layer buttons in the lower-left corner of the screen, and click the Speedy

Entry Tool . You’re going to notate the parts that are to display normal noteheads. See Speedy Entry for
instructions in using the Speedy Entry Tool.
2. Click a measure, and enter the notes. For each beat where you’ll want a slash, enter any pitch; we’ll
convert them to slashes next so what counts are the rhythms.

3. Click the Staff Tool , and select the notes that will contain slashes. See Selecting music for
more information.
4. From the Staff Menu, choose Apply Staff Styles. The Apply Staff Styles dialog box appears.
5. Select Rhythmic Notation, and click OK. See Staff styles for more information.

To create pitched slashes (note-by-note method)


1. Create the part on a single staff. For each note that’s going to be a slash, enter a normal note.

2. Click the Special Tools Tool , and click the first measure you want to contain slashes.

3. Click the Note Shape Tool . Double-click the handle of the first notehead you want to be a slash. Finale displays a palette containing
every symbol in the Maestro music font.
4. Double-click the slash. You actually have a choice of two slashes; the smaller one (slot #33) usually looks best. (The larger one is slot #243.) You return to
the document, where the note now has a slash instead of a notehead.
5. Repeat the process with the other slashed notes. If the stems don’t connect with the notehead correctly, this can be adjusted for each character you
use as a notehead. See Stem Connection Editor dialog box for details.

To use a MIDI guitar for entry

There are two components necessary for entry with a MIDI guitar, the MIDI guitar itself, and a guitar to MIDI interface. The guitar to MIDI interface translates pitches
from the guitar into MIDI signals to be sent to the computer. Consult the instruction manual that came with your guitar to MIDI interface to insure it is connected
properly to the computer. Then in Finale, go to the MIDI setup dialog box (under the MIDI menu) and choose the appropriate MIDI IN driver. For more information on
MIDI setup in the Finale Installation and Tutorials.

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GuitarNotation

There might be a slight delay from the time the string is plucked to the time the MIDI information reaches Finale. To compensate for this, you may need to adjust the
MIDI Latency setting:

1. From the MIDI/Audio Menu, choose MIDI Setup.


2. In the MIDI Latency text box, enter “25” ms. This is just a first guess. Getting this value to match the precise delay may require some trial and
error. You may need up to 150ms to compensate for the delay. The ideal amount of latency will depend on your hardware configuration.
3. Coordinate MIDI channels for your guitar strings. From the MIDI menu, choose Tablature MIDI Channels. The MIDI Channels for Tablature
dialog box appears. The MIDI data for each string on a MIDI guitar reaches Finale on its own MIDI channel. In order to properly organize this information, you
need to tell Finale the MIDI channel assigned to each string. In this dialog box, enter the channel for each string as defined on your guitar to MIDI interface.
Consult your interface’s instruction manual for information on assigning strings to MIDI channels, or viewing the currently selected MIDI channel for each string.
See Tablature MIDI Channels dialog box.

Once you have hooked up the MIDI guitar and set the latency and string MIDI channels, follow instructions for Recording with HyperScribe on either a notation or
tablature staff. You can also use a MIDI guitar for entry while using the Simple or Speedy Entry Tools. The principals for using HyperScribe for entry with a MIDI guitar
are the same as entry with a MIDI keyboard.

See also
Slashes
Tablature

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Tablature

Tablature
Many of Finale’s capabilities are dedicated specifically to notation of fretted instruments. For example, a specialized tablature staff allows for easy tablature notation.
Fret numbers can be added and edited with the Simple Entry Tool or Speedy Entry Tool, and a library of guitar markings are available, including tab slides and bends,
with the Smart Shape Tool. You can now even enter music directly into a tablature staff with a MIDI guitar.
Tablature is a special kind of notation for plectrum instruments, that usually consists of two staves; the top staff displays the notes in standard notation, and the bottom
staff has a staff line for each string of the instrument and displays small numbers instead of noteheads (to indicate fret numbers).

A tablature score usually appears as an upper, notation staff and a lower staff whose lines correspond to the strings of the plectrum instrument.

To create tablature notation


1. Notate the instrument’s music on a standard notation staff (transposed for guitar) as you would normally. Use the Setup Wizard to create
a properly transposed guitar staff (written an octave up). If a TAB staff already exists below the standard staff, skip ahead to step 6.

2. Click the Staff Tool and from the Staff Menu, choose New Staves (with Setup Wizard). For these steps, we’ll add a pre-defined TAB staff.
To create a customized TAB staff, see To create a tablature staff from scratch.
3. In the left column, choose the Fretted Instruments category.
4. In the middle column, double-click the desired TAB staff to add it to the right column. All TAB staves contain the text [TAB] following the
instrument name.
5. Click Finish. A TAB staff appears at the bottom of the score.

6. Click the Selection Tool and select all of the measures of the notation staff. See Selecting music for some region-selecting shortcuts.
7. Click and drag the highlighted region down to the tablature staff. You should see the Lowest Fret dialog box. For now, we’ll leave these settings
alone.
8. Click OK. The music will translate into corresponding fret numbers in the tablature staff. To copy a portion of your music into a tablature staff, simply highlight a
smaller region of the standard staff before drag-copying it down. You can also use the Mass Edit Tool to copy music from a tablature staff into a standard staff
and Finale will translate the fret numbers into notes accordingly. See also To enter directly into a tablature staff.

To enter directly into a tablature staff (Simple Entry)

1. Click the Simple Entry Tool . The Simple Menu appears.


2. From the Simple Menu, choose Simple Entry Options, and then check Select Tablature Notes on Entry (if it isn’t already checked).
3. Click OK.
4. Choose a rhythmic value from the Simple Entry Palette.
5. Click in the tablature staff. You will see a “0” on the line you clicked (or the number of the default lowest fret specified in the Tablature Staff Attributes). It
should already be selected.
6. Type the fret number on the numeric keypad. You can also hold down Ctrl-Shift and type the number on your QWERTY keyboard. Note: The QWERTY
keyboard is the letter keys and the numbers above them. The Numeric Keypad is the set of number keys on the right side of a standard desktop keyboard. In
addition to entering tablature by clicking, you can also use the Simple Entry Caret.
7. From the Simple Menu, choose Simple Entry Options. Ensure Use Simple Entry Caret is selected and click OK. The Simple Entry Caret
appears in the score. If not, press Return.

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Tablature

8. Move the caret to the tablature staff. Use the left and right arrow keys to move the caret horizontally. Hold down Ctrl and press the up and down arrows
to move the caret between staves. To activate the caret at a specific location, Ctrl-click a fret number to select it and press Enter (or Option-click an empty
measure). For detailed information on navigation using the Simple Entry Caret, see Simple Entry.
9. Choose a rhythmic duration. Either click a duration icon in the Simple Entry Palette or hold down Ctrl and Alt and type the desired rhythmic duration number
on the numeric keypad. Or, hold down Ctrl-Alt-Shift and type the duration on the QWERTY keyboard.
10. On the QWERTY keyboard, type the string number. For example, on a standard 6-string guitar tab staff, type 1 to move the caret to the top E string.
11. Type the fret number on the numeric keypad. Hold down Ctrl to add a fret number greater than 9 (for example, type Ctrl-numpad 2 to add 12). The
caret moves to the right in preparation for the next entry.
12. To add a fret number with the caret, you can also press Enter to add a fret number (0) on the chosen string, and then hold down Ctrl-
Shift and type the number on your QWERTY keyboard. Do this if your computer keyboard does not have a numeric keypad.
13. To change the number of the fret number you just entered, hold down Ctrl and type the new number on the numeric keypad. Or, hold
down Ctrl-Shift and type the number on your QWERTY keyboard.
14. To change the duration of the fret number you just entered hold down Ctrl and Alt and type the desired rhythmic duration in the
QWERTY keyboard.
15. To change the string of the fret number you just entered, hold down Alt and press the up and down arrows.
16. To add another fret number to the previous entry, hold down Alt and type the string number in the QWERTY keyboard. Then, while
holding down Alt, type the fret number in the numeric keypad. (Or, hold down Ctrl-Shift and type the number on your QWERTY
keyboard.) For a list of Simple Entry Tablature commands and their associated keystrokes, from the Simple Menu, choose Tab Specific Commands.

To edit guitar tablature

1. To move fret numbers to a different string, click the Simple Entry Tool .
2. Ctrl-Click a fret number and drag to the appropriate string. You can also use the up and down arrows to move selected fret numbers between
strings. If the fret number turns orange after selection is cleared, it is outside the range of the string. Either change the string, fret number, number of frets, or
string tuning so that the fret number is in the range of the string. For information on customizing the string tuning, see the Fretboard Instrument Definition dialog
box.
3. To edit the fret, Ctrl-Click a fret number to select it, and then in the numeric keypad, type the new number. You can also hold down Ctrl-
Shift and type the number on your QWERTY keyboard. Note: The QWERTY keyboard is the letter keys and the numbers above them. The Numeric Keypad is the
set of number keys on the right side of a standard desktop keyboard.
4. To add a fret number to the entry on the same beat, Ctrl-Click a fret number to select it, hold down Alt and then, in the QWERTY
keyboard, type the new string number. Then, on the numeric keypad, type the fret number. You can also hold down Ctrl-Shift and
type the number on your QWERTY keyboard.

For a list of Simple Entry Tablature commands and their associated keystrokes, from the Simple Menu, choose Tab Specific Commands. Note: You can also
enter and edit tablature with the Speedy Entry Tool. See Tablature with Speedy Entry.

To create a tablature staff manually

The following steps show you how to construct and use a tablature staff. Keep in mind, however, that you can easily begin a new TAB document by selecting a fretted
instrument and corresponding TAB staff with the Document Setup Wizard. See To create tablature notation for details. For instructions on how to edit your guitar
tablature, see To edit guitar tablature.

1. Click the Staff Tool and from the Staff Menu, choose New Staves.
2. In the New Staves dialog box, leave Number of Staves at “1” and click OK. A standard notation staff should appear below the existing staff.
3. Double click the staff you just created to open the Staff Attributes dialog box.
4. Click the drop-down list next to Notation Style and choose Tablature.
5. Click the Select button (to the right of Notation Style). You should now see the Tablature Staff Attributes dialog box. Here you can choose or define a
fretted instrument, lowest fret, as well as other parameters specific to TAB staves. See Tablature Staff Attributes dialog box for details.
6. Check On “OK”, Reset Staff Attributes To Tablature Defaults. This will tell Finale to configure the Staff Attributes for TAB staff settings.
7. Click OK. Notice items such as rests and ties are deactivated in the Items to Display subsection as they are not needed in TAB notation.
8. Click OK. You should now see the tablature staff appear in the score.

To add stems and beams to tablature

1. Click the Staff Tool .


2. Double click a tablature staff. The Staff Attributes dialog box opens.
3. In the Items to Display section, check Stems.
4. Click OK. You return to the document with default beams and stems on the tablature staff. You can adjust the vertical or horizontal stem offsets or stem
direction in the Staff Stem Settings dialog box. For more information on customizing stems, see the Staff Stem Settings dialog box.

To change the lowest fret of a region

1. Click the Selection Tool and select a region of the tablature staff. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, Choose Change and then Lowest Fret. The Change Lowest Fret dialog box appears.

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Tablature

3. For Specify Lowest Fret, enter a fret number. This will tell Finale to place all fret numbers on the fret specified or above.
4. Click OK. Finale recalculates the fret numbers and places them on appropriate strings, all on the fifth fret or above. You can also specify the lowest fret while
dragging music from a standard staff into a tablature staff.

Time signatures on tablature staves


Generally, a time signature is only used on a tablature staff if it is not accompanied by a notation staff. By default, Finale leaves time signatures off of tablature staves.
If you are creating a document with a tablature staff only, you might want to add a time signature to the tab staff. Here’s how:

1. Click the Staff Tool .


2. Double click a tablature staff. The Staff Attributes dialog box opens.
3. In the Items to Display section, check Time Signatures.
4. Click OK. You return to the document. Notice the time signature is a bit small and not centered on the tab staff, so it will need to be adjusted.
5. From the Document Menu, choose Document Options and select Time Signatures. The Time Signature options appear.
6. After Units:, click the drop-down menu and choose EVPUs. We’ll use EVPUs as our measurement units.
7. In the Vertical Adjustment section, for Abbreviated Symbol, enter “-20”, Top Symbol, “-16” and Bottom Symbol, “-20”.
8. Click Apply.
9. Click the Fonts category on the left side of the Document Options dialog box. The Fonts options appear.
10. Click the drop-down menu for Notation and choose Time.
11. Click the Set Font button for Notation. The Font dialog box appears.
12. Set the Size to 36.
13. Click OK to return to the Fonts options and OK. Your time signature is now enlarged and centered on the staff. Make further adjustments to the
placement and size by entering your own values in the Time Signature and Font options as needed. For example, if you want to place the time signature between
the second and fourth tab line, in the Time Signature options, for Top Symbol, use -28 and Bottom Symbol, -10. Then in the Fonts options, set the font for Time
to 26.

See also:
Guitar notation
Guitar bends

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Engraver slurs

Engraver slurs
Engraver slurs avoid collisions with stems, beams, noteheads, “inside slur” articulations, and accidentals. Engraver slurs will make most of your slurs look perfect the
first time, although nothing can completely replace an artistic judgement call from a human!
Font annotation is critical to proper functioning of Engraver slurs. If you’re using a MakeMusic font, such as Maestro or Jazz, we’ve already provided font annotation
files. If you’re using a third-party music font, you should create a font annotation file. See Font Annotation dialog box.
Any manual edit to an Engraver slur will make it immune to Engraver slur settings. It will still be marked as an Engraver slur in the contextual menu, but will be frozen.
When frozen, Engraver slurs will no longer reshape to changes in the notes. To revert the slur to behaving like an Engraver slur or unfreeze the slur, use the Remove
Manual Adjustments command in the contextual menu or the Mass Edit Tool Utilities submenu.
Because Engraver slurs depend heavily on the spacing of notes, they may appear slightly different between Page View and Scroll View. Many factors, such as locked
measure systems, cause this difference. We recommend that you make final adjustments to Engraver slurs in Page View, as this is the view that will print.

To define Engraver slurs


Engraver slurs can avoid collisions with stems, beams, noteheads, articulations, and accidentals. If you transpose the music, Engraver slurs will reshape to avoid
collisions with the new layout. See Engraver Slurs.

1. Click the Smart Shape Tool . The Smart Shape Menu appears.
2. Choose Smart Slur Options from the Smart Shape Menu. The Smart Slur Options dialog box appears.
3. Check the Use Engraver Slurs box. The Engraver slur settings become active.
4. Make adjustments to the Engraver Slur settings, if desired. See Smart Slur Options dialog box for details.
5. Click OK (or press enter) when you’re ready to save the new settings. Or click Cancel if you want to discard changes.

Any manual edit to an Engraver slur will make it immune to Engraver slur settings. It will still be marked as an Engraver slur in the contextual menu, but will be frozen.
When frozen, Engraver slurs will no longer reshape to changes in the notes. Remove Manual Adjustments in the contextual menu or the Selection Tool Utilities will
revert the slur to behaving like an Engraver slur or unfreeze the slur.

To edit Engraver slurs


See To move, reshape, or delete Smart Shape slurs.

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Printing

Printing

To print a score
Portrait orientation is the usual setup—the page is taller than it is wide; Landscape orientation is “sideways.” Letter size is 8.5 by 11 inches; Legal size is 8.5 by14
inches.

1. Choose Page Setup from the File Menu. The Page Setup dialog box appears. Click Letter or Legal to specify the paper size. Specify the orientation by
clicking Portrait or Landscape.
2. Make sure your page layout matches the paper size and orientation you’ve just specified. See Page size for instructions.
3. Click OK (or press enter). If you’re in Page View, go to page 1.
4. Choose Update Layout from the Edit Menu. By choosing Update Layout, you’re reformatting the music so that no measures are unnecessarily wide or
narrow.
5. Choose Print from the File Menu. The Print dialog box appears letting you specify the range of pages to print. If you only want the first page to print, type
1 in both the From and To boxes.
6. Click OK (or press enter). The printer should begin to print in a few moments.
7. To cancel printing, press esc or click Cancel. Because the computer sends data to the printer faster than the printer can process it, there will be a
momentary pause before the computer and printer stop printing.

To print large scores by taping smaller pages together


See Tiling pages for printing.

To print linked parts


See Printing linked parts.

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Tutorial 3: Articulations and Expressions

Tutorial 3: Articulations and Expressions


Now that you know the basics of entering music quickly and editing it efficiently, it’s time to learn how to add the markings that make music such a rich language—articulations,
dynamics, slurs, and more. Open the document called “Tutorial 3” in the Tutorials folder: We’ll use this arrangement of “Oh, Susannah” to explore Finale’s fluency in the language of
music. By the end of this tutorial, you should be able to create a score with all the necessary markings.

Basic Articulations and Expressions


We’ll start with an introduction to articulations (staccatos, accents, fermatas) and dynamic expressions (Moderato, F , solof, etc.).

Click the Articulation Tool . Using this tool, you can click on, above, or below a note—it doesn’t matter. Finale’s articulations are smart; they jump into place, centered
on the notehead, automatically.
Click the dotted quarter note in the Trombone 2 staff in measure 3. The Articulation Selection dialog box appears.

You must be in the same layer as your notes to attach anything to them, such as lyrics, articulations, expressions, or
chord symbols.

Incidentally, some symbols, such as <, have been defined to flip upside-down automatically when a note’s stem direction changes (as a result of a transposition, for example).
Articulations with an associated upside-down symbol appear side-by-side in their selection square.

Double-click the accent mark (top row, third from left). Double-clicking an Articulation in this dialog box is the same as clicking once then clicking Select.

When you return to the score, you can see that Finale not only centered the accent on the notehead, but it also knew which side of the note (top or bottom) to use. You can
override Finale’s placement decision, of course—to move the mark, drag its handle. (You can also delete a mark by clicking its handle and pressing Delete.)
So that you understand what’s happening behind the scenes, try this experiment:

Click the Simple Entry Tool . Windows users -click, Mac users -click squarely on the notehead of the dotted quarter note; press the
down arrow three times until the stem direction changes. Finale doesn’t simply flip the stem—it also relocates the accent mark to the other side of the note. Press the
up arrow three times to move it back into place.

Now let’s add a couple dynamic markings.

Click the Expression Tool . Expressions are attached either to the measure you double-click or to a specific note in that measure. For the moment, let’s put in a F
marking.

To add an expression while entering with the caret in Simple Entry, press the X key.

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Tutorial 3: Articulations and Expressions

Position the cursor below the first note of the top staff, just to the left of the note. Double-click where you want the marking to appear. The
Expression Selection dialog box appears. (If you’re ever trying to put in an Expression and this window comes up empty, it’s because no libraries were loaded into the document.
We’ll cover libraries in more detail later in this tutorial.)

Note, incidentally, the buttons on the lower right side of this window: Text and Shape. These buttons access two different libraries of symbols; the one you’re currently viewing,

Text, contains only words. Even the dynamic markings (such as or ) are simply characters in the Maestro music font. If you click the Shape button, however, you’ll
see a new set of symbols containing only shapes—slurs, crescendos and the like. We’ll discuss the Shape expressions later in Tutorial 8.
Note also the buttons at the bottom of the window: Measure Expression and Note Expression. A Measure Expression can appear in one staff or in several staves, and can also
appear in an empty measure; a Note Expression appears only in the staff in which it was created, and is, as the title implies, attached to a specific note (or rest).

You will undoubtedly encounter many instances where it makes no real difference which type of expression you choose. Here are a few good rules of thumb: Use Measure Expressions
for such items as rehearsal letters, tempo indications, dynamics that apply to an entire section or to all instruments, and so forth. Reserve Note Expressions for dynamics that are
specific to one instrument, player instructions that are specific to one instrument, character names, etc. (The radio button for Note Expression is currently grayed out. In the future,
double-click directly on a note to make this option available. Since you double-clicked below the measure, Measure Expression is the only available option.)

Double-click on . The Measure Expression Assignment dialog box immediately appears; you’ll explore its options later.
Click OK. The F marking is now in all staves. If you want to adjust its position, drag its handle; it moves in all staves at once. (To delete any expression, click its handle and
press Delete.)

Adding a Slur
As a quick exercise, let’s add some slurs to the score.

Click the Smart Shape Tool . The Smart Shape Palette appears as a toolbar on the top of the screen (or as a palette on the Macintosh), containing icons for slurs,
crescendos, 8va markings, lines, and several kinds of brackets. This palette is just like the others you’ve encountered; you can hide it or move it around.

The Slur Tool should already be selected; if not, select it now.

Place your cursor on the first note in measure five (top staff).
Double-click the mouse, hold the button down after the second click, and drag the mouse to the right, until the third note in the measure is
highlighted. As long as you hold the button down, you can move the endpoint of the slur.
Release the mouse button. You’ve just created a note-attached slur. Take a look. Is the slur exactly where you wanted it? Does it arc too high or too low?

A Smart Shape is easy to edit. When a Smart Shape has multiple handles, it’s currently selected. Each slur will have six handles. Here is a description of how to use these
handles to edit the slur:

Shortcuts for the Smart Shape Tool: Hold down S for a slur, < for a crescendo or > for a decrescendo.

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Tutorial 3: Articulations and Expressions

Hold down the key while editing the slur to “constrain” your cursor to perfect horizontal or vertical movements.

Position the cursor at the top of the arc. Click and drag downward to decrease the arc of the slur. Now create another slur. Scroll to the beginning
of measure 3.
Position the cursor on the first note in measure 3 (top staff). Double-click and drag to the last note in the measure. Release the mouse button. The
new phrase marking displays its reshaping handles, letting you know that it’s selected. The first one you drew, meanwhile, is no longer selected. Instead, it displays a single
handle. To select a Smart Shape that doesn’t display its reshaping handles, click its handle.

Feel free to experiment with these Smart Shapes. Click and drag each reshaping handle to see what it does. Try adding a crescendo or decrescendo.
When the Smart Shape Tool is selected, every Smart Shape in the score displays a small square handle on the screen (unless it’s already been selected, in which case it has
reshaping handles). To delete a Smart Shape, click the handle to select the shape—and press the k key. For more information, see the User Manual under Smart Shape Tool.
Before moving on, you can choose to hide the Smart Shape Palette by deselecting it in the Window Menu. Otherwise, feel free to leave it on the screen.

Selection Tool
If you’re flying along in the editing process and don’t want to bother switching tools, the Selection Tool can help speed you along. Click on the Selection Tool and click on any marking.
Now you can move it, delete it, or right-click (Mac: -click) on it for a list of other editing commands. If you decide you need to do advanced editing, double-click on the marking to
switch to the appropriate editing tool. You can return to the Selection Tool at any time by clicking - -A (Mac: - -A).
The Selection Tool works on Measures (Measure Tool), Notes (Simple Entry), Smart Shapes, Expressions, Articulations, Repeats, Lyrics, Chords, Text Blocks, Tuplets, Time Signatures,
Key Signatures, Clefs, Ossias, Graphics, and Staff and Group Names. For more details, see Selection Tool.

Metatools: Putting in Many Articulations


Let’s learn some more about articulations.
The system you learned earlier for putting in articulations is fine for the occasional accent or staccato marking. But what if you have a series of accented eighth notes? Do you have to
go through the Articulation Selection dialog box for every single note? Fortunately, no. You can select a region of notes and tell Finale to apply the same symbol to every one. Or you
can assign any articulation to a single key on your keyboard and bypass the dialog boxes altogether. These keyboard assignments are called Metatools. You can assign a metatool to
each of the alphabet keys (a-z) as well as the number keys (0-9); the Articulation Tool has one set of thirty-six, and the Expression Tool has another set of thirty-six.

The basic formula for working with Metatools is always the same: Press -number or letter key to program the keystroke; use the number or letter key alone to enter the marking
into the score. Some Metatools have already been programmed for you; let’s take a closer look.

Click the Articulation Tool .

While pressing , press the S key. The Articulation Selection dialog box appears.

Every articulation in this dialog box has a number or letter assigned to it (thin number appears in the upper-left corner of each slot). Some also have a second number; this
number or letter appears in parentheses and indicates the Metatool currently assigned to that articulation. Metatool S is assigned to the staccato mark, Metatool A is assigned to
the accent mark, and so on. Remember, you pressed -S to access this dialog box, telling Finale you wanted to program Metatool S. For now, let’s assume you are
satisfied with using Metatool S for the staccato mark.

Click Cancel.
Position the cursor on the first note in measure 2 (top staff). While pressing the S key, click. Finale pops a staccato mark into the score. The square handle is
larger than the dot itself, so all you see is a handle. To see the dot, select a different tool. Then reselect the Articulation Tool.
While pressing the S key, click the second note. As you can see, using a Metatool saves you the trouble of selecting this mark from a dialog box each time you want it.
Just click a note while pressing the appropriate number or letter key, and your marking appears. What’s more, you can reprogram the other keys with symbols other than the ones
currently defined.

While pressing , press the A key. As you can see, Metatool A is currently assigned to the accent mark. Let’s say you use this particular articulation fairly infrequently,
and you would rather assign Metatool A to another articulation.
Double-click the breath mark (slot 36).

When you return to the score, it may seem that nothing has happened; no new mark appears in the score. But something has indeed happened—you’ve successfully
programmed a Metatool. (Remember, that’s why you pressed -A, which is Finale’s signal that you’re teaching it a Metatool.)

Position the cursor on the third note of measure 5 in the top staff. While pressing the A key, click. Finale pops a breath mark into the score.

Furthermore, Expressions can have their own set of thirty-six Metatools. 1 through 4 might be dynamics you use often; 5 and 6 might be cresc. and dim., and so on. You create
the Metatools the same way: Select the tool, press and the number or letter; the Expression Selection dialog box appears. Double-click the desired expression. (Both text
phrases and shapes may be programmed to Metatools.) When you’re ready to put the marking into the score, press and hold the number or letter key alone and single-click
where you want the marking to appear; it pops into place. Note that with Expression Metatools, you need to predetermine whether they will be note expressions or measure
expressions. This is done in the Expression Menu; simply choose one of the three items in the lower half of the menu. (Context Sensitive means that if you click a note, the
expression will be a note expression; if you click a measure, it will be a measure expression.)
When you save your document, all your Metatool assignments are saved too, so that you can continue placing expressions using Metatools the next time you open the
document. You can redefine your Metatools at any time, however, as you just learned above.
Programmed Metatools are specific to the document that you are currently working on; therefore, you can have different sets of Metatools for different pieces. If you find that you
use the same Metatools over and over again, you can change the Maestro Font Default document to include your own Metatool assignments. That way, they are available for
you every time you start a new piece. (See the User Manual under Metatools for details.)

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Tutorial 3: Articulations and Expressions

Of course, you can continue this way, clicking staccato marks into the tutorial score that’s now on the screen. But don’t bother—if you want to apply a marking to a whole group
of notes, there’s an even faster way.

With the Articulation Tool selected, drag across the remaining note stems of measure 2. A bold black box will show you which notes you’ve drag-selected.
When you release the mouse button, the Apply Articulation dialog box appears.

Click Select, and double-click the staccato mark. You return to the Apply Articulation dialog box. Take a glance at the other options; for example, Finale can place this
marking only on quarter notes and eighth notes, if you so specify. For now, however, leave All Notes selected.
Click OK. You return to the score; the remaining notes now have staccato marks.

Finale offers yet another method for entering several articulations at once, and this one is the fastest of them all. It combines the power of Metatools with Finale’s ability to select
a region of notes.

From the Edit Menu, choose Undo. The staccato marks you just added are removed.
While pressing the A key, drag through the four notes of measure 2. When you release the mouse button, a breath mark is added to each note you selected, since
that’s the symbol currently assigned to Metatool A.

But let’s suppose you really intended to put staccato marks on those notes, and held down the wrong Metatool key by mistake. No problem!

While pressing the Delete key, drag through the notes in measure 2. The breath marks disappear.

Now use this technique to enter staccato marks for the entire measure in one quick, easy step:

While pressing the S key, drag through all four notes of measure 2. The staccatos are now entered for every note in the measure. You can also edit any number of
articulations in the score at once.
Drag a box over the first two articulation handles. You can now drag or nudge both of these articulations simultaneously.
Hold down the Shift key and click or drag over additional articulations. This way, you can pick and choose the articulations you want to position or edit.

Expressions: Creating Your Own Expressions


Let’s suppose that the Trombone 1 is sometimes playing with a mute (con sordino) and other times without a mute (senza sordino). You won’t find these terms in the standard Finale
expressions libraries, so you’ll need to create them yourself. Furthermore, each of these markings should appear only in one part, so you’ll be creating note expressions.

Click the Expression Tool and double-click on the dotted quarter note in measure 1 (of the Trombone 2 staff). Since you want to create a note
expression, you must be sure to double-click on (or below or above) a note or rest. If you don't double-click a specific note, the Note option will be grayed out, as in the previous
example. The Expression Selection dialog box appears.

You’ll find that the Text Expressions you’re seeking, con sordino and senza sordino, don’t appear in this list. Here’s how to create them.

Attach markings to the closest note in the score. If you later respace the music, the marking will retain its position
relative to the note.

Click Create. The Text Expression Designer dialog box appears.

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Tutorial 3: Articulations and Expressions

Windows Users, from the Text Menu, choose Font and, then click OK. Macintosh users, from the Text Menu, choose Style, and then Italic.
Type the words “con sordino.”

You can apply multiple fonts in expressions to create more advanced text, such as tempo markings. Simply click the
Text Menu and choose font to specify the new font, size or style for highlighted text, or the next character(s) entered.

Click OK, click Note Expression, click Select, click OK. As you proceed through the dialog boxes (by clicking either OK or Select), you may notice that con sordino has
been added to the list of expressions. You won’t have to create it again the next time you need it in this score.

When you return to the score, you’ll see that the con sordino marking’s position was determined by your original click. Feel free to adjust its positioning by dragging its handle.
Note expressions are positioned relative to their assigned note (as specified in the Note Positioning tab of the Text Expression Designer dialog box).

Scroll to measure 10 and double-click above the first note of the Trombone 2 part. Create the senza sordino expression the same way you created the con
sordino marking and drag the marking into place.
Let’s suppose you want the musicians to play faster at the chorus or “Vivace.” You won’t find this term in the standard Finale expression sets, so you’ll need to
create it yourself.

Click the Expression Tool and double-click below measure 10. The Expression Selection dialog box appears.
You’ll find that the Expression you’re seeking doesn’t appear in this list.
Click Create. The Text Expression Designer dialog box appears.
Type the word “Vivace.” Next we’ll add a Tempo playback effect to the marking.
Click Playback tab. The Playback options appear.
From the Type Menu, choose Tempo. The duration menu appears to the right. It’s already set to a quarter note, so we’ll leave it alone.
Click in the Set to Value box and type 200.
Click OK; click Select. As you proceed through the dialog boxes (by clicking either OK or Select), you may notice that “Vivace” has been added to the list of expressions. You
won’t have to create it again the next time you need it.

When you return to the score, you’ll see that the marking’s position was determined by your original click. Feel free to adjust its positioning by dragging its small square handle.
Measure expressions are positioned relative to the alignment point specified in the Measure Positioning tab of the Text Expression Designer dialog box.
While dragging markings is good for general repositioning, you may sometimes need to make finer position adjustments—with the “nudge” keys.

The “Nudge” Keys (Arrow Keys)


Click the “Vivace” mark’s handle and press the left arrow key. The Vivace marking moves just a pixel (screen dot) to the left. You may have to look very closely to
see it move at all. You can continue to reposition any marking whose handle is selected by pressing the up, down, left, and right arrows.

These four arrow keys—the directional arrows—will cause tiny positioning changes on almost any Finale object whose handle is selected, including staves, chord symbols, lyrics,
parts of triplet brackets, Expressions, and Articulations.

Markings that Play Back

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Tutorial 3: Articulations and Expressions

Now that you’ve put a few staccatos and dynamics in your score, try this: While pressing the Space bar, click the first measure (the shortcut for a quick playback). You’ll notice that your
staccatos and breathmarks actually affect the articulation of the notes in playback!

Mac users: when the Playback Controls are visible, simply pressing the spacebar will start playback.

You’ll soon discover that all of the dynamic markings (in the Expression Tool) and some of the Articulations have been defined for playback; as soon as you place them into your score,
they affect the playback in a musical way.
Furthermore, you can create your own expressions and markings, and define them for tempo playback, too. Any word or shape can affect any MIDI variable when you play your score—
key velocity (volume), tempo, transposition, patch, MIDI channel, pitch bend, pedal, and so on. In Tutorial 6, you’ll learn how to program your own intelligent score markings.

Staff Lists: Specifying Target Staves


In the previous sections, you learned how to create a measure expression that appears in every staff, as well as a note expression that appears in only one staff. Sometimes, however,
you might need something in between—a marking that is to appear, for example, in every staff of the woodwind section only.
You’re in luck. Finale’s Expression Tool has a built-in feature called Staff Lists, which lets you establish predefined groups of staves in which a given marking is to appear. These staves
needn’t be adjacent—for example, you might use a Staff List to place a rehearsal letter over the first staff in every orchestral section.

Click the Expression Tool . Go to measure 10, and double-click just above the left barline. The standard palette of expressions appears. Make sure that Measure
Expression is selected. In this example, you’ll add a rehearsal letter.
Click Create. Type a capital A, and then, in the Enclosure section, click the drop-down menu and choose Rectangle. From this drop-down, you can choose from a number of
enclosure shapes.
Click Edit. When you click Edit, the Enclosure Designer dialog box appears. Here, you can customize the shape and other attributes for the enclosure.

If you wanted to, you could change the size, positioning, and line thickness of this enclosure. (These variables may need adjustment, since a PostScript printout of enclosures
won’t always match their appearance on the screen. For more information, see Rehearsal Letters in the User Manual.) Leave it alone for now.

Click OK. You return to the Text Expression Designer. Since we don’t want our Rehearsal Letters to get hidden in a block rest when we create parts, check the Break
Multimeasure Rest box.
Click OK. Click on Measure Expression, then click Select. The Measure Expression Assignment dialog box appears.

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Tutorial 3: Articulations and Expressions

There are several items of interest in this dialog box. One of them, Allow individual edits per staff, allows you to put this expression into several staves at once—and yet
reposition each one independently. If you don’t click this checkbox, the positioning of this marking will change uniformly in all staves at once when you move any one of them.
At the moment, though, we’re interested in the middle section of this dialog box.

Click the radio button for Staff List; select New Staff List from the drop-down list. The Staff List dialog box appears. You see a list of the staves in your score.
Note the two columns to the right of the staff names, labeled Score and Parts.

When you click in the Score column across from a staff name, an X appears. You’ve just told Finale to put the expression into this staff. If you click again, the X is replaced by
an F. This indicates that Finale will force the expression to appear in this staff, even if you’ve elected to hide Expressions for this staff in the Staff Attributes dialog box. (See Staff
Attributes in the User Manual for further information.) You may check as many or as few staves as you like. In fact, you can put a mark in all staves (or remove marks from all
staves) by clicking the Set Score button (or Clear Score button).
Take special note, however, of the column called Parts. If you click here, the expression in question will appear in this staff’s part. You can put marks independently in the Score
and Part columns to create, say, a tempo marking that appears only once (at the top of the page) in the full score, and yet appears in every part. For more information, see
Linked Parts.
Just for practice, put the rehearsal letter on the Trombone 1 and 4 parts.

Click the words Trombone 1 and Trombone 4. Each click puts an X in both the score and the parts for these instruments. If this were a real project, you’d also put check
marks in the Parts column for the remaining instruments—because you’d want these rehearsal letters to appear in every instrument’s part without cluttering up the conductor’s
score.
Click in the text box next to List Name; type “Rehearsal Letters” and then click Add. You’ve just named this staff list.

Click OK. The words “Rehearsal Letters” now appear in the drop-down list beside Staff List. Finale will remember this configuration in case you want to use it again (which, in the
case of rehearsal letters, you probably will). When it comes time to put rehearsal letter B into the score, you won’t need to enter the Staff List dialog box at all—just select
“Rehearsal Letters” from the drop-down list and click OK.
Click OK to return to the score. The rehearsal letter A appears only in the staves you specified.

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Tutorial 3: Articulations and Expressions

You might ask, “If I put a dynamic into the score, but use a Staff List so that it only appears at the top of the conductor’s score, will it affect the playback of all the other staves?”
Actually, that’s up to you. If you want an Expression to affect playback of staves in which it doesn’t appear, put an X across from those staves in the Parts column of the Staff List
dialog box.

Copying and Pasting Expressions


If you’ve painstakingly put staccato, accent, and tenuto marks into your Trombone 1 part, you certainly don’t want to have to reenter them into the other parts. Fortunately, Finale allows
you to copy them onto any other music in the score, even if the notes are different.

Click the Selection Tool . Scroll to measure 2, so that it’s the first measure on the screen.

From the Edit Menu, choose Edit Filter. An entry item is a note, a rest, or anything attached to one—as opposed to measure items like key signatures, Smart Shapes, or
barlines.

The Entry Items dialog box appears, displaying which elements of the music you can copy. You can choose any combination of these elements.

Click Uncheck All.


Select Articulations. Click OK. Now that you’ve specified beforehand which items you want copied, all that remains is for you to specify where you want them copied from
and to.
Click measure 2 in the top staff. That is, highlight the music whose articulations you want to copy.
Drag the highlighted measure so that it’s superimposed on measure 3 (of the same staff). Release the mouse button. The Copy Measures dialog box appears.
Click OK. You only want to copy the articulations once.

Finale copies the articulations from measure 2 onto the notes of measure 3.
If the rhythmic values of the notes in the source and target measures aren’t identical, Finale does its best to place your articulations on any notes that do occur on the same
beats.
The technique you just used to copy the articulations from one place to another is an important one, and you can use it any time you need to copy one element of the music to
another spot. A common example is chord symbols: In a verse-chorus-verse song, you need only enter the chord symbols for the first verse. Then, with the Items to Copy
method you just used, you can copy just the chord symbols from the first verse to the last verse—even if the melody is different each time. Also, if the last verse is in a different
key, Finale intelligently and automatically transposes the copied chord symbols to the new key.

Using Libraries
Suppose you’re finished with your brass quartet. Along the way you’ve created a number of textual expressions—con sordino, senza sordino, and rehearsal letters, among others. It
might save you time later if you put them into a document of their own, ready to use in any other piece that might require them. As mentioned earlier in this tutorial, these sets of
symbols are stored in separate files called libraries.

From the File Menu, choose Save Library. The Save Library dialog box appears, asking which element of this Finale file you want to store separately.
Click Text Expressions, then click OK. You’ve told Finale that you want to save the new text expressions, as opposed to, for instance, new chord symbol suffixes, which
would be stored in a separate library. As you become more familiar with Finale, you may find yourself wanting to save these other types of libraries; the basic procedure is the
same. You’re now asked to name this library.
Type Brass Expressions and click Save. The next time you need these markings, open the document in which you want to use them. From the File Menu, choose Open
Library, and double-click Brass Expressions in the list box that appears. Thereafter, when you use the Expression Tool, you’ll see the imported markings in the palette, ready to
use.

After you quit Finale, you may want to move the Brass Expressions library into the Libraries folder so you can find it easily the next time you want it.
It is entirely likely that you will continue to create new text expressions almost every time you use Finale, at least for the first few sessions on your own. If you were to create a
new library each time you created a new expression, you could find yourself having to open several library files every time you began a new piece. Fortunately, this problem can
easily be avoided by overwriting your existing library file, rather than creating a new library file each time. With the Save Library command, Finale will save every text expression
in the piece regardless of whether it was imported from an existing library file or just created during this session. Therefore, if you’ve already loaded the existing library file, and
you also have new text expressions that you want to add to the library, simply follow the steps outlined above, but instead of typing a new file name, type the name of the
existing library file. Finale will ask you to confirm that you want to replace the existing file. Click Replace. Note that if you haven’t already loaded the expressions from the existing
library file and you choose to overwrite it, you will lose those expressions. It follows, then, that if there are expressions that you no longer use, you can delete them from the list
in the Expression Selection dialog box and then overwrite the existing library file. For further information, consult the User Manual under Libraries. Also, see Program Options-
Folders in the User Manual for instructions on how to tell Finale where to look for your music and library files.

When You’re Ready to Continue


Choose Save from the File Menu if you haven’t already done so. If you think you’ve done enough for one session, choose Exit (Mac: Quit) from the File Menu, and you’ll return to the
desktop.
If you want to go on, close this document and turn to the next tutorial.

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Tuplet Tool

Tuplet Tool

This tool lets you create, edit, and adjust the positions of tuplets. (The word tuplet describes a class of irregular note divisions such as triplets, quintuplets, or
septuplets.) You can use it to describe the visual appearance of the tuplet (whether or not it has a bracket, for example) as well as its rhythmic definition (how many
quarter notes in the space of a half note, for example).

For information regarding tuplets in scores with linked parts, see Tuplets in linked parts.

You can predefine the default appearance of tuplets when you first create them (with the Simple Entry, Speedy Entry or HyperScribe Tools) including whether or not a
slur or bracket appears, at what height it appears, and so on. To do so, ctrl-click the Tuplet Tool; Finale displays the Tuplet Definition dialog box, where you can
specify how you want new tuplets to look.

the measure). To do so, use the Simple Entry Tuplet Tool. See Tuplets (Simple Entry). For pre-define more advanced tuplets, see To enter a duplet, septuplet or other
tuplet.

Tip: Change Tuplet settings over a selected region with the Selection Tool. Choose Tuplets from the
Change Submenu of the Utilities Menu.

Special mouse clicks

Metatools

Contextual menus

For further information, see the Tuplet Definition dialog box.

See Also:
Document Options-Tuplets
Main Tool Palette

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Undo

Undo
Multiple Undo and Redo are available from the Edit Menu. Every action taken that modifies your music can be undone sequentially, in the reverse order in which you
took action. The amount of changes that can be undone is only limited by the free disk space on your computer. This space is freed up when you quit Finale. These
actions are also available from the Edit Menu Toolbar.

To undo the last change or a series of changes to your document


1. Choose Undo from the Edit Menu or type ctrl-Z. You cannot select Undo if you have not performed any actions that modified the current document.
2. To continue undoing changes, choose Undo from the Edit Menu or type ctrl-Z repeatedly.

To undo a series of changes up to a specified point


1. Choose Undo/Redo Lists from the Edit Menu or type ctrl-shift-Z. The Undo/Redo Lists dialog box appears.
2. Select the last change that you want to undo from the list on the left. Finale will highlight all the actions that will be undone from the point you
selected.
3. Click OK. Finale will undo all the highlighted actions in the list.

To re-apply changes to your document using redo


You cannot redo an action unless you have already selected Undo.

1. Choose Redo from the Edit Menu or type ctrl-Y.


2. To continue redoing changes, choose Redo from the Edit Menu or type ctrl-Y repeatedly.

To redo a series of changes up to a specified point


1. Choose Undo/Redo Lists from the Edit Menu or type ctrl-shift-Z. The Undo/Redo Lists dialog box appears.
2. Select the last change that you want to redo from the list on the right. Finale will highlight all the actions that will be redone from the point you
selected.
3. Click OK. Finale will redo all the highlighted actions in the list.

To allow undo actions previous to saving a file


1. Choose Program Options from the Edit > Preferences Submenu Menu and select Edit. The Program Options dialog box appears with the Edit
Options available.
2. Select Allow Undo Past Save. This will allow Finale to continue tracking undo actions even though you have saved your document.
3. Click OK. You return to the document.

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Edit/Clear Selected Items

Edit/Clear Selected Items

Choose this menu item to display the Clear Selected Items dialog box, which lets you specify Measure and Entry (note-related) items to erase. Choose any items you
want to erase. (If you select only part of a measure before choosing Erase, the Measure Items choice won't be available in the dialog box.)

For detailed information, see the Clear Selected Items dialog box.

See Also:
Edit Menu

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Edit/Set SmartFind Source

Edit/Set SmartFind Source

To use this command, select a region of music with the articulations, slur or other markings that you like. Note that the region must occur on a single staff, not
spanning multiple staves. Only rhythms and markings in the current layer of the source region are used for the pattern matching and painting process. From the Utilities
Menu, choose Set SmartFind Source Region. Next, use the Apply SmartFind and Paint command to copy or "paint" the markings onto notes of the same rhythmic
pattern. Patterns in all layers of the target region are considered for matches.

Note: Paint can only be applied within the same score or linked part.

See Also:
SmartFind and Paint
Edit Menu
Articulation Tool

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Edit/Deselect SmartFind Source

Edit/Deselect SmartFind Source

If you’ve selected the wrong region for SmartFind and Paint, or wish to change the region to a new source, select the Deselect SmartFind Source Region.

See Also:
SmartFind and Paint
Edit Menu
Articulation Tool
Mass Edit Tool

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Edit/Apply SmartFind and Paint

Edit/Apply SmartFind and Paint

Choose this menu item to display the SmartFind and Paint dialog box where you can select the types of markings to paint from the source region onto rhythmically
identical target regions.

For detailed information, see the SmartFind and Paint dialog box.

See Also:
Edit Menu
Articulation Tool

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Edit/Multimeasure Rest/Break

Edit/Multimeasure Rest/Break

Use the Break command to separate the selected multimeasure rest into separate measures of rests. Use this command if you simply don’t want the measures grouped
at all, or if you want to create more than one multimeasure rest out of one long multimeasure rest.

See Also:
Edit Menu

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Edit/Multimeasure Rest/Create

Edit/Multimeasure Rest/Create

Use this command in Page View to create a multimeasure rest out of consecutive empty measures in the selected region. Finale creates a multimeasure rest grouping
using the definition you've set up in Document Options-Multimeasure Rests.

See Also:
Edit Menu

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Edit/Multimeasure Rest/Edit

Edit/Multimeasure Rest/Edit

It’s most effective to use the Edit command to change the display for an occasional individual multimeasure rest in the score. Occasionally you may need to adjust a
multimeasure rest to make room for clef changes, for example. Or, you might need to change a rest so the number of rests doesn’t appear. Use the settings in the
Document Menu’s Multimeasure Rest command to control how you want most of your multimeasure rests to appear throughout your score. See Document Options-
Multimeasure Rests and Multimeasure rests.

For detailed information, see also Multimeasure Rest dialog box

See Also:
Edit Menu

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Edit/Multimeasure Rest/Create for Parts/Score

Edit/Multimeasure Rest/Create for Parts/Score

Choose Create for Parts/Score to open the Select Parts/Score dialog box. Here you can specify which parts get multimeasure rests. Finale will process each part you
select and add multimeasure rests automatically.

See Also:
Edit Menu

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Enharmonic Spelling/Use Default Spelling

Enharmonic Spelling/Use Default Spelling

Choose this option to use Finale's automatic spelling. The spelling method is used during MIDI note entry and retranscription. Finale's default spelling offers some
advantages, such as a limited ability to spell ascending or descending chromatic lines. This method is also capable of clearly representing tone clusters and chords
containing close intervals.

See Also:
Edit Menu

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Enharmonic Spelling/Favor Sharps

Enharmonic Spelling/Favor Sharps

Choose this option to have Finale show accidentals primarily as sharps (or notes raised by a half-step) in your score. The spelling method is used during MIDI note
entry and retranscription.

See Also:
Edit Menu

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Enharmonic Spelling/Favor Flats

Enharmonic Spelling/Favor Flats

Choose this option to have Finale display accidentals primarily as flats (or notes lowered by a half-step). The spelling method is used during MIDI note entry and
retranscription.

See Also:
Edit Menu

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Enharmonic Spelling/Use Spelling Tables

Enharmonic Spelling/Use Spelling Tables

Choose this option to have Finale spell the altered notes according to the spelling tables that you specify. The spelling method is used during MIDI note entry and
retranscription.

For detailed information, see Edit Major and Minor Key Spellings dialog box and Edit Modal or Chromatic Spellings dialog box.

See Also:
Edit Menu

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Enharmonic Spelling/Edit Major and Minor Key Spellings

Enharmonic Spelling/Edit Major and Minor Key Spellings

Displays the Edit Major and Minor Key Spellings dialog box. This dialog box contains Finale's enharmonic spelling settings for major and minor keys. Modify these
settings to your preferred enharmonic spellings for notes that are not part of the diatonic scale. To use these settings, make sure that the "Use Spelling Tables" option
is selected (checked).

For detailed information, see the Edit Major and Minor Key Spellings dialog box.

See Also:
Use Spelling Tables

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Enharmonic Spelling/Edit Modal or Chromatic Spellings

Enharmonic Spelling/Edit Modal or Chromatic Spellings

Displays the Edit Modal or Chromatic Spellings dialog box. This dialog box contains Finale's enharmonic spelling settings for chromatic scales and modes. Modify these
settings to your preferred enharmonic spellings. These settings only affect the non-major or minor key signatures that you create in the Nonstandard Key Signature
dialog box. To use these settings, make sure that the "Use Spelling Tables" option is selected (checked).

For detailed information, see the Edit Modal or Chromatic Spellings dialog box.

See Also:
Use Spelling Tables

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Measurement Units/EVPUs

Measurement Units/EVPUs

Choose this command to display the measurements in EVPUs. EVPU stands for ENIGMA Virtual Page Unit, of which there are 288 per inch.

See Also:
Edit Menu

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Measurement Units/Inches

Measurement Units/Inches

Choose this command to display the measurements in inches.

See Also:
Edit Menu

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Measurement Units/Centimeters

Measurement Units/Centimeters

Choose this command to display the measurements in centimeters.

See Also:
Edit Menu

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Measurement Units/Points

Measurement Units/Points

Choose this command to display the measurements in points. Points are typographical measurements of which there are 72 points per inch, and 12 points in a pica.

See Also:
Edit Menu

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Measurement Units/Picas

Measurement Units/Picas

Choose this command to display the measurements in picas. Picas are typographical measurements of which there are 6 picas per inch.

See Also:
Edit Menu

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Measurement Units/Spaces

Measurement Units/Spaces

Choose this command to display the measurements in spaces. In engraving, one space is defined as the distance between staff lines; however, in Finale one space is
equal to 24 EVPUs (which is Finale's default distance between staff lines).

12 spaces = 1 inch; one-half space equals one step, which is one line or space in a staff.

See Also:
Edit Menu

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Utilities/Music Spacing/Apply Beat Spacing

Utilities/Music Spacing/Apply Beat Spacing

If you Apply Beat Spacing (Ctrl-5) to the selected music, Finale calculates the position of each beat in the measure according to the ratio or table of widths; any notes
within the beat are spaced linearly (where an eighth note gets exactly half as much space as a quarter note, and so on). Choose Apply Note Spacing (Ctrl-4) if you
want Finale to calculate the precise position of each note based on its ratio or the table of widths. This command provides more exact spacing than does the Beat
Spacing command; both result in a striking, beautifully laid-out score. Finale uses Note Spacing when Automatic Music Spacing is being used.

See Also:
Utilities Menu
Document Options-Music Spacing

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Utilities/Music Spacing/Apply Note Spacing

Utilities/Music Spacing/Apply Note Spacing

Choose Apply Note Spacing (Ctrl-4) if you want Finale to calculate the precise position of each note based on its duration. This command provides more exact spacing
than does the Beat Spacing command; both result in a striking, beautifully laid-out score. Note spacing is the spacing that Finale uses when applying Automatic Music
Spacing.

See Also:
Utilities Menu
Document Options-Music Spacing

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Utilities/Music Spacing/Apply Time Signature Spacing

Utilities/Music Spacing/Apply Time Signature Spacing

This command restores notes to linear spacing, where a half note gets exactly twice as much space as a quarter note. Time Signature Spacing is what Finale uses
when you first put notes into the score when Automatic Music Spacing is not being used. Because Time Signature Spacing is linear, the Collision Avoidance options in
Document Options-Music Spacing are ignored.

See Also:
Utilities Menu
Document Options-Music Spacing

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Utilities/Rebar/Rebar Music

Utilities/Rebar/Rebar Music

The Rebar Music command is useful after you insert or delete notes, halve or double note values, and so on. The command automatically re-distributes the notes of
your piece so that each measure contains the correct number of beats, according to the time signature. (Finale automatically rebars the piece each time you change the
time signature, unless you turn off this option in the Time Signature dialog box.) When you rebar a region that contains partly-filled measures, Finale does not "pad" the
measures with rests. If a measure contains two quarter notes (and no rests) in each of two measures, and you rebar the music, you'll end up with one measure
containing four quarter notes. (You must enter the rests to maintain their positions.)

See Also:
Utilities Menu

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Utilities/Rebar/Rebar Options

Utilities/Rebar/Rebar Options

Choose Rebar Options to display the Rebar Options dialog box, where you can decide how far Finale should go with its rebarring: all the way to the end of the piece,
only through the next empty measure, and so on. Once you've established your preferences in this way, select a region and choose Rebar Music, so Finale actually
performs the rebarring. If the results aren't what you expected, choose Undo from the Edit Menu, change your Rebar Options, and try the command again.

For detailed information, see the Rebar Options dialog box.

See Also:
Utilities Menu

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Utilities/Rebeam/Rebeam Music

Utilities/Rebeam/Rebeam Music

Rebeam Music simply restores beaming to the patterns dictated by the time signature; you'd use this command after either (a) manually changing the beaming or (b)
changing the time signature for measures that already contain notes (because Finale doesn't rebeam notes automatically when you change the time signature).

See Also:
Utilities/Rebeam

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Utilities/Rebeam/Rebeam to Time Signature

Utilities/Rebeam/Rebeam to Time Signature

Rebeam to Time Signature, on the other hand, lets you rebeam the selected music into any beaming pattern you wish, even if it's unrelated to the time signature.
Finale displays a variant of the standard Time Signature dialog box, where (by changing the "beaming signature") you specify any beaming pattern you can dream up.
See Time Signature dialog box for details on how the Time Signature controls affect beaming.

For detailed information, see the Rebeam to Time Signature dialog box.

See Also:
Utilities/Rebeam

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Utilities/Rebeam/Rebeam to Lyrics

Utilities/Rebeam/Rebeam to Lyrics

Beaming to lyrics is a convention used in opera or art song notation. In this scheme, eighth, sixteenth, and shorter notes are never beamed together in the vocal line
except when a syllable is sustained through more than one note (melisma). Choose Rebeam to Lyrics to display the Rebeam to Lyrics dialog box, in which you can
specify the lyrics you want rebeamed in this way.

For detailed information, see the Rebeam to Lyrics dialog box.

See Also:
Utilities/Rebeam
Lyrics Tool

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Piano Reduction Plug-in

Piano Reduction Plug-in

How to get there


From the Plug-ins Menu, choose Scoring and Arranging, and then Piano Reduction.

What it does
The Piano Reduction plug-in helps you to easily condense a number of staves into a piano grand staff. The piano grand staff will be added to the bottom of the staff
system.

[Staves]. Select the staves in your document to be included from this list. Ctrl-click to select multiple staves.
Split Point. Set the split point for the piano staff.
OK · Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without making any changes.

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Utilities/Check Notation/Accidentals

Utilities/Check Notation/Accidentals

Check Accidentals tells Finale to sweep through the selected region and hide any accidentals on notes tied over from the end of the previous measure, and to add
accidentals, if necessary, on subsequent notes in the measure. You must run the Check Ties utility *before* running Check Accidentals.

See Also:
Utilities/Check Notation

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Utilities/Check Notation/Elapsed Time

Utilities/Check Notation/Elapsed Time

This command displays the Elapsed Time dialog box. When you select a region of music this dialog box displays the real-time length of the selected region of music
based on the currently defined tempo. See Elapsed Time dialog box.

See Also:
Utilities/Check Notation

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Utilities/Check Notation/Ties

Utilities/Check Notation/Ties

This command corrects the playback of ties in a selected region. When you first put ties into the score using the Simple Entry or Speedy Entry tools, they sometimes
don’t play back correctly. For example, the ending tied note may be attacked again instead of being added to the duration of the note to which it’s tied; furthermore,
when a tie straddles a system line break, the tie sometimes isn’t continued onto the next system. This command corrects these problems.

See Also:
Utilities/Check Notation

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Utilities/Check Notation/Fill With Rests

Utilities/Check Notation/Fill With Rests

Fill With Rests checks a selected region of music for rhythmically incomplete measures and automatically fills them with the correct number of rests, saving you the
time-consuming task of checking measures yourself (perhaps inaccurately). Fill With Rests works on full measures, not partial measures. However, if you select a
region that contains a partial measure, Finale will warn you in advance that the full measure will be filled with rests. You can choose to continue or to cancel the Fill
With Rests request. Note that this command will not affect completely empty measures (measures with default rests). You can use the “Change to Real Whole Rests”
Plug-in to do that. See Change to Real Whole Rests Plug-in. Also, if you have selected one of the Allow Dotted Rests in More Quantization Settings dialog box, Finale
will allow the use of dotted rests. For example, three eighth rests will become a dotted quarter rest.

See Also:
Utilities/Check Notation

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Utilities/Check Notation/Remove Manual Slur Adjustments

Utilities/Check Notation/Remove Manual Slur Adjustments

When you Remove Manual Slur Adjustments, Finale resets any SmartShape slurs to their default positions. Engraver slurs will reshape independently again. See
Slurs.

See Also:
Utilities/Check Notation

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Utilities/Stem Direction/Up

Utilities/Stem Direction/Up

Finale normally decides whether a note's stem should go up or down depending on its vertical position in the staff. If you've specified a multiple-voice arrangement - for
example, upper voice = stems up, lower voice = stems down - using the Layer Options command (Document Menu), Finale again chooses stem directions
automatically. You can manually flip a region of stems up, though, by choosing Up from this submenu.

See Also:
Utilities/Stem Direction

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Utilities/Stem Direction/Down

Utilities/Stem Direction/Down

Finale normally decides whether a note's stem should go up or down depending on its vertical position in the staff. If you've specified a multiple-voice arrangement - for
example, upper voice = stems up, lower voice = stems down - using the Layer Options command (Document Menu), Finale again chooses stem directions
automatically. You can manually flip a region of stem down, though, by choosing Down.

See Also:
Utilities/Stem Direction

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Utilities/Stem Direction/Use Default Direction

Utilities/Stem Direction/Use Default Direction

To restore stems that have been "frozen" stems (using the Stem Direction/Down or Stem Direction/Up commands) to stems that can flip depending on the notes'
pitches, select the region and choose Use Default Direction. This command also removes any Reverse, Double, or Split Stem editing you've done with Special Tools.

See Also:
Utilities/Stem Direction

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Utilities/Change/Articulation Assignments

Utilities/Change/Articulations

Choose this command to adjust the positions of all (or certain) articulation marks in a region - to center them, for example. You can also use this command to swap
one symbol for another.

For detailed information, see the Change Articulation Assignments dialog box.

See Also:
Utilities/Change

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Utilities/Change/Chords

Utilities/Change/Chords

Choose this command to display a dialog box that lets you change the visual display or playback attributes of chord symbols in the selected region.

For detailed information, see the Change Chord Assignments dialog box.

See Also:
Utilities/Change

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Utilities/Change/Note Durations

Utilities/Change/Note Durations

Using the Note Durations command, you can halve or double the note values in a selected region, in effect re-notating the same passage to last twice (or half) as long.
Finale will even rebar the affected passage, if you wish, to place the correct number of notes in each affected measure.

For detailed information, see the Change Note Durations dialog box.

See Also:
Utilities/Change

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Utilities/Change/Note Expression Assignments

Utilities/Change/Note Expressions

Choose this command to adjust the positions of all (or certain) note expressions in a region - to center them. You can also use this command to swap one expression
marking for another.

For detailed information, see the Change Note Expression Assignments dialog box.

See Also:
Utilities/Change

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Utilities/Change/Note Size

Utilities/Change/Note Size

Use this command to change the size of the notes in the selected region—to create cue notes, for example. SeeChange Note Size dialog box.

See Also:
Utilities/Change

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Utilities/Change/Noteheads

Utilities/Change/Noteheads

Choose Noteheads to display a dialog box in which you can specify which noteheads in the selected region you want to change to regular noteheads or to a particular
notehead.

For detailed information, see the Change Noteheads dialog box.

See Also:
Utilities/Change

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Utilities/Change/Ties

Utilities/Change/Ties

Change tie settings of a region of music selected with the Selection Tool. Edit items such as the tie direction, breaking for Time and Key Signatures and Avoiding Staff
Lines

For more information see Change Ties dialog box.

See Also:
Utilities/Change

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Utilities/Change/Tuplets

Utilities/Change/Tuplets

Using the Change Tuplets command, you can change the appearance and definition of all tuplets in the selected region of music.

For detailed information, see the Change Tuplets dialolog box.

See Also:
Utilities Menu
Tuplet Tool

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MIDI/Audio Track/Add Audio Track

MIDI/Audio Track/Add/Delete Audio Track

Choose Add Audio Track to place an empty audio track in your score. Audio Tracks are only visible in Studio View and only one can exist in a score. Once an audio
track has been added this menu item changes to Delete Audio Track. Choose Delete Audio Track to remove the audio track from the score (and any audio therein).

See Also:
MIDI/Audio Menu

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MIDI/Audio Track/Load Audio

MIDI/Audio Track/Load Audio

This menu item is available if the active document contains an audio track. Choose Load Audio to show the Open dialog box where you can choose the desired audio
file. Finale allows you to load files in WAV, AIF, AIFF, AIFC, and mp3 formats. By default, the audio file is added to the beginning of the document. You can choose to
adjust the start point of the audio file in the Audio Clip Attributes dialog box.

If your score already contains an audio file, the following message appears warning you the current audio will be overwritten.

OK. Click OK to overwrite the existing audio track, replacing it with the one you have just chosen.
Cancel. Click Cancel to dismiss this dialog box and return to the document without loading a new audio file.

See Also:
MIDI/Audio Menu

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MIDI/Audio Track/Audio Clip Attributes

MIDI/Audio Track/Audio Clip Attributes

Choose this option to open the Audio Clip Attributes dialog box where you can adjust settings for imported or recorded audio tracks.

See Also:
Audio
MIDI/Audio Menu

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SMPTE and MIDI Time Code

SMPTE and MIDI Time Code


SMPTE stands for the Society of Motion Picture Television Engineers (see www.smpte.org). This group has defined cooperating standards called SMPTE timecode
which is used to synchronize film, video, or audio material. Finale supports the MIDI Time Code (abbreviated MTC), which is the MIDI representation of SMPTE. For
Finale’s purposes, MTC is primarily used to synchronize Finale playback with the integrated Movie Window as well as external movie players and editors.
While MIDI Sync synchronizes via relative time (24 clock messages per quarter note), MTC synchronizes via absolute time (sending “Quarter Frame” messages based
on a SMPTE frame rate of, for example, 30 frames per second). Finale supports the sending of MTC, which means other devices capable of recieving MTC can sync
with Finale. The device to which MTC will be sent, and whether or not to send MTC, can be set in the MIDI Setup dialog box. Whether or not to send MTC can be
specified by checking or unchecking Send MTC under the MIDI/Audio Menu. Additional MTC settings can be configured in the Sync and Video Options dialog box
under the Document Menu.

To synchronize an external MTC device with Finale


1. Open Finale as well as the other MTC-compatable device. Some examples of products that can be set to recieve MTC are Cubase, Pro Tools, and
SoundForgeDigital Performer.
2. In Finale, from the MIDI/Audio Menu, choose MIDI Setup.
3. For MIDI Out, choose a driver that supports MTC. If your existing MIDI driver does not support MTC, try using MIDI Yoke which can be found at
www.midiox.com/myoke.htm.
4. Click OK. Then go to your other MTC-compatible device, and set it to receive MTC using the same driver you selected in Finale’s
MIDI Setup dialog box. The location and wording of these settings varies depending on the product. Consult the product’s documentation for details.
5. In Finale, click Play. When you play, pause, stop, rewind, or fast forward using Finale’s Playback Controls, the device receiving MTC responds accordingly.

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Retranscription

Retranscription

To retranscribe a region
1. Choose Quantization Settings from the MIDI Menu. The Quantization Settings dialog box appears.
2. Change the quantization settings as needed in the Quantization Settings dialog box. Click the note that you want to be the smallest note value
and the type of quantization you require. Choose whether you want grace notes and an inner voice notated in the selected region by clicking More Settings. The
More Quantization Settings dialog box appears. Change your settings and Click OK. See Quantization Settings dialog box and More Quantization Settings dialog
box for more information.
3. Click OK to return to the document.

4. Click the Selection Tool .


5. Select the region you want to renotate.
6. Choose Retranscribe from the MIDI/Audio Menu. Finale retranscribes the region according to the new settings. All MIDI information is maintained, but if
any markings appeared on the original notes, they are removed.

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Advanced Tools Palette

Advanced Tools Palette


How to get there
From the Window menu, choose Advanced Tools Palette.

What it does
This palette contains the MIDI Tool, Special Tools Tool, Graphics Tool, Ossia Tool, Mirror Tool, Note Mover Tool, and Tempo Tool.

[Close box]. Click this small button at the upper-right corner of the palette to close the palette. Once it’s hidden, you make the palette reappear by choosing
Advanced Tool Palette from the Window Menu.
[Title bar]. Drag the strip across the top (or left) edge of the palette to move the entire palette to a new screen location.
[Sizable frame]. Click on the very edge of the palette and drag the sizable frame to reshape the entire palette. As you drag, the palette snaps into new
configurations: tall and thin, short and stout, square, and so on. If your monitor is wider than it is tall, for example, you might consider rotating the palette so that
it’s a short horizontal strip.

If you drag the resize box inward toward the upper-left corner, you hide tools. Drag the resize box outward again to bring them back into view.

[Tool icons]. See the individual tool for a complete discussion of each tool and what it does. In the meantime, note that you can rearrange the icons within the
palette. To do so, press shift and drag an icon into a new position; it will trade places with the icon onto which you drop it. Keep in mind, too, that you can save
these configurations of tools for quick access; see View Menu for instructions. See the Customize Toolbar dialog box.

Graphics Tool
Use this tool to exchange PostScript and bitmapped graphics between programs.

MIDI Tool
This tool lets you edit the actual MIDI data that Finale stores with your music.

Mirror Tool
With this tool you can create one-measure intelligent copies, or mirrors - groups of notes that are dynamically linked to other notes in the score (the source
material).

Note Mover Tool


This tool lets you move one note at a time (or several within a measure) to another measure, even on a different staff.

Ossia Tool
Use this tool to create floating measures—one-bar alternative passages that you can place anywhere in the score.

Special Tools Tool


This tool lets you create a number of special beaming, stemming, and note positioning changes in one measure at a time.

Tempo Tool
The Tempo Tool lets you create or edit a stream of data describing tiny, moment-by-moment tempo fluctuations within the playback of your piece.

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General MIDI Percussion Map Table

General MIDI Percussion Map Table

This listing contains all the General MIDI percussion tones on channel 10, which is the channel reserved for percussion. (Note you can also set the patch to 2 (in the
Instrument List) to use marching percussion sounds or patch 49 to use orchestral percussion sounds).

Note Number Note Name


35.........................Acoustic Bass Drum
36.........................Bass Drum 1
37.........................Side Stick
38 ........................Acoustic Snare
39.........................Hand Clap
40.........................Electric Snare
41.........................Low Floor Tom
42.........................Closed Hi Hat
43.........................High Floor Tom
44.........................Pedal Hi Hat
45.........................Low Tom
46.........................Open Hi Hat
47.........................Low-Mid Tom
48 ........................Hi-Mid Tom
49.........................Crash Cymbal 1
50.........................High Tom
51.........................Ride Cymbal 1
52.........................Chinese Cymbal
53.........................Ride Bell
54.........................Tambourine
55.........................Splash Cymbal
56.........................Cowbell
57.........................Crash Cymbal 2
58.........................Vibraslap
59.........................Ride Cymbal 2
60.........................Hi Bongo
61.........................Low Bongo
62.........................Mute Hi Conga
63.........................Open Hi Conga
64.........................Low Conga
65.........................High Timbale
66.........................Low Timbale
67.........................High Agogo
68.........................Low Agogo
69.........................Cabasa
70.........................Maracas
71.........................Short Whistle
72.........................Long Whistle
73.........................Short Guiro
74.........................Long Guiro
75.........................Claves
76.........................Hi Wood Block
77.........................Low Wood Block
78.........................Mute Cuica
79.........................Open Cuica
80.........................Mute Triangle
81.........................Open Triangle

See Also:
General MIDI

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Smart Split Point plug-in

Smart Split Point plug-in

How to get there


Select a region with the Selection Tool. From the Plug-ins Menu, choose TGTools, and then Smart Split Point.

What it does
This plug-in is designed for use with piano music. After recording a HyperScribe session, for example, you can use this plug-in to correct for split point errors (sections
you want to move notes to the other staff). It identifies notes which need to be moved automatically. To obtain the best result, you can help the plug-in identify these
notes by setting some options, such as the highest or lowest note that can occur in the bottom or top staff, etc.

Main
Lowest note for top staff (C4=middle C): This is one of the most important settings. Find the lowest note in the top staff and enter its pitch here. The
default, G3, is the G below the second ledger line below a treble clef staff.
Highest note for bottom staff: This is an equally important setting as the previous one. The default, A4, is the A above the third ledger line above an bass
clef staff.
Try to put at least how many notes in bottom staff: This option can really improve the output. If the music always has at least one note in the bottom
staff, such as a bass line, then you should enter a 1 here. Occasional exceptions may not even matter.
Simplify rhythm: This option can be useful for combining rests or tied notes, but you should use it only if needed.

Intervals
Max. simultaneous interval in upper staff (8=octave): This option should be set according to the music being processed. Specifying the maximum
interval that can be found in the correctly notated music will produce better results.
Max. simultaneous interval in lower staff: Same as previous option, but for the lower staff.
Max. leap in upper/lower staff: This information can also help the plug-in to make the correct educated guesses in terms of which notes should be moved.
Minimize simultaneous intervals per staff: This option will move notes even though the maximum interval in a staff is not exceeded. You can uncheck it if
it produces incorrect results.

Note Durations
Note durations may be shortened to make space for new ones · Try to remove resulting rests by expanding the preceding note
values · Allow moved notes replacing rests to be longer than before · Allow notes added to chords to be longer than before. These
options will help making the output of the plug-in clearer. Uncheck any one of them if they produce incorrect results.
Apply · Close. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click Close to dismiss the dialog
box without making any changes.

Here is an example:

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Smart Split Point plug-in

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Transposing: by interval

Transposing: by interval
This entry discusses the transposition of the music in selected measures up or down. If you’re interested in transposing the key of a section, see Transposing: changing
key. If you want to find out about transposing instruments, see Transposing instruments.

To transpose a region

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. Choose Transpose from the Utilities Menu. The Transposition dialog box appears.
3. Specify the desired transposition, including Up or Down. If you want to transpose the selected region by more than an octave, enter the number of
octaves Finale should add to the specified smaller interval transposition. (For example, the interval of a tenth is a third plus one octave.) If you’re performing a
chromatic transposition, choose Chromatically from the upper-right radio buttons. You’ll notice that the Interval drop-down list changes to list chromatic intervals—
Minor Sixth, Diminished Fifth, and so on. See Transposition dialog box for more information.
4. Click OK (or press enter). To undo the transposition, choose Undo from the Edit Menu (or press ctrl-Z).

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Harp pedal diagrams

Harp pedal diagrams


You can create a pedal diagram easily, using the Shape Designer. See also Harp Pedaling in the Finale Engraver Font.

You’ll save time, however, if you simply load the Harp Pedal Library provided with your Finale package.

1. Choose Load Library from the File Menu. The Load Library dialog box appears.
2. Navigate to your Libraries folder, and double-click the Harp Pedal Library. This library contains two shapes: the empty cross-shaped “skeleton;”
and a single, vertical, pedal line.

3. Select the Expression Tool and double-click anywhere on the score.


4. Click Shape, Create, then Select. The Harp diagrams are displayed.
5. Choose the harp diagrams to make available in the Expression Selection dialog boxes.
6. Click OK until you return to the Expression Selection dialog box, then click Cancel to return to the document. It’s important to place each
harp-pedal shape into the score using Metatools. See To create Expression Metatools. Otherwise, you won’t be able to adjust the pedals independently on each
diagram.

Finally, you place the diagram into the score in two steps. First, use the Expression Tool to place the Metatool empty cross-shaped “skeleton” into the score.
Now add the other Expression—the one that represents the pedal. Once these pedal shapes are placed into the score, again using Metatools, you can drag
their handles up or down to adjust the positions of the various pedals.

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Marching Percussion Map Table

Marching Percussion Map Table

This listing contains all the General MIDI percussion tones on channel 10, patch 2, which is the channel (and patch) reserved for marching percussion. Finale’s
marching percussion sounds are available when SmartMusic SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. You must also ensure the
marching percussion staff is set to channel 10 and program 2 in the Instrument List window. (Or, choose a marching percussion staff from the Setup Wizard). Use the
pre-designed Marching Percussion map to easily enter marching percussion sounds and appropriate noteheads. For a visual table that displays the default staff
position and notehead for each instrument in Finale’s marching percussion templates see Marching Percussion Templates.

Tip: To see the relationship between MIDI Note numbers and pitches on a piano keyboard see the
MIDI Note to Pitch Table.

Note Note
Name Name
Number Number

36 Bass Drum 5 69 Tenors - Drum 3

37 Bass Drum Rims 70 Tenors - Drum 3 Rim Shot

38 Bass Drum 4 71 Tenors - Drum 3 Buzz Roll

39 Bass Drum Unison 72 Tenors - Drum 2

40 Bass Drum 3 73 Tenors - Drum 2 Rim Shot

41 Bass Drum 2 74 Tenors - Drum 2 Buzz Roll

42 Bass Drum Buzz Roll 75

43 Bass Drum 1 76 Tenors - Drum 1

44 Cymbal Smash 77 Tenors - Drum 1 Rim Shot

45 Crash Cymbals 78 Tenors - Drum 1 Buzz Roll

46 Hi Hat Choke 79 Tenors - Drum Spock Drum

Tenors - Drum Spock Drum


47 Crash Choke 80 Rim Shot

48 M_Snare - LH 81 Tenors -Hi Rims

49 M_Snare - LH Rim Shot 82 Tenors -Lo Rims

50 M_Snare - RH 83 Tenors - Drum Side Click

51 M_Snare - RH Rim Shot 84 Crash Cymbal w/stick

M_Snare - Gok (both


52 85 Chinese Cymbal
hands rim shot)

53 Short Guz 86 Cowbell

54 Long Guz 87 Lo Agogo

55 M_Snare - LH Rim 88 Hi Agogo

56 M_Snare - RH Rim 89 Claves

57 M_Snare - Cross Shot 90 Vibra Slap

58 M_Snare - Stick Shot 91 Tambourine

59 M_Snare - Stick Click 92 Cabasa

60 M_Snare - Buzz Roll 93 Hi Muted Conga

61 Ride Cymbal Bell 94 Hi Open Conga

62 Ride Cymbal 95 Lo Open Conga

63 Open Hi Hat 96 Concert Bass Drum

64 Closed Hi Hat 97 Muted Triangle

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Marching Percussion Map Table

65 Tenors - Drum 4 98 Open Triangle

Tenors - Drum 4 Rim


66 99 Short Whistle
Shot

Tenors - Drum 4 Buzz


67 100 Long Whistle
Roll

68 101 Gong

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General MIDI Orchestral Percussion Map Table

General MIDI Orchestral Percussion Map Table

This listing contains all the General MIDI percussion sounds on channel 10, patch 49, which is the channel (and patch) reserved for orchestral percussion. These
sounds are available when SmartMusic SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. You must also ensure the orchestral percussion
staff is set to channel 10 and program 49 in the Instrument List window. (Or, choose an orchestral percussion staff from the Setup Wizard). Use a pre-designed
Percussion map to easily enter orchestral percussion sounds and appropriate noteheads.

Note Note
Name Name
Number Number

27 Closed Hi Hat 44 Timpani Gs

28 Pedal Hi Hat 45 Timpani A

29 Open Hi Hat 46 Timpani As

30 Ride Cymbal 47 Timpani B

35 Jazz Kick 48 Timpani C

36 Concert Bass Drum 49 Timpani Cs

38 Concert Snare drum 50 Timpani D

39 Castenets 51 Timpani Ds

40 Concert Snare Drum 52 Timpani E

41 Timpani F 53 Timpani F

42 Timpani Fs 57 Concert Cymbal 2

43 Timpani G 59 Concert Cymbal 1

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Pitch wheel

Pitch wheel
As you move the pitch wheel up or down (on MIDI keyboards so equipped), the pitch of the entire keyboard shifts up or down by an amount you program on the MIDI
keyboard itself. Finale records and plays back pitch bends (the smoothly graduated, continuous shift of pitch that occurs when you use the pitch wheel). You can also
edit pitch bends that you’ve recorded, and you can even insert expressions whose playback definitions involve the use of the pitch wheel.
When you record a performance (with Record Continuous Data turned on) in HyperScribe (or in Transcription Mode), Finale automatically records all your pitch wheel
data. You may or may not want this information retained so that you can later hear it applied to the playback of your transcription. For a full description of captured
MIDI information, see Chapter 6: Playback in theInstallation & Tutorials.

To edit pitch wheel data

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool .
2. From the MIDI Tool Menu, choose Continuous Data. The View Continuous Data dialog box appears, from which you can choose the MIDI data you
want to edit.
3. Click Pitch Wheel, and click OK.
4. Select the measures you want to affect. Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen
measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit Menu to select the entire document.

If the region you want to edit is on only one staff and fits on the screen, double-click the highlighted region to enter the MIDI Tool split-window. Drag through
the display area above the notes whose pitch wheel data you want to edit.

5. *Edit the selected region by choosing the appropriate command from the MIDI Tool Menu. In the following discussion, it’s useful to remember
that when the pitch wheel is at rest, its value is 0; when it’s as far down as it can go, its value is -8192; and when it’s at the top of its range of movement, its
value is 8191.

Choose Set To to specify a uniform value for the pitch wheel level. Choose Scale to create a gradual change in pitch wheel values over the selected region.
Choose Add to add a positive or negative amount to the pitch wheel level throughout the selected region. Choose Percent Alter to change the pitch wheel
values in the selected region by a percentage of their original amounts. Choose Limit to specify a maximum or minimum pitch wheel value for the notes in the
selected region. (See also Set to dialog box; Scale dialog box; Add dialog box; Percent Alteration dialog box; or Limit dialog box.)
For the most part, you’ll use the Scale, Limit, or Set To commands. For example, to create a smooth pitch bend that rises for two beats and then falls for two
beats, you’d proceed as follows: Drag through the graph display region of the MIDI Tool split-window, so that two beats are highlighted. Choose Scale from
the MIDI Tool Menu; in the text boxes, enter 0 (the pitch wheel’s “at rest” value) and 8191 (the pitch wheel’s highest position). In the third text box
(Increments), enter 640 (for example); the smaller this number, the smoother the pitch bend will be, but the more data Finale will need to generate and store,
and hence the larger your document will be. Click OK. Next, drag through the second two beats and choose Scale again from the MIDI Tool Menu. This time
enter 8191 in the first text box and 0 in the second (to bring the pitch wheel back to its normal-pitch position); enter a value in the Increments box and click
OK. You’ll see the effects of the pitch bend you just programmed in the graph area of the MIDI Tool split-window—and you’ll hear it when you choose Play
from the MIDI Tool Menu.
If you create a pitch bend that isn’t quite calculated correctly, you may discover that, during playback, the pitch of your MIDI keyboard never fully returns to
normal. That’s because the pitch wheel, via MIDI, gets “stuck” partway out of its at-rest position. If this happens, drag through part of the graph area of the
MIDI Tool split-window (at the place where you want the pitch wheel to be returned to its at-rest position), choose Set To from the MIDI Tool Menu, enter 0,
and click OK.
You can also remove pitch bend data from regions of your score by following the instructions above but, instead of following the last instruction, pressing
backspace or use the Selection Tool to clear Continuous Data.

To copy or erase pitch wheel data


See MIDI —To copy or erase captured (or edited) MIDI data.

To create a pitch bend (as an expression)


The following instructions show you how to create an expression that produces a smooth pitch bend over the course of one whole note—from the pitch wheel’s at-rest
position to its top position and back down again. It’s impossible to predict the precise musical effect this will have on your MIDI keyboard, because the pitch wheels on
different MIDI keyboards have different intervallic ranges; on some, you can specify this range (usually up to an octave or so up or down).
If you want to learn the process of creating a pitch wheel expression, by all means follow this example. You may prefer, however, simply to load the pitch wheel library
that’s in your Libraries folder, because this library already contains the expression you’re about to create with the exception that it only lasts a quarter note instead of a
whole note. Choose Load Library from the File Menu. Locate the Pitch Bend Library (in the Libraries folder), and double-click it. Then place it into your score as
described below.

1. Click the Expression Tool . Click on, above, or below the note to which you want to attach the marking. The Expression Selection
dialog box appears. Make sure Note Expression is selected. If the pitch bend expression marking already appears in the list (because you’ve loaded the Pitch
Bend Library, for example), double-click it and click OK; you return to the document.
2. Click Create. The Text Expression Designer dialog box appears. Type “Pitch bend” (or whatever text you want to appear in the score, if any, at the location of
the pitch bend). To change the font, highlight the text, and then from the Text Menu, choose Font.
3. Click the Playback tab. The playback options appear.
4. From the Type drop-down list, choose Pitchwheel. Click Execute Shape, then the Executable Shape Select button. Proceeding
through the dialog boxes, click as follows: Create; Shape ID; Create. You’re now in the Shape Designer.
5. From the Shape Designer Menu, choose Rulers and Grid and select Eighth Notes. Type 4 in the Grid Marks Every ___ 8th notes text
box. Click OK. From the ShapeDesigner Menu, choose Show, and then grid (if you wish).
6. Choose 25% from the View drop-down list. When you use the Shape Designer to create a pitch bend, the range of pitch wheel values is from -8192
(pitch wheel at the bottom of its range) to 8191 (pitch wheel at the top of its range). The pitch wheel’s value when it’s “at rest” is 0.

Because these values are so large, you’ve just reduced the Shape Designer display so that you’ll be able to see the entire shape in the window at once. (You
should also click the Hand Grabber tool and drag so that the small white circle (origin) is closer to the lower-left of the drawing area.) You’re about to design

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Pitch wheel

an Executable Shape—a shape whose contour governs the effects of the pitch bend. For more on Executable Shapes, see To define an expression for
playback.

7. Click the Multiline Tool . To use the Multiline tool, you drag to create the first line segment, click at each subsequent corner, and then double-click to
complete the shape. To make your shape match the dimensions of the one pictured here, observe the H: and V: numbers as you move the cursor, and place your
mouse clicks according to the table below. (Of course, you can always drag individual points into position, using the Selection Tool, after you’ve drawn the
shape.)
8. Draw the shape as shown:

You should have a tall, upside-down V. This Shape Expression first bends the pitch wheel up, and then back down to its original position.

9. Click OK twice to exit the Shape Designer.


10. In the Level Scale boxes, enter 128:1. Remember that a pitch wheel’s actual “maximum” value is 8191. By multiplying the height of the shape you drew
by 128, you’re telling Finale to make the pitch bend 128 times more pronounced; if you didn’t, you probably wouldn’t even be able to perceive the pitch bend.

The shape you drew was 32 eighth notes (4 measures) long. The reason for this is to create a smoother sounding pitch bend.

11. Change the Time Scale. Enter a 1:4 Time Scale ratio to make the pitch bend last only 1/4 as long (a whole note); enter 2:1 to make it last twice as long, and
so on. The shape in the pitch bend library has a Time Scale ratio of 1:16 to last only a quarter note.
12. Click OK or Select in each dialog box until you return to the document. Listen to the pitch bend in playback and see how it works. If you want it to
be less pronounced, decrease the Level Scale (or change the maximum pitch bend interval on your MIDI keyboard). If it lasts too long, decrease the Time Scale.

If you entered text for the pitch bend expression, drag this handle to move the expression; click it and press delete to remove it.

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Importing

Importing
You can import files from Encore, Rhapsody, MIDIScan, and SmartScore into Finale. You can import various elements into your Finale documents from other programs.

To import Encore or Rhapsody files


Finale can convert Encore 3.0 through 4.2.1 files and Rhapsody 1.0 files regardless of which platform was used to create them. Finale will convert most items in your
Encore file. The simpler the Encore file the fewer conversion issues you will have. If your file is more involved, it will take more time to convert and you may have more
conversion issues. More information on the items Finale will not convert, or modifies upon conversion is given in Encore Conversion.

1. From the File Menu, choose Import, then Encore or Rhapsody. (Or, in the Launch Window, choose Encore or Rhapsody from the
Import drop-down menu and click Import File.) The Open File dialog box appears.
2. Navigate to your Encore or Rhapsody file and double-click on the file. Your file is converted to a new, untitled Finale file, based on the Encore
Default file.
3. From the File Menu, choose Save. Enter the new file name and save it as a Finale Notation File.

To import Score files


Like importing Encore or Rhapsody files, the quality of the conversion will depend on the complexity of the original file. There will usually be some cleanup necessary
after importing the file. You will be able to import individual score files into Finale or several score files at once. For information on items that are lost or changed upon
conversion, see Score Conversion.

1. From the File Menu, choose Import, then Score. (Or, from the Launch Window, choose Score from the Import drop-down menu and
click Import File). The Open File dialog box appears. Highlight the file or files you want to open. To select more than one file, hold down the Shift key while
selecting files (or hold down the Ctrl key and click to select non-contiguous files). Score files should have the extension .PGE, PAG. or .MUS.
2. Click Open. The Import Score Files Options dialog box opens. Choose the page size and specify how you want to determine the file order here. For more
information, see Import Score Files - Options dialog box.
3. Click OK. If only one file was selected for conversion, or if Let Finale Determine File Order was selected in the Import Score Files Options dialog box, Finale will
generate and open the converted document. If Specify File Order was selected in the Import Score Files - Options dialog box, the Import Score Files Order dialog
box will appear. Choose page breaks and file order here and click OK to generate the converted file. See Import Score Order dialog box.

Note: Score files can appear as Finale Notation Files in your operating system if it they were saved
with an .MUS file extension. Though these files will display a Finale Notation File icon, you will still
need to use the Import Score feature to open them.

To import MIDIScan or SmartScore files


Finale can import MIDIScan 2.5 MND files and SmartScore FIN files, regardless of which platform was used to create them. Finale will convert most items from your
MIDIScan or SmartScore files. As you compare your results, make sure that you compare Finale’s output to that of MIDIScan’s MND file or SmartScore’s ENF file, not
the original scanned TIFF file. See Scanning. For tips on getting the best scanning results, see Musitek’s website at www.musitek.com.

1. In MIDIScan or SmartScore, save the file as an MND or FIN file, respectively.


2. In Finale, click on the File Menu, choose Import, then MIDIScan or SmartScore. (Or, from the Launch Window, choose MidiScan or
SmartScore from the Import drop-down menu and click Import File The Open File dialog box appears.
3. Navigate to your FIN or MND file and double-click on the file. Your scanned file will be converted to a new untitled Finale file, based on the
SmartScore Default file.
4. From the File Menu, choose Save. Enter the new file name and save it as a Finale Notation File.

To import text
Finale won’t retain the tabs or character formatting if you import text from another word processor, but the text itself will transfer.

1. In your word processor, select the text. Choose Copy from the Edit Menu. In almost every word processor, you can press ctrl-C (for Copy) instead
of choosing Copy from a menu.
2. Open your Finale document. There are two places the text might go: into your lyrics or into a text block.

3. To paste the text as lyrics, click the Lyrics Tool . Choose Edit Lyrics from the Lyrics Menu, and press ctrl-V (for Paste). The lyrics
currently on the Clipboard appear in the Edit Lyrics window. You can paste text the same way when you’re creating text blocks (see Text blocks).

To import a MIDI file


See MIDI files.

To import graphics
See Graphics.

To open files from earlier versions of Finale or other MakeMusic products


From the File Menu (or the Launch Window), choose Open. Navigate to the file. Double-click on the file. Finale opens and converts the older version’s document with
a different name than the original file, keeping the older document as a backup. If you want to save the file using the same name, choose Save As from the File Menu.
For conversion issues, see below:

From Finale 2004 or earlier:

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Importing

The option “Stop on Total Passes” has been removed from the Backward Repeat Bar Assignment dialog box. During playback of files created in 2004 or earlier,
backward repeat bars with this setting would stop after the specified number of passes instead of jumping to the target measure. When opening an older Finale
file with this setting, in the Backward Repeat Bar Assignment dialog box for these repeat bars, the Target drop-down menu is set to “Measure #” and “-1” is
specified in the text box. Playback after converting to Finale 2007 format or later is not changed.

From Finale 2003 or earlier:

Expressions convert to the Finale paradigm established in version 2004. For Note Expressions, the following settings are applied in the Note Positioning tab of the
Text/Shape Expression Designer: Expression Alignment Point = Left, Note Alignment Point = Horizontal Click Position, Vertical = Top Note. For Measure
Expression, the following settings are applies in the Measure Positioning tab of the Text/Shape Expression Designer: Expression Alignment Point = Left, Measure
Alignment Point = Horizontal Click Position, Vertical = Vertical Click Position.

From Finale 2002 or earlier:

Tablature staves from documents created in Finale 2002 or earlier will continue to use the old paradigm of a one line staff for each TAB line. In addition, if you are
using a document converted from Finale 2002 or earlier, tablature staves with alternate tuning that are added to the document with the Setup Wizard will revert to
the Standard Guitar instrument. For information on working with staves in Finale 2003, see Tablature.

From Finale 2001 or earlier:

Slurs will not be converted automatically to the new Engraver Slurs. See Smart Shape Tool.

From Finale 98 or earlier:

If you used Alternate Notation in a converted file, the appropriate Staff Style will be created. If you wish to use the pre-defined Staff Styles that came with your
default file, such as transpositions and 1-line staves, you will need to load the Staff Styles library. See Staff styles.

From Finale 3.7 or earlier:

If you use bitmapped fonts, converted files may display text items at a different point size than the original file. Finale 2002’s display of bitmapped fonts is limited
to the actual point sizes installed in your system. We highly recommend the use of TrueType or PostScript fonts, which can be scaled to virtually any point size.
Staff Names and Titles are considered text blocks in later versions. As a result, staff names and titles in files created in earlier versions of Finale will be converted
to text blocks.

When converting text blocks, Finale will convert the text so it's unique for each text block. However, if the same shape is used, Finale will not duplicate the
shape. Note that in Finale 2002, both the text and the shapes (Standard Frame or Custom Frame) are unique for each text block that you create.
The fonts selected in the Fonts portion of the Document Options dialog box for Text Blocks, Staff Names and Group Names will be used when the text block,
or staff or group name is first created. Changing the font in Document Options-Fonts will no longer change the font used for all staff names in your document;
nor will it change the first font used for text blocks in your document. To change a font, you must change the font in the document for text blocks created with
the Text Tool, or in the Edit Text window for staff and group names created using the Staff Attributes dialog box.

The conversion routines go through great lengths to ensure that the position of text remains the same in converted files. This has the following implications for
Text Blocks, Titles and Staff Names.

Text blocks are positioned differently starting with Finale 3.7. If you display the Frame Attributes dialog box, for a text block created in an older version of
Finale, Position from Edge of Frame will be deselected. (This option is selected for text created with the new Text Tool.) If you select this option for a
converted text block, you will most likely need to adjust its position on the page.
Since titles are considered text blocks, Finale calculates the position of the title from the top of the name, using the specified font. Earlier versions (before 3.7)
calculated the position from the baseline of the font. When converting files, Finale adjusts the values for the positioning of the titles to maintain their previous
page positioning.
Since staff names are considered text blocks, Finale calculates the position of the name from the top of the name, using the font selected at the beginning of
the name. Earlier versions (before 3.7) calculated the position from the baseline of the font.
When converting files, Finale recalculates the values for the default positioning of the staff names based on the font and point size selected in the Fonts
portion of the Document Options dialog box. If alternate fonts or point sizes have been set for staff names, individual positioning for those staff name will be
selected in the Staff Attributes dialog box. This automatic calculation of positioning values, and the selection of individual positioning for names using the non-
default font and point size, will maintain the correct position of staff names in your converted files.

From Finale 3.5 or earlier:

Finale offers better support of stem to notehead connections--its ability to sense the width of the notehead, particularly for upstem notes, is enhanced. However,
this enhancement may change existing stem connection settings slightly in newly-converted documents. In general, these changes should provide subtle
improvements, but you should double-check the on-screen and printed appearance if you have concerns.
Due to the improved stem to notehead connections, Finale may change the appearance of on-screen and printed “blank” noteheads (e.g., noteheads set to
Petrucci's space character). If you have documents that use the space character (slot number 32 in the Symbol Selection dialog box) as a notehead, you should
create a new stem connection setting for this notehead in the converted document by following the steps outlined below.

To fix "blank" notehead connections

1. From the Document Menu, choose Document Options and select Stems. Make sure that Use Stem Connections is selected.
2. Click the Stem Connections button.
3. Click Create to display the Stem Connection Editor to create a new setting.
4. Click Select to display the Symbol Selection dialog box. Select slot number 32 (the space character created by pressing the spacebar), then click Select.
5. Enter a value of 24 EVPUs in the Upstem V: text box by typing "24 e" -- this automatically enters a value of 24 EVPUs regardless of the Measurement
Units setting currently in use.
6. Click OK, then click Done, then OK. Your blank noteheads should now display properly.

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Importing

Finale may display certain unusual chords differently than earlier versions did. This depends on the setting of the Chord Menu command, Simplify Spelling. Using
this command, you can more easily specify some chord spellings in any key, such as a B sharp chord in C major. Formerly, Finale would “simplify” this spelling
to C (a change made in response to customer requests very early in Finale's history). Now, Finale offers you the choice of simplifying or not simplifying these
spellings. To ensure that your chords appear as they did in earlier versions, choose Simplify Spelling from the Chord Menu, if necessary, so that a checkmark
appears next to the command. For more information, see Simply Spelling in the Chord Menu.
Finale has another small change that may affect your document, both on-screen and in printout. Finale now displays chords and lyrics on notes hidden with
Speedy Entry Tool's O key; chords and lyrics attached to notes you've hidden in earlier versions' documents will now appear. If you do not want them to appear,
delete these elements from the hidden notes.

From Finale 3.0 or earlier:

Time Signature Libraries have been replaced by the Composite Time Signature dialog box.
Output Route Libraries have been replaced with Instrument Libraries.

From Finale 2.2 or earlier:

Shapes created in Finale 2.2 or earlier will appear in the new version but cannot be edited. If editing is required, replace the old shape with one you’ve created in
the new Shape Designer.

To transport files across platforms


You don’t have to save a Finale file in a special format to open the file cross-platform; simply save it in the regular Finale file format.
Starting with Finale 2002a, files can be transferred across platforms while maintaining correct higher ASCII text characters and hard spaces (commonly used in lyrics).
Finale is configured to do this by default, by having “Automatically Convert Text In Files From Other Operating Systems” selected in the Open section of the Program
Options dialog box (see Program Options-Open). Alternately, this conversion can be done after the file is open by going to the Document Menu (see Document
Menu), specifying Data Check, and choosing Convert Text for Windows.

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Selection Overview

Selection Overview

The following dialog boxes are very similar. Click a dialog box name for specific information.

Articulation Selection
Chord Suffix Selection
Copy Fretboards from Suffix
Custom Arrowhead Selection
Executable Shape Selection
Expression Selection
Fretboard Selection
Fretboard Shape Selection
Percussion Map Selection
Preset Arrowhead Selection
Smart Line Selection
Shape Selection
Stem Connections
Symbol Selection

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Scale View To/Zoom In

Scale View To/Zoom In

Select this option (or press Ctrl-=) to zoom in.

See Also:
View Menu
Zoom Tool

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Scale View To/Zoom Out

Scale View To/Zoom Out

Select this option (or press Ctrl--(minus)) to zoom out.

See Also:
View Menu
Zoom Tool

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Scale View To/Fit Width

Scale View To/Fit Width

Choose this option to scale the view percentage so that the page occupies the width of the Finale window.

See Also:
View Menu
Zoom Tool

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Zoom/Fit in Window

Scale View/Zoom Fit in Window

This command is available only in Page View. It automatically reduces the viewing percentage just enough to fit the current page completely on your screen, no matter
what size screen you have.

See Also:
View Menu
Zoom Tool

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View/Custom Zoom 1

View/Custom Zoom 1

Choose this command, or press Ctrl-1 to display the document in the percentage chosen for Custom Zoom 1 in Program Options-View.

See Also:
View Menu

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View/Custom Zoom 2

View/Custom Zoom 2

Choose this command, or press Ctrl-2 to display the document in the percentage chosen for Custom Zoom 2 in Program Options-View.

See Also:
View Menu

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View/Custom Zoom 3

View/Custom Zoom 3

Choose this command, or press Ctrl-3 to display the document in the percentage chosen for Custom Zoom 3 in Program Options-View.

See Also:
View Menu

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Zoom/Other

View/Zoom Other

If you choose Other, the Zoom dialog box appears, in which you can specify any reduction or enlargement you want - from 10% to 1000%. (You can also use Ctrl-
0,zero)

For detailed information, see the Scale View dialog box.

See Also:
View Menu
Zoom Tool

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Zoom/Last Size

Scale View/Zoom Last Size

If you've been viewing your score at several different degrees of magnification, Last Size takes you back to your last magnification setting.

See Also:
View Menu
Zoom Tool

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View/Define Custom Zooms

View/Define Custom Zooms

Choose this command to open Program Options-View where you can define the View Menu's custom view percentages.

See Also:
View Menu

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Zoom Tool

Zoom Tool

Use this tool to magnify or reduce the music as it’s displayed on the screen. You’re not actually enlarging or reducing the printed size of the music – only "zooming in"
or "zooming out" while you’re working on it.

If the Zoom Tool is selected, and you click (in Scroll View) or drag across the music (in Page View), Finale enlarges the display, making it easier for you to do detail
work. If you press Ctrl-while clicking or dragging, however, Finale makes the music smaller, letting you see more of the score on the screen.

Special mouse clicks

See Also:
Main Tool Palette

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Bookmarks/Add Bookmark

Bookmarks/Add Bookmark

Choose this command, or type ctrl-B to create a bookmark based on the current settings in the score. The Add Bookmark dialog box appears where you can name,
change and ignore settings for the bookmark.

Tip: For fast, efficient entry of bookmarks, set up the view (Scroll or Page) and view percentage, and
position the music on the screen before you create the bookmark. If you do this, the text boxes will
accurately reflect the bookmark's position without having to enter that information manually. Select the
checkboxes for the settings you want remembered for the bookmark.

For detailed information, see the Add/Edit Bookmark dialog box.

See Also:
View Menu

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Bookmarks/Edit Bookmarks

Bookmarks/Edit Bookmarks

Choose this command to edit existing bookmarks, or add new bookmarks to the score. The Edit Bookmark dialog box appears where you can name, change and
ignore settings for existing or new bookmarks.

For detailed information, see the Add/Edit Bookmark dialog box.

See Also:
View Menu

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Hiding staves

Hiding staves
If you’re interested in hiding staves to print a full score (so that empty staves are omitted from each system), see Optimizing systems.
If you’re interested in hiding staves temporarily, use the Hide Staves checkbox in the Staff Attributes dialog box. Do not delete the staves—a method of hiding staves
that was used in versions earlier than 3.7. Delete staves only if you want to permanently remove them from the score.

To hide staves for editing (Scroll View)


By hiding staves you’re not immediately editing, but you can greatly reduce the time it takes for your computer to redraw the screen as you move around the score.
When you change the position of a staff in a staff set, it changes positions for all staff sets.

1. Click the Staff Tool . Shift-click the staves you don’t want to hide. You can also select staves by drag-enclosing their handles or by
choosing Select All from the Edit Menu. In any case, the selected staves’ handles become highlighted.
2. While pressing ctrl, choose Program Staff Set from the View Menu; from the submenu, choose one of the Staff Sets (1 through 8).
You’re programming a Staff Set that, when selected, will hide the non-selected staves.
3. To view the new configuration of staves, choose the Staff Set you programmed from the submenu of the Select Staff Set command
(in the View Menu). A quicker way is to note the keyboard equivalent for the desired Staff Template (control-1 through control-8). By pressing control-0 (zero),
you restore all staves to the display; by pressing the command for your Staff Set, you “rehide” the desired staves. You can repeat this process with other
configurations of staves (the other seven Staff Sets), which allows you a total of nine instantly available staff configurations. Finale prints all staves, however, no
matter which ones are visible in Scroll View; to omit staves in printing, see “To hide staves for printing” below.

To hide staves for ossia measures or special playback


Use this method to hide staves that contain source music for ossia measures. Or, hide other staves that you don’t want printed; for example, staves containing notes
for playback only, such as written-out trills, turns, or doubled parts.

1. Click the Staff Tool . The Staff Menu appears.


2. Select a staff, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a staff, a staff handle, or a staff name.) Or, choose Edit Staff
Attributes from the Staff Menu without selecting a staff. The Staff Attributes dialog box appears. To display the attributes of another staff, choose a staff from the
Staff Attributes for drop-down list menu. (Or, use the arrow controls to select a staff from the Staff Attributes for drop-down list menu.)
3. Select Hide Staff in the Options section in the Staff Attributes dialog box, then click OK. Any staff that you hide using this method will still
appear in any Staff Lists but “(hidden)” will appear after the staff’s name in the list.

To hide staves for printing


If your purpose is to hide empty staves when printing a full score, see Optimizing systems.
To hide staves containing music, which you may want to do if a staff contains alternate versions of music, or music only used for playback:

1. Click the Staff Tool . The Staff Menu appears.


2. Select a staff handle, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a staff handle, or a staff name. Or, choose Edit
Staff Attributes from the Staff Menu without selecting a staff.) The Staff Attributes dialog box appears. To display the attributes of another staff, choose a staff
from the Staff Attributes for drop-down list menu. (Or, use the arrow controls to select a staff from the Staff Attributes for drop-down list menu.)
3. Select Hide Staff in the Options section in the Staff Attributes dialog box, then click OK. When this option is selected, Finale displays “hidden”
after the name of the staff in the Staff Attributes for drop-down list menu in the Staff Attributes dialog box.
4. Format and print your piece as usual.

To play back only selected staves


See To play back selected staves.

To show hidden staves


If you’ve hidden a staff using the Hide Staves option in the Staff Attributes dialog box, Finale displays “(hidden)” after the name of the staff in the Staff Attributes for
drop-down list menu in the Staff Attributes dialog box.

1. Click the Staff Tool . The Staff Menu appears.


2. Click the handle on a hidden staff, then choose Edit Staff Attributes from the Staff Menu. If you can’t find staff handles in your score, or if
you’re not sure which staves are hidden, choose Edit Staff Attributes from the Staff Menu without selecting a staff. The Staff Attributes dialog box appears.
Choose the hidden staff from the Staff Attributes for drop-down list menu, which provides a complete list of all staves in the score. (Or, use the arrow controls to
select the hidden staff from the Staff Attributes for drop-down list menu.)
3. Click to deselect Hide Staff in the Staff Attributes dialog box. The staff will reappear when you return to the document.
4. Use the arrow controls to choose another hidden staff and deselect Hide Staff to display the staff in the score.
5. Repeat the process for every hidden staff you want displayed again, then click OK when you’re done.

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View/Select Staff All Staves

Select Staff Set/All Staves

Choose All Staves to display all the staves in your score in Scroll View. This Staff Set cannot be reassigned.

See Also:
View Menu

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View/Select Staff Set 1

Select Staff Set/Staff Set 1

Choose this command to display the staff template you assigned to Staff Set 1. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 1. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Staff Set 2

Select Staff Set/Staff Set 2

Choose this command to display the staff template you assigned to Staff Set 2. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 2. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Staff Set 3

Select Staff Set/Staff Set 3

Choose this command to display the staff template you assigned to Staff Set 3. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 3. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Staff Set 4

Select Staff Set/Staff Set 4

Choose this command to display the staff template you assigned to Staff Set 4. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 4. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Staff Set 5

Select Staff Set/Staff Set 5

Choose this command to display the staff template you assigned to Staff Set 5. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 5. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Staff Set 6

Select Staff Set/Staff Set 6

Choose this command to display the staff template you assigned to Staff Set 6. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 6. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Staff Set 7

Select Staff Set/Staff Set 7

Choose this command to display the staff template you assigned to Staff Set 7. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 7. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Staff Set 8

Select Staff Set/Staff Set 8

Choose this command to display the staff template you assigned to Staff Set 8. Or, to create a staff template, click the Staff Tool; select only the staves you want to
appear when you choose this command. Next, while pressing ctrl, choose Select Staff Set from the View Menu; from the submenu, choose Staff Set 8. You've just
defined a Staff Set.

See Also:
View Menu

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View/Select Layer/Layer 1

View/Select Layer/Layer 1

Choose this option to make layer 1 the active layer for note entry and editing.

See Also:
View Menu

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View/Select Layer/Layer 2

View/Select Layer/Layer 2

Choose this option to make layer 2 the active layer for note entry and editing.

See Also:
View Menu

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View/Select Layer/Layer 3

View/Select Layer/Layer 3

Choose this option to make layer 3 the active layer for note entry and editing.

See Also:
View Menu

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View/Select Layer/Layer 4

View/Select Layer/Layer 4

Choose this option to make layer 4 the active layer for note entry and editing.

See Also:
View Menu

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Using Grids and Guides

Using Grids and Guides


You can use grids and guides to accurately align and position expressions, text, or any item in your document. The grid represents horizontal and vertical lines which
appear at regular intervals on the page, just like graph paper. Set apart at any distance you like, they make a great reference for aligning items relative to each other
or from the page edge. Guides are reference lines, horizontal or vertical, that can be set anywhere on the page. Unlike gridlines, guides can be positioned at will, and
are particularly useful for fine positioning of items to be aligned between lines of the grid.
You can also tell Finale to automatically snap certain items to the closest grid intersection or to a guide line.

To show the grid


1. From the View Menu, choose Page View.
2. From the View Menu, choose Show Grid. The grid appears on the page. To set the distance between gridlines, see Document Options-Grids and Guides.

To create a guide
1. From the View Menu, choose Page View.
2. From the View Menu, choose Show Guides. Notice rulers appear above and to the left of the page.
3. Right-click the ruler and choose New Guide. The New Vertical/Horizontal Guide dialog box appears, which displays the guide location.
4. Click OK. The guide line appears. To move the line, click the arrow at the top or left end of the line.

To snap to grids and guides


1. In Page View, from the View Menu, choose Show Grid or Show Guides.
2. From the Document Menu, choose Document Options, and then select Grids and Guides.
3. Check Snap To Grid or Snap To Guide.
4. Choose Items to Snap To Grid or Items to Snap To Guide. The Items to Snap To Grid or Items to Snap To Guides dialog box appears. See Items To
Snap To Grid and Items to Snap to Guide dialog boxes.
5. Check the items you want to snap to grids and/or guides.
6. Click OK. Selected items now snap to the nearest grid intersection and to nearby guide lines. To see how close you can move an item to a guide line without
snapping to the guide, Right-click the guide arrow and choose Show Gravity Zone.

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View/Grid/Guide/Show Grid

View/Grid/Guide/Show Grid

Use this menu item to display the Grid in Page View.

Tip: Turn on Snap to Grid under the View Menu to allow items to align the Grid upon entry or at the
mouse release after the drag.

See Also:
View Menu

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View/Grid/Guide/Snap to Grid

View/Grid/Guide/Snap to Grid

Use this menu item to force items to align to the Grid upon entry or after the mouse is released at the end of a drag.

Note: The Grid will only function in Page View.

See Also:
View Menu

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View/Grid/Guide/Show Guides

View/Grid/Guide/Show Guides

Use this menu item to display the Guides in Page View.

Tip: To create a Guide, double click in the Ruler in Page View and Turn on Snap to Guides under the
View Menu to allow items to align the Guide upon entry or at the mouse release after the drag.

See Also:
View Menu

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View/Grid/Guide/Snap to Guide

View/Grid/Guide/Snap to Guide

Use this menu item to force items to align to the Guide upon entry or after the mouse is released at the end of a drag.

Tip: Create a Guide by double clicking in the Ruler above or beside the document in Page view.

Note: Guides will only function in Page View.

See Also:
View Menu

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View/Grid/Guide/Guide Options

View/Grid/Guide/Guide Options

Use this dialog box to edit how Grids and Guides will appear in Page View and what items can be snapped to the Grid and/or Guides

Tip: To create a Guide, double click in the Ruler above or beside the music in Page View.

See Also:
View Menu
Document Options-Grids and Guides

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View/Show Hidden Notes and Rests

View/Show Hidden Notes and Rests

Select this item to display notes hidden with Simple or Speedy Entry’s Show/Hide Entry command (See Simple Entry Tool) or hidden with the alternate notation style
Blank Notation (See Alternate Notation dialog box). With this item checked, hidden notes display in a shade of gray on the screen, with a different hue for each layer
corresponding to each layer’s display color. See Program Options-Display Colors.

See Also:
View Menu
Simple Entry Tool
Speedy Entry Tool

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View/Show Rulers

View/Show Rulers

Choose this command to display nonprinting rulers at the top and left side of the screen. As you drag an object, you can see thin dotted indicator lines that show you
where the cursor is, making it easy for you to align and position various objects precisely on the screen. The units of measurement are whatever you've selected using
the Measurement Units command in the Edit Menu.

See Also:
View Menu

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View/Show Margins

View/Show Margins

When you’re in Page View (with Page View selected in the View Menu), you can show or hide your document’s page margins and system margins. When selected
(the command is checked) Finale draws the page and system margins in light gray on the screen. When not selected (the command is not checked) you’ll only see the
page boundaries on the screen.
In addition to the page and system margins, Finale shows two vertical lines on the page. The vertical lines indicate the center of the page, and the center point
between the page margins.

See Also:
View Menu

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View/Show Page Layout Icons

View/Show Page Layout Icons

When this item is selected, Finale displays non-printing icons for systems which have been locked or systems where Optimization or Page Breaks
have been applied with the Page Layout Tool. The systems are locked when you use the Fit Measures command in the Utilities Menu; when you move measures from
one system to another using the arrow keys; and when you use Ctrl-L and Ctrl-Shift-L commands to Lock and Unlock selected systems. See Selection Tool, Page
Layout Menu and Program Options-Edit.

For more information see Fit Measures dialog box

See Also:
View Menu

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View/Show Multiple Pages

View/Show Multiple Pages

This command, available only in Page View, tells Finale to display the pages of your piece side by side in rows across your screen. Such an arrangement allows you
to get an overall picture of your score, because you can scan all pages of the file at once - that is, if you've reduced the view enough to fit all the pages on the screen.

In a small-sized window, you'll need to reduce the music quite a bit in order to see more than one page at a time - for example, you might try choosing Fit in Window
from the "Zoom" submenu. In any case, you can only edit the music on the first displayed page.

See Also:
View Menu

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View/Show PostScript Preview

View/Show PostScript Preview

When you choose this command (Page View only), Finale displays a preview of your music. Except for the fact that the screen resolution is much coarser than that of
a printer, the Display in PostScript option provides you with the most accurate possible preview of what will be your printed output. Click on the page to make the
display return to normal.

Technical note: Specifically, the Display in Postscript command displays tapered slurs, kerns letter
pairs, and substitutes laser fonts for bitmapped fonts, when possible.

See Also:
View Menu

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Text

Text
You can place text, in any font and size, anywhere in a Finale score. Different tools, however, are ideal for different kinds of text. The table below will help you find
instructions for creating the kind of text you’re looking for.

To create these… Use this tool… …and see this entry

Lyrics Lyrics Tool Lyrics Tool

Page numbers Text Tool Page numbers

Notes to the conductor Text Tool Text blocks

Titles Text Tool Titles

Copyright notices Text Tool Copyright notices

Text expressions (arco, etc.) Expression Tool Expressions

Explanatory text Text Tool Text Tool

Chord symbols Chord Tool Chord symbols

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Beaming

Beaming
See also Beam angles; Beaming across barlines; Beaming: feathered beaming; Beaming over rests; Beaming: Secondary beams; and Beam thickness.
Beaming of eighth notes (and notes of smaller value) is automatic in Finale, although you can override Finale’s beaming decisions, either on a global, regional, or
case-by-case basis.

Note: To automatically modify the appearance of all beams at once, use the Patterson Beams plug-in.

To break (or create) a beam

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears. Use the arrow keys to position the insertion bar
on the note at the end of the desired beam.

2. Or click the Simple Entry Tool , and control-click the note at the end of the desired beam.
3. Press the slash key (/) or B. If the note was beamed to the previous note, the beam breaks. If the note wasn’t beamed to the previous note, two notes are
now beamed together. Press the slash key again to restore the beam to its previous form.

To rebeam a selected region

When you first enter music into Finale, the time signature determines how eighth notes (and smaller notes) are beamed together. In , Finale groups beamed notes

in quarter note groupings with the exception of eighth notes which are beamed in groups of 4. See Document Options-Beams to change this setting. In , Finale
groups beamed notes in half note groupings.
If you change the time signature after you’ve entered music, the beaming patterns changes unless you have deselected the Rebar music checkbox in the Time
Signature dialog box. In such a case, it’s easy to rebeam the music to match the new time signature: Select the region (using the Selection Tool) and choose Rebeam
Music (from the Rebeam submenu of the Utilities Menu).
However, if you want to give a region a beaming pattern that’s completely unrelated to the time signature—for example, to beam eighth notes in groups of 3, 3, and 2

in a meter, follow these steps:

1. Click the Selection Tool , and select a region. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Rebeam, then Rebeam to Time Signature. The Rebeam dialog box appears.
3. Using the upper and lower scroll bars, adjust the upper and lower numbers of the “beaming signature” until you see the desired
beaming patterns. In other words, if you want eighth notes in common time beamed in groups of four (rhythmic value equals a half note), adjust the display

until it shows two half notes (two groups of four eighth notes). If you’re in and you want all six eighth notes beamed together in each measure, adjust the
display until it shows a dotted half note (one group of six eighth notes).

Note: If you want an asymmetrical beaming pattern (such as three, three, and two eighth notes in
common time), click the Composite button and enter the desired groupings into the text boxes.

You specify the new beaming pattern for the selected music much as you would create a time signature. See below.

To create custom beaming patterns

Normally, Finale beams 16th notes (and notes of smaller value) according to the time signature. In , they’re grouped in quarter-note units; in , they’re grouped
in half-note units. Eighth notes are beamed in groups of 4. See Document Options-Beams to change this setting for eighth notes.

Occasionally, you may find it useful to break this rule. You may want to create a section of music in time, but whose eighth notes are grouped (for example) in
patterns of 3, 3, and 2.

1. Click the Time Signature Tool , and double-click the measure where you want the meter to change. The Time Signature dialog box
appears.
2. Using the two scroll bars, specify the beaming pattern you want. If you want eighth notes beamed in groups of 3, 3, and 2, click Composite, and
enter “3+3+2” in the top box (and 8 in the bottom box). See Time signatures for further instructions in using the Time Signature Tool.
3. Click . The dialog box expands.

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Beaming

4. Select Use a Different Time Signature For Display. Using the lower set of scroll bars, specify the time signature you want to appear

in the score. If you’ve specified a “beaming signature” using the upper scroll bars, you could enter as the display meter. Or if you’ve specified a

beaming pattern of , you could set the lower scroll bars to or .


5. Using the Measure ___ Through ___ (or Through End of Piece) text boxes, specify the range of measures you want affected by the
time signature/beaming patterns.
6. Click OK (or press enter).

To prevent Finale from beaming automatically (Speedy Entry)

Finale normally beams notes together according to the denominator of the time signature (quarter note groupings in , half note groupings in , and so on) when
you’re entering notes in step time using the Speedy Entry Tool. You can, if you wish, turn off this feature.

1. Click the Speedy Entry Tool . The Speedy Menu appears.


2. Choose Check Beaming from the Speedy Menu, so that the check mark no longer appears.

To beam eighth notes in quarter note groups


1. From the Document Menu, choose Document Options, then select Beams. The Beaming options appear.
2. Deselect Beam 4 Eighth Notes Together in Common Time. This will only affect entries from this point forward.
3. Click OK (or press enter).

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Ossia Tool

Ossia Tool

Use this tool to create floating measures—one-bar alternative passages that you can place anywhere in the score. Such a measure might provide an explanation of a
trill, propose a cadenza, or suggest an easier alternative to the real measure.

Such a measure can be dragged freely around the page. These “ossia” measures don’t play back; they’re purely graphic.
A measure-assigned ossia measure remains attached to its measure in the score, even if that measure’s position in the score changes. A page-assigned ossia
measure, which you create in Page View, remains fixed to a given spot on the page, regardless of any repositioning of the music around it.

For information regarding page-attached ossia measures in linked parts, see Page-attached Ossia measures in linked parts.

Note: Positioning values are always in the unit of measurement chosen under the Edit Menu. To
choose a measurement unit, from the Edit Menu, choose Measurement Units.

See Ossia for full instructions.

Special mouse clicks

Contextual menus
For further information, see the Ossia Measure Designer dialog box.

See Also
Advanced Tools Palette

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Ossia

Ossia
An ossia passage is an alternative phrase, often placed in a reduced-size measure above the primary measure in the score. (Ossia means “or else.”) An ossia
measure often provides an explication of a trill, proposes a cadenza, or suggests an easier alternative to the real measure. In Finale, such an annotative measure can
be created with the Ossia Tool.
There are two kinds of ossia measures. A measure-assigned ossia measure remains attached to its measure in the score, even if that measure’s position in the score
changes. A page-assigned ossia measure, which you create in Page View, remains fixed to a given spot on the page, regardless of any repositioning of the music
around it.
Measure-attached ossia measures are recommended in documents with Linked Parts. If you are adding page-attached ossia measures to a document containing
Linked Parts, see Page-attached Ossia measures in linked parts.

To create a floating (ossia) measure


A floating measure must be based on a “real” measure. For most purposes, then, you’ll need to create a “scratch staff” on which to notate the actual contents of the
ossia measure. You then choose “hide staff” in the Staff Attributes dialog box (see Hiding staves for full instructions.

1. From the View Menu, choose Page View.

2. Click the Staff Tool , from the Staff Menu, choose New Staves and click OK. A new staff appears at the bottom. This will be your scratch
staff.
3. In the scratch staff, enter the music you want to appear in the floating measure.
4. From the Window Menu, choose Advanced Tools.

5. Click the Ossia Tool .


6. Double-click the spot on the page (in Page View) or double-click the measure to which you want to attach the floating measure (do
not double-click a measure on your scratch staff). The Ossia Measure Designer dialog box appears.
7. Select whether you want a measure or page-attached ossia.
8. Enter the number of the Source Staff and Source Measure. The Source Staff is the scratch staff, and the Source Measure is the measure in which
you entered the music. (If you don’t know a staff’s number, click the Staff Tool and select the staff’s handle. Select Staff Usage from the Staff Menu. The Staff
Number appears in the resultant dialog box.) If you want to specify a clef other than the default treble clef, click the Clef Select button; to set a key or time
signature, click Key Signature or Time Signature. You can change the ending barline, too, by clicking one of the barline types.
9. Specify the reduction value by entering a number in the Scale To box. Generally, 50% to 85% (of full size) looks good. If there are elements of the
scratch staff you don’t want to include in the floating measure, deselect the appropriate boxes in the Items to Display section. You can also specify various
positioning aspects of the floating measure, such as the Top or Left Margin; for full descriptions of these elements, see Ossia Measure Designer dialog box.
10. Click OK (or press enter). The (Page or Measure Assignment) box appears. If you wish, specify horizontal and vertical coordinates for the measure (in the
currently-selected measurement units). If you’re entering a page-attached ossia, you can also specify the barline-to-barline width of the floating measure.
11. Click OK (or press enter). You return to the document, where the floating measure is in place. If you’re in Page View, you can drag the measure’s handle
immediately to position the measure. In Scroll View, you have to click the “real” measure to which you attached it; a handle appears, allowing you to drag the
measure into position.

To hide the scratch staff

1. Select the Staff Tool .


2. Double-click a measure in the scratch staff. The Staff Attributes dialog box appears.
3. Check Hide Staff (under Options).
4. Click OK. The ossia measure will remain in the score.

To move, edit, or delete a floating measure


To edit the musical contents of the floating measure, simply edit the measure on the “scratch staff” from which it was created.

1. From the View Menu, choose Page View.


2. From the Window Menu, choose Advanced Tools.

3. Click the Ossia Tool . A handle appears on the floating measure.


4. Double-click the handle to change the Ossia Measure Designer settings (clef, percentage reduction, and so on). Shift-double-click
the handle to change the Assignment variables (H and V position and measure width).
5. Drag the handle to move the floating measure. Click the handle, and then press delete to remove it.

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Shape Designer

Shape Designer
You can create your own shapes and symbols in Finale using the built-in Shape Designer. You’ll find this built-in graphics program as easy to use as any standard
drawing program. In fact, the Shape Designer is even better, because shapes you create in it can be musically intelligent! They can stretch along with the score, affect
playback, or appear in every staff at once.
You might create, for example, a harp pedaling diagram, or a custom barline. You can also design rectangles to use as text enclosures when you’re creating Text
Blocks, block rests to serve as multimeasure rests in extracted parts, and special shapes for use as custom stems.
Font changes are saved and read with Shape Libraries. As a result, fonts embedded in shapes created with special characters in the Shape Designer will maintain their
appearance when imported into another file
To create a shape for use as a marking in the score, you access the Shape Designer from the Expression Tool (see Expressions). (Various other tools access the
Shape Designer, too, as described at the end of “To enter the Shape Designer.”

To enter the Shape Designer

1. Click the Expression Tool .


2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box
appears. Verify that the setting for Note-attached you prefer is selected.
3. Proceeding through the dialog boxes, click as follows: Shape; Create; Select; Create. You enter the Shape Designer. (There are various other
ways to enter the Shape Designer. See Shape Designer dialog box.)

To create a shape
1. Enter the Shape Designer. See “To enter the Shape Designer.”

You arrive at a graphics window with a number of drawing tools along the top edge of the screen, a menu at the top, and coordinate boxes at the right. See
Shape Designer dialog box for details.
If the shape is to be very large or very small, you can “zoom in” (or out) by using the View drop-down listpopup menu. Using the Shape Designer Menu, you
can tell Finale to display rulers or a grid to help you draw precisely-sized objects.

2. Click the tool you want to draw with; then drag the mouse in the main drawing area. The kind of line you draw is determined by the tool you

click. For example, to draw a line, you click the Line Tool and drag in the drawing area. When you release the mouse, the line is a distinct object whose
length, thickness, and angle you can easily change at any time. See Shape Designer dialog box for details.
3. Use the selection tool and click on the shape. Change the way the shape looks by dragging a position of a handle (or control point).
Or, use the selection tool, click on the shape (so the control points appear) then click and drag the shape (but don’t grab any of the
control points) to reposition it relative to the origin. By editing the numbers in the H: and V: boxes you can also change the shape’s
position relative to the origin. H: means the point’s Horizontal position, relative to the origin (the small white circle); V: means its Vertical position. The
units of measurement are whatever you select using the Rulers and Grid command in the Shape Designer Menu.

The origin is the small handle that appears in the center of the drawing area. It anchors your shape, acts as the zero point for the rulers and positioning
coordinates, and indicates where your shape’s handle will appear once you’ve placed it into the score.
When you drag one of the eight bounding handles of a multiline object or polygon shape, you resize the object. To view the individual control points that define
a multiline, polygon, or bracket shape, double-click the object. To edit a curve or slur, click once to see the three draggable shaping handles; double-click one
of these handles to see the four control handles for even more control. (Use the arrow keys to nudge a selected handle by one EVPU [1/288th inch].)

4. Combine elements of your drawing, if you wish, by selecting them and choosing Group from the Shape Designer Menu. To select several
objects, click the Selection Tool. Then either shift-click the objects you want, or drag-enclose them. Or, if you want to select all the objects, choose Select All
from the Edit Menu. Once grouped, the objects are locked in relation to each other, and may be moved or resized as a unit. You can create nested groups, too,
by combining groups together using the same method. To ungroup, select a group and choose Ungroup from the menu.
5. Create layered effects using the Send to Back and Bring to Front commands. See Shape Designer Menu for more information.
6. To specify the shading for an enclosed object, click the object and select the fill amount from the Fill submenu (in the Shape
Designer Menu). You can specify Black, White, or any degree of gray.
7. Press enter twice. If you’re creating an Expression mark (as opposed to an Executable playback shape), you arrive at the Shape Expression Designer.

If you select Allow Horizontal Stretching, Finale will permit the shape to stretch out along with the music if the measures are widened. For example, you wouldn’t
want to Allow Horizontal Stretching for a fixed-shape symbol such as a harp pedaling diagram—but you would for slurs, crescendo hairpins, or glissando lines.

8. Click OK or Select in each dialog box until you return to the document. Once the shape is in the score, you can adjust its position by dragging its
handle. To stretch it, double-click the shape’s handle; its eight bounding handles appear. To completely reshape the graphic, double-click a second time. Its
control-point handles appear, which you can then drag exactly as you would in the Shape Designer.

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Note values (durations)

Note values (durations)


You can enter notes of any rhythmic value (quarter note, eighth note, and so on) into the score with or without MIDI keyboard input. You can also change any existing
note’s value (or region of notes) without having to re-enter them.
For instructions on adding and deleting notes, see Simple Entry and Speedy Entry.

To change the note values in a selected region

1. Click the Selection Tool and select the region of music you want to change. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Change, then Note Durations. The Change Note Durations dialog box appears.
3. Specify how you want to affect the notes in the selected region. If you want to affect every note equally, choose a percentage from the drop-down
list menu—200% to double each note’s value, 50% to make each note half its original value, and so on. Alternatively, you can change the durations of only a
specific note value; click its existing value in the From palette, and the value you want it changed to in the To palette.

If you want Finale to re-bar the selected measures so that the proper number of beats appears in each measure, make sure Rebar Measures is selected. See
Change Note Durations dialog box for details on these options.

4. Click OK (or press enter). You can even double the values of the notes in one layer only (if Show Active Layer Only is selected in the View Menu).

Finally, note that this command does not affect empty measures. (A measure in which you’ve entered a “real” whole rest doesn’t count as empty in this context.) That
is, it will double the values of all notes and rests you’ve entered, but it won’t create a second completely empty measure.

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Note size

Note size
You can change the size of the music in your documents in a number of ways, both globally and locally. For specific instructions regarding cue notes, see Cue notes.
For information on reducing or enlarging the entire score or part at once (for printing purposes), see Reducing/Enlarging. See also Resize Noteheads Plug-in.

To reduce or enlarge the notes (but retain staff size)


Using this technique, you can create large-note music for beginning readers, or reduce all the notes slightly (with respect to the staff) for a sparser, finer look.

1. From the Document Menu, choose Document Options and select Fonts. The Select Default Fonts dialog box appears.
2. From the Notation drop-down menu, choose Noteheads.
3. Next to the Notation drop-down menu, click Set Font. The Font dialog box appears.
4. Enter a new value in the Point Size text box. The standard size for Finale’s music font (Maestro) is 24 point.
5. Click OK. If you chose a size that’s not a multiple of 12, the notes may have slightly jagged edges if you print on a non-PostScript printer (unless you use
Adobe Type Manager or the TrueType Maestro font; both are described under Fonts). On a PostScript printer, however, the notes will be crisp and smooth.

If you discover that the stems of stems-up notes no longer attach correctly to the newly-sized noteheads, you can adjust their horizontal positions using the
Stem Connections dialog box. For full instructions, see Stems—To change the position of the stem relative to its notehead.

To reduce or enlarge selected notes (or noteheads)


These instructions show you how to resize one notehead or one beamed group of notes. If you want to create cue notes (by resizing a longer region of notes),
however, see Cue notes. See also See also Resize Noteheads Plug-in.

1. Enter the music at normal size.

2. Click the Resize Tool .


3. To change the size of a notehead, click it. To change the size of the entire entry group—the note or chord, stem, flag, lyric,
articulations, and any notes beamed to it—click the stem (of the first note in the group). The Resize dialog box appears.
4. Enter the desired reduction or enlargement value. The number you enter here is a percentage of the full-size notes, so 200 (%) would result in a
double-size note.
5. Click OK (or press enter). The note (or entry group) is now resized. To restore the notes to normal size, repeat the process, but change the number to 100%
in the Resize dialog box and click OK.

To restore a region of modified notes to their original size

1. Click the Selection Tool .


2. Select the measures containing the resized notes.
3. Choose Clear Items from the Edit Menu. Proceeding through the dialog boxes, click as follows: Only Selected Items; Entries. A dialog
box appears, listing various elements you can erase.
4. Click Notehead, Accidental and Tablature String Alterations. Click OK (or press enter) twice.

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Noteheads

Noteheads
For information on changing the shapes of noteheads (to X’s, diamonds, slashes, and so on), see Note shapes. To use colored noteheads, see Document Options-
Notes and Rests.

To move individual noteheads


Occasionally, you may need to drag the individual noteheads horizontally—for example, to “restack” the notes of a cluster chord.

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure in question.

2. Click the Notehead Position Tool . A handle appears on each notehead.


3. Drag any handle left or right to move the notehead. To restore a notehead to its original position, click its handle; then press delete.

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Ties

Ties
Finale uses three available tie spans—short, medium, and long—whose lengths you can separately define to best suit your document. Other global settings for each
tie span allow you to tailor their overall appearance and placement in the score. You can further position and shape ties in the score individually.

To add or remove a tie (Simple Entry Tool)

1. Click the Simple Entry Tool . The Simple Entry Palette appears.

2. Double-click the Tie Tool on the Simple Entry Palette, then click the first note to be tied. If the first note is selected, press T.
If the second note is selected, press shift-T. A tie appears. If you click the stem of a chord, a tie appears on every note in the chord; if you click a single
notehead, only that note receives the tie. Remove a tie by clicking the note or chord again.

To add or remove a tie (Speedy Entry Tool)


1. Click the Speedy Entry Tool, and click a measure. The editing frame appears.
2. Click to position the cursor on the first note of the tied pair, or press the arrow keys to move the cursor. If you are adding a tie to a single
note of a chord, use the up or down arrows to position the crossbar squarely on the notehead; to tie every note in a chord, position the crossbar on any line or
space not containing a notehead.
3. Press the equal sign (=) key or T to add a tie. A tie appears. If the insertion point bar was on a line or space not containing a notehead, a tie appears on
every note in the chord; if the crossbar was on a single notehead, only that note receives the tie. Remove tie by pressing the equal sign key again.

To add a tie backwards (Speedy Entry Tool)


1. Click the Speedy Entry Tool, and click a measure. The editing frame appears.
2. Click the note where the tie end will appear. You can also press the arrow keys to position the cursor. If only a single note of a chord is to be tied, use
the up or down arrows to position the crossbar squarely on its notehead; to add a tie end to every note in the chord, position the crossbar on any line or space
not containing a notehead.
3. Press the ctrl and the equal sign (ctrl-=) keys or press shift-T. A tie going to the previous note or chord appears. If the insertion point bar was on a
chord stem, a tie appears on every note in the chord; if the crossbar was on a single notehead, only that note receives the tie. Remove a tie by pressing the ctrl-
= sign key again.

To change the direction of a tie (Simple Entry or Speedy Entry Tool)


1. Click the Speedy Entry Tool, and click the measure containing the tie. Click on first note of the tie.
2. Or, click the Simple Entry Tool. Ctrl-click on first note of the tie.
3. Press ctrl-F to reverse the direction of the tie. In Speedy Entry, choose Automatic (or press ctrl-shift-F) from the Tie Direction submenu of the Speedy
Menu to have Finale automatically set the tie’s direction based on the position of the tied notes on the staff (Automatic is default). Choose Over to set the tie over
notes, Under to place the tie under tied notes.

To change the direction of a tie (Special Tools Tool)

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , then click the measure containing a tie to
adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Select a handle of a tie whose direction you are changing.
4. Choose Flip from the Tie Direction submenu of the Special Tools Menu (or press ctrl-F) to reverse the direction of the tie. Choose
Automatic (or press ctrl-shift-F) to have Finale automatically set the tie’s direction based on the position of the tied notes on the staff (Automatic is default).
Choose Over to always place the tie over the notes, Under to always place tie under the tied notes.

To adjust the direction of ties on chords globally


1. From the Document Menu, choose Document Options, then select Ties. The Tie options appear.
2. Make a selection from the Chords drop-down list to set the direction of ties on the inside notes of chords (the top and bottom ties
always curve in opposite directions). Choose Stem Reversal to set tie direction based on the tied notes’ position above or below the stem reversal point
(set in the Staff Setup dialog box). Choose Split Evenly to divide ties evenly over and under the notes. Outside/Inside is provided only for compatibility with
previous versions. SeeStaff Setup dialog box.
3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To adjust the direction of ties on opposing seconds globally


1. From the Document Menu, choose Document Options, then select Ties. The Tie options appear.
2. Click on the Opposing Seconds checkbox to allow ties to flip in opposite directions for opposing seconds. Deselect this checkbox to ignore
opposing seconds for tie direction.

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Ties

3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

Note: This setting is mainly for chords which have more than 3 notes. If there are only 2 notes which
are an interval of a second apart (and no other layers are present) ties on seconds will still be
opposing.

To adjust the direction of ties with mixed stems globally


1. From the Document Menu, choose Document Options, then select Ties. The Tie options appear.
2. Make a selection from the Mixed Stems drop-down list to set the direction of ties on the inside notes of chords (the top and bottom
ties always curve in opposite directions). Select from Over, Under or Opposite First Stem which will set the tie over or under depending on the direction
of the stem of the first note in the tie.
3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To adjust the direction of ties in a region

1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this.
2. From the Utilities Menu, choose Change, then Ties.
3. Check the box for any tie options you wish to change for the selected region.
4. To have Finale automatically set the tie’s direction, click the Automatic radio button. To always keep the tie over the tied notes, click Over.
Click Under to keep the tie under the tied notes.
5. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To change an individual tie’s shape and placement by dragging it on the score

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , then click the measure containing a tie to
adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Use the mouse to drag any of the handles, adjusting the tie’s start and end position, height and inset until it is positioned to your
liking. Double-click the middle handle and two handles appear allowing you to change the inset for the left and right side of the tie arc.
4. To remove any positioning, select a handle and type backspace or shift-delete.

To adjust placement of ties globally


1. From the Document Menu, choose Document Options, then Ties. The Tie options appear.
2. Select the variation of tie for which you would like to adjust the placement settings. There are a number of selections in the drop-down list.
There are separate settings for ties that are inside chords, and ties that are the outermost ties on chords (noteside and stemside). Each of these have separate
settings for ties over notes and ties under notes.

Note: When you are adjusting these settings remember that the notes tied together may not use the
same choice from the drop-down list. For example, ties with mixed stems may use different outer
placement settings. To have Outer placement settings take effect, the Use Outer Placement checkbox
must be selected.

3. Set the horizontal and vertical starting position for the selected tie variation. Enter a number (in measurement units) into the Start H: text box to
specify the tie’s starting position horizontally from the inside edge of the first tied note. A larger number moves the tie to the right; a smaller number (including
negative numbers) moves it to the left. Enter a number (in measurement units) into the Start V: text box to specify the tie’s starting position vertically from the
inside edge of the first tied note. Type a larger number to move the tie up, a smaller number (including negative numbers) to move it down.
4. Set the horizontal and vertical ending position for the selected tie variation. Enter a number (in measurement units) into the End H: text box to
specify the tie’s ending position horizontally from the inside edge of the second tied note. A larger number moves the tie to the right; a smaller number (including
negative numbers) moves it to the left. Enter a number (in measurement units) into the End V: text box to specify the tie’s ending position vertically from the
inside edge of the second tied note. Type a larger number to move the tie up, a smaller number (including negative numbers) to move it down.
5. Enter a number (in measurement units) into the System Start Adjustment text box to specify the tie’s distance from the start of the
new system. Type a larger number to move the tie to the right; type a smaller number (including negative numbers) to move the tie to the left.
6. Enter a number (in measurement units) into the System End Adjustment text box to specify the tie’s distance, measured backwards
from the end of the system. Type a larger number to move the tie to the right; type a smaller number (including negative numbers) to move the tie to the
left.
7. Select additional tie variations from the drop-down list and change as desired. All tie variations will be updated when you exit the dialog box by
clicking OK.
8. Click OK to save all of your changes. Click Cancel to dismiss the dialog box and discard any changes.

To adjust the placement of an individual tie

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , then click the measure containing a tie to

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Ties

adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Double-click the left or right handle of the tie. The Tie Alterations dialog box appears.
4. Set the horizontal starting position of the tie in relation to the first tied note. Enter a value (in measurement units) into the Start H: text box to
position the tie horizontally away from the inside edge of the note. A larger number moves the tie to the right; a smaller number (including negative numbers)
moves it to the left.
5. Set the vertical starting position of the tie in relation to the first tied note. Enter a value (in measurement units) into the Start V: text box. Type a
larger number to move the tie up, a smaller number (including negative numbers) to move it down.
6. Set the horizontal ending position of the tie in relation to the second tied note. Enter a value (in measurement units) into the End H: text box to
position the tie horizontally away from the inside edge of the note. A larger number moves the tie to the right; a smaller number (including negative numbers)
moves it to the left.
7. Set the vertical ending position of the tie in relation to the second tied note. Enter a value (in measurement units) into the End V: text box. Type
a larger number to move the tie up, a smaller number (including negative numbers) to move it down.
8. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To adjust the placement of a tie after a system break


See To adjust the placement of an individual tie in the score.

To adjust the shape of ties globally


1. From the Document Menu, choose Document Options, then Ties. The Tie options appear.
2. Click the Tie Contour button to display the Tie Contour dialog box.
3. Select the tie style whose settings you want to adjust from the Style drop-down list. Select Short, Medium, Long or Tie End (tie after a system
break). To set more than one style, just select another style from the list before you click OK to apply your changes. To change the settings for Short Medium and
Long, enter values (in measurement units) into the Short, Medium, or Long Span text boxes. These lengths will allow you to specify different height and insets for
short, medium and long length ties.
4. To change the height of the left and right sides of the arc of the selected tie style, enter values (in measurement units) into the Left:
Height and Right: Height text boxes, respectively. A larger number increases the height of the arc; a smaller number decreases it.

Note: The Height setting is actually the height of a control point, an imaginary point that Finale uses
to calculate the arc’s curve. Finale draws the actual height of the arc a little less than the value you
specify for Height.

5. Choose an Inset Style. Click Inset percent to specify Inset as a percentage of the tie’s length. Click Inset Fixed to specify Inset as an unchanging amount for
all tie spans, regardless of a tie’s length. This has been provided for compatibility.
6. Specify the shape of the left and right endpoints of short, medium, and long ties. Finale uses the Left and Right Inset settings to shape the left
and right tie ends, giving them a more “rounded” or “hooked” appearance depending on the Inset value. If you selected Inset percent as the Inset Style, enter a
number into the Left and Right Inset text boxes that is a percentage of the tie length for each span. Increase the percentage to flatten the tie ends; use a smaller
percentage to make the ends more hooked. If Inset fixed is the selected Inset Style, enter a number (in measurement units) into the text box that appears for all
spans. A larger number flattens to tie ends; a smaller number hooks the ends.
7. Set how to determine the height of ties that fall between the specified short and medium, or medium and long spans. Click Interpolate
height between short and long span to have Finale automatically calculate a proportional height based on the defined Span and Height settings. Click Use
medium height between short and long span to always use the Medium Height setting for ties whose lengths fall between the specified spans.
8. Set the thickness of the left side of the arc for all ties. Enter a value (in measurement units) into the Left text box. The larger the number, the thicker
the arc.
9. Set the thickness of the right side of the arc for all ties. Enter a value (in measurement units) into the Right text box. The larger the number, the
thicker the arc.
10. To avoid staff lines, select the checkbox Avoid Staff Lines By. Enter a different number if you want to change the default of 8 EVPUs. 12 EVPUS is
equivalent to centering the tie between staff lines. The only viable range for this text box is 2-12 EVPUs.
11. Click OK to save your changes and return to the Tie options. Click OK to return to the document. Click Cancel to return to the Tie options
without making any changes.

To adjust the shape of an individual tie

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , then click the measure containing a tie to
adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Double-click the starting or ending handle of the tie. The Tie Alterations dialog box appears.
4. Set the Height of the tie’s arc. Enter values (in measurement units) into the Height: Start and Height: End text boxes to set the height of the left and right
control points of the tie’s arc, respectively. A larger number increases the height of the arc. A smaller number decreases the height.

Note: The Height setting is actually the height of a control point, an imaginary point that Finale uses
to calculate the arc’s curve when creating a tie. Finale draws the actual height of the arc a little less
than the value you specify for Height.

5. Set the tie Inset. Enter values into the Left: Inset and Right: Inset text boxes to set the amount of “hook” of the left and right end of the tie. Inset is a
percentage of the tie length. Enter a lower percentage to hook the end of the tie more, curving it more sharply. A higher percentage will flatten the ends of tie.
6. To avoid staff lines select the checkbox, Avoid Staff Lines By. Finale uses the Avoid Staff Lines By: global setting in Document Options-Ties to

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Ties

position the arcs of ties in the region.


7. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To set tie thickness


See To adjust the shape of ties globally.

To horizontally adjust ties over system breaks


See To adjust placement of ties globally.

To use outer placement setting for outer ties on chords and single tied notes globally
1. From the Document Menu, choose Document Options, then Ties. The Tie options appear.
2. Click Use Outer Placement.
3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To change the outer placement setting for an individual tie

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , then click the measure containing the tied
chord.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Double-click the starting or ending tie handle. The Tie Alterations dialog box appears.
4. Select a desired setting from the Outer Placement drop-down list.
5. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To avoid staff lines with ties over a region

1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this.
2. From the Utilities Menu, choose Change, then Ties.
3. Click the Avoid Staff Lines checkbox. Finale uses the Avoid Staff Lines By: global setting in Document Options-Ties to position the arcs of ties in the
region.
4. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To break ties across time and key signature changes globally


1. From the Document Menu, choose Document Options, then Ties. The Tie options appear.
2. Enter a number (in measurement units) into the Left Gap text box to specify the tie’s distance backwards from the time signature.
Type a smaller number to move the tie to the left, away from the time signature; type a larger number to move the tie to the right, closer to the time signature.
3. Enter a number (in measurement units) into the Right Gap text box to specify the tie’s distance forward from the time signature. Type
a larger number to move the tie to the right, away from the time signature; type a smaller number to move the tie to the left, closer to the time signature.
4. Click OK to confirm your changes. Click Cancel to dismiss the dialog box without making any changes.

To break ties in a region at time or key signature changes

1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this.
2. From the Utilities Menu, choose Change, then Ties.
3. Choose On from the Break for Time or Key Signature drop-down list. Finale will always break ties in the region at a time or key signature change,
regardless of the Tie options global setting. To never break at key or time signatures Choose Off.
4. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To break an individual tie at a time or key signature change

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , then click the measure containing a tie you want
to edit.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Double-click the starting or ending handle of the tie you want to edit. The Tie Alterations dialog box appears.
4. Choose On from the Break for Time or Key Signature drop-down list. Finale will always break this tie at a time or key signature change, regardless
of the Tie options global setting. To never break at key or time signatures Choose Off.
5. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

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Ties

To adjust ties for augmentation dots


1. From the Document Menu, choose Document Options and select Ties. The Tie options appear.
2. Click Start After Single Dot to start ties after notes with a single dot. Click Start After Multiple Dots to start ties after notes with more than one dot.
3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To shift ties for intervals of a second


1. From the Document Menu, choose Document Options and select Ties. The Tie options appear.
2. Click Shift For Seconds to have all the ties on chords shift in for the interval of a second.
3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To avoid accidentals for single ties


1. From the Document Menu, choose Document Options and select Ties. The Tie options appear.
2. Click End Before Single Accidental to have single ties avoid accidentals.
3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To remove manual positioning over a region

1. Click the Selection Tool and select a region of music. See Selecting music for more details on how to do this.
2. From the Utilities Menu, choose Change, then Ties.
3. Click Remove Manual Positioning. This will remove any individual position of ties in the selected region and return the settings to match your global
settings.
4. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

To set a minimum space between tied notes


1. From the Document Menu, choose Document Options, then select Music Spacing.
2. Enter a value (in measurement units) into the Minimum Distance Between Notes With Ties text box to set a minimum distance to
leave between tied notes. Enter zero if you do not want any minimum spacing limit applied.
3. Click OK to save your changes. Click Cancel to dismiss the dialog box without making any changes.

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Graphics

Graphics
With the Graphics Tool, you can place Encapsulated PostScript (EPS) files, PICT and TIFF files for use within Finale, and export a region of music or pages of music
as EPS, PICT and TIFF files that can be used in other applications.
Graphics placed in Scroll View and Page View are assigned differently. Finale always assigns a graphic to a measure if you are in Scroll View when the graphic is
placed. To place a page-assigned graphic, you must be in Page View. Both page- and measure-assigned graphics can be edited and repositioned in Page View.
However, page-assigned graphics do not appear in Scroll View.
For information regarding the relationship between graphics in the score and linked parts, see Page-attached graphics and in linked parts and Measure-attached
graphics in linked parts.
When exporting graphics, Finale exports entire pages of music, or a selected region of music. To export a selected area of a page, you must be in Page View.

To export a selected region of music as a graphic (Page View)


1. Choose Page View from the View Menu.

2. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
3. Double-click and drag to enclose the area you want to export as a graphic.
4. Choose Export Selection from the Graphics Menu. The Export Selection dialog box appears.
5. Choose a graphics format from the Type drop-down list to tell Finale whether to create an EPS, PICT or TIFF file. If you select EPS or
TIFF, the PostScript Options or TIFF Resolution settings will be available, respectively. For details about these settings, see Export Selection and Export Pages
dialog boxes.
6. Use the Pages setting to export the selected region of music from one or more pages to graphics files. Select All to export the selected
region from every page. Select From to export a selected region on a range of pages, then enter the page numbers in the two text boxes.
7. Select Generate Names From and enter the file’s title in the text box, followed by a number sign (#), to have Finale name each new
graphics file automatically. Optional: Click Save In to specify the folder that Finale should save the graphics file into. Finale uses the
title and replaces the number sign by a sequential number to create a unique title for each file. Select Prompt For Each Name if you want Finale to ask you for a
title each time a file is created.

Note: Unless you specifically enter a file extension as part of the file name, Finale will automatically
save graphics files using their standard extensions: TIF for TIFF files and EPS for Encapsulated
PostScript files (or the extensions specified in the [EXTENSIONS] section of the Finale.INI file).

8. Click OK (or press enter). Finale saves the graphic.

To export full pages of music as graphics (Page View)


1. Choose Page View from the View Menu.

2. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
3. Choose Export Pages from the Graphics Menu. The Export Pages dialog box appears.
4. Choose a graphics format from the Type drop-down list to tell Finale whether to create an EPS, PICT or TIFF file. If you select EPS or
TIFF, the PostScript Options or TIFF Resolution settings will be available, respectively. For details about these settings, see Export Selection and Export Pages
dialog boxes.
5. Use the Pages setting to export all pages or a range of pages of your score to graphics files. Select All to export every page of your score to
a graphics file. Select From to export a range of pages, then enter the page numbers in the two text boxes.
6. To have Finale name each new graphics file automatically, select Generate Names From and enter the file’s title in the text box,
followed by a number sign (#). Optional: Click Save In to specify the folder that you want Finale to save the graphics files into. Finale
uses the title and replaces the number sign by a sequential number to create a unique title for each file. Select Prompt For Each Name if you want Finale to ask
you for a title each time a file is created.

Note: Unless you specifically enter a file extension as part of the file name, Finale will automatically
save graphics files using their standard extensions: TIF for TIFF files and EPS for Encapsulated
PostScript files (or the extensions specified in the [EXTENSIONS] section of the Finale.INI file).

7. Click OK (or press enter). The standard Save As dialog box appears. Click Save to save the graphics files.

To place graphics into the score

1. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
2. Choose Place Graphic from the Graphics Menu, or double-click on the document window where you want the graphic to appear. The
Place Graphic dialog box appears, listing the available graphic formats in a drop-down list EPS, PICT or TIFF files.
3. Choose one of the formats in the drop-down list to display only the files of the selected type in the current folder. Choose TIFF file
(*.TIF), or Encapsulated PostScript Listing (*.EPS), or choose All Files (*.*) to display all files.
4. From the scrolling list, select the graphics file you want to place, then click OK. A special cursor appears, indicating that a graphic is ready to
be placed.
5. Click on the measure (in Scroll View) that you want the graphic assigned to, or click on the screen where you want the graphic
placed (in Page View). Finale assigns the graphic to the nearest measure in Scroll View. In Page View, Finale assigns the graphic to the page you clicked.
The graphic appears at the position you clicked. When a graphic is selected, eight bounding rectangle handles appear.

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Graphics

To place graphics into the Shape Designer

1. To place a graphic into the Shape Designer for use as an expression, click the Expression Tool , then click a note or a measure.
Click Shape. In the dialog boxes that follow, click Create, Select, and Create. The Shape Designer dialog box appears.

2. Or, to place a graphic into the Shape Designer for use as an articulation, click the Articulation Tool and click a note. Click
Create, then click Shape and Main (or Flipped). Click Create. The Shape Designer dialog box appears.

3. Click the Graphics Tool in the Shape Designer dialog box.


4. Click in the Shape Designer display area. The Place Graphic dialog box appears, listing the available graphic formats in a drop-down list; EPS, PICT or
TIFF files.
5. Choose one of the formats in the drop-down list to display only the files of the selected type in the current folder. Choose TIFF file
(*.TIF), or Encapsulated PostScript Listing (*.EPS), or choose All Files (*.*) to display all files.
6. From the scrolling list, select the graphics file you want to place, then click OK. The graphic appears at the position you clicked in the Shape
Designer display area. When a graphic is selected, eight bounding rectangle handles appear. Use the graphic as you would any shape created in the Shape
Designer.

To assign a graphic to one or more pages


1. Choose Page View from the View Menu if it isn’t already selected.

2. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
3. Click to select a graphic, then choose Attributes from the Graphics Menu. Or, double-click a graphic. The Graphic Attributes dialog box appears.
4. Click to select Attach to: Page, if it isn’t already selected.
5. Choose an item from the Page drop-down list menu to have Finale show the graphic on a single page, all pages, left-facing (even-
numbered) pages or right-facing (odd-numbered) pages. Choose Single Page to show the graphic on one page; choose All Pages to show it on every
page; or choose Left Pages or Right Pages to show it on left-facing (even-numbered) or right-facing (odd-numbered) pages.
6. Set the page range. Enter the numbers of the pages where the graphic will appear (for example, choose Left Pages and 6 Through 10 to show the graphic on
every left page between pp. 6–10). To show the graphic on one page, choose Single Page from the Page drop-down list menu and enter the page number in the
first page text box. To display the graphic on the first indicated page through the end of the piece, enter your first page number in the first text box and enter zero
in the second text box, or leave the text box blank. For example, to show the graphic on every page, starting at page 6, you’d select All Pages and enter 6
Through 0, or enter 6 and leave Through blank.
7. Use the other settings in the Graphic Attributes dialog box to adjust the graphic’s position in the score, then click OK.

To assign a graphic to a measure


Occasionally you may want to change a page-based assigned graphic to a measure-assigned graphic so it moves with the measure instead of remaining at a fixed
position on the page. To assign a graphic to a measure when first placing it into the score, place the graphic in Scroll View. (See “To place graphics into the score” for
details.)

1. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
2. Click to select the graphic, then choose Attributes from the Graphics Menu. Or, double-click the graphic you’re adjusting. The Graphic Attributes
dialog box appears.
3. Click to select Attach to: Measure, if it isn’t already selected. In the Measure text box, enter the number of the measure you want
the graphic assigned to.
4. From the Staff drop-down list, choose the name of a staff you want associated with the measure-assigned graphic. Finale will align and
position the graphic in relation to this staff.

Note: Finale will only display the graphic on the page the measure appears on when you’re in Page
View. If your measure layout changes, the graphic will move with the measure.

5. Use the H: and V: settings in the Graphic Attributes dialog box to adjust the graphic’s position in the score, then click OK.

To scale a placed graphic proportionally

1. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
2. Click the graphic to select it. Or, drag-enclose the entire graphic to select it. When selected, eight bounding handles appear on the graphic.
3. Drag a handle to resize the graphic horizontally or vertically.

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Graphics

4. To adjust the exact scaling of a graphic or to reset it to 100% of its original size, select the graphic, then choose Attributes from the
Graphics Menu. Or, double-click the graphic. The Graphics Attributes dialog box appears.
5. Enter a value into the Scale: H: and V: text boxes, as a percentage. Enter 100 in each box to draw the graphic at 100% of its original size, 50 to
draw it at half its original size (50%), and so on.
6. Click OK to confirm your settings.

To position placed graphics on-screen

1. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
2. Click to select a graphic. Or, drag-enclose one or more graphics. (You must drag-enclose an entire graphic to select it.)
3. Drag a selected graphic to the new position. All the selected graphics will move as you drag.

To position page-assigned graphics (Graphics Menu)

1. Choose Page View from the View Menu, if it isn’t already selected.
2. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
3. Click to select a page-assigned graphic.
4. Position the graphic from the page edge or page margin using the Alignment submenu. Choose Position from Page Edge or Position from Page
Margin from the Alignment submenu of the Graphics Menu to align the graphic from the edge of the page or from the page margin, respectively.
5. Position the graphic horizontally using the Alignment submenu. Choose Left to place the graphic on the left edge or margin of the page; choose
Center Horizontally to center it between the left and right edges or margins; or choose Right to align it with the right edge or margin.
6. Position the graphic vertically using the Alignment submenu. Choose Top to place the graphic on the top edge or margin of the page; choose
Center Vertically to center it between the top and bottom edges or margins; and choose Bottom to align it on the bottom edge or margin.

Note: When you change a graphic’s horizontal or vertical alignment using the Alignment submenu,
Finale repositions the graphic on the page, and resets its H: or V: positioning settings to zero,
respectively, in the Graphic Attributes dialog box.

To position page-assigned graphics (Graphic Attributes dialog box)

1. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
2. Click to select a page-assigned graphic, then choose Attributes from the Graphics Menu. Or, double-click a page-assigned graphic.
3. Use the Alignment and Positioning group box to position the graphic horizontally. Choose Left from the Horizontal drop-down list to place the
graphic on the left edge or margin of the page; choose Center to center it between the left and right edges or margins; or choose Right to align it on the right
edge or margin.
4. Use the Alignment and Positioning group box to position the graphic vertically. Choose Top (Header) from the Vertical drop-down list to place
the graphic on the top edge or margin of the page; choose Center to center it between the top and bottom edges or margins; or choose Bottom (Footer) to align it
with the bottom edge or margin.

Note: When you change a graphic’s horizontal or vertical alignment using the drop-down list, Finale
repositions the graphic on the page, and resets the H: or V: settings, respectively, to zero.

5. Use the Position from drop-down list to position the graphic from the page margin or the page edge. Choose Page Margin from the Position
from drop-down list to have Finale calculate the graphic’s position starting from the page margin. Choose Page Edge to have Finale measure the graphic’s
position starting from the edge of the page.
6. Set the positioning distance. Enter values into the H: and V: text boxes in the Alignment and Positioning group box for the distance to position the graphic
horizontally and vertically on the page, based on the other settings in the Alignment and Positioning group box.
7. Click OK to confirm your settings.

To position measure-assigned graphics (Graphic Attributes dialog box)

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Graphics

1. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
2. Click to select a measure-assigned graphic, then choose Attributes from the Graphics Menu. Or, double-click a measure-assigned graphic.
3. Set the positioning distance. Enter a value in the H: text box in the Alignment and Positioning group box for the distance to position the graphic horizontally
from the upper-left of the staff associated with the measure. Enter a value in the V: text box for the distance to position the graphic vertically from the upper-left of
the staff.
4. Click OK to confirm your settings.

Note: The Horizontal, Vertical, and Position from options in the Alignment and Positioning group box
are not available when Attach to: Measure is selected, because a graphic assigned to a measure will
only appear on the page containing that measure.

To position page-assigned graphics on left- and right-facing pages (Graphic Attributes


dialog box)
If you’re using running headers or footers in your score, you might want to position a graphic in the header or footer near the “outside” edges or margins (the left or
right edges, respectively) of each left (even-numbered) or right (odd-numbered) page, as opposed to positioning the graphic in the same place on every page. This is
easily done using special positioning settings for right-facing (odd-numbered) pages in the Graphic Attributes dialog box.

1. Choose Page View from the View Menu.

2. From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics Menu appears.
3. Click to select a page-assigned graphic, then choose Attributes from the Graphics Menu. Or, double-click a page-assigned graphic.
4. Use the Alignment and Positioning settings to position the graphic on every left-facing (even-numbered) page in the selected page
range. See “To position page-assigned graphics (Graphic Attributes dialog box).”
5. Select Use Right Page Positioning to place the graphic differently on right-facing (odd-numbered) pages.
6. Position the graphic horizontally on right-facing pages. Choose Left from the Right Page Alignment and Positioning: Horizontal drop-down list to place
the graphic on the left edge or margin of the right-facing page; choose Center to center it between the left and right edges or margins; or choose Right to align it
on the right edge or margin. (Finale resets the Right Page Alignment and Positioning: H: setting to zero so the left, right, or center of the graphic is aligned
horizontally with the page edge or margin.)
7. Set the positioning distance. Enter values into the H: and V: text boxes in the Right Page Alignment and Positioning group box for the distance to position
the graphic horizontally and vertically on right-facing pages, based on the Right Page Alignment and Positioning: Horizontal setting, and the Vertical and Position
from selections in the Alignment and Positioning group box.
8. Click OK to confirm your settings.

See Also:
Graphics Menu
Graphics Tool

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Time Signature Tool

Time Signature Tool

Click this tool, then double-click a measure where you want to insert a meter change; the Time Signature dialog box appears, from which you can create the new
meter. You can also use the mouse to select a region of music with the Time Signature Tool.

Special mouse clicks

Metatools

Contextual menus

For further information, see the Time Signature dialog box.

See Also:
Document Options-Time Signatures
Main Tool Palette

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Time signatures

Time signatures

See also Hiding time signatures; Cut time; Compound meters.

To change the time signature

1. Click the Time Signature Tool , and double-click the measure where the time will change. The Time Signature dialog box appears. See
Document Options-Time Signatures for more details.
2. Click the scroll bar arrows for the upper and lower numbers until the window displays the desired time signature. The upper scroll bar
governs the upper number (beats per measure) of the time signature; the lower one governs the bottom number (the basic rhythmic value) of the time signature.

The way you define your meter is important, because it also governs beaming. In the case of cut time, for example, you should set the scroll bars so that the

display shows two half notes, meaning that the eighth notes will be beamed together in groups of four. This is particularly important when you’re working in
time; if you “spell” the time signature as a string of six eighth notes, Finale won’t perform any automatic eighth-note beaming, as shown below (top example).
If you “spell” it as two dotted quarter notes, however, Finale will beam eighth notes in groups of three (bottom example).

If you wish, you can tell Finale to beam according to one time signature, but to display a different signature. Click Options to expand the Time Signature
dialog box. Select Use a Different Time Signature for Display, and create the meter you want to appear in the score. See Beaming for more important
information on time signatures and beaming patterns.

Unless you tell it otherwise, (see Cut time and Common time) Finale displays the common-time symbol instead of , and the cut-time symbol

instead of .
If you’re building a composite meter, click the Composite button. A dialog box appears, where you can create a composite numerator (such as 3 + 2 + 2) or
denominator (such as 4 + 8). For further details, see Composite Time Signature dialog box.

3. Specify the range of measures you want to be affected by the meter change.
4. Click OK (or press enter) to confirm your changes.

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Blank pages

Blank pages
You can create blank pages anywhere in your document. These pages can then be used for dialogue (in an operetta or musical), discussion (in a textbook), or title
pages, for example.

To add a blank page anywhere in your document

1. Click the Page Layout Tool .


2. From the Page Layout Menu, select Insert Blank Pages. The Insert Blank Pages dialog box appears.
3. Select the number of blank pages, and where you want the new pages to appear in your document. See Insert Blank Pages dialog box.
4. Click OK to return to your score.

To delete a blank page anywhere in your document

1. Click the Page Layout Tool .


2. From the Page Layout Menu select Delete Blank Pages. The Delete Blank Pages dialog box appears.
3. Select the blank pages to be deleted. See Delete Blank Pages dialog box.
4. Click OK to return to your score.

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Document/Document Options

Document/Document Options
Choose this option to display the Document Options dialog box where you can change settings for a number of musical items document-wide.

See Also:
Document Options
Document Options-Accidentals
Document Options-Alternate Notation
Document Options-Augmentation Dots
Document Options-Barlines
Document Options-Beams
Document Options-Chords
Document Options-Clefs
Document Options-Flags
Document Options-Fonts
Document Options-Grace Notes
Document Options-Grids and Guides
Document Options-Key Signatures
Document Options-Layers
Document Options-Lyrics
Document Options-Lines and Curves
Document Options-Multimeasure Rests
Document Options-Music Spacing
Document Options-Notes and Rests
Document Options-Piano Braces and Brackets
Document Options-Repeats
Document Options-Stems
Document Options-Staves
Document Options-Text
Document Options-Ties
Document Options-Time Signatures
Document Options-Tuplets

See Also:
Document Menu

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Slashes

Slashes
There are two kinds of slashes, or hash marks, used to indicate improvised chording or comping. If you want to indicate ad lib comping, but you don’t require a specific

rhythm, you can let Finale fill the measures with stemless slashes, spaced according to the time signature (four slashes in a measure, for example, at right in the
figure below). If you want to indicate a specific rhythm of comping, Finale can turn the noteheads of any passage into slashes, still beamed and stemmed (at left in the
figure below).

You can also create a passage of mixed normal notation and slash notation, and you can also turn any individual notehead into a slash. See Guitar Notation.

To create ‘comping’ slashes

1. Click the Staff Tool , and select the measures in which you want slashes to appear. See Selecting music for some region-selecting
shortcuts.
2. From the Staff Menu, choose Apply Staff Styles. The Apply Staff Styles dialog box appears.
3. Select Rhythmic or Slash Notation and click OK. Slash Notation hides all the music and replaces it with evenly-spaced hash marks. The number of
hash marks is determined by the bottom number of the time signature. Rhythmic Notation turns the music into beamed and stemmed slashes, all on the middle
line of the staff. See Staff styles for more information.
4. Click OK (or press return). Any music that was in the selected region is now hidden; to restore it, choose the measures again, choose Clear Staff Styles
from the Staff Menu.

To add chords above slash notation, first add notes or rests in the staff, attach the desired chord symbols, and then apply the Slash Notation staff style to the
region. For more information regarding adding chords without notes, see To enter a chord symbol when there’s no note below it. Note you can also create
slash notation using the Rhythm Generator Plug-in.

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Guitar Markings

Guitar markings
Enter the following guitar markings with the Smart Shape Tool. To enter a Guitar Bend, TAB Slide, Trill (vibrato), or Bend Hat, first click the corresponding tool in the
Smart Shape Palette. The remaining markings are available in the Smart Line Selection dialog box. For information on how to enter these markings, see To enter
hammer-ons, pull-offs and other guitar-specific markings. For information on how to program your own metatools for all of these markings, see Smart Shape Tool.

Predefined
Marking Description Metatool

Bend Arrows B

TAB Slide X

Vibrato E

Bend Hat 6

Hammer-on H

Hammer-on for
use above a 2
slur or tie

Pull-off P

Pull-off for use


above a slur or 3
tie

Bend U

Bend for use


above a slur or 4
tie

Release R

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Guitar Markings

Release for use


above a slur or 5
tie

Artificial
Harmonic A
(A.H./A.H)

Artificial --
Harmonic/A.H.

Natural
Harmonic N
(N.H/N.H.)

Natural --
Harmonic/N.H.

Pick Harmonic --
(P.H./P.H.)

Pick --
Harmonic/P.H.

Palm Mute M
(P.M./P.M.)

Palm Mute/P.M. --

Let Ring --

Hold Bend --

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Guitar Markings

Up Pick --

Down pick --

See also:
Guitar notation

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Speedy Entry

Speedy Entry
With the Speedy Entry Tool, you can enter music in step-time very efficiently, using the synthesizer to specify the pitch of each note and the computer keyboard to
specify the duration.

To enter music in step time using MIDI

Click the Speedy Entry Tool . Check to make sure Use MIDI Device for Input is selected in the Speedy Menu.
Click the first measure into which you want to enter music. The Speedy Entry editing frame appears.
To enter a note or chord, hold down the desired key (or keys) on the synthesizer and press a number key on the computer keypad
corresponding to the desired rhythmic value. If you press a number key without holding down any synthesizer keys, a rest of the specified value appears.
If you want to insert a note, chord, or rest before the insertion bar, press shift as you press the number key. Press the period key to dot the note (you can add up
to ten dots by repeating this action).

If the next few notes you want to enter are part of a tuplet (a triplet, quintuplet, etc.), press ctrl-number, where 3 means triplet, 5 means quintuplet, and so on.
Finale places a small “3” (or whatever number you pressed) in the upper right corner of the editing frame; the next notes you enter will automatically be grouped
into a tuplet. (If you want to create an uncommon tuplet—such as 11 in the space of 2—press ctrl-1. The Tuplet Definition dialog box appears, in which you can
specify exactly what kind of tuplet you’re about to create.)

To change the rhythmic value of a note or rest, position the insertion bar on it and press the number key corresponding to the desired
value. The following diagram shows which keys correspond to which note values.

Speedy Entry Keyboard Commands

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Speedy Entry

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Speedy Entry

Move the insertion bar either by pressing the right or left arrow keys or by clicking the desired note. If Finale presents the There Are Too Many Beats In This Measure
dialog box when you change a note’s value, press enter to eliminate the dialog box. If you choose Jump to Next Measure from the Speedy Menu, so that a check mark
no longer appears, this dialog box will only appear when you exit the editing frame of a measure with too many beats.

To add a note to a chord, position the crossbar at the desired pitch, and press enter. You can also double-click where you want the new note to
appear.
To remove a note, chord or rest, position the insertion bar on it and press delete. To remove a single note from a chord, position both the insertion
bar and the pitch crossbar) on the notehead and press backspace or shift-delete.
To change a rest to a note, position the insertion bar on it, position the crossbar at the desired pitch, and press enter. This method can
also be used to add a note to an existing chord. You can change a single note (not a chord) to a rest by pressing backspace.
To change a note to a different note or chord without changing the duration, position the crossbar on the note, hold down the desired note
or chord on the MIDI keyboard, and press enter.
To move a note or rest horizontally, drag it to the left or right. Press the shift key as you drag to prevent you from accidentally dragging the note or
rest up or down.
To move a rest vertically, drag it up or down.
To move a note vertically, drag it up or down. Press the shift key as you drag to prevent you from accidentally dragging the note or rest horizontally. If
you want to move a whole chord up or down, double-click it; on the second click, keep the mouse button pressed and drag up or down.
To hide a note or rest, position the insertion bar on it and press the letter O or H key. Press the O key again to display the note or rest again.
See also Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in.
To flip a stem, press the L key. This process freezes the stem up or down, so that it’s no longer free to flip if, for example, it gets transposed. To restore the
note to its “flippable” status, press ctrl-L.
To raise a note by half steps, position both the insertion bar and the crossbar on it and press the plus (+) key. The minus (–) key lowers the
note by half steps; both keys only apply accidentals to an existing note, and won’t actually move the note higher or lower on the staff. You can add up to seven
sharps or flats to a note. Press ctrl-plus or minus, to apply the accidental through the rest of the measure. Use S to add a sharp, F for a flat and N for a natural.
To change a note to its enharmonic equivalent, position both the insertion bar and the crossbar on it and press the 9 key. With the
insertion bar on a note, press ctrl-9, to change the spelling of a note through the rest of the measure. If the pitch crossbar isn’t squarely on a notehead, Finale
changes the “spelling” of all notes in the chord each time you press 9.
To hide an accidental, position both the insertion bar and the crossbar on it and press the asterisk (*) key. If no accidental is displayed, the

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Speedy Entry

asterisk key forces a courtesy accidental to appear; for parentheses, press the P key. If you’ve hidden an accidental, press the asterisk key again to display it
again.
To create or break a beam, position the insertion bar on the second note of the pair and press the slash (/) or B key. If the notes were
flagged separately, they’re now beamed; if they were beamed, the beam is broken (and the notes are individually flagged, if they’re not beamed to any other notes).
Use Shift-B to restore the beaming to the defaults found in Document Options-Beams.
To flatten a beam, position the insertion bar in the beam group and press the backslash (\) or M key. If the beam was already flattened in
Speedy Entry the beam will now return to the default angle. See Flat Beams Plug-in, Flat Beams (Remove) Plug-in.
To tie notes, position the insertion bar on the first note and press = or T. To tie the previous notes, press ctrl-= or ctrl-T.
To add a dot to a note, position the insertion bar on the note and press . (period).
To switch layers (from Layer 1 to Layer 2, for example), press shift-’ (apostrophe). To switch voices (from Voice 1 to Voice 2, for example), press
the apostrophe key alone. For a more complete discussion of multiple voice mechanisms, see Multiple voices.
To advance to the next measure, press the right bracket (]) key. Pressing the left bracket ([) key moves the editing frame to the previous measure.
Press shift-down arrow to move down a staff, or shift-up arrow to move up a staff.

To enter many notes of the same value (hands-free MIDI method)

1. Click the Speedy Entry Tool , and click a measure. The editing frame appears.
2. Press caps lock; then press the number key on the computer keyboard corresponding to the value you want to enter. In other words,
you’re now telling Finale what the note values are going to be before you specify the pitches. Use ctrl-number to enter a series of tuplets.
3. The number you press appears in the lower-left corner of the editing frame. The tuplet number, if any, appears in the top-right corner of the editing
frame.
4. Play the notes on your MIDI keyboard. Each note you play appears in the score; if Jump to Next Measure is checked in the Speedy Menu, the editing frame
advances automatically as soon as you fill each measure. It’s safe to outplay Finale, too; it will remember up to 500 notes (and continue to notate them as fast as
your computer allows). To enter rests, play a three-note cluster, in other words, three notes each a half-step apart.

To enter music in step time without MIDI


You can also use the Speedy Entry Tool to enter music in step-time without using a MIDI device. Use the number keys on your keypad to specify the durations of notes,
just as you normally do. But to specify the pitches, you can use the arrow keys or the alphabet keys to move the pitch crossbar instead of using the MIDI device. With
practice, this method of “typing in the music” can become extremely quick and precise.

1. Click the Speedy Entry Tool . The Speedy Menu appears.


2. Make sure no checkmark appears beside Use MIDI Device for Input in the Speedy Menu. Otherwise, choose the command to make the
checkmark disappear.
3. Click the first measure in which notes are to appear. The editing frame appears.
4. Use the arrow keys to place the cursor on the desired pitch. Press a number key (corresponding to a rhythmic value) to create a note.
Hold down Control, shift and a number key to create a rest. You can also use the method below to specify the pitch.
5. Hit the Caps Lock key, then press a letter key on your computer keyboard to specify a pitch. Press a number key (corresponding to a
rhythmic value) to create a note. Hold down Control, shift and a number key to create a rest. The alphabet keys on your keyboard have been
assigned pitch values in three octaves, as shown:

If you want to access a lower register, press the letter I key, which shifts the entire alpha-key pitch mapping down an octave. Press the comma (,) key to shift the entire
keyboard up an octave. In either case, you can restore the alphabet keys to their original octave by pressing the K key. To help you remember, think of it this way:
press a key (I, K, or comma) to designate the row of letter keys you want to contain middle C.
For a diagram showing the assignment of rhythmic values to the number keys, see “To enter music in step time using MIDI,” above.

To insert a note or a rest in a measure

1. Click the Speedy Entry Tool . The Speedy Menu appears.


2. Position the cursor on the entry before which you want the note inserted.
3. From the Speedy Menu, choose Insert Notes or Rests. Press the number (using the keyboard, not the number pad) representing the
note duration you are inserting. If you are holding down a key on your MIDI device, you will insert a note. Otherwise, you will insert a rest. For non-MIDI,
press a number to insert a note, or ctrl-shift and a number to insert a rest.

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Speedy Entry

See Also:
Speedy Edit Commands Submenu
Speedy Menu
Speedy Tool

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Crescendo/Decrescendo

Crescendo/Decrescendo
A crescendo may be notated either as a “hairpin” shape or as the word cresc. or crescendo. The hairpin can be
created with either of two Finale tools, depending on your purpose. If your goal is to create a graphic crescendo
marking, you can do so quickly and easily with the Crescendo Tool (on the Smart Shapes palette). A Smart Shape
crescendo has three special advantages: first, it expands and contracts automatically to fit the layout of music it affects;
second, it automatically breaks into two segments if it straddles a system line break. Lastly, Finale’s Human Playback
automatically interprets hairpins. See Playback for details. You can also deactivate Human Playback and assign
playback using the TGTools Smart Playback plug-in. See Smart Playback.
If you want to affect the playback only, and you don’t need the marking in the score, you can create a smooth, effective volume increase using the MIDI Tool. (Of
course, you could also combine the above techniques to create a graphic and playback crescendo.)
You can also create a graphic crescendo that plays back (or the word cresc. that also affects playback), using the Expression Tool. An expression crescendo, for
example, is the only one that can appear in more than one staff at once. See also SmartFind and Paint dialog box.
In all cases, the process for creating crescendo or decrescendo markings is nearly identical.

To create a Smart Shape (graphic) crescendo or decrescendo marking

1. Click the Smart Shape Tool . The Smart Shape palette appears.

2. Click the Crescendo Tool or Decrescendo Tool .


3. Position the cursor in the measure where you want the marking to begin so that the cursor arrow points to the staff to which you’re
attaching it. This is particularly important when you’re working in orchestral scores; if you accidentally attach a Smart Shape to the wrong staff, it won’t appear
in the correct staff when the parts are extracted.
4. Double-click; on the second click, hold the button down and drag to the right until the hairpin is the correct length. Human Playback,
which is active by default, interprets hairpins automatically and performs them during playback. See Playback Settings dialog box for details. If you have disabled
Human Playback and wish to add a playback effect to hairpin crescendos manually, see Smart Playback.

To move, reshape, or delete a Smart Shape crescendo


If the hairpin is already selected, it displays handles; if so, skip to the last two steps. See also Align/Move Dynamics Plug-in.

1. Click the Smart Shape Tool . The Smart Shape palette appears.
2. Click the handle of the shape you want to modify. The shape displays handles:

3. Drag the appropriate handle to change the width, angle, or height of the hairpin. Note:Finale automatically constrains to horizontal dragging
while creating or working with hairpins. To disable this feature, from the Smart Shape Menu, choose Smart Shape Options, and then uncheck Make Horizontal.
Then click OK. Drag either endpoint of the hairpin across the other to change a crescendo into a decrescendo and vise versa.
4. Press delete to remove the selected shape.

To align multiple Smart Shape hairpins


You can also use the Align/Move Dynamics plug-in to align hairpins with dynamic expressions. See Align/Move Dynamics Plug-in.

1. Click the Smart Shape Tool . The Smart Shape palette appears.
2. Drag-select or shift-click the handles of the hairpins you want to align.
3. Right-click on the hairpin you want the hairpins to align to. Select Align Horizontal or Align Vertical from the contextual menu. If you

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Crescendo/Decrescendo

chose Align Horizontal, the hairpins will move to line up along a horizontal line, based on the hairpin you clicked on. If you selected hairpins on more than one
staff, the hairpins will move to the same distance from the staff. If you chose Align Vertical, the hairpins will reshape to line up the endpoints vertically.

To change the default opening and thickness of Smart Shape hairpins


Use this procedure to adjust the default opening for any additional hairpin shapes you place into the score.

1. From the Smart Shape Menu, choose Smart Shape Options. The Smart Shape Options dialog box appears.
2. In the Crescendo Opening Width text box, enter a new width value. All of your crescendo or decrescendo symbols will have an opening of the size
you specified, unless they have been manually edited. You can select the measurement unit in the Units drop-down menu.
3. Edit the Line Thickness text box, in the Crescendo/Decrescendo section of the Smart Shape Options dialog box. This number controls the
thickness of the actual straight lines that compose the hairpin shape.

To create a playback crescendo or decrescendo with the MIDI Tool

1. From the Window Menu, choose Advanced Tools Palette, and click the MIDI Tool . Select the region whose playback data you
want to affect. Double-click the highlighted area. The MIDI Tool split-window appears. Drag through the graph region above the notes to select all of them, or
shift-click (or drag-enclose) individual note handles if you want only certain notes to be affected.
2. Make sure Key Velocities is selected in the MIDI Tool Menu; then choose Scale from the MIDI Tool Menu. The Scale dialog box appears.
3. Specify the degree of crescendo or decrescendo by filling in the From and To text boxes. There are two buttons at the bottom of this text box:
Absolute, and Percent of Original. If Absolute is checked, the numbers you enter are MIDI velocity values, which can be from 0 (silent) to 127 (very loud). If you
choose Percent of Original, you type percentage values (for example, you might want to create a crescendo that increases from 100% to 150% of the current
volume). This last option is useful for preserving the existing dynamic balance of the music while still achieving a smooth increase in volume.
4. Click OK (or press enter). You can also create a MIDI-based playback crescendo by increasing the MIDI Volume controller. See Volume and Continuous
data. To automate this task for hairpin crescendos, see Smart Playback.

To create a Text Expression (such as “cresc.” or “decresc.”)


You can use any text you want in a Text Expression: “crescendo,” “diminuendo,” and so on.

1. Click the Expression Tool .


2. Click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box appears. If the
crescendo or decrescendo marking already appears in the list, double-click it and click OK (or press enter). You return to the document.
3. Click Create. The Text Expression Designer appears.
4. To specify the font, from the Text Menu, choose Font to open the Font dialog box. Choose a new font, size, or style, and click OK. You
can also highlight existing text and use this menu to edit the font.
5. In the Text Editor Window, type the text for your Text Expression (Crescendo, Diminuendo, etc.). If you don’t need to define the expression
for playback, press enter three times. If you do want the mark to affect playback, jump below to the step that states “Click the Playback tab”. Follow the
instructions there until the final step, at which point you can go ahead and click OK (instead of Cancel). The mark will appear in the score.

To move or delete a crescendo (Text or Shape Expression)


See also Align/Move Dynamics Plug-in.

1. Click the Expression Tool .


2. Click the note or measure to which the expression was attached. Its handle appears.
3. Drag the handle to move the entire shape. Click the handle and press delete to remove it.

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Tiling pages for printing

Tiling pages for printing


If you want to print a full-size score (11 by 17 inches, for example) and don’t have a printer capable of printing on 11 by 17 inch paper, you have a dilemma. You
could print your score on letter or legal-size pages using your printer and then photocopy these pages—using an enlarging copying machine—onto 11-by-17-inch
paper; the disadvantage is that enlarging your output in this way reduces the clarity of the original printout.
Or, you could use Finale’s tiling pages feature. Finale can automatically tile the pages—in other words, print out several standard-size pages with a portion of the full
score page on each, so that you can then tape them together (and, if you wish, photocopy the result onto large single pages).

To tile pages with the Print dialog box


1. Set the page size of your score to the proper size. For example, 11 X 17 portrait. Use either the Page Format for Score command in the Document
Menu or the Page Layout Tool. (See Page layout or Page size.)
2. Choose Update Layout from the Edit Menu.
3. From the File Menu, choose Page Setup. Choose Landscape for the orientation, Letter for the page size and click OK. Be sure Use
Finale’s Page Orientation Instead of the Printer’s Page Orientation is unchecked in Program Options-Save.
4. Select Print from the File Menu. In the dialog box select Tile Pages. Specify the page range on which you’ll be printing. Some printer
drivers will allow you to specify the size of the component pages (Letter or Legal) here. Other printer drivers store this information in the Page Setup dialog box.
5. Type the amount of overlap you want in the Tile Overlap text box. This amount is specified in the units you have selected in the Measurement Units
submenu of the Edit Menu.
6. Click Print.

To tile pages (with Compile Postscript Listing)


Note, you must have a Postscript Printer to perform these steps.

1. Set the page size of your score to the proper size. Use either the Page Format for Parts command in the Document Menu or the Page Layout Tool.
(See Page layout or Page size.) When entering the final, taped-together page dimensions, the key is to subtract one inch for each page that will be side-by-side
with another. If your score is to be 11 by 16 inches, for example, it will be composed of two letter-size pages taped together. Therefore, set the page height to
10 inches (not 11). For the width, enter 15 inches (remember, you’re subtracting one inch for each page that will be side-by-side).

By subtracting one inch from each dimension in this way, you provide for a half-inch margin of overlap on each page, so that the resultant pages will be
easier to tape together.

2. Choose Update Layout from the Edit Menu.


3. Choose Compile PostScript Listing from the File Menu. The Compile PostScript Listing dialog box appears.
4. Click Tile Pages. Specify the page range and the size of the component pages (Letter or Legal) on which you’ll be printing. Click Center
Music on Page if you want the printed image of the full score page to be centered on the taped-together physical page; if you don’t specify this option, the music
will appear beginning in the upper-left corner of each full-size page, requiring you to cut off the extra paper on the right and bottom margins, if necessary.

If you also select Include All Fonts in Listing, Finale will embed the actual music fonts into the PostScript file. The resulting file will be larger, but you won’t
have to worry that your music fonts aren’t installed on the computer that will ultimately be doing the printing.

5. Click Compile. To print the resultant compiled file, you’ll need a downloading program such as the LaserWriter Font Utility. For more information, see
PostScript. For best results, have a paper cutter on hand to trim the default quarter-inch margins created by a PostScript printer on each page that you’ll be
taping together.

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Multimeasure rests

Multimeasure rests

You can create a multimeasure rest (or sometimes referred to as a block rest) many different ways with Finale. One way is by generating parts or turning on Special
Part Extraction. This will create multimeasure rests in your entire score, and all the rests will look the same. See Multimeasure Rests in linked parts and To temporarily
view a part using Special Part Extraction.
You can also use the Measure Tool to quickly create multimeasure rests in a selected region or for the entire piece. You can change the appearance of a single
multimeasure rest without affecting the appearance of the other rests in the score. Also, you can choose to use shapes and/or symbols for multimeasure rests in the
same piece, and control when Finale should display the number which indicates how many measures are in the rest.

Note: You must be in Page View to use the Break, Create, or Edit multimeasure rest commands.

To set up the appearance of multimeasure rests


Use the Multimeasure Rest command in the Multimeasure Rest section of the Document Options to set up the default appearance of most of the rests in your score.

1. From the Document Menu, choose Document Options and select Multimeasure Rest.
2. Specify how you want the multimeasure rests to appear when you use Extract Parts (in the File Menu), when you turn on Special Part
Extraction (in the Edit Menu) for one or more staves, or when you choose Create (in the Measure Menu’s Multimeasure Rests
submenu. For details about the settings in this set of options, see Document Options-Multimeasure Rests.
3. Optional: If you want to use a Shape to notate multimeasure rests, make sure that Start Numbering at ___ Measures is set to two
measures. Finale will display a number on all multimeasure rests in your score. If you prefer that no number appears—as when using the new symbolic rest
style, for example—enter the number of measures to be included in a multimeasure rest before Finale will display the number.
4. Click OK when your settings are complete. Finale uses these settings when you create multimeasure rests in the score. If you need to change the
settings for a single multimeasure rest, use the Edit command in the Multimeasure Rests submenu (in the Measure Menu).

To display symbols for multimeasure rests

1. From the Document Menu, choose Document Options and select Multimeasure Rests.
2. Select Use Symbols for Less Than ___ Measures. Finale’s default number of measures for using rest symbols (instead of shapes) is nine. Symbols are
usually used for rests containing up to eight measures, and shapes are used for rests containing nine or more measures.
3. Optional: If you want to use symbols for multimeasure rests containing fewer or more measures than the default of nine measures,
enter the number of measures in the Use Symbols for Less Than ___ Measures text box.
4. Click OK when your settings are complete. Finale uses these settings when you create multimeasure rests in the score. If you need to change the
settings for a single multimeasure rest, use the Edit command in the Multimeasure Rests submenu (in the Measure Menu).

To create a multimeasure rest


When you create parts using Finale’s Linked Parts and Special Part Extraction commands, Finale groups all empty measures into multimeasure rests. If you would
rather control which measures get combined into multimeasure rests, you can select the measures that you want to combine into a multimeasure rest in your score.

1. Choose the Selection Tool .


2. Select the region that contains the measures you want to display as a multi-measure rest. You can also select your whole score. (You must
be in Page View to do this.)

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Multimeasure rests

3. From the Edit Menu, chose Multimeasure Rests > Create. Finale creates multimeasure rests in the selected region, using the same rules as when you
use Special Part Extraction to create rests—breaking them at key and time signatures, or when you’ve selected Break a Multimeasure Rest in the Measure
Attributes dialog box for the measure. In order for measures to be grouped, they must contain default whole rests. If a whole rest was entered in a measure, that
measure will not be included in a multimeasure rest until you erase the whole rest (using the Simple Entry or Speedy Entry tools, or the Edit Menu's Clear
commands).
4. Choose Update Layout from the Utilities Menu to ensure that Finale is displaying the current layout of the score.

To break a multimeasure rest


When you create parts, Finale groups all empty measures into multimeasure rests. You can now break one or more multimeasure rests into separate measures. For
example, you might prefer that measures are written out if less than four consecutive measures are empty, or you might want to break a single multimeasure rest into
two or more rests.

1. Choose the Selection Tool .


2. Select the multimeasure rest to break. To break more than one multimeasure rest, select a region that contains the rests. (Remember
that you must be in Page View to do this.)
3. From the Edit Menu, chose Multimeasure Rests > Break, or right-click on the multimeasure rest and choose Multimeasure Rests
> Remove. Finale breaks the multimeasure rests in the selected region into separate measures of rests.
4. Choose Update Layout from the Utilities Menu to ensure that Finale is displaying the current layout of the score.

To edit the appearance of a multimeasure rest


When you edit a multimeasure rest using the Measure Menu, you’ll change the appearance of the selected rest only. (If more than one multimeasure rest is selected,
Finale changes only the first rest in the region.)

Note: If you find that you’re using the Edit command frequently to change rests, consider changing the
global settings in the Document Menu. See “To set up the appearance of multimeasure rests.”

1. Choose the Selection Tool .


2. Select the multimeasure rest you want to change. (You must be in Page View to do this.)
3. From the Edit Menu, choose Multimeasure Rests > Edit.
4. Specify the settings that you want Finale to use for this multimeasure rest.
5. Click OK to return to the document, where Finale displays your new settings.
6. Choose Update Layout from the Utilities Menu to ensure that Finale is displaying the current layout of the score.

To display a measure number range for a multimeasure rest

1. Click the Measure Tool .


2. From the Measure Menu, choose Edit Measure Number Regions.
3. Click Show Measure Number Ranges on Multimeasure Rests. Additionally you can click Always Show on Multimeasure Rests force ranges no matter
what the other settings.
4. If your measure number is not displayed, choose Show Number from the Measure Numbers submenu of the Measure Menu. The current
multimeasure rest is not designated to show in the current measure number region, show it must be forced on.

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Elapsed time

Elapsed time
If you need an accurate assessment of the real-time length of a section of music, the Selection Tool can help. The time displayed is based on the current tempo
settings for the piece in the Playback Controls, including any tempo changes, ritards, and so on set up as playback effects on an expression.

To learn the real-time length of selected music

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Check Notation, then Check Elapsed Time. Or, while pressing the 5 key, double-click the highlighted
area. A dialog box appears, displaying (1) the amount of time that has passed from the beginning of the piece to the beginning of the selected region; (2) the
time that has passed from the beginning of the piece to the end of the selected region; and (3) the total time of the selected region itself (all in thousandths of a
second).
3. Click OK (or press enter).

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Change to Real Whole Rests Plug-in

Change to Real Whole Rests Plug-in

How to get there


Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Change to real Whole Rests.

What it does
The Change to Real Whole Rests plug-in allows you to change all the whole measure rests in the selected region to real whole measure rests (as opposed to default
measure rests, see above). See also Change to Default Whole Rests and Whole rests.

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MIDI Sync

MIDI Sync
MIDI Sync signals, often referred to as Song Pointer data, consist of a stream of MIDI data that allows two sequencers or computers to perfectly synchronize their
playback or recording (providing both are equipped to interpret this data). Finale can both transmit and receive MIDI Sync data; in other words, you can either use
Finale to drive external sequencers so that they all play back together, or you can record new music in Finale (or listen to a playback of a Finale document) along with
the tempo track of a sequencer that’s sending MIDI Sync data. (Finale supports MIDI clock signals as well as SMPTE MIDI Time Code. See SMPTE and MIDI Time
Code.)

To transmit MIDI Sync data while playing back a Finale document


Finale sends MIDI Sync (Song Pointer data) when you’re playing back music in the Transcription window, or when you’re using the Playback Controls. Send MIDI Sync
must be selected in the MIDI Setup dialog box.
Follow these instructions if you want Finale to be the “master” device and an external sequencer to be the “slave” (in other words, Finale is providing the
synchronization signal).

1. Choose Send MIDI Sync from the MIDI/Audio Menu.From now on, Finale will transmit MIDI Sync (Song Pointer data) any time it plays back your
document. If you have connected your computer to an external sequencer (or another computer) configured to interpret this kind of MIDI message, it will wait in
“pause” mode until Finale begins to play, at which point the two will play in synchronization.

To receive MIDI Sync data while playing back a Finale document


Follow these instructions if you want Finale to be the “slave” device and an external sequencer to be the “master” (in other words, the external sequencer is providing
the synchronization signal).

1. From the Window Menu, choose Playback Controls if they are not already visible.
2. Click the speaker icon to show the Playback Settings dialog box. Make sure Scrolling Playabck is unchecked and click OK.
3. From the Document Menu, choose Sync and Video Options. The Sync and Video Options dialog box appears.
4. Select MIDI Sync, and then click OK. Finale now waits for a MIDI Sync signal from the external sequencer. Once the external sequencer begins to play,
Finale will automatically “sync up” to it, playing precisely together with it, even if you jump forward or backward in the external sequence.
5. Click Play. Finale will wait for the MIDI Sync data from the other MIDI device before playing the music.

To transmit MIDI Sync data while recording in the Transcription Mode


You can transmit MIDI Sync signals during either recording or playing back in the Transcription Tool. You might want to set up this configuration if, for example, you
want to record a new track with a drum machine as accompaniment. Using this technique, Finale will “drive” the drum machine as you record new music in the
Transcription window. Finale supports MIDI clock signals as well as SMPTE and MIDI Time Code.

1. Click the HyperScribe Tool select Transcription Mode and click a measure. The measure you click will be the first measure of the resultant
transcription. You enter the Transcription window.
2. Choose Click Output from the Time Tag Menu. The Click Output Type dialog box appears.
3. Click Send MIDI Sync. Click OK (or press enter).
4. Enter Time Tags in the usual way. You can record Time Tags either by tapping a key or pedal, or by telling Finale to enter them automatically (using the
Set To text box). You can find full instructions for the first method of entering Time Tags under Transcribing a sequence, and for the second method under
Metronome markings.
5. Under the words Time Tag, click Play. Proceed with your playback or recording as usual. Finale will transmit MIDI Sync (song pointer data) instead of
providing an audible click. If you have connected the computer to an external sequencer (or another computer) that has been configured to interpret this kind of
MIDI message, it will wait in “pause” mode until Finale begins play, at which point the two will play in synchronization.

To use the MIDI Sync signal to provide the “tap” in HyperScribe


Normally, when you’re transcribing music in HyperScribe, you tap a key or pedal to provide Finale with a tempo reference. If you’re using HyperScribe to transcribe
music being played by an external sequencer, however, the sequencer can provide the tempo reference by itself by transmitting MIDI Sync signals. Finale supports
MIDI clock signals but does not recieve SMPTE, MIDI Time Code, or MIDI Machine Control.

1. Click the HyperScribe Tool . The HyperScribe Menu appears.


2. From the Beat Source submenu of the HyperScribe Menu, choose External MIDI Sync. Proceed with the usual HyperScribe preparations,
concluding by clicking the first measure in which you want the transcription to appear. Finale will wait in pause mode until it receives the MIDI Sync signal, at
which point it will automatically “sync up” to it, transcribing the music as it goes. No tapping is needed.

To transmit Song Pointer data during playback


1. Choose MIDI Setup from the MIDI/Audio Menu. The MIDI Setup dialog box appears.
2. Select Send MIDI Sync. Click OK (or press enter). You may also choose Click Output from the Time Tag Menu, and select Send MIDI Sync; Finale will
now transmit this information instead of an audible click.

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Tempo Tool

Tempo Tool

The Tempo Tool lets you create or edit a stream of data describing tiny, moment-by-moment tempo fluctuations within the playback of your piece. You generate this
tempo information when you record a real-time performance in Transcription Mode of HyperScribe. You can also use this tool to create a swing effect, although the
Playback Controls provides a much more efficient and effective method of creating swing (see Swing Playback).

Finale’s Human Playback feature, which interprets the score for playback and simulates a human performance, overrides tempo settings created with the Tempo Tool.
To hear any playback effects assigned deliberately with the Tempo Tool, you first need to disable Finale’s Human Playback feature. To do this, from the Windows

Menu, choose Playback Controls and then click on the Playback Settings button on the Playback Controls. Click the drop-down menu for Human Playback Style
and choose None. For more information, see Playback Settings dialog box.

IMPORTANT: In order to hear effects applied with the Tempo Tool during playback, you must set
Human Playback to None in the Playback Controls.

Special mouse clicks

For further information, see the Tempo Adjustment dialog box.

See Also:
Advanced Tools Palette

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General MIDI

General MIDI

Part of the reason General MIDI was established, was to provide a standardized listing of sounds or patches. This standard was developed so that when you play the
same MIDI file on different MIDI setups, you'll hear roughly the same result. Many, though not all, MIDI instruments support General MIDI.

General MIDI Patch Set Groupings


General MIDI Patch Numbers & Names
General MIDI Percussion Map Table

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Transposing: changing key

Transposing: changing key


This entry provides instructions for transposing the key of a piece (or part of a piece). If you want to transpose a passage without changing the key signature itself, see
Transposing: by interval. If you want to find out about transposing instruments, see Transposing instruments.

To transpose a piece (Key Signature Tool)


To transpose an entire piece or a region, see Key signatures.

To transpose chord symbols


See To transpose chord symbols.

To enter pre-transposed music onto a transposing staff (step time)


You might wonder how Finale handles notes you input on a transposing staff—does it consider the notes you’re entering to be the concert pitches or the written ones?
When you’re using the step-time music entry tools (the Simple Entry and Speedy Entry tools), it’s up to you.
The following instructions show you how to specify that the notes you’re entering have already been transposed—for example, if you’re copying an existing score.

Choose Display in Concert Pitch from the Document Menu if there is a checkmark next to it. You’ll see by the key signatures that Finale is
displaying the transposing staves in their transposed form. In this mode, any new notes you enter with either step-time input tool are considered already
transposed. In other words, if you play a C on the MIDI keyboard, it appears as a C on the transposed staff, even though it will play back as some other note,
because you’ve just entered a written C. If you want to enter the concert pitches, choose Display score in Concert Pitch again from the Document Menu (so that
the checkmark appears next to the menu item). Finale displays the contents of transposing staves at concert pitches. Any music you enter with either step-time
input tool is now considered at concert pitch; when you turn Display in Concert Pitch off, it will be appropriately transposed.

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MIDI Note to Pitch Table

MIDI Note to Pitch Table

The following diagram shows the relationship between MIDI Note numbers and pitch names.

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Tutorial 6: Playback

Tutorial 6: Playback
It may be that you’re more interested in using Finale as a notation-based pseudo-sequencer than as a notation program. If so, this tutorial will introduce you to some
of Finale’s special playback and MIDI capabilities. If you don’t plan to play back with Finale, skip ahead to Tutorial 7.
One of Finale’s strengths is its versatile playback and MIDI editing capabilities. You have extensive of control over broad-scale playback effects, and of course, the
most minute details. For example, you can choose to playback using professional GPO instrument sounds, indicate your piece is to be performed in a Reggae style
with Human Playback, and then adjust the volume and panning in real time with Finale’s mixer controls. Then, if a section doesn’t sound exactly as you like, use the
MIDI Tool to rework the most subtle detail.
This chapter will first guide you through the easy ways to get your music sounding great, and then delve into some advanced MIDI editing topics for the perfectionists.

Assigning MIDI Channels and Instruments


Usually, the first step to preparing a score for playback is assigning instruments to staves. If you began your score (or added staves) with the Setup Wizard,
instruments have been assigned for you automatically. Even so, you may need to edit the channel, patch, or bank depending on your MIDI output device. For example,
setting each staff to its own channel allows you to make changes to each staff individually in real-time using the Mixer or Staff Controls. You can modify the instrument
sound, volume, panning, and channel for every staff individually. Furthermore, you can adjust all of these settings for separate layers (voices) within a single staff.
In this section, you’ll learn how to manipulate the channel and instrument for staves using the Instrument List.

Close any documents you have open, and open the document called “Tutorial 6.” This document is a short arrangement for piano, bass, strings,
and harp. (If you are having difficulty seeing all of the staves on your monitor, select a different view percentage from the Scale View to submenu of the View
Menu.)
From the Window Menu, choose Instrument List. The Instrument List appears—a staff-by-staff listing of your score. Each staff name has several
columns.
Make sure that the Send Patches Before Play check box, found in the lower-left corner of the Instrument List window, is checked.

An Instrument contains the information needed to access a specific MIDI sound. This includes a name for identification of the Instrument, a channel number to send
the information on, and Patch information, consisting of Program change and optional bank change data. An Instrument can be assigned to several staves—if you
write a piano part, for example, you’ll certainly want both staves to play over the same MIDI channel and the same piano sound, so you’d designate the two staves
using the same Instrument. An Instrument can also be used for just one layer of a staff. If you wrote a flute and a clarinet part both on a single staff, but in different
layers, each one could have its own Instrument, and thus have its own MIDI channel and patch assignment.
As you can see from the previous diagram, the Instrument List gives you a convenient way to control which staves play back. Click in the Mute column (M) to mute a
staff—or click in the Solo column (S) to isolate a staff (and silence the others).

From the Instrument drop-down list across from the [Staff 3] staff, choose New Instrument. You’ll need to scroll up to see New Instrument.
The Instrument Definition dialog box appears.
Name this Instrument “Harp.” Then, type 2 in the Channel text box. You’ll need to set each instrument to a unique channel, so we can send MIDI
data to each instrument independently.
Next to General MIDI, you’ll see “1: Acoustic Grand Piano.” Click on the down arrow and choose “47: Orchestral Harp.” GPO users, note
the General MIDI sound selected does not apply to GPO for playback in any way. If you intend to use GPO for playback only (or any non-General MIDI device),
this step is not necessary. For further discussion of the Bank Select, Program Change, and General MIDI options, consult the User Manual under Instrument

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Tutorial 6: Playback

Definition dialog box.


Click OK. The Instrument List shows the new Instrument name for the first staff.
From the Instrument drop-down list across from the [Staff 4] staff, choose “Harp.” The same instrument defined for the previous staff also
applies to this one.

From the Instrument drop-down list across from the Strings staff, choose New Instrument. Name the Instrument “Strings,” and assign it to Channel 3. From the
General MIDI Menu, choose “49: String Ensemble 1.” Click OK.

Notice that the Piano and Piano (LH) staves are already assigned to an instrument called “Grand Piano” on channel 1. You can leave these two staves alone.
You don't have to create new Instrument names. If you find it easier, you can just edit one of the existing names provided by Finale.

From the Instrument drop-down list across from the Bass staff, choose Acoustic Bass. Your final setup should look like this:

If necessary, drag the Instrument List box so that you can see the first measure.
Windows users, while pressing the Space bar, click the first measure. Macintosh users, just press the spacebar. If Finale’s SmartMusic
SoundFont is selected under the MIDI Menu, or your MIDI device is correctly configured, you’ll hear the arrangement performed. Click the score to stop playback
(Macintosh: Press the Spacebar again).

Now suppose you decide to play the piano part on a different channel—channel 11, for example. Edit the “Chan.” column for one Piano staff. Since both Piano
staves are assigned to the Piano Instrument, Finale changes the channel assignment of both staves to channel 11 automatically. When you do this, the general
MIDI instrument will also change for both staves (since there is another instrument definition using channel 11, in this case, Bassoon). Click the drop-down
(Macintosh: pop-up) menu under the GM column and choose the Piano sound for one of the piano staves. They will both change to the piano sound. Before
moving on, change the Piano staves back to channel 1.

Close the Instrument List window by clicking its close button. Choose Save from the File Menu so that this piece will be ready to
play the next time you open it.

Using Kontakt Player 2 for Finale with Garritan Personal Orchestra


Up to this point you’ve probably been listening to Finale’s performances using the standard General MIDI sounds. Although the SmartMusic SoftSynth is a first-rate GM
SoundFont, Finale also offers professionally sampled sounds from Garritan Personal Orchestra’s renowned collection of world-class instrument libraries. These are real
instrument recordings that have been professionally mastered, offering the most realistic sounding playback imaginable. An assortment of GPO instruments is included

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Tutorial 6: Playback

with your Finale package, and can be selected while starting a new score with the Setup Wizard, or assigned to existing instrument staves.

You can use a MIDI hardware device, the SmartMusic SoftSynth, or a Native Instruments player (such
as the Kontakt Player 2) for playback, but only one of these methods for any given document.

Note the recommended system requirements for GPO are higher than Finale’s recommended system requirements. In order to make the most of GPO and the Kontakt
Player 2, you should have at least 1 GB of RAM and a processor speed of 1.8 GHz on Win and a G4 of 733 MHz on Mac. This steps in this section require at least
512 MB of RAM. Close all applications other than Finale.
To specify you want to use GPO instruments while beginning a new score, do the following. (Do not close Tutorial 6, we’ll continue where we left off soon).

Launch the Setup Wizard. Either click Setup Wizard in the Launch Window, or, from the File Menu, choose New > Document with Setup Wizard.

Enter a Title, Composer, and Copyright and click Next to move to page 2.
In the upper left corner, after Instrument Set, click the drop-down menu and choose “Garritan Personal Orchestra 2.0 Finale Edition.”
A new set of instruments appear in the lists below.
Add these instruments and complete the wizard as you would normally. When the score appears, all staves are set up to use GPO instruments
automatically. Enter some notes and click the Play button in the Playback Controls to audition these instrument sounds.

Of course, you can also assign GPO instruments to existing staves. When doing so, you also need to assign the stave’s corresponding channel in the Kontakt
Player. Here’s how:

From the Window Menu, choose the Tutorial 6 file we were working with earlier. It will be at the bottom of the Window Menu and titled “Tutorial
6.mus.”

Windows users press -Tab, and Mac users, -‘ to switch between active documents.

From the MIDI Menu, Windows users choose Native Instruments VST Setup. Mac users choose Native Instruments AU Setup. The Native
Instruments VST/AU Setup dialog box appears.
Check Play Finale File Through Native Instruments VST/Audio Units. For our purposes, consider “Audio Units” the Mac equivalent of “VST” in
Finale.
From the drop-down menu to the right of 1-16, choose Kontakt Player 2. Note that in the future you can choose Kontakt Player 2 for all of these
slots. Each incarnation of the player can house 16 different instruments, so you can use up to 128 total in a document simultaneously.

If you upgraded from Finale 2006, you will also see an option for “Finale GPO” which continues to be
available for Files created in Finale 2006 that were configured to use the original Finale GPO. “Finale
GPO” supports 8 channels per player for a total of 64 possible.

Click the Edit button to the right. The Kontakt Player 2 appears. The Kontakt Player 2 can be used to make adjustments to tuning, key velocity and
other instrument attributes. However, by far the most common usage of this player for Finale’s purpose will be assigning GPO instruments to channels equivalent
to those specified for that instrument’s staff in the Instrument List.
Click the triangle to the right of the Instruments button and select Keyboards > Steinway Piano.

Notice the Channel region is set to channel 1. Remember the Piano staff is already set to channel 1 in the Instrument List. You
might want to open the Instrument List and move it to the top of the screen as a reference while assigning channels with the Kontakt Player.
Click and drag the Mod wheel (lower left) up almost to the top. You will need to click the Mod wheel every time you add a sound. This is GPO’s
volume/expression control, and clicking it sets the sound to an audible volume.

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Tutorial 6: Playback

Click the Instruments triangle again and choose > Harp > Harp KS. Click the Mod wheel. “Harp KS” appears in the second slot and is
automatically set to channel 2.
Next, add Section Strings > Full Strings > Full Strings Arco, then Solo Strings > Dbl Bass > Dbl Bass Plr1. Be sure to click the Mod wheel
after you add each one.
Now that all instruments have been set, close out of the Kontakt Player 2. If the Playback Controls are not visible, from the Window Menu,
choose Playback Controls.
Click the Play button to review playback. Finale plays your score using the GPO instruments you selected.

Remember that each incarnation of the Kontakt Player 2 only accommodates 16 instruments. Therefore, if you would like to use separate GPO instruments for
17 or more staves, you will need to add another device in the Native Instruments VST/AU Setup dialog box. Refer to Kontakt Player 2 in the User Manual for
details.
If you plan to use GPO instruments regularly, set staves to consecutive ascending channels in the Instrument List as we did in this tutorial. (Set the top staff to
channel 1, second staff to channel 2, etc.) When you do so, you will never need to edit the channel when you add GPO sounds in the Kontakt Player. Also
note the Document Setup Wizard automatically assigns channels to staves this way.

The Mixer
As you listen to your document, you may discover a need to adjust the balance of individual staves. For example, you may want to increase the volume of the flute
section, or move the trumpet section to the right side of the stage using panning controls. You can use Finale’s Mixer controls to make these adjustments. The Mixer
allows you to make real-time playback adjustments to the full score, or each staff individually. The mixer settings you apply are post-processed on top of existing
playback data, so all existing MIDI data, including HP, is left as-is (as if you were sending the music from your computer through a conventional mixer). Mixer settings
appear in the Mixer window and Staff Controls. There is even a view, Studio View, designed specifically for auditioning your score. To view these controls, do the
following.

Volume, panning, and instrument controls in the Mixer and Studio View Staff Controls are linked. A
change to a setting in one of these two places applies to both.

From the View Menu, choose Studio View. Your music is stretched across the page as if you were in Scroll View. The Staff Controls appear to the left of
your staves. The Staff Controls are permanently affixed to the left of your staves in Studio View (and only available in Studio View).
From the Window Menu, choose Mixer. The Mixer window appears. All the staff controls appear at first. In the following example the Mixer is minimized.
Mac users, click and drag the lower right-hand corner to adjust the size of the mixer. Windows users, move your cursor over the edge until you see a double-
sided arrow, then click and drag to resize the mixer.

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Tutorial 6: Playback

The Master controls apply to the full score and include a volume slider, reverb dial and room size dial. Staff Controls include a volume slider, pan dial, and
instrument selector, as well as Solo, Mute, and Record buttons. All Staff Control settings are redundant to the staff controls in the Mixer. All Mixer/Staff Control
settings are saved with the document, so your music will sound the same the next time you open it.
Now, let’s take a quick tour of the Mixer controls and explore some real-time playback effects:

Click the Play button in the Playback Controls. The following steps should be performed during playback. It is a short piece, so if you reach the end,
just click the play button again and continue where you left off.
Click the Master Volume Slider in the Mixer and drag to adjust the volume. Then, to make fine adjustments, use the up and down arrows to move
the slider incrementally. You can also view these changes, or enter them manually, in the Instrument list.
Click the INST LIST button at the bottom of the Master control pane. The Instrument List appears. Click the Title Bar at the top and position it so it
is not obstructing the Mixer or Staff Controls.
In the Staff Controls on the left side of the screen. Click and drag a Pan dial counterclockwise as far as possible for one of the Piano staves. When
you release the mouse button, a small box displays the current value. Notice the piano shifts to the left speaker or headphone. Also notice the sympathetic
response in the Pan text boxes of the Instrument List. You can also type a MIDI value (1-127) in any of these text boxes to specify a precise value.

Volume, panning, and instrument controls in the Mixer and Studio View Staff Controls are linked. A
change to a setting in one of these two places applies to both.

To the left of the String staff, Click the “S” button in the Staff Controls. You are now listening to a string solo. Click “S” again to hear all the
staves. The “M” performs the opposite function of muting a staff. You can mute or solo as many staves as you want.
Finally, click the Reverb dial and drag clockwise. The Reverb and Room Size effects apply only to the overall output.

Human Playback
Finale includes a powerful capability to interpret articulations, expressions, hairpins, and other markings, and generate playback that simulates a live human
performance. This feature, called “Human Playback,” can be set to emulate a specific musical style, such as classical, baroque, or jazz, and can even recognize and
interpret expression text that appears in the score, such as “rit.” or “cresc.”, and adjust the tempo or dynamic level accordingly. Human Playback will even include
Smart Shapes in its interpretation including crescendos/diminuendos (hairpins), glissandos, and trills. If your goal is to create a MIDI performance that sounds closer to
a human performance, try these options first.
Caution: If you are using the Human Playback feature, MIDI data assigned to the document manually with the MIDI Tool or Expression Tool will not apply to the MIDI
performance. To turn off Human Playback, in the Playback Settings, under Human Playback Style, choose None. (You can still apply Human Playback to regions of
your score with the Apply Human Playback plug-in).
When you start a new Finale document, Human Playback is on by default and set to the “Standard” playback style. Simply add some of the markings just mentioned
and playback the score to hear Human Playback at work. To customize Human Playback’s interpretation, do the following:

Windows users, click the Playback Settings icon on the playback controls. Macintosh users, click the expand arrow on the Playback Controls.
The Playback Settings appear.
For Human Playback Style, select the style of the piece you are notating. For example, the Jazz style adds a swing feel to the piece. The Baroque
style performs articulations according to standard baroque performance standards.

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Tutorial 6: Playback

Windows users, click OK to apply these settings. Macintosh users can minimize the Playback Controls if desired.
Click the play button to review Human Playback’s interpretation. Windows users note that the spacebar-click method does not process measures
for Human Playback.

Click HP Preferences to customize Human Playback’s interpretation.

You can also apply Human Playback to a region of your score using the Apply Human Playback plug-in. To do this, first, set Human Playback to None in the
Playback Settings (Mac: Playback Controls), then highlight a region of your score with the Selection Tool and from the Plug-ins Menu, choose Playback > Apply
Human Playback. See Playback in the User Manual for more details.
If you want more control over every detail of Finale’s MIDI performance, you can use the MIDI Tool. If you use the MIDI Tool, set Human Playback to None in
the Playback Settings dialog box (Mac: Playback Controls). Note that if you use the MIDI Tool to customize MIDI data for parts of your score, you can still
apply Human Playback to other regions of your score using the Apply Human Playback plug-in.

Tapping a Tempo
Recording a tempo with Finale using a MIDI device or even your computer keyboard is as easy as waving a baton. You can record, or “conduct,” a tempo as you listen
to the score to define precise tempo adjustments using TempoTap.
Let’s use the Tutorial 6 file to demonstrate TempoTap.

From the View Menu, choose Studio View. Notice the extra staff at the top. This is the TempoTap staff. It is only (and always) visible in Studio View. This
staff shows you the beats you’ll be tapping.

Click the HyperScribe Tool .


Click the first measure of the TempoTap staff. You are now ready to begin tapping the tempo. Unlike HyperScribe, Finale always begins recording your
tempo on the first signal. (In the future, note that you can begin recording a tempo at any measure).

To prepare for recording a tempo, consider counting off a measure or two, stopping short of pressing
the spacebar, before recording the first beat.

Tap the tempo on your computer keyboard’s spacebar, increasing or decreasing the tempo as desired. The scroll bar advances with
the music.
Stop tapping when you are finished recording the desired measures, then click the score. When a message appears, click OK. Finale assigns
the most recent recorded tempo to all measures following the region up to the next tempo change.
Click the play button in the Playback Controls to review playback.

You can record with additional precision by editing the note durations in the TempoTap staff. By default, the staff is filled with notes equalling the value of the main
beat. If you want to specify a rallentando passage, for example, which slows drastically in a short amount of time, you may want to tap eighth notes instead of quarter
notes to indicate the gradual change in tempo for the duration of the passage. To do so, use the Simple or Speedy Entry Tool to enter eighth notes for that region in
TempoTap staff.

The MIDI Tool


If you want precise control over every aspect of the MIDI data, you can use the MIDI Tool instead of applying Human Playback. The MIDI Tool lets you edit the raw
MIDI data of your score, from a single note to an entire staff. You can visually edit pitch bends, velocity, patch changes, and other parameters. If Human Playback
provides all the control you desire over your performance, you can skip the rest of this chapter.
Captured MIDI information isn’t really part of the notation itself. Instead, it consists of variables that a musician creates in a performance of the music—specifically,
when recording with HyperScribe. Stress and accents, rushing the beat—all of these human elements constitute captured MIDI data. When you use Human Playback,
this data is added for you temporarily every time you play back the score. The MIDI Tool allows you to adjust this data for your score manually.
In Tutorial 1c you experimented with the “bouncing ball” playback option; at the end of the tutorial, you listened to the original performance of a piece while looking at
the notated version. Finale always lets you choose which way you’d like to hear your music: as strict, perfectly even sheet music, or as the original, unquantized MIDI
performance, with a human feel and all captured MIDI data intact.
As an experiment, try listening to the same piece twice—once with, and once without the captured MIDI data.

Close the open document, if you want. Open the document called “Tutorial 6a.” The document—a passage from Ellmenreich’s “Spinning Song”—
appears.
For the remainder of this chapter, you will be applying MIDI data manually. Since Human Playback is set (by default) to override all MIDI Tool

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data, so before continuing, we’ll need to ‘turn off’ Human Playback:


Windows users, click the Playback Settings icon on the playback controls. Macintosh users, click the expand arrow on the Playback
Controls. The Playback Settings appear.
For Human Playback Style, choose None.
(Windows users) Click OK. Now, Finale will not process the entire score for Human Playback each time you playback your score. (You can still use the
Apply Human Playback plug-in to ‘activate’ Human Playback for regions of your score).
While pressing the Space bar, click the first measure. The piece plays back—technically perfect, but without any expression.

For comparison, listen to it now as it was originally performed. To tell Finale to use the captured MIDI data, you have to change some settings in the Playback
Options dialog box. To prepare for the MIDI Tool lesson, do the following:

From the Document Menu, choose Playback Options. The Playback Options dialog box appears.

Select all four “Play” checkboxes in the upper-left corner of the dialog box. Now listen to the difference when Finale uses the captured
performance data.
Click OK; then spacebar-click the first measure. Finale plays back the score as it was recorded in HyperScribe. For example, you should hear a natural
crescendo in the first two measures (that is, if your keyboard is touch-sensitive). Finale is using the performance data captured from an actual performance. Click
the mouse if you want to interrupt the playback.

Creating a Decrescendo
Now that you have some understanding of captured MIDI data, let’s try manipulating this data.

On Windows, click on the Window Menu and choose Advanced Tools Palette.

Click the MIDI Tool . A new menu appears, called MIDI Tool.

Drag-enclose the first two measures (in both staves) to highlight them. Be sure to drag-enclose the full measures (up to the barlines). Remember,
you can double-click any selection including a partial measure to expand the selection to include full measures.

Selecting music with the MIDI Tool is exactly like selecting music with the Selection Tool. Select a single measure by clicking it once; several onscreen
measures by drag-enclosing any part of them; a long region by clicking the first measure, scrolling to the last measure, and -clicking the last measure;
and an entire staff by clicking to the left of the staff. You can also select the entire piece by choosing Select All from the Edit Menu.
If you take a look at the commands in the MIDI Tool Menu, you’ll notice that there appear to be three different elements you can edit: Key Velocities (how hard
the keys were struck, which usually determines their volume); Note Durations (how long they were held down); and Continuous Data (pedaling, pitch bend,
patch changes, and the like). Be sure that Edit Key Velocities is selected.
To show you the power of the MIDI Tool, you’ll create a decrescendo over the first two measures, even though there’s now a crescendo when they play back.

From the MIDI Tool Menu, choose Scale. The Scale dialog box appears. The Scale command lets you program a gradual change from one dynamic level
(or duration or MIDI controller setting) to another. For this reason, it’s ideal for creating a smooth crescendo or decrescendo.

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MIDI key velocity is measured on a scale from 0 to 127; 127 is the hardest (loudest) attack.
Type 120 in the first box. Press Tab, and type 30 in the second box. Click OK. You’ve just told Finale to decrease its volume over the course of
the two selected measures. Try it:
While pressing the Space bar, click measure 1 to play back the music. You should hear a steady decrescendo that lasts for the first two measures.
If not, be sure you’ve made the changes to the Playback Options described in the introduction to this section.

NOTE: Some MIDI keyboards don’t respond to key velocity information at all. If the volume or timbre of the notes on your keyboard doesn’t vary with the force
you use to strike them, the keyboard is not “touch-sensitive.” Unless you want to take this opportunity to connect a velocity-sensitive MIDI keyboard, skip ahead
to Editing Note Durations (Start and Stop Times).
Being able to scale performance data in this way may be useful, but it’s not very interactive—you can only tell what changes you’ve made by listening to the
music. Fortunately, you can also see the changes you’ve made.

Click anywhere on the screen to halt the playback.


Drag-enclose the first two measures in the top staff only.
Double-click the first highlighted measure. The MIDI Tool split-window opens. In this window, you can only edit the captured MIDI information for one
staff at a time. If you want to edit data on several staves simultaneously, therefore, don’t open the MIDI Tool split-window—just use the menu commands after
selecting the desired staves.

At the bottom of the window, you’ll see the notes in the measures you double-clicked. Above them is a graph. Each bar of the graph corresponds to the key
velocity (volume) of the note directly below it. Along the left side of the window you can see a legend of velocity values, scaled from 0 to 127.
You can immediately see the effects of your Scale command—the bars representing the key velocities grow steadily shorter over the first two measures. As an
experiment, let’s now make the second half of the phrase crescendo. You may need to move the display so that you can see measures 3 and 4; if so, click the
arrow buttons (on Windows, use the scroll bar at the bottom of your screen).

If you cannot see measures 3 and 4, click the right horizontal scroll bar arrow until measure 3 is at the left side of the window. A
measure number appears in the middle of each measure, between the notation display and the graph area.
Click in the graph area at the beginning of measure 3, and drag to the end of measure 4, like this:

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Any region you select in the graph area automatically selects the handles of the corresponding notes below it.

From the MIDI Tool Menu, choose Scale. Type 30, press Tab, and then type 120. You’ve just programmed a crescendo for the second half of the
phrase.
Click OK. Whenever you’re working in the MIDI Tool split-window, you can always get a quick playback of the displayed music:
From the MIDI Tool Menu, choose Play.

Editing Key Velocities


The remaining experiments in this tutorial delve deeply into some of Finale’s powerful MIDI capabilities. If you don’t thrive on technical discussions, feel free to skip
ahead to Expressions: Defining Playback later in this chapter.

The MIDI Tool Menu Play command does not


support Internal Speaker Playback on the Mac.
Use the Playback Controls.

Here’s a quick rundown of the remaining MIDI Tool Menu commands. These descriptions assume you’ve first selected the music to be edited. Remember that when
you’re not in the MIDI Tool split-window, you select measures exactly as you would with the Selection Tool—by clicking a single measure, drag-enclosing several, and
so on. Within the MIDI Tool split-window, you can edit a single staff, and you select notes either by dragging through the graph region or by selecting individual note
handles in one of the ways shown here:

To select individual notes in the MIDI Tool split-window, you can drag-enclose them or Shift-click individual handles, or Shift–drag-enclose additional groups of notes.

Once you’ve selected the music, you can choose any of the MIDI Tool Menu’s transformation commands from below the line.
Set To gives every note in the selected region exactly the same velocity (volume). You type a number between 0 and 127.
Scale produces a smooth, gradual change from one velocity value to another across the selected region. If you select “Absolute,” you can enter values in the text
boxes between 0 and 127. If you select “Percent of Original,” Finale scales the selected notes’ velocities proportional to their current values, thus preserving some of
the original variations from note to note; in this case, you can enter virtually any positive numbers in the text boxes. For example, if you entered 100 and 200 in the
boxes, respectively, the first notes would play back with their original velocities, and the last notes would play back with twice their original velocities.
Add simply gives the selected notes greater velocity than they already have. If you enter a negative number, you subtract velocity. Type a number between –127 and
127, keeping in mind that the sum of this number and a note’s current velocity has to be between 0 and 127.

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Percent Alter increases or decreases the selected music’s velocity by a percentage of its current value. To make a passage twice as loud as it is now, choose
Percent Alter and type 200 (percent).
Limit lets you set maximum and minimum key velocity levels for the selected music. You type in numbers between 0 and 127. If you enter a maximum velocity of 90,
for example, any existing velocity values between 91 and 127 will be clipped down to 90.
Alter Feel lets you accent specific beats in the measure, by either a specified amount (Absolute) or by a percentage of their current velocities (Percent of Original). If
you enter negative numbers (when Absolute is selected), you’ll be giving the specified music less velocity, and hence less emphasis. In the Alter Feel dialog box that
appears, you’ll see that you can provide either an absolute or a percentage change independently for notes that fall on Downbeats, Other Beats, or Backbeats. (For
definitions, see Backbeats in the User Manual.)
As an example, suppose you have a rockabilly tune and you want to boost the backbeats to give your playback more drive. In this case, you’d select the entire score
(with the MIDI Tool), choose Key Velocities and Alter Feel from the MIDI Tool Menu, select Percent of Original, and type 150 into the Backbeats text box. The result
would be 50% more volume on the backbeats.
Randomize alters the selected music’s velocity by a random amount. This can be a useful option if you want to give your playback a more imperfect, “human”
feeling. Type a fairly small number into the text box—between 10 and 20, for example (unless you really want some unpredictable, madcap accents).
NOTE: Finale stores the velocity value for each note as the difference in velocity from the default velocity value (the “Base Key Velocity”). You set the Base Key
Velocity in the Playback Controls. Suppose, for example, that this value is 60. If a note displayed in the MIDI Tool window has a velocity of 90, Finale simply
remembers that its velocity is 30 more than the Base Key Velocity value. Why does Finale store velocity values this way? Because with this system, you can quickly
and easily adjust the overall velocity (volume) level of your piece by changing the Base Key Velocity value. The dynamic nuances of your piece will be preserved—but
the overall volume level will increase or decrease accordingly.

Editing Note Durations (Start and Stop Times)


For the next experiment, restore all the velocity information to a uniform level. If the graph area above measures 3 and 4 isn’t already highlighted, drag through it now.

Press the (Mac: ) key. The ( ) key removes all MIDI data alterations in the selected region—even if you’re not
in the MIDI Tool split-window. It doesn’t erase all MIDI data, however—only the kind that’s currently selected in the MIDI Tool Menu (Key Velocities, Note
Durations, and so on).

If necessary, use the left horizontal scroll bar arrow to move back so that you can see measures 1 and 2. Restore these notes’ velocities to 64 as well.
Now you’ll try using the MIDI Tool to edit the playback durations of the notes in your score.

From the MIDI Tool Menu, choose Edit Note Durations.

You’ll notice that the graph in the MIDI Tool split-window has changed. Now you’re seeing each note represented by a thin horizontal line; the longer the line,
the longer the note’s duration. You’ll also see several thin gray vertical gridlines; these gridlines represent the strict quantized “locations” of the notated notes:

The menu commands you explored while editing Key Velocities also work on Note Durations. In some of the dialog boxes for these commands, however, you’ll
encounter the words Start Time and Stop Time.
These terms seem clear enough; Start Time refers to the attack of a note, and Stop Time refers to the release. What makes their usage trickier is that they
don’t refer to the notated durations of the notes. Instead, they relate those notated values to the captured MIDI information generated by your original
performance, before your performance was quantized and transcribed into notation.
In fact, Start Time measures the difference between the notated (quantized) value’s starting point and the moment you actually struck the note in your
performance. In the figure on the right, the Start Time is a positive number for the first note (because it was played slightly after the beat), and the Stop Time is
a negative number (because the note was released slightly before the next beat).

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The Start Time is the difference between the actual (performed) attack point and the notated (quantized) attack point. The Stop Time is the difference between
the performed and quantized release points. These differences can be either positive or negative; Stop Time (a), above, is a negative number, but Stop Time (b)
is positive.
In fact, had you played precisely on the beat, with accuracy to 1024ths of a quarter note, the Start and Stop Times would both be zero. There would be no
difference between the quantized and the actual attack point of the note.
The Start and Stop Times are measured in Finale’s own very small durational units, called EDUs (ENIGMA Durational Units)—1024ths of a quarter note. The
following table has some common EDU equivalents (a full table appears under Equivalents in the Appendix of the User Manual.)

Keeping this chart handy, take a look at some of the MIDI Tool’s Note Duration menu commands:
Set to gives every note in the selected region exactly the same Start and Stop Times, measured in EDUs. If, for example, you want every note in a certain
region to sound a fraction of a beat early, you might set the Start Times of the notes in the region to –300. Set the Start and Stop Times to zero if you want to
“quantize” every note squarely to its strict notated duration.
Scale produces a gradual change from one Start or Stop Time value to another across the selected region. You can enter EDU values in the text boxes, thus
specifying that the attacks or releases of the notes move steadily closer to (or further from) the beats.
Add increases or decreases the Start or Stop Time of every note in the selected region by an equivalent amount. Note that this command preserves the relative
existing differences in Start and Stop Times. Enter a positive EDU value to increase the Start Time (a later attack) or Stop Time (a later release) of all selected
notes, and a negative number to decrease these times.
Percent Alter is a unique command in Note Durations mode, because it’s the only command that directly affects the total durations of the selected notes,
instead of their Start and Stop Times. This command lets you increase or decrease the selected notes’ playback durations by a percentage of their current
values. This command doesn’t, of course, affect the notated values of the notes—it just affects the way they play back. To create a staccato passage in which
every note plays back with only half its notated value, you could choose Percent Alter and type 50 (percent).
Limit lets you set a minimum and maximum Start and Stop Time value for the selected notes; in other words, it can serve to “pull” the attack and release of
each note closer to its notated value. You can think of Limit as a pseudo-quantizer, because it decreases the difference between the notated durations and your
humanly imperfect performance.

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Alter Feel changes the Start and Stop Times of Downbeats, Other Beats, and Backbeats as defined in the section Editing Key Velocities (earlier). A positive
Start Time value pushes the playback attack of a note later, relative to its notated value.
Randomize alters the selected notes’ Start and Stop Times by a random amount, giving the music a less quantized, more human feeling. You might type an
EDU value of A (or less) of the predominant rhythmic values in the music; for example, to subtly soften the rhythmic precision of a passage of eighth notes (512
EDUs each), you might type 32 into the Start and Stop Times boxes.

More Uses for Key Velocity and Note Duration Commands


You might also find the MIDI Tool useful for correcting characteristics in some of your MIDI keyboard’s sounds. For example, suppose you have a string patch with a
very slow attack; upon playback, it sounds as though each note is entering late. You could solve the problem with the MIDI Tool: Select the entire staff. Then, making
sure that Note Durations is selected in the MIDI Tool Menu, choose Add To. In this instance, you’d add a negative number to both Start and Stop Times, thus forcing
the strings to enter (and release) slightly early on playback. If you’ve entered an appropriate EDU value (which you can calculate for yourself, remembering that –512
would be a full eighth note early), the strings will seem to play right in time with the other instruments.
You can use the same technique to shift all notes slightly later in playback time. If you alter one of two duplicate staves this way, you can create some interesting echo
effects—a note on the unaffected staff sounds first, followed a fraction of a second later by the same note on the shifted staff.
You might also consider using the MIDI Tool to accent the melody in a series of chords—to bring out an inner voice. Once you’ve selected the region to be affected,
double-click the highlighted area to enter the MIDI Tool split-window. By clicking and -clicking (or by drag-enclosing and -drag-enclosing), you can
highlight only the handles of the individual notes you want to change, even if they’re buried in chords. In the “Silent Night” example below, only the handles of the
melody—the middle voice—were highlighted.

Once the correct notes are selected, choose Percent Alter from the MIDI Tool Menu. Set all Key Velocity values to 150% (for example) of their current values; instantly
you’ve brought out the melody from the close voicings. (In the example above, you can see the effect on the velocity graphs for the selected melody notes; they are
indeed 50% greater than the harmony notes.)

Editing MIDI Continuous Data


Continuous data is displayed in a slightly different format when you look at it in the MIDI Tool split-window. Instead of thin vertical or horizontal lines, you see a graph
of solid black. In this example, you can experiment with adding pedaling to a passage. We’ll assume that you’re viewing the first two measures of the “Tutorial 6a”
document in the MIDI Tool split-window.

From the MIDI Tool Menu, choose Edit Continuous Data. The View Continuous Data dialog box appears, in which you can select the controller whose
data you want to edit. The sustain pedal, controller 64, is selected by default. (You could select any other controller from the drop-down list.)
Click OK. You return to the MIDI Tool split-window, where the display has changed. On the left side is a scale of controller values—in this case, sustain pedal
values—from 0 (pedal up) to 127 (pedal down).

The sustain pedal’s value can’t change smoothly over time (like pitch wheel data can). You’ve either pressed the pedal (value 127) or released it (value 0). At
the moment, the window is empty, because the pedal has not yet been used; its value throughout the piece is zero.

Pedaling will appear in this window in bar graph form. In the example at right, the pedal was depressed just after the second beat, and released after the fourth
beat.
Note, too, that the notes in the display no longer have handles. That’s because controller information is independent of the actual notes being played—you can
press the pedal even during a measure of rests, if you want. Therefore, you specify where you want to insert a “pedal down” message (or another on/off
controller, or a patch change) by dragging through a sliver of the graph area.

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Drag through a small horizontal “slice” at the beginning of the graph area, as shown below. Keep in mind that the actual pedal usage will
occur at the beginning of the region you select, as indicated by the arrow in the figure below. It really doesn’t matter, therefore, how much of the window you
highlight; the pedaling message will be inserted at the far left edge of your highlighted region.

From the MIDI Tool Menu, choose Set To. The Set To dialog box appears. Remember that to create the “pedal down” message, you need to set the
pedal’s value to 127.
Type 127. Click OK. Suddenly the entire graph area is gray. That’s because you’ve just inserted a “pedal down” message without any corresponding “pedal
up” message. Therefore, your MIDI keyboard will believe that the pedal was pressed during the entire piece. (There’s a small gap in the gray area at each barline.
This doesn’t mean that the pedal is released at that point, it is just to help you identify the juncture of consecutive measures.)
Now insert a “pedal up” message.
Drag through a small region in the middle of measure 2, as shown below. Remember that the “pedal up” message will fall at the beginning of your
selected region.

From the MIDI Tool Menu, choose Set To. Click OK. You didn’t have to enter a number because the default value was already zero.

When you return to the window, click anywhere in the MIDI Tool window except the graph area to remove the selection highlighting. You’ll see that the bar
representing the pedal is now quite short:

From the MIDI Tool Menu, choose Play. You hear Finale “applying the pedal” to the region you specified.

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Select the MIDI Tool from the Main Tool Palette. (Mac: click the Close button.) Clicking on the MIDI Tool (or any other tool in the Main
Tool Palette) closes the MIDI Tool split-window. (Mac: you must click on the Close button to close the MIDI window.)

Once you’ve created one complete usage of the pedal, as you’ve just done, you don’t have to create it again in other measures that should contain a similar
pedaling pattern. You can simply copy the pedaling from measure 1 into other measures. You’ll find out about copying MIDI Tool data in the next section.

Removing and Copying MIDI Tool Data


To delete any modifications you’ve made with the MIDI Tool, select the desired measures in the score, and then press (Mac: ) This procedure deletes
only the currently selected data type. In other words, if you’ve changed both Key Velocities and Note Durations, you can delete only one at a time—depending on
which one is currently selected (with a check mark) in the MIDI Tool Menu. Similarly, if you’ve edited several different controllers, pressing the ( ) key
removes only the data of the currently selected controller type.
You can also copy MIDI Tool changes to other staves or parts of the score, much as you would copy music with the Selection Tool. Select the source measures with
the MIDI Tool, and drag the first selected measure’s “image” so that it’s superimposed on the first of the target measures. The changes you’ve made to the captured
MIDI information are copied to the target music. Once again, however, this procedure copies only the currently selected data type.
A final note about MIDI Tool changes: They can greatly increase the size, in kilobytes, of your document. Because Finale is recording velocity, duration, and other data
about every single note in the area you’ve changed, it’s possible to double the size of your document if you make MIDI Tool modifications over large areas.

Expressions: Defining Playback

One of the most remarkable aspects of Finale is its ability to respond to musical markings in the score during playback. When Finale sees , the music gets
loud. When it sees a staccato mark, it plays the note shorter. What’s more, you can create any symbol or textual phrase—whether or not it’s a standard musical
marking—and define the effects it will have on Finale’s playback.
As a first experiment, you’ll now perform some further transformations to the document you’ve been working on. If you don’t already have the document “Tutorial 6a” on
the screen, open it now.

Click the Expression Tool . Scroll to measure 5, if needed.

Double-click below the first left-hand note in measure 5. The Expression Selection dialog box appears, filled with Text Expressions.

Click Note Expression. Double-click the mark. In the Note Expression Assignment dialog box, click OK. You’ve placed the mark in your
score. To adjust its position, drag its handle.
Double-click below the first note, bottom staff, of measure 7. Once more the Expression Selection dialog box appears.

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Make sure Note Expression is selected. Double-click the mark. When the Note Expression Assignment dialog box appears, click OK. Adjust
the position of the new expression. Now listen to the new dynamics.
If the Playback Controls aren’t on the screen, choose Playback Controls from the Window Menu.
Click Play 1. Sure enough, when Finale reaches measure 5, it obeys your dynamics. Now let’s see why. (Click Stop 8 to interrupt playback.)

Double-click the mark’s handle. The Text Expression Designer dialog box appears.
Click the Playback tab. Options under the Playback tab show the MIDI playback choices for this marking.

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Look at the playback definition of the marking. Key Velocity is selected in the Type drop-down list, and the number 36 appears in the Set to Value text

box. In other words, the creator of this marking decided that the marking should give the notes it affects a Key Velocity of 36. (The scale of MIDI

velocity goes from 0 [silence] to 127 [very loud].) When Finale reaches the marking, it will play all notes (assigned to that instrument’s MIDI channel) at
velocity (volume) 36—at least until it encounters a new dynamic marking.
Some of the other MIDI variables you can attach to a score marking are also extremely useful. For example, by selecting Patch from the Type drop-down list,
you could make the phrase “To Clarinet” switch the playback of its staff to a clarinet sound from an existing sax sound; just type the number of your MIDI
keyboard’s clarinet patch into the Program Change text box when you create the expression.

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By selecting Patch and entering a patch number (in the “Program Change” text box), you can create a playback definition for the Text Expression “To Clarinet.”

Similarly, if you’re creating an marking, you could define it to transpose the affected music up an octave. In this dialog box, you’d choose Transposition
from the Type drop-down list and type 12 in the Set to Value text box (up 12 half steps). Notice that the written notes don’t get transposed—only their
playback. Note, too, that Finale will continue to play the music up an octave until it encounters another expression, such as loco, that you’ve defined to return
the playback to its normal register (by choosing Transposition and entering zero in the Set to Value text box).

Click Cancel to return to the score. To make sure you understand the concept, let’s create a new expression—a Presto tempo indication.

Creating an Intelligent Tempo Marking

Click the Expression Tool , and double-click just above the beginning of measure 4. The Expression Selection dialog box appears. If you
scroll through the list you’ll see that Presto, the expression you want to create, doesn’t appear in the list.
Click Create. The Text Expression Designer dialog box appears, waiting for you to type in the text for your new marking. Note, however, that you don’t have to
have any text at all—it’s perfectly legal to attach a playback definition to an invisible marking. (You’ll see its handle in the score.)
Type Presto. Now, let’s add a metronome marking.
From the Text Menu, choose Font. The Font dialog box appears.
Under Font, choose Maestro, and set the size to 24, then click OK.
Type “q” to add a quarter note.
From the Text Menu, choose Font, and set the Font to Times New Roman (or Mac: Times), and the size to 14. Then click OK. Your
marking now appears in the entry window. You can mix several fonts, sizes and styles in a single expression.

Click the playback tab and choose Tempo. In the Set To Value text box, type 180. The number you type here indicates quarter notes per
minute. If you wanted to, you could change this base rhythmic unit using the drop-down list that appears beside the word Tempo.

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Tutorial 6: Playback

To specify placement for an expression, use the Note and Measure positioning tabs. For example, to
align the expression with the opening time signature, click the measure positioning tab.

Click OK or Select in each dialog box until you return to the score. To move the Presto marking, drag its handle anywhere you want. (You can
delete any marking by clicking its handle and pressing .) Now the fun part: listen to your sudden tempo change.
From the Window Menu, choose Playback Controls, if they’re not already showing.
Click Play to hear the score playback as you defined it.

Creating Swing Playback


Making your score play back with eighth notes in swing style is quick work with the Playback Controls, but what if you want more control over when and how to swing?
In a pure triplet swing feel, the second eighth note of every pair (the backbeat) is played as though it’s the last note of a triplet, as shown here.

In other words, it’s delayed (and the first eighth note is held longer). Delaying or rushing the playback of notes with respect to their written rhythms is precisely the
function of the Swing command in the Expression Tool.

If Jazz or Blues Human Playback is applied, swing settings are set automatically. Swing settings are
grayed out if the Human Playback style does not incorporate swing, as is the case with the Classical
or Romantic styles.

You can use the Swing command to delay the attack of every eighth note backbeat. All you need to do is decide how much to delay them.
If you type 100 into the Set to Swing text box, you will hear true triplet swing in your playback. Needless to say, you can change this number, depending on the
amount of swing you want; at a fast tempo, you’d probably want to decrease this number (so the notes sound more like even eighths). At a slow tempo, you might
want to increase the number for an even more pronounced swing effect.

Click the Expression Tool , and double-click just above the beginning of measure 4. The Expression Selection dialog box appears. The
Swing indication of “two eighth notes equals a triplet quarter and eighth” is a shape expression.
Click Shape. Finale displays any shapes that are loaded into the document; your default file comes with a selection of pre-made shapes. To select from the
text expressions again, just click the Text radio button.
Click on the swing shape - “two eighth notes equals a triplet quarter and eighth.” It should be the last shape in the selection box.
Click Edit. The Shape Expression Designer dialog box appears, waiting for you to make changes for your marking. Note, however, that you don’t have to have
any text or shape at all—it’s perfectly legal to attach a playback definition to an invisible marking. (You’ll see its handle in the score.)
Click the Playback tab. Finale displays the Playback Options.
From the Type list in the Playback Options group box, choose Swing. In the Set To Value text box, type 100 or select Standard from the menu.
This number indicates a percent of swing. If you wanted to, you could choose a heavier swing by increasing the number or a lighter swing by decreasing the
number.
Click OK or Select in each dialog box until you return to the score. To move the Swing marking, drag its handle anywhere you want. (You can
delete any marking by clicking its handle and pressing .)
Click Play 1 on the Playback Controls. You should hear genuine swing. Finale plays the second of every eighth note pair slightly later, just as a jazz
player might.

Syncing Finale to Video


Finale allows you to write to picture using either the integrated Movie Window, or a SMPTE-compatible movie player or editor. If you would like to sync Finale to
another software product, it must be capable of receiving MIDI Time Code, which is the SMPTE medium that can be sent from Finale for synchronization. If you decide
to use Finale’s integrated Movie Window, videos need to be in QuickTime (Mac and Windows) or Windows Media format (Windows). To play QuickTime movies in
Finale for Windows, QuickTime (a free download at www.apple.com) must be installed. (The accompanying file “Tutorial 6b.mov” is in QuickTime format.)
Finale offers performance tools designed specifically for writing to video. For example, the tempo of your Finale score, or portions of your score, can be modified to fit
within a specific duration, so the music flows with the movie perfectly. Also, to help guide you, measure number “time” indicators can be used to show the elapsed time
at any measure. In this section, you will learn how to synchronize Finale with video and use the tools necessary to successfully compose an accompanying sound
track.
To prepare for this tutorial, do the following:

Open “Tutorial 6b.mus” and then, from the Window Menu, choose Movie Window.
In the Movie Window, click Select, and then open the file “Tutorial 6b.mov.”
Click the Speaker icon in the Movie Window (left of the Play button) and drag the volume all the way down. Now the movie’s sound will not
interfere with our Finale arrangement.
Make sure Sync is checked.

Notice the Time is displayed on the Movie Window and Finale’s Playback Controls. As long as the “Sync” box is checked, both the movie and music start, stop,
rewind, and fast-forward together. Let’s try it now.

Click the Play button in Finale’s Playback Controls. The movie and music begin. Continue watching the video until the carnival rides appear. Notice the
entrance of the waltz-style piano motif begins a couple seconds after the appearance of the carnival rides.

Let’s say we want to edit the music so that the piano and the carnival enter simultaneously—a common type of edit when writing alongside video. To do this,

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Tutorial 6: Playback

we will adjust the tempo slightly from the beginning of the score until measure 14.

Windows users, from the Window Menu, choose Advanced Tools Palette. Choose the MIDI Tool.
Click measure 13 in the top staff to select it. Then, hold down the Shift key and press the down arrow. Continue holding down Shift and
press the left arrow. All measures from 1-13 are now selected.
From the MIDI Tool Menu, choose Tempo. Then, from the MIDI Tool Menu, choose Fit to Time. The Fit to Time dialog box appears. Here, we can specify
a duration for the selected region of music and Finale will adjust the tempo accordingly.

For New Elapsed Time (or New End Time), replace 41.736 with 37.5. New End Time refers to the point in time at the end of the selected region.
New Elapsed Time refers to the duration of the selected region. Since all measures are selected from the beginning of the piece, both will have the same result.

Click OK. Now, if you play back the score, the piano enters at the same time as the carnival—37.5 seconds from the beginning.

When You’re Ready to Continue


You can save expressions in a library of its own, if you want; click on the File Menu, choose Save Library. Click Text Expressions, click OK, give the library a name,
and click Save. If you want to add this expression to the library you already created, follow the procedures outlined at the end of Tutorial 3.
Close your document, saving it if you want.

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Encore Conversion

Encore Conversion
Finale can convert Encore 3.0 through 4.2.1 files and Rhapsody 1.0 files regardless of which platform they were created on. Finale will convert most items in your
Encore file. The simpler the Encore file the less conversion issues you will have. If your file is more involved, it will take more time to convert and you may have more
conversion issues. More information on the items Finale will not convert, or modifies upon conversion is given in this section.

Spacing
Finale will maintain the system and page placement of your Encore document, but will respace the measures in each system according to Finale’s Music Spacing.
Music Spacing accounts for accidentals, clefs, seconds in different layers and spaces the notes according to engraving standards. Spacing will differ depending
whether you are viewing your music in Scroll View or Page View, however, Page View represents the spacing Finale will use when printing your document. See
Document Options-Music Spacing for more information.

Stem Direction
Finale will not maintain Encore’s stem direction. Finale files will be easier to edit without freezing stems in a specific direction. Instead, Finale places stems according to
music engraving standards. To change the stem direction individually use the Speedy Entry Tool (see To flip a stem). To globally change the stem direction of a layer
see Document Options-Layers.
Rests
Rests are not controlled by a global Hide and Show command, but can be hidden individually. Hidden rests are converted from Encore. To show a hidden rest, or hide
a note or rest, press H when in the Speedy Entry frame. See Rests (Speedy Entry).To globally change the position of rests in a layer see Document Options-Layers.

MIDI Conversion
Emphasis has been placed on converting display information over MIDI information. MIDI pitch, key velocity and duration are converted, but some MIDI specific items
such as MIDI patch indicators are not.

Eight Layers
Finale supports 4 layers and 2 voices for each layer. Finale will manually convert the first four layers with notes. If you have used more than 4 layers, you must insert
the additional notes using voices. Alternatively, if you do not have a large number of marks or text, you could import a MIDI file of the Encore document into Finale.

Chord Symbols
Finale places chords close to the note they are attached to. To globally change the baseline of all chord symbols, choose the Chord tool and confirm that Manual Input
is checked under the Chord Menu. Four arrows will appear to the left of the staff system (if you do not see the arrows, choose the Hand Grabber tool and drag the
page to the right).
Click and drag the left most arrow up. To individually change the position of a chord, choose the Chord tool and confirm that Manual Input is checked under the Chord
Menu. Click on the note to which the chord is attached to display the handle, then click and drag the handle of the chord to position as desired.

Reversed Dal Segno mark


Finale does not convert a reversed Dal Segno mark. However, Encore users can create a repeat using the Repeat Designer. See Repeat Designer dialog box.

Rounded rectangle graphical marks


Finale does not support a rounded rectangle graphic. These graphics will be imported as normal rectangles.

Parenthesis from Tools palette


Finale does not support the type of parenthesis provided on the Encore Tools palette. Parenthesis are available to place around expressions, notes and accidentals
using the Expression Tool for expressions, the Articulation Tool for notes, and Speedy Entry for accidentals.

Additional pedal indicators


Finale does not convert either type of pedal bracket marks. These marks can be created with the Smart Shape Tool.

Bend Tools
Finale does not convert bend tools. However, you can use the Smart Shape Tool to create note-attached bends.

Slurs
Slurs converted from Encore will be measure-attached slurs. Finale’s standard note-attached slurs are much easier to place, move with the notes even across systems,
and allow you to easily flip slurs over and under the notes. See Slurs for more details.
Finale will convert Encore’s 3-point slurs into Finale’s Smart Shape slurs. These slurs are symmetrical. If you want your slurs to be asymmetrical see To move,
reshape, or delete Smart Shape slurs.

Large wavy line


Finale has one style of wavy line or trill. This is used in conversion regardless of the size of wavy line specified in Encore. Finale does offer a user-defined Smart
Shape. See Smart Shape Palette.

Beaming over barlines


Finale does not automatically convert beam that extend over barlines. To beam over barlines, use the Beam Over Barlines Plug-in.You can also manually beam over
barlines using the Special Tools Tool. See Beaming across barlines.

Cross-staff beaming
Finale will not convert cross-staff beaming. To easily create cross-staff notation, use the Cross Staff plug-in. Or, you can use the NoteMover and Special Tools Tool

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Encore Conversion

manually create cross-staff notation. See Cross-staff notes for more information.

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Score Conversion

Score Conversion
Finale has the ability to import files created in Score, a notation program created by the San Andreas Press. Like importing Encore and Rhapsody files, the simpler the
Score file, the fewer conversion issues you will have. If your file is more involved, it will take more time to convert and you may have more conversion issues. Though
you can batch-open as many Score files as you like, it is recommended to limit batch conversion to twenty. If you choose to open twenty or more files at once, you will
see the following warning:

Click Yes to continue with conversion or No to dismiss the dialog box. For more information on importing Score files, see To import Score files.
After importing one or several Score files, Finale will generate a list of changed or lost data you can use as a guide to make corrections in the resulting Finale
document. This list will be saved as a text file to the Finale folder with the extension *.log. The name as the log file will be the same as the imported Score file.
Here are some known issues specific to documents converted from Score files and how to resolve them in Finale.

Note Durations
Finale will read the precise note durations as they were entered in the Score file. Finale will not evaluate beam extensions and other figures that change the visual
representation of the note duration in the Score file. See Simple Entry or Speedy Entry for information on editing note durations.

Layers
You may find the converted file contains notes in several layers. See Document Options-Layers, Simple Entry and Speedy Entry for information regarding layers and
how to edit notes in different layers.

Optimized Systems
While importing multiple files, instruments that return after being optimized out can appear on the wrong staff. To avoid this problem, import the Score files individually.

Slurs
You may find slurs across system breaks do not import properly, or at all. To add or edit slurs, use the Slur Smart Shape. See Slurs.

Tuplets
Sometimes, tuplets brackets and definitions will be lost or changed in Score conversion. Use the Tuplet Tool to edit or create tuplet definitions. See Tuplets.

Beaming
You may find beaming problems in the generated Finale document. These include missing beams over rests, missing secondary beam breaks and vertical placement
of beams in cross-staff notation. To edit beaming, use the appropriate tool in the Special Tools Palette. See Special Tools Tool.

Chord Fretboards
Finale will not convert fretboard diagrams from a score file. Enter fretboards to your score with the Chord Tool. See Fretboard diagrams.

Clefs
Finale will not import forced clefs (clefs that appear after an identical clef without a clef change in between). To add a forced clef, click the Clef Tool and click the
measure to open the Change Clef dialog box. Choose the clef, select Always in the Show Clef section, and click OK. For more information, see Change Clef dialog
box.

Hairpins
Hairpins may import off the right side of the page or simply misplaced. To edit hairpins, use the SmartShape Tool. See Smart Shape Tool.

Cross-Staff Notation
Cross-staff notation may not import properly into Finale from a Score document. To easily create cross-staff notation, use the Cross Staff plug-in. Or, you can use the
NoteMover and Special Tools Tool manually create cross-staff notation. See Cross-staff notes for more information.

Articulations
You may find some misplaced and colliding articulations in the imported Score file. For information on editing articulations, see Articulation Tool.

Staff Names
Sometimes, staff names can import as text blocks. Create and edit staff names with the Staff Tool. See Staff Attributes dialog box.

Time Signatures

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Score Conversion

To add missing or remove extra cautionary time signatures see Document Options-Time Signatures. Composite time signatures also may not import properly
(specifically, if p12=1 in the original Score document, Finale interprets the time signature as not being composite and ignores p8 and p9). Use the Time Signature Tool
to edit any incorrect time signature definitions. See Time Signature Tool.

Key Signatures
Nonstandard key signatures will not import from a Score file. For information on creating nonstandard key signatures, see Nonstandard key signatures.

Text
Text enclosures will not import from a Score file. For information on adding enclosures to a text block, see Custom Frame dialog box. You can also create an enclosed
expression in place of the text. Make sure to use expressions for any rehearsal letter/number indications. See Text Expression Designer dialog box.

Expressions
Note Expressions sometimes collide with notes and articulations in imported Score files. Use the Expression Tool to edit the positioning of Note Expressions. See
Expressions.

Repeats
You may find that some repeat barlines extend over extra staves after Score conversion. Use Break Repeat Barlines Between Staves in the Staff Attributes dialog box
to fix this problem in your score. You may also find the repeat text is too small. You can edit the size of repeat text in the Repeat Selection dialog box.

Trills
Trills with alterations (sharp, flat or natural) appear as regular (unmarked) trills after Score conversion. You can choose the appropriate trill figure in the Smart Line
Selection dialog box.

Tremolos
Unbeamed tremolos import as full note values. For example, a two-half note tremolo should take up two beats, but it takes up four after conversion. For information on
entering tremolos, see Easy Tremolos Plug-in.

Blank Pages
If one of the score files in a group does not contain any music, Finale will ignore the blank page. Use the Page Layout Tool to enter blank pages after importing score
files. See Insert Blank Pages dialog box.

Page Order
If you let Finale choose the file order, there is a chance the page order will not be correct. If this is the case, choose to Specify the File Order in the Import Score File
Options dialog box while importing multiple Score files.

Fonts
In the converted Finale file, text may appear in the default system font instead of the font specified in the Score file. To change any font, from the Document Menu,
choose Data Check, then Swap One Font for Another. See Swap One Font For Another dialog box.

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Text blocks

Text blocks
A text block can be almost any piece of text: a note to the conductor, a page of dialogue, performance instructions, or an extra verse of lyrics, for example. You can
place block text, in any font and size, anywhere in the score.
Text blocks created in Scroll View and text blocks created in Page View are treated differently. Finale assigns a text block to a measure if you are in Scroll View when
the text block is created. To create a page-assigned text block, you must be in Page View.

To create text in a frame that automatically expands as you type

1. Click the Text Tool . The Text Menu appears.


2. Double-click the document window where you want to place text. The editing frame appears, with a flashing cursor to indicate the insertion point.
3. Type the text directly into the score without dragging to create a frame. Press enter (type a carriage return) to start a new line. The frame
expands horizontally and vertically to accommodate the text you enter.

A single dashed line indicates that the frame will expand vertically and /or horizontally as you type.

To create text within a fixed-size frame

1. Click the Text Tool . The Text Menu appears.


2. Double-click the document window, and drag to create a rectangle to accommodate your text. An editing frame of the size you create
appears, with a flashing cursor to indicate the insertion point. The placement of the insertion point—left, center, or right—depends on the justification options
selected in the Text Menu.

A double dashed line indicates that the frame is a fixed size; it will not expand as you type.

3. Enter the text you want displayed. The placement of the text within the frame—left, center, or right—depends on the justification options selected in the
Text Menu. The words wrap when you reach the side of the frame.
4. To resize the frame to accommodate additional text, drag the side of the frame to the desired size.

To edit text on-screen

1. Click the Text Tool . The Text Menu appears.


2. Double-click a text block handle. The editing frame appears around the text.
3. Click within the selected text block to edit the text. The insertion point appears where you click. Select some text, then use the Text Menu to change
the character or text block settings for the selected text.
4. Use the Alignment submenu of the Text Menu or Frame Attributes dialog box to change a text block’s attributes, such as whether it
is assigned to a measure or a page or pages, how it’s positioned, and so on.

To resize a text block on-screen


If a standard frame is set for a text block (Standard Frame is selected in the Text Menu), you can resize the text block on-screen by dragging its frame. If you’re using
a custom frame for a text block (Custom Frame is selected in the Text Menu), see “To resize a custom frame” next for instructions.

1. Click the Text Tool . The Text Menu appears.


2. Double-click a text block handle. The editing frame appears around the text.
3. To change the text block’s shape or size on-screen, drag any side of the frame to stretch the shape.

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Text blocks

To resize a custom frame

1. Click the Text Tool . The Text Menu appears.


2. Click a text block handle, then choose Custom Frame from the Text Menu. The Custom Frame dialog box appears.
3. Click Select. If a shape was already selected for the custom frame, the Shape Designer appears. If no shape was selected, click Create in the Shape
Selection dialog box.
4. Resize the shape in the Shape Designer. For details, see Shape Designer dialog box.
5. Click OK or Select until you return to the Custom Frame dialog box, where you can see how the text flows into the selected shape.
When the text flows into the frame the way you want it to, click OK to return to the document.

Note: As in previous versions, custom shapes may be used for more than one text block in the score.
If the shape is used elsewhere, changing the shape for one text block will change all occurrences of
the shape in the score.

To assign a text block to one or more pages

1. Click the Text Tool . The Text Menu appears.


2. Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shift-double-click a text block. The Frame Attributes dialog box
appears.
3. Click to select Attach to: Page, if it isn’t already selected.
4. Select an item from the drop-down list. Choose Single Page to show the text block on one page; choose All Pages to show it on every page; or choose
Left Pages or Right Pages to show it on left or right pages.
5. Set the page range. Enter the numbers of the pages where the text block will appear (you’d select Left Pages and 6 Through 10 to show the text block on
every left page between pp. 6–10, for instance). To show the text block on a single page, enter the page number in the first page text box. To display the text
block through the end of the piece, enter zero in the second text box, or leave the text box empty. For example, to show the text block on every page, starting at
page 6, you’d select All Pages and enter 6 Through 10, or enter 6 and leave Through blank.
6. Use the other settings in the Frame Attributes dialog box to adjust the text block’s position in the score, then click OK to return to
the document.

To assign a text block to a measure

1. Click the Text Tool . The Text Menu appears.


2. Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shift-double-click a text block handle. The Frame Attributes
dialog box appears.
3. Click to select Attach to: Measure and then, into the text box, type the number of the measure you want the text block assigned to.
4. From the Staff drop-down list, choose the name of a staff you want associated with the measure-assigned text block. Finale will align
and position the text block in relation to this staff.
5. Use the other settings in the Frame Attributes dialog box to adjust the text block’s position in the score, then click OK to return to
the document.

To position text blocks on-screen

1. Click the Text Tool . The Text Menu appears.


2. Drag a text block’s handle to adjust its placement in the score. Drag-enclose or shift-click additional text block handles to select them. You can
drag multiple text blocks on the score to position them.

To position page-assigned text blocks (Text Menu)


1. Choose Page View from the View Menu, if it isn’t already selected.

2. Click the Text Tool . The Text Menu appears.


3. Click a page-assigned text block handle, then choose Frame Attributes from the Text Menu.
4. Position the text block from the page margin or the page edge using the Placement submenu. Choose Position from Page Edge or Position
from Page Margin from the Placement submenu of the Frame Menu to align the text block from the page edge or from the page margin, respectively.
5. Position the text block horizontally. Choose Left to place the text block on the left edge or margin of the page; choose Center Horizontally to center it
between the left and right edges or margins; or choose Right to align it on the right edge or margin.
6. Position the text block vertically. Choose Top (Header) to place the text block on the top edge or margin of the page; choose Center Vertically to center it
vertically between the top and bottom edges or margins; and choose Bottom (Footer) to align it on the bottom edge or margin.

Note: When you change the horizontal or vertical placement, Finale clears any manual positioning that
was done in the score, and resets the H: or the V: positioning settings, respectively, in the Frame
Attributes dialog box to the new position.

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Text blocks

To position page-assigned text blocks (Frame Attributes dialog box)


1. Choose Page View from the View Menu, if it isn’t already selected.

2. Click the Text Tool . The Text Menu appears.


3. Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shift-double-click a text block handle. The Frame Attributes
dialog box appears.
4. Use the Alignment and Positioning settings to position the text block.

Note: The Horizontal, Vertical, and Position from options in the Alignment and Positioning group box
are only available when you select Attach to: Page. When Attach To: Measure is selected, these
options are not available, because a text block assigned to a measure only appears on the page
containing that measure.

5. Position the text block horizontally. Choose Left from the Alignment and Positioning: Horizontal drop-down list to place the text block on the left edge or
margin of the page; choose Center to center it between the left and right edges or margins; or choose Right to align it on the right edge or margin.
6. Position the text block vertically. Choose Top (Header) from the Alignment and Positioning: Vertical drop-down list to place the text block on the top edge
or margin of the page; choose Center to center it between the top and bottom edges or margins; and choose Bottom (Footer) to align it on the bottom edge or
margin.

Note: When you change the horizontal or vertical page alignment, Finale clears any manual
positioning that was done in the score, and resets the H: or V: settings, respectively, to the new
position.

5. Use the Position from drop-down list to position the text block from the page margin or the page edge. Choose Page Margin from the
Position from drop-down list to have Finale calculate the text block’s position starting from the page margin. Choose Page Edge to have Finale measure the text
block’s position starting from the edge of the page.
6. Set the positioning distance. Enter values into the H: and V: text boxes in the Alignment and Positioning group box for the distance to position the text
block horizontally and vertically on the page, based on the other settings in the Alignment and Positioning group box.
7. Click OK to confirm your settings and return to the document.

To position measure-assigned text blocks (Frame Attributes dialog box)


1. Choose Scroll View from the View Menu, if it isn’t already selected.

2. Click the Text Tool . The Text Menu appears.


3. Click a measure-assigned text block handle, then choose Frame Attributes from the Text Menu. Or, shift-double-click a measure-assigned
text block handle. The Frame Attributes dialog box appears.
4. Set the positioning distance. Enter a value in the H: text box in the Alignment and Positioning group box for the distance to position the text block
horizontally from the upper-left of the staff associated with the measure. A larger value moves text to the right; a smaller value to the left. Enter a value in the V:
text box for the distance to position the text block vertically from the upper-left of the staff associated with the measure. A larger value moves text down; a smaller
value up.
5. Click OK to confirm your settings and return to the document.

To position page-assigned text blocks on left- and right-facing pages (Frame


Attributes dialog box)
If you’re using running headers or footers in your score, you might want to position a text block in the header or footer near the “outside” edges or margins (the left or
right edges, respectively) of each left-facing (even-numbered) or right-facing (odd-numbered) page, as opposed to always positioning the text block in the same place
on every page. This is easily done using special positioning settings for right-facing pages in the Frame Attributes dialog box; follow the steps outlined here.

1. Choose Page View from the View Menu, if it isn’t already selected.

2. Click the Text Tool . The Text Menu appears.


3. Click a page-assigned text block handle, then choose Frame Attributes from the Text Menu. Or, shift-double-click a page-assigned text block
handle. The Frame Attributes dialog box appears.
4. Use the Alignment and Positioning settings in the Frame Attributes dialog box to position the text block on every page in the
selected page range. See “To position page-assigned text blocks (Frame Attributes dialog box)” earlier in this section.
5. Click Use Right Page Positioning to place the text block differently on right-facing (odd-numbered) pages.
6. Position the text block horizontally on right-facing pages. Choose Left from the Right Page Alignment and Positioning: Horizontal drop-down list to
place the text block on the left edge or margin of the right-facing page; choose Center to center it between the left and right edges or margins; or choose Right to
align it on the right edge or margin. (Finale resets the Right Page Alignment and Positioning: H: setting to zero so the left, right, or center of the text block is
aligned horizontally with the page edge or margin.)
7. Set the positioning distance. Enter values into the H: and V: text boxes in the Right Page Alignment and Positioning group box for the distance to position
the text block horizontally and vertically on right-facing pages, based on the Right Page Alignment and Positioning: Horizontal setting, and the Vertical and
Position from selections in the Alignment and Positioning group box.
8. Click OK to confirm your settings and return to the document.

To delete a text block

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Text blocks

Select a text block handle or drag-enclose to select a group of handles. Press delete.

To specify a default font for text blocks


1. From the Edit Menu, choose document Options and select Fonts. The FontType Style options appear.
2. From the Text drop-down list, choose Text Block and click the corresponding Set Font button. The Font dialog box appears in which you
can select the font you want to use for your text blocks.
3. Click OK twice. You return to the document. Now any new text you create with the Text Tool will use the font you selected.

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MIDI files

MIDI files
Finale both imports and exports standard MIDI files. A MIDI file has a format that can be understood by music programs from different companies, including most
sequencer programs—even on other operating systems. If you prefer to compose by improvising in your favorite sequencer, you could save your piece as a standard
MIDI file and let Finale notate it for you.
When you save a MIDI file, Finale saves the instrument name (from the Instrument List) as the track name. When you open a MIDI file, Finale uses the track name as
the staff name (which appears in the Staff Attributes dialog box).

To import a MIDI file


To create the MIDI file, follow your sequencer’s instructions. There’s no need to quantize the sequence; however, you’ll probably find Finale’s quantization powers to be
more effective than your sequencer’s.

1. Choose Open from the File Menu. The Open dialog box appears. The file types are listed in the drop-down list at the bottom of the window.
2. Click MIDI File. The names of any available MIDI files appear in the list box.
3. Double-click the desired document name. The Import MIDI File Options dialog box appears, listing various transcription options.
4. Specify the way in which you want the MIDI file extracted onto Finale staves. If you click Tracks Become Staves, each sequencer track becomes
a Finale staff. If you click Channels Become Staves, the contents of each MIDI channel (regardless of their track assignments) become a Finale staff. In either
case, Finale will choose a clef for each resultant staff based on the range of notes in the track. (If it discovers that the notes in a track have a very wide range, it
will automatically notate its contents on two staves. See Import MIDI File Options dialog box for details.) For even greater control over the track and channel
extraction, click Set Track-to-Staff List; the Track/Channel Mapping to Staves dialog box appears, in which you can specify extremely sophisticated track and
channel splitting.
5. Click Quant Settings. The Quantization Settings dialog box appears.
6. Click the icon representing your smallest note value.
7. Choose your quantization type. See Quantization Settings dialog box for more details.
8. Click More Settings. The More Quantization Settings dialog box appears.
9. Select the quantization settings you desire. You can select options for grace notes and voice 2, as well as retain key velocities and note durations. See
More Quantization Settings dialog box for details.
10. Choose Key and Time Signature options. Most MIDI files contain key and time signature information already, so you usually won’t have to change the
default selection (Use the File’s).
11. If you’ll want to hear the sequence played back with its original tempo fluctuations and continuous data (controllers and wheels)
data, make sure Tempo Changes and Continuous Data are selected. These options capture some of the MIDI performance data from your
sequence.
12. Click OK (or press enter). Finale transcribes the MIDI File into standard notation. If you discover that your settings weren’t quite right, you can close the new
Finale document and try again—the original MIDI file is unaffected by Finale’s transcription efforts. Or, for smaller sectional changes, use the Retranscribe
function under the MIDI/Audio Menu. For more information about the elements of the Import MIDI File Options dialog box, see Import MIDI File Options dialog
box and Retranscription.

To export a MIDI file


1. Prepare your Finale file. Keep in mind that any playback data will be retained in the MIDI file. This includes tempo changes (for those sequencers that
support a tempo, or conductor, track), dynamics, pitch wheel data, MIDI channel assignments, in addition to Human Playback settings configured in the Playback
Settings dialog box. To export a specific region, in the Playback Settings dialog box, check Observe Playback Region when saving to MIDI or audio file, and the
specify the region you would like to export in the options above.

Be sure to specify other important playback options in the Playback Options dialog box (choose Playback Controls from the Window Menu; click the expand
arrow; click Playback Options). Remember that you are exporting a MIDI file, text and layout will not be retained in this format.

2. Make sure that you have assigned Instruments correctly (one for each resultant sequencer track). When Finale creates a MIDI sequencer
file, it places the music you’ve assigned to each Instrument in the Instrument List dialog box in a separate sequencer track. Therefore, make sure the Instrument
configuration is set up the same way you want the resultant tracks set up. See MIDI channels for further instructions.
3. Choose Save As from the File Menu. The Save As dialog box appears.
4. From the List Files of Type: drop down list choose MIDI File, and enter a title in the text box. Note, too, that you don’t have to click anything if
you add the suffix “.MID” (including the period) at the end of the title, as in “Overture.MID”; if you do this, Finale automatically saves your document as a MIDI file.
5. Click Save (or press enter). Finale now asks which type of MIDI file you want to create: Format 1 (multiple tracks), Format 0 (a single, multichannel track), or
just a tempo map. Format 1 is by far the most common format. Also, choose whether you want to save any bookmarks you created in Finale as sequencer
marks in your MIDI file.
6. Select a MIDI file format by clicking the appropriate button.

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Copy Fretboards from Chord Suffix

Copy Fretboards from Chord Suffix

How to get there

Click the Chord Tool , choose Manual Input from the Chord Menu, then click a note that doesn’t have a chord symbol attached. In the Chord Definition dialog
box, click on Select in the Fretboard area.
If a note has a chord symbol attached, click the note to make the chord handle appear. Double-click the handle, click on Select in the Fretboard area. In the Fretboard
Selection dialog box, click Select Suffix next to Copy Fretboards from Another Chord Suffix.

What it does
The Copy Fretboards from Suffix Selection dialog box allows you to use fretboards from other chord suffixes.

Cancel. Click Cancel to return to the Fretboard Selection dialog box without copying fretboards.
Select. After clicking the suffix you want to use, click Select. You return to the Fretboard Selection dialog box. Instead of using the Select button, you can simply
double-click the desired chord suffix.
View. Click View to see a listing of the fretboards found in the selected chord suffix.

See Also:
Chord Tool

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Preset Arrowhead Selection

Preset Arrowhead Selection

How to get there

Click the Smart Shape Tool . Choose Smart Shape Options from the Smart Shape Menu. Choose Custom Line from the Smart Line drop-down list. Click Select,
then Create or Edit. Click Select next to Preset Arrowhead.

What it does
The Preset Arrowhead Selection dialog box allows you to select from a number of shapes to use for your arrowhead.

Cancel. Click Cancel to return to the Smart Line Designer dialog box without selecting a preset arrowhead.
Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line Designer dialog box. Instead of using the Select button, you can
simply double-click the desired arrowhead.

See Also:
Smart Shape Tool

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Optimizing systems

Optimizing systems
In published full scores, it’s customary to omit from a system any staves consisting entirely of rests, which results in a more compact and readable score. This is
sometimes called "French scoring." In Finale, this process of suppressing the printing of empty staves within each system is called optimizing systems. When you
optimize a completely empty staff system, Finale will still display the top staff, even though it’s blank.
Optimizing systems in Finale has another important benefit: it permits staves to be independently movable in Page View. Under normal circumstances, you can only
move, respace, or rearrange staves in Scroll View, using the Staff Tool. If you have optimized a system, however, you’ll find that the Staff Tool works in Page View,
too, letting you vary the positioning and spacing of staves as they’ll appear on the printed page. You can even regroup and rebracket them. If you just want to respace
one system, use the To create variable-distance systems command.

To optimize all (or specified) systems

1. Click the Page Layout Tool .


2. From the Page Layout Menu, choose Optimize Staff Systems. A dialog box appears, letting you specify the range of systems to be optimized. If you
only want to optimize some of the systems, enter their numbers in the boxes. You could also drag-select the systems to optimize before entering the Optimize
Staff Systems dialog box, and Finale will display your selected systems. To optimize the entire score, click on Whole Document.
3. Check Optimize Staff Systems and any additional features below. See Staff System Optimization dialog box for details.
4. Click OK (or press enter). When Finale’s done, look at the staves in Page View. You’ll see that every staff remaining in each system has music on it,
because the empty staves have been hidden.
5. Update the layout using Update Layout in the Edit Menu. Finale has locked in the optimized staff configuration. If you return to Scroll View and add
some music to a staff in a system that no longer appears in Page View (because it’s been optimized), the staff won’t reappear. If you want to edit, reformat,
enlarge, or reduce your music, remove optimization before you do it, and reapply optimization when you’re finished. For this reason, it’s best to optimize just
before printing, after the piece has been formatted, proofread, and given its final layout.

To remove staff optimization from all (or specified) systems

1. Click the Page Layout Tool .


2. From the Page Layout Menu, choose Optimize Staff Systems. A dialog box appears, letting you specify the range of systems from which you want to
remove optimization. If you only want to remove optimization from some of the systems, enter their numbers in the text boxes. You could also drag-select the
systems before entering the Optimize Staff Systems dialog box, and Finale will display your selected systems. If you click on Whole Document, Finale will remove
optimization from all systems.
3. Click Remove Staff System Optimization. Click OK.

To optimize staff by staff


If you only want to remove some blank staves from a system, you can use this method, in which Finale will ask you to confirm the removal of each staff.

1. Click the Page Layout Tool .


2. From the Page Layout Menu, choose Optimize Staff Systems. The Staff System Optimization dialog box appears.
3. Select how you want this system Optimized; whether you want empty staves removed, if you want to be asked before a staff is removed, and if you
want to keep at least one staff. See Staff System Optimization dialog box.
4. Click OK (or press enter) to continue. If you selected Ask Before Removing Staves, the Remove Staff dialog box appears asking whether you want each
empty staff removed.
5. Click Yes or No. If you click Yes, the staff will be removed. If you click No, the staff will be optimized, but will remain in the score.

To remove staves from a single system


Similar to the method above (see To optimize staff by staff), this method allows you to specify what staff to remove, instead of asking about all staves. Keep in mind
that this powerful method will remove the staff from the system regardless of whether it contains music.

1. Click the Page Layout Tool .


2. From the Page Layout Menu, choose Optimize Staff Systems. A dialog box appears, letting you specify the range of systems to be optimized. If you
only want to optimize some of the systems, enter their numbers in the boxes. If you click on Whole Document, Finale will optimize all staves. (Finale optimizes to
the end if the Through box is blank or 0.)
3. Click on Optimize but uncheck Remove Empty Staves. You’ll be removing the staves individually later.
4. Click OK (or press enter).

5. Click the Staff Tool . Two handles will appear on each staff.
6. Click the bottom handle on a staff. Shift-click to select additional staves.
7. Press Delete to remove the selected staff or staves, in that system only, while repositioning the remaining staves. Press shift-Delete to
remove the selected staff or staves without repositioning the remaining staves.

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Page numbers

Page numbers
To add a page number, use the Text Tool in Page View.

To add a page number

1. Click the Text Tool .


2. From the View Menu, select Page View.
3. Double-click where you want the page number to appear. The text editing frame appears.
4. From the Text Menu, select font, size and style. Skip this step if the default Text Block settings are the ones you want to use. See Document
Options-Fonts.
5. From the Text Menu, choose Inserts, then Page Number.
6. From the Text Menu, choose Frame Attributes. The Frame Attributes dialog box appears.
7. Click on Page, then choose All Pages from the drop-down list.
8. Select the alignment and positioning options from the alignment and positioning drop-down lists. SeeFrame Attributes dialog box for details.
To use the left and right facing pages feature see Text blocks–To position page-assigned text blocks on left- and right-facing pages.
9. Click OK (or press enter) to return to the document.

To change the page number offset

1. Click the Text Tool .


2. Select Page View from the View Menu.
3. Double-click the handle of the text block containing the page number. The text editing frame appears.
4. Select the page number Text Insert so that the number is highlighted.
5. Select Edit Page Offset from the Text Menu. The Page Offset dialog box appears.
6. Type in the number to add to the current page number. If you are on page one and want the page numbers to start at 10, type 9.
7. Click OK. You return to the document, and the page numbers are updated to reflect the new offset.

To move or delete a page number

1. Click the Text Tool . A handle appears on the page number.


2. Drag the number’s handle to move it. Select the handle and press delete to remove it.

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Titles

Titles
A title is created and positioned with the Text Tool. If you want to create the title on a page of its own, see Title page.

To create extra room at the top of the page


Depending on the format of your piece, you may want the music on the first page to begin slightly lower on the page to allow room for a title space.

1. Scroll to the beginning of the piece. Click the Page Layout Tool . Finale displays the systems on the first page, representing each as a
rectangle with handles at the upper-left and lower-right.
2. Click in the middle of the first staff system and drag it downwards. When you drag the top system down, all subsequent systems move down on
the page as well. If you want more precision, try this: Choose Edit Margins from the Systems submenu of the Page Layout Menu. Click the top system’s handle,
and then enter a larger value in the topmost text box at the right side of the screen. These numbers represent the system margins.
3. Click the upper left handle of the first staff system and drag it upwards until it overlaps the top page margin. If you later use Space
Systems Evenly, Finale will adjust the Distance Between Systems value. Because we don’t want the space for the title to be considered in this spacing, we
needed to adjust the top margin of the system.

To add a title

1. Click the Text Tool .


2. Select Page View from the View Menu.
3. Double-click where you want the title. The text editing frame appears.
4. Select font, size and style from the Text Menu. Skip this step if the default Text Block settings are the ones you want to use. See Document
Options-Fonts.
5. Select Title from the Inserts submenu of the Text Menu. If you haven’t defined a title in the File Information dialog box, either select File Info from the
File Menu and fill in the appropriate information, or just type in the title you want to use.
6. Select Frame Attributes from the Text Menu. The Frame Attributes dialog box appears.
7. Select Page. Choose Single Page from the drop-down list and type 1 in the first text box. (These should be the default settings).
8. Select the alignment and positioning options from the alignment and positioning drop-down lists.
9. Click OK (or press enter).

To move or delete a title

1. Click the Text Tool , if it’s not already selected. A handle appears on each title.
2. Drag the title’s handle to move it; select the handle and press delete to remove it.

To specify a default font for titles


The default font for titles is the same as the default font for all text blocks. See Text blocks–To specify a default font for text blocks.

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Copyright notices

Copyright notices
A copyright notice, often added to the bottom of the first (or every) page of a published score, is a text block in Finale; while pressing alt, type 0169 on the numeric
keypad to create the copyright symbol itself (©), or use the Copyright Symbol text insert (Text Menu > Inserts > Copyright Symbol). See Titles for instructions on
creating text blocks incorporating Text Inserts. Note that a © symbol is provided for you on page 1 of the Setup Wizard.

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Beam angles

Beam angles
The angles of the beams on eighth notes (and smaller values) can be set either globally or one-by-one. You can also specify flat beams (no angling). See also
Patterson Beams plug-in.

To set the beam angle style globally


1. From the Document Menu, choose Document Options, then select Beams. The Beam options box appear.
2. Choose a beaming style from the Beaming Style drop-down list. Below are some examples of beaming style differences for the various beaming
styles. Flat beams make all the beams flat in the entire document. See Document Options-Beams for more information.

The determining note or notes are marked with an X.

3. Click OK (or press enter).

To change or restore the angle of a beam (Special Tools)

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure in question.

2. Click the Beam Angle Tool . A handle appears at the beginning and the end of the beam.
3. Drag the right handle up or down to change the beam angle. Drag the left handle up or down to change the stem heights. To restore
the beam to its default angle and height, click the handle you used to change the position of the beam; press delete.

To remove angle modifications from a selected region

1. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts.
2. From the Edit Menu, choose Edit Filter. Check (only) Stem and Beam Alterations. Click OK (or press enter) twice.

To change the angle of secondary beams

See Beaming: feathered beaming.

To limit the steepness of beams


1. From the Document Menu, choose Document Options, then select Beams. The Beam options appear.
2. Enter a new value in the Max Slope box. The number in this text box specifies the maximum vertical distance between the high and low ends of any
beam, measured vertically in lines and spaces. See Document Options-Beams.
3. Click OK (or press enter).

To allow only flat beams on a single staff

See also Global Staff Attributes Plug-in.

1. Click the Staff Tool and double-click the handle of the staff which should have flat beams. The Staff Attributes dialog box appears.

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Beam angles

2. Select Flat Beams from the Options section of the dialog box. See Staff Attributes dialog box for details. If you have a number of staves to select
Flat Beams for use the Global Staff Attributes plug-in. This plug-in allows you to set up the staff attributes for a number of staves at once. See Global Staff
Attributes Plug-in.
3. Click OK (or press enter).

To change a beam from the default angle to flat

See Flat Beams Plug-in, Flat Beams (Remove) Plug-in

1. Click the Speedy Entry Tool and click in a measure where the music has beams that you would like to be flat. The Speedy frame
appears.
2. Click on the first note of the beam group and press \ (backslash). This will change the beam to flat. If you have a number of beams you would like
flattened, use the Flat Beams Plug-in which will allow you to select a region with the Selection Tool and flatten all the beams in the region. See Flat Beams Plug-
in, Flat Beams (Remove) Plug-in.

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Beaming across barlines

Beaming across barlines


In certain cases, you may want the beams on eighth notes (and smaller values) to extend across a barline to join a beam in the next measure. Finale gives you two
methods to accomplish this manually. To beam over barlines automatically using a plug-in, see Beam Over Barlines plug-in.

To extend a beam across a barline (Speedy Entry Method)


The first method is best for scores where playback isn’t important.

1. Click the Speedy Entry Tool .


2. Under the Speedy Menu, uncheck Jump to Next Measure.
3. Click a measure. At the end of the measure, enter the notes that belong at the beginning of the next measure (the ones to which you
want to beam from the first measure). Use the / key to beam or unbeam notes as needed. Don’t worry that you've added too many beats to the measure.
When Finale tells you that there are too many beats, just click OK.
4. In the second measure add the same number of rests at the beginning of the measure as you added extra notes to the previous
measure. These rests will act as placeholders when you drag notes from the first measure into the second measure.
5. Move the cursor over the top of each placeholder rest and press the letter H key. This will hide the placeholder rests.

6. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure. If the Note Position tool isn’t
already selected, select it.
7. Drag the note(s) from the first measure that you want in the second measure to the right, so that they now appear in the second measure.

To extend a beam across a barline (Beam Extension Method)


This method creates cross-barline beaming that plays back correctly.

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure containing the beam you
want to extend.
2. Click the Beam Extension Tool H. Handles appear at each end of each beam.
3. Drag a handle horizontally to extend the beams. To restore an extended beam to its normal length, click its handle and press delete.

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Beaming over rests

Beaming over rests


In normal circumstances, Finale doesn’t include rests in beam groups. However, you may prefer to have eighth-note (and smaller value)
beams include rests on the outside of beam groups.

To globally beam over rests on the outside of beam groups


1. From the Document Menu, choose Document Options and select Beams. The Beam options appear.
2. Select Extend Beams Over Edge Rests and Extend Secondary Beams Over Rests. Click OK (or press enter). This is a global option. You
can, of course, override this beaming pattern in the usual way; see Beaming.

To create (or remove) half-stems on beamed rests


1. From the Document Menu, choose Document Options and select Beams. The Beam options appear.
2. Select Display Half-stems for Beamed Rests. Click OK. To hide the half-stems, turn this option off. To adjust the position of the stems, see To change
the position of the stem relative to its notehead.

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Beam thickness

Beam thickness

To change the thickness of beams globally


1. From the Document Menu, choose Document Options, then select Beams. The Beam options appear.
2. Enter a new number in the Beam Thickness text box.
3. Click OK (or press enter).

To change the thickness of beams individually

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure in question.

2. Click the Beam Width Tool . A handles appears on each beam.


3. Drag either handle to adjust the width of the selected beam. To restore the beam width, select its handle and press delete.

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Patterson Beams Plug-in

Patterson Beams Plug-in

How to get there


From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Patterson Beams.

What it does
The Patterson Beams plug-in edits beams and stems. The beam function adjusts both stem lengths and beam angles based on the staff positions of the notes and the
number of notes in the beam. Wedges, white triangular space between the beam and a staff line, are also removed.
The stem function of Patterson Beams affects only stand-alone stems that receive shortened stems. These are stems pointing in the “wrong” direction, normally
because they have been frozen, are attached to a chord, or are part of a multi-voice texture. Finale arbitrarily shortens stems to the short-stem length, creating an ugly
transition between normal and shortened stems. Furthermore, only unflagged stems are shortened. The stem function of Patterson Beams smooths out the transition
between normal and shortened settings and also includes flagged stems. (Stems with more than 2 flags are appropriately lengthened.)
The beam function works in conjunction with the Document Options-Beams (under the Document Menu). The plug-in always works from Finale’s default positioning,
which is different depending on the beam settings. The modal differences in behavior are most noticeable when the note closest to the beam is not an endpoint.
Ultimately, you will probably still have to manually adjust some beams, but the goal of the plug-in is to automatically position the beam for a large majority of cases. If
you use the beam functions of the plug-in, we recommend the following settings in Document Options-Beams: Allow Primary Beam within Space checked, Extend
Beam over Edge Rests unchecked and Max Slope a multiple of 6. See Document Options-Beams.

Unsupported Options
Certain options are not supported by Patterson Beams. If the plug-in recognizes a stem or beam employing an unsupported option, it skips the beam or stem without
making any modifications to it. For beams, these options are unsupported only on the endpoint notes.

Grace Notes
Note Percent Reductions
Cross Staff Notes
Notes With Reversed Stems
Custom Stems
Rest At Beam Endpoints
Split Stem Duplicate Beams

The plug-in has only limited support for beam extensions, especially when used to create tremolos. A beam is skipped unless the primary beam is connected to the
stem of at least one endpoint. Even then, processing is somewhat limited.

French Beams: Create · Remove. With French beaming, interior stems only extend to the first beam, instead of all the way to the eighth beam. Check
French Beams, and then Create or Remove to apply or clear French Beams in the selected region upon clicking OK.
Ignore If Manually Edited Beams/Stems. Check this box to skip over beams or stems that have been edited by the Special Tools Tool, either directly or
through a plug-in.

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Patterson Beams Plug-in

Beautify Beams. Check this box to enable the beam functions and modify the beams.
Beams Should Never Cross Spaces. Check this box to make the slants of all beams narrow enough that they never cross a staff space. This option
performs the same function as “Allow Primary Beam Within Space” in the Beams portion of the Document Options dialog box (under the Document Menu). See
Document Options-Beams.
Max. Slope Angle (Degrees/Units). If the checkbox is checked, the plug-in may steepen the beam angle up to the specified angle (up or down). If the
checkbox is unchecked, the plug-in will use the Max. Slop setting in the Beams portion of the Document Options dialog box (under the Document Menu). See
Document Options-Beams.

The plug-in always avoids wedges, so it uses a shallower slope when the max would cause a wedge. The plug-in determines the maximum slope amount
based on the actual angle entered in the degrees text box between the beginning and ending stem tips. This choice is spacing-sensitive, so the vertical distance
will be greater if the notes are widely spaced and less if they are narrowly spaced. If you specify Degrees, then the plug-in determines the maximum slope
amount based on the actual angle in degrees between the beginning and ending stem tips. You can also change the amount based on a fixed distance in your
current measurement units.

Preserve Flatness. Checking this option assures that any beams that are flat in their default state remain flat after the plug-in has processed them.
Beams On Thirds Can Slant A Full Space. Check this box to allow a beamed third to have a slant of a full space, which is equal to the slant of the note
interval. Normally, the slant of a beam must be at least 1/4 space less than the slant of the note interval. Note: Other settings, such as Max Slope and Beams
Should Never Cross Spaces, may override this setting.
Increase Beam Thickness to Compensate for Beam Angle. Check this option to instruct patterson beams to increase beam thickness if necessary for
beam angle alterations.

3-Beam Groups In Staff Can Slant Fractional Space · Only If Slant Should Be Less Than A Space. Check this box to allow the plug-in to apply
beam slants as small as 1/4 space for 3-beam groups where appropriate. With default beam separation of 18 EVPU, such small slants lead to wedges, but other
options either in Finale or the Patterson Beams plug-in can mitigate the wedges.

Checking “Only If Slant Should Be Less Than A Space” tells Patterson Beams to use beam slants of whole-space increments for 3-beam groups in the staff
that would have a beam slant of at least one space anyway. It is meaningless if “Beams Should Never Cross Spaces” is checked, since with this option, no in-
staff 3-beam slant can be more than 1/4 space. You might choose this option if you are using Additional Separation to avoid 3-beam wedges and want to limit
the times you get the additional separation this causes where it is absolutely required to avoid a flat beam.

Tip: To ensure beams will sit, straddle or hang on staff lines, a traditional engraving practice is to
increase the space between beams if the slant should be less than a space. These settings address
this issue.

Additional Beam Separation For 3-Beam Groups. Checking this option brings up the 3-Beam Groups dialog box. Unchecking it causes Patterson
Beams not to apply additional separation for 3-beam groups, but it preserves your settings if you want to re-enable them later.
Additional Beam Separation For 4-Or-More-Beam Groups. Checking this option brings up the 4-Or-More-Beam Groups dialog box. Unchecking it
causes Patterson Beams not to apply additional separation for 4-or-more-beam groups, but it preserves your settings if you want to re-enable them later.
Beautify Stems. Checking this option to enable the stem function. Leaving the option unchecked causes a sudden shift from normal stem length to short stem
length. The stem length values are specified in the Stems category of the Document Options (under the Document Menu). If you check this option, then the plug-
in adjusts the stem lengths by 1/4-space increments to create a smooth transition from long to short stem lengths.

Stem-Rev. Offsets: Upstem · Downstem. These values tell the plug-in where to begin transitioning to short stems, for stand-alone stems. The value is
given in staff steps. Furthermore, you can control upstem and downstem notes separately.

Tip: You might set the downstem offset to 0 or even +1 if you had text underlay that pushed up close
to the staff. In treble clef, this would result in shorter stems on downstem b1's or even c2's.

Use Different Short Stem Length for 16ths (and Smaller) · Short Stem Length For 16th. Check this option to specify a different short stem
length for notes with 2 or more flags. Depending on your music font or the style of flags used, your short stem length for unflagged and single-flag notes may be
too short for notes with 2 or more flags. You can use this option even if Beautify Stems is unchecked. When you do, all flagged stems get short stem-lengths,
just as Finale gives to unflagged stems, but no transition between short and long occurs.

Enter a value for the minimum stem length for notes with 2 flags. Notes with more than 2 flags add 24 EVPUs (1 space) to this length for each additional flag.

Use This Value For Flagged 8ths Also · Only If Downstem. Check this box to apply the alternative short stem length to flagged 8ths as well as 16ths
and smaller values. You might choose this option if the flag character on your music font does not permit shortening these stems as much as for unflagged notes.
Check Only If Downstem to avoid changes to upstem flagged 8ths.

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Patterson Beams Plug-in

OK · Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes you’ve made.

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Cue notes

Cue notes
Cue notes are reduced-size notes in a score that a player under normal circumstances isn’t meant to play. Usually they indicate musical material being played by other
instruments, and are used as an aid for keeping track of one’s place in the music, especially during long rests. Or they may appear in one player’s part for him or her to
play in case the primary instrument or player isn’t available. See also Add Cue Notes Plug-in

.
In addition to the method described here, you can reduce note sizes in several other ways—only the notehead, for example. See Note size for more information.

To create cue notes on a full-size staff


1. Enter the music at normal size.
2. Select the layer your cue notes are in from the Select Layer submenu View Menu.
3. From the Document Menu, choose Show Active Layer Only.

4. Click the Selection Tool and select a region. See Selecting music for some region-selecting shortcuts. You can select as little as one note, or as
much as an entire piece.
5. From the Utilities Menu, choose Change, then Note Size. The Resize Notes dialog box appears.
6. Indicate how small you want the cue notes to be by typing a number into the number box. This number is expressed as a percentage of
normal-size notes, so “50%” would give you notes that are half size; numbers between 50 and 75 generally produce good results.
7. Click OK (or press enter). To restore the notes, repeat the process but set the notes’ size to 100%.

To create a cue staff


You can also create an entire staff at a reduced size.

1. Enter the music at normal size. If you’re not in Page View, choose Page View from the View Menu.

2. Click the Resize Tool , and click to the left of the desired staff. The Resize Staff dialog box appears.
3. Enter the desired reduction value. For a cue staff, 60% to 75% of full size would be a typical reduction.
4. Specify the range of systems in which you want this staff reduced. You can also reduce an entire system. Follow these same instructions, but
instead of clicking to the left of a staff, click to the left between two staves. You’ll be offered two extra options: Hold Margins (to ensure that the horizontal
dimension of the system doesn’t get reduced) and Resize Vertical Space (to reduce the space below the system as well). For a further discussion of these
options, see Resize Staff System dialog box.
5. Click OK (or press enter).

To restore a cue staff to full size


1. Follow the instructions above, but when the Resize Staff dialog box appears, type 100 (%). Specify the range of systems you want
affected.
2. Click OK.

To prevent attached lyrics and chord symbols from shrinking


When you shrink notes, Finale automatically shrinks anything attached to them proportionally—lyrics, chord symbols, articulations and expressions, and so on. Under
some circumstances, you may not want these attached items to change size along with the notes.

Note: For lyrics, a simpler alternative to the method below is to specify a Fixed Size when you select
a type size; see To set the font for lyrics globally.

For chords, a simpler alternative to the method below is to specify a Fixed Size in Document Options-Fonts.

1. Enter the cue notes in Layer 2, 3, or 4. If you’ve already entered them in Layer 1, use the Move/Copy Layers command in the Edit Menu to put them into
another layer. If you’ve already attached the lyrics, chord symbols, or other elements to the cue notes, remove them; you’ll be inserting them into a different layer.
2. Enter normal-sized “dummy” notes in Layer 1. It makes no difference what the pitches are; in a moment, they’ll be invisible. Make sure they match the

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Cue notes

rhythm of the cue notes.


3. Attach your lyrics, chord symbols, or other markings to the dummy notes.

4. Click the Staff Tool .


5. From the Staff Menu, choose Apply Staff Styles.
6. Select Blank Notation: Layer 1, and then click OK. The Blank Notation setting hides all notes in Layer 1, but preserves anything attached to them. In
short, you now have cue notes in one layer (unaffected by the Blank Notation setting), and associated lyrics and markings at normal size in another layer—but
they appear to be attached to the cue notes.

See Also
Resize Staff System dialog box
Selecting music
Resize Tool

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Resize Noteheads Plug-in

Resize Noteheads Plug-in

How to get there


Choose the Selection Tool and select the region of the document containing notes you want to resize. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Resize Noteheads.

What it does
This plug-in can resize specified voices of a multi-voice staff. This plug-in works for all visible layers.

Standard Noteheads · All Special Noteheads · One Custom Notehead; Select. Choose Standard noteheads to resize only standard noteheads (
and ). Choose All Special Noteheads to resize all noteheads changed with the Note Shape Special Tool (See Note Shapes). Choose One Custom Notehead
and click Select to open the Symbol Selection dialog box where you can choose the notehead character you would like to resize (in the default music font
specified under the Document Menu).

Alternative noteheads resulting from a Staff Style are not recognized by the Resize Noteheads Plug-in.

Resize Noteheads: From Top of Chord · From Bottom of Chord. Here, specify the direction Finale should count each stack of notes.
Enter the numbers of the noteheads to be resized, separated by commas or hyphens. Here, specify the noteheads to be resized. Your entries
here depend on the setting above. For example, if the From Top of Chord radio button is selected and you type “1,2” here, the top two notes in all chords of the
selected region will resize.
Resize Noteheads to ___%. This text box specifies how much you want to resize the specified noteheads expressed as a percentage of the original full size.

OK · Cancel. Click OK (or press enter) to proceed with, or Cancel to abort, the notehead resize.

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Fonts

Fonts
Most items you see in Finale are created with font characters. In addition to items created with text, musical symbols (such as noteheads, clefs, and expressions) are
font characters as well. Finale is unique among music notation programs in that it allows the user to specify the font used for music characters. This means you can
choose from different note heads, different treble clefs, or whatever you'd like, to make your music look exactly the way you want it to. Furthermore, within lyrics, text
blocks, chord symbols, and the Shape Designer you are able to mix fonts freely: you could, for example, combine text characters with musical symbols, or have
selected lyrics italicized.

PostScript and TrueType


All fonts included with Finale come with a Type 1 PostScript font (with a corresponding screen font) and a True Type font. A PostScript font does not appear on screen
and will only print to PostScript printers, where it provides superior printed output. PostScript fonts have accompanying screen fonts which allow the user to have an
idea what the font will look like in printout. These screen fonts don’t resize smoothly on the computer’s screen, meaning that a 24 point font will look okay at 100
percent, but jagged at other point sizes, page reductions or view percentages. TrueType fonts allow you to print to non-postscript printers as well as resize smoothly in
both printout and on screen. TrueType fonts do not work, however, in the creation of EPS (Encapsulated PostScript) files. A full installation of Finale installs both the
PostScript and TrueType fonts in your system.

Where are the fonts installed?


The Finale Installer automatically installs the Maestro, Maestro Wide, Maestro Percussion, Petrucci, Tamburo, Jazz, and Engraver Fonts TrueTypes directly into your
Fonts folder located in your Windows folderLibrary/Fonts folder. The PostScript fonts are installed in a folder called PS fonts, located on your root directory (usually

c:\). If, when you open Finale, large text symbols like & Ï and appear instead of clefs and notes, Windows is unable to locate the Maestro font. The solution is to
go to the Fonts Control Panel and manually add the Maestro font to your system, and restart. (Note that PostScript font installation is printer specific and that the
PostScript fonts are only visible to the printer that was selected as the default printer when the fonts were installed.)

How to identify font types


PostScript fonts often have abbreviated names like Maest. If you click on the font and choose Get Info from the File Menu, you’ll see an icon of a laser printer with a
page sticking out of it. The number on the page tells you what version of PostScript the font is: current font technology would be a type 1 font.
Screen or bit-mapped fonts come in specific sizes and are recognized by the number: for example, Maestro 24 would be a screen font. If you “Get Info” on a screen
font, you’ll see an icon consisting of a page with a corner folded over with a single A on it.
TrueType fonts are usually identified by a full name without a number, like Maestro. If you “Get Info” on a TrueType font, the icon will display a page with a corner
folded over and three A’s on it.
PostScript fonts are recognized by .PFM or .PFB extensions. TrueType fonts have a TT icon, and.TTF extensions, and Windows will create corresponding files with .fot
extensions.
Finale also divides the font list into different types of fonts, such as text fonts, Japanese fonts, symbol fonts, and so on. Starting with Finale 2002a, your symbol or
music fonts will appear listed after your text fonts. Symbol fonts are listed in the MacSymbolFonts.txt file, a user-editable text file that must reside in the application
folder. For more details, see the appendix entry Configuring MacSymbolFonts.txt.
Additional discussions of fonts and font selections appear in individual entries, such as Lyrics; Noteheads; Expressions; Text; and so on.

To globally change a musical element’s font


With this technique you can change the font for a single element of the music, such as the clefs or the notes themselves. If you want to change all elements of the
music to a different font, see “To change music fonts ,” below.

1. From the Document Menu, choose Document Options and select Fonts. The Fonts options appear, with buttons and drop-down lists for various
elements of the file. The Select Font button refers to the font used for the notes, rests, accidentals, and other musical symbols; if you use this button to substitute
a music font of your own design, you’ll need to make some adjustments to music character in the Document Options dialog box. (Finale makes the necessary
adjustments automatically if you specify Maestro, Petrucci, Engraver, Jazz, or Sonata as your default music font.) See Document Options-Fonts.
2. From the list on the left, choose the type of music character you want to change. Accidentals, Alternate Notation, Augmentation Dots, Flags,
Chords, Key Signatures or Notes and Rests are all possible options.Then click the drop down list to choose the specific music character. Click the Set Font
button and the Font dialog box appears. Choose the font name, type, and point size, you’ll see the sample text change in the display below. You can choose any
combination of style elements: bold, italic, and so on.
3. Click Apply to save your settings.

To change music fonts


If you choose not to use one of Finale’s default fonts, Maestro or Jazz, you can substitute any other music font.

1. From the Document Menu, choose Set Default Music Font. The Font dialog box appears.
2. Choose the new font and style; click OK twice. Depending on the music font you’ve selected, you may have to fine-tune the positions of individual
elements, such as the eighth-note flags. For details, see Document options-Flags.

To change positioning of other individual elements, select their corresponding category in the Document Options dialog box. If you want to change other
elements to another font, such as JazzText or JazzCord, continue with the instructions below.

3. From the Document Menu, choose Data Check, then Swap One Font For Another. The Swap Font dialog box appears.
4. Select the text font you want to change by clicking the top Set Font button. Select the text font you want by clicking the bottom Set
Font button. For example, select Times New Roman mixed sizes and styles for the Search For font and Jazz Text mixed sizes and styles for the Replace font.
5. To change chords, from The Document Menu, choose Document Options and select Fonts. The Font options appear.
6. From the drop-down lists next to Chord, choose Symbol. Click Set Font and choose JazzCord or the desired chord font.
7. Click OK (or press enter) twice.

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Fonts

8. Click the Chord Tool . The Chord Menu appears.


9. From the Chord Menu, choose Change Chord Suffix Fonts.
10. To change the entire library of chord suffixes at once, click the Set Font button in the lower half of the screen. The Font dialog box
appears, letting you specify new font, size, and style characteristics for the suffixes. For best results, be sure that the Fix Chord Suffix Spacing checkbox is
selected, so that Finale automatically adjusts the individual characters in each chord suffix to compensate for the new font and size.
11. Select a type style, and then click OK. You return to the document, where Finale has changed the font for your chord suffixes. Finale is smart enough,
however, not to change any musical symbols within the suffix, such as the f in F7f9.

To change every occurrence of one font to another


You can use Finale’s Data Check submenu to change every occurrence of one font and size to another, no matter where they occur—in symbol libraries, in text, in
chord symbols, and so on. See also Change Fonts plug-in.

1. Click Swap One Font for Another... from the Data Check submenu of the Document Menu. In the dialog box that appears, you can instruct
Finale to search for a specific font and replace it with another.
2. Specify the font to be replaced and the font to replace it with, and click OK.

To change every occurrence of a font to a different size


With this technique, you can scale every occurrence of a certain font that’s used in your document to a larger or smaller font size, no matter what size was used in
each occurrence. For example, you could tell Finale to scale every occurrence of New York 24-point down to 12-point. In so doing, Finale would also scale New York
36-point down to 18-point, and New York 10-point down to 5-point.

1. Click Scale Fonts... from the Data Check submenu of the Document Menu. In the dialog box that appears, you can instruct Finale to search for a
specific font, style and size and then replace it with the same font of a different size. All occurrences of this font will change in size proportionally.
2. Specify the font, style and size you want changed and Click OK (or press enter).
3. Specify the percentage you want the specified font to be scaled to. If you want text included as part of a shape expression scaled, make sure
“Scale Fonts in Shapes” is checked.
4. Click OK.

To change the music font of noteheads on a staff by staff basis


To use Tamburo, Maestro Perc, or Jazz Perc for your percussion notation, assign it as the notehead font in each staff or as the document’s default notehead font.
Then, take advantage of Finale’s built-in percussion libraries or create one of your own, so that notes you enter on a percussion staff automatically assign themselves
to appropriate lines or spaces with the correct noteheads. For details, see Percussion.

1. Click the Staff Tool .


2. Double-click the staff. The Staff Attributes dialog box appears.
3. Click the Notehead Font checkbox if it is not already selected.
4. Click Select and choose the new font.
5. Click OK twice. Your new font is now being used for noteheads while other elements such as flags and clefs are taken from the default music font(s).

To eliminate dimmed font names from a document’s font lists


Finale stores a font list with each document you create. The list contains the fonts that were available to Finale when the document was created. If you notice that
some font names are dimmed in the font selection boxes of a certain document, it’s because those fonts were present when the document was created (or previously
edited) but are no longer installed.
This procedure removes dimmed font names from a document’s font selection boxes.

From the Data Check submenu of the Document Menu, choose Check Document Fonts Against System
Fonts.

Transporting files across platforms


Starting with Finale 2002a, files can be transferred across platforms while maintaining correct higher ASCII text characters, such as è, ö, and hard spaces (commonly
used in lyrics). Finale is configured to do this by default, by having “Automatically Convert Text In Files From Other Operating Systems” selected in the Open section of
the Program Options dialog box.

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Fonts

It is essential that the MacSymbolFonts.txt file be placed in the application folder, for both Windows and Macintosh users (note that in spite of its title, this is a required
file for Windows). This user-editable text file contains the names of all the Macintosh fonts that are symbol fonts and therefore do not need to be converted (as
opposed to text fonts which will be converted). For more details, see the appendix entry Configuring MacSymbolFonts.txt.

Engraver Font: The Alternate Notehead Sets

Let Ring Noteheads


“Double-stopped unison” Noteheads
“Trill to” Noteheads
Indeterminate and Determinate “Tone-cluster” Noteheads
Dynamics
Articulations
Tempos
Harp Pedaling

“Let Ring” Noteheads


These are noteheads with the let ring symbol. By having the let ring symbol directly attached to the notehead, consistency of the symbol placement is achieved. These
noteheads can be accessed through the Special Tools Tool (change notehead). First enter the notes with any of the Finale note entry methods, then with Special Tools
Tool change the notehead.

Engraver Font Set and Engraver Font Extras Engraver Font Extras Only

Also included are the two “let ring” symbols for input with the articulation tool.

Alt-0105 Alt-0073

“Double-stopped unison” Noteheads

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Fonts

sh-Q

sh-H

“Trill to” Noteheads


Set One: Full Size
These noteheads are to make consistent the process of setting up “trill to” notes when they are to be outside of the staff. First enter the notes with any of the Finale
note entry methods, then with Special Tools Tool change the notehead, shorten the stem and move it to the desired horizontal position.

Set Two: 75% Reduction


These noteheads are already reduced to 75% and can be used as “trill to” notes for use within the staff. Enter with the Articulation Tool.

Indeterminate and Determinate “Tone-cluster” Noteheads


These noteheads allow for a quick and consistent way to input tone-clusters. After inputting notes, use the Special Tools Tool to change the noteheads.
Indeterminate

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Fonts

Determinate

Dynamics
Type away! Make whatever dynamic possible.

ex.

There are two sets of parenthesis for use. The and markings need more space than the other symbols, so use the shift-[ and shift-] both before and after

any dynamic with an and before any marking with a .

Articulations
Engraver Font Set

Engraver Font Extras

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Fonts

Engraver Text Fonts


Tempos

Harp Pedaling

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Fonts

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Stems

Stems
This entry contains information on stem direction, length, position, thickness, and shape. See Stemless notes.

To flip a stem

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
2. Click the note whose stem you want to flip. (Or use the arrow keys to position the insertion bar.) Make certain you’re in the correct layer (if you’ve
entered music in Layers) and the correct voice (if you’re using the Voice 1/Voice 2 feature). Press shift-’ (apostrophe) to change layers; press the apostrophe key
to change voices.
3. Press the L key to freeze the stem in the opposite direction. When a stem is “frozen” up or down, it’s no longer free to change directions if it gets
transposed. To restore a stem to its “floating” status, position the insertion bar on the note and press ctrl-L.

To flip all stems in a region in one direction

1. Click the Selection Tool and select the region to be affected. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Stem Direction > Up (or Down). All stems in the selected region are now “frozen” in the direction you specified.

To change “frozen” stems back to variable-direction stems

1. Click the Selection Tool and select the region to be affected. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Stem Direction > choose Use Default Direction.

To change stem lengths, note by note

1. Click the Special Tools Tool , and click the measure in question.

2. Click the Stem Length Tool . A handle appears on every unbeamed stem. If you select the Beamed Stem Length Tool P, then the handles appear
on all beamed stems.
3. Drag the desired handle up or down. As you drag, the stem length changes. Press shift as you drag to constrain the cursor to vertical movements, and
moving the stem left or right. To restore the original stem length, click the handle and press delete.

To change stem lengths globally


1. From the Document Menu, choose Document Options and select Stems. The Stem options appear.
2. Change the numbers in the Normal Stem Length and Shortened Stem Length boxes. The numbers in these two text boxes set the lengths of
note stems, measured in the currently selected measurement units. See Document Options-Stems for details.
3. Click OK (or press enter).

To change the position of the stem relative to its notehead


If you want to change the position of a single stem, use the Stem Length Tool or Beamed Stem Length Tool (Special Tools Tool) to move the stem left or right.
Or, you may want to globally change the way a stem attaches to its note, especially when you’re working with alternate noteheads (slashes, diamonds, and so on). See
Stem Connections dialog box.

To change the thickness of stems


1. From the Document Menu, choose Document Options and select Stems. The Stem options appear.
2. Enter a new number in the Stem Lines text box. The units are whatever you’ve selected in the Measurement Units submenu (Edit Menu). (The default
setting for stems is half a point.)
3. Click OK (or press enter).

To draw completely new shapes for stems


You don’t have to use a simple vertical line for a stem; you can customize stems by using any shape you can draw in Finale’s Shape Designer. This feature is

particularly useful in creating “splayed” stemming for note clusters—for example, you might have a stem with three spokes extending to a C , C, and C struck at the
same time.

1. Click the Special Tools Tool , and click the measure in question.

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Stems

2. Click the Custom Stem Tool . A handle appears at the base of each stem.
3. Double-click the handle of the stem you want to change; in the dialog box that appears, click Create. The Shape Designer dialog box
appears.
4. Draw the new stem’s shape. For instructions on using the Shape Designer, see Shape Designer. As you draw, remember that the small white dot you see
in the Shape Designer—the origin—will appear at the base of the notehead, where the stem is normally connected.
5. When you’re finished, exit the Shape Designer by pressing enter twice. To restore the original stem, click the modified note’s handle and press
delete. Once you’ve created custom stems in a measure, you can copy the stem information to other measures.

To create a double or split stem


A double stem is a second stem, pointing in the opposite direction from the note’s original stem. A note with a double stem often signifies two voices in unison.

1. Click the Special Tools Tool , and click the measure in question.

2. Click the Double/Split Stem Tool . A handle appears on every notehead in the measure; another appears above the staff, and another below.
3. To create a double stem, click the handle below any note or chord. A second stem appears on the note you clicked, no matter which way the
original stem pointed. To restore the note to its original single-stemmed status, click the lower handle again so that it’s no longer highlighted.

Once you’ve created a chord with a double stem, you can create split stemming within the chord, giving the effect of a separate inner voice.

4. To create a split stem, click the handle of each notehead that you want to attach to the upper stem only. Each notehead you click joins
the upper stem. The remaining notes are attached to the lower stem. To restore a note to its original stem, click the split stem handle again so that it’s no longer
highlighted.

To create reverse stems


A reverse stem is one that’s drawn on the “wrong” side of its notehead. It’s encountered most frequently in conjunction with cross-staff notes. See Reverse stems.

To copy custom stemming to other measures

1. Click the Selection Tool .


2. Choose Edit Filter from the Edit Menu. A dialog box appears.
3. Click Stem and Beam Alterations. Click OK (or press enter).
4. Select the source measures (the ones containing the custom stems).
5. Drag the first source measure so that it’s superimposed on the first target measure. Unless you’re dragging to a measure directly above or
below the source measure, the Copy Measures dialog box appears.
6. Specify how many times you want the stemming information copied. Click OK.

To remove custom stemming from a region

1. Click the Selection Tool , and select the measures in which the modified stems appear.
2. Choose Clear Items from the Edit Menu.
3. Proceeding through the dialog boxes, click as follows: Only Selected Items; Entries; Beam and Stem Alterations. Click OK (or press
enter) twice.

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Note shapes

Note shapes
A notehead can be any shape in Finale, including X, diamond, square, circle, slash—you can even create invisible noteheads. You can
globally define noteheads to be a particular shape on the basis of rhythmic value, position on the staff, or both. You can also change
individual noteheads to any shape.

To change the shape of a notehead

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure
in question.

2. Click the Note Shape Tool . A handle appears on each notehead.


3. Double-click the handle of the notehead you want to change. The Symbol Selection dialog box appears, displaying every character in the music font.
4. Double-click the desired replacement notehead shape. To restore the notehead to its original shape, click its handle and press delete.

To copy individual notehead changes to other measures


If you require a more global note shape configuration that can’t be addressed by changing all notes of a specified pitch and duration to a specified shape (see “To
change all notehead shapes of a specified duration and pitch”), you can create the changes manually and then paste only the note shape information onto other
measures.

1. Change the notehead shapes manually in the first measure or measures. See “To change the shape of a notehead.”

2. Click the Selection Tool , and select the modified measure or measures. See Selecting music for some region-selecting shortcuts.
3. From the Edit Menu, choose Edit Filter. A dialog box appears, listing elements of the music that you can copy individually.
4. Click Notehead, Accidental and Tablature String Alterations. Click OK.
5. Drag the first highlighted measure so that it’s superimposed on the first target measure. If the target measure isn’t visible on the screen, scroll
until it’s visible, then ctrl–shift-click it. Unless the target measures are directly above or below the source measures, the “How many times?” box appears.
6. Enter the number of times you want the notehead shape information copied. Click OK (or press enter). To restore the noteheads to their
original shapes, select the region using the Selection Tool. Choose Clear Items from the Edit Menu. Proceeding through the dialog boxes, click as follows: Only
Selected Items; Entries; Notehead, Accidental and Tablature String Alterations. Click OK (or press enter) twice.

To change all notehead shapes of a specified duration and pitch


This technique is especially useful for Shape Note Music, where the shape of a note indicates its pitch, and for drum parts, where you might want all notes on the
spaces of the staff to have X noteheads (cymbals and hi-hat), but all notes on lines of the staff to have normal noteheads (tom-toms and bass drum).

You can assign a different notehead shape to each step of the scale.

1. Click the Staff Tool ; then double-click the staff in question. The Staff Attributes dialog box appears for the staff you clicked. You grant
permission for changeable note shapes one staff at a time.
2. Under the heading Independent Elements, select Notehead font; then click Select. The FontFont dialog box appears.
3. Select the font, and size of the Notehead you want to use, then click OK. For Shape Note music or percussion noteheads, use Maestro
Percussion or JazzPerc.
4. Select Note Shapes from the Notation Style drop-down menu,
5. Click on the Select button next to the Notation Style drop-down menu, The Note Shapes options appear.
6. From the drop-down menu, choose the first notehead shape you want to change. The four basic note shapes in Finale are the quarter notehead
(also used by eighth, sixteenth, and smaller note values), the half notehead , the whole notehead , and the double whole note . For each note of the
scale, you can specify an alternate notehead shape (X, diamond, and so on) for each of these four basic shapes. For example, you could specify that every half
note occurring on the third scale degree will appear as an X notehead. See Shape Note music for a chart of note shapes and scale degrees.
7. Specify the scale degree for which you want to modify the selected notehead. Enter the scale degree into the “scale degree” text box, or click
the up and down arrows until the scale degree number is the one you want.
8. Click Select. The Symbol Selection dialog box appears, displaying every character in the music font.
9. Double-click the symbol you want to serve as the alternate notehead shape. You can continue this way, using the arrow buttons to move through
the scale degrees, and clicking Select to choose a new notehead shape.
10. Click OK twice. You return to the document, where the noteheads of the type and scale degree you specified have automatically changed to the alternate note
shapes you selected. If you anticipate creating other scores with the same configuration, save this piece on your disk as a template (a blank document without
any notes in it), so that you won’t have to repeat the process the next time you need to create alternate note shapes.

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Note shapes

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Hiding time signatures

Hiding time signatures


It’s standard practice to display the time signature at the beginning of each system. You can, however, tell Finale not to display the time signature in a particular
measure (in which the time signature would normally appear).
To hide all time signatures for a staff see Staff Attributes dialog box.

To hide the time signature in a measure

1. Click the Measure Tool ; double-click the barline handle of the measure in which you want to hide the time signature. The
Measure Attributes dialog box appears.
2. From the Time Signature drop-down list menu, choose Always Hide. You can also force a time signature to appear in a measure where it would
not normally appear by choosing Always Show (see Courtesy time signatures).
3. Click OK (or press enter).

To hide automatic courtesy time signatures


When a time change appears at the beginning of a system, a courtesy time signature appears automatically at the end of the previous system.
To remove the courtesy time signature that appears automatically at the end of the previous system:

1. From the Document Menu, choose Document Options, and then select Time Signatures.
2. Uncheck Display Courtesy Time Signature at End of Staff System.
3. Click OK.

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Cut time

Cut time

Cut time, also known as or alla breve, is a meter with two half-note beats per measure. It’s often symbolized by the cut-time symbol: . For general information
on time signatures, see Time signatures. For details on Finale’s automatic beaming-pattern feature, see Beaming.
Tip: For large Time Signatures used for some scores, use the Engraver Time font.

To change the cut-time display ( , , or another symbol)


1. From the Document Menu, choose Document Options and select Time Signatures.

2. Click Abbreviate Cut Time To. If there’s a check in the checkbox, Finale will display the cut-time symbol. If not, Finale will display . (You can also
specify any other symbol you want by clicking the Select button.)
3. Click OK (or press enter).

To mix abbreviated and non-abbreviated cut and common time signatures


TIP: Before you begin, remember to set the global settings for common and cut time in the Time
Signatures portion of the Document Options dialog box (under the Document Menu).

1. Click the Time Signature Tool .


2. Double-click on the first measure in which you want to change the appearance of the time signature. The Time Signature dialog box
appears.
3. Choose the measures you want affected. By default, Finale selects the measure you clicked, or the area you drag-enclosed, so if that’s the range you
want, you don’t need to enter anything. To specify a different range of measures, enter the numbers of the first and last measures making up the region. To
change the measure you selected through the end of the piece, click Measure ___ Through End of Piece.
4. Click Options. The Time Signature dialog box expands to show the display options.
5. Click Use a Different Time Signature for Display. (If it’s already selected, don’t click it again). Set the time signature if necessary.
6. Use the Abbreviate checkbox to specify whether to abbreviate the cut or common time signature for this time change. If you want to

use the abbreviated symbol , simply click Abbreviate. On the other hand, if you want the time signature to appear as numbers , just deselect Abbreviate by
unchecking the checkbox.
7. Click OK (or press enter). You return to the document, where the measure region you specified now shows the time signature in the format you chose.

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Compound meters

Compound meters
See Composite time signatures.

Compound meters, sometimes called triple meters, are time signatures whose rhythmic pulses occur in threes, such as , , and so on. See Time signatures for
general instructions.

Note, however, that the way you define your triple meter is very important, because it also governs
beaming in the region it affects. To beam eighth notes in groups of three, for example, the values of
the notes in the Time Signature window for a 6/8 meter should be two dotted quarter notes, not six
eighth notes; if it displayed six unbeamed eighth notes, you’d get no automatic beaming. In short: the
lower buttons determine the rhythmic value of the pulse, including beaming groups; the upper buttons
determine how many of that rhythmic value.

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Common time

Common time

Common time, also known as time, is a meter with four quarter-note beats per measure. It’s often symbolized by the common-time symbol: . For general
information on time signatures, see Time signatures. For details on Finale’s automatic beaming patterns, see Beaming.

Tip: For large Time Signatures used for some scores, use the Engraver Time font.

To change the common-time display ( , , or another symbol)

1. From the Document Menu, choose Document Options and select Time Signatures.

2. Click Abbreviate Common Time to. If there’s a check in the checkbox, Finale will display the common-time symbol any time the meter is . If not, Finale

will display . (You can also specify any other symbol you want Finale to use instead of the standard common-time symbol by clicking the Select button. You
select a font for time signatures by choosing Fonts in the Document Options dialog box (under the Document Menu) and changing Time from the Notation drop-
down list menu. See Document Options-Fonts).
3. Click OK (or press enter).

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Document Options-Staves

Document Options-Staves

How to get there


From the Document Menu, choose Document Options and select Staves.

What it does
This dialog box contains settings for controlling staves in documents used as Document Styles. See Document Styles.

Default Topline to Topline Distance. This is the default distance between new staves (in currently selected measurement units (see Edit/Measurement
Units), measured from the top line of one staff to the top line of the next. Enter a value to place the staves closer or farther apart in scores using these settings as
part of a Document Style.

Note: Finale always measures Topline to Topline Distance from the top line of a standard, 5-line staff.
To locate Finale’s “Topline” position on staves with fewer than five lines (such as percussion staves),
look for the staff handle; it always indicates the top line position.

Always Use Default Topline to Topline Distance. The Default Topline to Topline Distance is a Preferred Value that can Change if Necessary. Choose
Always Use Default Topline to Topline Distance to apply this setting to all new files using this Document Style (when starting new documents with the Setup
Wizard). Choose The Default Topline to Topline Distance is a Preferred Value that can Change if Necessary to tell Finale to make adjustments to the staff
spacing in order to make the most of space available on the page. If this option is selected, for example, Finale might squeeze the staff spacing in order to fit
more systems on a page.
Setup Wizard "Extra Space" Value. This is the amount of vertical space added when the Add Vertical Space button is used to add space between staves in
the Document Setup Wizard. See Setup Wizard.

See Also:
Staves
Staff Attributes dialog box
Document Menu/Document Options

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Rhythm Generator Plug-in

Rhythm Generator Plug-in

How to get there


From the Plug-ins Menu, choose Scoring and Arranging, Composer’s Assistant, and then Rhythm Generator.

What it does
The Rhythm Generator plug-in creates up to 6 single voice staves containing rhythmical patterns. These staves are added to an existing file starting at measure 1.
Each pattern is build by combining up to 3 sieves, or filters, that are applied to a steady signal of sixteenth note pulses. For example, a sieve value of 2 will place a
sixteenth note every other pulse starting with the first, and a value of three will place a sixteenth note every third pulse. All other pulses will become sixteenth rests.
The plug-in consists of 6 sets of controls, one for each staff that can be created, and 2 controls affect all the staves that are created.

Staff. This check box must be checked in order for a staff to be created.
Sieve (1,2,3). The value in these spin-controls indicate how often a sixteenth note pulse will appear in the created staff. Possible values are 1 through 16.

For example, a 2 in any single Sieve will create a note every other sixteenth pulse starting on the first pulse. This would yield a sixteenth note on pulses 1, 3, 5,
7, 9, 11, 13, and 15.
If 3 is selected for the Sieve value, then a note would be created every three pulse, yielding a note on pulses 1, 4, 7, 10, 13, and 16.
If you choose 2 for one Sieve and 3 of another Sieve, then you would get a combination of the just mentioned pulses. So, in the first measure a note would be
created at pulses 1, 3, 4, 5, 7, 9, 10, 11, 13, 15, and 16.

Offset. This value controls the first pulse that will receive the first note created by a Sieve.

As an example, if you choose 2 for a Sieve value and enter 2 for the Sieve Offset, then the first sixteenth note will appear on the third pulse. In the first
measure this would yield notes on pulses 3, 5, 7, 9, 11, 13, and 15.

Invert. Checking this check box will invert the results produced by a Sieve. This will cause notes to appear in place of rests, and rests in place of notes.

For example, if the Invert check box is checked and a value of 2 is chosen for any single Sieve a note will be created every other sixteenth pulse starting on
the second pulse. This would yield a sixteenth note on pulses 2, 4, 6, 8, 10, 12, 14, and 16.

Random. Values entered in this field will cause notes to be created in a random fashion. As the entered value increases, the number of notes created goes
down.
Instrument. The General Midi name chosen from this drop down list will be used for the name of the created staff. This choice will also determine the pitch of
the created notes, which will be the General Midi defined pitch for that instrument. Note that the Midi patch and channel needed to play these staves must be set
in the Instrument List found on the Window Menu.
Number of Measures. The value entered here will determine the length of the generated staves.
Group Resulting Staves. Checking this check box will cause the created staves to be grouped with shared barlines. The default name of the group will be
More Info · Reset · Cancel · OK. Click More Info for a reminder of what input this plug-in requires and a brief summary of what the plug-in does. Click
Reset to set the plug-in to minimum default values. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the selected
changes.

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Rhythm Generator Plug-in

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Smart Playback Plug-in

Smart Playback Plug-in

How to get there

Select a region with the Selection Tool . From the Plug-ins Menu, choose TGTools, then Smart Playback.

What it does
The Smart Playback plug-in adds a playback effect to selected musical elements, such as glissandi, hairpins and trills. The plug-in must be run after the items have
been added to the score. When any of these items change, you must run the plug-in again. Also, when notes are changed, all playback effects, except hairpins, need
to be renewed by running the plug-in again.
The Smart Playback plug-in creates playback for the following items:

Musical Element Method of Creating Playback Effect

SmartShape Glissandi Continuous Data Pitch Bend (maximum of one octave)

SmartShape Hairpin Crescendos/Decrescendos Continuous Data Volume changes

SmartShape Trill Hidden notes added to layer 4

Articulation Trill Hidden notes added to layer 4

Note that the Smart Playback plug-in will not create playback effects for tremolos created by adjusting beam extensions, such as the Easy Tremolos plug-in.

Note: Human Playback interprets and performs Smart Shapes and other markings during playback
automatically. See Human Playback. To hear changes to the MIDI playback definition (such as those
applies with this plug-in), you must first set Human Playback to None in the Playback Settings dialog
box or check the Override Human Playback option at the top of the Smart Playback plug-in.
Glissandi:

Make glissandi play back. Check this box to define SmartShape glissandi markings for playback. The plug-in adds pitch bends as continuous data. See
Pitch wheel under the MIDI Tool. For the glissandi to playback correctly, the bender range is set to 12. The maximum range of each glissando is one octave.
Number of steps per quarter note. A glissando defined for playback consists of many pitches ascending or descending rapidly via continuous data. Enter a
value in this box for the number of ascending or descending pitches for each quarter note of time.

Hairpins:

Make hairpins play back. Check this box to make SmartShape Crescendos or Decrescendos playback through MIDI volume changes. This is a parameter
that is completely independent from the key velocities that are used to play back dynamic markings or accents. When the file is played, both these parameters
work together to form the actual loudness of a tone. The plug-in adds gradual volume changes as Continuous Data. See Volume under the MIDI Tool.
Volume changes per quarter note. Enter the amount of volume to change here. This feature will edit the continuous data of the region. It can be adjusted
from 1 to 127 (1=softest, 127=loudest).
Set Volume to 64 at beginning of piece. Check this option to set the continuous data for volume to 64 at the beginning of the piece. Note: this will not
change continuous data for volume already applied with the MIDI Tool or plug-ins.

Trills etc.:

Trills/tremolos/diddles. Check this box to define trills, tremolos or diddles for playback. Trills require Smart Shape trill symbols above the notes (

) or a articulation. Trills are written out in layer 4 then hidden. See also Document Options-Layers.
Three slashes = unmeasured tremolo. Check this box to treat the three slash subdivision articulation as an unmeasured tremolo. The Tremolo speed
value entered below determines the playback of this trill.
Trill/unmeasured tremolo speed (per quarter note). Enter the number of repetitions of the pitch per quarter note for unmeasured tremolos or trills.
Start trill after what percentage of duration. Enter a percentage of the note value to delay before starting the trill for unmeasured tremolos or trills. Set
this value to zero to start the trill immediately.

Trill interval: Diatonic · Semi-tone · Whole Tone. Select Diatonic to trill between the entered pitch and the pitch up a diatonic second. Select Semi-
tone to trill between the entered pitch and a semitone higher. Select Whole Tone to trill between the entered pitch and a whole tone higher.
Play. Click Play to hear the selection.
Remove these effects from selection. Click Remove to clear the playback effects from the selection.

More:

Override Human Playback. Check this option to apply the settings in this dialog box even if Human Playback is turned on in the Playback Settings dialog
box.

Go · Close · Defaults · More · Play. Click Go to apply the current commands and leave the dialog box available for the next commands. Click Close to
dismiss the dialog box without making any changes. Click Defaults to restore this dialog box to its original settings. Click More for more information on the
complete TGTools plug-in collection. Click Play to accept changes, close the Smart Playback dialog box and play the score.

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Smart Playback Plug-in

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Align/Move Dynamics Plug-in

Align/Move Dynamics Plug-in

How to get there


Select a region with the Selection Tool. From the Plug-ins Menu, choose TGTools, then Align/Move Dynamics.

What it does
The Align/Move Dynamics plug-in allows you to easily align various elements, such as hairpin crescendos and f expressions, of the selected region in any staff.
Collisions with staff lines are avoided. Items from below the staff are never moved above the staff and vice versa. Because of this collision avoidance, the final position
may not be the one specified in the dialog box.

Align: To Nearest Element · To Farthest Element · To Average Distance · Set To Value. Choose Nearest Element to align the expressions or
hairpins to the element closest to the staff. Choose Farthest Element to align the expression or hairpins to the element farthest from the staff. Choose Average
Distance to align the elements at an average distance from the staff. Check Set To Value to move all of the selected dynamics to the distance specified in “Move
vertically” from the bottom staff line. When Set To Value is unchecked, the specified value will be added to the distance. Repeatedly clicking Apply can be used
to nudge dynamic markings.
Text expressions · Hairpins · Shape expressions. Select Text expressions to align dynamic markings, such as cresc. or F. Select Hairpins to align
Smart Shape crescendos or decrescendos. If selected for alignment, hairpins will be straightened. Select Shape expression to align shape expressions, such as
crescendos or decrescendos created with the Expression Tool.
Move vertically __ (units). Enter the value you would like to move the expressions or hairpins vertically. The measurement unit will be determined by the
settings chosen for Measurement Units in the Edit Menu. Negative for lower and positive for higher. A very high value is required for items above the staff, such
as 200 EVPUs or .7 inches. If the value entered would cause a collision with a staff line or move the marking to the other side of the staff, the final position may
be different from the specified value.When “Set To Value” is chosen, the dynamics are moved to the specified distance from the bottom staff line.
Apply · Close. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click Close to dismiss the dialog
box without making any changes.

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PostScript

PostScript
See also Encapsulated PostScript (EPS); Fonts and Compile PostScript Listing dialog box.
PostScript is the page-description language that computers and some printers use when they “speak” to each other. Finale’s printouts look best when generated by a
PostScript printer.
In Page View, you can choose the Show PostScript Preview command (in the View Menu). When you choose this command, Finale “prints” the actual PostScript
instructions onto your screen—the same instructions that it would send to a PostScript printer. Except for the fact that the screen resolution is much coarser than that
of a PostScript printer, the Show PostScript Preview command provides the most accurate possible preview of how your music will look when it’s printed. When you
click the mouse, the display returns to normal.

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Process Extracted Parts plug-in

Process Extracted Parts plug-in

How to get there


From the Plug-ins Menu, choose TGTools, and then Process Extracted Parts.

What it does
When applied to a part with multiple voices (e.g. Trombone 1 & 2), the Process Extracted Parts plug-in identifies and isolates notes from one voice and removes notes
in other voices. This processor has to be run separately on each part (and is not compatible with linked parts, only extracted parts).

Standard:

Extract voice line number. Enter the voice you want to extract. The voice is counted from the bottom or top depending on your setting for “Counted From”
(below).
Counted From: Top; Bottom. Choose Top to count voices from top to bottom (i.e. 1 = highest notes). Choose Bottom to count voices from bottom to top (i.e.
1 = lowest notes).
Keep Single Notes. Choose this option to include single notes. (Notes that have no others directly above or below on the same beat).

Custom:

Keep Single Notes. Choose this option to include single notes. (Notes that have no others directly above or below on the same beat).
From 2 notes, extract note no. (0=none, 1=top): In these boxes, you can specify what note you want extracted (always counted from the top) in
sonorities made up of 2 to 8 notes. Enter 0 to ignore the sonority (entering a rest), 1 to include the top note of that sonority, 2 to include the second note from the
top, etc.

More:

Secondary layers inherit articulations, slurs, etc.: Check this box to copy articulations and slurs from layer 1 when processing secondary layers.
Ignore Layers: Enter the layers (separated by commas) you want this plug-in to ignore when extracting parts. Use this option, for example, if you want to
ignore grace notes.

Examples:

Score Part 1 Part 2

Using two layers

Using piano (chord)


notation

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Process Extracted Parts plug-in

Using Voice 2 (note that


the inconsistency in the
score has no negative
effect on the parts)

Using multiple layers or voices


In the case of multiple layers or voices, it is possible that articulations, slurs, staff expressions and the like will not appear in the second part. The option "Secondary
parts inherit" will create 2nd parts with all of these items copied from the first layer or voice. See www.tgtools.de for more details.

To temporarily view a part using Special Part Extraction


1. From the View Menu, choose Scroll View.

2. Click the Staff Tool . Click the part you want to view as an “extracted” part. If you’re extracting a piano part, you can highlight both
staves’ handles by shift-clicking the staves, or by drag-enclosing their handles. Note that you need to select the staff handle on the staff lines, not the staff name
handle.
3. Choose Special Part Extraction from the Edit Menu. Document Options-Multimeasure Rests appears.
4. Set the position for the multimeasure rest number. Set the position of this number by entering a value in the H: and V: text boxes. The units are
whatever you specified using the Measurement Units command, located in the Edit Menu.
5. Click OK (or press enter).
6. Choose Page View from the View Menu. Page View now contains only the extracted part(s), which you can edit as desired. It’s useful to note that this
“extracted” part is still part of the full score; correct a note in one view, and you correct it in the other.

If you later change your mind about any of the settings you made—the rest shape or the position of the number, or you want to see your whole score—
choose Special Part Extraction again from the Edit Menu to turn it off. The whole score will then reappear in Page View.
Note: Items are not updated in page view if they are added to measures containing a multimeasure
rest. If you add notes to an empty measure in Scroll View, Finale won’t break up an existing
multimeasure rest in Page View to update the multimeasure rest. If you want your part updated,
deselect Special part extraction from the Edit Menu, and go through these steps again. See also,
Measure Attributes dialog box for information on breaking a multimeasure rest.
On the other hand, keep in mind changes you make to the layout for the “extracted” part will also affect the full score.

7. Choose Print from the File Menu, and print as usual.

To add cue notes


Finale offers an easy way to add cue notes. Before extracting parts, run the Smart Cue Notes plug-in. For details, see Smart Cue Notes Plug-in.

To adjust the pagination of a part to avoid awkward page turns


In extracted parts, you can use the Smart Page Turns plug-in to automatically update the pagination to optimize the music for reading. Smart Page Turns looks for
measures of rests, and other criteria, so that the performer has time to turn the page during the performance. See Smart Page Turns for details. (Plug-ins are not
accessible in linked parts).

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Change to Default Whole Rests Plug-in

Change to Default Whole Rests Plug-in

How to get there


Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Change to Default Whole Rests.

What it does
The Change to Default Whole Rests plug-in allows you to change all the whole measure rests in the selected region to default rests. See also Change to Real Whole
Rests and Whole rests.

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Whole rests

Whole rests
To save you extra work, Finale automatically places a default whole rest in every blank measure. It’s important to understand the difference between one of these
default whole rests and a real whole rest that you’ve entered yourself using any of Finale’s music input methods.
For example, a chord or a lyric syllable may be attached to a real whole rest (although Finale automatically skips rests when assigning lyrics by itself). Only a real
whole rest can be moved up or down with the Speedy Entry Tool.
Finale considers a “real” whole rest an entry—something you placed in the score—just like a note or another kind of rest. Therefore, a real whole rest will not be part
of a multimeasure block rest in a part; it will be placed in a measure by itself. Furthermore, a real whole rest counts as “music” when you optimize staves (suppress the
display of blank staves within a given system to produce a more compact and readable full score). Even though a staff appears to be empty, Finale won’t hide it if it
contains a real whole rest—a fact you can use to your advantage if you want to “force” an otherwise empty staff to appear in a certain system when you’re optimizing
systems. Just add a real whole rest, and Finale won’t hide the staff.
Default whole rests are always centered between barlines.

To add a real whole rest

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
2. Press the 7 key. Unless Use MIDI Device has been turned off in the Speedy Menu, a whole rest appears. (If not, a whole note appears; click it and press
backspace or shift-delete to turn it into a whole rest.)

To move a real whole rest

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
2. Drag the rest up or down. You can drag the whole rest to any line or space. It always appears with a short staff line segment when drawn in the score, so it
won’t be confused with a half rest.

To turn off the default whole rests for a staff


If you prefer blank measures to be completely empty instead of displaying the default whole rest, follow these steps:

1. Click the Staff Tool , and double-click the desired staff. The Staff Attributes dialog box appears.
2. Click Display Rests in Empty Measures to de-select it. If you want to perform this operation on other staves, click the up and down arrows to scroll
through the staff attributes for each.
3. Click OK (or press enter).

To fill measures with rests

1. Click the Selection Tool , and select the region of music to fill with rests. Refer to Selecting music for different methods of selecting
regions.
2. From the Utilities Menu, choose Check Notation, then Fill With Rests. Finale scans each measure in the selected region, and automatically fills
incomplete measures by adding the correct number of rests. Note that Finale does not convert empty measures to measures with actual whole rests.

To change the character for default measure rests


1. From the Document Menu, choose Document Options then select Notes and Rests.
2. Select Default Measure Rest from the Rests Characters drop-down list and click on Select.
3. Select the rest symbol you would like to use from the Symbol Selection dialog box. Any characters selected other than rests will be ignored.
4. Click Select.
5. Click OK. All your default rests are now displayed using the selected character.

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Metronome markings

Metronome markings
Because a metronome marking generally appears in all parts, it’s best to create it as a measure expression, which allows you to specify in which staves it will appear.
(Note that you can also generate full-featured metronome marking expressions with the Create Tempo Marking Plug-in plug-in. See Create Tempo Marking Plug-in).
See also Engraver Font.

To create a metronome marking (such as )

1. Click the Expression Tool .


2. Double-click above the measure to which you want to attach the marking. The Expression Selection dialog box appears.
3. Click Create. The Text Expression Designer dialog box appears.
4. Type any desired text (e.g. Allegro, Largo, etc). If you don’t need text prior to the metronome marking, skip this step.
5. From the Text Menu, choose Font. Set the font to Maestro 24 point, and click OK. Of course, you can choose a larger or smaller point size if you
want the tempo marking to appear larger or smaller.
6. Create the metronome marking by typing the appropriate numbers on the numeric keypad (with num lock on), while pressing the alt
key.

Keystrokes Resultant marking:

Lower-case x, then alt+0200, then alt–characters

Lower-case e, then alt+0200, then alt–characters



Lower-case q, then alt+0200, then alt–characters

Lower-case q, then lower-case k, then alt+0200, then alt–characters

Lower-case h, then alt+0200, then alt–characters



Lower-case w, then alt+0200, then alt–characters

In the Maestro music font, the x, e, q, h, and w characters correspond to the , , , , and symbols, respectively; a lower-case k produces the dot;
alt–0200 creates the equal sign; and the small numbers are produced using alt characters according to the table below.

Resultant Resultant
Keystroke Keystroke
marking: marking:

alt+0193 alt+0164

alt+0170 alt+0166

alt+0163 alt+0165

alt+0162 alt+0187

alt+0176 alt+0188

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Metronome markings

You can use multiple fonts in the same expression. Simply highlight the text you want to change, and then, from the Text Menu, choose Font to edit the font, size or
style.

6. To edit the baseline, or vertical positioning of text, highlight the text you want to adjust, and then from the Text Menu, choose
Baseline Shift. The measurement units here correspond to the units selected under the Edit Menu.
7. Click OK or Select in each dialog box until you return to the document.

To move or delete the marking

1. Click the Expression Tool .


2. Drag the handle to move the marking; select it and press delete to remove it.

To define the metronome marking for playback

1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click any measure. When the palette appears, click the
metronome marking, click Edit, then skip to step 3.
2. Double-click the handle. The Text Expression Designer box appears.
3. Click the Playback tab to display the playback options. From the Type drop-down list menu, choose Tempo. In the Set to Value box,
enter the metronome setting. For example, if your tempo is q =60 beats per minute, type 60 in the Set to Value box. (You can change the rhythmic unit by
choosing it from the Tempo drop-down list menu; you could, for example, specify h =60 just as easily.)
4. Click OK (or press enter).

Note: To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap.

To create complex metronome markings


The usual method of creating metronome markings (above) is quick and easy, but it can’t handle sophisticated tempo indications like these:

In these cases, you can use Finale’s Ossia Tool to create metronome indications as complex as you wish. In effect, you’ll create a floating ossia measure with no staff
lines; only its contents will appear. Before you print, you can hide the scratch staff.
If you just want the swing indication, we’ve provided one as a Shape Expression in your default library. (Double-click a note or measure. In the Expression Selection
dialog box, select Shape. Here you will see the swing indication.)

1. Choose Scroll View from the View Menu, if you’re not already there. To create a floating ossia measure, you need to create a “scratch staff” on
which to notate its actual contents.

2. Click the Staff Tool , and then, from the Staff Menu, choose New Staves and click OK A new staff appears.

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Metronome markings

To create a complex metronome marking, notate it on a “scratch” staff. Attach the equal sign as an Articulation, then turn the entire measure into a floating Ossia
measure.

3. In the scratch staff, enter the music you want to appear in the floating measure. To create an equal sign, attach it as an Articulation mark to
one of the notes; see Articulations.

4. Click the Ossia Tool . Double-click the measure (not in the scratch staff) to which you want to attach the metronome marking.
The Ossia Measure Designer dialog box appears.
5. Enter the number of the Source Staff and Source Measure. The Source Staff is the scratch staff, and the Source Measure is the measure in which
you entered the music. (If you don’t know a staff’s number, click its handle with the Staff Tool and select Staff Usage from the Staff Menu. The Staff Usage dialog
box that appears tells you the staff number.)
6. Hide everything. Deselect everything under the words Items to Display: Clefs, Repeats, Staff, and so on, so that nothing will appear but the notes. You can
also adjust the marking’s size by changing the Scale to setting (100% is the normal music size).
7. Press enter twice. You dismiss the dialog box, and the Ossia Measure is in place. Click the “real” measure to which you attached it; a handle appears on the
floating measure, allowing you to drag it into position. See also To move, edit, or delete a floating measure.

To hide the scratch staff

1. Choose the Staff Tool .


2. Double-click a measure in the scratch staff. The Staff Attributes dialog box appears.
3. Check Hide Staff and click OK.

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Swing Playback

Swing Playback

To create swing playback (for the entire piece)


This method is for generating swing feel from an otherwise “straight” score. (If you’ve used HyperScribe to record a performance, you can “capture” the swing feel.
Make sure Retain Note Durations is checked in More Quantization Settings and Play Recorded Note Durations is checked in Playback Options (see Document Menu).
When you playback, you’ll hear the music with your original feel, including swing, played back.)
Note that you can also apply a Swing feel using the Jazz Human Playback Style which can be configured in the Playback Settings dialog box.
Swing is not available with all Human Playback styles.

1. From the Window Menu, choose Playback Controls. Playback Controls appears.
2. Click the Playback Settings button. The Playback Settings dialog box appears Controls expands, offering additional controls.
3. From the Swing drop-down list, choose Standard.
4. Click on Play.

To create swing playback (for sections of the piece)


Use the Apply Human Playback plug-in to apply Human Playback’s swing interpretation to a region of your score. To define swing manually with the Selection Tool, do
the following:

1. Choose the Selection Tool .


2. Select a region of measures.
3. From the Plug-ins Menu, choose Playback, then Apply Human Playback. The Apply Human Playback dialog box appears.
4. From the Apply a Defined Style, choose Jazz (or another style that incorporates swing).
5. Choose Apply Specific Elements and click the Select button. The More Settings dialog box appears.
6. From the Swing drop-down menu, select the desired swing percentage.
7. Click OK and then Apply. Swing playback has been applied to the selected region. Playback the score to review the results.

To create swing playback (for sections of the piece) Expression Tool method
Note: In order to apply swing playback with an expression, Human Playback must be set to None.

1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click any note or measure. When the Expression Selection
dialog box appears, click the desired marking, click Edit, and then skip to the instruction marked by the asterisk (*).
2. Click the measure or note to which the tempo marking was attached. Its handle appears.
3. Ddouble-click the handle. The Text Expression Designer dialog box appears.
4. Click the Playback Options. The playback options appear.
5. From the Type drop-down list, choose Swing; then enter a number in the Set to Value box or select a choice from the Swing drop-
down list. The number you type into the box indicates a percentage of swing. The larger the percentage of swing, the more delay before the second note.
6. Click OK (or press enter). Any time Finale encounters the expression you’ve just defined when it plays back your score, the playback will change to reflect
the expression’s swing definition.

To create swing playback (for sections of the piece) MIDI Tool method
Note: In order to apply swing playback with the MIDI Tool, Human Playback must be set to None.

1. Click the MIDI Tool . Select the region where you want the playback to have a swing feel. You can select one measure by clicking,
additional measures by shift-clicking, a screenful by drag-enclosing, an entire staff by clicking to the left of it, or the entire piece by choosing Select All from the
Edit Menu.
2. From the MIDI Tool Menu, choose Note Durations.
3. From the MIDI Tool Menu, choose Alter Feel. Type 171 into the Backbeats By” text box. If you enter a number larger than 171, your swing
effect approaches a dotted-eighth/sixteenth feel, which is useful in slower swing tempos; if you enter a number smaller than 171, the swing effect approaches an
even-eighth-note feel, which might be better at faster tempos.
4. Click OK (or press enter). When you play back the selected region, you’ll hear genuine swing—Finale is playing the second eighth note of every eighth-note
pair slightly late, just as a jazz player would.

Note: These instructions assume that the time signature is , , or ; the “backbeats” that Finale delays are, therefore, every other eighth note. If the meter

is , however, the backbeats are every quarter note, so the swing playback you get may seem erratic if you were expecting traditional eighth-note swing. To solve
the problem, change the time signature to a quarter-note–based one before using the MIDI Tool.

Note: Do not use both MIDI Tool Swing and Swing from the Playback Controls, as these effects are

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Swing Playback

additive.

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General MIDI Patch Set Groupings

General MIDI Patch Set Groupings

The patches, or sounds, in General MIDI are grouped according to the following table. This grouping is used for all channels except for channel 10, which is used for
percussion.

Patch Number Patch Name


1-8..............................Piano
9-16............................Chromatic Percussion
17-24..........................Organ
25-32..........................Guitar
33-40..........................Bass
41-48..........................Strings
49-56..........................Ensemble
57-64..........................Brass
65-72..........................Reed
73-80..........................Pipe
81-88..........................Synth Lead
89-96..........................Synth Pad
97-104........................Synth Effects
105-112......................Ethnic
113-120......................Percussive
121-128......................Sound Effects

See Also:
General MIDI

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General MIDI Patch Numbers & Names

General MIDI Patch Numbers & Names

This list contains all the General MIDI Patch Numbers and Patch Names.

Patch Number Patch Name


1..........................Acoustic Grand Piano
2..........................Bright Acoustic Piano
3..........................Electric Grand Piano
4..........................Honky-tonk Piano
5..........................Electric Piano 1
6..........................Electric Piano 2
7..........................Harpsichord
8..........................Clavi
9..........................Celesta
10........................Glockenspiel
11........................Music Box
12........................Vibraphone
13........................Marimba
14........................Xylophone
15........................Tubular Bells
16........................Dulcimer
17........................Drawbar Organ
18........................Percussive Organ
19........................Rock Organ
20........................Church Organ
21........................Reed Organ
22........................Accordion
23........................Harmonica
24........................Tango Accordion
25........................Guitar (nylon)
26........................Acoustic Guitar (steel)
27........................Electric Guitar (jazz)
28........................Electric Guitar (clean)
29........................Electric Guitar (muted)
30........................Overdriven Guitar
31........................Distortion Guitar
32........................Guitar harmonics
33........................Acoustic Bass
34........................Electric Bass (finger)
35........................Electric Bass (pick)
36........................Fretless Bass
37........................Slap Bass 1
38........................Slap Bass 2
39........................Synth Bass 1
40........................Synth Bass 2
41........................Violin
42........................Viola
43........................Cello
44........................Contrabass
45........................Tremolo Strings
46........................Pizzicato Strings
47........................Orchestral Harp
48........................Timpani
49........................String Ensemble 1
50........................String Ensemble 2
51........................SynthStrings 1
52........................SynthStrings 2
53........................Choir Aahs
54........................Voice Oohs

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General MIDI Patch Numbers & Names

55........................Synth Voice
56........................Orchestra Hit
57........................Trumpet
58........................Trombone
59........................Tuba
60........................Muted Trumpet
61........................French Horn
62........................Brass Section
63........................SynthBrass 1
64........................SynthBrass 2
65........................Soprano Sax
66........................Alto Sax
67........................Tenor Sax
68........................Baritone Sax
69........................Oboe
70........................English Horn
71........................Bassoon
72........................Clarinet
73........................Piccolo
74........................Flute
75........................Recorder
76........................Pan Flute
77........................Blown Bottle
78........................Shakuhachi
79........................Whistle
80........................Ocarina
81........................Lead 1 (square)
82........................Lead 2 (sawtooth)
83........................Lead 3 (calliope)
84........................Lead 4 (chiff)
85........................Lead 5 (charang)
86........................Lead 6 (voice)
87........................Lead 7 (fifths)
88........................Lead 8 (bass+lead)
89........................Pad 1 (new age)
90........................Pad 2 (warm)
91........................Pad 3 (polysynth)
92........................Pad 4 (choir)
93........................Pad 5 (bowed)
94........................Pad 6 (metallic)
95........................Pad 7 (halo)
96........................Pad 8 (sweep)
97........................FX 1 (rain)
98........................FX 2 (soundtrack)
99........................FX 3 (crystal)
100......................FX 4 (atmosphere)
101......................FX 5 (brightness)
102......................FX 6 (goblins)
103......................FX 7 (echoes)
104......................FX 8 (sci-fi)
105......................Sitar
106......................Banjo
107......................Shamisen
108......................Koto
109......................Kalimba
110......................Bag pipe
111......................Fiddle
112......................Shanai
113......................Tinkle Bell
114......................Agogo
115......................Steel Drums

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General MIDI Patch Numbers & Names

116......................Woodblock
117......................Taiko drum
118......................Melodic Tom
119......................Synth Drum
120......................Reverse Cymbal
121......................Guitar Fret Noise
122......................Breath Noise
123......................Seashore
124......................Bird Tweet
125......................Telephone Ring
126......................Helicopter
127......................Applause
128......................Gunshot

See Also:
General MIDI

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Rests (Speedy Entry)

Rests (Speedy Entry)


You can edit, create, and move rests by using either the Simple Entry or Speedy Entry tools. If you do most of your editing with the Simple Entry Tool, see Rests
(Simple Entry). You can change any existing note into a rest, or change the duration of any rest. See also Multimeasure Rest dialog box, Speedy Entry, and Whole
rests.

To move a rest vertically or horizontally

1. Click the Speedy Entry Tool ; click the measure in question. The editing frame appears. If you have created two voices using the Voice
1/Voice 2 mechanism (the inner-voice mechanism used by the HyperScribe Tool), you can move any rest in Voice 2 by dragging it up or down.
2. Click the rest. You can also use the arrow keys to position the insertion bar.

If you’ve created a separate voice in each layer, make sure you’re in the layer containing the rest. If not, press shift-’ (apostrophe) to switch layers.

3. To move the rest horizontally, simply drag it. Press shift to prevent it from moving vertically.
4. Drag the rest up or down. When it’s where you want it, press zero (0) to exit the editing frame. If you want to make sure you don’t
inadvertently drag the rest horizontally, press shift as you drag.

Note that if you’re using the Layer mechanism, you can move all rests in one layer (or all) a specified
distance up or down from their default center-line position (see Multiple voices for a more complete
discussion).

To add a rest
1. Click the Speedy Entry Tool a; click the target measure. The editing frame appears.
2. Press a number key (for non-MIDI, press control, shift and a number key). A rest appears of the duration corresponding to the number key you
pressed, as shown below.

Press this key To produce this rest Press this key To produce this rest

1 5

2 6

3 7

4 8

(If a note appears instead of a rest, even though you’re using MIDI, it’s because Use MIDI device isn’t selected in the Speedy Menu. Use the arrow keys to position the
insertion bar on the notehead and press backspace (or press shift-delete); this turns it into a rest.) If you want to insert a rest between existing notes, use the Insert
mode. Press Insert to turn the Insert mode on or off.

To change a rest’s duration

1. Click the Speedy Entry Tool ; click the target measure. The editing frame appears.
2. Click the rest. You can also use the arrow keys to position the cursor.
3. Press the number key corresponding to the desired new duration. (See the table of number key/rest value equivalents in “To add a rest.”) The rest
changes to the specified duration.

To change a rest to a note

1. Click the Speedy Entry Tool ; click the target measure. The editing frame appears.
2. Click the rest. You can also use the arrow keys to position the insertion bar.
3. Press enter. The rest becomes a note of the same duration.

To change a single note to a rest

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Rests (Speedy Entry)

1. Click the Speedy Entry Tool ; click the target measure. The editing frame appears.
2. Click the note. You can also use the arrow keys to move the cursor.
3. Press backspace (or press shift-delete). The note becomes a rest of the same duration.

Note: To change a chord to a rest, place the cursor on the stem of the chord.

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Beam Over Barlines Plug-in

Beam Over Barlines Plug-in

How to get there


From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Beam Over Barlines.

What it does
This plug-in allows you to automatically extend beams over a barline as shown in the figure below.

To use this plug-in to beam over a barline, do the following.

Choose the Selection Tool.


Select the region including the notes you want to beam over the barline.
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Beam Over Barlines. Notes on either
side of the barline are beamed together. To remove beams created with this plug-in, choose the Beam Over Barlines/Remove plug-in which is also located in the
Patterson Plug-ins Lite submenu.

Note that hidden tuplets created while generating beaming over barlines may corrupt the Human
Playback performance in regions where the Beam Over Barlines plug-in has been applied. See
Playback Settings dialog box for more information regarding Human Playback.

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Cross Staff plug-in

Cross Staff plug-in

How to get there


From the Plug-ins Menu, choose TGTools, and then Cross Staff.

What it does
A cross-staff note is one that “belongs” to one staff, but that, for notational efficiency (for example, to eliminate the need for ledger lines) is written in another staff, often
with a different clef—its stem is stretched from the original staff to the “target” staff. See Cross-staff notes. You can use the Cross-staff plug-in to automatically move
notes from one staff to another where appropriate.

Fill empty destination measures with invisible whole rests. Check this box to fill measures notes have been moved to with a hidden
whole rest. If this box is not checked, a default whole rest will accompany the cross-staff notes.
Remove existing cross-staff data. Check this box to remove cross staff data applied with the NoteMover Tool. See Cross-staff notes.
Single Notes. If Single Notes is checked, single notes within the applicable range of the selected region move according to the settings in this dialog box. If
Single Notes is unchecked, single notes remain stationary.
Octaves. If Octaves is checked, both notes in an octave pair will move together if one of the notes is within the applicable range of the selected region. If
Octaves is unchecked, all notes in the octave pair remain stationary.
Chords. If Chords is checked, all notes in a chord move together if any note in the chord is within the applicable range (above/below the split point) of the
selected region. If Chords is unchecked, chords remain stationary.
Apply to one entry out of. Enter a number here to apply these settings to every other note, every third note and so on. For example, enter 2 to specify every
other note, or three to specify every third note.
Start with which entry number of selection. Here, specify the first note in the selected region to which these settings will be applied.
Split Point. Enter the split point, or the point at which you want to separate notes to be moved to another staff. Notes below or above the pitch entered here
can be moved to the next or previous staff independently.
Pitches: · All · Below · Above. Choose All to move all pitches in the selected region. Choose Below to move notes below the pitch specified for Split Point.
Choose Above to move notes above the pitch specified for Split Point.
Cross Notes To Which Staff · Previous · Next. Choose previous to move designated notes in the selected region to the previous staff (above). Choose
Next to move designated notes in the selected region to the next staff (below).
Apply · Close. Click Apply to apply the current commands and leave the dialog box available for the next set of commands. Click Close to dismiss the dialog
box without making any changes.

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File/Import/Score

File/Import/Score

Choose this command to open the Import Score File window where you can choose a Score file to Import. See Importing.

See Also:
Import Score Files - Options dialog box
Import Score Files - Order dialog box
File Menu/Import

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Tuplets

Tuplets
You can also change Tuplets over a region. Instead of selecting the Tuplet Tool, select the Selection Tool and choose Change Tuplets from the Change submenu of
the Utilities Menu. The settings in the Change Tuplets dialog box are the same as in the Tuplet Definition dialog box.
You can also create tuplets during entry with the Simple and Speedy Entry Tools. See Tuplets (Simple Entry) and Speedy Entry.

To turn “normal” notes into a tuplet group

1. Click the Tuplet Tool .


2. Click the first note to be included in the tuplet group. The Tuplet Definition dialog box appears.
3. Specify the rhythmic composition of the tuplet. On the top part of the screen Finale is asking, “How many notes
of what rhythmic value are to fit in the space normally allotted to how many of what value?” Enter the number of each
rhythmic value in the text boxes. Specify the rhythmic value itself by selecting the rhythmic-value from the drop-down list.

For example, to define a standard quarter note triplet, you could fill out the values either as “3 (quarters) in the space of 2 (quarters),” or “3 (quarters) in the
space of 1 (half).”

4. Specify the visual appearance of the tuplet. Finale lets you specify various aspects governing the visual
appearance of your tuplets. See Tuplet Definition dialog box. You can always change the angle or position of the bracket or
slur once it’s in the score. If you want the “3” (or whatever number appears over the tuplet) to appear in the middle of the
slur or bracket (if you’re using one) instead of being above or below it, be sure to choose Break Slur/Bracket. If you’re
creating a complex tuplet, you can also choose Use Ratio for Number; instead of placing a simple digit above the tuplet (like
3, for example), Finale will express the tuplet as a ratio (such as 3:2, using the numbers you entered in the __ in the space
of __ text boxes).
5. Click OK (or press enter).

To adjust, move, or delete a tuplet

1. Click the Tuplet Tool ; then click the first note of the tuplet. Handles appear on the tuplet’s bracket (or slur, or number).
2. To reposition the entire tuplet, drag the main handle (which is unshaded).
3. To change the length of the hook, drag the left or right hook handle. If you selected Match Length of Hooks in the Tuplet Definition dialog box,
Finale automatically adjusts the other hook to the same length as you drag.
4. To move the shape closer to or away from the notes, drag the shape handle up or down.
5. To change the angle of the shape, drag the slope handle.
6. To move the number closer to or away from the notes, drag the number handle.
7. To delete the tuplet definition (and restore the notes to “normal”), click any handle and press delete.

To enter tuplets with the Simple Entry Tool

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Tuplets

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Click the icon representing the desired note’s duration. Click any accidental tools, if desired.

3. Click the Simple Tuplet Tool on the Simple Entry Palette.


4. Click the staff. A note appears where you clicked with rests filling out the rest of the triplet. By default, the triplet will use the duration of the first note to define
the triplet. If there isn’t enough room to create the full tuplet or you click within an already existing tuplet, Finale will enter a note of the duration you selected.
5. While entering with the Simple Entry Caret, press 9 (or numpad 9) to begin a tuplet.

To enter tuplets with the Speedy Entry Tool

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
2. If MIDI is not being used, place the cursor on the correct pitch.
3. Press ctrl-number. You can press any number between 2 and 8 to specify the tuplet value that you’re about to enter. When you do so, the number you
pressed appears in the upper right corner of the editing frame, telling you that Finale is ready to group the next notes you enter as a tuplet defined by that
number. If you need to enter a more complex tuplet (or want to specify a particular bracket or slur configuration), press ctrl–1, and the Tuplet Definition dialog
box will appear (see Tuplet Definition dialog box).
4. Enter the notes of the tuplet. The value of the first note you enter tells Finale whether you’re entering an eighth-note tuplet, quarter-note tuplet, and so on.
Finale automatically groups them and brackets them according to the default visual tuplet settings (see “To predefine the appearance of tuplets,” below). To enter
many tuplets in a row, see To enter many notes of the same value (hands-free MIDI method).

To create a nested tuplet


To nest tuplets, simply create one, then the other, as described in “To turn ‘normal’ notes into a tuplet group,” above. It makes no difference whether you create the
outer or inner tuplet first.

To transcribe tuplets from a real-time performance


For full instructions on the use of Finale’s real-time transcription tool, HyperScribe, see Recording with HyperScribe and Transcribing a sequence. However, you may
find these supplementary instructions helpful.

1. Choose Quantization Settings from the MIDI Menu. If you’ve just recorded a performance in the Transcription Mode, choose Quant Settings from the
Transcription window. These settings are used when importing a MIDI file, and transcribing with the HyperScribe Tool.
2. Select your smallest note duration. If you will be playing nothing smaller than eighth note triplets, choose the sixteenth note.

Tip: If your real-time transcriptions consistently transcribe durations that are too large, lower the
smallest note duration, or choose More Settings from the Quantization Settings dialog box. Place a
check beside Sensitivity and choose the next smallest duration to your smallest note duration. For
example, if your smallest note duration is a sixteenth note, set Sensitivity to a thirty-second note.

4. Click either Mixed Rhythms or Space Notes Evenly. If your music will have a combination of dotted rhythms and tuplets, choose the former. If your
music will have only tuplets and evenly spaced rhythms, choose the later.
5. Click OK (or press enter). Continue with the transcription in the usual way.

To predefine the appearance of tuplets


If you create tuplets with any of the methods described above, you don’t have to redefine the visual appearance of each tuplet each time you create one. Instead, you
can set the visual appearance—including whether or not to include a slur, bracket, and so on—in advance. See Document Options-Tuplets.

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Fretboard diagrams

Fretboard diagrams
Creating guitar-fretboard chord diagrams is easy in Finale; they’re intelligent, too, because they transpose automatically when the music is transposed.

To create or show fretboard diagrams globally

1. Click the Chord Tool . The Chord Menu appears.


2. From the Chord Menu, choose Show Fretboards. If you have already added chord symbols to your piece, the guitar diagrams now appear. Individual
chords with Show Fretboards unchecked in the Chord Definition box will not have fretboards. See Chord symbols for instructions.

If you haven’t yet added chord symbols, add them as described in Chord symbols; as you add each chord, its fretboard diagram will also appear.

To create custom fretboard diagrams


See Custom Fretboards.

To show and hide fretboards for a region


Fretboards must be set to display globally to allow regional fretboards. See To create or show fretboard diagrams globally above. See Change Chord Assignments
dialog box under the Utilities Menu.

To show and hide fretboards on individual chords (Manual Input)


To show fretboards on all chords, choose Show Fretboards from the Chord Menu. When selected, fretboards will appear on all chords in the score, except for those
chords where you specifically hide the fretboard.

1. Click the Chord Tool . The Chord Menu appears.


2. From the Chord Menu, choose Manual Input.
3. Click on the note containing the chord you want to edit.
4. Double-click the handle of the chord. The Chord Definition dialog box appears.
5. Under Show, uncheck Fretboard. Click OK. You return to the document, where the fretboard no longer appears for that chord. (If you later decide you
want the fretboard to appear, check the Show Fretboard box.)

To remove all fretboard diagrams

1. Click the Chord Tool . The Chord Menu appears.


2. From the Chord Menu, choose Show Fretboards. The diagrams disappear, and there should no longer be a checkmark next to Show Fretboards in the
Chord Menu.

To move the fretboard diagrams up or down

1. Click the Chord Tool . The Chord Menu appears, and four small triangles appear at the left edge of the screen. These control the baseline of the
chords (against which the bottom edges of the symbols line up).
2. From the Chord Menu, choose Position Fretboards. You’ve just told Finale that the triangles should adjust the baseline for the diagrams instead of the
textual chord symbols.
3. Drag the triangle handles up or down. Drag the leftmost triangle to set the baseline for the entire piece. As you drag it, the other three triangles move with
it.

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Fretboard diagrams

Drag the second triangle up or down to set the baseline for this staff, all the way through the piece. As you drag it, the two triangles to its right move with it.
Drag the third triangle up or down to set the baseline for this staff, this system only. As you drag it, the rightmost triangle moves with it. Use this third triangle
only in Page View (so you can see the system you’re affecting).
Dragging the rightmost triangle doesn’t move any existing fretboards; instead, it sets the position for the next one you enter.

To change Fretboard Style or capo settings in a region


See Change Chord Assignments dialog box.

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Cross-staff notes

Cross-staff notes
The following instructions explain how to create cross-staff notation manually with the Note Mover and Special Tools Tool. To create cross-staff notation automatically
with a plug-in, see Cross Staff plug-in. See also Reverse stems.
A cross-staff note is one that “belongs” to one staff, but that, for notational efficiency (for example, to eliminate the need for ledger lines) is written in another staff, often
with a different clef—its stem is stretched from the original staff to the “target” staff. You encounter cross-staff notes most often in keyboard music.

In Finale, you enter the music on the original (“source”) staff and use the Note Mover Tool to move selected notes to other staves.

To create cross-staff notation with the Cross-staff Plug-in.


1. Select the measure region including the notes you want to move to a different staff. See Selecting music.
2. Hold down the Alt key and press the down arrow key to move notes down a staff, or the up arrow key to move the notes up a staff.
For additional control over cross-staff notes, use the NoteMover Tool (as described below). See also Cross-staff plug-in.

To create cross-staff notation

1. Enter the music in the usual way (all on one staff).

2. From the Window Menu, choose Advanced Tools. Click the Note Mover Tool . The Note Mover Menu appears.
3. From the Note Mover Menu, choose Cross Staff.
4. Click the measure containing the notes in question. A handle appears on each note.
5. Select the notes to be moved. You can select a single note by clicking its handle, additional notes by shift-clicking their handles, and a group of notes by
drag-enclosing them. When selected, the handles become highlighted.

6. Drag any selected handle to the desired target staff. As you drag the single handle, all selected handles move simultaneously. You don’t need to drag
the handles to any particular pitch on the new staff—simply release the mouse button when the cursor is directly on the target staff, and you’ll find that the notes
have now moved to the new staff. Their beams and stems, however, still originate in the source staff.

If you have a relatively simple cross-staff notation, you’re done. If you need the beam in the middle, continue with the instructions below.

7. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure in question.

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Cross-staff notes

8. Click the Reverse Stem Tool . A handle appears above and below each note or chord.
9. Click the upper handle (for an upstem note), or the lower handle (for a downstem note). Finale responds by attaching the stem to the opposite
side of the notehead. For notes you want above the beam, click on the upper handle. For notes you want below the beam, click on the lower handle.

10. Click the Beam Angle Tool . A handle appears at the beginning and the end of the beam.
11. Drag the left handle down to move it to the position you want. Drag the right handle up or down to change the beam angle. To restore
the beam to its default angle and height, click the handle you used to change the position of the beam and press delete.

To restore cross-staff notes to their source staff

1. From the Window Menu, choose Advanced Tools. Click the Note Mover Tool . The Note Mover Menu appears.
2. Click the source measure. Don’t click the measure that now contains the notes; click the measure they came from. A handle then appears on each note.
3. Select the notes to be moved. You can select a single note by clicking its handle, additional notes by shift-clicking their handles, and a group of notes by
drag-enclosing them. When selected, the handles become highlighted.
4. Press Delete. The selected notes are returned to their source staff.

To restore cross-staff notes to their source staff temporarily


At times, you may find your score easier to edit if all cross-staff notes are displayed on their original or “source” staves. With the following technique, you can tell
Finale to restore them in this way temporarily; when you’re ready to print the score, you can tell Finale to display them once again on the “target” staves to which you
dragged them.

1. From the Document Menu, choose Document Options then select Notes and Rests. The Rest options appear.
2. Select Display Cross-Staff Notes in Original Staff (so that an X appears). Click OK (or press enter). When you want the cross-staff notes to
return to their target staves, de-select Display Cross-staff Notes in Original Staff.
3. Optional: uncheck Display Reverse Stemming in the Stems portion of the Document Options to return note to the “correct” side of their stems.

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MIDI Terminology

MIDI Terminology

Sequencing
Technically speaking, Finale isn’t a sequencing program. It has been designed primary to produce notation. Yet it duplicates many functions of a sequencer, and has
the added advantage of being notation-based.
You’ll find separate entries for Continuous data; Tempo (for playback); MIDI channels; MIDI files; Dynamics; Rallentando; Key velocity; Pitch wheel; and so on, all of
which affect the playback of your score.
If you plan to use Finale as a quasi-sequencer, it’s important to recognize that Finale can play back any score in one of three very different ways. Using a Human
Playback style that interprets expression markings, dynamics, ritards, accents, hairpins and more. Or, if you set Human Playback to None (in the Playback Settings
dialog boxPlayback Controls), you can use the Playback Options dialog box to specify whether you want to playback the score as recorded, or rhythmically perfect,
lacking any of the irregularities in performance that give music a human feel.
If in the Document Menu, Playback Options, all of the items under “Play recorded” are checked, Finale will, play back the score using captured MIDI data. Captured
MIDI data is the actual, unquantized MIDI “recording” of a performance you created using HyperScribe Tool, including your key velocity information, your ritards, and
your pedaling. What’s even more useful is that once you’ve transcribed such a performance, you can edit the notes, the dynamics, and other elements of the notated
score; when you play the performance-data version, you’ll hear your changes incorporated into the original performance. Remember, you can only hear playback as it
was recorded (or without any additional continuous data), if you set Human Playback to None in the Playback Settings dialog boxPlayback Controls.
If you want to capture this MIDI data when you record, before recording in HyperScribe, under the MIDI/Audio Menu, choose Quantization Settings, and then click More
Settings. Make sure Retain Key Velocities and Retain Note Durations are checked.

MIDI Setup
A MIDI setup is the physical connection between all your MIDI devices and your computer. A typical setup consists of a MIDI interface, a computer, and the actual
MIDI equipment such as keyboards, sound modules, wind controller, and so on.

MIDI System
A MIDI system is any part of the operating system that handles communication between Finale (or any other software application) and a MIDI setup.

MIDI Interface
A MIDI interface is an external device that translates signals between your computer and MIDI instrument(s). On the Macintosh, a MIDI interface often connects to a
USB port, or, if you have an older Mac, one of the serial ports.

Port
A port is simply the connection at the back of the computer where you connect a cable leading to any of several kinds of peripheral devices, such as modems,
printers, scanners, and MIDI interfaces. Some older Macintosh models have two built-in serial ports, the Printer port and the Modem port. Most newer Macintosh
models have a USB port.
Depending on your MIDI interface, you may need an adaptor to plug into a USB port. If you have serial ports, you can plug in the MIDI interface’s cable to whichever
serial port you prefer. If you have more than one serial port, it is often more convenient to connect the MIDI interface to the Modem port—if you have a printer, it is
probably used often enough that it should have a constant connection to the Printer port. With some MIDI interfaces, you can plug your printer into a special
connection on the MIDI interface, then easily switch between running MIDI and printing all on one port, without having to swap out cables on your computer. These
interfaces are helpful for computer systems that are connected to a modem, printer, and MIDI gear or multimedia equipment.
Technical Note: if you have an internal modem on your Macintosh, you can no longer use the modem port. This port is in fact being used by your internal modem.
Instead, you must use your printer port.

MIDI channels
Finale supports up to 64 MIDI channels. If you are using a USB interface that has at least four MIDI Out ports, you can use the maximum number of channels Finale
supports through your four (or more) external MIDI devices. (Finale supports up to 16 MIDI channels per device.)
If you plan to work extensively with staff-to-MIDI channel mappings, you should become familiar with the concept of Instruments. An Instrument is one distinct stream
of playback information; you might think of an Instrument as one player’s part.
An Instrument is usually one staff in your score, but it doesn’t have to be. For example, you’ll probably want to write a piano part on two staves, but those two staves
are considered just one Instrument (and thus they’ll use the same MIDI channel). On the other hand, each layer of each staff can be considered a different Instrument;
you might write two clarinet parts on a one staff (in different layers), but you can tell Finale to treat them as two Instruments. Using two instruments (on different
channels) allows you to edit their MIDI data independently.
Each Instrument can have its own MIDI channel, and each Instrument is dynamically independent. If you want the treble and bass staves of a piano part to have
independent dynamics, make sure you assign them to different Instruments on different channels.
There are 64 possible channels in Finale. If you use the Setup Wizard or new defualt document, each instrument you add is assigned to its own channel. Note that
multiple staves of the same instrument added with the Document Setup Wizard (or New Staves Setup Wizard) will be given the same instrument name and channel.
For more complex playback situations, however, you’ll find that Finale’s Instrument List window gives you a lot of power and control with very little effort. As a matter of
fact, we’ve included Instrument Libraries—preconfigured instrument, channel, and patch setups—for many popular MIDI keyboards. See “ To load an Instrument
Library.”

MIDI Channels and Patches


Finale supports up to 16 channels per MIDI device. Some devices only play back using one channel at a time. Other devices are multi-timbral, meaning that they can
play back more than one channel at a time. In other words, you can play different sounds assigned to different channels at the same time, on the same MIDI device.
Different sounds within a MIDI device have specific numbers assigned to them, called patches (or program numbers). Depending on the device, patch 1 may be a
grand piano sound, patch 2 - electric piano, program 3 - violin, program 4 - viola, and so on. Some of the more sophisticated sound modules can contain many
hundreds of sounds. However, MIDI only supports the use of the first 128 numbers (numbered 0 through 127). To use some of the additional sounds “above” 127,
renumber them as lower numbers, or set them manually on the instrument before playing back. To accommodate more than 128 sounds many MIDI devices use banks
of sounds. Banks are an isolated group of 128 patches, which are accessed by changing your “active” bank of patches to a new bank using a special controller
message. Bank information, combined with program information, creates what is referred to as a Patch.
To have different patches play back at the same time, you need to use different channels with a specific patch assigned to each channel. For example, if you wanted
to play back a piece for a trio consisting of flute, violin and piano, you would set up the piano staves to play back on channel 1, program 1; the flute staff to play back
on channel 2, program 74; and the violin staff to play back on channel 3, program 41. These settings reflect the General MIDI program numbers. Each MIDI device

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MIDI Terminology

can be different, so refer to the device’s documentation for a reference to its patches.

Finale Instruments and Channels


There are 64 Finale channels available for MIDI output. Since each instrument in Finale’s Instrument List allows you to specify a unique channel and patch
combination, you can define up to 64 different instrument sounds.
Finale makes 64 total channels available, but supports 16 channels per MIDI device. So, Finale groups its internal channels in four fixed sets: 1-16, 17-32, 33-48, and
49-64. Using the MIDI Setup dialog box, you can assign each set of Finale channels to the 16 MIDI channels on a particular MIDI device. By assigning an instrument
to a staff in the Instrument List, you tell Finale which device should play that staff’s information and furthermore, which of the device’s channels Finale should use. For
example, if you had two devices, one using the first set of 1-16 and the other using the second bank of 17-32, assigning a Finale instrument to channel 17 would
cause the second device to play on channel 1.
Depending on your MIDI setup, you could map four different devices to their own bank of channels, or overlap them. In the following example, Finale’s 64 channels are
mapped to each of the four devices and their 16 MIDI channels.

Finale MIDI channels on the connected


Channels instrument

1-16 Device One’s channels 1-16

17-32 Device Two’s channels 1-16

33-48 Device Three’s channels 1-16

49-64 Device Four’s channels 1-16

For entering notes with MIDI using HyperScribe, enter any number between 1 and 64 for the Finale channel that will receive the MIDI information, or set HyperScribe to
receive on all MIDI channels. You can also remap the input channels using Finale’s MIDI Thru dialog box. See MIDI Setup dialog box.
For MIDI playback from Finale, you can either use the Instrument List to assign the channels to staves in your score, or you can create expressions to change a staff's
channel during playback. Enter any number between 1 and 64 for the Finale channel used for playback. Finale will direct the playback to the appropriate device.
Regardless of whether you use the Instrument List or create expressions, Finale refers to settings in the MIDI Setup dialog box to see what Input or Output device is
assigned to the channel you selected. Finale channels 1–16 go directly to channels 1–16 of the specified Input or Output device. The remaining three sets of Finale
channels are mapped to channels 1–16 of the specified Output or Input device for that set of channels. For example:

Finale MIDI channels on the connected instrument


channels

1-16 1-16

17-32 1-16 (Add 16 to determine the Finale channel.)

33-48 1-16 (Add 32 to determine the Finale channel.)

49-64 1-16 (Add 48 to determine the Finale channel.)

Input Device and Output Device


Input Device and Output Device options in the MIDI Setup dialog box let you choose where you want MIDI information sent or received. The available devices vary,
depending on the MIDI driver and device you are using.

Note: You can’t assign the same input or output device to more than one set of Finale channels—after
all, each device only uses 16 channels. You can, however, select multiple devices for a set of Finale
channels. This allows you to double the number of devices playing the affected staves’ music. (To do
this, hold down the Shift key when selecting your MIDI devices.

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Hymns

Hymns
There are several conventions common to hymns which Finale can accommodate. For example, hymns are often notated on two staves (which may be Soprano/Alto
and Tenor/Bass and double as an organ part), with lyrics in between. Use Layer 1/Layer 2 on each staff to create parts whose stems are automatically flipped the right
way (see Multiple voices).
Often, too, a hymn contains several verses, with a single repeated refrain. Assuming that the lyrics lie between the two staves, you need to adjust the space between
the two staves so that there’s enough room for multiple verses, yet leave less space between staves where there are only the single-line refrain lyrics.
The solution is to optimize the systems. In general, optimizing is used to suppress the printing of blank staves within a system. However, optimizing has another
important effect: it allows each staff within a system to be independently movable in Page View.
Another characteristic of published hymns is that the first syllables of all verses are aligned with each other, flush left. (Lyrics under normal circumstances are centered
under the notehead.) To create this alignment, see Document Options-Lyrics.

To create variable-distance systems


For best results, perform this operation last, just before you print. See Optimizing systems for more information.

1. Click the Page Layout Tool .


2. From the Edit Menu, select the systems or choose Select All.
3. From the Page Layout Menu, choose Systems, then Allow Individual Staff Spacing.

4. Click the Staff Tool ; then drag the lower handle of any staff to move it.

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Title page

Title page
This entry contains instructions for creating a separate title page with no music on it. If you want the title to appear at the top of the first page of music instead, see
Titles.

To create a title page

1. Scroll to the beginning of the piece. Click the Page Layout Tool .
2. Choose Insert Blank Pages from the Page Layout Menu.
3. For Insert, enter 1. Choose Before Page and enter 1 (these are the default values). Then click OK.

4. Click the Text Tool . You’re about to create the first piece of text (title) information.
5. Double-click where you want the first piece of text. The text editing frame appears.
6. Select font, size and style from the Text Menu. Skip this step if the default Text Block settings are the ones you want to use. See Document
Options-Fonts.
7. Select Title from the Inserts submenu of the Text Menu. If you haven’t defined a title in the File Information dialog box, either select File Info from the
File Menu and fill in the appropriate information, or just type in the title you want to use.
8. Select Frame Attributes from the Text Menu. The Frame Attributes dialog box appears.
9. Select Page. Choose Single Page from the drop-down list and type 1 in the first text box. (These should be the default settings).
10. Select the alignment and positioning options from the alignment and positioning drop-down lists.
11. Click OK. Repeat the process with any other information that you want to appear on the title page, selecting various Text Inserts from the Text Inserts submenu
of the Text Menu, or typing in text that is needed. See Titles, for information on moving and deleting titles.

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Beaming: feathered beaming

Beaming: feathered beaming

In some music, ritards and accelerandi are notated with converging secondary-beam angles in a technique called feathered beaming. In the case of the ritard, the
player increases the rhythmic values gradually from the faster values, at the left end, to the slower values, on the right end, as shown below.

To create feathered beaming


To create this form of notation, notate all values as the smallest values (in this case, 64th notes). Then proceed as follows.

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure in question.

2. Click the Secondary Beam Angle Tool . Handles appear at both ends of secondary beams.
3. Drag the handles so that the secondary beams converge with the primary beam. The left handle moves its entire beam up and down, without
changing its angle; the right handle changes the angle. To remove any changes you make this way, click the appropriate handle and press delete.

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Global Staff Attributes

Global Staff Attributes plug-in

How to get there


From the Plug-ins Menu, choose Scoring and Arranging, and then Global Staff Attributes. See Plug-ins Menu for more information on plug-ins.

What it does
The Global Staff Attributes plug-in will modify Staff Attribute settings for more than one staff at a time. The plug-in allows the user to select the staves, Items to Display,
Staff Attribute Options, set the Font, Style and Size of Staff Names and Group Names, as well as set Group Attribute Options.

[List of Staves] • [List of Groups]. Select the staves or groups you wish to be affected by any settings you make. Click to select one, shift click to select
several at a time, ctrl-click to select non-sequential staves.
Select Font. Click one of these buttons to display the Font dialog box and set the Font, Size or Style for Staff Names or Group Names for the selected staves.
See Font dialog box for more information.
Options • Items to Display • Show Bracket if Group Contains only one Staff • Show Group Name. See the Staff Attributes dialog box and
Group Attributes dialog box for descriptions of these items.
OK • Cancel • Apply. Click Apply to change the settings on the selected staves and continue to select other staves and settings. Click OK to apply your
settings to the selected staves. Click Cancel to dismiss the dialog box without making any changes.

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Configuring MacSymbolFonts.txt

Configuring MacSymbolFonts.txt

If you are sharing files between a Macintosh and a Windows machine, Finale uses this file on the Macintosh to determine which fonts, such as music symbol fonts,
should not be converted. If you are using custom music or symbol fonts, you will need to add these fonts to the list. To edit the SymbolFonts text file, you should quit
Finale, then open the SymbolFonts file in a text editor such as WordPad or SimpleText.

List each font name as it appears in the font list within Finale, followed by a carriage return.

Example:
EngraverFontExtras
EngraverFontSet

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Stemless notes

Stemless notes
Music with stemless notes (noteheads only) appears in plainchant and some hymn scores. In Finale, the stems can be hidden either
globally or on a note-by-note basis. See also Stems. Note that you can apply stem settings from the Staff Attributes dialog box to regions of
your document using Staff styles.

To create stemless notes globally


1. From the Document Menu, choose Document Options and select Stems. The Stem options appear.
2. Enter zero (0) in both the Normal and Shortened Stem Length boxes. Click OK (or press enter). No stems appear anywhere in the document.

To create stemless notes, note-by-note

1. Click the Special Tools Tool , and click the measure in question.

2. Click the Custom Stem Tool . A handle appears on each note.


3. Double-click the handle of the desired note. The Shape Selection dialog box appears.
4. Click Create. The Shape Designer appears.
5. Click OK, then Select (or press enter twice). In effect, you’ve selected a stem that consists of nothing.

To restore the original stem, click the modified note’s handle and press delete. If you have several measures requiring stemless notes, you can copy the “no-stem”
information onto other notes; see Stems —To remove custom stemming from a region.Stems —To copy custom stemming to other measures. See also

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Shape Note music

Shape Note music


In some hymnal music, each note of the scale has its own notehead, regardless of key. In Tamburo, noteheads for these “shape notes” are found on the number keys
1 through 9. To set up the staff for Note Shapes, click on the Staff Tool and double click the staff to open the Staff Attributes dialog box. For Notation Style, click the
drop-downpopup menu and select Note Shapes. See Note Shapes dialog box for more information. You can also use the Shape Note Hymnal template. See
Templates. Each number corresponds to the appropriate scale tone—the tonic shape note is found on 1, the second shape note on 2, and so on. Since some shape
note conventions differ, we offer two choices for the fourth scale degree, one shape on 4 and the other on 9.

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Courtesy time signatures

Courtesy time signatures


Under usual circumstances, the time signature appears only at the beginning of a piece or at a meter change. However, you can force the time signature to be
displayed in any measure.

To force the display of the time signature in a measure

1. Click the Measure Tool , and then double-click barline handle of the measure in which you want the time signature to appear.
The Measure Attributes dialog box appears.
2. From the Time Signature drop-down list, choose Always Show. Click OK.

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Composite time signatures

Composite time signatures

Composite meters ( , for example) are not only valuable for creating unusual time signatures, but also for creating accurate beaming patterns. Finale uses

the time signature to determine beaming patterns, you can create a meter such as , and all music you enter will be automatically be beamed in eighth-note
groups of three, two, and two, for example. (Once you’ve created a custom “beaming signature” in this way, you can even select a time signature to appear in the
score that’s different from the underlying beaming signature; see To create custom beaming patterns.)

To create a composite meter

1. Click the Time Signature Tool . A handle appears on each barline.


2. Double-click the measure in which you want the new meter to begin. The Time Signature dialog box appears.
3. Click Composite. The Composite Time Signature dialog box appears. The composite time signature you create here will affect the beaming of notes in your
music.

4. Enter the series of numbers for the top half of the time signature in the first Beat Group: text box. If you want to create a time
signature, for example, simply type 3+2+2 in the first text box of the beat groups: section. You can enter a decimal value, such as 3.5, as well. If you want to

create a time signature type the 3 in the first text box and the 2 in the second text box.
5. Press Tab to jump to the lower box. Enter the lower number of the time signature in the Beat Duration: text box. Type the 8 for the lower

half of the composite time signature (for the example) in the first text box. If you are creating a time signature, type a 4 in the first text box,
and a 4 in the second text box to finish creating the time signature. Finale will only accept standard denominator values. For example, there’s no such thing as a
“third note,” so you can’t enter a 3 into this text box; Finale will round off any such number to a legitimate value (1, 2, 4, 8, and so on).
6. Click OK (or press enter). You return to the main Time Signature dialog box. If you wish, you can click Options, and then select Use a Different Time
Signature for Display. In this expanded version of the Time Signature dialog Finale displays a second composite button which will take you to an identical
Composite Time Signature dialog box. With this dialog box you have the opportunity to create a separate composite time signature for display purposes only (the
composite time signature created in the upper section of the dialog will be used to decide how the music will be beamed). See Beaming and Time signatures for
details.
7. Specify the range of measures to be affected by this meter change. Enter the measure numbers in the Measure __ Through __ text boxes (or
Through End of Piece).
8. Click OK (or press enter).

To remove a composite meter

1. Click the Time Signature Tool ; then double-click the first measure in which the composite meter appears. The Time Signature
dialog box appears.
2. Click the Composite button. The Composite Time Signature dialog box appears.
3. Click Clear, and click OK. You return to the main Time Signature dialog box, where you can specify a replacement time signature.

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Staves

Staves
This entry contains information on adding, moving, spacing, deleting, hiding, and recovering staves. See also: Staff lines; Staff names; Groups; Staff size.
When selecting a staff, you can either click the staff’s handle or the body of the staff itself (to the right of the clef, time and key signature). Drag-enclose or shift-click to
select as many staff handles as you want. (You can also shift-click selected staves to remove them from the selection.)

To add or insert a single staff

1. Click the Staff Tool . The Staff Menu appears and handles appear on every staff.
2. To add a new staff, from the Staff Menu choose New Staves, then click OK. A staff appears below the existing staves. Or, in Scroll
View double-click in the where you want to add the staff. If you wish to use the Setup Wizard to add staves, choose New Staves
(with Setup Wizard). To insert a new staff between two staves, select the staff handle that you want the new staff placed above, then choose New Staves
and click OK (or, double-click between the staves in Scroll View). Finale moves the existing staves down to make room for the new staff.

To move staves

1. Click the Staff Tool . The Staff Menu appears and handles appear on every staff.
2. Select the staff or staves to be moved.
3. To move a staff or staves, drag the handle of one of the selected staves. Finale adjusts the staves differently, depending on whether you’re in
Scroll or Page View, whether Special Part Extraction is selected in the Edit Menu, and whether the staff systems were optimized using Page Layout Tool. For
details, see Staff Tool.

Note: If a staff system has been optimized using the Page Layout Tool, two handles will appear on
each staff in the optimized staff system in Page View. Drag the bottom staff handle to adjust the staff’s
position only in the current staff system in Page View (drag the top handle to adjust the position of the
staff in all staff systems in Page View). The position of the staff in Scroll View is unchanged.

To delete staves

1. Click the Staff Tool . The Staff Menu appears and handles appear on every staff.
2. Select the handles of the staff or staves to be deleted.
3. To remove selected staves without adjusting the position of the remaining staves, choose Delete Staves from the Staff Menu, or
press delete. To delete the selected staves and reposition any remaining staves, choose Delete Staves and Reposition from the Staff Menu, or press shift-
delete. Finale deletes the selected staves, and places the top staff of the remaining staves in the former position of the top staff that was deleted, followed by any
other staves.
4. To restore the deleted staves, immediately choose Undo from the Edit Menu.

To add evenly spaced staves

1. Click the Staff Tool . The Staff Menu appears.


2. To add staves, choose New Staves from the Staff Menu. Or, select the staff handle you want the new staves to be placed above, then choose New
Staves from the Staff Menu. The New Staves dialog box appears.
3. Enter the number of new blank staves into the Number of Staves text box.
4. To place the new staves closer to or farther apart than those already in the score, enter a value (in measurement units) into the
Topline to Topline Distance text box (the distance between the top lines of each added staff). You’ll usually enter a negative number,
because you’re measuring down from the top line of the previous staff.
5. Click OK. Finale adds the specified number of new blank staves below the bottom staff, or inserts blank staves below the top selected staff in the score, using
the distance specified in the New Staves dialog box, and adjusting the staves below to make room for the newly inserted staves.

To space existing staves evenly

1. Click the Staff Tool . The Staff Menu appears.


2. Choose Respace Staves from the Staff Menu. The Respace Staves dialog box appears.
3. Leave Keep Current Position selected if you don’t want to move the top staff. To place the top staff a fixed distance from the top of the screen,
click to select Top Staff Position: Set to, then enter the distance (in measurement units) into the Set to text box. To reposition the top staff by a percentage of its
current position, click Top Staff Position: Scale to, then enter a percentage into the Scale to text box. For example, to place the staff twice as far down, enter 200
(%) in the text box.
4. To maintain a fixed distance between the remaining staves, click to select Distance Between Staves: Set to, and enter the distance
(in measurement units) into the Set to text box. To place staves closer together or farther apart proportionally, click to select Distance Between Staves:
Scale to, then enter a percentage into the Scale to text box. This will preserve the relative distance between each staff. For example, if you created a larger-than-
usual gap between the woodwind staves and the strings, and you entered 50 (%) in the text box, Finale would make extra space, but both the gap and the
distances between staves within the woodwind or string sections would be half as large.
5. Click OK to confirm your changes.

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Staves

To hide staves
See Hiding staves.

To hide (or show) staff-related items


Finale gives you staff-by-staff control over the display of such staff-associated items as measure numbers, clefs, repeat brackets, and so on. For example, you
probably don’t need measure numbers to appear in both the top and bottom staves of your piano part, so you can hide the measure numbers on one staff. See also
Global Staff Attributes, where you can set the staff attributes for a number of staves at one time.

1. Click the Staff Tool . The Staff Menu appears.


2. Select a staff handle, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a staff handle, or a staff name handle.)
Or, choose Edit Staff Attributes from the Staff Menu without selecting a staff. The Staff Attributes dialog box appears. To display the attributes of another staff,
choose a staff from the Staff Attributes for drop-down list. (Or, use the arrow controls to select a staff from the Staff Attributes for drop-down list.)
3. Change the settings in the Staff Attributes dialog box to show or hide items for the staff. In the Items to Display section, select or deselect as
many checkboxes as you wish. For details, see Staff Attributes dialog box.
4. Click OK to confirm your settings.

To recover deleted staves


Once you delete a staff, you can restore it by choosing Undo (as many times as necessary) from the Edit Menu, or choose Undo List from the Edit Menu and highlight
Staff/Group delete and click OK. Actions done after the staff was deleted will also be undone. See Undo for more information.

To set the attributes for a staff


See also Global Staff Attributes, where you can set the staff attributes for a number of staves at one time.

1. Click the Staff Tool . The Staff Menu appears.


2. Select a staff handle, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a staff handle, or a staff name.) Or,
choose Edit Staff Attributes from the Staff Menu without selecting a staff. The Staff Attributes dialog box appears. If you didn’t select a staff before entering this
dialog box, choose a staff from the Staff Attributes for drop-down list. (Or, use the arrow controls to select a staff from the Staff Attributes for drop-down list.)
3. Change settings in the Staff Attributes dialog box to define the staff’s characteristics. For details, see Staff Attributes dialog box.
4. Click OK to confirm your settings.

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Volume

Volume
See also Key velocity; Continuous data.
When you’re working with MIDI music information, there are two ways to control the volume of playback. The most common way is to control the key velocity of each
note—that is, how hard it is “struck” when it’s played by the computer. Usually (but not always), MIDI keyboards respond to key velocity information the same way a
piano does: the harder the note is struck, the louder it sounds. See Key velocity for more information.
Key velocity has one limitation, however: it can’t control the volume of a note after it’s been struck. For piano music, this is no problem. But imagine a long note played
by a trumpet—the player can swell and diminuendo within the same note. To create this kind of effect, you can use a second volume-control method: MIDI volume
controller information. MIDI Volume is controller number 7; see Continuous data for instructions on creating and editing this and other controller data.

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Engraver Font

Engraver Font
Engraver Character Set
Engraver Extras Character Set
Engraver Text Character Set
Engraver_Time_Character_Set

See Also:
Engraver Font: The Alternate Notehead Sets

Engraver Character Set

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Engraver Font

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Engraver Font

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Engraver Font

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Engraver Font

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Engraver Font

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Engraver Font

Engraver Extras Character Set

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Engraver Font

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Engraver Font

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Engraver Font

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Engraver Font

Engraver Text Character Set

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Engraver Font

EngraverTextT is shown below. The Engraver Text fonts correspond to the standard fonts used for
the text portions of the font: T for Times, H for Helvetica and NCS for New Century Schoolbook.

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Engraver Font

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Engraver Font

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Engraver Font

Engraver Time Character Set

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Engraver Font

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Rests (Simple Entry)

Rests (Simple Entry)


You can edit, create, and move rests by using either the Simple Entry or Speedy Entry tools. If you do most of your editing with the Speedy Entry Tool, see Rests
(Speedy Entry). You can change any existing note into a rest, or change the duration of any rest. See also Multimeasure Rest dialog box, Simple Entry, and Whole
rests.

To move a rest vertically

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click and drag the rest. You can also use the up and down arrow keys.
3. After entering a rest with the caret, hold down Alt and press the up and down arrow keys to move the rest vertically.

To add a rest

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Click the icon representing the desired rest’s duration on the Simple Entry Rest Palette. Or, hold down Ctrl and type the number of
desired rest’s duration. Then click the place where you want the rest to appear. The rest appears at the horizontal position of your click; its
vertical position is always the center staff line, unless you’re working in layers and have specified a rest position offset. (See Multiple voices for a more complete
discussion of setting rest position offsets.) See also “To move a rest vertically,” above.
3. With the caret active, type 0 to enter a rest of the duration chosen in the Simple Entry Palette..

To change a rest’s duration

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Click the icon on the Rest Palette representing the desired new duration.
3. Click the rest. It changes to the new duration.
4. After entering a rest with the caret, hold down Alt and type a duration (1-8).

To change a rest to a note

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click the rest or enter a rest with the caret. The rest is selected.
3. Type R. The rest turns into a note on the middle staff line.

To change a note to a rest

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click a note or enter a note with the caret. The note is selected.
3. Type R. The note turns into a rest.

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Multiple voices

Multiple voices
You can have up to eight independent musical lines per staff.
Finale offers three methods for working with inner voices: the Layer mechanism, the Voice 1/Voice
2 mechanism, and superimposing staves. You’ll probably find it easiest and quickest to work with
the Layer system, which treats each staff as four transparent layers, if you’re entering music in step time
(Simple Entry or Speedy Entry tools). HyperScribe automatically transcribes inner voices with the Voice
1/Voice 2 feature.
The Voice 1/Voice 2 and four-Layer mechanisms are both capable of generating flexible stems-
up/stems-down notation, and the two mechanisms can be combined (giving you a total of eight
independent voices). If you have even more complex inner-voice relationships, you can use the superimposed-staves technique (see below) as well.

To enter multiple voices using layers


Each staff in Finale has four transparent layers of music. Each layer can play back over a different MIDI channel and synthesizer patch, and each can have its own
dynamics. You can view one layer at a time, or all simultaneously. When you’re placing expression marks, you can tell which layer is receiving the mark by the
indicator in the lower-left corner of the screen, which identifies the current layer by number. (You can switch from one layer to the other by clicking the layer buttons.)
Finally, each layer may be taught to flip its stems up or down automatically, to help distinguish the multiple voices.

1. From the Document Menu, choose Document Options, then select Layers. The Layer options appear, letting you specify the characteristics of each
layer. In general, you’ll want the stems of Layer 1 to flip up, but only when Layer 2 is present, and the stems of Layer 2 to flip down, but only when Layer 1 is
present…and so on. Furthermore, you’ll probably want ties to flip the “wrong way”—in other words, if there are notes in Layer 2, you’ll want ties in Layer 1 to flip
upward, even though the Layer 1 stems are upward.

Therefore, you’ll probably want to select options as follows. For Layer 1, choose Up from the Freeze Stems drop-down list menu; select Freeze Ties in the
Same Direction as Stems; and select Apply Settings Only if Notes are in Other Layers. For Layer 2, choose Down from the Freeze Stems drop-down list
menu; select Freeze Ties in the Same Direction as Stems; and select Apply Settings Only if Notes are in Other Layers. The settings for Layers 3 and 4 are
up to you, since their stem and tie directions probably depend on the piece you’re notating.
In addition, you may wish to specify that the placement of rests in one layer is such that they don’t “get in the way” of notes in another. You tell Finale how far
out of the way you want these rests to appear by entering numbers into the Adjust Floating Rests By text box. This text box measures the distance, in lines
and spaces, from the center line of the staff. In the usual situation, you’d enter a positive number for Layer 1 (such as 6), and a negative number for Layer 2
(such as -6).
If you choose not to use the Adjust Floating Rests option, don’t worry—you can always drag rests vertically later.

2. Specify stem direction, tie direction, and rest placement for each layer.
3. Click OK (or press enter). If you like, choose Show Active Layer Only from the View Menu. When this option is selected, only the current layer (as indicated
by the drop-down list menu in the lower-left corner of the window) is visible; the other layers are hidden. You can switch to another layer by clicking the Layer
push buttons menu.
4. Choose the layer you want to edit first, using the Layer push buttons menu in the lower left corner of the screen.
5. Click the Speedy Entry Tool a, and click a measure in which you want to enter music. The editing frame appears. Enter the music for the first
layer in the usual way (see Speedy Entry).
6. Press shift-’ (apostrophe) The editing frame flips to the next layer, and the first layer is dimmed. (Shift-’ cycles you through the four layers– from Layer 1 to
Layer 4.) You can now enter and edit music in this layer.
7. To flip an individual stem, position the cursor on it and press the L key. Press L again to make it flip back.
8. If you need to adjust colliding noteheads, use Music Spacing. See Document Options-Music Spacing for more information.
9. To drag a rest, position the cursor on it and press the asterisk (*); then drag it up or down. If you want the rest to snap back to its default
position, position the cursor on it and press the asterisk (*) key again.
10. To hide a note or rest, position the cursor on it and press the letter O key. Press O again to restore the entry. Use this feature to hide a Layer 2
half rest, for example, to give the appearance of a second voice entering on the third beat. See also Notes and Rests (Hide) Plug-in, Notes and Rests (Show)
Plug-in.
11. Press zero (0) to exit the editing frame. When you use the Selection Tool to copy music, you’ll copy whichever layer or layers are showing. To copy
Layer 1 only, for example, choose Show Active Layer Only from the View Menu, and choose Layer 1 from the layer push buttons (lower-left corner of screen);
copy in the usual way (see Copying music).

To move music from one layer to another

1. Click the Selection Tool , and select a region of music. See Selecting music for some region-selecting shortcuts, but note that, for this
procedure, you must select a region of complete measures.
2. From the Edit Menu, choose Move/Copy Layers. The Move/Copy Layers dialog box appears.
3. Specify how you want the layers’ contents moved. For example, to move the contents of Layer 2 into Layer 3, select Move Contents of Layer 2 into
and choose Layer 3 from the drop-down list menu.

Be careful how you use the elements of this dialog box. If you set it up incorrectly, you could lose music—for example, if you direct Finale to place the
contents of one layer into a layer that already contains music. (Finale will warn you.)

4. Click OK (or press enter).

To enter multiple voices using V1/V2


You can also have two independent voices within each layer, called Voice 1 and Voice 2 (or V1/V2, as they’re called in the Speedy Entry editing frame).

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Multiple voices

1. Click the Speedy Entry Tool and click a measure in which you want to enter music. Unlike the layer mechanism, in which it doesn’t
matter which musical line you notate first, you must enter Voice 1 first when working with the V1/V2 mechanism. In general, it’s best to enter the longer note
values first.
2. Enter the notes of the first voice (Voice 1). “First” doesn’t necessarily mean upper. V1 and V2 may have their stems up or down at any point.
3. Press the arrow keys to move the insertion point to the Voice 1 note at which the first Voice 2 note is to appear. A Voice 2 musical line
may materialize at any point in the measure, as long as it’s been “launched” from an existing Voice 1 note. Indeed, you can have several “launches” within a
measure (although you can’t beam together Voice 2 notes that have been launched from different Voice 1 notes).
4. To enter Voice 2, press the apostrophe (') key. The indicator now reads V2. The insertion bar is offset slightly from the Voice 1 note to remind you that
you’re now editing a second voice.
5. Enter the notes of the second voice (Voice 2). You may notice that the note stems don’t always flip in the proper directions.
6. To correct note stem directions, switch to the correct voice by pressing the apostrophe key. Move the cursor to the note in question
by pressing the arrow keys. Press the L key to freeze the stem in the opposite direction. When a stem is “frozen” up or down, it’s no longer
free to change directions if it gets transposed. To restore a stem to its “floating” status, position the insertion bar on the note and press ctrl-L.

You can move rests up or down, too. If the rest is in Voice 1 or 2, you can simply drag it. If you later want the rest to snap back to its default position,
position the cursor on it and press the asterisk (*) key.

To enter additional voices by superimposing staves


If your music requires more than the eight voices available through the use of layers and V1/V2, you can superimpose two or more staves on top of one another to
accommodate the extra voices. Those who prefer to use layers might use this method whenever more than four independent voices are required in a staff.

1. Enter notes into one staff with the first four layers, and use the V1/V2 method to add an additional voice on each layer if desired.
2. Choose the Staff Tool and create a new staff with the same properties, such as transposition and clef, as the existing staff. You might
use the New Staves (with Setup Wizard) option (under the Staff Menu) to do this, or configure the staff manually in the Staff Attributes dialog box. See Staff Tool
for more details.
3. Enter the remaining voices in the new staff using layers and the V1/V2 method.
4. Click the handle on the new staff and drag, or use the arrow keys to nudge it on top of the original staff. Use the Zoom Tool to zoom in and
insure the new staff is positioned directly over the original staff. By superimposing two staves, you have twice the number of possible voices.

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Tuplets (Simple Entry)

Tuplets (Simple Entry)


The word tuplet describes a class of irregular note divisions such as triplets, quintuplets, or septuplets. Simple triplets are easy in Simple Entry Tool. If you want to do
duplets, septuplets or other tuplets, you’ll need the Simple Entry Tuplet Definition dialog box. For more complex tuplets, such as ratios or nested tuplets, see the Tuplet
Tool.
Brackets in the Simple Entry Tuplet Tool follow several rules. If the notes are beamed, such as eighth note triplets, no bracket will appear. If you wish to override this
rule, use the Tuplet Tool to turn off Auto Bracket. See Tuplet Definition dialog box. Brackets follow the first note in the tuplet or the beam (if you override Auto Bracket).
To edit the bracket, see To adjust, move, or delete a tuplet in the Tuplet Tool chapter.

To enter a triplet

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. In the Simple Entry Palette, click the icon representing the desired note’s duration. Click any accidental tools, if desired.

3. Click the Simple Tuplet Tool on the Simple Entry Palette.


4. Click the staff. A note appears where you clicked with rests filling out the rest of the triplet. By default, the triplet will use the duration of the first note to define
the triplet. If there isn’t enough room to create the full tuplet or you click within an already existing tuplet, Finale will enter a note of the duration you selected.
5. After entering a note or rest with the caret, press 9 (or numpad 9) to begin a triplet on the note just entered. Finale adds rests to complete
the triplet. Then, enter the next two notes to replace the rests.

To remove a tuplet

1. Double-click the Simple Tuplet Tool on the Simple Entry Palette.


2. Click on the first note in the tuplet. The tuplet is removed and the notes are restored to full value. If there is not enough room in the measure for the full
value of the tuplet notes, nothing will happen. Remove the extra notes first, then remove the tuplet definition.

To enter a duplet, septuplet or other tuplet


By default, the triplet will use the duration of the first note to define the triplet. If you want to create an eighth note triplet starting with a quarter note, you’ll need to use
the below technique.

1. Double-click the Simple Tuplet Tool on the Simple Entry Palette. Only the Simple Entry Tuplet Tool is selected in the Simple Entry Palette.
2. Click the note duration that you wish to use in this tuplet passage. Now, both the Simple Entry Tuplet Tool and the desired note duration tool are
selected in the Simple Entry Palette.
3. Shift-click on the first note in the tuplet (or where you would like to add one). The Simple Entry Tuplet Definition dialog box appears.
4. Specify the rhythmic composition of the tuplet. Finale is asking, “How many notes of what rhythmic value are to fit in the space normally allotted to
how many of what value?” Enter the number of each rhythmic value in the text boxes. Specify the rhythmic value itself by selecting the rhythmic-value from the
drop-down list.

For example, to define a standard eighth note duplet, you could fill out the values as “2 (eighths) in the space of 3 (eighths).”

5. Click OK. A note appears where you clicked with rests filling out the rest of the tuplet.
6. After entering a note with the caret, hold down Ctrl and press 9 (or numpad 9) to open the Simple Entry Tuplet Definition dialog box.
Define the tuplet as described above and click OK. A tuplet appears based on your settings.

Using a MIDI device with Simple Entry.


Using a MIDI keyboard for entry is an alternative to clicking notes onto the staff or typing them with your computer keyboard. To use an external MIDI device for entry,
ensure you have properly configured a MIDI Input device in the MIDI Setup dialog box. For MIDI setup instructions refer to the Installation & Tutorials manual.

1. Click the Simple Entry Tool 4. The Simple Entry Caret appears in the score. If it does not, from the Simple Menu, choose Simple Entry Options, check Use
Simple Entry Caret and click OK. Then ensure a rhythmic duration is chosen in the Simple Entry Palette.
2. From the Simple Menu, choose check Use MIDI Device for Input (if it is not checked already).
3. Activate the caret at the desired point of entry. Use the left and right arrow keys to move the caret left and right. Hold down Ctrl and press the up and
down arrows to move the caret up and down between staves.
4. Click a duration tool in the Simple Entry Palette, or type the corresponding keystroke in the numeric keypad (1-8). Note that if you are
using a notebook computer, as an alternative, you can turn off Num lock and press a number 1-8 on the QWERTY keyboard. You can also choose other tools,
such as the Tuplet or Tie tool to specify other properties for the note(s) you are about to enter.
5. Play the desired note or chord on your MIDI keyboard or other MIDI input device. The notes appear on the staff and the caret moves to the right.

After entering a note or chord, use any of the available modifier keystrokes to change the entry. To see a complete list of commands, from the Simple Menu, choose
Simple Edit Commands.

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Custom Fretboards

Custom Fretboards

To make a custom fretboard

1. Click the Chord Tool . The Chord Menu appears.


2. From the Chord Menu, select Show Fretboards and Manual Input.
3. Click on a note. The Chord Definition dialog box appears.
4. Type in a chord name in the Chord Symbol text box: Cmin for this example. If you now hit the Tab key (this lets Finale know you’re done typing
the chord name), you’d see that Finale has automatically selected a fretboard for the chord you entered. If you clicked OK, that fingerboard would appear in the
piece. For our example, let’s assume you want a different fingering of Cmin.
5. Click the Select button in the Fretboard section of the dialog. The Fretboard Selection dialog box appears. You could select from existing fretboards
or create a new one.
6. Click Create. The Fretboard Editor dialog box appears.
7. Enter the name of the group you will be creating. For example, “min. - root on the 5th string.” The name is only for your convenience, but you should
select a name that will help you identify this fretboard in the future.
8. From the Instrument list, choose an instrument. If the desired instrument isn't listed then see To define an Instrument for Custom Fretboards.
9. Click the Show Group Button. The dialog box expands to show the fretboards for this group, one for each root. One function of the group is to allow you to
specify what fretboards should appear if your piece is transposed; Finale gives you as much or as little control over this as you’d like.
10. Click on the C fretboard. The C fretboard now appears in the editing window.
11. If the fretboard you’re creating isn't positioned at the nut, click Show in the Fretboard Number section and enter a fret number. For
this example, enter 3.
12. Using the tools to the left of the fretboard editing window, you may now design your fretboard. For more details, see the Fretboard Editor
dialog box.

If you want a dot, click on the Dot tool, then click on the fretboard in the fretboard editing window to place the dot. All the other marking are entered the same
way, except the Barre.
A Barre is entered by choosing the Barre Tool and then clicking at the desired beginning point and dragging to the desired ending point. While you are
dragging you will see the barre being created.
To erase a marking select either the Eraser Tool or the tool associated with the mark to be removed, and then click on the mark. All marks on the fretboard
can be removed by click on the Clear Items button.

13. If this fingering will be used for all the roots in this group, then click the Generate button. Finale fills in the fretboards for the other roots.

In case you want to use one fingering for a certain set of roots and a different fingering for other roots, add each fingering at the first root where the fingering
change happens. Let's say the standard third fret Cmin for the C fretboard, and the open position Emin for the E fretboard. Now clicking generate uses the
nearest fingering to fill in each fretboard.

14. Click OK, Select and OK until you return to the document. You could select a chord from the group you’ve created (or from another group) to appear
in the piece by double-clicking on it then clicking OK. Note: The fretboards you have designed can be saved in a Chord & Fretboard library. See Save Library
dialog box.

To define an instrument for custom fretboards

1. Click the Chord Tool . The Chord Menu appears.


2. From the Chord Menu, select Show Fretboards and Manual Input.
3. Click on a note. The Chord Definition dialog box appears.
4. Type in a chord name in the Chord Symbol text box: Cmin for this example. If you now hit the Tab key (this lets Finale know you’re done typing
the chord name), you’d see that Finale has automatically selected a fretboard for the chord you entered. If you clicked OK, that fingerboard would appear in the
piece. For our example, let’s assume you want a different fingering of Cmin.
5. Click the Select button in the Fretboard section of the dialog. The Fretboard Selection dialog box appears. You could select from existing fretboards
or create a new one.
6. Click Create. The Fretboard Editor dialog box appears.
7. Click on the Edit Instrument button. The Fretboard Instrument Definition dialog box appears.
8. Click the New button, and then enter the name of the Instrument. Use a descriptive name such as Guitar - DADGAD, or whatever is appropriate.
9. Enter the number of strings and the number of frets.
10. Enter the pitches on the strings. Note: You can play the pitches by first clicking in the appropriate text field and then clicking the Listen button.
11. If this is the Instrument you will be using most of the time, then click the Set as Default button.
12. Click OK. You return to the Fretboard Editor with your newly defined instrument. Note: Fretboard Instruments can be saved in a Chord & Fretboard library. See
Save Library dialog box.

To define Fretboard Style for use with custom fretboards

1. Click the Chord Tool . The Chord Menu appears.

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Custom Fretboards

2. From the Chord Menu, select Show Fretboards and Manual Input.
3. Click on a note. The Chord Definition dialog box appears.
4. Click Edit Styles. The Fretboard Styles dialog box appears. Think of Fretboard Styles as “templates” for future fretboards you will be making.
5. Click New and give the style a name. Here you can control just about everything having to do with the way your fretboards will look. See Fretboard Styles
dialog box.
6. If this is the Style you will be using most often, then click the Set As Default button.
7. Click OK and OK to return to the document. Note: Fretboard Styles can be saved in a Fretboard Style Library. See Save Library dialog box.

Tips on Opening and Saving Fretboards and Styles.


1. The fretboards you have designed can be saved in a Chords & Fretboards library.
2. Fretboard Instruments are saved in a Chords & Fretboards library.
3. The Chords & Fretboards libraries are designed so that duplication of suffixes will be eliminated and only new fretboards will be added to the existing library as
long as suffixes match exactly in font attributes and positioning.

Chord Charts with Lyrics


To create a chord chart with lyrics, without staves or notation (as seen below) is entirely possible in Finale. This can be done by adding lyrics and chords to a notation
staff, and then hiding the staff.

To create a chord chart with lyrics

1. Create a new single-staff document. You can also use the LyricsChords template located in the General Templates folder. See Finale Score Templates.
2. Enter the melody in layer one, and then add the chords and lyrics. Since we'll be hiding the staff, the exact melody isn't required, just notes or rests
to attach the chords and lyrics to. For more on adding chords and lyrics, see Chord Symbols and Lyrics.

3. Choose the Staff Tool .


4. Double-click the staff. The Staff Attributes dialog box appears.
5. Click the Staff drop down menu, and choose 0-line with Full Barline.
6. Under items to display, uncheck everything.
7. Under Options, uncheck Display Rests in Empty Measures.
8. Click the Select button under Alternate Notation.

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Custom Fretboards

9. Choose Blank Notation and click OK.


10. Click OK to return to the document. Now, let's remove any remaining measure numbers.

11. Choose the Measure Tool .


12. From the Measure Menu, choose Measure Numbers > Edit Regions.
13. Click Delete to remove all measure number regions.
14. Click OK. Now, we’ll adjust the lyric positioning.

15. Choose the Lyrics Tool . The lyric positioning triangles appear on the left side of the score.
16. Click and drag the leftmost positioning arrow to move all the lyrics into place.
17. Use the Page Layout Tool to finalize the layout. For example, you might want to drag the left and right page margins towards the center of the page a
bit. For more on page layout, see Page layout.

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Reverse stems

Reverse stems
A reverse stem is one that’s drawn on the wrong side of its notehead; it’s encountered most frequently in conjunction with cross-staff notes, like this:

Using the Special Tools Tool, you can create a reverse stem on any note or chord.

To create a reverse stem

1. From the Window Menu, choose Advanced Tools. Click the Special Tools Tool , and click the measure in question.

2. Click the Reverse Stem Tool . A handle appears above and below each note or chord.
3. Click the upper handle (for an upstem note), or the lower handle (for a downstem note). Finale responds by attaching the stem to the opposite
side of the notehead. Bear in mind that you should decide which handle to click (upper or lower) based on the stem’s direction.

To temporarily display reverse-stemmed notes with normal stems


Once you’ve created reverse stemming, you may find your score easier to edit if stems are drawn on the correct sides of their noteheads; if so, follow the procedure
below.

1. From the Document Menu, choose Document Options, then select Stems. The Stem options appear.
2. Click Display Reverse Stemming to de-select it. When this option is off, Finale draws every stem on the original side of its notehead.
3. Click OK (or press enter). At any time, you can restore all affected stems to reverse-stem status by turning Display Reverse Stemming on again. (You might
want to turn off Display Cross-staff Notes in Original Staff at the same time you deselect Display Reverse Stemming, so that all notes are temporarily drawn
without their unusual beaming configurations.)

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Continuous data

Continuous data
Continuous data is MIDI information that’s not related to individual notes. Usually the term refers to devices on your MIDI keyboard that modify the notes in some
electronic way: volume and sustain pedals (and other MIDI controllers), pitch and modulation wheels, channel pressure (aftertouch), and breath controllers are some
examples. You can record any continuous data when you use HyperScribe or the Transcription Mode of HyperScribe to transcribe your music; furthermore, using the
MIDI Tool, you can graphically edit this data.
In order to playback continuous data recorded with HyperScribe, you must first set Human Playback to None. To do this, click the speaker icon in the Playback
controls to display the Playback Settings dialog box. Click the Human Playback drop-down menu and choose None. Then click OK.To do this, expand the Playback
Controls to display the additional options. Click the Human Playback drop-down menu and choose None.
This entry describes the general recording, playback, and editing of standard controllers. For information on specific controllers, see their separate entries: Channel
Pressure; Patches; Pedal markings; Pitch wheel; and Volume.

To specify which continuous data you want to record with HyperScribe


Because continuous data consumes memory and disk space, you may opt not to record all types of this data when you use HyperScribe. You can specify which types
of continuous data you want to record.

1. Before recording a HyperScribe Session, from the HyperScribe menu, choose Record Continuous Data. The Record Continuous Data dialog
box appears.
2. Click Listen. Briefly play each controller or wheel you want to record in your upcoming performance. As you tap each pedal or wiggle each wheel, Finale
records their continuous data numbers in the four text boxes. If you record four controllers or less, any continuous data types you don’t specify in this dialog box
will not be recorded. If you record more than four controllers, Finale will record all continuous data during the Hyper Scribe session. See Record Continuous Data
dialog box.
3. Click OK (or press enter). Proceed with your recording. See Recording with HyperScribe.

To specify which continuous data you want to record in Transcription Mode


Because continuous data consumes memory and disk space, you may opt not to record all types of this data when you use the Transcription Mode.

1. Before recording a performance with Transcription Mode, choose Input Filter from the Transcription Menu. Finale displays the MIDI Input
Filters dialog box. You can directly enter the controller numbers you want recorded, if you know them. It’s simpler, however, to specify the controllers by playing
them.
2. Click Listen. Briefly play each controller or wheel you want to record in your upcoming performance. As you tap each pedal or wiggle each
wheel, Finale records their continuous data numbers in the four text boxes. Be sure to also play a note or two, to tell Finale that it should record notes, as well.
Any continuous data types you don’t specify in this dialog box won’t be recorded.
3. Click OK (or press enter). Proceed with your recording.

To retain continuous data for score playback


When you record a performance in Transcription Mode, Finale temporarily remembers the continuous data that you generated during the performance. Normally,
however, Finale discards this information when it transcribes your performance into standard notation.
If you’ll later want to hear and edit this data, however, make sure you follow these steps before transcribing:

1. Record a performance in Transcription Mode. See Transcribing a sequence.


2. Before saving or transcribing the performance, click Save Continuous Data. If Play Recorded Continuous Data is selected in the Playback
Options dialog box (see Playback), Finale will play back your transcribed performance applying the same controllers and wheels you did.

To edit continuous data


If you’ve saved continuous data from a performance in Transcription mode, you can edit it directly even when the performance has been transcribed into standard
notation.

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool .
2. Choose Continuous Data from the MIDI Tool Menu. The View Continuous Data dialog box appears, and you can choose the MIDI data you want to edit.
3. Specify the continuous data you want to edit. If the continuous data type you want to edit is listed in the dialog box, select it from the drop-down menu
(Sustain Pedal, Modulation Wheel, and so on). If not, click the Listen checkbox and play the controller. Finale enters the correct controller number in the text box
automatically.
4. Click OK (or press enter).
5. Select the measures whose continuous data you want to edit. Click to select one measure, shift-click to select additional measures, drag-enclose to
select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit Menu. If you want to edit only a few
measures on a single staff, select them, and then double-click the highlighted region to enter the MIDI Tool split-window. Drag through the display area above
the notes whose continuous data you want to edit.
6. Edit the selected region by choosing the appropriate command from the MIDI Tool Menu. Choose Set To to specify a uniform value for the
controller or wheel setting for all notes in the selected region. Choose Scale to create a gradual change in the continuous data setting over the selected region.
Choose Add to add a positive or negative amount to all the controller’s values in the selected region. Choose Percent Alter to change the values in the selected
region by a percentage of their original amounts. Choose Limit to specify a maximum or minimum value for the continuous data in the selected region. (See also
Set to dialog box; Scale dialog box; Add dialog box; Percent Alteration dialog box; or Limit dialog box.)

To copy or erase continuous data


See MIDI —To copy or erase captured (or edited) MIDI data.

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Continuous data

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Tempo (for playback)

Tempo (for playback)


This entry includes information on setting actual tempos for playback. To create metronome marking tempo indications

( ), see Metronome markings. See also Tempo markings.


To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap.
For information regarding tempo fluctuations while recording or transcribing a real-time performance in the Transcription Mode of HyperScribe, see also Playback and
Transcribing a sequence .
Human Playback automatically interprets tempo markings and applies them to playback. If Human Playback is turned on in the Playback Settings, use the Human
Playback Preferences dialog box to customize Human Playback’s interpretation.

To set the initial playback tempo


The tempo you set with this procedure is the default starting tempo Finale uses when it plays back your score by “reading” the notated, quantized music. If your score
is a transcription of a performance you recorded with the Transcription Mode, however, you also have the option of hearing a playback with the actual tempo of the
original performance, including any fluctuations. For a complete discussion of this process (capturing MIDI data), see To specify playback parameters.

1. From the Window Menu, choose Playback Controls. Playback Controls appears.
2. Click the expand arrow. The Playback Controls expands, offering additional controls.
3. Enter the starting tempo in the Tempo text box. The number you type here is the standard metronome setting (beats per minute). Use the drop-down
list to set the note value—quarter note, for example.

Note: Expressions defined to set the playback tempo (such as those created with the Create Tempo
Marking plug-in), override the tempo set in the playback controls.

To modify the playback tempo


At any point in the score, you can insert a functional tempo marking (such as Presto or Adagio) that will actually change the tempo during playback (see Tempo
markings). For gradual tempo changes, see TempoTap.

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Dynamics

Dynamics
See also Crescendo/Decrescendo; Key velocity; Auto-Dynamic Placement Plug-in, Align/Move Dynamics Plug-in.
You can place dynamic markings either into all staves or one staff at a time.
Dynamics, along with other Text Expressions, are stored in a Text Expressions Library. Finale's Document Styles all include libraries with dynamic
markings so if you begin with the Setup Wizard (or with a template), a list of dynamic markings will be available in the Expression Selection dialog box
as soon as the document opens. If you’re not working from the Maestro Font Default file (File > New > Document Without Libraries), then you’d be
wise to load the Text Expressions Library provided with the program (File > Load Library), which saves you the trouble of creating dynamics anew.
Dynamics may be purely graphic or they may be defined for playback. (The predefined Text Expression dynamics provided with Finale have been defined for playback
—but feel free to modify them, as described below.) If your synthesizer is velocity (touch) sensitive, you’ll hear Finale respond to these dynamic markings as the music
plays back.
If you want to create dynamics for playback only, and don’t need the actual markings to appear in the score, you can quickly edit key velocity over a selected region
with the MIDI Tool; see Key velocity for instructions.

To design a dynamic marking


If you started your document from the Document Setup Wizard, a template, or by going to the File Menu and choosing New > Default Document, all of the most
common dynamic markings are defined for you already. You only need to go through the following steps if you want to create your own dynamic marking, or if you
simply want to learn the process.

1. Click the Expression Tool . Double-click any note or measure. The Expression Selection dialog box appears.
2. Click Create. The Text Expression Designer appears.
3. Type the letter that corresponds to the dynamic marking you want to create. A full list of the dynamic markings in the Maestro music font

appears on the Quick Reference Card. For example, lower-case f is the marking, capital F is the marking, and so on.
4. Highlight the text.
5. From the Text Menu, choose Font. Set the font to 24-point Maestro type, and click OK. You can use characters from other fonts if you prefer.
6. Click OK twice to exit the dialog boxes. The Expression Assignment dialog box appears. If you want the new dynamic marking to appear in the score,
click OK. If you simply want to add it to the palette without actually placing it into the score, click Cancel.

To insert a dynamic marking into the score


See also Auto-Dynamic Placement.

1. Click the Expression Tool .


2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box
appears. If necessary, you can scroll up or down to see more Text Expressions.
3. Change the setting for Note Expression or Measure Expression if you wish, then double-click the desired dynamic. If you’re placing a
dynamic marking as a measure expression and you want to specify the staves in which it’s to appear, click the Staff List radio button and select a staff list already
created (or new if you don’t see the one you want). In the Score column, click for each staff in which you want to place the dynamic (an X appears). (You can
also specify whether or not the dynamic should appear in a staff’s extracted part by placing an X in the Part column. The Part column, incidentally, also
determines which staves in the full score will be affected by the expression’s playback effects.) When you’re finished configuring the Staff List, click OK (or press
enter).
4. If you’re placing a measure expression, select Individual Positioning, if desired. Individual Positioning permits you to move the resultant dynamic
marking independently in each staff. (If you don’t select this option, the mark will appear in the same place in every staff; when you drag any one, all others will
move simultaneously.)
5. Click OK (or press enter).

To move or delete a dynamic marking


See also Align/Move Dynamics Plug-in.

1. Click the Expression Tool .


2. Drag the handle to move the marking; select it and press delete to remove it.

To define a dynamic marking for playback


The dynamics preloaded into the Maestro Font Default file (as well as those in the Text Expression Library) have already been defined for playback. You can use these
steps, however, to alter such definitions (to make a forte louder, for example).

1. Click the Expression Tool . If the marking hasn’t yet been placed in the score and you simply want to edit its definition from within the Selection
palette, double-click any measure or note; when the palette appears, click the marking in question, click Edit, and skip the next instruction.
2. Ctrl-double-click the marking’s handle. The Text Expression dialog box appears.
3. Click the Playback tab. The playback options appear.
4. From the Type drop-down list menu, chooseKey Velocity. Enter a velocity value in the Set To Value box. The value you enter here is the
MIDI key velocity value that Finale will apply to all the music, beginning at the point where it first encounters the dynamic marking and ending only when it
encounters another marking. MIDI velocity is measured on a scale from 0 (silent) to 127 (very loud). If you’re editing a dynamic that came with Finale, you’ll

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Dynamics

notice that a velocity value has already been defined; feel free to change it. The changes you make only affect the definition of the dynamic marking in this
document, although you can store this document’s set of modified dynamic marks in a Text Expressions Library, ready for use in other documents, by choosing
Save Library from the File Menu. Then you can “borrow” the modified markings for use in other documents.
5. Click OK (or press enter).

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Rallentando

Rallentando
In Finale a rallentando can be a playback effect, a graphic marking in the score, or both. The Rall. marking itself can appear in one staff or several specified staves.

Note: Finale’s Human Playback feature recognizes text such as “rall.” and applies tempo adjustments
accordingly during playback. See Playback Settings dialog box for details. To use manually defined
rallentando markings for playback, set Human Playback to None.

To place the Rall. marking into a score

1. Click the Expression Tool .


2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box
appears. If the marking already appears in the list, click it and skip to the step 5.
3. Click Create. The Text Expression Designer dialog box appears.
4. Type “Rall.” or “Rallentando.” Highlight the text, then from the Text Menu, choose Font to change the type style (to italic type, for example).
5. Click OK or Select in each dialog box until you return to the document.

To move or delete a Rall. marking

1. Click the Expression Tool .


2. Drag the handle to move the marking. Select it and press the arrow keys to “nudge” it for fine positioning. Select it and press delete
to remove it.

To define a Rall. marking for playback


The instructions below describe how to assign a tempo change to an expression that can be added to the score at any time. To easily record, or ‘conduct,’ a unique
tempo change for any region, use TempoTap.

1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click any note. When the Expression Selection dialog box
appears, click the desired symbol, click Edit, and then skip ahead to step 3.
2. Ctrl-double-click the handle. The Text Expression Designer dialog box appears.
3. Click the Playback tab to display the playback options. From the Type drop-down list, choose Tempo; select Execute Shape, and
click the Execute Shape Select button. Proceeding through the dialog boxes, click as follows: Create; Shape ID; Create. You’re now in
the Shape Designer.
4. From the Shape Designer Menu, choose Rulers and Grid. The Rulers and Grid dialog box appears.
5. Click Eighth Notes, type 1, and click OK. From the Show submenu of the Shape Designer Menu, choose Grid. The grid appears; each
imaginary vertical gridline represents an eighth note’s duration; each horizontal line represents a tempo change of one beat per minute.

6. Click the Line Tool . You’re about to draw a graph of the rallentando’s effect on playback. To use the Line Tool, you drag it across the drawing area. To
make your shape match the one pictured here, observe the H: and V: numbers as you move the cursor, and stop when the H: number is 4 and the V: number is –
5.
7. Draw a line, as shown:

You should have a line that slopes downward from the small white circle (the origin). In this example, its width (the H: measurement) is 4, meaning four eighth
notes’ duration; this rallentando will last for a half note. The line’s height, 5, represents the number of beats per minute the tempo will be slowed by this
rallentando—at the moment, that’s not much of a tempo change. You’ll have a chance to adjust both of these effects.

8. Click OK then Select to return to the Executable Shape Designer dialog box.
9. In the Level Scale boxes, enter 8:1. You probably wouldn’t even be able to perceive a rallentando that only slowed down by five beats per minute. By
changing the Level Scale, you’re multiplying the degree of rallentando. If you enter 8:1, the tempo will change by 40 beats per minute—a much more satisfying
rallentando.

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Rallentando

Note that, at this point, you could also specify a different Time Scale, which would determine how
long the executable shape will last. When you designed the shape, it crossed four gridlines (each
representing an eighth note duration, for a total of one half note). Change the Time Scale to multiply
that rate of rallentando; a Time Scale of 1:2 would create a rallentando lasting half as long (a quarter
note), and 3:1 would create a rallentando that lasts three times as long.

10. Click OK or Select in each dialog box until you return to the document. Listen to the rallentando in playback and see how it works. If it doesn’t
slow down enough, increase the Level Scale. If it lasts too long, decrease the Time Scale. (The effect of the rallentando will vary according to the current tempo.)

To return to the original tempo after a rallentando (a tempo)

1. Click the Expression Tool .


2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box
appears.
3. Click Create. The Text Expression Designer dialog box appears.
4. Type “a tempo.” Highlight the text, then from the Text Menu, choose Font to change the type style (to italic type, for example).
5. Click the Playback tab to display the playback options. From the Type drop-down list, choose Tempo.
6. Choose the note duration that is your time signature’s beat duration. If you are in 2/4, 3/4, or 4/4 time, choose the quarter note. If you are in 2/2 or
3/2 time, choose half note. If you are in 3/8, 6/8 or 9/8 time, choose the eighth note or dotted quarter note.
7. Select Set to Value and enter the tempo you want it to playback.
8. Click OK.

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Key velocity

Key velocity
Key velocity, also called note velocity, is the MIDI data that describes how hard a key was struck. A note’s key velocity usually determines its volume, although velocity
can be programmed to affect other playback elements, depending on your MIDI keyboard. Finale can record the key velocity for every single note you play using the
HyperScribe Tool. See also Auto-Dynamic Placement Plug-in.
There are two ways to affect the key velocity of notes in your score. The quickest method uses the MIDI Tool to directly edit note (key) velocities. The other method
involves placing into the score standard musical markings that have been defined for playback (an accent, a forte mark, and so on).

To edit key velocity with the MIDI Tool

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Choose Key Velocities from the MIDI Tool Menu, if it’s not already
selected.
2. Select the region whose playback data you want to affect. Click to select one measure, shift-click to select additional measures, drag-enclose to
select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit Menu.
3. If the selected region is only on one staff, double-click the highlighted area. You enter the MIDI Tool split-window. At the bottom of the window
you see the music on the staff you selected. Above each note is a thin vertical line; in essence, these lines are a bar graph of the key velocities of the displayed
notes. Click the up, down, left, and right arrow buttons to move through the score.

While in the MIDI Tool split-window, you have note-by-note editing powers for the displayed notes. To select the notes whose velocities you want to edit,
drag through the graph area of the window, highlighting it; the handles of all displayed notes are selected. You can also click an individual note’s handle, or
shift-click additional handles, or drag-enclose groups of handles—or even shift–drag-enclose additional groups.

4. Choose the appropriate command from the MIDI Tool Menu.Set To gives all selected notes a velocity value you specify. Scale creates a smooth
gradation from one value to another (ideal for crescendo effects). Add alters every selected note’s velocity by a value you specify. Percent Alter alters a note’s
velocity by a percentage of its current value. Limit lets you specify a maximum and minimum velocity value for the selected notes. Alter Feel gives you
selective control over downbeats, offbeats, and backbeats, letting you alter each by an absolute or percentage of current value (ideal for “boosting the
backbeat”—in other words, making the backbeats louder). Randomize changes the selected notes’ velocities by a random amount, to the degree you specify
(ideal for giving a more human “feel” to the piece).
5. If you have the MIDI Tool split-window open, and want to hear the effects of your work along the way, choose Play from the MIDI
Tool Menu. It’s important to understand that you’re editing the performance data of the selected music. Performance data is a set of velocity (and Start and
Stop Time) playback information that Finale associates with each note in the score. At any point, you can hear your music played strictly as it appears in the
score, or you can hear it played using the captured MIDI data (from the Document Menu, choose Playback Options).

If the music you’re editing was from a performance in HyperScribe, and selected Retain Key Velocities in the Quantization Settings dialog box (or if you
clicked Save Key Velocities before transcribing in Transcription More), in the MIDI Tool you’d see (and be able to edit) the actual key velocities of the notes as
you originally played them.

6. When you’re finished, close the MIDI Tool split-window. In order to hear the changes you made, choose Playback Controls from the Window Menu.
Click the expand arrow, and then Playback Options. Make sure Play Recorded Key Velocities is selected. If it is, you’ll hear the score played back using the
performance data—in other words, you’ll hear the effects of your velocity editing whenever you play back your score.

To copy or erase key velocity data


See MIDI —To copy or erase captured (or edited) MIDI data.

To affect the key velocity of a single note (Articulations) or Expressions


See Articulations; Crescendo/Decrescendo; Dynamics.

To record key velocity information


For complete information on recording with the HyperScribe Tool, see Transcribing a sequence and Recording with HyperScribe.

1. From the MIDI/Audio Menu, choose Quantization Settings and then click More Settings. Ensure Retain Key Velocities is checked.
2. From the Document Menu, choose Playback Options. The Playback Options dialog box appears.
3. Make sure Play Recorded Key Velocities is selected and click OK. When Play Recorded Key Velocities is selected, Finale uses the original key
velocity information it recorded when you created the performance—even if you edit the durations of notes in the score. You can edit the captured velocity
information visually by using the MIDI Tool (see “To edit key velocity with the MIDI Tool,” above).

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Working with the Instrument List

Working with the Instrument List

To assign staves to MIDI channels and instruments


1. From the Window Menu, choose Instrument List. The Instrument List window appears. Down the side of the screen you see the names of the staves in
your document. At the right side of the screen, you can see the Instrument each staff is assigned to (and the MIDI channel that Instrument uses).
2. To change the MIDI channel for a staff, click in the Chan column across from its name, and type a new channel number. Keep in mind
that you’re now changing this Instrument’s channel; if any other staves share the same Instrument, their MIDI channel numbers will change, too.

You can also change the channel for an individual Layer of a staff. To do so, click the triangle to the left of the staff name; Finale displays new rows of
information that correspond to the staff’s Layers. Change any Layer’s Instrument assignment, using the Instrument drop-down list across from its name, or just
edit its Channel. If you want the Layers to have different MIDI channels, remember to assign them to different Instruments first.

3. Click the staff name’s upward-pointing arrow to “collapse” (hide) the list of layers.

If you plan to re-use a typical patch/channel configuration, consider defining it, and naming it, as an Instrument. To do so, choose New Instrument from the
Instrument drop-down list across from any staff name. Enter the patch and channel numbers, and click OK. Then, the next time you want to re-create a
particular channel and patch configuration for a particular staff, your new Instrument's name will appear in the drop-down list for quick access.

To load an Instrument Library


One of the advantages of Finale’s Instrument List is that, with a single command, you can configure a score with an elaborate MIDI setup, complete with channels,
patch numbers, and their specific program names (“Breathy Winds.” for example).

1. Choose Load Library from the File Menu. The Open Library dialog box appears.
2. Navigate to your Libraries folder. Double-click the Instrument library you want to open. We’ve provided Instrument libraries for several popular
MIDI instruments. You can, of course, create your own.

Once you’ve loaded a library, open the Instrument List. When you click the Instrument drop-down list (in the Instrument column across from a staff name),
you’ll see a list of a dozen or more Instruments, each set up to match the names and patch information on your MIDI Instrument. Simply choose a program
name to assign it to a staff. (You can view the choices more clearly if you select the View by Instruments button.)

If you customize a MIDI configuration, or own a MIDI instrument for which we haven’t provided a
library, it’s easy to create your own. Using the New Instrument command in the Instrument drop-
down list you can create several Instrument name/channel/patch setups. When you’re finished,
choose Save Library from the File Menu, select Instruments, and click OK. Load this library the next
time you want a quick way to assign channels and sounds to the staves of a score (see Save Library
dialog box for a more complete discussion of libraries).

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Staff lines

Staff lines
A staff can have as many as 100 staff lines, or you can create a staff with no lines. You can also set
the thickness of staff lines.
If you’re interested in making the staff lines closer together or farther apart, use the Resize Tool to
change the overall size of the music, as described in To reduce or enlarge all the music on a page (or
the entire piece). Once that’s done, make the notes themselves smaller (or larger) relative to the staff
by choosing Fonts in the Document Options dialog box (under the Document Menu), clicking the
Music button, and specifying a slightly smaller (or larger) point size for the music font in which they’re
displayed.

To specify the number of lines for a staff

1. Click the Staff Tool , and double-click the staff handle you want to modify. The Staff Attributes dialog box appears. Choose Other from the
Staff drop-down list.
2. Select Custom from the Staff Setup dialog box.
3. Select the number and position of the staff lines in the Staff Setup window. Click the handles to hide or show staff lines.
4. If you want to specify just the number of staff lines, select Staff Lines and type the number of lines into the Staff Lines text box. See Staff Setup dialog box for
more details.
5. Click OK (or press enter) twice.

To set the staff line thickness


1. From the Document Menu, choose Document Options and select Lines and Curves. The Line and Curve options appear. The units are whatever
you’ve selected using the Measurement Units command (Edit Menu).
2. Enter a new value in the Staff Lines text box. Click OK (or press enter).

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Staff names

Staff names
You can actually specify two names for every staff in a document: a full name (such as Trumpet 1 in B ), which appears in the first
system of the document, and a second name (often abbreviated, such as Tpt. 1), which appears on all subsequent systems.

To create or edit a staff name


Finale always displays handles on each staff name you enter. If you don’t enter a staff name, but want all staff name handles to
appear, make sure that Show Default Staff Names is selected (a checkmark appears next to the command) in the Staff Menu. If Show
Default Staff Names is not selected, no staff name handles will appear for unnamed staves. When the command is selected, Finale
displays handles on all staff names including a staff’s default, non-printing name, which is enclosed in square brackets.

1. Click the Staff Tool . The Staff Menu appears.


2. Ctrl-click a full or abbreviated staff name handle. The Edit Text window appears.

Note: You can also access the Edit Text window by clicking the Edit buttons for full or abbreviated
staff names in the Staff Attributes dialog box. For more information, see Staff Attributes dialog box.

3. Type a new staff name in the window, or make changes to an existing staff name. Change fonts and styles using Finale’s text editing; see Text
and Edit Text window for details.
4. Click OK to confirm the name.

To reposition staff names (globally)


These instructions show you how to set the default position for all full and abbreviated staff names, except for those names that have been positioned individually. You
can override the default positions on a staff-by-staff basis. See “To reposition staff names (individually).”

1. Click the Staff Tool . The Staff Menu appears.


2. Choose Full Staff Names or Abbreviated Staff Names from the Set Default Name Positions submenu of the Staff Menu. The Position Full
Staff Name--Default or Position Abbreviated Staff Name--Default dialog box appears, depending on your menu selection.
3. Specify the alignment of the staff name by choosing Left, Right, or Center from the Alignment drop-down list. Finale automatically selects
the matching setting (Left, Right or Center) from the Justification drop-down list.
4. Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or Forced Full from the Justification drop-
down list. You may need to change the justification for multi-line names.

Note: choosing Full justification will currently have the same effect as choosing Left justification, since
each line is treated as the end of a paragraph.

5. Drag the name in the display area to adjust its position, or enter new positioning numbers into the H: and V: text boxes, then click
OK. In the currently-selected measurement units, the H: value determines the horizontal distance between the beginning of the staff name and the left edge of
the staff. The V: value determines the vertical distance between the top of the staff name and the top line of the staff.

Tip: If your changes don’t appear to take effect, display the Staff Attributes dialog box and make sure
that the Position checkbox is not selected. Or, select the staff name handles and press backspace.

To reposition staff names (individually)


The instructions in “To reposition staff names (globally).” show you how to set the position for all staff names at once. You also have control over the position of each
individual staff name.

Tip: You can create a group for an instrument that uses two staves, then Finale will automatically
center the group name between the two staves. For details, see Groups—To group staves.

1. Click the Staff Tool . The Staff Menu appears.


2. Drag the handle of a full or abbreviated staff name to reposition the staff name on-screen.
3. To specify the exact positioning of a staff name, click the staff name handle, then choose Full Staff Name or Abbreviated Staff Name
from the Position Names submenu of the Staff Menu. (Or, ctrl-shift-click the staff name handle.) Finale displays the Position Full Staff Name or the
Position Abbreviated Staff Name dialog box.
4. Specify the alignment of the staff name by choosing Left, Right, or Center from the Alignment drop-down list. Finale automatically selects
the matching setting (Left, Right or Center) from the Justification drop-down list.
5. Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or Forced Full from the Justification drop-
down list. You may need to change the justification for multi-line names.

Note: Choosing Full justification will currently have the same effect as choosing Left justification, since
each line is treated as the end of a paragraph.

6. Drag the name in the display area to adjust its position, or enter new positioning numbers into the H: and V: text boxes. The H: value
determines the horizontal distance between the beginning of the staff name and the left edge of the staff. The V: value determines the vertical distance between
the top of the staff name and the top line of the staff.

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Staff names

7. Click OK when you have entered the position settings.

Tip: To revert the position of the full or abbreviated staff name to its default position, select the staff
name handle and press backspace. (Or, make sure that Position is not selected in the Staff Attributes
dialog box.)

Note: You can also position an individual staff name from the Staff Attributes dialog box. Click the
Position button for the full or abbreviated staff name to display the appropriate Position dialog box. For
information about the Position settings in the Staff Attributes dialog box, see Staff Attributes dialog
box.

To set the initial font for staff names


1. From the Document Menu, choose Document Options and select Fonts to set the initial font for new names that you create. The Fonts
options appear, listing various elements for which you can set the default font.
2. Choose Staff Names (Full) from the Text drop-down list.
3. Click the Set Font button next to the Text drop-down list. The FontFont dialog box appears.
4. Set the initial font, size, and style to use when creating full staff names. Click OK to confirm the changes.
5. Repeat this process for abbreviated staff names—Choose Staff Names (Abbreviated) from the Text drop-down list.
6. Click OK to confirm your changes.

To set the font for staff names (globally)


See Change Fonts Plug-in and Global Staff Attributes.

To hide a staff name (full score)

1. Click the Staff Tool . The Staff Menu appears.


2. Select a staff, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a staff, a staff handle, or a staff name.) Or, choose Edit Staff
Attributes from the Staff Menu without selecting a staff. The Staff Attributes dialog box appears. To display the attributes of another staff, choose the staff from the
Staff Attributes for drop-down list. (Or, use the arrow controls to select another staff.)
3. In the Items to Display section, click Staff Name in Score to deselect it, then click OK. Finale remembers the staff name, but hides it until you
click the Staff Name in Score checkbox again. This setting controls whether the staff names you enter will appear on your printed score. Default names enclosed
in square brackets only display on-screen; they never appear on your printed score.
4. Click OK to confirm your changes.

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Groups

Staff groups
Every staff in Finale can be assigned to one or more groups. Grouped staves have several important characteristics. First, you can control how barlines are drawn for
the staves in a group (see Barlines). Second, you can add a bracket to grouped staves (see Brackets: Staves). Third, when you’re extracting parts, the Extract Parts
command gives you the option of extracting groups as well as staves, making it possible for pairs of staves (piano, for example) to be extracted together, along with a
solo part.
Groups in linked parts are completely independent, although new linked parts can inherit the groups as they exist in the Manage Parts dialog box. See Groups in linked
parts.

To group staves

1. Click the Staff Tool . The Staff Menu appears.


2. Select all the staves you want included in the group, then choose Add Group and Bracket from the Staff Menu. The Group Attributes
dialog box appears.
3. Select a staff from the Staff and Through drop-down lists to set the starting and ending staves for the group. All staves in between will
also be part of the group.
4. Use the settings in the Group Attributes dialog box to set the group name, bracket, and barline for the new group. For more information,
see Barlines, Brackets: Staves, and Group Attributes dialog box.
5. Click OK to confirm your changes.

Note: You can also group and ungroup staves in optimized systems in Page View if you need to
change the definition of a group on a system-by-system basis. For information on optimizing, see
Optimizing systems.

To remove a group

1. Click the Staff Tool . The Staff Menu appears.


2. Click a group handle to select the group.
3. Choose Remove Group from the Staff Menu, or press delete. Finale removes the group definition for the staves in the selected group.

To change the attributes of a group

1. Click the Staff Tool . The Staff Menu appears.


2. Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also double-click a group handle or choose Edit Group
Attributes from the Staff Menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the arrow
controls to select another Group ID number.
3. Use the Group Attributes dialog box to change and reposition the group name, add and reposition the bracket, and choose a barline
style for the group barline. For details, see Group Attributes dialog box.
4. Click OK to confirm your settings.

To add staves to a group

1. Click the Staff Tool . The Staff Menu appears.


2. Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also double-click a group handle or choose Edit Group
Attributes from the Staff Menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the arrow
controls to select another Group ID number.
3. Add staves to a group by choosing different staff names from the Staff and Through drop-down lists. All staves in between will also be part
of the group. For details, see Group Attributes dialog box.
4. Click OK to confirm your settings.

To remove staves from a group


To exclude a currently grouped staff from its group, you’ll need to change the staves that are included in the group.

1. Click the Staff Tool . The Staff Menu appears.


2. Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also double-click a group handle or choose Edit Group
Attributes from the Staff Menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the arrow
controls to select another Group ID number.
3. Adjust which staves are included in a group by choosing different staff names from the Staff and Through drop-down lists. All staves in
between will also be part of the group. For details, see Group Attributes dialog box.
4. Click OK to confirm your settings.

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Groups

To configure a multiple-staff part to optimize like a single staff.

1. Click the Staff Tool . The Staff Menu appears.


2. Click a group handle, then choose Edit Group Attributes from the Staff Menu.
3. Click the drop-down next to Group Optimization and choose Only Remove if All Staves Empty.
4. Click OK. Now, when you optimize your score, Finale will only remove the staves in the group you selected if all staves in the group are empty. For more
information on optimization, see Optimizing systems.

Note: After a system has been optimized, edits to groups and brackets only apply to that system. To
edit groups and brackets on optimized systems en mass, use the Update Groups and Brackets plug-
in.

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Staff size

Staff size
Any staff within any system can be larger or smaller than the other staves. For specific information on creating a cue staff, see Cue notes. For information on staff line
alterations (such as how many, their thickness, and their distance apart), see Staff lines.

To reduce or enlarge a staff


You must be in Page View to reduce or enlarge a staff.

1. Click the Resize Tool .


2. Click just to the left of the staff you want to resize or right-click on the staff and select Resize Staff from the contextual menu. The
Resize Staff dialog box appears.
3. Enter the desired reduction or enlargement percentage. Specify the region of systems you want to resize, and click OK. To restore the
staff to normal size, click the Resize Tool, and then click to the left of the staff. When the dialog box appears, type 100 (%).

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Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in

Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in
How to get there
From the Plug-ins Menu, choose Note, Beam, and rest Editing, and then Notes and Rests (Hide) or Notes and Rests (Show).

What it does
Use the Selection Tool to select a region from which you wish to hide or show notes from all entries, then choose the Notes and Rests (Hide) or Notes and Rests
(Show) command from the Plug-ins Menu. The plug-in allows you to hide all notes and rests in the current selection. You can also use it to make all hidden entries
visible again.
This plug-in is equivalent to pressing “O” in Speedy Entry to hide a note or a rest.
Hidden entries are not printed and do not play back, but they can be used to influence the positioning of other musical items. A typical usage is to hide rests in
contrapuntal keyboard music.

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Channel Pressure

Channel Pressure
Channel Pressure is a type of MIDI information, also called monophonic aftertouch, that describes how much pressure you apply to a key while it’s being held down.
Finale lets you record, edit, and play back Channel Pressure information. (Channel Pressure data describes the overall pressure level for an entire MIDI channel at
any moment. Contrast with Key Pressure data, which describes the pressure being applied to each individual key; some MIDI devices respond to this kind of data.
Finale records and plays back Key Pressure data, but you can’t edit it.)
When you record a performance with the Transcription Mode of HyperScribe, you can specify whether or not you want Finale to retain your Channel Pressure data so
that you can later hear it applied to the playback of your transcription. For a full description of captured MIDI information, see Tutorials.

To retain Channel Pressure data for score playback


Record a performance in Hyperscribe. To record continuous data, see Record Continuous Data dialog box.

To edit Channel Pressure data

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool .
2. Select the region whose playback data you want to edit. Click to select one measure, shift-click to select additional measures, drag-enclosed to
select several on-screen measures, click to the left of the staff to select the entire staff, or choose Select All from the Edit Menu.

3. Choose Continuous Data from the MIDI Tool Menu. Click Channel Pressure; click OK.

If you want to edit only one staff, double-click the highlighted region to enter the MIDI Tool split-window. Drag through the display area above the notes
whose Channel Pressure you want to edit.

4. Edit the selected region by choosing the appropriate command from the MIDI Tool Menu. Choose Set To to specify a uniform value for the
Channel Pressure of all notes in the selected region. Choose Scale to create a gradual change in Channel Pressure values over the selected region. Choose Add
to add a positive or negative amount to all notes in the selected region. Choose Percent Alter to change the Channel Pressure values in the selected region by a
percentage of their original amounts. Choose Limit to specify a maximum or minimum Channel Pressure value for the notes in the selected region. (See also Set
to dialog box; Scale dialog box; Add dialog box; Percent Alteration dialog box; Limit dialog box.)

To copy or erase controller data


See MIDI —To copy or erase captured (or edited) MIDI data.

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Patches

Patches
In the world of MIDI music, there doesn’t seem to be a consensus as to how to refer to the different sounds available from any MIDI device. Different manufacturers
may refer to a specific violin sound (for example) on their MIDI device as a sound, patch, part, voice, or program. This can be very confusing when all you want to do
is change the trumpet sound to the saxophone sound. In the interest of consistency throughout Finale and its documentation, we’ll refer to a specific sound as a Patch.
This term comes from the early days of the synthesizer, when you changed the sound of your synthesizer by switching the configuration of the various “patch” cords or
cables.
A patch could be as simple as a basic MIDI program change message, but it might also include bank change information, which may be required on certain MIDI
devices to access all available patches.
Finale both records and plays back the MIDI data that allows a MIDI instrument to change patches (that is, programs or sound settings and optional bank change
information) during playback. You can even edit this data directly using the MIDI Tool. Using Finale’s Instrument List, you can create sets of your favorite channel/patch
combinations and select them, by name, from the Instrument drop-down list.
Finale begins numbering its patches at 1, but not every MIDI instrument begins the numbering of its programs at 1 (some begin numbering at 0). Therefore, if you find
that the numbers you enter in the following examples change your MIDI instrument to a program number that’s one off, remember to change the numbers accordingly
by adding 1. (If your MIDI instrument isn’t responding to the program changes, make sure that program changes have been “enabled,” for those synthesizers having
such a control.)
The easiest way to set up patches is to select the instrument you want from the General MIDI drop-down list. This will automatically setup the Bank Select and
Program Change for that instrument. If you prefer to setup specific Bank Select and Program Change information using the text boxes, the direction below provide
more information.

To establish the initial program settings for each staff


1. From the Window Menu, choose Instrument List. The Instrument List window appears.
2. In the Instrument column, select the name of the instrument you want to assign to each staff. If the instrument you want does not appear in
the Instrument column, choose New Instrument. Here you can type a name for your instrument, assign a channel number (that is not yet being used), and
choose a general MIDI sound from the General MIDI drop-down menu. If you are using an external MIDI device, you can indicate the bank and program changes
by choosing an option from the Patch drop-down menu and then entering the appropriate bank numbers. If you want to assign a program to a certain layer of a
staff, click the upward arrow next to a staff name; the list expands to show you individual layer assignments. The Instrument List gives you a great deal of power
over MIDI channels and patch assignments. See Playbackand MIDI channels for details.
3. From the bottom on the Instrument List window, ensure Send Patches Before Play is checked.

To set up a patch change on playback


These instructions tell you how to create an expression marking that produces a patch change during playback (such as “To strings”). If you don’t need a visual
indication to appear in the score, you may find it faster to use the MIDI Tool to create patch changes (see “To set up patch changes using the MIDI Tool,” below).

1. Click the Expression Tool .


2. Click on, above, or below the note at which you want the patch to change. The Expression Selection dialog box appears. If you’ve previously
created the patch change marking, double-click it. The expression appears in the score, where you can adjust its position (see below).
3. Click Create. The Text Expression Designer dialog box appears.
4. Type a patch change indication (“To Clarinet,” for example). You can label the patch change any way you like, or you can leave the text box empty
(if you want no graphic marking at all).
5. Click the Playback tab. The playback options appear.
6. From the Type drop-down list, choose Patch.
7. The Patch drop-down list appears, choose the type of patch change needed, select the appropriate Bank and Program changes.
8. Click OK or Select in each dialog box until you return to the document. Depending on your playback settings, you may need to begin playback at
a measure prior to the patch change for it to take effect. To avoid this problem you can set Finale to “chase” the patch changes up to the point where you’re
beginning playback. That is, Finale will quickly scan the piece all the way from the first measure, noting (and transmitting to your MIDI keyboard) any patch
changes along the way, so that playback always begins using the current patch. See “To ‘chase’ patch changes before playback,” below. Chase only supports
playback in non-scrolling mode.

To “chase” patch changes before playback


1. Choose Playback Controls from the Window Menu. The Playback Controls appear.
2. Click the speaker icon. The Playback Settings dialog box appear.
3. From the Dynamics and Markings drop-down list, choose Chase from
First MeasureMeasure 1, then click OK. When you click a measure in the middle of a piece to begin playback, Finale will take a moment to scan your
piece and “chase” any patch change markings that occur earlier in the piece up to the measure you clicked. In this way, Finale can keep track of any patch
changes it encounters along the way, so that playback always begins with the correct current patch.

To set up patch changes using the MIDI Tool

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool Menu appears.
2. Double-click the measure in which you want the patch to change. The MIDI Tool split-window appears.
3. Drag through a small horizontal “slice” at the beginning of the graph area, as shown. Keep in mind that the actual patch change will occur at the
beginning of the region you select (indicated by the arrow in the figure below). It really doesn’t matter, therefore, how much of the window you highlight; the patch
change will be inserted at the far left edge of your highlighted region.

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Patches

5. From the MIDI/Audio Menu, Choose Set To. The Set To dialog box appears.
6. Enter the appropriate Bank and Program numbers you want the staff’s playback to switch to. Click OK (or press enter). You return to
the MIDI Tool split-window. Part of the graph area is now black. That’s because you’ve just inserted a patch change that’s in effect from the point you selected to
the end of the piece. Repeat the entire process at other points in the score where you want the patch to change (for example, if you want the patch to change
back to the original patch).

To remove patch changes you’ve created in this way, reselect the same region in the MIDI Tool windows and press backspace, or use the Selection Tool to
clear Continuous Data.

To copy or erase patch change data created with the MIDI Tool
See MIDI —To copy or erase captured (or edited) MIDI data.

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Pedal markings

Pedal markings

A pedal marking involves two separate symbols—one where the pedal is to be depressed ( ), and another where it’s to be released ( ). You can,
if you wish, also use a dotted-line bracket.
There are three ways to create pedaling indications in Finale. The easiest method is to place them in the score as Articulations. (For complete instructions on creating
articulation markings, see Articulations.)
If you only want to add pedaling to the playback of your piece (via MIDI), you may prefer to use the MIDI Tool. No graphic pedal markings appear in the score, but
you’ll hear the pedaling on playback. Human Playback must be set to None to hear sustain indications added with the MIDI Tool. See Playback Settings dialog box for
Details.

To create (pedal down) and (pedal up) markings (Expression method)

1. Click the Expression Tool .


2. Double-click on, above, or below the note to which you want to attach the marking. The Expression Selection dialog box appears. If

you’ve already created the marking, double-click it. The Text Expression appears in the score, where you can adjust its position (see below).
Make sure to check the Note Expression setting to ensure that you have the one you want.
3. Click Create. The Text Expression Designer dialog box appears.
4. From the Text Menu, choose Font. Set the font to Maestro 24, and click OK (or press enter). You return to the Text Expression Designer dialog
box.

5. While pressing alt, type 0161 on the numeric keypad. In the Maestro music font, alt–0161 is the marking. (Shift-8 is the
marking.)

6. Click OK or Select in each dialog box until you return to the document. Now click on, above, or below the note to which the marking is to be attached.

Repeat the steps above with the marking (for which shift-8 is the Maestro equivalent).

To move or delete the expression and markings

1. Click the Expression Tool .


2. Drag the handle to reposition the marking; select it and press delete to remove it.

To define the and expressions for playback

You’ll need to define both markings for playback. The marking will send a “pedal down” message to your synthesizer; the marking will send a
“pedal up” message.
If Human Playback is turned ON it is not necessary to define the expressions for playback. Sustain is added automatically. If Human Playback is off, playback
definitions added as expressions will be acknowledged by playback. See Playback Settings dialog box for Details.

1. Click the Expression Tool . If you haven’t yet placed the markings in the score, double-click any note. When the Expression Selection dialog box
appears, click the marking, click Edit, then skip to step 3.
2. Double-click the handle. The Text Expression Designer dialog box appears.
3. Click the Playback tab. The playback options appear.
4. From the Type drop-down list, choose Controller; in the Controller drop-down list, select 64. In the Set To Value box, type 127. You’re
defining the sustain pedal (controller 64) to go down (MIDI value 127).

5. Press enter. Now you have to create a corresponding “pedal up” playback definition. If you haven’t yet placed the * marking in the score, click any note.
When the Expression Selection dialog box appears, click the marking, click Edit, and then skip the next two instructions.

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Pedal markings

6. Double-click the handle. The Text Expression Designer dialog box appears.
7. Click the Playback tab, then choose Controller from the Type drop-down list. In the Controller text box, type 64. In the Set To Value
box, type 0. You’re defining the sustain pedal (controller 64) to go up (MIDI value 0).
8. Press enter.

To create (pedal down) and (pedal up) markings (Smart Shape method)
Smart Shape pedal markings will playback if Human Playback is on in the Playback Settings dialog box.

1. Click the Smart Shape Tool . The Smart Shape Palette appears.

2. Click the Custom Line Tool .


3. From the Smart Shape Menu, choose Smart Shape Options. The Smart Shape Options dialog box appears.
4. From the Smart Line Style drop-down list, choose Custom Line.
5. Click Select next to Smart Line Style. The Smart Line Selection dialog box appears. If this file was created from a default file or template, you should see
a Pedal and * line already created. If so, click Select and OK and skip to step 13. Otherwise, continue and create the Smart Line from scratch.
6. In the Smart Line Selection box, click Create. The Smart Line Designer dialog box appears.
7. From the Line Style drop-down list, choose Character. Near Character, click Select and double-click on the blank character in slot
32. Check the Horizontal box to freeze the shape in a horizontal line.
8. In the Text area, click on the Edit button next to Left Start. The Edit Text dialog box appears.
9. From the Text Menu, choose Font. Set the font to Maestro and the size to 24. Click OK.

10. While pressing alt, type 0161 on the numeric keypad. In the Maestro music font, alt–0161 is the marking.

11. Click OK. Repeat the steps for the Right End, only type shift-8 for the .
12. Click OK, Select and OK until you return to your score. For more information, see Custom lines.
13. Double-click where you want the line to begin; on the second click, hold the button down and drag horizontally. Release the mouse when
the line has the length you want.

To draw a pedal on/off diagram (Smart Shape method)


Sometimes pedaling is indicated in a score like this:

The Smart Shape method is easy and the line will expand and contract with the measures. The Keep in mind, you can add a pedal playback effects with the MIDI Tool.
See To create playback pedaling using the MIDI Tool.

1. Click the Smart Shape Tool . The Smart Shape Palette appears.

2. Click the Custom Line Tool .


3. From the Smart Shape Menu, choose Smart Shape Options. The Smart Shape Options dialog box appears.
4. From the Smart Line Style drop-down list, choose Custom Line.
5. Click Select next to Smart Line Style. The Smart Line Selection dialog box appears. If this file was created from a default file or template, you should see
several pedal on/off lines already created. (You may need to scroll down to see them.) If so, click Select and OK and skip to step 10. Otherwise, continue and
create the Smart Line from scratch.
6. In the Smart Line Selection box, click Create. The Smart Line Designer dialog box appears.
7. Check the Horizontal box to freeze the shape in a horizontal line.
8. For the End Point Style, choose a hook and enter a vertical distance for either the beginning or the end of the line. You can also choose
a Custom Arrowhead for the pedal point. For more information, see Custom lines.
9. Click OK, Select and OK until you return to your score.
10. Double-click where you want the line to begin; on the second click, hold the button down and drag diagonally. Release the mouse when
the line has the length you want.

To create playback pedaling using the MIDI Tool


If you don’t need pedal markings to appear in your score, but want to add the use of the sustain pedal to the playback of your score, you may find the following
method faster than the Expression method.

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Pedal markings

Human Playback must be set to None to hear sustain indications added with the MIDI Tool. See Playback Settings dialog box for Details.

1. Click the MIDI Tool . The MIDI Tool Menu appears.


2. Double-click the measure in which you want the pedal to be “pressed.” The MIDI Tool split-window opens.
3. From the MIDI Tool Menu, choose Edit Continuous Data. The View Continuous Data dialog box appears, in which you can select a controller whose
data you want to edit.
4. Click OK (since Sustain Pedal is already selected). You return to the MIDI Tool split-window, where the display has changed. On the left side you see
a scale of controller values—in this case, sustain pedal values—from 0 (pedal up) to 127 (pedal down). The sustain pedal is called a noncontinuous controller,
because its value can’t change smoothly over time (like pitch wheel data can). You’ve either pressed the pedal (value 127) or released it (value 0). Unless you’ve
already created pedaling using the MIDI Tool (or by capturing a Transcription Mode performance that included use of the sustain pedal), the window is empty.

Pedaling will appear in this window in bar graph form. In the example below, the pedal was depressed just after the second beat of measure 1, and released just after
the fourth beat:

Controller information is independent of the actual notes being played—you can press the pedal even during a measure of rests, if you want. Therefore, you specify
where you want to insert a “pedal down” message (or another noncontinuous controller, or a patch change) by dragging through a sliver of the graph area.

5. Drag through a small horizontal “slice” at the beginning of the graph area, as shown. Keep in mind that the actual pedal usage will occur at the
beginning of the region you select (indicated by the arrow in the figure below). It really doesn’t matter, therefore, how much of the window you highlight; the
pedaling message will be inserted at the far left edge of your highlighted region.

6. Choose Set To from the MIDI Tool Menu. The Set To dialog box appears. Remember that to create the “pedal down” message, you need to set the
pedal’s MIDI value to 127.
7. Type 127. Click OK. You return to the MIDI window. Suddenly the entire graph area is black. That’s because you’ve just inserted a “pedal down” message
without any corresponding “pedal up” message. Therefore, your synthesizer will think that the pedal is being pressed during the entire piece.
8. Drag through a small region of the graph area at the point where you want the pedal released. If the pedal release point isn’t in the same
measure, click the right arrow button to scroll the music display. Remember that the “pedal up” message will fall at the beginning of your selected region.
9. Choose Set To from the MIDI Tool Menu. Click OK. You don’t have to enter a number, because the default value is already zero. When you return to the
window, click anywhere except in the graph area to remove the selection highlighting.
10. Click the MIDI Tool to close the MIDI Tool split-window. Once you’ve created one complete usage of the pedal, as you’ve just done, you don’t have to
create it again in other measures that should contain a similar pedaling pattern. You can simply copy the pedaling from measure 1 into other measures. See To
copy or erase captured (or edited) MIDI data.

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Tempo markings

Tempo markings

A tempo marking in Finale can be purely graphic or it can be defined for playback. Several of
these markings have been predefined and stored in a Text Expressions Library. If you load
such a library (or if your Maestro Font Default file, which already contains these markings, is
in place), you won’t have to create the markings anew. See also Engraver Font characters.
Once these Text Expressions have been loaded into your document (or created), you can
place them into the score as expressions.

To place a tempo marking in the score

1. Click the Expression Tool .


2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box
appears. Make sure to check your Note Expression setting to verify that you’re placing a note expression or a measure expression.
3. Click Create. The Text Expression Designer dialog box appears.
4. Type the text for the tempo marking. You can enter Allegro, Moderato, or whatever marking you want. To change the type style (italic, for example), from
the Text Menu, choose Font. (To create metronomic tempo markings, such as q=60, for example, see Metronome markings.)
5. Click OK or Select in each dialog box until you return to the document. The tempo indication appears in the score.

To move or delete a tempo marking

1. Click the Expression Tool .


2. Drag the handle to move the tempo marking. Select it and press the arrow keys to “nudge” it for fine positioning; select it and press
delete to remove it.

To define a tempo marking for playback

1. Click the Expression Tool . If you haven’t yet placed the marking in the score, double-click any note or measure. When the Expression Selection
dialog box appears, click the desired marking, click Edit, and then skip to step 3.
2. Double-click the handle. The Text Expression Designer dialog box appears.
3. Click the Playback tab to display the playback options. The dialog box expands.
4. From the Type drop-down list, choose Tempo; then enter a number in the Set to Value box. The number you type into the box is a standard
metronome setting. (This setting is measured in quarter notes per minute, but you can change it to half notes—or any other value—using the Tempo drop-down
list.) You’ve just defined the Text Expression to change the playback tempo to this setting whenever the marking appears in the score.
5. Click OK (or press enter). Any time Finale encounters the expression you’ve just defined when it plays back your score, the tempo will change to reflect the
expression’s playback definition.

Note: To easily record, or ‘conduct,’ a unique tempo change for any region, use TempoTap.

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TempoTap

TempoTap
TempoTap is a feature exclusive to Studio View, and can be used to tap, or “conduct” a tempo adjustment using an external MIDI device or your computer keyboard.
This is the preferred method for specifying a tempo change manually. Note that Human Playback interprets “rit.”, “accel.”, and other tempo indications automatically.
Tempo changes applied manually with TempoTap will apply to playback with HP because the Human Playback Preferences dialog box is configured to incorporate
tempo change data by default.

To record tempo changes with TempoTap


1. From the View Menu, choose Studio View. The TempoTap staff is only available in Studio View.

2. Indicate the beats you wish to tap by notating durations into the TempoTap staff with the Simple Entry Tool (or Speedy Entry

Tool ). If you want to specify a rallentando passage, for example, which slows drastically in a short amount of time, you may want to tap eighth notes
instead of quarter notes to indicate the gradual change in tempo for the duration of the passage. To do so, simply enter durations into the TempoTap staff as you
would any other staff. Notes snap to the line automatically. For details regarding note entry, see Simple Entry and Speedy Entry.

3. Click the HyperScribe Tool .


4. Click the measure, in the TempoTap staff, you wish to begin specifying the tempo. When you click a measure, a green scroll bar appears which
tells you Finale is waiting for your signal to start recording a tempo. The first beat you tap is the signal to start recording. Therefore, to prepare for recording a
tempo, consider counting off a measure or two, stopping short of pressing the spacebar before recording the first beat.
5. Tap the tempo using the spacebar or a note on your MIDI device. The scroll bar advanced at your speed as you tap the tempo. Each tap
corresponds to the note duration shown directly above in the TempoTap staff.
6. When you are finished, simply stop tapping. Then, click the score. The Last Recorded Tempo dialog box displays the tempo you ended with. This
tempo is assigned from the point you stopped recording the tempo to the next tempo change.
7. Click OK. Playback the score to review the tempo change.

Note: For additional options for defining a tempo, see Accelerando and Rallentando.

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Barlines

Barlines
Use the Staff Tool and the Group Attributes dialog box to draw barlines and set alternate barlines (instead of the barline style selected in the Measure Attributes dialog
box) for groups. Use the Measure Tool to set the barlines for staves, and to override the group barline setting. See also Automatic Barlines Plug-in.

To draw the barline on a group


Grouped staves have an important characteristic: instead of drawing barlines only on the staves, the barlines can either be drawn through or between staves in a
group.
Make sure you’re in Scroll View before you begin; if you’re not, choose Scroll View from the View Menu.

1. Click the Staff Tool . The Staff Menu appears.


2. If you haven’t yet created the group, do so now. See Groups-To group staves .
3. Click a group handle, then choose Edit Group Attributes from the Staff Menu. Or, double-click a group handle. (Or, choose Edit Group Attributes
from the Staff Menu without selecting a group.) To display the attributes of another group, use the arrow controls to select another Group ID number.
4. Use the Draw Barlines drop-down list in the Group Attributes dialog box to specify how you want barlines to appear for this group. To
draw the barline only within each staff, and not connect each staff with the barline, choose Only on Staves from the drop-down list. To draw a barline as one
continuous line passing through all the staves in the group, choose Through Staves. To draw a barline between staves, but not through the staff lines themselves,
choose Only Between Staves (Mensurstriche).

Hint: If Group Attributes do not appear in page view, turn off optimization. You can then re-apply
optimization as needed.

5. Click OK to confirm your barline settings.

To break a barline between grouped staves


There are several ways to draw or break barlines between every staff in a group. If you don’t want to draw the barlines through any staff on a group, use the Draw
Barlines drop-down list in the Group Attributes dialog box to specify the appearance of the barlines (see “To draw the barline on a group”). However, to break a
barline above a single staff in a group whose barlines are otherwise drawn through the group of staves, follow these instructions:

1. Click the Staff Tool . The Staff Menu appears.


2. Select the staff immediately below the desired break, then choose Edit Staff Attributes from the Staff Menu. Or, double-click a staff, staff
handle, or staff name handle immediately below the desired break. The Staff Attributes dialog box appears.
3. Click Break Barlines Between Staves, then click OK. The barline is no longer drawn continuously through the space above the staff you selected.

To create one double, dotted, final, or other barline

1. Click the Measure Tool , and double-click the handle of the barline you want to change. The Measure Attributes dialog box appears.
2. Click the desired barline type. When you select any unusual barline type, Finale automatically selects Break a Multimeasure Rest; that’s so that, when you
extract parts, the special barline will break a multimeasure rest (or “block rest”) into two block rests, one on each side of it. (Such block rests automatically break
for key and time changes, clef changes, and so on.)
3. Click OK.

To change barlines for groups

1. Click the Staff Tool . The Staff Menu appears.


2. Click a group handle, then choose Edit Group Attributes from the Staff Menu. (Or, double-click a group handle.) Or, choose Edit Group Attributes
from the Staff Menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the spin controls to
select another Group ID number.
3. To use an alternate barline style instead of the barline style originally defined in the Measure Attributes dialog box, select Use
Alternate Group Barline, then select the barline style from the palette for the group.
4. Click OK to dismiss the dialog box.

To change barlines in a selected region (or at regular intervals)


Using this method, you can either change all barlines in a region to a specific type (such as an Invisible barline), or you can change barlines at regular intervals (for
example, creating a double barline every eight measures).

1. Click the Measure Tool , and select the region you want to affect. See Selecting music for some region-selecting shortcuts.
2. From the Measure Menu, choose Edit Measure Attributes. The Measure Attributes dialog box appears.
3. Click to select the barline type you want. In the Change Every Measures text box, enter the frequency of barlines you want to
change. In other words, to create a double barline every eight measures, select the double barline and enter 8 in the Change Every text box. (If you’re changing
all barlines, leave a 1 in this text box.)

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Barlines

If you’re creating a part that will be extracted, you may also want to select the Break a Multimeasure Rest checkbox (by clicking it twice), so that Finale will
break bars of rest at each double barline.

5. Click OK (or press enter).

To hide one barline

1. Click the Measure Tool and double-click handle of the barline you want to hide. You’re about to hide the right-hand barline.
2. Click the Invisible barline type. Click OK.

To hide all barlines (No-barline music)


1. Create the music normally (with barlines).
2. From the Document Menu, choose Document Options and select Barlines. The Barlines options appear.
3. Click Display All Barlines so that the X disappears. Click OK. Note, however, that Finale “thinks” in measures, even if you’re creating scores with no
barlines.

Note: To hide the meter in such a document, see Hiding time signatures.

To move a barline

1. Click the Measure Tool . A handle appears on each barline.


2. Drag the handle of the desired barline horizontally. The measure becomes wider or narrower. If you move a barline in Page View, you don’t just
change the width of the measure whose right barline you drag; you also increase or decrease the width of the measure to its right, making this a useful technique
for touching up your page layout. (You can adjust all measures in a system except the last one with this method.)

To insert a false or custom barline


These instructions assume you want to insert a false barline in the middle of an existing measure. This method lets you create a barline of any thickness, size, or
shape—curved, dotted, triple, or anything you can think up. You can also use Maestro or Engraver font characters at 24 pt for barlines. The \ character is a normal
barline and the alt+0241 character is a dashed barline in the Maestro font. The normal barline is the same in the Engraver font and the dashed line is the alt+0200
character.

1. Click the Expression Tool .


2. Double-click the measure to which the barline will be attached. The Expression Selection dialog box appears.
3. Proceeding through the dialog boxes, click as follows: Shape; Create; Select; Create. You end up in the Shape Designer. If you want to change
the thickness of the barline, use the Line Thickness submenu of the Shape Designer Menu. You can also specify how you want a dashed or dotted barline to
look by using the Dash options in the Shape Designer Menu.

The following instructions give measurements in points (1/72 inch). If you’ve been working in different units, choose Rulers and Grid from the Shape Designer
Menu and select Points (with gridlines every 6 points).

5. From the Shape Designer Menu, choose Show, then Grid. From the Shape Designer Menu, choose Show, then Staff Template.

6. Click the Line Tool . Begin drawing on the origin (the small white circle at point 0,0). While pressing shift, drag in the drawing
area, straight down, until the V: text box says -24. You’ve just drawn a vertical line (the shift key constrains your mouse to perfectly vertical or
horizontal lines) that’s exactly the height of a staff.
7. Press enter twice to exit the first two dialog boxes. You are now in the Shape Expression Designer dialog box. Don’t proceed all the way back to the
music yet.
8. Click Allow Horizontal Stretching to deselect the checkbox. You’ve just told Finale that the Shape Expression you’ve just created should not be
allowed to stretch horizontally along with the measures (when Finale widens measures slightly to make them flush with the page margins).
9. Click OK or Select in each dialog box. The “barline” appears in every staff. Drag its handle to move it. Select its handle and press delete to remove it.

To change the thickness of barlines in a document


1. From the Document Menu, choose Document Options, then select Barlines. The Barlines options appear.
2. Enter a new value in either the Heavy Line Thickness or the Thin Line Thickness text box. The units are whatever you’ve most recently
selected using the Measurement Units command (Edit Menu). (The default value for barline thickness is 0.46 points.) Note that this setting does not change
custom barlines.
3. Click OK (or press enter).

To correct barline display


In the process of creating your document, you may have added or dragged staves between existing staves. Such changes could have unexpected results, especially
concerning the appearance of your barlines. If a barline doesn’t appear to be drawn correctly, you can usually solve the problem with this technique. If you keep Auto
Sort Staves turned on, the barline display should save you these steps. See Auto Sort Staves in the Staff Menu.

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Barlines

1. Click the Staff Tool . The Staff Menu appears.


2. Choose Sort Staves from the Staff Menu to restore their appearance, based on the new staff order.

To create a double left barline


See Left barlines.

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Brackets: Staves

Brackets: Staves
You use the Staff Tool to place staff brackets (including “curly braces” on piano staves) into the document. Add brackets to staves by grouping the staves. Drag the top
or the bottom handles of a bracket to stretch it, or to change its distance from the staves. To create nested brackets (one bracket within another), group each set of
staves that you want the brackets to enclose. Staves can belong to more than one group. You can also create “floating” brackets, unattached to any staves and placed
anywhere in the document, for certain modern pieces that require them.

Note that Finale’s Setup Wizard automatically generates brackets based on your staff selection.
Brackets are also pre-defined in Finale’s template files.

After a system has been optimized, edits to groups and brackets only apply to that system. To edit groups and brackets on optimized systems en mass, use the
Update Groups and Brackets plug-in.

To place a bracket on grouped staves


Finale allows you to define only one bracket for each group you create. However, if you want to place more than one bracket on a group, there’s an easy way to do
so. See “To create additional (nested) brackets, below.”

1. Click the Staff Tool . The Staff Menu appears.


2. If you haven’t yet created the group, do so now. See Groups—To group staves.
3. Click a group handle, then choose Edit Group Attributes from the Staff Menu. Or, double-click a group handle. (Or, choose Edit Group Attributes
from the Staff Menu without selecting a group.) The Group Attributes dialog box appears. To display the attributes of another group, click the arrow controls to
select another Group ID number.
4. Click one of the bracket styles in the Group Attributes dialog box to select the style you want to use for the group.
5. Specify the position of the bracket in relation to the group. In the Distance from Left Edge of Staff text box, enter the distance, in measurement units,
that Finale should place the bracket from the left edge of the staff. A negative number moves the bracket to the left. Enter numbers into the Vertical Adjust (Top of
Bracket) and Vertical Adjust (Bottom of Bracket) text boxes for the distance to extend the upper and lower ends of the bracket in relation to the top of the top staff
and the bottom of the bottom staff, respectively. To align the bracket’s ends evenly with the top and bottom lines of the group, enter a value of zero. A positive
number for either option moves the bracket’s end upward.
6. Click OK to add the bracket and dismiss the dialog box.

To move or stretch a bracket

1. Click the Staff Tool . Handles appear on every group bracket in the document.
2. Drag the bottom handle up or down. Drag the top handle left, right, up, or down. When you drag the top handle horizontally, the entire bracket
moves. When you drag either handle vertically, you can make it appear to enclose even non-grouped staves.
3. Select a bracket handle and press backspace to revert a bracket to its default length (so it encloses the staves of a group).

To correct bracket display


In the course of creating a document, you may have added or dragged staves between existing staves. Such changes could have unexpected results, especially
concerning the appearance of your brackets. If a bracket doesn’t appear to be drawn correctly, you can usually solve the problem with this technique.

1. Click the Staff Tool . The Staff Menu appears.


2. Choose Sort Staves from the Staff Menu to restore their appearance, based on the new staff order.

To delete a bracket from a group

1. Click the Staff Tool .


2. To delete a bracket on-screen, click a bracket handle, then press delete.
3. Or, click a group handle, then choose Edit Group Attributes from the Staff Menu. (Or, double-click a group handle.) Or, choose Edit Group
Attributes from the Staff Menu without selecting a group. The Group Attributes dialog box appears. To display the attributes of another group, click the spin
controls to select another Group ID number.
4. Select None from the Bracket palette, then click OK. Finale removes the bracket from the group.

To create additional (nested) brackets


Finale allows you to define only one bracket for each group using the Group Attributes dialog box. However, you can still place more than one bracket on staves.
Simply create additional groups for the same staves, choosing a different bracket style for each group. This has the advantage that each bracket is automatically sized
to match its corresponding group.

Create a new group that contains the staves that you want the bracket to enclose, then choose a bracket for the new group. See “To place
a bracket on grouped staves” earlier in this section.

To modify brackets on a system-by-system basis

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Brackets: Staves

You can avoid showing a bracket on a group containing a single staff, such as a solo line. If you don’t want a bracket to appear, make sure that Show Bracket If Group
Only Contains One Staff is not selected in the Group Attributes dialog box.
However, there may be situations where you need the bracket configuration to change from one staff system to another. If you optimize the system (remove any empty
staves), you’ll find that you can use the Staff Tool in Page View to rearrange and re-bracket the staves on a system-by-system basis. For details on staff optimization,
see Optimizing systems.

1. Choose Page View from the View Menu. Two handles appear on staves that have been optimized.
2. Drag to adjust the bracket for the staff system. Or, double-click the group handle for that staff system that you want to change, change the bracket as
needed, then click OK. (For instructions, see Groups—To group staves, and “To place a bracket on grouped staves,” above). Any changes you make will appear
only in the single, optimized, staff system.

After a system has been optimized, edits to groups and brackets only apply to that system. To edit groups and brackets on optimized systems en mass, use the
Update Groups and Brackets plug-in.

To create “floating” brackets


A “floating” bracket is unattached to any particular staff; it can appear anywhere on the page. Finale considers such a bracket purely graphic, you can use the
Expression Tool to place it.
Floating brackets can be especially useful when you need to enclose a group of lyric verses, as shown:

1. Click the Expression Tool .


2. Double-click on, above, or below the note to which you want to attach the bracket. The Expression Selection dialog box appears. If you want
the bracket to appear in more than one staff, be sure to select measure attached in the Expression Selection dialog box.
3. Proceeding through the dialog boxes, click as follows: Shape; Create; Select; Create. You end up in the Shape Designer dialog box.
4. Choose Bracket Style from the Shape Designer Menu, and double-click the bracket style you want.

5. Click the Bracket Tool , and then click in the drawing area. A bracket appears. To adjust its height or width, click the Selection (arrow) Tool,
click the bracket, and drag its bounding handles.
6. Control-click OK or press the OK button in each dialog box until you return to the document. Once you’re in the document, you can stretch or
move the bracket as needed (see below).

To move, stretch, or delete a floating bracket


1. To move or delete the bracket, click the Expression tool. Click the note or measure to which the bracket is attached. Its handle
appears.
2. Drag the handle to move the entire bracket. Click the handle and press delete to remove it. To stretch the bracket, double-click the handle, and drag
one of the eight bounding handles that appear. To completely reshape the bracket, double-click it a second time, and drag its individual control-point handles.

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visualIndex

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visualIndex

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Accelerando

Accelerando
See also Beaming: feathered beaming.

The word accel. or accelerando is a Text Expression, which you put into your score with the Expression Tool.

To place the word “accelerando” into a score

1. Click the Expression Tool .


2. Double-click on, above, or below the note or measure to which you want to attach the marking. The Expression Selection dialog box
appears. If you see the “accel.” expression in the list, change the setting for Measure Expression or Note Expression if you wish, double-click it and press Enter;
you dismiss the dialog box and "accel." appears in the score. If you don’t see it, continue:
3. Click Create. The Text Expression Designer dialog box appears.
4. Type “accel.” or “accelerando.” To change the type style, highlight the text, then from the Text Menu, choose Font.
5. Click OK or Select in each dialog box until you return to the document. To adjust the marking, drag its handle; to remove it, click the handle and
press delete. You have just added an expression to the expression library - it will now be available to use elsewhere in this document. For more details, see
Expressions.

To define the expression for playback


The instructions below describe how to assign a tempo change to an expression that can be added to the score at any time. To easily record, or ‘conduct,’ a unique
tempo change for any region, use TempoTap.

Note: Finale’s Human Playback feature recognizes text such as “accel.” and applies tempo
adjustments accordingly during playback. See Playback Settings dialog box for details. To use
manually defined tempo or dynamic markings for playback, set Human Playback to None.

1. Click the Expression Tool . If you haven’t yet placed the mark in the score, double-click any note. When the palette appears, click the desired symbol,
click Edit, then skip to step 3.
2. Double-click the handle. The Text Expression Designer dialog box appears.
3. Click the Playback tab. The playback options appear.
4. From the Type drop-down list, choose Tempo. Select Execute Shape, then click the Executable Shape Select button. As you proceed
through dialog boxes, click Create; Shape ID; and Create. You’re now in the Shape Designer.
5. From the Shape Designer Menu, choose Rulers and Grid. Click Eighth Notes, type 1 into the Grid Lines Every: box, and click OK. From
the Shape Designer Menu, choose Show, and then Grid. Your Shape Designer drawing area now shows a horizontal point for each eighth-note
duration, so that you can specify how long you want the accelerando to last. Each horizontal gridline represents a one-point increase in tempo (from 150 to 151
beats per minute, for example).

6. Click the Line Tool . Click on the small white circle (the origin) and drag toward the upper-right. Watch the numbers in the H: and V:
numbers as you drag; stop when H: and V: both say 4.

You’ve drawn a graph (an Executable Shape) of the tempo during the accelerando. For each vertical gridline you crossed as you dragged to the right, the
accelerando lasted another eighth note duration; for each horizontal gridline it crossed, the tempo increased one metronome point.
Therefore, to make the accelerando last for one half-note, it should cross four gridlines as you drag to the right. To make the tempo increase by 20 beats per
minute, you might think you’d have to cross 20 horizontal gridlines on the way up. For now, however, cross only four, meaning the tempo will only increase by
four beats per minute.

7. Click OK or Select in each dialog box until you reach the Executable Shape Designer dialog box.
8. In the Level Scale boxes, enter 8:1. You probably wouldn’t even be able to perceive the accelerando if it only sped up by four points during a half note. By
changing the Level Scale, you’re multiplying the degree of accelerando. If you enter 8:1, the tempo will change by 32 points—a much more satisfying
accelerando. Note that at this point you could also specify a different Time Scale, which would determine how long the executable shape will last. When you
designed the shape, it crossed four gridlines (eighth notes)—one half note. Change the Time Scale to multiply that amount; a Time Scale of 1:2 would make the
accelerando last half as long (a quarter note), and 3:1 would create one that would last three times as long (six beats).
9. Click OK or Select in each dialog box until you return to the document. Listen to the accelerando and see how it works. If it doesn’t speed up
enough, increase the Level Scale. If it lasts too long, decrease the Time Scale. (The effect of the accelerando will vary according to the current tempo.)

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Update Groups and Brackets plug-in

Update Groups and Brackets plug-in

How to get there


From the Plug-ins Menu, choose Scoring and Arranging, then Update Groups and Brackets.

What it does
This plug-in allows you to easily reposition, edit, and otherwise manage group brackets after systems have been optimized (see Optimizing systems). Since brackets
on optimized systems are traditionally independent, this plug-in is the preferable way to work with multiple groups and brackets post-optimization. This plug-in does not
affect non-optimized systems in any way. You can use the Undo command under the Edit Menu to undo individual changes made in this plug-in.

Create. Click this button to open the Group Style Definition dialog box where you can define a new group style. When you create a new group style, you have
the option to add it to all matching systems. If you do not add it to all matching systems, the style appears in italics in the Group Scope List, indicating it exists,
but has not yet been set to the system. See Group Style Definition dialog box.
Duplicate. Click this button to open the Group Style Definition dialog box, already filled with the group style you have selected in the Update Groups and
Brackets dialog box. When you duplicate and edit a group style, you have the option to add it to all matching systems. If you do not add it to all matching
systems, the style appears in italics in the Group Scope List, indicating it exists, but has not yet been set to the system.
Edit. Click this button to open the Group Style Definition dialog box where you can edit an existing group style definition.
Delete. Click Delete to delete the selected group style and all occurrences of the style in the document.
[Group Style List] · Bracket · Usage · Name · From · To · Span · Abbr. Name · Show Name · Draw Barline · Alternate Barline · Barline ·
Single Staff Bracket. This list displays the available group styles. Use the horizontal scroll bar above this list to view all twelve group style properties.
Double-click a group style to open the Group Style Definition where you can edit it. Click a group style, and all optimized systems to which the group style has
been applied appear in the Group Scope List.
[Group Scope List]. This list displays all optimized systems containing at least one staff of the group style currently selected in the Group Style List. Use this
list to add or remove group styles to/from systems. This list only contains systems suitable for an individual bracket to be placed (which excludes non-optimized
systems and systems that do not include staves within the selected group style’s span). Italics indicate the group style has not been applied to that system.

Double-click an unchecked check box to check it and uncheck all other boxes. Double-click a checked box to uncheck it and check all other boxes.

Set · Move · Position. Click Set to apply the selected group style to all systems checked in the Group Scope List. Changes are instantly applied. Click Move
to open the Move Groups dialog box where you can reposition group brackets and names for the currently checked systems. See Move Groups dialog box. Click
Position to open the Position Groups dialog box where additional positioning, text justification, alignment, and other details can be set for the currently checked
systems. See Position Groups dialog box.
Auto-display System in Document. Check this box to automatically display the Group Scope List’s currently selected system in the document window.
When this box is checked, any new selection in the Group Scope List will cause the selected system to snap into view. (Click to the right of a check box in the
Group Scope List to select a system). This setting is session-specific, and is checked by default in each new Finale session. This functionality is only available in
Page View.
Close. Click this button to close the Update Groups and Brackets dialog box without making changes.

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Update Groups and Brackets plug-in

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Group Style Definition dialog box

Group Style Definition dialog box


How to get there
From the Plug-ins Menu, choose Scoring and Arranging, then Update Groups and Brackets. Click Create, Duplicate, or Edit.

What it does
This dialog box allows you to define a new group definition, and provides functionality similar to the Group Attributes dialog box. This dialog box is part of the Update
Groups and Brackets plug-in, and as such, can only be used to create or edit group style definitions for optimized systems.

Group Name; Font · Abbr. Group Name; Font. Enter the full and/or abbreviated names for the group here. Click the Font button to display Font dialog box
where you can change the font, size or style.
Staff · Through. These Staff drop-down lists show the names or numbers of the starting and ending staves for the currently displayed group. Choose a staff
name to specify the starting and ending staves in a group. A group always includes the staves in between the specified staves.
Show Group Name. This checkbox controls whether group names that you enter will appear in the document. When selected, the full and abbreviated group
names appear in your document. If you prefer to hide the names for this group, deselect this checkbox.

Tip: Use Show Default Group Names in the Staff Menu to control whether default, non-printing group
names appear in the document.

Draw Barlines: Only on Staves · Through Staves · Only Between Staves (Mensurstriche). Select Only on Staves if you want the barlines drawn
only within each staff, without connecting each staff with the barline; select Through Staves to draw one continuous barline passing through all the staves in the
group. Select Only Between Staves (Mensurstriche) to draw barlines between the staves, but not through the staff lines of each staff in the group.
Use Alternate Group Barline: Select. Select this option if you want Finale to use an alternate barline style that you select from the Barline palette, instead
of the barline style selected in the Measure Attributes dialog box. If this option is not selected, Finale uses the barline style specified in the Measure Attributes
dialog box. Click Select to open the Shape Selection dialog box where you can choose from a library of shapes or create your own. See Shape Selection dialog
box.

Note: You can override the barline selected for a group on a measure-by-measure basis by choosing
Override Group Barlines in the Measure Attributes dialog box. When you choose this option, the
barline set in the Measure Attributes dialog box will always appear, regardless of any alternate barline
style selected in the Group Attributes dialog box. This might be used for the final bar in a piece. For
more information, see Barlines.

Bracket Options. Click to select the bracket style you want to use for the current group, or click None if you don’t want a bracket to enclose the group. If you
want more than one bracket to appear for a group, create additional group styles for the staves, then choose a different bracket style for each group. For details,
seeBrackets: Staves—To create additional (nested) brackets.
Show Bracket if Group Contains Only One Staff. Select this option if you want a bracket to appear on a group containing only one staff, if all staves but
one are “optimized out” (i.e., removed because the staves are resting instruments), or if you selected one staff from the group, then selected Special Part
Extraction from the Edit Menu.
OK · Cancel. Click Cancel to dismiss the dialog box without changing group settings. Click OK (or press enter) to confirm your settings and return to the
Update Groups and Brackets plug-in.

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Move Groups dialog box

Move Groups dialog box

How to get there


From the Plug-ins Menu, choose Scoring and Arranging, then Update Groups and Brackets. Click Move.

What it does
While managing brackets on optimized systems using the Update Groups and Brackets plug-in, use this dialog box to move several group names and/or brackets in
uniform. This dialog box will make changes to all systems checked in the Group Scope List of the Update Groups and Brackets dialog box.

H · V. Enter a value or use the spinner arrows to specify a horizontal (H) or vertical (V) amount to move the selected group name(s) and/or bracket(s)
(depending on the current selection under the Item(s) to Move drop-down menu). The units of measurement are whatever you’ve selected using the Units drop-
down menu at the bottom of this dialog box.
Items to Move; Bracket and Name · Bracket Only · Name Only · Full Name Only · Abbreviated Name Only. From this drop-down menu,
select the part of the group style you would like to move.
Units. From this drop-down menu, choose the measurement units you would like to use for moving group names and/or brackets. See Measurement Units.
Distances are Absolute. With this box checked, the absolute distance specified is used, and any modifications to the page and system reduction (see Resize
Tool) are ignored.
OK · Cancel. Click Cancel to return to the Update Groups and Brackets dialog box without moving group names or brackets. Click OK (or press enter) to
confirm your settings and return to the Update Groups and Brackets plug-in.

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Position Groups dialog box

Position Groups dialog box

How to get there


From the Plug-ins Menu, choose scoring and arranging, then Update Groups and Brackets. Position.

What it does
While managing brackets on optimized systems using the Update Groups and Brackets plug-in, use this dialog box to make detailed changes to group positioning. This
dialog box will make changes to all systems checked in the Group Scope List of the Update Groups and Brackets dialog box.

Full/Abbreviated Group Name:

Alignment: Left · Right · Center. From this drop-down list, choose how you want group names aligned, relative to the Distance from Staff setting. The
group name handle that appears in the document will be placed to the left, right or center of the name depending on the alignment you select. When you change
the alignment of a group name, Finale automatically updates the Justification drop-down list selection to match your selection. Since group names are most often
single line names, you would generally want the justification (the placement of the text within a frame) to match the alignment (used for positioning and handle
placement) you select.
Justification: Left · Right · Center · Full · Forced Full. This setting generally matches the Alignment setting (Left, Right or Center) for the group name,

however, it’s provided for multi-line group names such as trumpet

From this drop-down list, choose how you want multi-line group names justified. The longest line of text determines the width of the invisible text frame that
surrounds the group names. Choose Left, Right, Center, Full, or Forced Full from the Justification submenu to select how you want the text positioned in a
frame. Choose Left or Right to place the text on the left or right edge of the frame, or choose Center to center the text between the left and right edges. If you
want full justification, choose Forced Full to spread the text evenly between the left and right edges of the frame, including the last line if it contains two or more
words. (Choosing Full for group names will left-justify each line, because each line is treated as the last line of a paragraph; choose Forced Full instead.)
Remember that Finale will automatically update the Justification drop-down list selection when you choose an option from the Alignment drop-down list menu.

Distance from Staff: H: · V:. In these text boxes, you can precisely position where the handle for the group name should be placed relative to the staff. The
top-left corner of the staff is the point where H: and V: are both zero, so both of the coordinates will almost always be negative numbers.
Expand Single Word. Expand Single Word works with the full justification commands only; it affects the appearance of lines of text containing only one word. It
currently has no effect for group names when you choose Full justification, since each line is treated like the last line of a paragraph. However, when Expand
Single Word is selected and you choose Forced Full, Finale spreads the letters of single words on lines evenly between the left and right edges of the invisible
frame. When Expand Single Word is not selected, all lines containing a single word are left-justified.

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Position Groups dialog box

When Expand Single Word is selected and you choose Forced Full justification, Finale spreads the text evenly between the left and right edges of the frame. In
lines of text containing only one word, Finale spreads the letters of that word evenly between the left and right edges of the frame. When Expand Single Word is
not selected, all lines containing a single word are left-justified.

Bracket:

Distance from Left of Staff. Here specify, as a negative value, the distance from the left edge of the staff.
Vertical Adjust (Top of Bracket). Here, you can adjust the positioning of the top of the bracket. The bracket resizes so that the top meets the specified
position. The bottom of the bracket remains stationary. (Measured from the top staff line of the top staff in the group).
Vertical Adjust (Bottom of Bracket). Here, you can adjust the positioning of the bottom of the bracket. The bracket resizes so that the bottom meets the
specified position. The top of the bracket remains stationary. (Measured from the bottom staff line of the bottom staff in the group).
Units. From this drop-down, choose the measurement units you would like to use for moving group names and/or brackets. See Measurement Units.

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Finale Showcase™
Welcome to the Finale Showcase™!
This is the place where composers, arrangers, educators, and students can post their
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Notation Software & Accessories

Finale® 2009

New Customers $600.00


Finale® is the world standard for creating, Academic Version $350.00 Learn More
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Finale products let you create custom compositions from your home computer quickly and easily using a wide range of professional features. Our products are
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All of our products offer high quality songwriter capabilities. If you’ve bought any of our products and decide you need more features, so you can easily
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Finale 2009 Overview - Finale Music Notation Software

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Music begins with Finale.


Finale 2009 – the world’s most powerful music notation software – lets you express
your creativity and love of music. Compose, arrange, notate, and print engraver-
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What’s New

Features

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$169.95/$119.95
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at createdigitalmusic.com time-saving tools like linked parts,
multiple page editing, ScoreMerger™,
and more.

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Augmentation

Augmentation
Augmentation refers to the process of doubling a motif’s rhythmic values, so that each quarter note becomes a half note, and so on. In effect, the following process re-
notates any passage so that it doubles every note’s value.

To double the rhythmic values in a passage

1. Click the Selection Tool and select the region of music you want to affect. See Selecting music for some region-selecting shortcuts.
2. From the Utilities Menu, choose Change, then Note Durations. The Change Note Durations dialog box appears.
3. Choose 200% from the Change All Note Durations by drop-down list. If you want Finale to re-bar the selected measures so that there are half as
many notes per measure, make sure Rebar Measures is selected. See Change Note Durations dialog box for details on these options.
4. Click OK (or press enter). You can even double the values of the notes in a specific layer (if Show Active Layer Only is selected in the Document Menu).

Note that this command does not affect empty measures. (A measure in which you’ve entered a “real”
whole rest doesn’t count as empty in this context.) That is, the command will double the values of all
notes and rests you’ve entered, but it won’t create a second completely empty measure.

file:///C|/Documents%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Augmentation.htm[01/01/2009 4:13:56 PM]


Flags

Flags
See also Beaming; Document Options-Stems.
You have considerable control over the flags on single eighth notes (and smaller values) in Finale. The typical use for these parameters is to adapt a music font to
Finale other than Finale’s Maestro font or Adobe’s Sonata font. Because different fonts use different spacing and positioning schemes for their music characters, you
may need to adjust some of these variables in order to accommodate a different music font.

To change the character assignment for a flag


1. From the Document Menu, choose Document Options and select Flags. The Flag options appear.
2. From the Flag Characters drop-down list menu, choose the flag element whose character you want to change, then click Select. See
the figure for reference. Maestro flag characters contain either one or two flags (as shown below).

When you click Select, the Symbol Selection dialog box appears containing every available character in the font. (To change the font, from the Document
Menu, choose Set Default Music Font, choose a new font and click OK.)

3. Double-click the replacement character. Whichever character you select will now appear at every occurrence of a flag in this document.
4. Click OK.

To use Straight Flags


1. From the Document Menu, choose Document Options and select Fonts.
2. Choose Flags from the Notation drop-down list menu.
3. Click Set Font, and choose Maestro Percussion.
4. Click the Straight Flags radio button to select it.
5. Choose Straight Upstem Flag from the drop-down list menu, then click Select to display the Symbol Selection dialog box. Type the key
combination for the character, or scroll through the dialog box and click the character you want to use. Click Select to choose the Straight Upstem Flag character.
Choose the characters according to the tables below, then click select.
6. Choose Straight Downstem Flag from the drop-down list menu, then click Select to display the Symbol Selection dialog box. Type the
key combination for the character, or scroll through the dialog box and click the character you want to use. Click Select to choose the Straight Downstem Flag
character. Choose the characters according to the tables below, then click select.

If you’re using Horizontal Straight Flags, use the flag character on R (slot number 114) in the Tamburo font for both the straight upstem and downstem flag. For Angled
Straight Flags, use the flag character S (slot number 115) for the straight upstem flag, and shift-S (slot number 83) for the straight downstem flag. Use the Flag
category in the Document Options dialog box (under the Document Menu) to adjust the horizontal or vertical placement of the flags as needed. Refer to the following
tables to determine which characters to select for the angled or horizontal style of straight flags.

Angled Straight Flag Slot number Key Cap

Straight Upstem Flag 115 S

Straight Downstem Flag 83 shift-S

Horizontal Straight Flag Slot number Key Cap

Straight Upstem Flag 114 R

Straight Downstem Flag 114 R

To adjust the placement of Horizontal and Angled Straight Flags


1. From the Document Menu, choose Document Options and select Flags.
2. Choose Straight Upstem Flag from the drop-down list menu and change V to 12 EVPUs. (For angled straight flags, set V to 24 EVPUs.)
3. Choose Straight Downstem Flag from the drop-down list menu and change V to zero. (For angled straight flags, set V to -24 EVPUs.)
4. Click OK twice.

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Flags

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Grace notes

Grace notes

To create a grace note


1. Enter the grace notes as “normal” notes.

2. Click the Speedy Entry Tool and click the measure in question. The editing frame appears.
3. Using the arrow keys, position the cursor on the note you want to change to a grace note, and press the semicolon (;). The note
becomes a grace note. On playback, the grace note will play just ahead of the beat—even if there are many grace notes together, forming a run. To change a
grace note to a normal note, repeat the above procedure.

To beam grace notes

1. Click the Speedy Entry Tool and click the measure in question. The editing frame appears.
2. Using the arrow keys, position the cursor on the second note of any pair you want beamed together, and press the slash (/). Repeat this
process for any additional grace notes you want to include in this beam group.

To change the size of grace notes


1. From the Document Menu, choose Document Options, then select Grace Notes. The Grace Note options appear.
2. Enter a new reduction value in the Grace Note Size text box. The size of regular notes is 100%; the default reduction percentage for grace notes is
60%.

To add or remove the slashes from grace notes globally


You can eliminate slashes from grace notes by doing the following. See also Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in.

1. From the Document Menu, choose Document Options, then select Grace Notes. The Grace Note Options appear.
2. Deselect Always Slash Flagged Grace Notes. When the checkbox is deselected, slashes do not appear; otherwise, slashes appear on every flagged
grace note.
3. Click OK (or press enter).

To add or remove the slashes from individual grace notes


This method will only slash flagged grace notes. See also Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in

1. From the Document Menu, choose Document Options, then select Grace Notes . The Grace Note option appear.
2. Deselect Always Slash Flagged Grace Notes if it is selected. When the checkbox is deselected, slashes do not appear.
3. Click OK (or press enter).
4. Click the Speedy Entry Tool a and click the measure in question. The editing frame appears.
5. Position the cursor over the flagged grace note requiring a slash and press ` (accent). This will place a slash on the grace note.

To add a slash to beamed grace notes


Normally, Finale adds slashes only to flagged (unbeamed) grace notes. It’s possible, however, to add slashes to beamed grace notes.

1. Click the Expression Tool ; then click the grace note. The Expression Selection dialog box appears.
2. Select Note Expression.
3. Proceeding through the dialog boxes, click as follows: Shape; Create; Select; Create. You are now in the Shape Designer. The following
instructions give measurements in points (1/72 inch). If you’ve been working in different units, choose Rulers and Grid from the Shape Designer Menu and select
Points. Also choose “.5 pt” from the Line Thickness submenu of the Shape Designer Menu. Because you’re making a very small shape, choose 400% from the
View drop-down list menu to magnify your work area.
4. Click the origin (the small white circle); drag upward and to the right, until the H: and V: text boxes both say 6.
5. Click OK and Select until you return to the document. You can now adjust the slash by dragging its handle.

To eliminate grace notes from a transcription


When you’re using HyperScribe to notate real-time performances, you may find grace notes in the transcription. The problem is one of quantization—Finale is
transcribing too precisely. Fortunately, there’s a simple solution.

1. From the MIDI/Audio Menu, choose Quantization Settings. The Quantization Settings dialog box appears.
2. If you’re importing a MIDI file, in the Import MIDI File Options dialog box, which appears after you have chosen your MIDI file to open,
click Quant Settings. The Quantization Setting dialog box appears. If you’ve told Finale not to display the Import MIDI File Options dialog box during a File
Open, you can select Quantization Settings from the MIDI/Audio Menu.
3. Click More Settings. The More Quantization Settings dialog box appears.

file:///C|/Documents%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Grace_notes.htm[01/01/2009 4:14:31 PM]


Grace notes

4. Select either Remove Grace Notes or Convert to Real Notes. See More Quantization Settings dialog box for details.
5. Click OK twice.

To create a graphic only “slashed” grace note


In addition to the “intelligent” grace notes described above, you can also add a single, stem-up, “slashed” grace note symbol as an Articulation. In the Maestro symbol
palette (accessed from the Articulation dialog box), the slashed grace note is #201. The grace note symbol without the slash is #59, and the stem-down grace note is
#58. See Articulations for instructions on creating, moving, and deleting articulations.

file:///C|/Documents%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Grace_notes.htm[01/01/2009 4:14:31 PM]


Grids and Guides

Grids and guides


You can use grids and guides to accurately align and position expressions, text, or any item in your document. The grid represents horizontal and vertical lines which
appear at regular intervals on the page, just like graph paper. Set apart at any distance you like, they make a great reference for aligning items relative to each other
or from the page edge. Guides are reference lines, horizontal or vertical, that can be set anywhere on the page. Unlike gridlines, guides can be positioned at will, and
are particularly useful for fine positioning of items to be aligned between lines of the grid.
You can also tell Finale to automatically snap certain items to the closest grid intersection or to a guide line.

To show the grid


1. From the View Menu, choose Page View.
2. From the View Menu, choose Grid/Guide > Show Grid.
3. The grid appears on the page. To set the distance between gridlines, see Document Options-Grids and Guides.

To create a guide
1. From the View Menu, choose Page View.
2. From the View Menu, choose Grid/Guide > Show Guides. Notice rulers appear above and to the left of the page.
3. Right-click the ruler and choose New Guide. The New Vertical/Horizontal Guide dialog box appears, which displays the guide location.
4. Click OK. The guide line appears. To move the line, click the arrow at the top or left end of the line.

To snap to grids and guides


1. In Page View, from the View Menu, choose Grid/Guide > Show Grid or Show Guides.
2. From the Document Menu, choose Document Options, and then select Grids and Guides.
3. Check Snap To Grid or Snap To Guide.
4. Choose Items to Snap To Grid or Items to Snap To Guide. The Items to Snap To Grid or Items to Snap To Guides dialog box appears. See Items To
Snap To Grid and Items To Snap To Guide dialog boxes.
5. Check the items you want to snap to grids and/or guides.
6. Click OK. Selected items now snap to the nearest grid intersection and to nearby guide lines. To see how close you can move an item to a guide line without
snapping to the guide, Right-click the guide arrow and choose Show Gravity Zone.

See Also:
Window Menu

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Document/Data Check/Check Document Fonts Against System Fonts

Document/Data Check/Check Document Fonts Against System Fonts

Choose this menu item to compare the font list in the file opened to the font list of the computer being used.

See Also:
Data Check Menu

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Kontakt Player 2

Kontakt Player 2

How to get there


From the MIDI/Audio Menu, choose Native Instruments VST Setup. Click a drop-down menu for one of the channel groups and choose Kontakt Player 2 for Finale.
Click Edit for that channel group.

What it does
The Kontakt Player 2 is an VST plug-in that allows you to manage and customize sound samples designed for use with Kontakt Player 2. It has been specifically
designed to use Finale as its host sequencer along with the included Garritan Personal Orchestra sample library, which are professional-quality samples recorded from
a live musician and mastered by digital audio technicians. Although the original Kontakt Player with GPO can be used with your Finale installation, the Kontakt Player 2
offers additional convenience and control. It can be used with the included Garritan Personal Orchestra sounds as well as any other VST library built for compatibility
with the Kontakt Player 2. Also, 16 channels can be loaded into the Kontakt Player 2, eliminating the need to load as many player instances (and configure the
Instrument List to compensate for the 8-channel limitation of the original Kontakt for Finale). Additionally, multiple libraries can be used simultaneously. For example,
you may wish to use 8 channels of Kontakt Player 2 instruments and then combine them with other audio or MIDI synthesizers to create a mix.

Note: Use page 2 of the Setup Wizard to automatically load GPO sounds when the document opens.
Simply choose Garritan Personal Orchestra 2.0 Finale Edition from the drop-down list at the top.

Note also: The included KONTAKT™ Player 2 does not support Intel-based Macs. An updated
Universal version will soon be available free-of-charge. See www.finalemusic.com for details.
Browser
On the left side of the screen is the Browser. The Browser gives you the capability to navigate through your available Kontakt Player 2 libraries, as well as view engine
information and assign automation.

Libraries
In the screenshot above, the Browser is opened to the Libraries tab. Using this tab, you will see all installed Kontakt Player 2 sound libraries. You can have an infinite
amount of sound libraries installed here.
In the submenu under the Libraries tab are a few buttons. There is a refresh button to refresh the Browser and an eject button to eject an optical disc.

You will also see two drop-down menus for User Instruments and User Multis. Anytime you resave an instrument or a multi using the Load/Save menu, your saved

file:///C|/...uments%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Kontakt_Player_2.htm[01/01/2009 4:24:08 PM]


Kontakt Player 2

instruments and multis will appear in this menu. (By default, they are stored on your hard drive inside Native Instruments/Kontakt Player 2/UserPatches.

Library Box

For each library, there is an Instruments, Multis, and Info tab. These three tabs allow you to navigate through the library. Instruments are the basic patches that are
created for you. Multis are combinations of various instruments.
If you click on the Instruments or Multis button, all instruments or multis will be displayed below in the Browser.

Note: Multis can be merged with other multis; when loading a new multi, select "No" in the Replace
Multi dialog box so that the existing multi is not replaced but merged with the new one. Note that only
the instruments of the new multi will be added to the end of your current one - all other settings (e.g.
outputs and master effects) are left unchanged.

If you click on the arrows just to the right of either button, the contents of the library will appear in an easy-to-use hierarchical menu.

The Info button brings up additional information about the library.

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About:
This page displays serial number and library credits. Click Show Readme to open the library read me document.

Update:
Use this tab to check for Library updates or crossgrade offers to other products.
Regsiter:
Registration for Finale GPO 2.0 relies on a valid Finale registration.
Forum:
This link connects you to the user forums of both the library developer and Native Instruments.
Support:
Click this link to be directed to the relevant Support pages for technical support.
Library Installation path; Choose. Use this to set the install directory for your library. This is especially necessary when you move your library to another hard
disk or to another location. Please note that if you use your Kontakt Player 2 library exclusively in Kontakt 2, you must set the library path here in order for the library
to continue working correctly.

Note: Only libraries that are released for Kontakt Player 2 (for example, the included Finale GPO 2.0)
can be loaded. Kontakt Player 2 is not able to load general Kontakt or Kontakt 2 patches, nor is it able
to import libraries from foreign formats. To do these things, you must own the full version of Kontakt 2.

The full version of Kontakt 2 offers other powerful benefits, such as more extensive editing, and the ability to use all Kontakt patches (whether user-created or released
for Kontakt Player 2) and mix and match freely between the two, as well as import libraries in foreign formats.
Engine
Clicking on the Engine tab brings up various information about how the Kontaktengine is performing. This information is updated in real-time, so you can watch exactly
how it behaves under various conditions (e.g. high polyphony, high CPU loads, etc.)
Automation
The Automation tab allows you to assign various types of MIDI automation to various knobs within Kontakt Player 2
As Finale uses Kontakt Player 2 as a plug-in, select Host Automation.

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With Host Automation mode, select an unused ID and either double-click or click on Set to perform the assignment. The automation always applies to an entire group.
The only functions that can be used with host automation are the volume, tune and pan knobs. The performance view knobs cannot be used with host automation.

Note: Several parameters can be assigned to the same controller. This is great if you want a single
control to do many things, such as increase brightness while increasing level. Also note that the Mod
wheel is usually fixed at Controller 1, and Volume at Controller 7.

Soft Takeover. Enabling Soft Takeover causes a parameter to remain static until an external controller matches its existing value. For example, if a level
parameter is set to half way, and an equivalent hardware level control is turned all the way down. Without Soft Takeover, when the hardware control of the
parameter is adjusted it will jump to the new value - in this case, something close to full off. With Soft Takeover, nothing will happen as you turn up the hardware
control until the control is up halfway. It now matches the existing parameter value, which allows it to take over parameter control.
Remove. To remove an automation assignment, select it then click on Remove.

Main Control Panel


The Kontakt Player 2 main control panel gives you access to several controls and displays which are global to the program.

The upper four buttons (Browser, Outputs, Keyboard, and MasterKontrol) toggle the visibility of these four areas of the program.
The Browser has been discussed above; we will now look at the other three areas individually.
Output section:
When you click the Outputs button, the Outputs window appears at the bottom of the rack.

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There are two types of faders: "Blue" faders that relate to channel outputs (the number of faders depends on the number of available outputs), and four "orange" faders
that control return from the four send effects, as used in Multi setups. Each fader, output or aux return, has four effect insert points.

Add Channel. Adds another output channel to the Outputs section.


Delete Channel. To delete a channel, click on any section of the channel that doesn't contain an editable parameter; the channel becomes outlined in yellow.
Click on Delete Channel to delete. Note: You cannot delete the Aux return channels.
Hide Inserts. Hides all inserts to conserve space.
Edit Effect. To edit an insert effect, click on it. Then click on this button to open and close the edit section for that effect. To delete an effect, click on the effect
strip that includes the parameters (not the module in the slot); the effect strip becomes outlined in orange. Then, press the Delete key.
Reset Out Map. This button can be used to restore the output mapping to the default settings.
Make Default. Clicking on this button saves the current output mappings as your permanent defaults. (These output mappings are saved to the Kontakt Player
2 application directory inside the Defaults folder.)
Name Fields. Each channel has a name field at the top. Double-click in the field, and type in the desired name.
Insert Effect Slots. To insert an effect, click on the down arrow toward the right of the slot and select the desired effect from the drop-down list.
Adjust Output or Aux Return Level. Move the appropriate fader.
Config. This is where you configure the output for number of channels and channel assignments.

When you click on a channel's Config button, a dialog box appears with several fields. You can edit the Channel Name, but also, the number of audio channels (click
on the Audio Channels parameter, then drag up or down). Note that you can't specify more audio channels than actually exist.
Each channel shows up in a list. Click on the channel's Physical Out field, and a pop-up menu appears with all available output. Click on a physical output to assign it
to a Kontakt 2 virtual output.

<< and >>. You can use the << and >> buttons in the lower left hand corner to automatically go to the next available output.
OK • Cancel. Click OK to accept changes or Cancel to dismiss this dialog box without making changes.

Keyboard
The Keyboard button displays an onscreen keyboard which features tinted keys, which can be helpful in showing you which keys are active in any given instrument.
Keys which have samples mapped on them are tinted blue, and keyswitch keys are tinted red. Keys which are being played will be shown in real time.

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You can transpose the keyboard's range within three octaves as well as create pitch bend and Modulation events (MIDI CC 1).

MasterKontrol

When enabled in the Main Control Panel, this sits right under that panel and provides a lot of useful functions.
There are three ways to set tempo manually:

Adjust the tempo knob.


Double-click on the tempo field and type in a new number.
Tap a rhythm on the Tap button. Ti[p: This is also useful for finding out the tempo of a song if you don't already know it.

To use the Metronome, click the On button to enable it. The light below the on button flashes with the tempo, and the control varies the metronome volume.
The Master Tune area defaults to A=440, but can be adjusted with the knob from A=392.00 to A=493.88.
If you've used use a sample library where some of the notes are out of tune, you can set a reference pitch, and tune the sample against it. The reference tone can
also be used for level setting within systems, or provide a reference tone for tuning guitar, bass, etc.
Click on the Note Name field and drag up and down to select the reference pitch. Turn it on with the On button, and use the knob to set the reference tone level.

Load/Save
The Load/Save menu gives you options for loading and saving instrument and multis, as well as resetting the entire multi (i.e. clearing the rack.)
Instruments and multis can be loaded using the Load option, and can also be loaded by simply dragging and dropping the NKI or NKM file from the desktop.
Note that when saving instruments and multis, you are only saving the instrument/multi definition files, not the individual samples. Each individual sample is encrypted
within the protected monolith file, and the raw samples cannot be extracted. In the Save dialog box, the patch + samples and monolith options are not available. This is
due to the copy protection of the library; the samples cannot be extracted nor resaved.

There is an option to save the patch with absolute sample paths enabled or disabled. When you save with absolute paths enabled, the patch file includes a direct and
absolute link to the location of the encoded samples on your hard drive. In other words, the absolute path will reference your hard drive name and the exact subfolders
which the encoded samples are stored. This is the best option to use if you will not be sharing this library among multiple computers and intend not to move the
location of the encoded samples. By doing this, every time you load one of the user patches, it will instantly and automatically find the samples.
By disabling the absolute path option, a relative path is used instead. For example, if you save the instrument in a subfolder which sits alongside the encoded sample
files, a relative path will read something like "go up one level in the folder hierarchy and you'll find the encoded samples there." Relative paths are the best option if
you think you may move the samples around. Be sure that the relative location between the newly saved patch and the encoded samples stays the same in order to
make sure the samples can always be found automatically.
If a saved patch ever loses track of where its samples are stored, you will be presented with a dialog box upon load which prompts you to find the location of the
samples.
Instruments and multis saved from within Kontakt Player 2 are accessible through the Browser's User Instruments and User Multis menus, and can be used by anyone
who owns the same library, from within either Kontakt Player 2 or the full version of Kontakt 2. The instruments cannot be used by a user who does not own the same
library.

Options
The Options menu is where you determine overall Kontakt Player 2 preferences. Clicking on this button to open the Options window, which has five subcategories.

Tab 1: Interface
Here you make basic adjustments to Kontakt Player 2's layout of Kontakt and functionality.

Small Size/Mid Size/Big Size. The View menu lets you choose one of three sizes for Kontakt Player 2: Small, Mid, and Big. The edit boxes let you specify
the size, in pixels, for the size. The width and height have separate fields; to change a field, double-click on it and enter the new value. Note: The new value will

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take effect the next time you open Kontakt Player 2.


Capture Keyboard from Host. Enabling this button catches certain keyboard keys and routes them to Kontakt Player 2 rather than to the host program. For
example, you may want to type certain things on the keyboard and have them affect Kontakt Player 2 but have no effect on the host (e.g. you want to name
something in Kontakt Player 2 using a letter that happens to be a keyboard shortcut for the host). Enabling this ensures the keystroke is interpreted by Kontakt
Player but not the host.
Capture Mouse from Host. This is similar to Capture Keyboard from Host, but directs Mouse Wheel movements to Kontakt Player 2 instead of the host.
Show Mapping and Keyswitches on Keyboard. This button shades keys on the "virtual master keyboard" (along the lower part of the window) to indicate
mapping and keyswitching.
Auto-refresh Browser. This option activates the auto updating of the browser. When activated, the browser automatically detects from the operating system if
a folder is changed / created.
Menu Font Size. This drop-down list allows setting the font size bigger for increased legibility, or smaller to fit more items on screen.

Tab 2: Audio Engine


These settings affect Kontakt Player 2's audio engine.

Default Volume for New Instruments and Volume Reset. Choose between -6dB and 0dB.
CPU Overload Protection. This function will kill voices if the CPU load gets too high. You can specify how tolerant you want the engine to be.
Multiprocessor Support. Enable this checkbox if you have a computer with more than one processor to take advantage of the additional CPU power.

Send MIDI to outside world

GUI keyboard: Virtual keyboard / Mapping Editor keyboard / computer keyboard events
Script generated CCs: script controller events like CCs, RPNs, NRPNs
Script generated notes: script note events (when enabled, this setting might create duplicate notes when recording in your host)
Offline Interpolation Quality. The new HQI mode allows you to select among three quality options when bouncing audio from within a host. "Standard"
corresponds to the old mode, whereas "High" and "Perfect" increase the quality. HQI mode helps you eliminate digital aliasing sounds which become particularly
audible when you transpose sounds with significant high frequency content upwards. Note that this quality comes with a price in the form of additional CPU load
and thus a lower total voice count.

Important. Both modes "high" and "perfect" will use more cpu if the transposition is higher. E.g. if you
transpose a sample one octave, then 2 octaves, the cpu load will double every octave. So if you
transpose your sample many octaves higher, the cpu load might be very high.

Open Audio and MIDI Settings. Click on this button to view audio and MIDI settings that relate to your audio interface.

Tab 3: Handling
Use Computer Keyboard for MIDI Playback. This lets you use your computer keyboard to trigger Kontakt Player 2. You can also edit the Velocity value
that a key will trigger.
Keyboard Velocity. This specifies what velocity should be sent when using the computer keyboard for MIDI playback.
Solo Mode. Choose between Solo In-Place (only one instrument can be soloed, others will be muted) and Solo Latch (you can switch several instruments into
solo mode).
Browser. Double-Click Loads Instrument: If enabled, double-clicking on a Sample in the Browser creates a new Instrument, with the sample spanning the entire
keyboard range. If you Shift-Click multiple samples and double-click on the group of Samples, this not only creates a new Instrument, but also auto-maps the
Samples equally across the keyboard.
Browser. Show Files Before Folders: This alters the sorting algorithm of the Browser to show files before folders.
Default Root Key for New Zones. Samples without root key information will default to this as their root key.
MIDI Channel Assignment for Loaded Patches. This menu tells Kontakt Player 2 what MIDI channel you want newly loaded instruments to be assigned
to. "1st Free" loads up each subsequent instrument on the first unused MIDI channel. "Omni" assigns all instruments to OMNI (meaning they will receive MIDI on
any incoming channel). "Keep channels from K 1.x Patches" will allow the patches to load with whatever MIDI channels were saved within older Kontakt 1
patches.
Installation Base Path. If you change the name of the Kontakt Player 2 folder, certain presets might not be available anymore. Set the installation path here
to the location of the Kontakt Player 2 folder.

Tab 4: Load/Import
Load Instruments/Banks/Multis in "Purged Mode" (Without Loading Samples into RAM). Reloads the parameters of Samples that were purged,
but without the Sample data itself. See Purge Menu below.
Force-load Pre-2.0 Patches in DFD Mode. This forces the engine to use DFD streaming even for old patches that were not originally saved with it.
Unwind Automation ID's for Additionally Loaded Patches. This is a very useful option when assigning host automation IDs to a patch and then loading
the same patch in several slots; just imagine that you assign host automation IDs #0 to #9 to a patch to control typical synth features; now if you load the patch
into Kontakt rack slots 3 and 7 in your song you would want to select different LFO settings for the two slots; this is now possible with this new feature because
the second instance of your patch now gets host IDs #10 to #19 instead!

Tab 5: Search/DB
This screen gives you options to specify what folders or volumes should be used when using search functions.
Tab 6: DFD - Direct from Disk

Amount of Memory for DFD. Adjusts the amount of RAM to dedicate to the DFD process. Although samples stream from disk, it is necessary to store attacks

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in RAM so they are available instantly upon playback. If DFD isn't working properly, try allocating more RAM to this function.

Purge Menu
Purge analyzes which samples were used in an arrangement, and removes from RAM any samples that weren't used. Thus, KONTAKT PLAYER 2 can handle huge
amounts of samples while exhibiting very low RAM usage. Scoring of large ensembles with many instruments and samples now becomes manageable.
Purge is available here on a Global level, but is also available on the Instrument level. You would use Global purge after a song was done, and you wanted to remove
all unneeded samples. The Instrument purge is handy if you've finished a part; you can purge samples for that Instrument alone, thus freeing up RAM for additional
overdubs.
Click on the downward arrow to access the following functions.

Reset Markers. Deletes all "tags" that mark samples as used.


Update Sample Pool. Unloads unused Samples from RAM, and loads newly marked Samples in RAM.
Purge All Samples. Unloads all Samples from RAM.
Reload All Samples. Reloads all Samples used in an Instrument.
Load Everything Purged (Without Samples). Reloads the parameters of Samples that were purged, but without the
Sample data itself.
A display for the instrument shows Purge status.
Green. All Samples are loaded.
Orange. Samples have been purged to reduce RAM requirements.
Red. Empty - all Samples are unloaded from RAM.

View Menu
The entire instrument can be re-sized from the View menu. Choices are Normal, Bigger, and Large. Typically you will use Large when creating Instruments, and
Normal when everything has been programmed, and you're using Kontakt Player 2 as a plug-in or stand-alone device. You can set the window size under Options >
Interface.

System Performance Meters


These are located in the upper right section of the Main Control Panel.

Clockwise from upper left, these show the following.

Notes. The amount of polyphony being used. The first digit shows the current number of notes being played; the second digit shows the maximum amount of
polyphony.
CPU. Shows how much CPU power is being used by Kontakt Player 2. More bars indicate more CPU use.
Disk. Shows the amount of Kontakt Player 2's hard disk access. Pulling more data from disk illuminates more bars.
RAM. Indicates how much memory is being taken up by the samples used by Kontakt Player 2. This figure will be much higher if DFD is not being used.

Minimized Player View


The last button on the right (next to the NI logo) is for Instrument Focus view.

Clicking on this button will instantly zoom into the currently selected instrument, and will hide all other areas of the Kontakt Player 2 interface (e.g. Browser). This can
be a useful tool to instantly collapse the Kontakt 2 Player screen to its smallest size and most essential elements.

About Kontakt Player 2


An About screen can be accessed by clicking either the Kontakt Player 2 logo in the far upper left corner of the interface, or the NI logo in the far upper right corner.
The About screen contains the specific version numbers of all components of the Kontakt Player 2 installation, as well as design credits and links to web pages
containing updates, support, and more.

Multi Area

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The Multi area is the large area on the right side of the Kontakt Player 2. Also referred to as the rack, this is where all loaded Kontakt Player 2 instruments reside.
You can load multis (which are combinations of instruments) or you can load individual instruments, and they will both appear here.
Instruments can be reordered in the rack within the same multi page. This works via drag-and-drop. When loading new instruments, these might still appear in
between the already loaded instruments and not at the bottom of the rack.

In the above picture you see an instrument being dragged from the top to the bottom position in the Kontakt Player 2 rack.

There are a few buttons in the upper right hand corner that allow you to work with the rack.

The four numerical buttons allow you to switch between four different pages of the rack. By using these, it's possible to load up to 64 different instruments at once -
although Finale only supports the first 16 in each instance. To load more than 16 channels in the Kontakt Player 2, load the player in the next 16-channel slot (17-32)
in the Native Instruments VST Setup dialog box. Regardless of the Finale bank, always use the “1-16” slots of the Kontakt Player 2 (Finale ignores the other channels).
The Aux button is a toggle switch to show or hide the aux send faders for each instrument.

Instrument Views

Performance View
The performance view shows a custom panel which allows you to alter specific characteristics of the instrument. Here is a view of one example instrument.
You can view this panel by clicking on the icon immediately below the gear icon in the upper left hand corner (in the example below, it's a Garritan icon.

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Specific Controls for Garritan Personal Orchestra Finale Edition:

Portamento (Port) • VAR1 • VAR2. In addition to the standard controls, there are up to five controllers that can control predefined parameters set for
specific instruments in Personal Orchestra. These appear as dials in the player interface shown above.
Portamento (Port). All wind and string instruments have this graduating slide function (CC#18). This is especially useful for instruments like the trombone and
the strings where slides are a normal characteristic. It can also be useful with other wind instruments to simulate the way movement by larger intervals “settles
into” the destination pitch.
VAR1 (MIDI controller #22). This controller lets the user introduce random variability in intonation. This can make a big difference, especially in fast
passages where real players almost never achieve accurate intonation from note-to-note.
VAR2 (MIDI controller #24). This controller lets the user introduce random variability in timbre. The two variability controllers can go a long way toward
eliminating the dreaded “machine gun” effect of rapid repeated notes. Proper application of the VAR controls can also help the user create convincing double and
triple tongued passages in the brass.
ModWhl (MIDI controller #1). GPO uses Modulation Wheel data for volume. You can use this dial to adjust the base volume for GPO instruments.

Minimized and Maximized View


The instrument minimize and maximize buttons allow you to instantly collapse or expand every instrument in the rack to its minimized or maximized view, respectively.
The maximized view is useful when editing an instrument and accessing its panel. The minimized view is useful when you want to view all your instruments at once.
An instrument in minimized view shows only its name, solo and mute buttons, volume, pan, and tune knobs, and meters. The X button in the upper right corner deletes
the instrument, and the + button switches to performance view.

Clicking on the gear icon itself brings up the Instrument Options window, which will be discussed below.

Instrument Options

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Instrument Tab
Voice Stealing Mode. Choose from the following.

Kill Any (the algorithm decides which is the best one to steal)
Kill Oldest (oldest note still sounding)
Kill Newest (most recently played note)
Kill Highest (highest-pitched note)
Kill Lowest (lowest-pitched note)

Voice Stealing Fadeout Time. Sets how long a stolen voice will fade out before it disappears, from 0 to 1000ms. This may cause the number of voices to
temporarily exceed what's specified as the maximum amount of polyphony.
Key Switch Default Key. This is the first key that is activated when you load this instrument with "Start on key" group start options.
MIDI Transpose. Transposes incoming MIDI data in semitones. Example: If this is set to 2 and you play a C# on your keyboard, the Instrument being triggered
will play a D#.
Key Range. This sets the Instrument's keyboard range. Placing your mouse over the lower or upper limit causes a double arrow to appear. Drag up to raise the
limit's note pitch, or drag down to lower. The range cannot go below C-2, or above G8. Use this with multiple Instruments to create keyboard splits - for example,
bass could cover the lower two octaves of your keyboard, and piano the rest. Double-click the a value field to enter a note from your computer keyboard.
Velocity Range. This restricts the velocity range to which an Instrument will respond. Placing your mouse over the lower or upper limit causes a double arrow
to appear. Drag up to raise the velocity limit, or drag down to lower. The range cannot go below 1, or above 127. Double-click a value field to enter a value from
your computer keyboard. Example: You could set a B3-type organ Instrument to respond to velocities 1-127, while a pipe organ Instrument responds to velocities
111-127. Velocities of 111 or above will layer the two organ sounds for a more powerful effect.

DFD & Load Tab


DFD Preload Buffer Size: Sets the amount of RAM dedicated to each preload buffer when using DFD. This is an expert setting and should not be adjusted
unless you are instructed to do so from tech support. You have been warned!

Controller Tab
MIDI Controller #64: This drop-down menu determines how the Kontakt Player 2 responds to MIDI Controller #64, which defaults to controlling the sustain pedal. Here
are your options.

Sustain Pedal and Controller. Kontakt Player 2 will respond to a switched (on-off) or continuous controller (values above 64 = sustain on, values 64 or
under = sustain off).
Sustain Pedal without Controller. Kontakt Player 2 will recognize only a switched controller.
Controller Only. Kontakt Player 2 will recognize only a continuous controller.
Accept All Notes Off/All Sounds Off. This option will filter All Notes Off and All Sounds Off messages, which some older controllers send by default.
Accept Standard Controllers for Volume and Pan. This option will automatically cause each instrument to automatically respond to CC#7 for volume and
CC#10 for pan.
MIDI Controller #7 (Volume) Range. Using this drop-down menu, you can adjust the minimum and maximum values that incoming MIDI CC#7 will translate

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to when controlling the volume of an instrument.

Info Tab
Instrument Icon. Choose an Instrument's identifying icon.
Instrument Info. A notepad for the Instrument, possibly including copyright information, helpful tips, etc.
Instrument Categories. Choose an Instrument category. Being able to search on this can help considerably with database searches.
Author. Information on the sample's creator. This is limited to 8 characters, so longer descriptions can go in the Info box.
Weblink.Provides a web link to the author's web site.

See Also:
Native Instruments VST Setup

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Garritan Personal Orchestra Finale Edition

Garritan Personal Orchestra Finale Edition


Included with Finale is an integrated collection of instrument sounds from Garritan Personal Orchestra (also known as GPO). These instruments are professionally
recorded sound samples designed to offer the highest quality playback. Here is a description of Garritan Personal Orchestra from its creator Gary Garritan:
“Orchestras are wonderful but not very practical to bring to your sessions. The next best thing is to record each note of every instrument in an orchestra and play them
back on a keyboard. Personal Orchestra is just that. It is a complete collection of actual high-quality recordings (or samples) of nearly every note, of each musical
instrument, in an entire orchestra. When Personal Orchestra is loaded, and you play a note on your keyboard, a high-quality recording or sample of that note as played
by an orchestral instrument is reproduced. What you hear sounds remarkably like the real thing, because it is an actual recording of an instrument. Personal Orchestra
gives you an entire orchestra at your fingertips.”

See Garritan Personal Orchestra and Human Playback Tutorial for detailed guidance on using GPO
for Finale and the full version of GPO along side Finale.

Finale includes a sample version of the GPO collection of orchestral sounds, which you can use independently, or along side Finale's SmartMusic SoftSynth
SoundFont instrument sounds. When starting a new file, you can easily choose to use GPO sounds in the Document Setup Wizard.

To use Garritan Instruments in new scores:


1. From the File Menu, choose New > Document with Setup Wizard. Or, in the Launch Window, select Setup Wizard. Page 1 of the Document Setup
Wizard appears.
2. Choose a Document Style if you'd like and click Next. See Document styles. Page 2 appears.
3. From the Instrument Set drop-downmenu, choose Garritan Personal Orchestra 2.0 Finale Edition. The available GPO instruments appear in
the subsequent lists.
4. Select the desired category from the left options in the column. Double-click the instrument you would like to add. Your selections
appear in the right column. Use the up and down arrows on the right to adjust the score order manually. (Or, choose a preset order from the Score Order drop-
down menu.)
5. Click Next.
6. Enter a Title, Composer, Copyright, and other information and click Next. The final page appears.
7. Make any additional settings and click Finish to complete the wizard.

Your new document opens. The instrument staves that appear are automatically configured for playback using GPO sounds. For detailed information on setting up
Garritan sounds, see Garritan Instrument Setup.
While notating into staves set for GPO playback, be sure all entries are within the range of the selected instrument. Notes outside of an instrument’s range will not
playback. For a list of instrument ranges, see GPO Finale Edition Instrument Details.
Additional changes to your GPO instruments can be made using the Kontakt Player 2. Also, use the Kontakt Player 2 to assign sounds to channels to correspond with
staves added to an existing document. For details, see Kontakt Player 2.
Some instruments contain “Keyswitches” which are notes outside the range of the instrument that trigger a patch change from, for example, arco to Pizzicato. For a list
of Keyswitches, see GPO Finale Edition Instrument Details. See also To add Keyswitches as Expressions.

Note that if Human Playback is enabled, it will recognize, for example, “arco” and “pizz,” and add
keyswitches automatically. See the GPO & HP Tutorial Supplement for additional information.

Note your GPO setup is not compatible cross-platform. If a file that is setup to use Finale GPO is
opened cross-platform (from Mac to Windows or vise versa), the GPO sounds will need to be
manually loaded. See below for details.

To load a GPO Instrument into the Kontakt Player 2.0 for Finale
When you choose from the list of Garritan Personal Orchestra Finale Edition instruments in the Document Setup Wizard, Finale loads all instruments into the Kontakt
Player 2 automatically when the new document opens. On the other hand, when you use the Staff Tool to add staves (Staff Menu > New Staves or Staff Menu > New
Staves (with Setup Wizard)), the added staves will not automatically load into the Kontakt Player. After adding a GPO staff to an existing document (or to load a GPO
sound for any staff not created using one of the GPO choices in Finale 2008’s Document Setup Wizard) the following steps are required to prepare for playback.

1. From the Window Menu, choose Instrument List. The Instrument List appears. If you want to assign a new instrument (one not yet used) to a staff, you
must first assign the staff a unique channel in the Instrument List. Even if you are using an instrument sound already used in the document, it is recommended to
assign the staff a unique channel (especially if the staff is in the same range as another staff with the same channel). (A pitch on one staff is not distinguished
from the same pitch on another staff if the staves share a channel. On/off messages apply to all notes of the same pitch which can disrupt playback).
2. In the row of the desired staff, click the drop-down menu under the Instrument column. Scroll to the top of this list and choose New
Instrument. The Instrument Definition dialog box appears.
3. Enter the desired instrument name in the top text box. You might enter the name of the GPO instrument you would like to use here.
4. After Channel, enter a channel number not used by any other staff. Use the Instrument List as a reference. If you are assigning all new staves
manually, number the channels consecutively from the top down (e.g. 1-16).
5. Click OK. The Instrument Definition dialog box closes. Repeat steps 2 through 5 for any other staves. Leave the Instrument List open.
6. From the MIDI/Audio Menu, choose Native Instruments Audio UnitsVST Setup. The Native Instruments VST Setup dialog box appears.
7. Click the drop-down menu for the range including the channels you want to assign and choose Kontakt Player 2 (if it’s not chosen
already).Then click the Edit button to the right. The Kontakt Player 2 appears. Any GPO instrument already defined appears within the interface.
8. Click the Instrument drop-down menu in the Library Box and choose the desired instrument. The instrument appears in the main browser
area to the left.

Notice the MIDI channel indicator( ). Kontakt for Finale automatically assigns consecutive channels to each slot loaded. For example, the fifth slot =
channel 5. If you clicked the Edit button next to Finale Channel “1-16” in the Native Instruments VST Setup dialog box, the sixteen slots in the Kontakt Player
are equivalent to Finale channels 1-16 (as shown in the instrument list). If you clicked the Edit button next to Finale Channel “17-32” in the Native Instruments

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Garritan Personal Orchestra Finale Edition

Audio UnitsVST Setup dialog box, the sixteen slots in the Kontakt Player are equivalent to Finale channels 17-32 (as shown in the instrument list).

9. If necessary, click the icon to assign a channel. This step isn’t necessary, if, for example, you are assigning the first slot to Finale channel 1, the
second slot to channel 2, etc. (and chose Finale Channel “1-16” in the Native Instruments VST Setup dialog box).
10. When you have finished loading instruments close the Kontakt Player. Playback the document to audition the results.

Note that each instrument occupies a different amount of RAM. For example, GPO’s “Flute Pla1”
sound uses only 1.17 MB of RAM whereas the Steinway Piano uses 10.55 MB. If you are
experiencing choppy playback or missing instruments, GPO may have exhausted your computer
resources. If this is the case, try loading the “Plr#” instruments instead of the “Solo” instruments to
conserve RAM.

Note also: When you save a file configured to playback using the Kontakt Player 2, the absolute path
to the folder containing the GPO sounds is stored with the file. If this file is opened on a computer
whose GPO sounds are stored in a different location (or if the names of folders or drives are different)
an“Auto Load” message will appear which will allow you to search for the folder. For this reason, if
you’re interested in sharing your files with others (and would like to avoid the auto-load message), you
might choose to not rename your default Mac hard drive from “Macintosh HD” or “Hard Drive”
(depending on the version of your OS).

To add Keyswitches as Expressions


While using Finale GPO for playback, you can add a keyswitch at any point to change the instrument sound, for example, from arco to Pizzicato. A Keyswitch is simply
a regular note outside the range of the instrument that triggers this change. For a list of Keyswitch mappings, see GPO Finale Edition Instrument Details.
If Human Playback is enabled, text (such as “arco,” “pizz,” etc.) is interpreted and keyswitches are added automatically. If you are not using HP, choose from a list of
keyswitch expressions available by default in the Expression Selection dialog box to add these effects.
You can also assign a Keyswitch to an expression manually by defining the expression to send a MIDI Note On message at the pitch of a Keyswitch. By doing this,
you can invoke a Keyswitch by simply adding the expression defined accordingly (a “Pizz” text expression would change the playback to a pizzicato sound).
Remember, Keyswitches are a feature of GPO, and will not apply to other playback devices.

1. Click the Expression Tool , and Double-Click the document. The Expression Selection dialog box appears.
2. Click Create. Or, you could also select an existing Expression you would like to define to a Keyswitch and click Edit.
3. Type the desired text. Set the font, size, style, make it hidden, or apply other text attributes.
4. Click the Playback Tab. The playback options appear.
5. From the Type Menu, choose Dump. The Playback Data Dump dialog box appears.
6. For Number of Units, type 3. We will be sending 3 pieces of Data.
7. For the top Data box, type 144. This is the message for Note On.
8. For the second Data box, type the MIDI Note number for the Keyswitch. For example, Arco = 0, Pizz = 5 in Finale GPO). For a complete list, see
GPO Finale Edition Instrument Details.
9. In the third data box, type 127. Since the note is below the instrument’s range, it will not sound.
10. Click OK, OK, Select, and OK to add the Expression. The performance style will change upon reaching this point during playback.

See Also:
Garritan Personal Orchestra and Human Playback Tutorial

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Kontakt Player with GPO

Kontakt Player with GPO

How to get there


From the MIDI/Audio Menu, choose Native Instruments VST Setup. Click a drop-down menu for one of the channel groups and choose Finale GPO. Click Edit for that
channel group.

What it does
The original Kontakt Player for Finale with Garritan Personal Orchestra was distributed with Finale 2006, and continues to be included for compatibility with files
configured to use the original Kontakt for Finale for playback. (The new Kontakt Player 2 is recommended for all new files and can load the same GPO samples
available with the original Kontakt for Finale - as well as other Kontakt Player 2 libraries. See Kontakt Player 2.).

Virtual Rack. When you first start the Kontakt Player your will see a strip across the top where Instruments 1 through 8 are represented. Each of these eight
boxes in the virtual rack can be selected in order to load an instrument. Each Kontakt Player can load up to eight instruments at one time. You can load eight
Kontakt Players in Finale’s Native Instruments VST Setup dialog box, for a total of 64 instruments. The number of Kontakt Players you can load also depends on
the power and available memory resources of your computer.

If you load more than one Kontakt Player, note that channel 1 in each player will equal the first channel in its channel range assigned to that player in the
Native Instruments VST Setup dialog box. For example, if you select Finale GPO for Channels 17-32 in the Native Instruments AU Setup dialog boxNative
Instruments VST Setup dialog box, channel 1 displayed in the Kontakt Player will equal channel 17 in Finale. The staff for this instrument will need to be set to
channel 17 in the Instrument List window. (Since you can only load eight instruments into each player, eight channels are skipped if the Kontakt player has
already been filled for the first (ch. 1-16) setting in the Native Instruments VST Setup dialog box.)

Instrument Header. Load • CPU Usage • Key Range • MIDI IN • Polyphony (Note Symbols) • RAM Usage • Instrument Output Channel •
Volume Slider • Options. Here you can select system instrument information and adjust the instrument parameters. When you first start Kontakt Player, no
instruments are loaded and “Empty” appears in the header.

To load new Instruments, select an empty box in the virtual rack so that it becomes highlighted. Then press the large button labeled Load. A drop-down menu
appears with all available instruments. Clicking on the desired instrument from the list loads it into the selected slot. The loaded instrument’s name will appear in
Instrument Header and in the instrument strip above.
The CPU Usage indicator shows the percentage of your processor being used.
The Key Range indicator represents the keyboard range covered by the instrument.

Click the MIDI IN region to choose a different MIDI channel on which the Instrument receives MIDI data. When you load a sound, the
channel is chosen automatically according to slot. When the Instrument receives MIDI data, the small MIDI icon will flash.

In the Polyphany indicator , The left digit indicates the number of notes being played at any given time. Click on the right field and drag up
to increase the maximum number of notes the instrument can play, or drag down to decrease the number. Solo Wind Instruments are automatically set to “1”
for mono mode operation.

The RAM Usage indicator Displays the size of all samples loaded into RAM for the current instrument.
Click the Instrument Output Channel region to choose an output for the instrument. Kontakt Player offers multiple outputs with flexible routing possibilities.
The number of outputs you can choose depends on the hardware you are using.
Click and drag the Velocity Slider to adjust the output key velocity for the instrument by percentage.
Click Options to open the Settings dialog box (Kontakt for Finale) where you can adjust additional settings.

The Virtual Keyboard & Pitch Wheel/Modulation Wheels. The Kontakt Player virtual keyboard will allow you to audition the sound of each instrument in

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Kontakt Player with GPO

the document by simply clicking on the keys on the screen with your mouse. If you have a MIDI keyboard connected, you may play the samples using your
keyboard as well. (To do so, MIDI Thru must be on. See MIDI Thru dialog box. Also, under the MIDI/Audio Menu, Play Finale File through Native Instruments
VST must be checked. To the left of the keyboard are standard pitch and modulation wheels. To transpose, use the arrows below the Mod Wheel to transpose
the keyboard up or down one octave. If you don’t hear any sound when playing the keys on the keyboard, turn up the Mod wheel.
Controls. Most of the controls are operated by knobs. There are standard controls (Volume, Pan and Tuning) for all instruments and additional controls that
affect specific instruments. To change a knob value, click on it and drag up to move the knob clockwise, or drag down to move it counter-clockwise. Some knobs
can be fine-tuned if you hold down your computer keyboard’s Shift key as you move the knob. Ctrl + Click resets a knob to its default value. Some parameters
allow changing the type of units displayed; click on the unit, and choose another type from the drop-down list that appears.
Standard Controls: Tune • Pan • Volume. Adjust the Tune dial to change the Instrument's master tuning, up to +/-12 semitones (one octave). To fine tune
in cents (1/100th of a semitone), hold down the shift key while dragging the mouse. Adjust the Pan dial to control the instrument's location in the stereo field. For
fine adjustments, hold down the shift key while dragging the mouse. Adjust the Volume dial to specify instrument's master level control. Holding the shift key while
dragging provides fine adjustments.
Specific Controls for Personal Orchestra: Portamento (Port) • VAR1 • VAR2 • BD Fund • Reverb. In addition to the standard controls, there are
up to five controllers that can control predefined parameters set for specific instruments in Personal Orchestra. These appear as dials in the player interface. The
specific parameters that are available become visible upon opening each Instrument.
Portamento (Port): All wind and string instruments have this graduating slide function (CC#18). This is especially useful for instruments like the trombone and
the strings where slides are a normal characteristic. It can also be useful with other wind instruments to simulate the way movement by larger intervals “settles
into” the destination pitch.
VAR1 (MIDI controller #22): This controller lets the user introduce random variability in intonation. This can make a big difference, especially in fast
passages where real players almost never achieve accurate intonation from note-to-note.
VAR2 (MIDI controller #24): This controller lets the user introduce random variability in timbre. The two variability controllers can go a long way toward
eliminating the dreaded “machine gun” effect of rapid repeated notes. Proper application of the VAR controls can also help the user create convincing double and
triple tongued passages in the brass.
BD Fund: This knob controls the strength of the fundamental of the bass drum. Use this control with caution. It can supply very strong low frequencies.

Note: To apply reverb to playback, use the included Ambience Reverb option in the Native
Instruments VST Setup dialog box.

See Also:
GPO and HP Tutorial

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Pickup measures

Pickup measures

To create a pickup measure at the beginning of a piece


The following method, in effect, places an “invisible rest” at the beginning of the first measure of your piece. Follow these steps to convert the first measure into a
pickup measure. If you wish to add a pickup measure before the first measure of your piece, first insert a measure with the Measure Tool. See Measure Menu. Any
notes you enter will be pushed to the right of this invisible rest. Finale will also automatically skip over your pickup measure when displaying measure numbers. There
is another method which some users prefer to create both pickup measures at the beginning of a piece and pickup measures within a piece. See To create a pickup
measure within a piece.

1. From the Document Menu, choose Pickup Measure. The Pickup Measure dialog box appears containing rhythmic values.
2. Click the rhythmic value corresponding to the sum of the pickup note or notes. If the duration of the pickup notes is equivalent to a dotted note,
click the dotted note.
3. Click OK (or press enter), and enter the pickup notes. Finale will still play back the entire measure—including the invisible rest before the pickup
measure. If you’ve entered the notes before creating the pickup measure, you may need to reapply music spacing.

To create a pickup measure within a piece


1. Enter the pickup notes first. For the moment, notate them at the beginning of the measure, even though they’ll eventually be right-justified.

2. Choose the Time Signature Tool .


3. Click in the pickup measure. The Time Signature dialog box appears.
4. Set the Number of Beats to match the sum of beats in the pickup measure. Under Measure Region, specify the measure number of the pickup
only. For example, Measure 24 Through 24.
5. Click Options. The Time Signature dialog box expands.
6. Select Use a Different Time Signature for Display.
7. Set the Number of Beats to match the sum of beats in the full measures of music after the pickup measure.
8. Set the Beat Duration to match the beat duration in the full measure of music after the pickup measure.
9. Click OK. Now you may want to adjust the measure numbers to account for the pickup measure.

To adjust the measure numbers to account for the pickup measure

1. Click the Measure Tool and from the Measure Menu, choose Edit Measure Number Regions. The Measure Number dialog box appears.
2. In the Includes Measure _ through _ change the through field to match the measure number before the pickup measure. For example if
the pickup measure is 5, enter a 4.
3. Click Add. This will create a new region which will be measure numbers after the pickup measure.
4. Select the newly created region in the window.
5. In the Includes Measure _ through _ enter the number of the measure after the pickup measure. For example if the pickup measure is 5, enter
a 6.
6. In the through field, enter the last measure of the piece.
7. In the First Measure in Region, enter the measure number you want displayed. For example if the pickup measure is 5, then measure 6 would be
numbered as 5, so enter a 5.
8. Set other fields as desired in the Measure Number dialog box. See Measure numbers for more information.
9. Click OK.

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Equivalents

Equivalents

This table gives equivalents for EVPUs, spaces, inches centimeters, millimeters, points, and picas. (There are 288 EVPUs - ENIGMA Virtual Page Units - per inch. A
space is the music engraver’s unit of measurement - the distance between two staff lines.)

EVPUs Spaces Inches CM MM Points Picas

24 1 .083 .212 2.12 6 .667

1 .042 .0035 .009 .09 .25 .042

288 12 1 2.54 25.4 72 6

113 4.708 .392 1 (.997) 10 28.25 2.3622

.1
11 .458 .038 1 2.75 .2362
(.097)

4 .167 .014 .035 .35 1 .083

48 2 .167 .423 4.23 12 1

Finale also uses its own units of rhythmic, or durational, measurement: EDUs, or ENIGMA Durational Units. There are 1024 EDUs per quarter note. The following table
provides EDU equivalents for use on those occasions when you need to perform conversions of rhythmic value into EDUs in Finale.

Rhythmic value EDUs Rhythmic value EDUs Rhythmic value EDUs

double whole 8192 quarter 1024 dotted 32nd 192

dotted whole 6144 dotted eigth 768 triplet sixteenth 171

whole 4096 triplet quarter 683 32nd 128

dotted half 3072 eighth 512 dotted 64th 96

half 2048 dotted sixteenth 384 64th 64

dotted quarter 1536 triplet eighth 341 dotted 128th 48

half note triplet 1365 sixteenth 256 128th 32

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Expression Designer-Playback

Expression Designer-Playback

How to get there


Click the Expression Tool, and double-click a note or measure. (If you want to edit a text expression that’s already in the score, double-click or ctrl-double-click its
handle.) Click Create, or click a text expression and then click Edit. Click the Playback tab.

What it does
These options control playback effects assigned to the expression.

Type: From this drop-down list, choose the playback effect you want this Text Expression to have on MIDI playback. Each option is described separately below.
Type: None. This choice, the default, means that your Text Expression will have no effect on playback.
Type: Tempo. Select this option if you want the marking you’re creating to affect the playback tempo wherever it appears in the score. When Tempo is
selected, a new drop-down list appears, from which you can choose the rhythmic pulse for the Tempo setting (quarter notes per minute, half notes, etc.); specify
the number of these units per minute in the Set to Value text box. If the tempo is to change gradually (a rallentando or accelerando), don’t enter any value in the
Set To Value box. Instead, use an Executable Shape.
Type: Controller. MIDI controllers include modulation wheels, breath controllers, pedals, and so on (the pitch wheel has a separate Playback Definition option;
see Pitchwheel, below). When Controller is selected, a new text box appears with a drop-down list, in which you can specify the MIDI controller itself by entering
its number; for example, the controller number for the sustain pedal (on most keyboards) is 64. Some common controllers (see the Appendix section More on
MIDI for a complete list):

Controller Controller Controller number Controller Controller number Controller


number
1 Modulation wheel 7 Main volume 65 Portamento
or lever
2 Breath Controller 10 Pan 66 Sostenuto
4 Foot Controller 64 Sustain pedal 67 Soft Pedal

If you select this option, the number in the Set To Value box (or the shape identified by the number in the Execute Shape box) governs the effect of this
controller.

Type: Key Velocity. Choose Key Velocity if you want the marking you’re creating to affect the key velocity (how hard the keys are struck) wherever it appears

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Expression Designer-Playback

in the score. (Use this option to define dynamic markings, for example.) Specify the velocity value itself in the Set to Value text box; the scale of MIDI velocity
values is from zero (silence) to 127 (very loud). See Set to Value - Key Velocities. If the volume is to change gradually (a crescendo or diminuendo), don’t enter a
value in the Set To Value box. Instead, use an Executable Shape (see Execute Shape, below). (There are also quicker and easier ways to create a playback
crescendo, however, using the MIDI Tool.)
Type: Transposition. Choose Transposition if you want the marking you’re creating to affect the transposition of the music wherever it appears in the score.
(Use this option to define an 8va marking, for example—but don’t forget to create another expression at the end of the affected passage to "cancel out" the
transposition.) Specify the transposition value itself, expressed as a positive or negative number of half steps, in the Set to Value text box. See Set to Value.

If, for a special effect, the transposition is supposed to change gradually as the music plays, don’t enter any value in the Set To Value box. Instead,
use an Executable Shape (see Execute Shape, below).
Note that for any use of the Transposition playback effect, Finale only changes the playback transposition of the affected notes. No note transpositions appear
on the screen or in printouts.

Type: Channel. Choose this option if you want the marking you’re creating to effect a MIDI channel change wherever it appears in a staff. In the Set to Value
text box, specify the MIDI channel you want the marking to switch the playback to.
Type: Patch. Select this option if you want the expression you’re defining to change the MIDI keyboard patch or voice being played by the staff in which it
appears. Select the instrument you would like to hear from the GM (General MIDI) drop down list. This will automatically set up the Bank Select and Program
Change settings.
Type: Pitchwheel. Select this option if you want the marking you’re creating, wherever it appears in the score, to change the setting of the pitch bend wheel in
playback. You can also specify a new value by entering a number in the Set to Value text box. (See Set to Value.) To create a true pitch bend effect, however,
click Execute Shape, then Select, and choose (or create) the shape whose contour you want to govern the pitch bend.
Type: Channel Pressure. Choose Channel Pressure if you want the expression you’re defining to govern the monophonic aftertouch (channel pressure)
setting of the affected notes. (Aftertouch or channel pressure is the pressure you apply to a key while it’s being held down.) If you select this and enter a number
in the Set To Value text box, you can define an expression that sets the aftertouch setting to a particular value (on a scale from 0 [no pressure] to 127 [maximum
pressure]). You might use an expression with a Channel Pressure playback definition, for example, to trigger a vibrato effect (if your synthesizer is programmed
to interpret aftertouch in this way). You might also want to use the Channel Pressure parameter in conjunction with an Executable Shape. Click Execute Shape,
then Select, and choose (or create) the shape whose contour you want to govern the application of key pressure.
Type: Restrike Keys. Select this option if you want Finale to play the notes affected by this marking over and over again (for tremolo or trill effects, for
example). The Set To Value box is not used for this effect; instead, click Execute Shape and Select to choose—or create—the shape that’s to govern the rapidity
and duration of the restriking.
Type: Dump. Click Dump to display the Playback Data Dump dialog box. In this dialog box, you can create a playback instruction for Finale to send the staff’s
playback information over more than a single MIDI channel. If you’re a MIDI programmer, you can also use this option to generate System Exclusive data or
sequencer Start signals; see Playback Data Dump dialog box.
Type: Play Tempo Tool Changes • Ignore Tempo Tool Changes. If you’ve made tempo changes using the Tempo Tool or captured tempo information
from a performance in the Transcription Mode of HyperScribe, you can make Finale "obey" this invisible tempo information in some passages and ignore it in
others. (In passages where you’ve told Finale not to use this stored tempo information, it will use the default tempo you’ve set in the Playback Controls, or it will
adhere to any Tempo-defined expressions you’ve placed into the score.) At the beginning of the passage where you want Finale to obey the tempo information,
create an expression whose playback has been defined with the Play Tempo Tool Changes setting. At the end of the passage, create a second expression, but
define its playback to be Ignore Tempo Tool Changes.
Type: Swing; Standard Swing Values. Select Swing if you want Finale to play the notes affected by this marking with a slight delay on the second note of
a triplet, or with a swing feel. Select a Swing value from the drop-down list to select a pre-defined amount of swing. Or, type into the box the percentage of swing
- zero is no swing, 100% is standard.
Type: SmartMusic Studio Marker. Choose this option to create a performance marker, such as a pause for a fermata or cesura, a repeat, or an Intelligent
Accompaniment level, for a file saved as a SmartMusic Accompaniment file (*.SMP). Expressions containing SmartMusic Markers should be attached to the solo
staff. If the file is to be saved as a Full Ensemble, expressions containing SmartMusic Studio markers should be assigned to the top staff of the score. Note that
some markers, such as repeats, require additional parameters added to the Description text box of the Text Expression Designer dialog box.
Type: Human Playback On. Select Human Playback On to tell Finale to incorporate Human Playback settings configured in the Playback Controls to the
MIDI performance. After assigning an expression containing this playback effect, you can enter an expression assigned to Human Playback Off to turn human
playback off at any point during the MIDI performance of the score.

Type: Human Playback Off. Select Human Playback Off to tell Finale to ignore Human Playback settings configured in the Playback Controls during the
performance. After assigning an expression containing this playback effect, you can enter an expression assigned to Human Playback On to turn human
playback on at any point during the MIDI performance of the score.
SMS Marker. When SmartMusic Studio Marker is chosen under the Type drop-down list, this new drop-down list appears. Here, choose the SmartMusic Studio
Marker you would like to apply to the expression. These options are described below.
SMS Marker: Intelligent Accompaniment=0 through Intelligent Accompaniment=10. Choose one of these settings to adjust the Intelligent
Accompaniment level. For example, if you would like SmartMusic Studio to follow the performer precisely, adjusting to all spontaneous tempo changes, choose
Intelligent Accompaniment=10. To indicate the performer should follow the accompaniment, choose Intelligent Accompanimnet=0. Choose Intelligent
Accompaniment=2, 5, or 8 (low, medium, or high) to indicate an intermediate level.
SMS Marker: Wait for End of Note. Choose this option to instruct SmartMusic Studio to wait for the soloist to release a held note before resuming the
accompaniment. After assigning this marker to an expression, enter the expression to a point containing a note that should be held in the solo staff. Then, enter
an expression containing a Resume marker at the point the accompaniment should resume after the release of the held note. When the soloist releases the note,
SmartMusic will resume the accompaniment at the next resume marker.
SMS Marker: Wait for Note On. Choose this option to instruct SmartMusic Studio to wait for the soloist to play a specified pitch before resuming the
accompaniment. After assigning this marker to an expression, enter the expression at a point you want the accompaniment to pause. Then, enter an expression
containing a Resume marker on the note in the solo staff SmartMusic should wait for to resume the accompaniment. SmartMusic will listen for the specified pitch
before resuming the accompaniment.
SMS Marker: Wait for Foot Pedal. Choose this option to instruct SmartMusic Studio to wait for a foot pedal message before resuming the accompaniment.
After assigning this marker to an expression, enter the expression at a point you want the accompaniment to pause. Then, enter an expression containing a
Resume marker at the point SmartMusic should resume the accompaniment. When the performer presses the foot pedal, the accompaniment resumes. This
marker might be used if the solo and accompaniment resume simultaneously, or if the accompaniment resumes before the soloist (after a cadenza for example).
SMS Marker: Resume. Choose this option to specify the end of a pause, or, in other words, a trigger for the accompaniment to resume. After assigning this
marker to an expression, assign the expression to the point in the solo staff that SmartMusic Studio should wait for before resuming the accompaniment. The
trigger used to resume the accompaniment depends on the ‘wait for’ marker used. If a Resume marker appears after a Wait for End of Note, SmartMusic will
resume upon the release of a held note. If a Resume marker appears after a Wait for Note On marker, SmartMusic will resume upon hearing the note under the
Resume marker. If a Resume marker appears after a Wait for Foot Pedal, SmartMusic will resume upon receiving a foot pedal message.
SMS Marker: Reset Tempo. Choose this option to instruct SmartMusic Studio to resume the accompaniment at the tempo defined by a tempo expression or
other tempo indication. This marker eliminates tempo adjustments made by SmartMusic’s Intelligent Accompaniment feature. These markers are generally placed
at the same point as Resume markers, or any point the performer is to return to the written tempo (such as an a tempo marking).

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Expression Designer-Playback

SMS Marker: Opt. Octave Up 1. Choose this option to instruct SmartMusic Studio to acknowledge a performance that sounds an octave higher than written
(in addition to the original octave).
SMS Marker: Opt. Octave Down 1. Choose this option to tell SmartMusic Studio to acknowledge a performance that sounds an octave lower than written (in
addition to the original octave).
SMS Marker: End opt. Octave. Choose this option end an Opt. Octave Up or Opt. Ovate Down section.
SMS Marker: Rehearsal. Choose this option to indicate a rehearsal letter. Then, enter the text (A,B, etc.) into the Description text box in the Text Expression
Designer. In SmartMusic Studio, you can begin an accompaniment all points marked by rehearsal letters. These should be added at the first beat of a measure.
SMS Marker: Repeat. Choose this option to specify the beginning of a repeated section. This marker is displayed in SmartMusic’s Repeat window during the
performance. This marker is also used to indicate repeat endings (first ending, second ending, etc.). After choosing this option, additional parameters must be set
in the Description text box of the Text Expression Designer dialog box to indicate the repeat number, pass, measure number, and other parameters.
SMS Marker: Repeat End. Choose this option to specify the end of a repeated section.
SMS Marker: Repeat DS. Choose this option to indicate a D.S. section. A Repeat DS marker is required at the first pass of the D.S. as well as the actual
D.S. section.
SMS Marker: Repeat DC. Choose this option to indicate a D.C. section. A Repeat DS marker is required at the beginning of the score, as well as at the
actual D.S. section.
SMS Marker: Use Description Text. This option accommodates any additional markers that could be added to future versions of SmartMusic Studio.
Set to Value. The number in this text box specifies the MIDI value of the playback parameter you’ve selected from the Type drop-down list (see below; not all
of the playback parameters require a value in the Set To Value box). The units depend on the parameter you’ve selected, as shown in this table.

Drop-down list choice Set to Value units Drop-down list choice Set to Value units
Tempo Beats per minute Channel MIDI channel (1 to 16 [or
17–32, if you’re using both
ports])
Controller 0 (off) or 127 (on) for Patch Synthesizer patch number (1
pedals; any value from 0 to to 128)
127 for variable controllers
(such as a modulation
wheel)
Key Velocity MIDI key velocity (0 to 127) Pitchwheel Pitch wheel position (-8192
to 8191; 0 is "at rest"
position)
Transposition Half steps (positive or Channel Pressure Channel Pressure (0 to 127)
negative)

Execute Shape • Select. While some playback effects take place instantaneously (a tempo or volume change, for example), others occur over time
—a ritard, for example, or a crescendo. To create playback definitions of this latter type, you can assign a Text Expression to an Executable Shape—in essence,
a graph whose contours Finale "reads" as it plays back the music. The number in this text box identifies the Executable Shape you’ve chosen to represent the
playback effect of the marking you’re defining. To view the available shapes, click Select; the Executable Shape Selection box appears, where you can double-
click the desired shape. (Or, if the shape you want doesn’t appear in the selection box, create your own by clicking Create, Select, and Create to enter the Shape
Designer. For instructions on the use of the Shape Designer, see Shape Designer.)
Play Only on Pass ___ . If Finale encounters the expression whose playback you’re defining more than once—in other words, if it falls within a repeated
section you’ve created using the Repeat Tool—the number in this text box specifies which time through the expression will have a playback effect. (If you leave
the number at its default value, zero, the marking will affect playback on every repeat.) For example, if you’ve created an expression such as "ritard 2nd time only"
by entering a 2 into this box, Finale will apply the playback definition you’ve defined only on the second time it plays back the affected passage.

See Also:
Expressions
Expression Selection
General MIDI Patch Numbers & Names
Playback Data Dump
Expression Tool

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Expression Designer-Note Positioning

Expression Designer-Note Positioning

How to get there

Click the Expression Tool , and double-click a note or measure. (If you want to edit a text expression that’s already in the score, double-click or ctrl-double-click
its handle.) Click Create, or click a text expression and then click Edit. Click the Note Positioning tab.

What it does
These options control the default positioning of the expression relative to the note.

Horizontal - Expression Alignment Point: Left • Center • Right. Use these options to specify the alignment point relative to the Note Alignment Point
as illustrated by the diagram in this dialog box.
Note Alignment Point: Horizontal Click Position • Left • Left of Primary Notehead • Stem • Center of Primary Notehead • Center of All
Noteheads • Right. Use these options to specify the alignment of the expression relative to the notehead as illustrated by the diagram in this dialog box. To
place the expression at the horizontal position clicked in the score (as in Finale version 2003 or earlier), choose Horizontal Click Position. To align the expression
to the left edge of the notehead (or left-most notehead of a chord), choose Left. To align the expression with the left edge of the notehead (or primary notehead
of a chord), choose Left of Primary Notehead. To align the expression with the stem, choose Stem. To center the expression based on the primary notehead
(changes if added to a chord containing an interval of a second), choose Center of Primary Notehead. To align the expression on the center of a notehead, or, if
added to a chord with a second, center the expression between the notes, choose Center of All noteheads. To Align the expression with the right edge of the
notehead, choose Right.
Additional Horizontal Offset. Enter a value here, positive or negative, to make an additional adjustment to the horizontal positioning of the expression.
Vertical - Vertical Click Position • Above Staff Baseline • Below Staff Baseline • Top Note • Bottom Note • Above Entry • Below Entry
• Above Staff Baseline or Entry • Below Staff Baseline or Entry. Use these options to specify the vertical positioning of the expression relative to the
note or staff. To position the expression based on the vertical distance you clicked from the top staff line choose Vertical Click Position. To position the expression
on the baseline above or below the staff (akin to lyrics and chords) choose Above Staff Baseline or Below Staff Baseline. To "fasten" the expression to the top or
bottom note of the chord, choose Top Note or Bottom Note from the drop-down list. If you choose Top Note or Bottom Note, the value for vertical positioning in
the Note Expression Assignment dialog box represents the distance from the top or bottom note in the chord (as in Finale version 2003 or earlier). To place the
expression on the above or below staff baseline, or, if the expression collides with the note, above or below the note, choose Above Staff Baseline or Entry or
Below Staff Baseline or Entry.
Additional Vertical Offset. Enter a value here, positive or negative, to make an adjustment to the vertical positioning of the expression.
Additional Baseline Offset. This option appears only when Above/Below Staff Entry or Baseline is chosen. Enter a value here to specify an offset from the
baseline above or below the staff.
Additional Entry Offset. This option appears only when Above/Below Staff Entry or Baseline is chosen. Enter a value here to specify an offset in cases
where the baseline collides with the notehead.
OK • Cancel. Click OK (or press enter) to return to the Expression Selection dialog box, where your new (or edited) text expression appears in the list (in the
font you’ve specified)— or to return to the score. Note that when you edit an expression, your editing will affect every occurrence of the marking in the score.

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Expression Designer-Note Positioning

Click Cancel to return to the Expression Selection dialog box (or to the score) without creating or editing a text expression. Click Apply to save the selected
changes in your dialog box and keep the Text Expression Designer dialog box open.

See Also:
Expressions
Text Expression Designer
Shape Expression Designer
Expression Selection
Expression Tool

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Expression Designer-Measure Positioning

Expression Designer-Measure Positioning

How to get there

Click the Expression Tool , and double-click a note or measure. (If you want to edit a text expression that’s already in the score, double-click or ctrl-double-click
its handle.) Click Create, or click a text expression and then click Edit. Click the Measure Positioning tab.

What it does
These options control the default positioning of the expression relative to the measure.

Horizontal - Expression Alignment Point: Left • Center • Right. Use these options to specify the alignment point relative to the Measure Alignment
Point.
Measure Alignment Point: Horizontal Click Position •Left Barline • Start of Time Signature • After Clef/Key/Time/Repeats • Start of Music • Center Between
Barlines • Center Over/Under Music • Right Barline. Use these options to specify the alignment of the expression relative to the measure. The placement property
of each option is illustrated in the diagram displayed in this dialog box. To place the expression at the point you clicked in the score (as in Finale version 2003 or
earlier), choose Horizontal Click Position. To align the expression with the left barline, choose Left Barline. To align the expression with the left edge of the time
signature, choose Start of Time Signature. To align the expression with the end of the clef, key signature, time signature, or repeat bar, choose After
Clef/Key/Time/Repeats. To align the expression with the first entry in the measure, choose Start Of Music. To center the expression between the left and right
barline, choose Center Between Barlines. To center the expression based on where the music starts and ends (taking into account "Before" and "After" spacing in
Document Options-Music Spacing), choose Center Over/Under Music. To align the expression with the right barline, choose Right barline.
Additional Horizontal Offset. Enter a value here, positive or negative, to make an additional adjustment to the horizontal positioning of the expression.
Vertical - Vertical Click Position • Above Staff Baseline • Staff Reference Line • Below Staff Baseline. Use these options to specify the
vertical positioning of the expression relative to the staff. The placement property of each option is illustrated in the diagram displayed in this dialog box. To place
the expression at the vertical position clicked in the score (as in Finale Versions 2003 and earlier), choose Vertical Click Position. To place the expression on a
baseline above the staff (akin to Lyrics and Chords), choose Above Staff Baseline. To align the expression with the top staff line, choose Staff Reference Line. To
Place the expression on a baseline below the staff (akin to lyrics and chords), choose Below Staff.
Additional Vertical Offset. Enter a value here, positive or negative, to make an adjustment to the vertical positioning of the expression.
Additional Baseline Offset. This option appears only when Above/Below Staff Entry or Baseline is chosen. Enter a value here to specify an offset from the
baseline above or below the staff.
OK • Cancel. Click OK (or press enter) to return to the Expression Selection dialog box, where your new (or edited) text expression appears in the list (in the
font you’ve specified)— or to return to the score. Note that when you edit an expression, your editing will affect every occurrence of the marking in the score.
Click Cancel to return to the Expression Selection dialog box (or to the score) without creating or editing a text expression. Click Apply to save the selected
changes in your dialog box and keep the Text Expression Designer dialog box open.

See Also:

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Expression Designer-Measure Positioning

Expressions
Text Expression Designer
Shape Expression Designer
Expression Selection
Expression Tool

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Automatic Check for Updates

Automatic Check for Updates

How to get there


From the Help Menu, choose Check for Finale Updates. Then click Settings.
What it does
With this dialog box, you can set the frequency for automatic update checks.

Yes. Please check every _ days. Here, enter the number of days between checks. If an update is available, you will be notified upon Finale startup. (A
notice is only shown if an update is available).
No. Choose this option to prevent Finale from checking for automatic updates.
OK • Cancel. Click OK to confirm, or Cancel to discard, your settings and return to the score.

See Also:
Help Menu

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Nonstandard key signatures

Nonstandard key signatures


Most music is written with one of the standard key signatures. This traditional system is based on a scale of twelve half-steps and a harmonic scheme where a new
accidental is added to the key signature with every advance around the circle of fifths.
In certain advanced and twentieth-century music schemes, however, these traditional key signature practices don’t apply. A piece may be based on the quarter-tone
scale, for example, in which there are four chromatic steps from C to D. See To create a quarter-tone Scale or key signature for instructions. In Finale, you can create
your own key signatures in any format, based on scales with any number of steps from one note to the next. Using the five dialog boxes accessed by the Nonstandard
Key Signature dialog box, you can create up to 128 linear or nonlinear key signatures that are available at any time within the document.

To create nonstandard key signatures


Because this aspect of Finale is among its most technical, you’ll find only a summary of the steps for creating a nonstandard key signature in this entry. In some of the

steps, you’ll be directed to a corresponding (more detailed) discussion. Steps for a sample key signature of B , E and F have been provided where appropriate.

1. Click the Key Signature Tool , and double-click the measure in which the key will change. The Key Signature dialog box appears.
2. Choose Nonstandard from the drop-down list menu next to the scroll bar. The Nonstandard Key Signature dialog box appears. In the center of
this dialog box you’ll find a pair of buttons with which you tell Finale which kind of nonstandard key signature you want to create: Linear or Nonlinear.
3. Click Linear Key Format or Nonlinear Key Signature. Click Next or Prev to find an open Key Format. Click Next twice to advance to a key
signature you can edit. The first two are the Major and minor formats (that cannot be changed). (See Nonstandard Key Signature dialog box.)

A linear key format is one whose scale is composed of a repeating sequence of diatonic and chromatic steps. The standard diatonic major scale, for example,
is a linear key format—in Finale, it’s called Linear Key Format 0. (Linear Key Format 1, which you can choose by clicking the Next button, is the standard
minor scale format; a key signature with no sharps or flats that’s been set to this key format considers A, not C, to be the first note of the scale. Because
these two formats have been predefined, you’ll find that only the ClefOrd and Attribute icons [two of the five icons whose associated dialog boxes define the
key format] are operational. Once you’ve selected Key Format 2 or higher, all five icons are active.)
The keys of a linear key format, however, need not proceed around the circle of fifths. You could create a system that proceeds around a circle of sixths, for
example. As long as the scale in each of the key format’s related “keys” is formed by the same sequence of whole and half steps, and as long as the upper
and lower halves of the scale are formed by the same sequences of whole and half steps (such as the tetrachords in a standard diatonic scale), the system of
keys is considered a linear key format.
A nonlinear key signature is one for which there’s no “circle of fifths”; in fact, there’s no circle of anything. Whereas a linear key format is a system of related
keys and key signatures, a nonlinear key signature is a key signature unto itself, unrelated to any other key signature. It can contain one sharp and one flat,
for example, on any notes of the scale, and there need not be any logic to their positions.

4. Specify the number of diatonic and chromatic steps you want in the scale by clicking the KeyMap icon. The Key Step Map dialog box
appears, in which you specify how many steps you want in an octave, and which steps are “diatonic” and which “chromatic.” It also determines the playback of
your key signature. Choose the total steps in your signature. Using the buttons under Total Steps, set the key map so that the scale notes are white and

accidentals are black. In our sample key signature of B , E and F , the Total Steps would be 12 and the key map as follows:

Note White/Black

C (scale tone) white

black
C /D (accidental)

D (scale tone) white

white
D /E (scale tone)

E (accidental) black

F (accidental) black

white
F /G (scale tone)

G (scale tone) white

black

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Nonstandard key signatures

G /A (accidental)

A (scale tone) white

white
A /B (scale tone)

B (accidental) black

See Key Step Map dialog box for details.

5. Specify the order in which accidentals appear in each sequential key signature by clicking the AOrdAmt icon. Click this icon to display the
Accidental Order and Amount dialog box, in which you specify the new accidental you want to appear with each progression (if any) to a new key, and on what

line or space it should appear. The Unit number is the order in which the accidentals appear in the staff display of the key signature. For example, in E major, B

=Unit 1, E =Unit 2 and A =Unit3. The Step Level is the distance from middle C. For example, B=Step Level 6. The Amount is how far, in half steps, to alter
that pitch. For example, flat=Amount -1, sharp=Amount +1, and unaltered=Amount 0. The Next and Previous buttons select the Unit. For Units that are not

sharped or flatted, enter zero for the Amount. In our sample key signature of B , E and F :

Step
Unit Amount
Level

6 -1
1: B

2 -1
2: E

3 1
3: F

4: C 0 0

4: D 1 0

4: G 4 0

4: A 5 0

See Accidental Order and Amount dialog box for more information.

6. Specify the tone center (root) of each key by clicking the ToneCnt icon. The Tone Center(s) dialog box appears, in which you specify the
relationship of each new “key” (tone center) to the appearance of a new accidental. See Tone Center(s) dialog box for a more complete discussion.
7. Specify the octave in which each of the accidentals appears (on the staff) by clicking the ClefOrd icon. The Accidental Octave Placement
dialog box appears, in which you can specify the octave in which you want each accidental to appear according to each clef. Click the Next and Previous buttons

to select the accidental to edit. In our sample key signature of B , E and F :

Unit Octave Unit Octave

0 -2
1: B 1: B

1 -1
2: E 2: E

1 -1
3: F 3: F

Clef 0 (treble) Clef 3 (bass)

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Nonstandard key signatures

See Accidental Octave Placement dialog box for details.

7. Choose the font and character to be used in place of the normal sharps and flats (if you want) by clicking the Attribute icon. The
Special Key Signatures dialog box appears, in which you can specify a number of miscellaneous attributes for the key format you’re creating. For example, you
can specify nonstandard symbols to be used instead of the normal sharps and flats in the key signature. See Special Key Signature Attributes dialog box.
8. Click OK (or press enter). You return to the Key Signature dialog box.
9. Specify the transposition effect and measure range. See Key signatures for an explanation of these options.
10. Click OK.

To create a quarter-tone scale or key signature


After following these instructions, Finale will display quarter symbols where appropriate as accidentals and in the key signature. It will not affect the playback.

1. Click the Key Signature Tool .


2. Double-click on a measure. The Key Signature dialog box appears.
3. Choose Nonstandard from the drop-down list menu next to the scroll bar. The Nonstandard Key Signature dialog box appears.
4. Make sure Linear Key Format is select, then click the Next button until Linear Key Format 2 is listed. The first two Key Formats have been
predefined for major and minor scales. When you select an open Key Format, the five icons will all become active.
5. Click the Attribute button. The Special Key Signature Attributes box appears. From this dialog box, we will specify a different font and symbols for the
quarter-tone sharps and flats.
6. Click the Symbol font button. Finale displays the Font dialog box, from which you can choose the new font. Choose Maestro Percussion or any font with
the desired symbols.
7. Click OK. You return to the Special Key Signature Attributes box.
8. Click the Symbol List ID button. The Symbol List dialog box appears. This is where you tell Finale what symbols to use for your quarter-tone accidentals. To view
your choices, Maestro Font Character Sets and look under Maestro Percussion Character Set The table below lists a common set of quarter-tone symbols which
apply to the Maestro Percussion font. Obviously, you can substitute any symbol you like. Note that the characters will appear in the system font regardless of the

actual font you’ve chosen. For example, if you’re using the Maestro Percussion font to create an symbol, you’ll see a capital L in this box. Characters will
appear in the proper font when you return to the document.

Character in Maestro
Alter Amount Character to enter
Percussion font

3 l (lowercase l)

2 m (lowercase m)

1 L (Shift-L)

0 n (lowercase n)

-1 j (lowercase j)

-2 b (lowercase b)

-3 J (Shift-J)

9. Enter the Alter Amount and Character, then click Insert. Finale adds the information to its database. Repeat for each character.
10. Click OK twice. You return to the Non-Standard Key Signature box.
11. Click the up and down scroll-bar arrows until the desired new key signature appears. Scroll up for sharp keys, and down for flat keys. Note
that quarter tone symbols will appear in the key signature.
12. Click OK (or press enter). You return to the Key Signature dialog box.
13. Specify the transposition effect and measure range. See Key signatures for an explanation of these options.
14. Click OK. You return to the document window. When you enter music with accidentals, quarter symbols will appear where appropriate. For example, a C with

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Nonstandard key signatures

one plus added will display a C-quarter tone sharp.

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Special Tools Palette

Special Tools Palette

Note Position Tool Notehead Position Tool


moves a note horizontally moves a notehead horizontally
Note Shape Tool Accidental Tool
changes a notehead shape moves an accidental
Stem Length Tool Broken Beam Tool
lengthens or shortens a stem flips a beam “stub” to the other side
Stem Direction Tool Double/Split Stem Tool
freezes a stem up or down “splits” a chord’s stem
Reverse Stem Tool Custom Stem Tool
moves a stem to “wrong” side of note lets you create a stem of any shape
Beam Angle Tool Secondary Beam Break Tool
changes a beam’s height and angle breaks 16th note (and other) beams
Beam Extension Tool Secondary Beam Angle Tool
extends a beam (even across barlines) changes angle of secondary beams
Tie Tool Dot Tool
changes a tie length and arc moves a dot up, down, left, or right
Beam Width Tool Beamed Stem Tool
changes the thickness of a beam lengthens or shortens stems with
beams

How to get there

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool on the Advanced Tools Palette. If the palette does not appear, choose Special
Tools Palette from the Window Menu.

What it does
Using the Special Tools Palette, you can edit any measure on the screen at any view size. You can move, resize, hide, and reshape the palette on the screen as you
like. To change layers, choose the layer you wish to work in by clicking a Layer push button at the bottom of the document window. Click on the name of the tool by
the Special Tools palette to jump to see more information.

When you select an element’s handle, Finale displays the relative position of the selected element in the message bar. If you select more than one handle, values are
only displayed if they are the same for all the selected elements. When no handles are selected, Finale displays the message for the tool currently selected on the
Special Tools Palette.

Note Position Tool . When you click this tool, a handle appears above every note or rest in the measure (except a single default whole rest). You can
reposition any note, chord, or rest horizontally by dragging its handle. Note, however, that you’re not actually moving the beat–the notes that fall on this beat in
other staves will stay where they are. To move the beat–and the notes in all staves that fall on it–you should use the Measure Tool (see Measure Tool and Beat
positions).

Notehead Position Tool . When you click this tool, every notehead in the window sprouts a handle; drag a handle left or right to move a notehead.
Because the Notehead Position Tool lets you rearrange the horizontal positions of the individual noteheads, you could use it to move notes in a cluster chord from
one side of the stem to another, for example. For more options, right-click on the handle of a notehead and choose Edit to display the Notehead Settings dialog
box. In this dialog box, you can enter a precise number for positioning and change the size or shape of the notehead.

Note Shape Tool . You can change a notehead’s appearance with the Note Shape Tool by double-clicking its handle. A palette of every symbol in the
default music font appears; double-click any shape in this palette to substitute it for the standard oval notehead of the note you clicked. In this way you can
create individual X noteheads, diamond noteheads, and so on within a measure of regular notes. This technique is best for occasional notehead shape changes;
use the Note Shapes feature from the Staff Attributes dialog box to change all noteheads (of a specific pitch or rhythmic value) to a certain shape. For full
measures or regions, use the Change Notehead command in the Selection Tool. See Utilities/Change, Staff Attributes dialog box, or Change Noteheads dialog
box for more information. For more options, right-click on the handle of a notehead to display the Notehead Settings dialog box. In this dialog box, you can enter
a precise number for positioning and change the size or shape of the notehead.

Accidental Tool . When you click this tool, every accidental in the measure sprouts a handle. Drag a handle to slide its accidental. This tool can be
useful for rearranging the configuration of accidentals on a cluster chord or creating musica ficta, for example. For more options, double-click on the handle to
open the Accidental Settings dialog box. In this dialog box, you can enter a precise number for positioning, allow the accidental to be adjusted vertically, and
change the size, font or shape of the accidental.

Stem Length Tool . When you click this tool, any stemmed note sprouts a handle (unless it’s part of a beamed group). You can drag the handle up or
down to change the length of the stem.

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Special Tools Palette

Broken Beam Tool . This tool can flip a sixteenth-note (or smaller) beam “stub” from one side of its stem to the other. A handle appears on each such
broken beam; click the handle to flip the beam to the opposite side of the stem.

Stem Direction Tool . When you click this tool, a handle appears above and below every stemmed note in the measure. A click on a handle flips the
stem in that direction. The process is called freezing a stem, because it’s no longer free to flip up or down depending on its position on the staff.

You can also flip note stems when you’re editing with the Speedy Entry Tool: position the insertion bar on a note and press the L key. (Press ctrl-L to restore it
to floating, “unfrozen” status.)

Double/Split Stem Tool . When you click this tool, a handle appears on every notehead in the measure; another appears above the staff and one more
below. Click the upper or lower handle to create double stemming, like this:

To create a double stem on a single-stemmed note (top left), click the Double/Split Stem Tool in the Special Tools window (right), and click the handle below
the note. The result: a second stem on the other side of the notehead (bottom left).
The new, second stem points the opposite direction from the original stem, no matter which handle (top or bottom) you clicked.
The bottom handle has an additional feature. It can produce split stemming within a chord, giving the effect of a separate inner voice, like this.

There are two steps involved in creating this effect. First, click the bottom stem to let Finale know you want to create split stemming (above left). Then click the
handle of each note you want to be a part of the upper stem only (above right).
For more options, right-click on the handle of a notehead and choose Edit to display the Notehead Settings dialog box. In this dialog box, you can enter a
precise number for positioning and change the size or shape of the notehead.

Reverse Stem Tool . This tool flips the stem from one side of its notehead to the other. To reverse a stem, click the handle above or below the note,
according to the note’s stem direction.

You may need this tool when you create cross-staff notation using the Note Mover Tool; see Cross-staff notes.
Note that you can control Finale’s tendency to flip the stem direction of reverse-stemmed notes; for a
full explanation, read the description of the RevStem Adj parameter in the Document Options: Stems
entry. (Set the Reverse Stem Adjustment parameter to zero if you never want Finale to change stem
directions on reverse-stemmed notes.) See Document Options-Stems.

Custom Stem Tool . The Custom Stem Tool provides great flexibility for special stemming cases—such as splayed stemming, where a stem might
branch out into three mini-stems connecting the notes of a chord cluster (for example, a Cf/Cn/Cs cluster). In fact, if you double-click a note’s handle, you’ll enter
the Shape Selection box, where you can select an existing shape you want to use as a stem. If you then click Create, you enter the Shape Designer, where you
can draw any shape for use as a stem—a squiggle, a curve, a box, a letter of the alphabet, or anything you can create in the Shape Designer (see Shape
Designer, and bear in mind that the small white circle—the origin—represents the point of the stem’s connection to the note). By entering and exiting the Shape
Designer without creating a shape at all, you create a stemless note.

To restore a normal stem to a custom-stemmed note, click its handle and press backspace. To modify the shape itself, double-click the handle to re-enter the
Shape Designer.

Beam Angle Tool . When you click this tool, any notes that are beamed together sprout two handles, one at each end of the beam. The left handle
changes the beam height; as you move it up and down, the right handle moves in tandem, and the beam angle doesn’t change. The right handle changes the
beam angle; as you move it up and down, the left handle remains stationary.

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Special Tools Palette

Secondary Beam Break Tool . This tool lets you specify places where you want secondary beams (for sixteenth-note and smaller values) to break.
When you click the tool, a handle appears above each beamed note. Double-click the handle above the note after the desired beam break; the Secondary Beam
Break Selection dialog box appears, letting you specify which beams should be broken at the spot you clicked. For a complete discussion, see Secondary Beam
Break Selection dialog box.

Beam Extension Tool . This tool lets you extend any beam past its last note, which can be useful for beaming across the barline. (To beam across
barlines automatically, use the Beam Over Barlines Plug-in). When you click the tool, a handle appears at each end of every beamed group of notes. Double-
click the handle at the end you want to extend; the Beam Extension Selection dialog box appears, letting you specify which beams you want extended: eighth-
note, sixteenth-note, and so on. For a complete discussion, see Beam Extension Selection dialog box.

When you return to the document, you can drag the beam handles to the right or left, shortening or lengthening the beams you specified. Click a handle and
press delete to restore a beam, or double-click a handle to re-enter the Beam Extension Selection dialog box (to specify a different set of beams to modify).

Secondary Beam Angle Tool . This tool allows you to give sixteenth-note (and smaller value) beams different slants—useful for creating the modern
feathered beaming notation for accelerandi and ritards, where several secondary beams converge, signifying a gradual change from one rhythmic value to
another.

When you click the tool, handles appear at each end of every beam. The right handle of each beam changes the beam angle; as you move it up and down, the
left handle controls the height and the pivot point. By changing the angle of one beam independently of the other (and by using the regular Beam Angle Tool to
change the outer [eighth-note] beam’s angle), you can make them appear to converge or diverge.

Tie Tool . Three handles on ties let you adjust their position in relation to noteheads. The first handle appears at the start of the tie, the second handle
appears in the middle-left of the tie, the third handle appears at the end of the tie. To adjust the start and end points of the ties, drag the first and last handles
respectively. Drag the middle handle to flatten or increase the arc of the tie. If you want to control the left and right sections of your tie separately, double-click on
the middle-left handle. A second handle appears in the middle toward the right. These two handles now control the left and right height and inset of the tie,
respectively. To return to three handles and symmetrical behavior, double-click the middle-left handle again and the new handle disappears. Also remember that
you have control over the vertical placement of ties. If you adjust the vertical placement, both endpoints adjust to maintain the same vertical distance. Remember
to take advantage of Finale’s auto-constrain feature (hold down the Shift key) if you want to move ties horizontally. Note that the handles will disappear while you
are dragging them.

If you prefer to enter exact values instead of dragging, double-click an ending tie handle and enter new values for the tie in the Tie Alterations dialog box.
These values override the global tie placement values you defined in the Document Menu.

Note that in cases where a tie straddles a system (line) break, you can also edit the tie’s “tail” on the
next line—the miniature tie that represents the continuation of the tie from the previous system. Use
the Tie Alterations dialog box settings (or Document Options-Ties for global settings for Tie System
Breaks).

Dot Tool . Click this tool if you want to adjust the position of a specific dot on a dotted note; a handle appears on every dotted notehead. When you
double-click a handle, the Dot Offsets dialog box appears, where you can specify the precise positioning of this dot. (This tool is best used for making
adjustments to specific dotted notes; the default horizontal dot position can be set globally in the Augmentation Dots category of the Document Options.) See
Document Options-Augmentation Dots for a more complete discussion.

There are up to two handles on dotted notes. Drag the first (or only) handle to move the first dot away from or closer to a note. A second handle appears on
notes with more than one dot. It appears after the last dot, and controls the space between dots. Drag the second handle to move the last dot away from, or
closer to the previous dot. Finale automatically adjusts any dots between the first and the last dot so they are evenly spaced.

Beam Width Tool . Click this tool to adjust the thickness of beams in a beam group. Handles appear at the beginning and end of each beam group.
Click and drag or use the arrow keys to change the thickness of all beams in the group. To adjust the thickness of all beams see Document Options-Beams.

Beam Stem Adjust Tool . Click this tool to adjust the stem connection to beams. This would allow you to shorten all the stems inside a beam group to
only reach the beams closest to the notehead. A handle appears on each stem that ends in a beam. Click and drag or use the arrow keys to move the stem
lower or higher in the beam group.

Tip: Click and drag-select several stems in a beam group to uniformly adjust them at one time.

See Also:
Main Tool Palette
Advanced Tools Palette

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Enharmonics

Enharmonics
There are several ways to change a note to its enharmonic equivalent: note by note, chord by chord, or even globally.

Note: If you change a note to its enharmonic equivalent in a linked part, the enharmonic spelling link
is broken between the score and part for that note. See Enharmonics in linked parts.

To change a note to its enharmonic equivalent

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
2. Press the directional arrow keys until the insertion bar and crossbar are positioned squarely on the notehead you want to change.
You can also click the notehead with the mouse. If the note you want to change is the only entry, the crossbar does not have to be directly on the notehead.
3. Press the 9 key. Pressing the 9 key flips a note to its enharmonic equivalent. If you press 9 again while the crossbar is positioned on the changed notehead,
the note will flip back to its original identity.
4. Special feature: If you press option-9, you’ll also change all other notes on the same line or space in the measure. The crossbar does not have to be on a
notehead to use this option.

To change a note to its enharmonic equivalent (Simple Entry)

1. Click the Simple Entry Tool .


2. Ctrl-click a note to select it.
3. Press the \ (Backslash) key. The note changes to its enharmonic equivalent.

To change a chord’s enharmonic spelling

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
2. Press the right arrow key until the cursor is positioned on the chord you want to change. Press the up and down arrow keys until the
crossbar is not on a notehead. You can also click the chord with the mouse.
3. Press the 9 key several times. Each time you press 9, Finale cycles to the next possible enharmonic spelling of the chord. If the chord contains several
notes with accidentals, there could be many different possibilities.

To change all occurrences of a note (search and replace)


You can change every occurrence of a note to its enharmonic equivalent—changing every G sharp to an A flat, for example. See Search and replace.

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More on MIDI

More on MIDI

MIDI stands for Musical Instrument Digital Interface. It’s a communications protocol for computers and synthesizers that was developed in 1983 through the
collaboration of several major electronic instrument manufacturers. By linking different MIDI devices together by MIDI cables, you have great flexibility: a key you strike
on one MIDI instrument (the keyboard controller) can produce sound from a second MIDI instrument—or several other MIDI instruments; a note played by a person
can be precisely recorded and reproduced by a computer; and a computer can play many MIDI instruments at once in perfect synchronization. This part of the
appendix covers some sophisticated aspects of MIDI that may help you to understand Finale better.
A MIDI signal, or event, is transmitted in a burst of two or three bytes (pieces of computer data in numeric form). The first byte of every event is called the status byte,
because it identifies by number the kind of event being transmitted—a note being struck, the pedal being released, and so on—and what MIDI channel it’s being sent
on. The other bytes are called data bytes, because they tell the computer or MIDI instrument which MIDI device (of the type described by the status byte) is being
operated, and by how much its status has changed. For example, when you strike a note, the data bytes produced describe which note you played and how hard you
struck the key.
Here are some of the various MIDI events described by the status byte and what kind of information is conveyed by the corresponding data bytes.

MIDI event described by status byte Parameters described by data bytes

Note On (pressing a key) MIDI key number and key velocity

Note Off (releasing a key) MIDI key number and release velocity

Polyphonic Aftertouch (channel pressure) MIDI key number and amount of pressure applied

Controller Controller number and its value (see next table)

Patch Change Patch number

Monophonic Aftertouch (channel pressure) Amount of pressure applied after note is struck

Pitch Bend Position of pitch wheel

System Codes Variable

In a few Finale dialog boxes you’ll see sets of three text boxes containing numbers preceded by a dollar sign. These three boxes contain hexadecimal notation for the
three bytes in a MIDI event: from left to right, the status byte and the two data bytes. If you backspace over the dollar sign, however, you can enter normal (decimal
notation) numbers instead of hexadecimal notation; Finale will translate your numbers into hexadecimal notation automatically. (Note that most times you see the MIDI
data text boxes like this, you’ll also see a Listen button. The Listen button lets you play the MIDI event being requested; Finale translates the key, pedal, or controller
you play into hexadecimal notation automatically.)
While the events in the table above are described by MIDI status bytes, there’s another class of status bytes called System status bytes that are independent of any
particular MIDI channel. They include MIDI Sync data; Sequencer Start, Stop, and Continue commands; System Exclusive data (unique to each synthesizer); and other
synchronization and system-exclusive data.
Often in the Finale manual you’ll encounter the term MIDI controller. Controller data is usually produced by a MIDI device that affects the MIDI notes you’re playing—
pedals, pitch and modulation wheels, breath controllers, and so on. There are some useful controllers that are settings more than they are devices: MIDI volume level,
tremolo depth, and right/left stereo pan are examples. In the table below, the most common MIDI controllers are listed along with their controller numbers.

Controller Controller
Controller Controller
number number

1 Modulation Wheel (or Lever) 64 Sustain

2 Breath Controller 65 Portamento

4 Foot Controller 66 Sostenuto

5 Portamento time 67 Soft Pedal

7 Main volume 91 External Effects Depth

8 Balance 92 Tremolo Depth

10 Pan 93 Chorus Depth

11 Expression Controller

Armed with these controller numbers, you can use Finale’s Expression or MIDI tools to add this kind of data to the playback of your scores.

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Start and Stop Times

Start and Stop Times


See also Swing.
Start Times and Stop Times, which you can edit directly with the MIDI Tool, essentially refer to the attack and release of a note. They don’t refer to the notated
durations of the notes; instead, they relate those notated values to the captured MIDI data. Captured MIDI data is the MIDI information generated by your original
performance in HyperScribe, before it’s quantized and transcribed into notation.
The terms Start Time and Stop Time refer specifically to the difference between the quantized duration of a note (that is, its starting and ending points when given its
full notated value) and your actual attack and release of the note in your performance. In the figure below, the indicated Start Time is a positive number (because the
note was played slightly after the beat), and the Stop Time is a negative number (because the note was released slightly before the next beat):

The Start Time is the difference between the actual (performed) attack point and the notated, quantized attack point. The Stop Time is the difference between the
actual (performed) release point and the notated, quantized release point. These differences can be either positive or negative; Stop Time (a), above, is a negative
number—because the note was released early—but Stop Time (b) is positive.
Start and Stop Times are measured in very small rhythmic increments called EDUs (ENIGMA Durational Units), of which there are 1024 per quarter note. (A full table
of EDU equivalents appears in the Equivalents section of the Appendix, see Equivalents.) If you hold down each note you play for precisely its notated value, with
1024th-beat accuracy, the Start and Stop Times will both be zero, with no difference between the quantized and the actual attack point of the note. Of course, no
human can play that precisely.
For a more complete discussion of Start and Stop Times and the MIDI Tool, see Chapter 6: Playback in the Installations & Tutorials.

To edit the start and stop times of selected notes

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool , and select the region whose playback data you want to
edit. Click to select one measure, shift-click to select additional measures, drag-enclose to select several on-screen measures, click to the left of the staff to
select the entire staff, or choose Select All from the Edit Menu.
2. If the region you wish to edit is on one staff, double-click the highlighted area to enter the MIDI Tool split-window. Select the
specific notes whose Start and Stop Times you want to edit. Once you’re in the MIDI Tool split-window, you can select entire regions of notes by
dragging through the “graph” area of the window. You can also select specific notes to edit by selecting their handles (in the notation display at the bottom of the
window). Select one handle by clicking, additional handles by shift-clicking, a group of handles by drag-enclosing, and additional groups by shift–drag-enclosing.
3. From the MIDI Tool Menu, choose Note Durations. If you’re in the MIDI Tool window, you can click the Note Durations icon (second from the top)
instead. Once you’ve selected the notes to be affected, you can apply one of the MIDI Tool’s Menu commands:
4. Choose the desired command from the MIDI Tool Menu. Each command brings up a dialog box in which you can specify how the selected notes are
to be altered. Set To allows you to give every note in the selected region the same Start or Stop Time. In this way, you can shorten or delay all notes by the
same amount. Scale gradually shortens (or lengthens) the Start or Stop Times of the selected notes from one value to another. Add alters every selected note’s
Start or Stop Time by a positive or negative value you specify. Percent Alter increases or decreases the selected notes’ durations by a percentage of their
current values—ideal for creating a staccato effect for the selected music. Limit lets you set a maximum and minimum Start Time and Stop Time value for the
selected notes, in effect pulling the beginning and ending of each note closer to the beat. You can think of the Limit command as a form of quantizing.

The Alter Feel command changes the Start and Stop Times of Downbeats, Other Beats, and Backbeats. (Backbeats are defined as the half beats [in a
duple meter] or the second and third offbeats [in a triple meter]. For some interesting uses of the Alter Feel command, see Swing.) Finally, Randomize
alters the selected notes’ durations by a random amount, giving the music a less quantized, more human feeling. You might enter an EDU value of 1 /16 (or
less) of the predominant rhythmic values in the music; to subtly soften the rhythmic precision of an eighth note (512 EDUs) passage, for example, you might
type 32 into the Start and Stop Times boxes.

5. Enter the desired degree of Start or Stop Time modification, and click OK.
6. Close the MIDI Tool split-window by clicking the MIDI Tool.

To erase Start and Stop Time editing done with the MIDI Tool

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool Menu appears. Make sure Note Durations is still
selected in the menu.
2. Select the region in which you edited Start and Stop Times, and press BackSpace. Or, use the Selection Tool to clear Continuous Data.

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Start and Stop Times

To copy Start and Stop Time editing done with the MIDI Tool

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool Menu appears. Make sure Note Durations is selected
in the menu.
2. Select the region in which you edited Start and Stop Times.
3. Drag the first source measure so that it’s superimposed on the first target measure. If the first target measure is not on-screen, scroll until you
see it. Then, while pressing ctrl and shift simultaneously, click the first target measure.

In either case, the Copy MIDI Data dialog box appears. (This dialog box does not appear if you copy to the same measure in a different staff).

4. Type the number of times you want to copy the material (horizontally). Click OK. The Start and Stop times are copied onto the notes which fall
on the same rhythmic location as source notes.

To create a legato playback

1. From the Window Menu, choose Advanced Tools. Click the MIDI Tool . The MIDI Tool Menu appears.
2. Select the region you want to sound more legato. See Selecting music for more information.
3. From the MIDI Tool Menu, choose Note Durations.
4. From the MIDI Tool Menu, choose Percent Alter. The Percent Alter dialog box appears.
5. Enter 105 for Stop Times and click OK.

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G_Stacks

Stacks
A selected region including full measures in every staff is called a measure "stack" and is indicated by highlighting extending from the top to the bottom staff, including
the area between staves. See Selecting music and Copying music.

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Distances

Distances
To automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid collision of notes, articulations, smart shapes and other items, use
the Vertical Collision Remover plug-in.
Here are some techniques you can use to easily adjust distances and measurements of staves, systems and other score elements.

To change the distance between staff systems


See Systems.

To change the distance between staves


1. If you’re not in Scroll View, choose Scroll View from the View Menu.

2. Click the Staff Tool .


3. Drag any staff up or down to move the staff vertically. You can drag more than one staff at a time if you choose several at once (by shift-clicking or
by drag-enclosing their handles, so that they’re highlighted). If you have many staves, you can move all except one or two as follows: Choose Select All from the
Edit Menu to highlight all staves’ handles. Then shift-click the staves you don’t want to move; when any staff is selected, a shift-click “deselects” it. Then, as
before, drag any selected staff to move all selected staves at once.

To make all staves equidistant


After you’ve experimented with dragging staves up and down, you may want to restore them to even spacing. See Staves—To space existing staves evenly.

To change the distance between staff lines

1. Click the Staff Tool , and double-click the staff handle you want to modify. The Staff Attributes dialog box appears. Choose Other from the
Staff drop-down list menu.
2. Select Custom from the Staff Setup dialog box.
3. In the Settings section, for Line Spacing, enter the space between each staff line. Finale will round the number you enter to an even number of
EVPUs (or equivalent).

To change the distance between notes


The distance between the notes in each measure is determined by your choice of Allotment Library (see Document Options-Music Spacing). You can also drag
individual notes horizontally in one staff (see Note positioning), and you can change the horizontal position of notes in all staves that fall on a certain beat (see Beat
positions).

To change clef, key, and meter distances


You can set various global distances in the Document Options dialog box. From the Document Menu, choose Document Options, then choose Clefs, Keys or Time
from the list on the left. You will see the options on the right. Now, set the value for Space Before _ , or Space After _ to change the distance between the clef, key or
time signature and the barline. The units are whatever you’ve selected using the Measurement Units command. Any measurement up or to the right are positive
numbers; measurements down or to the left are negative.
For a more complete discussion of these options, see Document Options-Clefs,Key Signatures, orTime Signatures.

To change the page and system margins


See Margins; Systems.

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Articulations in linked parts

Articulations in linked parts

When an articulation is added to a note in a score or part, it appears in both. When an articulation is deleted from either the score or a part, it is removed from both.
The following properties of articulations are permanently shared between the score and parts:

All settings in the Articulation Designer dialog box.


All values in the Handle Positioning dialog box.

The following table lists properties of articulations that are broken if changed in a part:

Property changed Link type broken


Repositioning (nudge, drag, or H: V: values) including repositioning of second handle using "Copy the Main Symbol) Positioning
Remove Manual Positioning (Backspace key) Positioning
Hide/Show setting Hide/Show
Property change Link type broken
Repositioning (nudge, drag, or H: V: Positioning
values) including repositioning of
second handle using "Copy the Main
Symbol)
Remove Manual Positioning Positioning
(BackspaceClear key)
Hide/Show setting Hide/Show

Note: Removing Manual Positioning in a part (e.g. selecting an articulation handle and pressing
ClearBackspace) does not relink the articulation. In fact, doing so in a part breaks the positioning link.

If your score was created in Finale 2006 or earlier, articulations will not automatically flip across the staff when appropriate when working with part voicing (see Part
Voicing). To define an articulation’s definition so that it is optimized for use with linked parts:

1. Choose the Articulation Tool .


2. Double-click the handle on the articulation you would like to change. The Articulation Designer dialog box
appears where you can edit the definition for (all occurrences of) this articulation. See Articulation Designer dialog box.
3. Click the Position drop-down menu and choose Auto Note/Stem Side.
4. Click OK. Now, this articulation will flip to the other side of the staff when appropriate. For example, if a second voice or
layer is added or removed while isolating voices in a part.

See Also
Articulations
Articulation Tool
Articulation Selection

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Rehearsal letters

Rehearsal letters
Rehearsal letters (or numbers, or other marks) are added as expressions and as such can appears at the same
measure in all staves of a full score. In other words, you can choose to display the marking, for example, above
only the top staff of the full score, but also on every part. (See Staff List dialog box for more details).
If you want your rehearsal marks to be based on their measure numbers, see Measure numbers for an alternate
method of creating rehearsal numbers.

To create a rehearsal letter

1. Click the Expression Tool .


2. Hold down the rehearsal letter's metatool key (e.g. "A") and click a measure. You can also
simply double-click a measure to open the Expression Selection dialog box where you can choose from a list of rehearsal letters.

Note: To easily add a rehearsal letter to your score in Simple Entry, press the X key with a note
selected and then press the rehearsal letter’s metatool key or press Enter to choose from a list. See
Simple Entry Tool. You can also use the Expression Tool to easily add expressions. See Expressions.

To create and add a custom rehearsal letter

1. Click the Expression Tool .


2. Double-click on or above the measure at which the letter is to appear. The Expression Selection dialog box appears. If you see the letter in the
scrolling list, double-click it and skip to step 8.
3. Click Create. The Text Expression Designer dialog box appears.
4. Type the letter (or number). To change the font, highlight the text, then from the Text Menu, choose Font.
5. If you wish, check Break Multimeasure Rest. If you check this box, Finale will always create two multimeasure rests that break at the barline where this
expression is added.
6. If you wish, choose a shape for an enclosure and then click Edit. The Enclosure Designer dialog box appears. Choose the shape you prefer from
the list of geometric enclosures. Drag the top handle to make the enclosure taller or shorter, the right-side handle to make the whole enclosure bigger or smaller,
and the middle handle to position the enclosure around the letter. You can also change the line thickness, which is measured in points (72 per inch). (You can
also use a different shape enclosure here by selecting it from the Shape drop-down menu. The second text box holds a decimal place. Click OK to exit the
Enclosure Designer.

Note: Enclosed rehearsal numbers may not look the same when printed by a PostScript printer as they
appear on the screen. You may need to experiment to find the correct adjustment; in the meantime,
remember that the Show PostScript Preview command (in the View Menu, only in Page View) will help
you preview the printed output before you commit the score to paper.

7. Click OK then Select. You arrive at the Measure Expression Assignment dialog box.
8. If you want to display the letter only in certain staves, click the Staff List button and select the staff list from the drop-down list. Or, if
you don’t see the staff list you want, select New Staff List and the Staff List dialog box appears. See Staff List dialog box for more information.
9. Click OK (or press enterreturn) to exit the Staff List box. The next time you place a rehearsal letter in the score, you won’t have to select New List
and rebuild the list; just select the Staff List from the drop-down list. At this point, you may also want to select Allow Individual Edits per Staff if you want the
letter to be independently movable in every staff.
10. Click OK (or press enter).

To move or delete a rehearsal letter

1. Click the Expression Tool .


2. Drag the handle to move the letter; select it and press delete to remove it. If you want to edit the letter’s Staff List click the Edit button.

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Speedy Entry Keypad

Speedy Entry Keypad

The Speedy Entry keyboard commands are also summarized in the diagram that appears on your Quick Reference Card.

See Also:
Speedy Entry Tool

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Making the Most of Finale

Making the Most of Finale


If you’ve followed the step-by-step procedures to this point, you’ve seen most of Finale’s tools at work. You’re not expected to remember all this material, of course;
you can always re-read the in-depth discussions presented in this volume and consult the User Manual and QuickStart Video Tips at any time (under the Help Menu).
But knowing which tools are at your disposal is only half the learning process. Now you need to learn how to maximize the program’s speed and power to produce the
most music, with the fewest false steps, and in the shortest time.

Document Styles
As mentioned earlier in this tutorial, Finale allows you to reuse document settings from any existing document by designating it as it as a Document Style. A Document
Style is basically a model document who’s settings can be inherited by new scores created with the Setup Wizard. When you designate a file as a Document Style,
you are telling Finale you would like to use its articulations, expressions, fonts, staff lists, staff styles, page layout and other document options and libraries along side
the instrumentation and other settings you define in the Setup Wizard.
Creating a new Document Style is as easy as saving a file with the desired libraries and document settings to the Finale/Document Styles folder. The next time you
open the Setup Wizard, the file will be listed as a document style.

Working with Templates


It’s a good idea never to build any score configuration more than once—save any such template, with no music in it, so that you can open it the next time you need a
similar system setup.

As an alternative to using templates, you can save a custom ensemble in the Setup Wizard. This
allows you to choose a different Document Style whenever you start a new file usaing your custom
ensemble.

When you open a template document, Finale opens the last two pages of the Setup Wizard where you can customize the template’s title, composer, time signature,
key signature, and other settings. Upon finishing the Wizard, Finale opens a new untitled document based on your settings (so you don’t accidentally change the
original).
For starters, you can look at the ready-made staff configurations in the Finale/Templates folder on your hard disk. You’ll find more than 30 different kinds of blank
scores (piano-vocal scores, choral setups, chamber orchestra scores, and so on.)
There are several ways to preserve a blank original template while still having a duplicate to work on:

From the File Menu, choose New, then Document from Template. The Open dialog box appears, allowing you to choose a template folder, then document.
Double-click the template you want to open and finish the Setup Wizard. When the document comes to the screen, it’s called Untitled. This technique achieves
the same result as the Save As technique: It preserves the original template for future use, and brings an untitled copy to the screen.

Saving New Templates


In Windows, open any document and make the desired settings. For example, if you plan to compose a multimovement flute piece, you might add some flute staves
and create a flute quintet template. When you’ve set up your score, from the File Menu, choose Save. Then, from the Files of Type drop-down list, choose Finale
Template File *.FTM. Name the file whatever you wish and save it to a memorable location, such as the Finale/Templates folder (which opens automatically when you
choose File > New > Document From Template). Note that you can save the .FTM file anywhere, and anytime you open it, Finale will create a duplicate copy and
leave the original template alone.
In Macintosh, open any document and make the desired settings. For example, if you plan to compose a multimovement horn piece, you might add some horn staves
and create a horn quintet template. When you’ve setup your score, from the File Menu, choose Save. Name the file and save it to the Finale/Templates folder. Then,
when you want to use the file, from the File Menu, choose New > Document from Template, and double-click to open the file. To open a file as a template, you must
choose New > Document From Template from the File Menu. In fact, in Macintosh, you can open any file as a template as long as you first choose Document From
Template. Using File > Open, will not create a duplicate file, and will save over the original file when you choose Save from the File Menu.

Order of Entry
In general, you can make the most of your time by creating your documents in the following order. Save your work frequently. The list below is just one possibility; you
may find a different order suits your style better.

1. Use the Setup Wizard or a template to define the instruments and basic layout of your piece. If needed, add, delete or edit staves with the Staff Tool.
2. Enter the music using the Simple Entry Tool, Speedy Entry Tool, or HyperScribe.
3. Edit the music with the Simple Entry Tool. Get familiar with the numeric keypad commands, including duration shortcuts and keystrokes for selecting other tools.

Remember, you can right-click (Mac -click) any entry to edit it with a context menu, or -click (Mac -click) to select any note and use a
modifier keystroke to edit the note. To see a list of keystrokes, from the Simple Menu, choose Simple Edit Commands.
4. Using the Playback Controls, listen to your piece to check for mistakes.
5. Put in the lyrics using either Type into Score or Click Assignment.
6. Use the Repeat Tool or one of the Repeat Plug-ins to place any repeats.
7. Add chord symbols and fretboards.
8. Put in all the expression markings: articulations, dynamics, slurs, and so on. Assign your most frequently used markings to Metatools.
9. Verify that the music is spaced correctly; if necessary, use the Music Spacing commands in the Utilities Menu.
10. Use the Resize Tool to specify the overall size of the music (by clicking the upper-left corner of the page).
11. Look the piece over in Page View. Fix bad page turns or system breaks, using the Fit Music command under the Utilities Menu. Use the Selection Tool to move
measures up or down systems as necessary using the up and down arrows.
12. Optimize systems, if necessary, by choosing Optimize Staff Systems from the Page Layout Menu.
13. Add rehearsal notes, subtitles, and page numbers with the Text Tool.
14. Use the Page Layout Tool to make final adjustments to your score and parts.

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Making the Most of Finale

Speed Tip: Minimizing Screen Redraws


Finale is a vast, graphics-intensive program; like any such program, it pushes the computer to its processing limits.
Completing your scores in the order described in the Order of Entry section will help speed Finale along. So will using Staff Sets whenever possible, to hide the staves
you’re not working on.
There are several built-in features that speed Finale along, too, by minimizing the amount of screen-painting (image processing) the program has to do.

Sliding the music diagonally—You may notice that Finale redraws the screen every time you move around the score using the scroll bars. But what about moving

diagonally within your score? Instead of using the horizontal scroll bar, then the vertical scroll bar, you can use the Hand Grabber Tool (on the Main Tool
Bar) to move diagonally within your score in a single movement. Even better—instead of changing tools just to adjust your view of the music, press the right

mouse button (Mac: - ), and drag the music. Release the button, and resume working with whatever tool was selected.

Using Keyboard Shortcuts


Many of the most commonly used Finale commands and functions have keyboard shortcuts. You may have noticed that pressing -A (Mac: -A) is the
same as choosing Select All from the Edit Menu, -D (Mac: -D) is the same as choosing Redraw Screen, and pressing -U (Mac: -backslash)
is the same as choosing Update Layout.
You may find it especially useful to select Finale tools without having to use the mouse. In Windows, you can assign any Finale tool to one of the function keys F2 -
F12 (F1 and F10 are reserved by Windows). To assign a tool to a function key, select the tool to be assigned, then press and type a function key. To switch
tools, type the tool’s function key. In Macintosh, you can assign a Finale tool to one of eight keys (F, G, H, J, K, L, semicolon [;] and apostrophe [‘]). To assign a tool

to a key, press - and type the key to which the tool is to be assigned. In the Master Tool Palette, select the tool, then click OK. To switch tools, press
and type the tool’s key. To assign a keystroke to any menu item, use the TGTools Menu Shortcuts plug-in.
And while it doesn’t actually qualify as a keyboard shortcut, Finale’s “power-OK” and “power-Cancel” techniques can save you a lot of time. Any time you’ve crossed
through several dialog boxes to make a certain setting (to create something in the Shape Designer, for example), you don’t have to retrace your steps back through
those dialog boxes. Instead, click OK or Cancel while pressing the (Mac: ) key. You’ll return directly to the score.

Macros
The built-in keyboard shortcuts described above and Metatools are all well and good, but what about commands that you use often but which have no keyboard
equivalents? Furthermore, what about multistep procedures (switch into Page View, Scale View to 75%, click Page Layout Tool, indent first system, click OK) that you
perform often?
If you’re even a moderate efficiency demon, you should try the FinaleScript plug-in. This plug-in was designed to provide an easy way to automate repetitive tasks, so
a series of commands can be run once for any number of documents, instead of over and over again manually. For example, instead of opening and changing the
spacing, transposition, and layout of many documents manually, this plug-in allows you to run the same set of commands to all of these documents at once. A series
of commands can also be applied to a single document. To access the FinaleScript plug-in, from the Plug-ins Menu, choose Miscellaneous, and select FinaleScript
Palette. Also, see FinaleScript plug-in in the User Manual.
In addition to the FinaleScript plug-in, you might also consider linking Finale up with a third-party macro program. A macro is a series of steps—dragging, choosing
menu commands, typing, and so on—that’s been automated and programmed to execute itself when you press a certain keystroke.
Macro programs let you perform any such sequence with a single keystroke. QuicKeys (CE Software: 1-800-5CE-SOFT), or Tempo Shortcutter (Affinity Microsystems:
1-800-367-6771), for example, can make your life with Finale easier. If you’re unfamiliar with a macro program, you’ll have to sit down with its manual and learn how it
works. But it’s a worthwhile investment of time, and will pay for itself many times over—every time you work with Finale, in fact, and get to watch the macro program
perform a routine multistep task for you.

Furthermore, you can use a macro program to map tool keyboard equivalents (since Finale provides only ten). For example, you may decide to use -T to
switch to the Text Tool. For Windows users, check out the Menu Shortcuts Plug-in for another built-in Finale macro program.

Links to the Rest of the World


Finale is the mosta well-connected program you can imagine. It can share its images with graphics programs, its lyrics and text blocks with word processing programs,
and its music with sequencers, or other notation programs. With the Finale Showcase, you can even post your files on the Finale music website
<www.finalemusic.com> and share with friends across the globe.
One of the most useful examples of Finale’s cooperation with other software is its ability to handle standard MIDI sequencer files. These special files contain MIDI
playback data. Most sequencer programs (Digital Performer, Sonar, Cubase, and so on) can generate and read them, and so can Finale. That means that you can
create your music in your favorite sequencer; when it’s polished and ready to be notated, save it on your disk as a MIDI file and open it with Finale; it will turn into
standard notation. When you attempt this process, you’ll discover that Finale offers literally dozens ofseveral options for separating and recombining the music on the
various tracks of the sequencer file. If you want, Finale will even retain the velocity, rhythmic “feel,” and controller information from the original sequence. See MIDI
Files in the User Manual for more details.
Note, too, that Finale 2008 can read files created in other music notation programs from MakeMusic, including SongWriter, Finale, Allegro, Finale Guitar, and NotePad.
Files created in earlier versions of Finale, as well as any of MakeMusic’s notation programs, can be opened in Finale directly, even in the opposite platform. For
example, files created in PrintMusic! 2004 for Windows can be opened in Finale 2008 for Macintosh. You can also read older cross-platform files, including those from
Allegro, Finale Guitar, PrintMusic, and NotePad. IMPORTANT: None of MakeMusic's older products can read Finale 2008 files directly. To share your files with others
who do not own the most recent version of Finale, have them download Finale NotePad 2008 which is available for free at www.finalemusic.com and will open any file
saved from Finale 2008. Also, you can use the MusicXML plug-in to save files in XML format which can be opened by older Finale versions (back to Finale 2000)
using a special third-party Dolet MusicXML plug-in (developed by Recordare®) installed to the plug-ins folder. See also Importing in the User Manual for more details.
In addition to the plug-ins available with Finale 2008, there are also a number of additional plug-ins available created by third-party developers that can improve
efficiency and automate tasks. For example the TGTools and Patterson Plug-ins Lite options under Finale’s Plug-ins menu are samples of the full TGTools collection
available at www.tgtools.de and the Patterson Plug-in collection available at www.robertgpatterson.com. There are also a number of other plug-in available. See
www.finaletips.nu for a list of several.
In addition to third-party plug-ins, you can also use music fonts created by third-party vendors. A wide variety of music fonts are now commercially available and can
be used with Finale. See Fonts in the User Manual.

The Next Finale


Your response to Finale is extremely important to us; the version of Finale you’re now using reflects the comments and suggestions of thousands of users. Please

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Making the Most of Finale

send us your ideas and “wish lists” as you get to know the program. We’ll read and consider everything we receive; Finale will continue to become better, faster, and
easier to use.
As an alternative to using templates, you can save a custom ensemble in the Setup Wizard. This allows you to choose a different Document Style whenever you start
a new file using your custom ensemble.

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Tutorial 1a: Simple Entry

Tutorial 1a: Simple Entry


In this tutorial we’ll show you the easiest ways to start a new document and get notes on the page. There are twothree basic note entry methods, so we’ve divided this
tutorial into twothree parts: Simple Entry, Speedy Entry, and HyperScribe. We recommend you start with the Simple Entry tutorial to get a good introduction to navigating
around Finale. Simple Entry is Finale’s most basic entry method and also one of its most powerful. If you want, you can simply click notes onto the staff with a mouse. Or, for
more speed, quickly type them in with your computer or play them in with a MIDI keyboard. As you enter, you can even enter articulations, expressions, and other items on
the fly. By the end of this tutorial, you will be able to enter your notation into Finale using the powerful options offered by Simple Entry.

Creating a New Document with the Document Setup Wizard


You are probably familiar with Wizards from other applications, such as word processors and spreadsheets. This Wizard is designed to help you set up a new Finale
document. Let’s create a simple piano score.
If you haven’t already started Finale, do so now. When the Launch Window appears, click the Setup Wizard button. If Finale is already started. click on the File Menu and
choose New, then Document with Setup Wizard. The “Select and Ensemble and Document Style” page appears.
This page lists ensembles and document styles you can use to customize a new document. For now, we simply need a single staff score in the standard Engraved style, so
we’ll leave the Ensemble list set to “None” and use the “Engraved Maestro Style” which is already selected

Click Next. The Add or Delete Instrument(s) page appears.


In the first column, click on the word Keyboards. A list of common keyboards appears in the second column.
In the second column, click on the word Piano; click Add. Now the third column contains the piano you intend to use in this score.

You should be aware that the order in which the instruments appear in the third column is the order in which they will appear, from top to bottom, in your score. If you are
creating a multi-instrument score and the Document Setup Wizard incorrectly orders your instruments, you can use the small up and down arrows to move the instruments
around in the list until they are correct. You can also select a “standard” score order from the drop-down menu: Custom, Orchestral, Choral, Concert Band, or Jazz Band.
If you want to save your instrument setup as an ensemble for use later, click Save As New Ensemble, enter a name and click OK. Next time you use the Setup Wizard, you
will be able to choose this ensemble on the first page.
Your Wizard should now look like this:

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Tutorial 1a: Simple Entry

Check Generate Linked Parts to produce a part for each instrument that is intelligently linked to the score.
See Chapter 5 for details.

Click Next. The Score Information page appears.

Click in the Title box and type “Simple Gifts.” When the Wizard creates your score, your title will be centered at the top.
Click in the Composer box and type “Traditional Shaker Song. ”
Click in the Copyright box and enter the year and your name after the © symbol.
Click Next. The Wizard asks for the time signature, key signature, initial tempo marking, and pickup measure.

Click the button.


In the lower left quadrent of the box, click the up arrow once to set the key signature to G Major.
In the upper right, check the box next to Specify Initial Tempo Marking. Set the tempo to the default: 120 beats per quarter note. This piece
does require a pickup, so we’ll add that next.
Check Specify Pickup Measure and click the quarter note icon. The pickup is two eighth notes which equals a quarter note duration.

Your Wizard should now look like the following picture:

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Tutorial 1a: Simple Entry

Click Finish. Finale now presents you with a new, Untitled document, displaying your “Simple Gifts” title and containing the piano staves in the correct key and time
signature with a pickup measure and a tempo marking in the first measure.

You could continue with this file, but let’s close it and open a file where we’ve completed the left hand for you.

From the File Menu, choose Close. Save the file, if you wish.
Choose Open from the File Menu. Locate the document named “Tutorial 1a” in the Finale 2008/Documentation/Tutorials folder, and double-
click it. After a moment, you’ll see a simple piano arrangement of “Simple Gifts” come to the screen.
To see the page, from the View Menu, choose Page View. (Finale automatically opens new documents in Studio View, the best view for auditioning and
editing playback).

The left-hand part has been prepared for you; in this tutorial, you’ll finish the melody.

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Tutorial 1a: Simple Entry

Take a look around the screen. Across the top, you’ll find the menu bar. You’ll be using these menus to control Finale’s behavior, edit documents, change the view,
and much more. There are ten unchanging menus; File, Edit, Utilities, View, Document, MIDI/Audio, Window, Plug-ins, Tools, and Help. Also, you will likely see
another menu which corresponds to the tool currently selected in the Main Tool Palette.
Below the menu bar is the Main Tool Palette. Each square tile on these toolbars contains a symbol representing its function. Just about everything you do in Finale will
be in the context of one of these tools. You’ll also see the Simple Entry Palette: on Windows running vertically along the left edge of the screen, on Mac to the right of
the Main Tool Palette. All of these toolbars can be hidden, providing you with more space to view your music, or they can be viewed as palettes that float in front of
the music. To hide any toolbar, select it from the Window Menu to remove the check mark. Selecting it again will cause it to reappear. (Note: Depending on your
monitor's video resolution, the toolbars may first appear as palettes on your screen.)
On Windows, the palettes are initially attached or “docked” to the edge of the window. To turn a toolbar into a floating palette, click on the edge of the toolbar and drag
it out into the center of the screen, until you see a dotted-line representation of a smaller palette. Release the mouse button. The palette can then be moved to any
position on the screen. To restore a palette to toolbar status, double-click. For additional toolbars, right-click on the grey toolbar area.
The tool palettes can even be rearranged or configured to hide certain tools. See the User Manual under Window Menu. For now, leave the toolbars in their original
positions.
The right side of the screen has a vertical scroll bar, which you’ll use to move the music you’re viewing up or down; and across the bottom of the screen is a
horizontal scroll bar, which you’ll use to move left or right through your piece.

To hide the Status bar on Windows, click the Window Menu and uncheck Status Bar. On Mac, click the View
Menu and choose Show > Message Bar.

You’ll also see the Page counter; this number identifies the current page on the screen. To jump to any page in the score, highlight the current page number, then type
a new number into the box and press . (This piece has only one page.)
At the bottom of the window, you’ll see the Status Bar. On Macintosh, you’ll find the Message Bar at the top of the window. The Status/Message bar indicates the tool
currently chosen followed by a brief description of what it does. When you feel comfortable with Finale, you can hide the Status or Message Bar, so that you’ll have
more window space for displaying music.

Click the mouse pointer across the tools on the Main Tool Palette. As the pointer touches (Win) or selects (Mac) each tool, the Status or Message Bar
identifies it by name, and gives you the first instruction for how to use it.

If you look at your score, you may notice that Finale automatically fills any empty measures with a whole rest (hereafter called a default whole rest). That’s just to
save you time, and it’s a feature you can turn off, if you want. You’ll also notice that the music is displayed as a page of sheet music.
If you’re new to computers, take a moment to click and drag (while holding down the mouse button!) across the menu titles at the top of the screen, noticing how the

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Tutorial 1a: Simple Entry

lists of commands drop down as you pass over each title.

Click the Staff Tool icon on the Main Tool Palette. Not only does the icon highlight, but there is now an additional menu on the menu bar: the Staff
Menu. Some Finale menus appear only when you select certain tools, so they’re out of your way until you need them.

Now that you’ve had a look around, let’s begin our masterpiece. Click the horizontal and vertical scroll bar arrows until measure one is visible (if necessary).

Entering Music with the Simple Entry Tool


Finale offers many different entry methods. The simple entry tool itself can be used to click notes onto a staff, or enter notes with your computer keyboard or with a MIDI
keyboard. Here, you’ll learn how to enter notes using each of these methods.

Click the Simple Entry Tool . The Simple Entry Palette becomes active. From the Window menu, choose Simple Entry Rests Palette to show the Simple
Entry Rests Palette. These palettes are shown on the next page. Also, another menu has appeared on the menu bar: the Simple Menu. This menu contains commands,
a list of keyboard shortcuts, and other options that allow you to customize the way Simple Entry works.

In addition to this tutorial, you can also open the file "EntryExercise” in the Finale/Documentation/Tutorials
folder for hands-on training.

From the Simple Menu, choose Simple Entry Options. The Simple Entry Options dialog box appears. From this dialog box, you can customize the behavior of
Simple Entry.
Uncheck Create New Measures and then click OK. For this tutorial, all measures are already in place. In the future, you can recheck this option if you want to
tell Finale to automatically add new measures when the final measure has been filled. We’ll talk more about this and other Simple Entry Options later in this chapter.

Now, notice the two Simple Entry Palettes.

You can click tools in the Simple Entry Palette to specify the rhythmic duration, and other attributes, prior to entering a note. The tools are divided into different groups. There
are duration tools, like quarters, eighth notes, etc., accidental tools, like a sharp or flat, a tie tool, tuplet tool, and grace note tool. Click a duration tool to select it, then click an
accidental, dot, or tie to modify the note. Notice your mouse cursor displays the tools selected in the Simple Entry palette. Click a modifier tool again to de-select it if you don’t
want to use it anymore. To select any tool and clear all the other tools, double-click on it, or press the keystroke twice.
You can mix and match the tools to build exactly the note you want to add, whether it’s a quarter note or a sharped, tied, dotted note that starts a triplet! Simply click in the
staff to enter the note displayed on the mouse cursor.

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To see a list of Simple Entry keyboard shortcuts from the Simple Menu, choose Simple Edit Commands and
Simple Navigation commands.

You can always select the note and edit it later using different, modifier keystrokes, which we’ll talk about soon. The fastest way to enter notes in Simple Entry involves using
keystrokes to select tools in the Simple Entry Palette, and then enter the notes using keystrokes on your computer keyboard, which we’ll do now.

Click the Eighth Note Tool on the Simple Entry Palette. The Simple Entry Palette contains an icon for each note duration. Notice the note with a
vertical line at the beginning of the first measure. This line is called the Simple Entry Caret. The caret is much like a cursor in a word processing program. You’ll learn
how to quickly type in music using the caret soon.

For now, move the mouse cursor above and below the staff. Notice Finale draws temporary ledger lines to help you place new notes. The cursor also changes to
show you where you are and what will happen if you click the mouse. Currently, a ghostly quarter note should be floating above your music, waiting for your click to
place it into the score.

Position the mouse cursor over the D just below the staff and click. Finale places an eighth note where you clicked.

Click just to the right of the existing note to enter the second eighth note. Finale beams the eighth notes together and spaces out the pickup measure
accordingly. The next note is a quarter note, so we’ll need to change the duration.
Click the Quarter Note Tool in the Simple Entry Palette. The cursor changes to a quarter note.
Position the cursor over the second line G in the top staff of measure 1 and click. A quarter note appears on the second line G. You could click the
Simple Entry Palette to choose each new duration as you enter, but it’s much faster to use the numeric keypad. Each key in the numeric keypad corresponds to a
different note duration. 3 for a sixteenth note, 4 for an eighth note, 5 for a quarter note, and so on.
Press 4 in the numeric keypad. This is the same as clicking the Eighth Note Tool. You are now ready to continue.
Position your cursor on the second beat of measure one and click in the next 6 notes. Use the image below as a guide. If you miss and click the
wrong line or space, use the up and down arrows to move the note to the correct staff position. Notice you can use the left and right arrows to move the selection from
left to right.

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Finish entering measures 3 through 5 shown below. If you enter the wrong note duration, simply hold down the Alt key (Option key on Mac), and press the
correct duration key in the numeric keypad to edit the note you just entered. (Remember, 4=eighth note and 5=quarter note).

If you ever make a mistake, you can also use the Eraser in the Simple Entry Palette to remove items in the score. Click the Eraser Tool,
and then click a notehead to remove the note. Click above or below a chord to remove the whole chord. Click on an accidental, tuplet, tie, or dot to remove it.

Now, although it would be fast to simply click in measure 6, let’s use the Selection Tool to copy and paste measure 5 to a couple of other measures that require
identical notation.

Click the Selection Tool .


Click measure 5 in the top staff. The measure is now highlighted. You’ve just selected it, or told Finale that this is the measure you intend to manipulate.

To see a list of Simple Entry keyboard shortcuts from the Simple Menu, choose Simple Edit Commands and
Simple Navigation commands.

Drag the measure so it is superimposed on measure 6 (the first measure in the second system). A dotted outline of the selected measure moves with
the cursor, showing exactly where Finale will copy the music.

Release the mouse button. Voila! You’ve just copied the music from measure 5 into measure 6. Alternatively, you could have highlighted measure 5, pressed (Win)

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Tutorial 1a: Simple Entry

/(Mac) -C, then highlighted measure 6 and pressed (Win) /(Mac) -V.
Click measure 6 so it is highlighted. Instead of dragging, you can also use a keyboard shortcut to copy and paste this measure anywhere in your score.

Windows users hold down the key, Mac users, , and click measure 13, top staff. The quarter notes appear in measure 13. Now, let’s use the Simple Entry
Caret to type in some notes.

Click the Simple Entry Tool again.

Hold down the key (Mac users, the key), and click the second quarter note in measure 6. The note changes color indicating it is now
selected.
Press the right arrow key to invoke the Caret on beat 1 of measure 7. The same principles used for clicking also apply to typing. First select the duration
using the numeric keypad, then specify the pitch, this time using the arrow and letter keys.
Press the 4 key in the numeric keypad. The note on the caret changes to indicate the duration just like the mouse cursor. You should now see an eighth note
on the second space A, beat 1 of measure 7.

Press Enter . Finale enters an eighth note on the pitch specified. The caret moves to the ‘and’ of beat 1. The Enter key enters the note displayed on
the caret.
Press the Up arrow. The note on the caret moves up to middle line B.
Press Enter again. Another eighth note appears. You could continue to enter the remaining notes using the arrow keys to specify the pitch, but there is a faster way
—just type the note letter.
Type A, F, and then D. Finale enters the next three notes. We need to change the D to a quarter note, so we’ll do that next.

Windows users, hold down , Mac users, , and press 5 in the numeric keypad. The D at the beginning of measure 8 changes to a quarter
note. Notice the duration of the caret remains the same, so you can easily continue entering eighth notes.
Complete entering measures 8, 9, and 10. Use the letter keys to enter the G, F, G, A, and B. Then, change the B to a quarter note by holding down Alt/Option
and pressing 5. Then enter the two As. When you are done the last note of measure 10 should be selected. Now, let’s explore some other Simple Entry functions—say
we want to enter an eighth rest.

Press 0 (zero). Finale adds an eighth rest. The 0 key adds a rest of the duration currently chosen in the Simple Palette. You can also press the R key to change a
selected note to a rest.
Press Delete. The rest disappears and the previous note is selected. Now, let’s add an articulation to this note.
Press the * key in the numeric keypad. A dialog box appears that notes you are now in articulation mode. The Articulation Selection dialog box appears.
Type A. An accent appears on the note.

In articulation mode, the A key is assigned to the accent marking. (These keystrokes are called Metatools which you’ll learn more about in chapter 3). You could also
click Select to choose from a list of articulations. Choose the accent marking (>) and click Select. An accent appears on the note. You can add expressions the same
way. Simply press the X key instead of *.

Hold down (Mac: ) and type Z to undo. The articulation disappears.

Now, notice the 10th measure of “Simple Gifts” has the same rhythm as the 11th and 12th measure. This is a good opportunity to demonstrate how copying music and
repitching a melody can save time. (You’ll learn more about how to enter articulations, and edit them, in chapter 3.)
For the following we’ll use the Selection Tool again. Note that you can also use any tool that permits regional selection for copying, moving, and erasing music.

Click the Selection Tool .


Click measure 10 of the top staff. The measure is now highlighted.

Windows users, press -C, Mac users, -C. You have just placed this measure on the clipboard and can now past it anywhere you wish.

Click measure 11 and Windows users, press -V, Mac users, -V. The music appears in measure 11. This method is particularly useful for
copying music to measures on a different page. Now, say instead of just one copy off the source material, we want to mast multiple copies...
Click the Edit Menu and choose Undo Mass Paste. The music in measure 11 disappears. The music in measure 10 is still in the clipboard and measure 11 is
still highlighted.

Windows users, preass - -V, Mac users, - -V. The Paste Multiple dialog box appears.

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Tutorial 1a: Simple Entry

Enter 2 in the “Paste Horizontally” text box and click the OK button. Instead of clicking OK, you could press the key; in Finale, pressing is the
same as clicking the OK button. Finale pastes the music to both measures 11 and 12.

Click the Simple Entry Tool . Now that we’ve got the right rhythms, let’s repitch measures 11 and 12 accordingly.

Click the Repitch Tool in the Simple Entry Palette. The Repitch Tool allows you to quickly change pitches of existing notes.
Click the first note in measure 11. The middle space B is now selected.
Type the pitches (B, B, C, D, C, B) to complete measures 11 and 12. If you are using a MIDI keyboard, note that you can also simply play the pitches. You
will learn more about MIDI input soon.

Windows users, hold down , Mac users, , and press . Selection moves to the bottom staff. Hold down / and press
again to select the lowest note of the chord.

Windows users hold down , Mac users, and click the second quarter note in measure 13. Then, press 5 in the numeric keypad,

and then press . The caret appears on the first beat of measure 14.

If you have a MIDI device, such as a MIDI keyboard, you can use it to easily specify pitches in Simple Entry. (If you do not have a MIDI device, skip to the step
marked [Non-MIDI users]). First, ensure your MIDI device is properly configured with your computer (See earlier chapters Installation for Windows or Installation for
Mac (depending on the platform you are using) for information on setting up a MIDI device). Then continue with the following steps.

From the Simple Menu, ensure Use MIDI Device for Input is checked. If it is not, select it from the menu.
On your MIDI device, play B4 (B above middle C). Finale adds a B to the measure and the caret advances to the right. A note played on the MIDI device is the
same as pressing Enter or a note letter on your computer keyboard. Simply choose the duration on the numeric keypad and then play the pitch to continue entering.
Press 4 in the numeric keypad and then play B and A. Then press 5, and play G twice. Then press 6 and play G once more to complete the
phrase. In the future, note that you can play multiple notes simultaneously to specify a chord. Also note that Finale adds any accidentals accordingly. Feel free to use
a MIDI keyboard to specify pitches in place of your computer keyboard or mouse for the remainder of this tutorial. If you just used your MIDI device to complete the
phrase, skip the next step.
[Non-MIDI users] Type B, 4, B, and A. Then type 5, G, G, 6, G to complete the phrase. Remember to use the numeric keypad for the duration numbers.

Congratulations! You’ve completed your first Finale melody.

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Tutorial 1a: Simple Entry

You can use additional Simple Entry keyboard shortcuts to add ties, grace notes, articulations, and even clef, key, and time signature changes. See Simple Entry in the User
Manual for detailed info. Also, while using Simple Entry, right-click (Mac -click) a note or rest to invoke a context menu which allows you to hide the note, change it to
a rest, and make other changes. Or, from the Simple Menu, choose Simple Edit Commands to see a list of options. Each of these commands can also be applied with a
keyboard shortcut. In addition to using the list of keyboard shortcuts under the Simple Menu, you can also refer to your Quick Reference Guide.
As we mentioned earlier, you can adjust the behavior of Simple Entry by changing items available under the Simple Menu such as: Check for Extra Notes, Fill with Rests,
Select Notes on Entry at End of Measure, and Playback Notes on Entry. To view these settings from the Simple Menu, choose Simple Entry Options. The Simple Entry
Options dialog box appears as pictured here. When Check for Extra Notes is selected (this command is selected by default), Finale will consult the time signature and not
allow you to inadvertently enter extra notes in a given measure. Fill with Rests will add enough rests to fill the measure if you leave the measure and start entering notes in
another measure. When Select Notes on Mouse Entry is checked, you can immediately use keyboard shortcuts to change the note you just entered after click. For more info
regarding these options, see Simple Entry Options dialog box.

Accidentals
Let’s add some blues to our melody line to illustrate how to add accidentals. If using the mouse or the Caret, you can specify an accidental by choosing both a duration tool
and an accidental tool prior to entering the note. You can also specify accidentals as you enter notes by using keystrokes to apply a sharp (+= key) or flat (- key) to the note

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you just entered. By selecting an accidental tool exclusively, you can click to add accidentals to any note in the score. The Sharp Tool and the Flat Tool add a

sharp or flat to the note, if needed by the key signature. If you use the Half Step Up Tool or the Half Step Down Tool , you’ll raise or lower the note. If the note
is already sharp, raising the note will add a double-sharp.

Click the Selection Tool . First, we’ll clear a measure to show how to enter accidentals while entering notes.

Click measure 9 in the top staff so it is highlighted, and then press (Mac: ). This method clears all entries in the selected region.

Click the Simple Entry Tool .

Click the Eighth Note Tool , or press numeric keypad 4, and then enter a second line G at the beginning of measure 9. An eighth note
appears in measure nine.
Press + (plus) on the numeric keypad. Finale adds a sharp to the note.
Press - (minus) on the numeric keypad twice. The note is now flat. Finale alters the pitch of the note chromatically with each keystroke. You can also use the

Sharp and Flat Tools in the Simple Entry Palette to specify an accidental before entering a note.

Click the Flat Tool in the Simple Entry Palette. Now both the eighth note and the flat are selected in the Simple Entry Palette.

Press the right arrow key to activate the caret.

Type F. Finale places an F flat on the staff. Notice an F flat is actually a whole step down from the diatonic because we are in the key of G. In this way, the Flat Tool is
said to be ‘absolute’—not relative to the key signature.

Double-click the eighth Note Tool (or press numeric keypad 4 twice) to deselect all other tools.
Finish entering the measure by typing G, and then A. Notice Finale does not add a natural on the G. That’s because Simple Entry’s accidentals are ‘smart.’ In
other words, they apply through the remainder of the measure. Of course, you can always add or remove accidentals manually where needed to override a smart
accidental. You can delete accidentals with the Eraser Tool. Now, let’s use the mouse to edit existing notes.

Double-click on the Flat Tool . Only the Flat Tool is selected.


On the last note of measure 9 in the top staff, click on the A. An A flat appears next to the quarter note.

Click on the Half Step Down Tool . Click the A again. A double-flat appears next to the A. The Half Step Up/Down Tools are ‘relative’ - they increment the
pitch up or down a half step with each click. When you selected the Half Step Down Tool, the Flat Tool automatically deselected. You can only have one accidental tool
selected at one time. Let’s try a sharp now.

Click on the Sharp Tool . Click the first note of measure 9 (G flat). A sharp appears next to the note. Also notice Finale automatically places a flat on the
second G flat because it is no longer implied by the first. Because this melody probably wouldn’t sound too great, we’ll remove the sharp and the double-flat.

Click on the Eraser Tool .


Click the Sharp and the double-flat to remove them. These items disappear as you click.

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Tutorial 1a: Simple Entry

Chords
Building chords is a snap with Simple Entry. To add notes with the mouse, just select the same duration icon as the note already entered, then move the cursor
above or below a note. Notice vertical lines appear above and below the note as shown to the right. This indicator tells you that a click will add a note to the
chord. While entering with the Simple Entry Caret, simply press the number that corresponds to the interval above or below the selected note to add it to the
chord. Let’s try entering and adding chords to the left hand.

Click the Selection Tool . First, we’ll clear a measure to use for this example.

Click and drag over measures 7 and 8 in the bottom staff so they are highlighted, and then press (Mac: ).

Click the Simple Entry Tool , and double-click the Quarter Note Tool 5.
In measure 7, click on the A (top line) in the left hand.
Move the cursor down a third to the F line and click. Now, click the middle line D. A chord with D, F, and A are added to the measure.

Press to activate the caret. The caret appears.


Type D to enter a D on beat 2. Now, you can type an interval to add additional notes in a chord.
Type 4 on the number row above the QWERTY keyboard. Finale adds a note of the same duration a fourth above the D (G). Notice the G is now selected. To
add another note a third above G, you would type 3. You can also add notes to a chord using note names.

Hold down and press E. Finale places an E in the chord. Note holding down and pressing 3 would have also added the E. Finale automatically
moves the D notehead, as an interval of a second, to the left of the stem. Now, the caret should appear at the beginning of measure 8 on the bottom staff.

If you are using a MIDI device, play the triad D3, F3, and A3 simultaneously to enter the next chord, then play C3, F3, and A3 to finish the
measure. You can play up to 12 notes at once to add a chord.

While entering chords, hold down and type an interval to add notes lower than the selected pitch.

If you are not using a MIDI device, type the following (use the number row for numbers): D, 3, 3. Then C, 4, and 3 to complete the measure.

Tuplets
Tuplets are any irregular grouping, including triplets, quintuplets, and so on. We’ll cover tuplets briefly here; see Tuplets in Tutorial 1b for a more in depth lesson. Let’s enter a
triplet to the second beat of measure 7, and then learn how to change existing entries to a triplet.

Click on the Eraser Tool , then click on the last two notes in measure 7 in the top staff. First, we’ll place the caret in the staff as if we were
entering this music for the first time.

Hold down (Mac: ) and click the middle line B in measure 7. The note is selected.

Press . The Caret appears on beat 2.


Type numeric keypad 4 and then A to add the first eighth note.
Press numeric keypad 9 (or QWERTY 9) to begin a triplet. Finale adds a triplet bracket and automatically fills out the triplet with rests as shown in the image
to the right. The note you just entered is the first note of the triplet. Now, you can type the letter names to fill the triplet with notes.
Type F and E to complete the triplet. The cursor advances to the next measure. You can also use the mouse to change an existing note to a triplet.

To click a tuplet onto the staff with your mouse, choose the rhythmic duration and the Tuplet Tool in the Simple Palette, and click to create the tuplet. Then, simply click

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the rests to fill in the tuplet. Finale will ignore attempts to create a nested tuplet with the Simple Tuplet Tool. If you want nested tuplets, ratios, or other fancy tuplets,
see the Tuplet Tool.
Now, we’ll change the first three eighth notes in measure 2 to a triplet.

Double-click the Tuplet Tool on the Simple Entry Palette. Only the Tuplet icon should be highlighted in the Simple Palette.
Click the first beat on the top staff, measure 2. The existing eighth notes are now enclosed in a triplet bracket.

To enter more advanced tuplets, hold down (Mac: ) and press numeric keypad 9 when using the caret. Or, hold down and click the score. The
Simple Entry Tuplet Definition dialog box appears where you can specify more advanced tuplets such as quintuplets, septuplets, and the like. See Simple Entry Tuplet
Definition dialog box for details.

Changing the Key Signature, Time Signature, and Clef


While entering with Simple Entry, you can use keyboard shortcuts to change the key and meter.

Hold down (Mac: ) and click on any note in measure 1. For this example, we’ll select a note with the mouse. In the future, you can use this
method at any time while entering with the Simple Entry Caret, or whenever a note is selected in the score. The key and time signature change appears at the beginning
of the measure you are editing (unless specified otherwise in the Key or Time Signature dialog box). Clef changes appear at the position of the caret, or to the left of a
selected note.

Hold down (Mac: ) and press K. A “Waiting for input” message appears that tells you Finale is ready to enter a key change. The
Key Signature dialog box appears.
Click Select. The Key Signature dialog box appears.
On the scroll bar to the right of the key signature display, click the up arrow twice. We’ll change the key signature to G major.
Click OK. The key change appears at the beginning of the first measure. You’ll learn more about the Key Signature dialog box in chapter 2. Now let’s say we want to
change the time signature.

Hold down (Mac: ) and press T. The Time signature dialog box appears. Here, you can change the number of beats and beat duration using the
arrows on the right. For now, leave the time signature set to common time. You’ll learn more about this dialog box in chapter 2.
Click Select. The Time Signature dialog box appears. Here, you can change the number of beats and beat duration using the arrows on the right. For now, leave the
time signature set to common time. You’ll learn more about this dialog box in chapter 2.
Click OK. Now, let’s say we want to change the clef.

Hold down (Mac: ) and press C. The Change Clef dialog box appears.
Click Select. The Change Clef dialog box appears.
Select a new clef and click OK. You return to the score. Finale creates a mid-measure clef unless the Caret is placed at the beginning of a measure or the first
note of a measure is highlighted; in which case the clef change will appear at the beginning of the measure (just to the left of the barline). You’ll learn more about clef
changes in chapters 1cb and 5. (You’ll learn more about key signature, and time signature, and clef changes in chapter 2).

Note that when you see the Waiting for Input message, you can also use a metatool to quickly enter a key clef or time change. See Metatools for information on assigning
metatools.

Adding Measures
Although this tutorial has the right number of measures, there will undoubtedly come a time when you need to add more. This can be done in several ways. First of all, if you
are using the Simple Entry Caret, Finale will automatically add a measure when you fill the last measure of the score. Therefore, you can simply continue entering notes and
Finale will create the measures for you. You can also use the Edit Menu to add measures at any time. To do this, from the Edit Menu, choose Add Measures. In the Add
Measures dialog box that appears, type in the number of measures to be added, and click OK. To add a single measure, just double-click the Measure Tool.
Note that as you add measures, the final barline will move to the last measure of the score.

To delete measures, click on the Selection Tool, double-click to select a measure stack, then press Delete.

Changing Views
Before going on, you should get accustomed to moving around your score.
Finale offers you the choice of three views of your music. So far, you've been working in Page View, where you see the music laid out like a page of sheet music. Finale also
offers Scroll View and Studio View, where the music is displayed as a continuous horizontal band. Most of Finale's tools work equally well in any view, although you’ll find
that the computer redraws the screen faster in Scroll/Studio View. For now we’ll focus on Scroll View. (You’ll learn more about Studio View in chapter 6.)

From the View Menu, choose Scroll View. Finale redraws the screen to show you the music laid out in a horizontal band.

As you can see, the name of the piece has disappeared. Names, page numbers, and other page-oriented text are visible only in Page View. You'll also notice that the
Page counter you saw in Page View has been replaced by the Measure counter, indicating the number of the leftmost measure currently visible.

Click the scroll box (the small square box) in the horizontal scroll bar (and hold the mouse button down). Watch the Measure counter in the lower-
left corner of the window. As you slide the scroll box left or right, this counter changes, telling you the number of the measure you’ll see if you let go of the mouse
button.
Drag the mouse all the way to the left, until the Measure counter says 1. Release the mouse button. You’re back at the beginning of the score.

Note that the scroll box in the horizontal scroll bar represents your position:

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If you click to the right of the scroll box, Finale moves your view of the music to the right by one screenful; if you click to the left, your view shifts to the left. You can
also advance one measure at a time by clicking the right and left arrows.
Depending on your monitor, you might not be able to see very much of the music right now. It might help if you “zoomed out” by selecting a smaller view size.

From the View Menu point to Zoom and select (Custom Zoom 3) “75%.” The screen picture redraws at 75% of its original size.

You haven’t actually reduced the printed size of the music. You’ve simply changed the way it’s displayed on the screen. The music will still print at full size.
Now you have a good overview of your piece. In certain cases you’ll need the music to be large enough for you to maneuver with precision. Finale lets you have your
cake and eat it too—you can actually open up a second window that displays the same document. In this second window, you can zoom in, zoom out, switch from
Page View to Scroll View, and so on, without disturbing your view in the original window. Try this:

From the Window Menu, choose New Window. A new window appears, also containing your “Simple Gifts” document. To switch between the two windows,
press -Tab (Win only) or select the desired window from the Window Menu. It’s easy, but it would be nice to see the contents of both windows at once.
From the Window Menu, choose Tile Horizontally (Mac: Tile Windows). Finale places the new window above the first one, and resizes both to fit your
screen.

Remember, these aren’t two different copies of your masterpiece—they’re two independent views of the same piece. The title bar in the upper window is highlighted,
indicating that it is the active window. Using the commands in the View Menu, you can zoom in, zoom out, change from Page View to Scroll View, and so on—but all
of these view changes will only affect the active window. You can even use the Zoom Tool b to zoom in on a particular spot.

From the View Menu, choose Zoom, then choose 200%. Now you have two windows—one at double size, and the other window at a reduced view.

Let’s say the active window contains the view you really want to work on, and you’d like it to fill your screen—but you still want access to the other window.

From the Window Menu, choose Cascade (Mac: Stack Windows). Finale arranges the windows so that the active window dominates the screen, but you can
still see the back window around the edges; a click will bring it to the front.

You can open as many windows as you want. In fact, they don’t have to be windows on the same document—you can open multiple documents, too, each in its own
window and with its own independent degree of magnification.

Saving Your Work


When you opened this document, the computer transferred the song from the hard disk into its memory; at this moment, all the changes you’ve made to “Simple Gifts” exist
only on the screen. If someone trips on the computer’s power cord at this moment, all of your work will be lost, and you’ll be left with the original, incomplete “Tutorial 1a”
document.
For this reason, it’s a good idea to save your work back onto the disk at regular intervals—perhaps every 15 minutes or so. To save your work on the disk:

From the File Menu, choose Save or press -S (Mac: -S). Your changes have now been saved on the hard disk. (You still have a fresh,
untouched copy of this document, however; it’s on your original Finale disc.

If you’re afraid you might forget to save your work and run the risk of losing some of your changes in the event of a power or system failure, consider using Finale’s
automatic backup feature. See the User Manual under Program Options-Save

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When You’re Ready to Continue

From the File Menu, choose Close to close the active document and all open windows on that document. Or, choose Close All (Mac: -
Close) to close all open documents. If you haven’t saved your work, Finale lets you know, and gives you the option of saving the changes or leaving the
document as it was when it was last saved.

A diagram showing which keys correspond to which rhythmic values or commands appears on your Quick Reference Guide. If you want to take time out for some
experimentation before proceeding to Tutorial 1b, choose Default Document from the New submenu of the File Menu. Finale will open a new “Untitled” document.
If you’re ready to move on, go right ahead to the next tutorial. If you’ve had enough for one lesson, choose Exit (Mac: Quit) from the File Menu.

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File/New/Document With Setup Wizard

File/New/Document With Setup Wizard

This command will take you through some dialog boxes that ask you about the Title of your piece and what instruments you would like to include. See Setup Wizard
for more information.
This menu item is setup as the default for the keyboard shortcut (Ctrl-N), however you can change which item in the New submenu receives the keyboard shortcut in
the dialog box. See Program Options-New .

See Also:
Default
Document From Template
Document Without Libraries
Exercise Wizard
File Menu

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File/New/Default Document

File/New/Default Document

The Default Document (called Maestro Font Default) lets you start with a new untitled document with one staff. This file includes the default set of expressions,
articulations, repeats, smart shapes, and other markings that can be found in the selection dialog box for these items. As long as you keep this document (“Maestro
Font Default.FTM”) in the Component Files folder, every possible Finale parameter will always be set just the way you like it when you choose New from the File
Menu.
A standard Maestro Font Default file is provided with the program. However, you can customize this document to suit your own tastes. Do you prefer a different font
for your lyrics? Do you frequently work with A4 paper?
In any of these cases, the process for customizing the Maestro Font Default file is simple. Choose Open from the File Menu; in the Open dialog box that appears,
navigate to the Finale/Component Files folder, choose Finale Template File from the File Type drop-down list and double-click Maestro Font Default.FTM file to open
it. You’re now looking at a blank document. Make any changes to it you want. Change the lyric font, page size, add expressions, etc.. When you’re finished, choose
Save from the File Menu, choose Finale Template File from the File Type drop-down list, name the file Maestro Font Default.FTM and then save it (and replace the
existing Maestro Font Default file). From now on, every time you double-click the Finale program icon, choose New/Default Document from the File Menu or choose
New/Document With Setup Wizard, a fresh, untitled copy of this Maestro Font Default file appears on the screen, formatted according to your preferences.
If the Maestro Font Default file is not in the Component Files folder Finale will open to a completely blank, unformatted, one-measure document.
If you prefer a look closer to that of European publishers, an alternate default file has been created. This file is named European Style.FTM and can be found in the
Finale/Templates/General Templates folder. To use this file as the basis for all new files you create (even those created from the Setup Wizard) we suggest the
following steps:
Go to your Finale/Component Files folder and change the name of the standard default file from Maestro Font Default.FTM to Old Maestro Font Default.FTM. Go back
to your Finale/Templates/General Templates folder and change the name of the alternate default file from European Style.FTM to Maestro Font Default.FTM. Copy this
file from the General Templates folder into Component Files.

See Also:
Document With Setup Wizard
Document From Template
Document Without Libraries
Exercise Wizard
File Menu

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File/New/Document From Template

File/New/Document From Template

Finale comes with several dozen template files—new scores configured for string quartet, jazz band, full orchestra, and so on—to save you the trouble of constructing
such “manuscript paper” setups yourself. To use one of these, from the New submenu, choose Document From Template. Finale will display an Open dialog box
where you can select the template you want to use. When you double-click the template file you want to use, Finale will automatically peel off an untitled copy of that
template, which you are prompted to customize in the Score Information and Score Settings pages of the Setup Wizard. You can save this file with any name you
wish. Document From Template preserves the original, unmodified template, so that you can use it again the next time you need a similar configuration.

See Also:
Document With Setup Wizard
Default
Document Without Libraries
Exercise Wizard
File Menu

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File/New/Document Without Libraries

File/New/Document Without Libraries

You can, by the way, deliberately override the Maestro Font Default file if you want to open a completely blank, unformatted document. To do so, select the File Menu,
then New, then Document Without Libraries. Instead of modifying the Maestro Font Default file we’ve provided, you can also open an unformatted blank document this
way, customize it to your tastes, and save it in the Components file folder, titling it “Maestro Font Default.FTM”; it will work the same way.

See Also:
Document With Setup Wizard
Default
Document From Template
Exercise Wizard
File Menu

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File/New/Exercise Wizard

File/New/Exercise Wizard
Finale can create a collection of exercises, such as scales or thirds for an entire ensemble, with parts for each instrument. See Exercise Wizard for more information.

See Also:
Document With Setup Wizard
Default
Document From Template
Document Without Libraries
File Menu

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File/New/SmartMusic Accompaniment Wizard

File/New/SmartMusic Accompaniment Wizard

Choose this command to open the SmartMusic Accompaniment Wizard where you can prepare a file to be saved as a SmartMusic Accompaniment. See SmartMusic
Accompaniment Wizard for more information.
See Also:
SmartMusic Accompaniment Options
Save as SmartMusic Accompaniment
Default
Document From Template
Document Without Libraries
Exercise Wizard
File Menu

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File/Save Special/Save As Audio File

File/Save Special/Save As Audio File

Choose Save As Audio File to create a Wave or MP3 file based on the document’s MIDI performance. When you choDose this option, the Save As Audio File dialog
box appears. To record these audio files, Finale uses the currently selected SoundFont. See Audio Files.

See Also:
File Menu
Save As Audio File

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File/Save Special/Save As SmartMusic Accompaniment

File/Save Special/Save As SmartMusic Accompaniment

Choose Save As SmartMusic Accompaniment to save a copy of your file in a format that can be opened by the SmartMusic. See SmartMusic Accompaniment Options
dialog box. There are three types of SmartMusic Accompaniment files, solo with accompaniment, ensemble (with customizable part playback), and assessment (for use
with SmartMusic’s assessment feature. You can specify which type you want to create in the SmartMusic Accompaniment Wizard.

See Also:
File Menu

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File/Save Special/Save Preferences

File/Save Special/Save Preferences

You can customize your Main Tool Palette and the document window to the work environment best suited to your music, so you can get straight to work when you
open a file. The Save Preferences command gives you control over when to save these settings.
When exiting Finale, preferences set in the application will be automatically saved. If you prefer that they are only saved when you choose the New Save Preferences
command, choose Program Options from the Edit Menu and choose the Save category. Click Save Preferences When Exiting Finale to uncheck it. You can control
when Finale saves the application-wide preferences that you set (for example, rulers, measurement units, the state of Speedy commands), saving them any time in the
application.
Organize the tools, change the palette size and location, or set menu options such as Use MIDI Device just the way you want them, then choose Save Preferences
from the File Menu. Finale saves your settings with preferences in the Finale.INI file (in your Finale folder).

See Also:
File Menu
Program Options-Save

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Score Merger

Score Merger

How to get there


From the File Menu, choose Score Merger.

What it does
Finale's Score Merger allows you to combine several files into one. This can be done horizontally, with files appended after each other, such as different movements of
a symphony or a collection of songs. Or, it can be done vertically, consolidating individual parts into a full conductors score.

Add Files • Remove File • Move Up • Move Down. Click Add Files to open the "Select the files to merge" dialog box where you can navigate and select
the files you would like to merge. Click Remove File to remove the selected file. Click Move up to nudge the selected file up in the list. Click Move down to nudge
the selected file down in the list.
Merge These Files Into One File • Append to Current Document • Insert at Current Selection. Choose this option if you would like to merge
scores horizontally, one file after another as you would in movements of a score. Check Append to Current Document to add the selected files, one after another,
to the end of the active document. Check Insert at Current Selection to add the selected files starting at the region selected in the active document. The selected
region must include a full measure.
Treat as Independent Movements • Insert Blank Pages to Maintain Left/Right Layout. Check this box to tell Finale you would like to treat each
merged file as a separate movement. Finale will adjust the page breaks and final bars for you automatically. Check Insert Blank Pages to Maintain Left/Right
Layout to automatically insert blank pages where necessary to correct situations where pagination doesn't match at connecting files. (If this option is not checked,
Score Merger will adapt left/right page layout depending on context).
Keep Each File’s Measure Numbering. Choose this option to use the measure numbering specified in the merged files rather than consecutively from the
beginning of the merged score.
Edit Instrument Junction between Files. If checked, the Instrument Junction dialog box appears for each file, which allows you to edit the proposed
instrument linkage. See Instrument Junction dialog box.

Merge These Parts Into One Score. Check this box to merge scores “vertically” in order to, for example, combine a collection of part documents into a full
conductor's score.
Adjust Systems to Fit Page. Check this box to tell Score Merger to automatically adjust systems to fit page after merging vertically.
Optimize MIDI Channels. This adjusts for duplicates in the GM MIDI channel and instrument setup, for both vertical and horizontal merges.
Generate Report • View Last Report. Check this box to tell Score Merger to log any errors that occur while merging files. Click View Last Report to view
Score Merger's most recently generated report.

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Score Merger

See Also:
File Menu
To combine files with Score Merger

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File/Import/Encore

File/Import/Encore

Choose this command to open the Import Encore File window where you can choose an Encore file to Import.
Finale will convert most items in your Encore file. The simpler the Encore file the less conversion issues you will have. If your file is more involved, it will take more time
to convert and you may have more conversion issues. It is recommended that you only convert Encore files that you want to edit in Finale. If the Encore file is fine,
then leave it in Encore and print as needed. See Importing.

See Also:
File Menu/Import
File Menu

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File/Import/Rhapsody

File/Import/Rhapsody

Choose this command to open the Import Rhapsody File window where you can choose a Rhapsody file to Import. See Importing.

See Also:
File Menu/Import

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File/Import/SmartScore

File/Import/SmartScore

Choose this command to open the Import SmartScore File window where you can choose a SmartScore file to Import.
Finale can import SmartScore FIN files, regardless of which platform was used to create them. Finale will convert most items from your SmartScore. As you compare
your results, make sure that you compare Finale's output to that of SmartScore's ENF file, not the original scanned TIFF file. For more tips on getting the best scanning
results, see Musitek's website at www.musitek.com. See Importing.

See Also:
Scanning
File Menu/Import

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File/Scanning: SmartScore Lite/Scan and Import

File/Scanning: SmartScore Lite/Scan and Import

Scanning: SmartScore Lite: Scan and Import. Select Scan and Import to open the SmartScore lite 5.5 dialog box where you can configure scanning settings
for Finale import. See Scanning for details.

See Also:
File Menu

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File/Scanning SmartScore Lite/Import Existing TIFF File

File/Scanning SmartScore Lite/Import Existing TIFF File

Use this command to open the SmartScore Lite dialog box where you can preview and transcribe a scanned file using Finale’s built-in SmartScore technology. See
Scanning for more information and tips.

See Also:
File Menu

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Count Items Plug-in

Count Items Plug-in

How to get there


From the Plug-ins Menu, choose Miscellaneous, and then Count Items. If you prefer to apply Count Items to a specific region, select the region using the Selection
Tool before choosing the plug-in from the Plug-ins Menu. See Plug-ins Menu for more information on plug-ins. See also File Statistics dialog box.

What it does
The Count Items plug-in displays a count of various items in your score such as notes and articulations.

Measures · Notes · Grace Notes · Rests · Tuplets · Note Expressions · Measure Expressions · Articulations · Lyrics · Measure Text ·
Staff Systems · Page Text · Key Changes · Time Sig. Changes · Clef Changes · Repeats · Text Repeats · Measure Numbers · Chord
Symbols · Measure Graphics · Page Graphics · Smart Shapes. These are the various items counted in the selected region and the result of that count.
Done. Click Done when you have finished to dismiss the dialog box.

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Document/Edit Part/Next Part

Document/Edit Part/Next Part

Choose this command to display the next part in Finale's document window.

See Also:
Document Menu

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Document/Edit Part/Previous Part

Document/Edit Part/Previous Part

Choose this command to display the previous part in Finale's document window.

See Also:
Document Menu

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Document/Edit Part/Last Viewed Part

Document/Edit Part/Last Viewed Part

Choose this command to display the part most previously viewed part in Finale's document window.

See Also:
Document Menu

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Document/Page Format/Parts

Document/Page Format/Parts

Choose this command to set up the page size, margins, and other page format setting for parts created parts from the score. Finale uses these settings when you
choose Extract Parts or Print Parts from the File Menu.

For detailed information, see the Page Format for Parts dialog box.

See Also:
Document Menu

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Document/Page Format/Score

Document/Page Format/Score

Choose this command to set up the page size, margins, and other page format setting to use when new pages are created in the score. Finale will also use these
settings when you use the Redefine Pages submenu in the Page Layout Menu.

For detailed information, see the Page Format for Score dialog box.

See Also:
Document Menu
Page Layout Menu

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G_Layers

Layers
An independent overlay of music in the same measure. In Finale each measure may contain 4 layers of music. Each layer may also contain 2 independent voices.

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Document/Data Check/Swap One Font For Another

Document/Data Check/Swap One Font For Another

Choose this menu item to change a font throughout the Finale document to another font.

For more information see the Swap One Font For Another dialog box.

See Also:
Data Check Menu

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Document/Data Check/Scale Fonts

Document/Data Check/Scale Fonts

Choose this menu item to change the size of a font throughout the Finale document.

For more information see the Scale Fonts dialog box.

See Also:
Data Check Menu

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Document/Data Check/File Maintenance

Document/Data Check/File Maintenance

Choose this command to open the File Maintenance dialog box where you can remove deleted items from your document and test file integrity.

See Also:
Data Check Menu

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Document/Data Check/Convert Text for Windows

Document/Data Check/Convert Text for Windows

This command tells Finale to convert higher ASCII text font characters (such as è, ö, and hard spaces) to the appropriate font encoding for Windows.

See Also:
Data Check Menu

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Mixer

Mixer

How to get there


From the Window Menu, choose Mixer. Or, from the View Menu, choose Studio View.

What it does
The Mixer contains two parts, a master set of controls and a set of controls for each staff in the score. The master controls can be used to adjust the volume and
reverb of the overall output much like the master controls on a conventional mixer. The set of controls for each staff can be used to adjust the volume and pan value
relative to other staves in the score much like the volume sliders and panning wheels for tracks on a conventional mixer. All settings defined in the mixer are post-
processed and applied over the top of MIDI data that already exists in the score score including MIDI Tool data, Human Playback data and/or expressions and
articulations defined for playback. In other words the mixer doesn’t change the contour of the playback, only the overall output or the staff relationship.

Note: Although the mixer displays separate controls for each staff, only staves of unique channels can
be adjusted independantly. For example, if your brass quintet contains two trumpet staves, both set to
channel 1, all mixer adjustment to one trumpet staff will apply to both. If you want to assign a staff a
unique channel you can do so by defining a "New Instrument" in the Instrument List. (To do so, in the
Instrument List choose View by Instruments and click New Instrument. Choose the same instrument
sound (patch) for your new instrument and assign it a different channel).

Settings applied to staves in the Mixer are dynamically linked to both the Staff Controls and the Instrument List. For example, an increase to the volume for one staff
changes the volume setting in the Instrument List and Staff Controls uniformely. The same is true for the other settings.

[Pan dial]. Use this dial to control the pan value for each channel. Click and drag this dial clockwise to pan the channel right or counterclockwise to pan the
channel left. Playback volume will be weighted to the left or right speaker accordingly.
M (Mute). Click this button to indicate you want the channel to be silent when you play the score.
S (Solo). When you click in the Solo button, you instruct Finale to mute all other staves. In other words, you’ve just isolated a staff so that only it will play back,
and all the other staves are silent. (You could achieve the same effect by clicking in the Mute button for all other staves).

You can solo more than one staff, if you wish—for example, you can solo two or three staves, and all the others will be silent. In fact, you can solo all staves,
although there wouldn’t be much point, since you may as well solo none of them.

R (Record). Use these buttons to specifiy which staves wyou would like to record into with HyperScribe.

If you’re not multitrack recording (Record into One Staff or Split into Two Staves is selected in the Record Mode submenu of the HyperScribe Menu), you don’t
need to use the Mixer to specify which staff to record into; simply click the staff in the score that you want to record into. If, however, you prefer to use the
Playback Control’s Record button (instead of clicking a measure in the score), then you must use the Mixer’s (or Instrument List’s) R parameter to indicate the
staves in which you would like to record. (Note you can use the Instrument List to specify individual layers for recording. See Instrument List).
If you would like to record into two or more staves simultaneously, first, from the HyperScribe Menu, choose Record Mode, and then Multitrack Record. Then
click the R button for all staves you would like to record into. The buttons turn yellow, indicating that Finale will record into those staves. Click the Record button
in the Playback Controls to begin recording. (Also, when you click the HyperScribe Tool, the HyperScribe frame appears on the selected staves.)

[Volume Slider]. Use this slider to adjust the volume for this staff (and all other staves set to the same channel). Note you can enter a specific volume value
for each channel in the Instrument List.
PC [Program Change]. This indicator displays the MIDI program number selected for this staff. You can click this drop-down menu to Visit the SoftSynth

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Mixer

dialog box where you can modify Finale’s Sound Font output, the Instrument Definition dialog box where you can change the name, channel, patch, and bank for
the instrumnet, or, choose a new GM instrument for this staff.

If you’ve assigned several staves to the same Instrument, once again remember that they’re all linked to the same Program. Therefore, if you edit the Program
assignment for any one of these staves, the Program for all of them will change.

[Channel]. This region displays the MIDI channel assignment for each staff, from 1 to 128. To change this number, double-click, and type a new channel.

If you’ve assigned several staves to the same Instrument, by the way, remember that they’re all linked to the same MIDI channel. Therefore, if you edit the
Chan. assignment for any one of these staves, the Chan. for all of them will change to match, because any given Instrument can only have one channel
assignment. (If you truly want a staff to have an independent MIDI channel, first assign it to a new Instrument.)

Instrument. This is the name of the instrument assigned to the staff (as shown in the Instruemnt List). You can edit this name (or define a new instrument) in
the Instrument Definition dialog box.
Reverb Level. The reverb dial controls the overall amount of decay, or length of time a sound persists after released. This dial applies to the overall output.
Click and drag this dial clockwise to increase the reverb effect, or counterclockwise to decrease the reverb effect.
Room Size. This setting has the effect of simulating a room size to make your music sound as though it is being performed in a small room, concert hall, or
anything in between. Click and drag the dial clockwise to increase the ‘size’ of the room.
Master Mute. Click this button to mute all staves. When you do so, the Mute button is activated in all Staff Controls and staff Mixer controls. You might use the
Master Mute button if you plan to mute most staves and audition only a select few.
Master Solo. Click this button to solo all staves. When you do so, the Solo button is activated in all Staff Controls and staff Mixer controls.
Master Volume. Click and drag this slider up to increase the volume of the overall output, or down to decrease the overall volume.
Instrument List. Click this button to open the Instrument List where you can define new instruments, and make additional volume and pan settings for
individual layers and chords. See Instrument List.

See Also:
Playback
Instrument List
Staff Controls

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Hand Grabber Tool

Hand Grabber Tool

When the Hand Grabber Tool is selected, you can drag the mouse across the music in any direction to shift its position on your screen, as though you’re sliding the
score page across your desk. In most cases, it’s a faster, more efficient way of moving around the score than using the scroll bars.

Special mouse clicks

See Also:
Main Tool Palette

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Simple Entry Palette

Simple Entry Palettes

Choose "Simple Entry Palette" or "Simple Entry Rests Palette" from the Window Menu to display or hide the Simple Entry Palettes. These palettes contain an individual
icon for each rhythmic value (quarter note, eighth note, and so on). (If the Palettes don't appear, click the Simple Entry Tool.) Using the tools on this palette, you can
enter music into your score by clicking one note at a time or by using your computer keyboard with the Simple Entry Caret. The Simple Entry keyboard commands are
summarized in the diagram that appears on your Quick Reference Card.

Eraser
Click an item to delete it.
Repitch
Click and drag a note to edit its pitch. Or, with the caret, change to new pitch.
Double Whole Note
Click the staff (or press enter/note letter with the caret) to place a double whole note (breve).
Whole Note
Click the staff (or press enter/note letter with the caret) to place a whole note.
Half Note
Click the staff (or press enter/note letter with the caret) to place a half note.
Quarter Note
Click the staff (or press enter/note letter with the caret) to place a quarter note.
Eighth Note
Click the staff (or press enter/note letter with the caret) to place a eighth note.
16th Note
Click the staff (or press enter/note letter with the caret) to place a 16th note.
32nd Note
Click the staff (or press enter/note letter with the caret) to place a 32nd note.
64th Note
Click the staff (or press enter/note letter with the caret) to place a 64th note.
128th Note
Click the staff (or press enter/note letter with the caret) to place a 128th note.
Dot
Click on, above or below a note or rest to make it a dotted; click again to add another dot. With the caret active, specifies a dot for the next note entered.
Sharp
Click a note to make it sharp. With the caret active, specifies a sharp for the next note entered.
Flat
Click a note to make it flat. With the caret active, specifies a flat for the next note entered.
Natural
Click a note to make it natural. With the caret active, specifies a natural for the next note entered.
Half Step Up
Click a note to raise its pitch by a half step. With the caret active, specifies a half step up for the next note entered.
Half Step Down
Click a note to lower its pitch by a half step. With the caret active, specifies a half step down for the next note entered.
Tie
Click a note to tie it to the next note; click a stem to tie an entire chord. With the caret active, specifies a tie for the next note entered.
Tuplet
Click a note to create a tuplet; click again to delete the tuplet. With the caret active, specifies the next note entered will begin a tuplet.
Grace Note
Click a note to toggle between grace note, slashed grace note, or full-sized note. With the caret active, specifies a grace note for the next note entered.

Simple Entry Rests Palette


Double Whole Rest
Click the staff (or with the caret, press 0) to enter a double whole rest.
Whole Rest
Click the staff (or with the caret, press 0) to enter a whole rest.
Half Rest
Click the staff (or with the caret, press 0) to enter a half rest.
Quarter Rest
Click the staff (or with the caret, press 0) to enter a quarter rest.
Eighth Rest
Click the staff (or with the caret, press 0) to enter an eighth rest.
16th Rest
Click the staff (or with the caret, press 0) to enter a 16th rest.

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Simple Entry Palette

32nd Rest
Click the staff (or with the caret, press 0) to enter a 32nd rest.
64th Rest
Click the staff (or with the caret, press 0) to enter a 64th rest.
128th Rest
Click the staff (or with the caret, press 0) to enter a 128th rest

See Also:
Simple Entry Tool

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Simple Entry Rest Palette

Simple Entry Rest Palette

Choose "Simple Entry Rest Palette" from the Window Menu to display or hide the Simple Entry Rest Palette. This palette contains an individual icon for each rhythmic
value for a rest. (If the Simple Entry Rest Palette doesn't appear, click the Simple Entry Tool.) Using the tools on this floating palette, you can enter rests into your
score by clicking one rest at a time. The Simple Entry keyboard commands are summarized in the diagram that appears on your Quick Reference Card.

Tip: While using the caret, press 0 or numpad 0 to enter a rest of the duration chosen in the Simple
Entry or Simple Entry Rests palette.

Double Whole Rest


Click the staff to enter a double whole rest.
Whole Rest
Click the staff to enter a whole rest.
Half Rest
Click the staff to enter a half rest.
Quarter Rest
Click the staff to enter a quarter rest.
Eighth Rest
Click the staff to enter an eighth rest.
16th Rest
Click the staff to enter a 16th rest.
32nd Rest
Click the staff to enter a 32nd rest.
64th Rest
Click the staff to enter a 64th rest.
128th Rest
Click the staff to enter a 128th rest.

See Also:
Simply Entry Tool
Simple Entry Palette

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Window/Menu Toolbars/File Menu Toolbar

Window/Menu Toolbars/File Menu Toolbar

Choose this item to display the File Menu Toolbar.

See Also:
File Menu Toolbar
Window Menu

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Window/Menu Toolbars/Edit Menu Toolbar

Window/Menu Toolbars/Edit Menu Toolbar

Choose this item to display the Edit Menu Toolbar.

See Also:
Edit Menu Toolbar
Window Menu

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Window/Menu Toolbars/View Menu Toolbar

Window/Menu Toolbars/View Menu Toolbar

Choose this item to display the View Menu Toolbar.

See Also:
View Menu Toolbar
Window Menu

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Window/Menu Toolbars/Document Menu Toolbar

Window/Menu Toolbars/Document Menu Toolbar

Choose this item to display the Document Menu Toolbar.

See Also:
Document Menu Toolbar
Window Menu

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Window/Menu Toolbars/MIDI/Audio Menu Toolbar

Window/Menu Toolbars/MIDI/Audio Menu Toolbar

Choose this item to display the MIDI/Audio Menu Toolbar.

See Also:
MIDI Menu Toolbar
Window Menu

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Window/Menu Toolbars/Help Menu Toolbar

Window/Menu Toolbars/Help Menu Toolbar

Choose this item to display the Help Menu Toolbar.

See Also:
Help Menu Toolbar
Window Menu

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Window/Menu Toolbars/Layout Toolbar

Window/Menu Toolbars/Layout Toolbar

Choose this item to display the Layout Toolbar.

See Also:
Layout Toolbar
Window Menu

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Window/Menu Toolbar/View Percent Toolbar

Window/Menu Toolbar/View Percent Toolbar

Choose this item to display the View Percent Toolbar.

See Also:
View Percent Toolbar
Window Menu

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Help/Table of Contents

Help/Table of Contents

Choose this menu item to launch your browser and open the Table of Contents topic of the Finale User Manual.

See Also:
Help Menu

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Help/Finale Tutorials

Help/Finale Tutorials

Choose this command to open the electronic version of Finale’s Installation and Tutorials guide. The printed and electronic versions accompany all new Finale
purchases. Only the electronic version is included with Finale upgrades. When this menu item is selected, Finale opens the Before you Begin topic in your Internet
browser.

See Also:
Help Menu

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Help/Keyboard Shortcuts

Help/Keyboard Shortcuts

Choose this menu item to launch your browser and open the Keyboard Shortcuts topic of the Finale User Manual.

See Also:
Help Menu

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Help/Engraver Character Map

Help/Engraver Character Map

Choose this menu item to launch your browser and open the Engraver Character Map topic of the Finale's User Manual.

See Also:
Help Menu

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Help/Jazz Character Map

Help/Jazz Character Map

Choose this menu item to launch your browser and open the Jazz Font Character Map file of the Finale User Manual.

See Also:
Help Menu

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Help/Maestro Character Map

Help/Maestro Character Map

Choose this menu item to launch your browser and open the Maestro Font Character Map file of the Finale User Manual.

See Also:
Help Menu

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Help/What's New

Help/What's New

Choose this menu item to launch your browser and open the What's New file of the Finale User Manual.

See Also:
Help Menu

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Chord Analysis Plug-in

Chord Analysis Plug-in

How to get there


Select a region of your score containing stacked notes in one or two staves with the Selection Tool. From the Plug-ins Menu, choose Scoring and Arranging, and then
Chord Analysis.

What it does
The Chord Analysis plug-in generates chord symbols by analyzing existing notation. This plug-in works much like the One-Staff Analysis and Two-Staff Analysis
options under the chord menu, but for any region of your score selected with the Selection Tool.

Add chord symbol to: First note in each measure · All down beats · All notes. Use these options to specify the frequency of automatically
generated chord symbols. Choose First note in each measure to analyze only the first beat in each measure and disregard entries on subsequent beats. Choose
All down beats to analyze only emphasized beats. This setting includes beats 1 and 3 in common time and beats 1 and 2 for simple 6/8 (1 and 4 for compound
6/8 etc.). Choose all notes to analyze all note in the selected region.

Note: As indicated in this dialog box, chord symbols are only added to notes and not rests.

Show unknown chord suffix as. If Finale is unable to interpret a chord, the text displayed in this box will appear in the score. To add the chord symbol
manually use Type Into Score, Manual Input, or MIDI Input. See Chord symbols.
Allow repeated chord symbols. If this option is unchecked chord symbols are only added when the harmonic progression changes, also accounting for
boundaries set under ‘Add chord symbol to.’ If this option is checked chord symbols are placed on all chords, again, accounting for the boundaries specified
under ‘Add chord symbol to.’
Repeat chord symbol at beginning of next system. Check this box to instruct Finale to disregard an unchecked ‘Allow repeated chord symbols’ setting
for repeated chords on the first beat of a system. In other words, with this option checked, a chord symbol always appears at the beginning of each system.

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Chord Style/Standard

Chord Style/Standard

When selected, Finale displays the chord root and alternate bass notes as letters. An accidental, if present, follows the chord root.

See Also:
Chord Style
Chord Menu
Chord Tool

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Chord Style/European

Chord Style/European

When selected, Finale displays the chord root and alternate bass note as letters. An accidental, if present, follows the chord root.
This style is the same as Standard, with one exception; Finale always displays a natural sign on B natural.

See Also:
Chord Style
Chord Menu
Chord Tool

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Chord Style/German

Chord Style/German

German: Finale displays the chord root and alternate bass note as letters. An accidental, if present, follows the chord root. This style displays “es” for the flat sign and
“is” for the sharp sign, with the following exceptions: E-flat is displayed as “Es”; A-flat is displayed as “As”; B-flat appears as B, and B (natural) appears as H.

See Also:
Chord Style
Chord Menu
Chord Tool

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Chord Style/Roman

Chord Style/Roman

Roman: Finale uses Roman numerals to represent the chord root and alternate bass note. An accidental, if present, precedes the chord root. When entering chords,
type upper or lowercase letters to determine whether lowercase roman numerals are used. For example, in the key of C Major, C = I, d=ii, e=iii, F = IV, and so on.

See Also:
Chord Style
Chord Menu
Chord Tool

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Chord Style/Nashville A

Chord Style/Nashville A

When Nashville A is selected, Finale displays the chord root and alternate bass note as a scale degree number. An accidental, if present, precedes the chord root.
In the key of C Major, 1 indicates a C chord, 2 indicates a D chord, 3 an E chord, and so on, up to 7, which indicates a B chord.

See Also:
Chord Style
Chord Menu
Chord Tool

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Chord Style/Nashville B

Chord Style/Nashville B

When Nashville B is selected, Finale displays the chord root and alternate bass note as a scale degree number. An accidental, if present, is placed following the
chord root. In the key of C Major, 1 indicates a C chord, 2 indicates a D chord, 3 an E chord, and so on, up to 7, which indicates a B chord.

See Also:
Chord Style
Chord Menu
Chord Tool

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Chord Style/Solfeggio

Chord Style/Solfeggio

When selected, Finale displays the chord root as Do, Di, Ra, Re, Ri and so on, starting with Do as the first scale degree, Di the next half-step, Re the second scale
degree, and so on.

The following table shows how Finale displays the chord root for each scale degree and half-step in the key of C Major.

Note Chord Root (in C Major)

Do C (or B s )

Di Cs

Ra Df

Re D

Ri Ds

Me Ef

Mi E (or F f )

Fa E s (or F)

Fi Fs

Se Gf

So* G

Si Gs

Le Af

La A

Li As

Te Bf

Ti C f (or B)

* If you prefer using Sol rather than So, add the "l" as a suffix in the Chord Definition dialog box.

See Also:
Chord Style
Chord Menu
Chord Tool

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Chord Style/Scandinavian

Chord Style/Scandinavian

When selected, Finale displays the chord root and alternate bass note as letters. An accidental, if present, follows the chord root.
This style is the same as Standard, with a few exceptions; instead of B flat, B and B#, Finale displays B flat, H, and H#.

See Also:
Chord Style
Chord Menu
Chord Tool

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Graphics/Alignment/Left

Graphics/Alignment/Left

This command is only available when you're Page View and have a page-assigned graphic selected. Use this command to align the graphic to the left page margin or
the page edge. You can also set the alignment for graphics in the Graphic Attributes dialog box.
When you change the horizontal alignment of a graphic, Finale clears any manual positioning done in the score, and resets the H: positioning setting in the Graphic
Attributes dialog box to zero.

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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Graphics/Alignment/Center Horizontally

Graphics/Alignment/Center Horizontally

This command is only available when you're in Page View and have a page-assigned graphic selected. Use this command to center the graphic between the left and
right page margins or the edges of the page. You can also set the alignment for graphics in the Graphic Attributes dialog box.
When you change the horizontal alignment of a graphic, Finale clears any manual positioning done in the score, and resets the H: positioning setting in the Graphic
Attributes dialog box to zero.

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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Graphics/Alignment/Right

Graphics/Alignment/Right

This command is only available when you're in Page View and have a page-assigned graphic selected. Use this command to align the graphic to the right page margin
or the page edge. You can also set the alignment for graphics in the Graphic Attributes dialog box.
When you change the horizontal alignment of a graphic, Finale clears any manual positioning done in the score, and resets the H: positioning setting in the Graphic
Attributes dialog box to zero.

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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Graphics/Alignment/Top (Header)

Graphics/Alignment/Top (Header)

This command is only available when you're in Page View and have a page-assigned graphic selected. Use this command to align the graphic to the top page margin
or the page edge. You can also set the alignment for graphics in the Graphic Attributes dialog box.
When you change the vertical alignment of a graphic, Finale clears any manual positioning done in the score, and resets the V: positioning setting in the Graphic
Attributes dialog box to zero.

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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Graphics/Alignment/Center Vertically

Graphics/Alignment/Center Vertically

This command is only available when you're in Page View and have a page-assigned graphic selected. Use this command to center the graphic between the top and
bottom page margins or the edges of the page. You can also set the alignment for graphics in the Graphic Attributes dialog box.
When you change the vertical alignment of a graphic, Finale clears any manual positioning done in the score, and resets the V: positioning setting in the Graphic
Attributes dialog box to zero.

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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Graphics/Alignment/Bottom (Footer)

Graphics/Alignment/Bottom (Footer)

This command is only available when you're in Page View and have a page-assigned graphic selected. Use this command to align the graphic to the bottom page
margin or the page edge. You can also set the alignment for graphics in the Graphic Attributes dialog box.
When you change the vertical alignment of a graphic, Finale clears any manual positioning done in the score, and resets the V: positioning setting in the Graphic
Attributes dialog box to zero.

See Also:
Graphics Menu
Graphic Attributes
Graphics Tool

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Graphics/Alignment/Position From Page Edge

Graphics/Alignment/Position From Page Edge

Choose this command to align the selected graphic with the edge of the page instead of the page margin. You can also change this setting in the Graphic Attributes
dialog box.

See Also:
Graphics Menu
Graphic Attributes

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Graphics/Alignment/Position From Page Margin

Graphics/Alignment/Position From Page Margin

Choose this command to align the selected graphic with the page margin instead of the edge of the page. You can also change this setting in the Graphic Attributes
dialog box.

See Also:
Graphics Menu
Graphics Attributes
Graphics Tool

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HyperScribe/Beat Source/Tap Source

Beat Source/Tap

Choose Tap if you’re going to be tapping a pedal or a key while you play; the Tap Source dialog box appears (seeTap Source dialog box) . Note that continuous data
specified for Tap will not be recorded in the performance.

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/Beat Source/Playback andor Click

Beat Source/Playback and/or Click

Choose Playback and/or Click if you want Finale to provide a metronome click for the beat. When Playback is checked, Finale uses the settings for the metronome
click sound and the countoff measures specified in the Click and Countoff dialog box. If you have chosen Tap as your Beat Source, Finale will ignore the settings in the
Click and Countoff dialog box. For details, see Click and Countoff dialog box and Playback and/or Click dialog box.

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/Beat Source/External MIDI Sync

Beat Source/External MIDI Sync

Choose External MIDI Sync if you’re using HyperScribe to transcribe music being played by an external sequencer or another computer that’s equipped to transmit a
MIDI Sync signal. Finale will wait for such a signal from the external sequencer, at which point Finale will automatically “sync up” to it, transcribing the music as it goes.
No tapping (or even playing) is necessary.

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/Record Mode/Record into One Staff

Record Mode/Record into One Staff

Choose this command to notate your performance onto one staff. When this option is selected, Finale records from the channel set in the HyperScribe Options dialog
box, then notates the music onto the staff you clicked for recording. (Or, if you click the Playback Controls' Record button, Finale records into the staff specified in the
Instrument List.)

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/Record Mode/Split into Two Staves

Record Mode/Split into Two Staves

Choose this command to split your performance onto two staves. Finale notates your performance onto the staff you click and the staff below it. The notes are split into
the two staves according to the note you specify in the Fixed Split Point dialog box.
When this option is selected, Finale records from the channel set in the HyperScribe Options dialog box, then notates the music onto the staff you clicked (and the staff
below it) for recording. (Or, if you click the Playback Controls' Record button, Finale records into the staff specified in the Instrument List - and splits the notes into the
staff directly below it.)

For detailed information, see the Fixed Split Point dialog box.

See Also:
HyperScribe Menu
HyperScribe Tool

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HyperScribe/Record/Multitrack Record

Record Mode/Multitrack Record

Choose this command to record into any number of staves or layers of staves simultaneously.
When this option is selected, Finale uses the Instrument List's R (Record) column to determine what staves or layers to record into. Finale also uses the Instrument
List's RChan (Record Channel) column, which only appears when Multitrack Record is selected, to determine the incoming channel(s) for the staff or layer set to
record into. Click a measure or click the Playback Controls' Record button to start recording; Finale notates the music onto the staves or layers selected for recording.
For detailed information, see the Instrument List window and the Playback Controls

See Also:
HyperScribe Menu
HyperScribe Tool

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Lyrics/Alignment/Default

Lyrics/Alignment/Default

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics align to the default settings in Document Options-
Lyrics.

See Also:
Lyrics Menu
Lyrics Tool

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Lyrics/Alignment/Center

Lyrics/Alignment/Center

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics align to the center of the note.

See Also:
Document Options-Lyrics
Lyrics Tool

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Lyrics/Alignment/Left

Lyrics/Alignment/Left

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics align to the left side of the note.

See Also:
Document Options-Lyrics
Lyrics Tool

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Lyrics/Alignment/Right

Lyrics/Alignment/Right

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics align to the right side of the note.

See Also:
Document Options-Lyrics
Lyrics Tool

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Lyrics/Justification/Default

Lyrics/Justification/Default

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics justified to the default positions as defined in
Document Options-Lyrics.

See Also:
Lyrics Menu
Alignment
Lyrics Tool

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Lyrics/Justification/Center

Lyrics/Justification/Center

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics center justified relative to other syllables attached
to the note.

See Also:
Document Options-Lyrics
Lyrics Tool

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Lyrics/Justification/Left

Lyrics/Justification/Left

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics left justified relative to other syllables attached to
the note.

See Also:
Document Options-Lyrics
Lyrics Tool

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Lyrics/Justification/Right

Lyrics/Justification/Right

This option is only available when Adjust Syllables is selected in the menu, choose this item to make selected lyrics right justified relative to other syllables attached to
the note.

See also Document Options-Lyrics


Lyrics Tool

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Set To - Tempo

Set To - Tempo

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. Specify the MIDI data type you want to edit by choosing Tempo
from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the
handles of individual notes whose MIDI data you want to edit. Choose Set To from the MIDI Tool Menu.

What it does
This dialog box’s wording changes to reflect your MIDI data type selection (key velocities, note durations, continuous data, or tempo). Its function is to allow you to set
the values of the selected MIDI data type to a specified value. For example, if you’ve selected Key Velocities, you can specify that all notes in the selected region
should be played back with the same volume by setting their velocity values to a single MIDI velocity value. (MIDI velocity is measured on a scale of zero, silent, to
127, very loud.)

Set Tempo to ____. The number in these text boxes represent the number of beats per minute (main beat as specified by the time signature).
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Scale - Tempo

Scale - Tempo

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. Specify the MIDI data type you want to edit by choosing
Tempo from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the region you want to affect by dragging through the "graph" display area or by
selecting the handles of individual notes whose MIDI data you want to edit. Choose Scale from the MIDI Tool Menu.

What it does
This dialog box’s function is to let you scale the tempo gradually from one value to another. For example, you can create a smooth accellerando by scaling the tempo
from 40 beats per minute to 60 beats per minute.

From ___ to ___. In these text boxes, enter the beginning and ending values of the gradual change you want Finale to effect over the selected region. The
numbers in these text boxes represent the number of beats per minute.
In Increments of ___. This text box only appears if you’re editing Continuous Data or Tempo, and it has no effect unless you’ve selected Absolute (see
above). It lets you specify the increments by which you want Finale to scale the specified data type (Continuous Data) or number of beats per minute (Tempo).
Absolute • Percent of Original. When Finale scales the selected MIDI data from the value in one text box to the value in the other, it needs to know
whether these specified values are the actual absolute values (from 0 to 127 for Key Velocities, for example) or percentages of the existing values. For example, if
you click Absolute when creating a crescendo, the crescendo will be perfect; any subtle variations in key velocity among the notes of the selected passage
(recorded from your original performance) will be lost. If you clicked Percent of Original, however, you could scale key velocities from, say, 50% to 200% of all
notes’ current velocities, thus preserving individual dynamic fluctuations within the passage while still creating an effective crescendo.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Add Tempo

Add Tempo

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select some measures. (If you’re editing a one-staff region, double-click to enter the
MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Tempo from the MIDI Tool Menu. If you’re in the MIDI Tool split-window, select the
region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data you want to edit. Choose Add
from the MIDI Tool Menu.

What it does
The Add dialog box’s contents change to reflect your MIDI data type selection (key velocities). Its function is to add a fixed amount to (or subtract a fixed amount from)
the tempo of every note in the selected region. Because it adds an absolute amount to every selected note, the Add command preserves the relative proportions of the
existing values.
For example, you can specify that each note in a selected region should be played back in a slightly faster tempo by adding, for example, 5 beats per minute.

Add ___. In this text box, enter the value you want added to the number of beats per minute.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

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Percent Alteration Tempo

Percent Alteration Tempo

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool . Select a region of measures. (If you’re editing only a single staff, double-click the
highlighted area to enter the MIDI Tool split-window.) Specify the MIDI data type you want to edit by choosing Tempo from the MIDI Tool Menu. If you’re in the MIDI
Tool split-window, select the region you want to affect by dragging through the "graph" display area or by selecting the handles of individual notes whose MIDI data
you want to edit. Choose Percent Alter from the MIDI Tool Menu.

What it does
This dialog box’s function is to change the tempo of every note in the selected region by a percentage of its current value. Because it changes the data of every
selected note by a percentage, the Percent Alter command preserves the relative proportions of the existing values.
For example, you can specify that each note in a selected region should be played back at half the number of beats per minute by entering 50 (%) in the text box.

___ percent of current value. In this text box, enter the percentage by which you want the number of beats per minute to be changed for the selected notes.
This value can be any number above zero—you can enter 300%, for example, to make a particular value three times its current value.
OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes you’ve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Redefine Pages/Current Page of Current Part/Score

Redefine Pages/Current Page of Current Part/Score

Use this menu item to redefine the page currently viewed according to the settings in the Page Format for Score dialog box.

See Also:
Page Format for Score
Redefine Pages Menu
Page Layout Menu
Page Layout Tool

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Redefine Pages/All Pages of Current Part/Score

Redefine Pages/All Pages of Current Part/Score

Use this menu item to redefine the entire score according to the settings in the Page Format for Score dialog box.

See Also:
Page Format for Score
Redefine Pages Menu
Page Layout Menu
Page Layout Tool

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Redefine Pages/Left Pages of Current Part/Score

Redefine Pages/Left Pages of Current Part/Score

Use this menu item to redefine the Left pages according to the settings in the Page Format for Score dialog box.

Note: Left pages are even numbered pages; right pages are odd numbered pages.

See Also:
Page Format for Score
Redefine Pages Menu
Page Layout Menu
Page Layout Tool

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Redefine Pages/Right Pages of Current Part/Score

Redefine Pages/Right Pages of Current Part/Score

Use this menu item to redefine the Right pages according to the settings in the Page Format for Score dialog box.

Note: Left pages are even numbered pages; right pages are odd numbered pages.

See Also:
Page Format for Score
Redefine Pages Menu
Page Layout Menu
Page Layout Tool

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Redefine Pages/Selected Pages of Selected Part/Score

Redefine Pages/Selected Pages of Selected Part/Score

Use this menu item to determine which pages to redefine according to the settings in the Page Format for Score dialog box.

For more information, see Redefine Pages dialog box.

See Also:
Page Format for Score
Redefine Pages Menu
Page Layout Menu
Page Layout Tool

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System Space Before/After Music

System Space Before/After Music

How to get there


Click the Page Layout Tool. Right-click a staff system and choose System Space Before/After Music. Or, select a system or region of systems, and then from the Page
Layout Menu, choose Systems > System Space Before/After Music.

What it does
Use this dialog box to specify additional space and the beginning or end of a staff system or region of systems. Enter values in the unit of measurement specified in the
Measurement Units submenu of the Edit Menu.

System___Through___. Enter the system numbers that define the range of systems you want to change.
Extra Space At Beginning of System. The value entered here controls the distance between the end of the measure header (the left barline, clef, key, or
time signatures) and the first note or rest for the first (leftmost) measure of selected systems. (in the measurement unit specified in the Measurement Units
submenu of the Edit Menu).
Extra Space At End of System. This value controls the distance between the last note or rest and the end (right edge) of the system or region of systems.
Before Barline. Check this box to place the extra space before the barline when adding space to the end of a system. (In other words, the extra space will be
added to the end of the last measure in the system.) If this box is not checked, space will be added after the rightmost bar line in the system.
OK • Cancel. Click OK (or press enter return ) to execute the selected changes. Click Cancel to return to the score without any changes.

See Also:
Page Layout Tool

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Systems/Edit Margins

Systems/Edit Margins

Choose this menu item to see a dialog box with all the dimensions of Staff Systems. You can apply changes from this dialog box as well.

To see this dialog box, choose the Page Layout Tool, then choose Edit Margins from the Systems submenu of the Page Layout Menu.

For more information, see Edit System Margins dialog box.

See Also:
Page Layout Menu
Page Layout Tool

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Systems/Allow Individual Staff Spacing

Systems/Allow Individual Staff Spacing

Choose this menu item to allow the staves in the currently selected Staff System to move independently. Finale will Optimize the staves, but keep all of the staves.
Note that, like Optimization, Allow Individual Staff Spacing will lock the current layout and should be done after all changes have been made to the document.

Tip: To adjust the distance between staves on a System by System basis, use the Staff Tool.

See Also:
Page Layout Menu
Page Layout Tool
Staff Tool

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Page Layout/Systems/System Space Before/After Music

Page Layout/Systems/System Space Before/After Music

Choose this command to open the System Space Before/After Music dialog box where you can specify additional space and the beginning or end of a staff system or
region of systems.

See Also:
Page Layout
Page Layout Menu
Page Layout Tool

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Systems/Select Staff System Range

Systems/Select Staff System Range

Choose this menu item to define a range of systems to adjust in the Select Staff Systems dialog box. For example, to change the last five systems of the page.

To see this dialog box, choose the Page Layout Tool, then choose Select Staff System Range from the System submenu of the Page Layout Menu.

See Also:
Page Layout Menu
Page Layout Tool

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Page Margins/Edit Margins

Page Margins/Edit Page Margins

Choose this menu item to see a dialog box with all the dimensions of Page Margins. You can apply changes from this dialog box as well.

To see this dialog box, choose the Page Layout Tool, then choose Edit Margins from the Page Margins submenu of the Page Layout Menu.

For more information, see Edit Margins dialog box.

See Also:
Page Layout Menu
Page Layout Tool

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Page Margins/Adjust Current Page Only

Page Margins/Adjust Current Page Only

Choose this menu item to affect only the margins of the page you are currently working on. For example, use this on the first page of the score to make room for full
staff names on the left margin.

See Also:
Adjust All Pages
Adjust Left Or Right Pages
Adjust Page Range
Page Layout Menu
Page Layout Tool

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Page Margins/Adjust All Pages

Page Margins/Adjust All Pages

Choose this menu item to affect all margins through the document. For example, use this to adjust the top of all pages to make room for a header.

See Also:
Adjust Current Page Only
Adjust Left Or Right Pages
Adjust Page Range
Page Layout Menu
Page Layout Tool

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Page Margins/Adjust Left Or Right Pages

Page Margins/Adjust Left Or Right Pages

Choose this menu item to affect only margins or left or right pages. For example, to make room for the binding of the book.

Tip: Left pages are even; Right pages are odd.

See Also:
Adjust Current Page Only
Adjust All Pages
Adjust Page Range
Page Layout Menu
Page Layout Tool

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Page Margins/Adjust Page Range

Page Margins/Adjust Page Range

Choose this menu item to define the pages to be affected in the Adjust Page Range dialog box. For example, to edit the final three pages of the document.

To see this dialog box, choose the Page Layout Tool, then choose Adjust Page Range from the Page Margins submenu of the Page Layout Menu.

See Also:
Adjust Current Page Only
Adjust All Pages
Adjust Left Or Right Pages
Page Layout Menu
Page Layout Tool

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Coda

Coda
See also D.S/D.S. al Coda.
A coda is a musical tag, or extension, which usually follows the main body of the piece. The musician’s cue to jump to the coda is often marked by a marking like “To

coda ,” and the coda itself often displays a notation like “ Coda.”

You can place such markings into your score very easily if you’re preparing your score for printout only (without playback). With some additional steps, you can setup
your coda markings to control the way Finale plays back your score. When Finale encounters the “To Coda” marking, it will direct the playback of your score to the

measure displaying the sign.

Note: To automatically create a separate coda system, use the Create Coda System plug-in.

To place the sign, and a “to coda” sign in the score

1. Click the Repeat Tool . Double-click the measure in which you want the coda sign to appear. The Repeat Selection dialog box appears. If you’ve

loaded a Text Repeat Library—or if the Finale Maestro Font Default file is in place—you should see the sign.
2. If you don’t see the marking, click Create; the Repeat Designer dialog box appears. While pressing alt and shift, type 0222. Click Set
Font, and set the font to Maestro 24 regular. Press enter twice.

3. Double-click the sign. You arrive at the Text Repeat Assignment dialog box. If you are not placing a “working” coda sign in you piece, click OK, and your

task is complete, otherwise, continue following the instructions. Note the Text Repeat ID number of the . This indicator appears at the top left of the dialog
box, in the form “Text Repeat ID: 7” (or whatever number Finale has assigned to your coda sign). You’ll need to remember this number for a moment.
4. Click Never Jump (Mark). You’ve just defined this text repeat to be a mark—in other words, a marker to which Jumper text repeats (“To Coda,” in this
example) will direct playback.
5. Click OK (or press enter). The coda sign appears in all staves. See Repeats –To move, hide, or delete a text repeat. Once you’ve created a coda symbol
and designed it for playback, you must now place the “To Coda” sign somewhere in the main body of music. Follow these steps, to create a functional text repeat
that directs the playback of your score to the measure containing the coda sign.

6. Click the Repeat Tool . Double-click the last measure to be played before jumping to the coda. The Repeat Selection dialog box appears. If the “To
coda” mark doesn’t appear in the window: Click Create and type “To Coda #.” (You create the number sign [#] by pressing shift and typing a 3.) Set the font and
style by clicking the Set Font button. Now select Replace ‘#’ With: Text Repeat ID in Target. In other words, when your “To Coda #” indication appears in the

score, you want the # sign to be replaced by the repeat mark itself—in this case, the sign (“To Coda ”). Click OK (or press enter). The “To Coda ”
mark now appears in the list of Text Expressions See Repeat Designer dialog box for more information regarding text repeats.
7. Double-click the “To Coda #” text repeat. The Text Repeat Assignment dialog box appears.
8. Click Jump on Pass(es) and enter a number in the text box to designate on which repetition of this music the playback should jump to the coda sign.
If this is a standard D.S. al Coda, in which the music up to the “To Coda” mark is played a total of two times, type 2 into the Jump on Passes text box.
9. In the Target section, click the drop-down menu and choose Text Repeat ID. Enter the Text Repeat ID number of the coda sign you
created. This is the number you remembered when you placed the coda sign into the score. (If you are using a score set up with the Setup Wizard, or one of
Finale’s templates, or the default file, enter 7). Because you’ve specified that the playback should jump to the coda sign itself (instead of to a measure number),
you can change your mind about the location of the coda sign in the score. You can delete it and put it in another measure—even a measure that precedes the

“To Coda ” marking—and Finale will still direct the playback to it correctly.

10. Click OK (or press enter). You return to the document, where the “To Coda ” mark appears in every staff.

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D.C.

D.C.
Da Capo, or D.C., means “to the head.” It directs the player to return to the beginning of the score. “D.C. al Coda” and “D.C. al fine” instruct the player to then play to
the To Coda marking or to the end of the piece, respectively.

To place a “D.C” marking in the score


If you follow all of these steps, you’ll create a functional text repeat that directs the playback of your score to the beginning of the piece. If the D.C. marking doesn’t
need to affect playback, follow only the first four steps.

1. Click the Repeat Tool , and double-click the last measure to be played before returning to the beginning of the piece. The Repeat
Selection dialog box appears. If the D.C. marking already appears in the window, skip the next two steps.
2. Click Create and type D.C. (or “D.C. al Coda,” or “D.C. al fine”). Set the type style by clicking Set Font.
3. Click OK (or press enter). The marking now appears in the list of Text Repeats.
4. Double-click the D.C. marking. The Text Repeat Assignment dialog box appears. If you don’t need your D.C. marking to be functional for playback, simply
click OK (or press enter) to return to the document, where the D.C. marking appears.
5. Click Jump on Pass(es) and Enter a number in the Text Field. The number in the Jump On Passes text box designates on which repetition of this
music the playback should jump to the beginning of the piece. That’s the number you enter into the Total Passes text box. If the playback should return to the first
measure after playing the music only once (the usual situation), enter 1.
6. In the Target section, click the drop-down menu and choose Measure # (if it isn’t selected already). Then enter the measure number
to which you want the playback to jump (usually measure 1).

Tip: Check Allow individual edits per staff to allow the text repeat to be moved independently between
staves. Under Show On, assign the text repeat to all, or certain staves.

7. Click OK (or press enter). You return to the document, where the D.C. marking appears in every staff. (To hide the marking in a certain staff, click the Staff
Tool; then double-click on the desired staff’s handle. In the dialog box that appears, uncheck Endings and Text Repeats. Or, use the “Show On” options)

To move or delete the “D.C.” marking

To move the marking, drag its handle. To remove it, click the handle and then press delete.

To create a functional “To Coda” marking and sign


See Coda.

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D.S., D.S. al Coda

D.S., D.S. al Coda

D.S., or Dal Segno, means “from the sign.” It directs the player to return to a spot earlier in the score that’s marked by the symbol. If the marking says D.S. al Coda, then the

player is supposed to play from the to a “To Coda” marking, then jump to a coda section at the end of the music. See Coda.
You can easily place D.S. markings into your score if you’re preparing your score for printout and not for playback; see “To place a “D.S.” marking into the score,” below.
With some additional steps, you can even make your D.S. markings functional—that is, control the way Finale plays back your score.

When Finale reaches the D.S. marking during playback, it jumps back to the sign…

…and repeats the music up to the To Coda marking, whereupon it jumps to the coda.

To create a D.S. al Coda and define it for playback

To place a marking into the score

1. Click the Repeat Tool .


2. Double-click the measure in which you want the % sign to appear. The Repeat Selection dialog box appears. If you’ve loaded a Text Repeat Library—or if the

Maestro Font Default file is in place—you should see the sign. If you don’t see the marking: click Create; the Repeat Designer dialog box appears. Type a % symbol
(shift-5); click Set Font to change the type style to Maestro 24-point. Click OK to return to the Repeat Selection dialog box.

3. Double-click the sign. The Text Repeat Assignment dialog box appears. If you don’t need to make the % marking control playback, click OK without changing any
settings; you return to the document, where the marking is in place. Also see “ Repeats –To move, hide, or delete a text repeat.”

If you want to define the marking for playback, continue: Note the Text Repeat ID of the marking. This indicator appears at the top left of the dialog box, in the
form “Text Repeat ID: 9” (or whatever number Finale has assigned). You’ll need to remember this number for a moment.

4. Click Never Jump (Mark). You’ve just defined this text repeat to be a mark—in other words, a marker to which other text repeats (“D.S.,” in this example) will direct
playback.

5. Click OK (or press enter). The sign appears in all staves. See “ Repeats –To move, hide, or delete a text repeat.” Click in the measure and drag the handle to
reposition.

To place a “D.S.” marking into the score


If you’ve created a symbol, you must now place the corresponding D.S. marking. Again, this marking may be purely graphic, or it may be a functional text repeat that actually

directs playback of your score to the measure containing the sign.

1. Click the Repeat Tool . Double-click the last measure to be played before jumping to the . The Repeat Selection dialog box appears. If you don’t see the D.S.
marking in the window: Click Create and type “D.S.” (or D.S. al Fine, or D. S. al Coda). Click OK. The D.S. marking now appears in the list of Text Repeats.
2. Double-click the D.S. marking. The Text Repeat Assignment dialog box appears. If you don’t need to make the marking control playback, press enter one more time; you
return to the document, where the marking is in place. Also see To move, hide, or delete a text repeat.

If you want to define the D.S. marking for playback, continue:

3. Click Jump on Pass(es). Enter a number in the text box. This number designates on which repetition of the music the playback should jump to the sign. If this is a
standard D.S., in which the music up to the D.S. marking is played once, type 1 into the Total Passes text box.

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D.S., D.S. al Coda

4. In the Target section, click the drop-down menu and choose Text repeat ID. Enter the Repeat number of the sign you created. This is the

number you remembered when you placed the sign into the score (This is “9” by default). Because you’ve specified that the playback should jump to the itself

(instead of specifying a measure number), you can change your mind about the location of the sign in the score. You can delete it and put it into another measure, and
Finale will still direct the playback to it correctly.
5. Click OK (or press enter). You return to the document. See To move, hide, or delete a text repeat.

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Shape Designer/Rulers

Shape/Rulers

Choose Rulers from the Show submenu to make rulers appear at the top and left side of the drawing area, whose units you specify using the "Rulers and Grid"
command.

See Also:
Shape Designer Menu

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Shape Designer/Grid

Shape/Grid

Choose Grid from the Show submenu to display a series of individual points that may help you align objects and give you a sense of scale. The spacing and units
used by the grid, too, are determined by your "Rulers and Grid" setting.

See Also:
Shape Designer Menu

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Shape Designer/Show/Origin

Shape/Origin

The origin is a small, white round handle that appears in the center of the drawing area. It anchors your shape, acts as the zero point for the rulers and positioning
coordinates, and indicates where your shape's handle will appear once you've placed it into the score.

See Also:
Shape Designer Menu

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Shape Designer/Show/Staff Template

Shape Designer/Show/Staff Template

Choose this menu item to display a five line staff in the Shape Designer window.

Tip: Choose this item when designing a custom barline

See Also:
Shape Designer Menu

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Shape Designer/Line Style/Solid

Line Style/Solid

Choose this command to make the selected object's outline a solid line. If no object is selected, this command specifies the characteristics of the next line object you
draw.

See Also:
Shape Designer Menu

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Shape Designer/Line Style/Dashed

Line Style/Dashed

Choose this command to make the selected object's outline a dashed line. The Dashed Line dialog box appears, where you can specify the lengths of the dashes and
the gaps between them. If no object is selected, this command specifies the characteristics of the next line object you draw.

For detailed information, see the Dashed Line dialog box.

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/None

Line Thickness/None

Choose None if you do not want the line or outline to appear.

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/Hairline

Line Thickness/Hairline

Choose this command to specify a hairline line thickness of .25 points.

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/.5pt

Line Thickness/.5pt

Choose this command to specify a line thickness of .5 points.

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/1pt

Line Thickness/1pt

Choose this command to specify a line thickness of 1 point (1/72 inch).

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/1.5 pt

Line Thickness/1.5pt

Choose this command to specify a line thickness of 1.5 points.

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/2 pt

Line Thickness/2pt

Choose this command to specify a line thickness of 2 points.

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/5pt

Line Thickness/5pt

Choose this command to specify a line thickness of 5 points.

See Also:
Shape Designer Menu

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Shape Designer/Line Thickness/Other

Line Thickness/Other

If you choose Other, the Line Thickness dialog box appears, where you can specify a thickness not listed in the submenu.

For detailed information, see the Line Thickness dialog box.

See Also:
Shape Designer Menu

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Shape Designer/Fill/None

Fill/None

Choose None if you do not want the shape to be filled at all.

See Also:
Shape Designer Menu

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Shape Designer/Fill/White

Fill/White

Choose this command if you want the object filled with white (0%).

See Also:
Shape Designer Menu

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Shape Designer/Fill/25%

Fill/25%

Choose this command if you want the object filled with light gray (25%).

See Also:
Shape Designer Menu

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Shape Designer/Fill/50%

Fill/50%

Choose this command if you want the object filled with medium gray (50%).

See Also:
Shape Designer Menu

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Shape Designer/Fill/75%

Fill/75%

Choose this command if you want the object filled with dark gray (75%).

See Also:
Shape Designer Menu

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Shape Designer/Fill/Black

Fill/Black

Choose this command if you want the object filled with black (100%).

See Also:
Shape Designer Menu

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Shape Designer/Fill/Other

Fill/Other

If you choose Other, the Fill dialog box appears, where you can specify a degree of gray not listed in the submenu.

For detailed information, see the Fill dialog box.

See Also:
Shape Designer Menu

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Simple Edit Commands/Enter Note/At Caret Pitch

Simple Edit Commands/Enter Note/At Caret Pitch

Choose this command to enter a note on the beat and note duration specified by the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

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Simple Edit Commands/Enter Note/Enter Rest

Simple Edit Commands/Enter Note/Enter Rest

Choose this menu item to enter a rest on the beat and note duration specified by the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_REST.htm[01/01/2009 5:03:29 PM]


Simple Edit Commands/Enter Note/A

Simple Edit Commands/Enter Note/A

Choose this command to enter an A on the beat specified by the Simple Entry Caret. The note appears within the octave (up to a fourth lower or higher) of the
selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_A.htm[01/01/2009 5:03:31 PM]


Simple Edit Commands/Enter Note/B

Simple Edit Commands/Enter Note/B

Choose this command to enter a B on the beat specified by the Simple Entry Caret. The note appears within the octave (up to a fourth lower or higher) of the pitch
displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_B.htm[01/01/2009 5:03:33 PM]


Simple Edit Commands/Enter Note/C

Simple Edit Commands/Enter Note/C

Choose this command to enter a C on the beat specified by the Simple Entry Caret. The note appears within the octave (up to a fourth lower or higher) of the pitch
displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_C.htm[01/01/2009 5:03:35 PM]


Simple Edit Commands/Enter Note/D

Simple Edit Commands/Enter Note/D

Choose this command to enter a D on the beat specified by the Simple Entry Caret. The note appears within the octave (up to a fourth lower or higher) of the pitch
displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_D.htm[01/01/2009 5:03:37 PM]


Simple Edit Commands/Enter Note/E

Simple Edit Commands/Enter Note/E

Choose this command to enter an E on the beat specified by the Simple Entry Caret. The note appears within the octave (up to a fourth lower or higher) of the pitch
displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_E.htm[01/01/2009 5:03:39 PM]


Simple Edit Commands/Enter Note/F

Simple Edit Commands/Enter Note/F

Choose this command to enter an F on the beat specified by the Simple Entry Caret. The note appears within the octave (up to a fourth lower or higher) of the pitch
displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...0and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_F.htm[01/01/2009 5:03:41 PM]


Simple Edit Commands/Enter Note/G

Simple Edit Commands/Enter Note/G

Choose this command to enter a G on the beat specified by the Simple Entry Caret. The note appears within the octave (up to a fourth lower or higher) of the pitch
displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_G.htm[01/01/2009 5:03:43 PM]


Simple Edit Commands/Add Interval/9th Above

Simple Edit Commands/Add Interval/9th Above

Choose this command to add a note an interval of a ninth above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_9TH.htm[01/01/2009 5:03:45 PM]


Simple Edit Commands/Add Interval/Octave Above

Simple Edit Commands/Add Interval/Octave Above

Choose this command to enter a note an interval of an octave above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_8TH.htm[01/01/2009 5:03:47 PM]


Simple Edit Commands/Add Interval/7th Above

Simple Edit Commands/Add Interval/7th Above

Choose this command to add a note an interval of a seventh above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_7TH.htm[01/01/2009 5:03:49 PM]


Simple Edit Commands/Add Interval/6th Above

Simple Edit Commands/Add Interval/6th Above

Choose this command to add a note an interval of a sixth above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_6TH.htm[01/01/2009 5:03:51 PM]


Simple Edit Commands/Add Interval/5th Above

Simple Edit Commands/Add Interval/5th Above

Choose this command to add a note an interval of a fifth above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_5TH.htm[01/01/2009 5:03:53 PM]


Simple Edit Commands/Add Interval/4th Above

Simple Edit Commands/Add Interval/4th Above

Choose this command to add a note an interval of a fourth above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_4TH.htm[01/01/2009 5:03:55 PM]


Simple Edit Commands/Add Interval/3rd Above

Simple Edit Commands/Add Interval/3rd Above

Choose this command to add a note an interval of a third above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_3RD.htm[01/01/2009 5:03:57 PM]


Simple Edit Commands/Add Interval/2nd Above

Simple Edit Commands/Add Interval/2nd Above

Choose this command to add a note an interval of a second above the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_2ND.htm[01/01/2009 5:03:59 PM]


Simple Edit Commands/Add Interval/Unison

Simple Edit Commands/Add Interval/Unison

Choose this command to add a note an of the same pitch to the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...ettings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_UNISON.htm[01/01/2009 5:04:01 PM]


Simple Edit Commands/Add Interval/2nd Below

Simple Edit Commands/Add Interval/2nd Below

Choose this command to add a note an interval of a second below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_2ND_DOWN.htm[01/01/2009 5:04:03 PM]


Simple Edit Commands/Add Interval/3rd Below

Simple Edit Commands/Add Interval/3rd Below

Choose this command to add a note an interval of a third below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_3RD_DOWN.htm[01/01/2009 5:04:06 PM]


Simple Edit Commands/Add Interval/4th Below

Simple Edit Commands/Add Interval/4th Below

Choose this command to add a note an interval of a fourth below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_4TH_DOWN.htm[01/01/2009 5:04:08 PM]


Simple Edit Commands/Add Interval/5th Below

Simple Edit Commands/Add Interval/5th Below

Choose this command to add a note an interval of a fifth below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_5TH_DOWN.htm[01/01/2009 5:04:10 PM]


Simple Edit Commands/Add Interval/6th Below

Simple Edit Commands/Add Interval/6th Below

Choose this command to add a note an interval of a sixth below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_6TH_DOWN.htm[01/01/2009 5:04:12 PM]


Simple Edit Commands/Add Interval/7th Below

Simple Edit Commands/Add Interval/7th Below

Choose this command to add a note an interval of a seventh below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_7TH_DOWN.htm[01/01/2009 5:04:14 PM]


Simple Edit Commands/Add Interval/Octave Below

Simple Edit Commands/Add Interval/Octave Below

Choose this command to add a note an interval of an octave below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_8TH_DOWN.htm[01/01/2009 5:04:16 PM]


Simple Edit Commands/Add Interval/9th Below

Simple Edit Commands/Add Interval/9th Below

Choose this command to add a note an interval of an ninth below the selected note, or the note just entered using the Simple Entry Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_INTERVAL_9TH_DOWN.htm[01/01/2009 5:04:18 PM]


Simple Edit Commands/Add Pitch/Add Caret Pitch

Simple Edit Commands/Add Pitch/Add Caret Pitch

Choose this command to add the note specified by the Simple Entry Caret to the note just entered.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...ettings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_CARET_PITCH.htm[01/01/2009 5:04:20 PM]


Simple Edit Commands/Add Pitch/A

Simple Edit Commands/Add Pitch/A

Choose this command to add an A to the selected note, or the note just entered using the Simple Entry Caret. The note appears within the octave (up to a fourth lower
or higher) of the selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_A.htm[01/01/2009 5:04:23 PM]


Simple Edit Commands/Add Pitch/B

Simple Edit Commands/Add Pitch/B

Choose this command to add a B to the selected note, or the note just entered using the Simple Entry Caret. The note appears within the octave (up to a fourth lower
or higher) of the selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_B.htm[01/01/2009 5:04:25 PM]


Simple Edit Commands/Add Pitch/C

Simple Edit Commands/Add Pitch/C

Choose this command to add a C to the selected note, or the note just entered using the Simple Entry Caret. The note appears within the octave (up to a fourth lower
or higher) of the selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_C.htm[01/01/2009 5:04:27 PM]


Simple Edit Commands/Add Pitch/D

Simple Edit Commands/Add Pitch/D

Choose this command to add a D to the selected note, or the note just entered using the Simple Entry Caret. The note appears within the octave (up to a fourth lower
or higher) of the selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_D.htm[01/01/2009 5:04:29 PM]


Simple Edit Commands/Add Pitch/E

Simple Edit Commands/Add Pitch/E

Choose this command to add an E to the selected note, or the note just entered using the Simple Entry Caret. The note appears within the octave (up to a fourth lower
or higher) of the selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_E.htm[01/01/2009 5:04:31 PM]


Simple Edit Commands/Add Pitch/F

Simple Edit Commands/Add Pitch/F

Choose this command to add an F to the selected note, or the note just entered using the Simple Entry Caret. The note appears within the octave (up to a fourth lower
or higher) of the selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_F.htm[01/01/2009 5:04:33 PM]


Simple Edit Commands/Add Pitch/G

Simple Edit Commands/Add Pitch/G

Choose this command to add a G to the selected note, or the note just entered using the Simple Entry Caret. The note appears within the octave (up to a fourth lower
or higher) of the selected pitch, or the pitch displayed on the Caret.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ADD_G.htm[01/01/2009 5:04:35 PM]


Simple Edit Commands/Change Pitch/Up Diatonically

Simple Edit Commands/Change Pitch/Up Diatonically

Choose this menu item to move the selected note up one line or space.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...d%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_UP_DIATON.htm[01/01/2009 5:04:37 PM]


Simple Edit Commands/Change Pitch/Down Diatonically

Simple Edit Commands/Change Pitch/Down Diatonically

Choose this menu item to move the selected note down one line or space.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_DOWN_DIATON.htm[01/01/2009 5:04:38 PM]


Simple Edit Commands/Change Pitch/Octave Up Diatonically

Simple Edit Commands/Change Pitch/Octave Up Diatonically

Choose this command to move the selected note up one octave.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...d%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_UP_OCTAVE.htm[01/01/2009 5:04:40 PM]


Simple Edit Commands/Change Pitch/Octave Down Diatonically

Simple Edit Commands/Change Pitch/Octave Down Diatonically

Choose this command to move the selected note down one octave.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_DOWN_OCTAVE.htm[01/01/2009 5:04:42 PM]


Simple Edit Commands/Accidentals/Sharp

Simple Edit Commands/Accidentals/Sharp

Choose this command to sharp the selected note.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SHARP.htm[01/01/2009 5:04:43 PM]


Simple Edit Commands/Accidentals/Flat

Simple Edit Commands/Accidentals/Flat

Choose this command to flat the selected note.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_FLAT.htm[01/01/2009 5:04:45 PM]


Simple Edit Commands/Accidentals/Natural

Simple Edit Commands/Accidentals/Natural

Choose this command to make the selected note natural.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_NATURAL.htm[01/01/2009 5:04:47 PM]


Simple Edit Commands/Accidentals/Double Sharp

Simple Edit Commands/Accidentals/Double Sharp

Choose this menu item to make the selected note a double sharp. A double sharp will appear on the note, if needed.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_D_SHARP.htm[01/01/2009 5:04:48 PM]


Simple Edit Commands/Accidentals/Double Flat

Simple Edit Commands/Accidentals/Double Flat

Choose this menu item to make the selected note a double flat. A double flat will appear on the note, if needed.

See Also:
Simple Menu
Simple Entry Tool
Simple Edit Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_D_FLAT.htm[01/01/2009 5:04:50 PM]


Simple Navigation Commands/Caret Up Step

Simple Navigation Commands/Caret Up Step

Choose this commands to move the Simple Entry Caret up one step.

See Also:
Simple Menu
Simple Entry Tool
Simple Navigation Commands

file:///C|/...nd%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_CARET_UP.htm[01/01/2009 5:04:59 PM]


Simple Navigation Commands/Caret Down Step

Simple Navigation Commands/Caret Down Step

Choose this commands to move the Simple Entry Caret down one step.

See Also:
Simple Menu
Simple Entry Tool
Simple Navigation Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_CARET_DOWN.htm[01/01/2009 5:05:01 PM]


Simple Navigation Commands/Caret Up Octave

Simple Navigation Commands/Caret Up Octave

Choose this commands to move the Simple Entry Caret up one octave.

See Also:
Simple Menu
Simple Entry Tool
Simple Navigation Commands

file:///C|/...ttings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_CARET_UP_OCTAVE.htm[01/01/2009 5:05:02 PM]


Simple Navigation Commands/Caret Down Octave

Simple Navigation Commands/Caret Down Octave

Choose this commands to move the Simple Entry Caret down one octave.

See Also:
Simple Menu
Simple Entry Tool
Simple Navigation Commands

file:///C|/...gs/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_CARET_DOWN_OCTAVE.htm[01/01/2009 5:05:04 PM]


Simple Navigation Commands/Selection Left One Entry

Simple Navigation Commands/Selection Left One Entry

Choose this menu item to move the selection to the previous note or rest.

See Also:
Simple Menu
Simple Entry Tool

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Simple Navigation Commands/Selection Right One Entry

Simple Navigation Commands/Selection Right One Entry

Choose this menu item to move the selection to the next note or rest.

See Also:
Simple Menu
Simple Entry Tool

file:///C|/...and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SEL_NEXT.htm[01/01/2009 5:05:07 PM]


Simple Navigation Commands/Selection Left One Measure

Simple Navigation Commands/Selection Left One Measure

Choose this commands to move the Simple Entry Caret left one measure.

See Also:
Simple Menu
Simple Entry Tool
Simple Navigation Commands

file:///C|/...0Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SEL_PREV_MEAS.htm[01/01/2009 5:05:09 PM]


Simple Navigation/Selection Right One Measure

Simple Navigation/Selection Right One Measure

Choose this commands to move the Simple Entry Caret right one measure.

See Also:
Simple Menu
Simple Entry Tool
Simple Navigation Commands

file:///C|/...0Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SEL_NEXT_MEAS.htm[01/01/2009 5:05:11 PM]


Simple Navigation Commands/Selection Up One Note

Simple Navigation Commands/Selection Up One Note

Choose this menu item to move the selection to the next highest note in a chord.

See Also:
Simple Menu
Simple Entry Tool

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SEL_UP_NOTE.htm[01/01/2009 5:05:12 PM]


Simple Navigation Commands/Selection Down One Note

Simple Navigation Commands/Selection Down One Note

Choose this menu item to move the selection to the next lowest note in a chord.

See Also:
Simple Menu
Simple Entry Tool

file:///C|/...Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SEL_DOWN_NOTE.htm[01/01/2009 5:05:14 PM]


Simple Navigation Commands/Select All Notes in Chord

Simple Navigation Commands/Select All Notes in Chord

Choose this menu item to select all of the notes in the currently selected chord.

See Also:
Simple Menu
Simple Entry Tool

file:///C|/...0and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SEL_ALL.htm[01/01/2009 5:05:16 PM]


Simple Navigation Commands/Clear Selection

Simple Navigation Commands/Clear Selection

Choose this menu item to clear the selection, so that no notes or rest are selected.

See Also:
Simple Menu
Simple Entry Tool

file:///C|/...nd%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_SEL_CLEAR.htm[01/01/2009 5:05:17 PM]


TAB Specific Commands/Enter Note on Fret/Enter Rest

TAB Specific Commands/Enter Note on Fret/Enter Rest

Choose this command to enter a rest on the beat, string and of the duration specified by the Simple Entry Caret.

file:///C|/...Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_ENTER_TAB_REST.htm[01/01/2009 5:05:25 PM]


TAB Specific Commands/Enter Note on Fret/0 (A)

TAB Specific Commands/Enter Note on Fret/0 (A)

Choose this command to enter a "0" on the string and beat specified by the Simple Entry Caret. This command will enter an "a" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

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TAB Specific Commands/Enter Note on Fret/1 (B)

TAB Specific Commands/Enter Note on Fret/1 (B)

Choose this command to enter a "1" on the string and beat specified by the Simple Entry Caret. This command will enter a "b" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_1.htm[01/01/2009 5:05:29 PM]


TAB Specific Commands/Enter Note on Fret/2 (C)

TAB Specific Commands/Enter Note on Fret/2 (C)

Choose this command to enter a "2" on the string and beat specified by the Simple Entry Caret. This command will enter a "c" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_2.htm[01/01/2009 5:05:32 PM]


TAB Specific Commands/Enter Note on Fret/3 (D)

TAB Specific Commands/Enter Note on Fret/3 (D)

Choose this command to enter a "3" on the string and beat specified by the Simple Entry Caret. This command will enter a "d" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_3.htm[01/01/2009 5:05:34 PM]


TAB Specific Commands/Enter Note on Fret/4 (E)

TAB Specific Commands/Enter Note on Fret/4 (E)

Choose this command to enter a "4" on the string and beat specified by the Simple Entry Caret. This command will enter an "e" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_4.htm[01/01/2009 5:05:36 PM]


TAB Specific Commands/Enter Note on Fret/5 (F)

TAB Specific Commands/Enter Note on Fret/5 (F)

Choose this command to enter a "5" on the string and beat specified by the Simple Entry Caret. This command will enter an "f" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_5.htm[01/01/2009 5:05:38 PM]


TAB Specific Commands/Enter Note on Fret/6 (G)

TAB Specific Commands/Enter Note on Fret/6 (G)

Choose this command to enter a "6" on the string and beat specified by the Simple Entry Caret. This command will enter a "g" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_6.htm[01/01/2009 5:05:40 PM]


TAB Specific Commands/Enter Note on Fret/7 (H)

TAB Specific Commands/Enter Note on Fret/7 (H)

Choose this command to enter a "7" on the string and beat specified by the Simple Entry Caret. This command will enter an "h" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_7.htm[01/01/2009 5:05:42 PM]


TAB Specific Commands/Enter Note on Fret/8 (I)

TAB Specific Commands/Enter Note on Fret/8 (I)

Choose this command to enter an "8" on the string and beat specified by the Simple Entry Caret. This command will enter an "i" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_8.htm[01/01/2009 5:05:44 PM]


TAB Specific Commands/Enter Note on Fret/9 (K)

TAB Specific Commands/Enter Note on Fret/9 (K)

Choose this command to enter a "9" on the string and beat specified by the Simple Entry Caret. This command will enter a "j" if Use Letters is checked in the Tablature
Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_9.htm[01/01/2009 5:05:46 PM]


TAB Specific Commands/Enter Note on Fret/10 (L)

TAB Specific Commands/Enter Note on Fret/10 (L)

Choose this command to enter a "10" on the string and beat specified by the Simple Entry Caret. This command will enter an "l" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_10.htm[01/01/2009 5:05:49 PM]


TAB Specific Commands/Enter Note on Fret/11 (M)

TAB Specific Commands/Enter Note on Fret/11 (M)

Choose this command to enter an "11" on the string and beat specified by the Simple Entry Caret. This command will enter an "m" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_11.htm[01/01/2009 5:05:51 PM]


TAB Specific Commands/Enter Note on Fret/12 (N)

TAB Specific Commands/Enter Note on Fret/12 (N)

Choose this command to enter a "12" on the string and beat specified by the Simple Entry Caret. This command will enter an "n" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_12.htm[01/01/2009 5:05:53 PM]


TAB Specific Commands/Enter Note on Fret/13 (O)

TAB Specific Commands/Enter Note on Fret/13 (O)

Choose this command to enter a "13" on the string and beat specified by the Simple Entry Caret. This command will enter an "o" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_13.htm[01/01/2009 5:05:55 PM]


TAB Specific Commands/Enter Note on Fret/14 (P)

TAB Specific Commands/Enter Note on Fret/14 (P)

Choose this command to enter a "14" on the string and beat specified by the Simple Entry Caret. This command will enter a "p" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_14.htm[01/01/2009 5:05:57 PM]


TAB Specific Commands/Enter Note on Fret/15 (Q)

TAB Specific Commands/Enter Note on Fret/15 (Q)

Choose this command to enter a "15" on the string and beat specified by the Simple Entry Caret. This command will enter a "q" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_15.htm[01/01/2009 5:05:59 PM]


TAB Specific Commands/Enter Note on Fret/16 (R)

TAB Specific Commands/Enter Note on Fret/16 (R)

Choose this command to enter a "16" on the string and beat specified by the Simple Entry Caret. This command will enter an "r" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_16.htm[01/01/2009 5:06:01 PM]


TAB Specific Commands/Enter Note on Fret/17 (S)

TAB Specific Commands/Enter Note on Fret/17 (S)

Choose this command to enter a "17" on the string and beat specified by the Simple Entry Caret. This command will enter an "s" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_17.htm[01/01/2009 5:06:04 PM]


TAB Specific Commands/Enter Note on Fret/18 (T)

TAB Specific Commands/Enter Note on Fret/18 (T)

Choose this command to enter an "18" on the string and beat specified by the Simple Entry Caret. This command will enter a "t" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_18.htm[01/01/2009 5:06:06 PM]


TAB Specific Commands/Enter Note on Fret/19 (U)

TAB Specific Commands/Enter Note on Fret/19 (U)

Choose this command to enter a "19" on the string and beat specified by the Simple Entry Caret. This command will enter a "u" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_19.htm[01/01/2009 5:06:08 PM]


TAB Specific Commands/Enter Note on Fret/20 (V)

TAB Specific Commands/Enter Note on Fret/20 (V)

Choose this command to enter a "20" on the string and beat specified by the Simple Entry Caret. This command will enter a "v" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_20.htm[01/01/2009 5:06:10 PM]


TAB Specific Commands/Enter Note on Fret/21 (W)

TAB Specific Commands/Enter Note on Fret/21 (W)

Choose this command to enter a "21" on the string and beat specified by the Simple Entry Caret. This command will enter a "w" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_21.htm[01/01/2009 5:06:12 PM]


TAB Specific Commands/Enter Note on Fret/22 (X)

TAB Specific Commands/Enter Note on Fret/22 (X)

Choose this command to enter a "22" on the string and beat specified by the Simple Entry Caret. This command will enter an "x" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_22.htm[01/01/2009 5:06:14 PM]


TAB Specific Commands/Enter Note on Fret/23 (Y)

TAB Specific Commands/Enter Note on Fret/23 (Y)

Choose this command to enter a "23" on the string and beat specified by the Simple Entry Caret. This command will enter a "y" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_23.htm[01/01/2009 5:06:16 PM]


TAB Specific Commands/Enter Note on Fret/24 (Z)

TAB Specific Commands/Enter Note on Fret/24 (Z)

Choose this command to enter a "24" on the string and beat specified by the Simple Entry Caret. This command will enter a "z" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_ENTER_24.htm[01/01/2009 5:06:18 PM]


TAB Specific Commands/Change To Fret Number/0 (A)

TAB Specific Commands/Change To Fret Number/0 (A)

Choose this command to change the selected fret number to a "0". This command will change the selected fret number to an "a" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_0.htm[01/01/2009 5:06:20 PM]


TAB Specific Commands/Change To Fret Number/1 (B)

TAB Specific Commands/Change To Fret Number/1 (B)

Choose this command to change the selected fret number to a "1". This command will change the selected fret number to a "b" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_1.htm[01/01/2009 5:06:21 PM]


TAB Specific Commands/Change To Fret Number/2 (C)

TAB Specific Commands/Change To Fret Number/2 (C)

Choose this command to change the selected fret number to a "2". This command will change the selected fret number to a "c" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_2.htm[01/01/2009 5:06:23 PM]


TAB Specific Commands/Change To Fret Number/3 (D)

TAB Specific Commands/Change To Fret Number/3 (D)

Choose this command to change the selected fret number to a "3". This command will change the selected fret number to a "d" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_3.htm[01/01/2009 5:06:25 PM]


TAB Specific Commands/Change To Fret Number/4 (E)

TAB Specific Commands/Change To Fret Number/4 (E)

Choose this command to change the selected fret number to a "4". This command will change the selected fret number to an "e" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_4.htm[01/01/2009 5:06:27 PM]


TAB Specific Commands/Change To Fret Number/5 (F)

TAB Specific Commands/Change To Fret Number/5 (F)

Choose this command to change the selected fret number to a "5". This command will change the selected fret number to an "f" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_5.htm[01/01/2009 5:06:29 PM]


TAB Specific Commands/Change To Fret Number/6 (G)

TAB Specific Commands/Change To Fret Number/6 (G)

Choose this command to change the selected fret number to a "6". This command will change the selected fret number to a "g" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_6.htm[01/01/2009 5:06:31 PM]


TAB Specific Commands/Change To Fret Number/7 (H)

TAB Specific Commands/Change To Fret Number/7 (H)

Choose this command to change the selected fret number to a "7". This command will change the selected fret number to an "h" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_7.htm[01/01/2009 5:06:32 PM]


TAB Specific Commands/Change To Fret Number/8 (I)

TAB Specific Commands/Change To Fret Number/8 (I)

Choose this command to change the selected fret number to an "8". This command will change the selected fret number to an "i" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_8.htm[01/01/2009 5:06:34 PM]


TAB Specific Commands/Change To Fret Number/9 (K)

TAB Specific Commands/Change To Fret Number/9 (K)

Choose this command to change the selected fret number to a "9". This command will change the selected fret number to a "k" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_9.htm[01/01/2009 5:06:35 PM]


TAB Specific Commands/Change To Fret Number/10 (L)

TAB Specific Commands/Change To Fret Number/10 (L)

Choose this command to change the selected fret number to a "10". This command will change the selected fret number to an "l" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_10.htm[01/01/2009 5:06:37 PM]


TAB Specific Commands/Change To Fret Number/11 (M)

TAB Specific Commands/Change To Fret Number/11 (M)

Choose this command to change the selected fret number to an "11". This command will change the selected fret number to an "m" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_11.htm[01/01/2009 5:06:39 PM]


TAB Specific Commands/Change To Fret Number/12 (N)

TAB Specific Commands/Change To Fret Number/12 (N)

Choose this command to change the selected fret number to a "12". This command will change the selected fret number to an "m" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_12.htm[01/01/2009 5:06:40 PM]


TAB Specific Commands/Change To Fret Number/13 (O)

TAB Specific Commands/Change To Fret Number/13 (O)

Choose this command to change the selected fret number to a "13". This command will change the selected fret number to an "o" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_13.htm[01/01/2009 5:06:42 PM]


TAB Specific Commands/Change To Fret Number/14 (P)

TAB Specific Commands/Change To Fret Number/14 (P)

Choose this command to change the selected fret number to a "14". This command will change the selected fret number to a "p" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_14.htm[01/01/2009 5:06:44 PM]


TAB Specific Commands/Change To Fret Number/15 (Q)

TAB Specific Commands/Change To Fret Number/15 (Q)

Choose this command to change the selected fret number to a "15". This command will change the selected fret number to a "q" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_15.htm[01/01/2009 5:06:46 PM]


TAB Specific Commands/Change To Fret Number/16 (R)

TAB Specific Commands/Change To Fret Number/16 (R)

Choose this command to change the selected fret number to a "16". This command will change the selected fret number to an "r" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_16.htm[01/01/2009 5:06:47 PM]


TAB Specific Commands/Change To Fret Number/17 (S)

TAB Specific Commands/Change To Fret Number/17 (S)

Choose this command to change the selected fret number to a "17". This command will change the selected fret number to an "s" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_17.htm[01/01/2009 5:06:49 PM]


TAB Specific Commands/Change To Fret Number/18 (T)

TAB Specific Commands/Change To Fret Number/18 (T)

Choose this command to change the selected fret number to an "18". This command will change the selected fret number to a "t" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_18.htm[01/01/2009 5:06:51 PM]


TAB Specific Commands/Change To Fret Number/19 (U)

TAB Specific Commands/Change To Fret Number/19 (U)

Choose this command to change the selected fret number to a "19". This command will change the selected fret number to a "u" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_19.htm[01/01/2009 5:06:52 PM]


TAB Specific Commands/Change To Fret Number/20 (V)

TAB Specific Commands/Change To Fret Number/20 (V)

Choose this command to change the selected fret number to a "20". This command will change the selected fret number to a "v" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_20.htm[01/01/2009 5:06:54 PM]


TAB Specific Commands/Change To Fret Number/21 (W)

TAB Specific Commands/Change To Fret Number/21 (W)

Choose this command to change the selected fret number to a "21". This command will change the selected fret number to a "w" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_21.htm[01/01/2009 5:06:56 PM]


TAB Specific Commands/Change To Fret Number/22 (X)

TAB Specific Commands/Change To Fret Number/22 (X)

Choose this command to change the selected fret number to a "22". This command will change the selected fret number to an "x" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_22.htm[01/01/2009 5:06:57 PM]


TAB Specific Commands/Change To Fret Number/23 (Y)

TAB Specific Commands/Change To Fret Number/23 (Y)

Choose this command to change the selected fret number to a "23". This command will change the selected fret number to a "y" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_23.htm[01/01/2009 5:06:59 PM]


TAB Specific Commands/Change To Fret Number/24 (Z)

TAB Specific Commands/Change To Fret Number/24 (Z)

Choose this command to change the selected fret number to a "24". This command will change the selected fret number to a "z" if Use Letters is checked in the
Tablature Staff Attributes dialog box.

See Also:
Simple Menu
Simple Entry Tool
TAB Specific Commands

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/ID_MENU_SIMPLE_TAB_24.htm[01/01/2009 5:07:01 PM]


Flat Beams Plug-in, Flat Beams (Remove) Plug-in

Flat Beams Plug-in, Flat Beams (Remove) Plug-in


How to get there
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Flat Beams or Flat Beams (Remove).

What it does
Use the Selection Tool to select a region in which to make all the beams flat (or return to the default angle).
This plug-in is equivalent to pressing “\” in Speedy Entry to make a specific beam flat.
Note that this feature works best when the global and staff settings for flat beams are not selected. See Document Options-Beams and Staff Attributes dialog box.

file:///C|/...l/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Flat_Beams_Plug_in_Flat_Beams_Remove_Plug_in.htm[01/01/2009 5:07:27 PM]


Simple Entry Tuplet Definition

Simple Entry Tuplet Definition

How to get there

Click the Simple Entry Tool . On the Simple Entry Tool Palette, click the Simple Tuplet Tool, then shift-click the first note to include in the tuplet group.

What it does
In this dialog box you can define the rhythmic aspects of a tuplet grouping—the number of eighth notes that are to be played in the time of a quarter note, for example.
Use this dialog box to define any tuplet more complicated than a triplet in the current duration. For more complex adjustments to tuplets, see Tuplet Tool.
Note that you can predefine the default visual aspects of the tuplets in your score, so that every tuplet you create automatically appears with a neatly positioned
bracket (for example). To do so, ctrl-click the Tuplet Tool (in the Main Tool Palette, not the Simple Entry Palette). Finale displays Document Options-Tuplets where you
can specify these parameters. (See Document Options-Tuplets for a more complete discussion.)

__ ____in the space of __ _____ • Half(s) • Dotted Quarter(s) • Quarter(s) (etc.). Define the rhythmic qualities (temporal definition) of the tuplet by
entering numbers in these two text boxes (to specify how many) and selecting the rhythmic-value from the drop-down list (to specify "of what value").
Save as default Simple Entry tuplet definition. Check this box to always use the tuplet definition defined above. For example, you could set the Simple
Entry Tuplet Definition to 3 Eighths in the space of 2 Eighths and check Save if you wanted to enter a long series of eighth note triplets. This is especially useful if
the eighth note triplet sometimes start with a quarter note.
OK • Cancel. Click OK to confirm, or Cancel to discard, the tuplet appearance you’ve created. You return to the score.

See Also:
Simple Entry Tool

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Smart Shape/Direction/Flip

Direction/Flip

Choose this command to switch the selected note-attached slur (or curve) to an over or under slur depending on the original direction of the slur.

See Also:
Smart Shape/Direction
Slur Direction-Automatic
Slur Direction-Over
Slur Direction-Under
Smart Shape Slur Direction
Smart Shape Tool
Slurs

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Smart Shape/Direction/Automatic

Direction/Automatic

Choose this command to draw the selected note-attached slur (or curve) as an over or under slur depending on the notes in the score. If you edit or transpose the
notes, the slur will automatically change direction if necessary.

See Also:
Smart Shape/Direction
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Direction/Over

Direction/Over

Choose this command to always draw the selected note-attached slur (or curve) as an over slur. If you want the slur to change directions if needed when you edit or
transpose notes, choose "Automatic."

See Also:
Smart Shape/Direction
Smart Shape Menu
Smart Shape Tool
Slurs

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Smart Shape/Direction/Under

Direction/Under

Choose this command to always draw the selected note-attached slur (or curve) as an under slur. If you want the slur to change directions if needed when you edit or
transpose notes, choose "Automatic."

See Also:
Smart Shape/Direction
Smart Shape Menu
Smart Shape Tool
Slurs

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Tie Direction/Flip

Tie Direction/Flip
Choose Flip (or press ctrl-F) to reverse the direction of a tie. For example, if a tie previously appeared over tied notes it will now be placed under them. The tie will
remain in this position even if you make key changes or transpositions that affect the position of the tied notes in relation to the middle staff line. A checkmark appears
next to Over or Under indicating the new direction of the tie.
For more information on all aspect of ties, see Document Options-Ties.

See Also:
Special Tools Menu
Automatic
Over
Under

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Tie Direction/Automatic

Tie Direction/Automatic

Choose this menu item to allow Finale to decide what direction to set the curve of the tie.

For more information on all aspect of ties, see Document Options-Ties.

See Also:
Special Tools Menu
Flip
Over
Under

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Tie Direction/Over

Tie Direction/Over

Choose Over to place the tie over the tied notes regardless of the position of the notes in relation to the middle line of the staff. A checkmark appears next to Over.
The tie will remain over the tied notes, even if you make key changes or transpositions that affect the position of the notes in relation to the middle staff line.

For more information on all aspect of ties, see Document Options-Ties.

See Also:
Special Tools Menu
Flip
Automatic
Under

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Tie Direction/Under

Tie Direction/Under

Choose Under to place the tie under the tied notes regardless of the position of the notes in relation to the middle line of the staff. The tie will remain under the tied
notes, even if you make key changes or transpositions that affect the position of the notes in relation to the middle staff line. A checkmark appears next to Under.

For more information on all aspect of ties, see Document Options-Ties.

See Also:
Special Tools Menu
Flip
Automatic
Over

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Speedy Edit Commands/Add Note

Speedy Edit Commands/Add Note

Choose this menu item to add a pitch to the selected note.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Delete Note

Speedy Edit Commands/Delete Note

Choose this menu item to remove a pitch from the selected note.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Delete Entry

Speedy Edit Commands/Delete Entry

Choose this menu item to delete the entire chord, note or rest.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Show/Hide Entry

Speedy Edit Commands/Show/Hide Entry

Choose this menu item to either show or hide the entire chord, note or rest.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Raise Half Step

Speedy Edit Commands/Raise Half Step

Choose this menu item to raise the selected pitch by a half step.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Lower Half Step

Speedy Edit Commands/Lower Half Step

Choose this menu item to lower the selected pitch by a half step.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Raise Half Step (Entire Measure)

Speedy Edit Commands/Raise Half Step (Entire Measure)

Choose this menu item to raise the selected pitch by a half step throughout the entire measure.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Lower Half Step (Entire Measure)

Speedy Edit Commands/Lower Half Step (Entire Measure)

Choose this menu item to lower the selected pitch by a half step throughout the entire measure.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Show/Hide Accidental

Speedy Edit Commands/Show/Hide Accidental

Choose this menu item to force the accidental to either show or hide on the selected pitch.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Freeze/Unfreeze Accidental

Speedy Edit Commands/Freeze/Unfreeze Accidental

Choose this menu item to force the accidental to either appear (freeze) or appear if needed (unfreeze).

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Enharmonic

Speedy Edit Commands/Enharmonic

Choose this menu item to change the spelling of the selected note. For example, A flat instead of G sharp.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Enharmonic (Entire Measure)

Speedy Edit Commands/Enharmonic (Entire Measure)

Choose this menu item to change the spelling of the selected note throughout the measure. For example, A flat instead of G sharp.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Add/Remove Accidental Parentheses

Speedy Edit Commands/Add/Remove Accidental Parentheses

Choose this menu item to have the accidental on the selected note appear in parentheses.

Tip: Force an accidental to show by pressing the * key.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Flip Stem Direction

Speedy Edit Commands/Flip Stem Direction

Choose this menu item to reverse the current stem direction of the selected note.

Tip: Select the first note of a beamed group to change the direction of all stems in the beam group.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Set Stem Direction to Automatic

Speedy Edit Commands/Set Stem Direction to Automatic

Choose this menu item to allow Finale to set the stem direction.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Break/Join Beam

Speedy Edit Commands/Break/Join Beam

Choose this menu item to either force the selected note to beam to the previous note or to break the beam between the two notes.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Flat Beam

Speedy Edit Commands/Flat Beam

Choose this menu item to force the selected beam to appear horizontally flat.

Note: Select the first note of the beam group to flatten the beam.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Tie/Untie to Next Note

Speedy Edit Commands/Tie/Untie to Next Note

Choose this menu item to place a tie to the next note.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Tie/Untie to Prev Note

Speedy Edit Commands/Tie/Untie to Prev Note

Choose this menu item to place a tie to the previous note, even across the barline.

See Also:
Speedy Edit Commands Submenu
Speedy Menu
Speedy Tool

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Speedy Edit Commands/Add Dot

Speedy Edit Commands/Add Dot

Choose this menu item to place an augmentation dot on the current note.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Grace Note

Speedy Edit Commands/Grace Note

Choose this menu item to change the selected note to a grace note, or to change the note from a grace note back to a normal size note.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Slash Grace Note

Speedy Edit Commands/Slash Grace Note

Choose this menu item to place a slash through the flag of the selected grace note.

Tip: Globally set flagged grace notes to have slashes in Document Options-Grace Notes.

See Also:
Document Options-Grace Notes
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Edit Commands/Freeze/Float Rest

Speedy Edit Commands/Freeze/Float Rest

Choose this menu item to force the rest to appear in the default position (centered in the staff lines) or to float according to layer settings.

See Also:
Speedy Edit Commands Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Previous Measure

Speedy Navigation/Previous Measure

Choose this menu item to jump to the preceding measure.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Next Measure

Speedy Navigation/Next Measure

Choose this menu item to succeeding measure.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Next Layer

Speedy Navigation/Next Layer

Choose this menu item to cycle through the four layers.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Change Voice

Speedy Navigation/Change Voice

Choose this menu item to switch to the other voice.

Tip: There are two voices for each layer.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Up Staff

Speedy Navigation/Up Staff

Choose this menu item to move to the staff above the current one.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Down Staff

Speedy Navigation/Down Staff

Choose this menu item to move to the staff below the current one.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Start of Measure

Speedy Navigation/Start of Measure

Choose this menu item to place the cursor on the first beat of the measure.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/End of Measure

Speedy Navigation/End of Measure

Choose this menu item to place the cursor after the last entry of the measure.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Previous Note

Speedy Navigation/Previous Note

Choose this menu item to place the cursor on the preceding note.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Next Note

Speedy Navigation/Next Note

Choose this menu item to place the cursor on the succeeding note.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Up Step

Speedy Navigation/Up Step

Choose this menu item to place the cursor up one step.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Navigation/Down Step

Speedy Navigation/Down Step

Choose this menu item to place the cursor down one step.

See Also:
Speedy Navigation Submenu
Speedy Note Menu
Speedy Tool

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Speedy Tie Direction/Flip

Speedy Tie Direction/Flip


Choose Flip (or press ctrl-F) to reverse the direction of a tie. For example, if a tie previously appeared over tied notes it will now be placed under them. The tie will
remain in this position even if you make key changes or transpositions that affect the position of the tied notes in relation to the middle staff line.

See Also:
Speedy Tie Direction Submenu
Speedy Note Menu
Speedy Tool

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Speedy Tie Direction/Automatic

Speedy Tie Direction/Automatic

Choose Automatic (or press ctrl-shift-F) to have Finale determine the tie’s position over or under tied notes depending on whether the notes appear above or below
the middle line of the staff.
If tied notes appear above the middle staff line and Automatic is selected, Finale always places the tie over the notes; if the tied notes appear below the middle staff
line, the tie appears under the notes. If you subsequently change keys or transpose notes, Finale will reverse the tie’s direction as necessary.

Tip: Globally set the direction of ties in Document Options-Ties. From the Document Menu, choose
Document Options and select Ties.

See Also:
Speedy Tie Direction Submenu
Speedy Note Menu
Speedy Tool

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Speedy Tie Direction/Over

Speedy Tie Direction/Over


Choose Over to place the tie over the tied notes regardless of the position of the notes in relation to the middle line of the staff. The tie will remain over the tied notes,
even if you make key changes or transpositions that affect the position of the notes in relation to the middle staff line.

See Also:
Speedy Tie Direction Submenu
Speedy Note Menu
Speedy Tool

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Speedy Tie Direction/Under

Speedy Tie Direction/Under


Choose Under to place the tie under the tied notes regardless of the position of the notes in relation to the middle line of the staff. The tie will remain under the tied
notes, even if for key changes or transpositions that affect the position of the notes in relation to the middle staff line.

See Also:
Speedy Tie Direction Submenu
Speedy Note Menu
Speedy Tool

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Set Default Positions/Full Staff Names

Set Default Name Positions/Full Staff Names


Choose this command to set up the default position and alignment for all full staff names in the score. The Position Full Staff Name--Default dialog box appears, where
you can adjust the position of the staff name relative to the staff, and set the text justification for multi-line names.
The default positioning will be used unless you change the position of an individual staff name in the score.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Set Default Name Positions/Abbreviated Staff Names

Set Default Name Positions/Abbreviated Staff Names

Choose this command to set up the default position and alignment for all abbreviated staff names in the score. The Position Abbreviated Staff Name--Default dialog
box appears, where you can adjust the position of the staff name relative to the staff, and set the text justification for multi-line names.
The default positioning will be used unless you change the position of an individual staff name in the score.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Set Default Name Positions/Full Group Names

Set Default Name Positions/Full Group Names

Choose this command to set up the default position and alignment for all full group names in the score. The Position Full Group Name--Default dialog box appears,
where you can adjust the position of the centered group name relative to the staves, and set the text justification for multi-line names.
The default positioning will be used unless you change the position of an individual group name in the score.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Set Default Positions/Abbreviated Group Names

Set Default Name Positions/Abbreviated Group Names


Choose this command to set up the default position and alignment for all abbreviated group names in the score. The Position Abbreviated Group Name--Default dialog
box appears, where you can adjust the position of the centered group name relative to the staves, and set the text justification for multi-line names.
The default positioning will be used unless you change the position of an individual group name in the score.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Position Names/Full Staff Name

Position Names/Full Staff Name

Choose this command to set up the position and alignment for the selected full staff name. The Position Full Staff Name dialog box appears, where you can adjust the
position of the staff name relative to the staff, and set the text justification for multi-line names.
The special positioning will be used for the staff name wherever it appears in the score. To use the default positioning for the name, deselect the Position checkbox in
the Staff Attributes dialog box, or select the staff name handle on-screen and press Backspace.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Position Names/Abbreviated Staff Name

Position Names/Abbreviated Staff Name

Choose this command to set up the position and alignment for the selected abbreviated staff name. The Position Abbreviated Staff Name dialog box appears, where
you can adjust the position of the staff name relative to the staff, and set the text justification for multi-line names.
The special positioning will be used for the staff name wherever it appears in the score. To use the default positioning for the name, deselect the Position checkbox in
the Staff Attributes dialog box, or select the staff name handle on-screen and press Backspace.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Position Names/Full Group Name

Position Names/Full Group Name

Choose this command to set up the position and alignment for the selected full group name. The Position Full Group Name dialog box appears, where you can adjust
the position of the centered group name relative to the staves and set the text justification for multi-line names.
The special positioning will be used for the group name wherever it appears in the score. To use the default positioning for the name, deselect the Position checkbox in
the Group Attributes dialog box, or select the group handle on-screen and press Backspace.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Position Names/Abbreviated Group Name

Position Names/Abbreviated Group Name

Choose this command to set up the position and alignment for the selected abbreviated group name. The Position Abbreviated Group Name dialog box appears, where
you can adjust the position of the centered group name relative to the staves and set the text justification for multi-line names.
The special positioning will be used for the group name wherever it appears in the score. To use the default positioning for the name, deselect the Position checkbox in
the Group Attributes dialog box, or select the group handle on-screen and press Backspace.

For detailed information, see the Position dialog box.

See Also:
Staff Menu
Staff Tool

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Text/Size/3

Text/Size/3

Choose this menu item to set selected text to 3 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/6

Text/Size/6

Choose this menu item to set selected text to 6 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/8

Text/Size/8

Choose this menu item to set selected text to 8 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/9

Text/Size/9

Choose this menu item to set selected text to 9 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/10

Text/Size/10

Choose this menu item to set selected text to 10 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/12

Text/Size/12

Choose this menu item to set selected text to 12 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/14

Text/Size/14

Choose this menu item to set selected text to 14 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/18

Text/Size/18

Choose this menu item to set selected text to 18 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/24

Text/Size/24

Choose this menu item to set selected text to 24 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/36

Text/Size/36

Choose this menu item to set selected text to 36 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/48

Text/Size/48

Choose this menu item to set selected text to 48 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/72

Text/Size/72

Choose this menu item to set selected text to 72 point size.

See Also:
Text Menu
Other
Increase
Decrease
Fixed Size
Text Tool

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Text/Size/Other

Size/Other

Choose this command to display the Size dialog box, where you can specify any font size for the selected text. A checkmark indicates that a size not found in the
submenu is currently in use.
For detailed information, see Size dialog box.

See Also:
Text Menu
Text Tool

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Text/Size/Increase

Text/Size/Increase

Choose Increase to increase the size of the selected text by one point. If one of the point sizes specified in the Size submenu becomes the selected size of the text,
the item will become selected. If the point size is not available in the Size submenu, Other will become selected on the submenu.

See Also:
Text Menu
Text Tool

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Text/Size/Decrease

Text/Size/Decrease

Choose Decrease to decrease the size of the selected text by one point. If one of the point sizes specified in the Size submenu becomes the selected size of the text,
the item will become selected. If the point size is not available in the Size submenu, Other will become selected on the submenu.

See Also:
Text Menu
Text Tool

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Text/Size/Fixed

Size/Fixed Size

Select Fixed Size to display the text at the specified point size, regardless of any reductions you've previously placed on a note, staff, staff system or page using the
Resize Tool.

See Also:
Text Menu
Text Tool

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Text/Style/Plain

Style/Plain

Select this command to remove all other Font changes for the selected text.

See Also:
Text Menu
Text Tool

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Text/Style/Bold

Style/Bold

Select this command to apply the specified Font to the selected text. A checkmark indicates that the style has been applied to the text. You can choose any
combination of styles, such as Bold, Italic.

See Also:
Text Menu
Text Tool

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Text/Style/Italic

Style/Italic

Select this command to apply the specified Font to the selected text. A checkmark indicates that the style has been applied to the text. You can choose any
combination of styles, such as Bold, Italic.

See Also:
Text Menu
Text Tool

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Text/Style/Underline

Style/Underline

Select this command to apply the specified Font to the selected text. A checkmark indicates that the style has been applied to the text. You can choose any
combination of styles, such as Bold, Underline.

See Also:
Text Menu
Text Tool

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Text/Style/Strikeout

Style/Strikeout

Select this command to apply the specified Font to the selected text. A checkmark indicates that the style has been applied to the text. You can choose any
combination of styles, such as Bold, Underline.

See Also:
Text Menu
Text Tool

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Text/Style/Hidden

Text/Style/Hidden

Select this command to apply the specified Font to the selected text. A checkmark indicates that the style has been applied to the text. You can choose any
combination of styles, such as Bold, Italic.

See Also:
Text Menu
Text Tool

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Placement/Left

Placement/Left

This command is only available when you're in Page View and have a page-assigned text block selected. Use this command to align the text block to the left page
margin or the page edge. You can also set the placement for text blocks in the Frame Attributes dialog box.
When you change the horizontal placement of a text block, Finale clears any manual positioning done in the score, and resets the H: positioning setting in the Frame
Attributes dialog box to zero.

See Also:
Text Menu
Frame Attributes
Text Tool

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Placement/Center Horizontally

Placement/Center Horizontally

This command is only available when you're in Page View and have a page-assigned text block selected. Use this command to center the text block between the left
and right page margins or the edges of the page. You can also set the placement for text blocks in the Frame Attributes dialog box.
When you change the horizontal placement of a text block, Finale clears any manual positioning done in the score, and resets the H: positioning setting in the Frame
Attributes dialog box to zero.

See Also:
Text Menu
Frame Attributes
Text Tool

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Placement/Right

Placement/Right

This command is only available when you're in Page View and have a page-assigned text block selected. Use this command to align the text block to the right page
margin or the page edge. You can also set the placement for text blocks in the Frame Attributes dialog box.
When you change the horizontal placement of a text block, Finale clears any manual positioning done in the score, and resets the H: positioning setting in the Frame
Attributes dialog box to zero.

See Also:
Text Menu
Frame Attributes
Text Tool

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Placement/Top (Header)

Placement/Top (Header)

This command is only available when you're in Page View and have a page-assigned text block selected. Use this command to align the text block to the top page
margin or the page edge. You can also set the placement for text blocks in the Frame Attributes dialog box.
When you change the vertical placement of a text block, Finale clears any manual positioning done in the score, and resets the V: positioning setting in the Frame
Attributes dialog box to zero.

See Also:
Text Menu
Frame Attributes
Text Tool

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Placement/Center Vertically

Placement/Center Vertically

This command is only available when you're in Page View and have a page-assigned text block selected. Use this command to center the text block between the top
and bottom page margins or the edges of the page. You can also set the placement for text blocks in the Frame Attributes dialog box.
When you change the vertical placement of a text block, Finale clears any manual positioning done in the score, and resets the V: positioning setting in the Frame
Attributes dialog box to zero.

See Also:
Text Menu
Frame Attributes
Text Tool

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Placement/Bottom (Footer)

Placement/Bottom (Footer)

This command is only available when you're in Page View and have a page-assigned text block selected. Use this command to align the text block to the bottom page
margin or the page edge. You can also set the placement for text blocks in the Frame Attributes dialog box.

When you change the vertical placement of a text block, Finale clears any manual positioning done in the score, and resets the V: positioning setting in the Frame
Attributes dialog box to zero.

See Also:
Text Menu
Frame Attributes
Text Tool

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Placement/Position From Page Edge

Placement/Position From Page Edge

Choose this command to align the selected text block with the edge of the page instead of the page margin. You can also change this setting in the Frame Attributes
dialog box.

See Also:
Text Menu
Frame Attributes
Text Tool

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Placement/Position From Page Margin

Placement/Position From Page Margin

Choose this command to align the selected text block with the page margin instead of the edge of the page. You can also change this setting in the Frame Attributes
dialog box.

See Also:
Text Menu
Frame Attributes
Text Tool

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Trans/Split Point/None

Split Point/None

Choose None if you want the entire transcription written on a single staff.

See Also:
Transcription Menu

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Trans/Split Point/Fixed

Split Point/Fixed

If you're recording a two-handed performance, you can specify that Finale split the transcription onto two staves automatically. If you choose Fixed, you can identify a
key on your synthesizer corresponding to a pitch that divides all upper-staff notes from all lower-staff notes.

For detailed information, see the Fixed Split Point dialog box.

See Also:
Transcription Menu

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Trans/Split Point/Moving

Split Point/Moving

If you choose Moving, Finale decides which music to put on each staff according to the width of your hands, based on the hand width interval you enter in the dialog
box that appears. The advantage of this method of splitting your performance into right-hand and left-hand parts (as compared with the Fixed option) is that Finale can
track the positions of your hands as they move up and down the keyboard, provided there's a wide enough interval between them for it to know which hand is which;
you don't have to specify a static split point.

For detailed information, see the Moving Split Point dialog box.

See Also:
Transcription Menu

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TimeTag/FirstTag/Half

Time Tag/First Tag is Half

Choose this command to specify that the first tap (and all taps if Record Equal Durations is selected) is a half note.

See Also:
Time Tag Menu

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TimeTag/FirstTag/Quarter

Time Tag/First Tag is Quarter

Choose this command to specify that the first tap (and all taps if Record Equal Durations is selected) is a quarter note.

See Also:
Time Tag Menu

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TimeTag/FirstTag/Eighth

Time Tag/First Tag is Eighth

Choose this command to specify that the first tap (and all taps if Record Equal Durations is selected) is an eighth note.

See Also:
Time Tag Menu

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TimeTag/FirstTag/16th

Time Tag/First Tag is 16th

Choose this command to specify that the first tap (and all taps if Record Equal Durations is selected) is a 16th note.

See Also:
Time Tag Menu

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System (line) break

System (line) break


Finale automatically chooses the most logical measure at which to create system breaks. You can, however, create any system breaks you wish, even if they occur in
the middle of a measure.See Measures per line for more information on locking and unlocking systems.

To create a system break


You can specify any measure to begin a new system, no matter what the measure layout may be in other systems.

1. Click the Measure Tool . A handle appears on each barline.


2. Double-click the measure you want to appear at the beginning of a new system. The Measure Attributes box appears.
3. Select Begin a new staff system. Click OK (or press enter).
4. From the Edit Menu, choose Update Layout. The measure you specified now begins a new system and displays a non-printing Begin New System icon

in Page View to indicate that the measure must appear at the start of a system (if Show Page layout Icons is activated under the View Menu). The
measure will always begin a new system, no matter how the page layout may change. Be careful how you use this technique, however; it could result in unusual
measure widths preceding the affected measure (for example, the preceding single measure could stretch across the entire system).

To move a measure to the previous (or next) system


See To move a measure to the previous (or next) system.

To split a measure across a line break


See Measures—To split a measure across a line break.

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Page turns

Page turns
A number of tools are at your disposal for adjusting the layout of your music to avoid awkward page turns. In Finale, this is often a two-step process—first, you
arrange the measures (usually with a goal of placing rest measures at the end of a system). Second, you may have to move some systems from one page to another,
so that the nearest rest measures fall at the bottom of a page.
To move individual measures from line to line, see Measure layout. To move systems from page to page, see below. To seek and reconfigure your score to avoid
awkward page turns automatically, try the Smart Page Turns plug-in. See Smart Page Turns.

To push a system onto the next page

1. Click the Page Layout Tool .


2. Go to the page you want to change.
3. Select the handle for the system you want to appear on the next page.
4. From the Page Layout Menu, choose Insert Page Break. Finale places the system at the top of the next page and displays a non-printing Page Break

icon .

To fit an additional system onto one page

1. Click the Page Layout Tool .


2. Go to the page to which you want to add a system. Each system has a pair of handles (at diagonally opposite corners). In order to “pull” a system
from the following page, you’re going to reduce the space beneath each system on this page.
3. Drag the lower–right handle of the first system slightly upward. If this step didn't solve the problem, drag the second system’s lower-right handle
slightly upward, too (preferably by the same amount—watch the number boxes in Edit System Margins dialog box if you wish; they show how much you’re
dragging each system – See Edit System Margins dialog box). Move the handles until the system is pulled up.

If, despite all your efforts, it looks like the next system simply won’t fit without overlapping the existing systems, you’ll have to resort to one of the global
system-fitting options (see Page layout—To change the distance between systems, or reduce the music (Reducing/Enlarging).

4. From the Edit Menu, choose Update Layout.

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Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in

Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove)
Plug-in
How to get there
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Slash Flagged Grace Notes or Slash Flagged Grace Notes (Remove).

What it does
Use the Selection Tool to select a region from which you wish to place slashes on all flagged grace notes (or remove slashes placed in Speedy Entry).
This plug-in is equivalent to pressing` (accent) in Speedy Entry to slash or unslash a flagged grace note.

Note: This feature works best when the global setting for grace notes does not use slashes. See
Document Options-Grace Notes.

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GPOHP Drums and Percussion

Garritan Instrument Setup

Setting Up Garritan Instruments for Playback in New Documents


Do the following if you intend to use Garritan instruments - Garritan Personal Orchestra, Garritan Personal Orchestra Finale Edition, and/or Garritan Jazz and Big Band - in a new score.

If Finale is currently running, quit the application.


Full GPO users and JABB users: if you have not previously done so, download and install the latest update(s) for your instrument library.

Windows and Mac: http://www.garritan.com/support.html. When installing the Full GPO update, be sure to install the optional "Notation Set for Finale."

Full GPO users and JABB users: download and install the appropriate instrument.txt files for your Garritan instrument library. These files allow you to select your Garritan
instruments in Finale's Setup Wizard.

Full GPO users: Download "gpofullinstrument.txt" from:


http://ftp.makemusic.com/support/win/gpofullinstrument.txt
JABB users: Download "garritanjazzinstrument.txt" from:
http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt

You may need to select "Save As" in your web browser to download these files.

Put these files inside the "FinaleVST" folder in your "Finale 2008" folder.

Use Finale’s Setup Wizard to create your score. On Page 2 of the Setup Wizard, from the Instrument Set menu, select Garritan Personal Orchestra Finale Edition,
Garritan Personal Orchestra, or Garritan Jazz and Big Band. Instruments that include multiple sounds (for example, pizz. and arco for strings) are marked with "KS" in their name - short
for "Keyswitch." Choose the KS version of these instruments in order to take advantage of all available sounds.
Once your score is set up, if you want to hear the Garritan instruments when inputting music using a MIDI keyboard, from the MIDI/Audio Menu, choose MIDI Thru,
and select Smart. Turn up the modulation wheel on your MIDI keyboard to ensure Garritan instruments are audible.
The expressions marked "use w/HP off FinGPO KS" are incompatible with Human Playback, and should be avoided if you intend to use Human Playback. Human
Playback automatically interprets expressions like "pizz." and "arco" without requiring you to set up a playback definition.
Before you play back your file for the first time, click the triangle at the left of the Playback Controls (Mac) or the speaker at the right (Windows) to reveal Finale's
Playback Settings. Click the Human Playback Menu and select the appropriate Human Playback Style for your score.

Setting Up Garritan Instruments for Playback in Existing Scores


Do the following if you intend to use Garritan instruments in a score that was previously configured for another instrument set (for instance, Finale's SoftSynth).

If Finale is currently running, quit the application.


Full GPO users and JABB users: If you have not previously done so, download and install the latest update(s) for your instrument library.

Windows and Mac: http://www.garritan.com/support.html. When installing the Full GPO update, be sure to install the optional "Notation Set for Finale."

Full GPO users and JABB users: download and install the appropriate instrument.txt files for your Garritan instrument library. These files allow you to select your Garritan
instruments in Finale's Setup Wizard.

Full GPO users: Download "gpofullinstrument.txt" from:


http://ftp.makemusic.com/support/win/gpofullinstrument.txt
JABB users: Download "garritanjazzinstrument.txt" from:
http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt

You may need to select "Save As" in your web browser to download these files.

Mac: put these files inside the "FinaleAU" folder in your "Finale 2008" folder.
Windows: put these files inside the "FinaleVST" folder in your "Finale 2008" folder.

Open your existing score in Finale 2008.


From the Window Menu, choose Instrument List and make sure each staff is assigned to a different channel in the Instrument List. This means you may need to create
new instruments. For specific instructions, see Assigning MIDI Channels and Instruments in Chapter 6 of the Finale Installation and Tutorials Manual.
If you have 8 staves or fewer: Assign your top staff to Channel 1, the next staff to Channel 2, etc., until each staff has its own channel.

If you have more than 8 staves - Kontakt Player 1 (Full GPO/JABB): Assign the first eight staves to Channels 1-8. Assign the next eight staves to Channels 17-24 (skipping 9-16).
Assign the next eight staves to Channels 33- 40, the next eight to Channels 49-56, and each subsequent group of eight staves to Channels 65-72, 81-88, 97-104, and 113-120, until each staff has
its own channel. (This means you may need to create new instruments). (The exceptions are multi-staff instruments like piano and harp - in that case, both the RH and LH staves can share the same
channel - provided there are not independent dynamics in each staff.) For specific instructions, see Assigning MIDI Channels and Instruments in the Finale Installation and Tutorials Manual.

You may want to reserve Channel 10 for unpitched percussion - although this is not necessary when using Garritan instruments, it can be
helpful if you want to preserve the ability to switch back and forth between Garritan instrument playback and SoftSynth or General MIDI
playback. For additional information, consult the entry on Percussion.

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Here's what the channel assignments might look like for an orchestral score configured for Full GPO.
Instrument List example 1:

You can use a maximum of 64 simultaneous channels with Garritan instruments that use Kontakt Player 1. (Currently, Full GPO and JABB both use Kontakt Player 1.)

If you have more than 8 staves - Kontakt Player 2 (GPO Finale Edition): With Kontakt Player 2, used by GPO Finale Edition, there is no need to skip any channels. Simply ensure that
each staff (or multi-staff instrument, like piano or harp) has its own channel.

Here's what the channel assignments might look like for an orchestral score configured for GPO Finale Edition.
Instrument List example 2:

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You can use a maximum of 128 simultaneous channels with Garritan instruments that use Kontakt Player 2. (Currently, only GPO Finale Edition uses Kontakt
Player 2.)

For more on both versions of the Kontakt Player, see Kontak Player with GPO in the Finale User Manual.
Once you have assigned each instrument to the correct channel, you are ready to configure your score for GPO Playback:

From the MIDI/Audio Menu, choose Native Instruments AU Setup (on Mac) or Native Instruments VST Setup (on Windows).
Check the box that says Play Finale through Audio Units(on Mac) or Play Finale through VST(on Windows):

In the same dialog box, click on the pull-down menu next to Finale Channel 1-16 and choose Native Instruments: Kontakt Player 2 (for GPO Finale Edition), Native
Instruments: Garritan Personal Orchestra (for Full GPO), or Native Instruments: Garritan Jazz (for JABB).

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Then click the Edit button next to the pull-down menu:

This brings up the first instance of the Kontakt Player, which you will use to load the Garritan instruments you want to use in your score:

Kontakt Player 1:

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Kontakt Player 2:

The Garritan instruments are organized first by section (woodwinds, brass, strings, etc.) and then by instrument family (flutes, clarinets, bassoons, etc.)
Let's assume for the moment that the Instrument List for your score looks like Instrument List example 1, or the Instrument List example 2. In each case, the staff assigned to Finale channel 1 is a
piccolo, so that's the first instrument you need to load.

Since this score uses orchestral instruments, we will describe the setup process using the Garritan orchestral libraries - GPO Finale Edition
and Full GPO. However, the steps for JABB users are very similar to the steps for Full GPO users, since both libraries use Kontakt Player
1.

GPO Finale Edition (Kontakt Player 2) - click the down arrow button to the right of the Instruments button:

Then, select Piccolo Solo:

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Full GPO (Kontakt Player 1): Click and hold on the Load button in the Kontakt Player, and then select Piccolo Solo KS from the Notation folder.

A recent version of Full GPO contains a set of instruments that have been optimized for use with Finale and Human Playback. These are found in the "Notation" folder. So, whenever you load
instruments from these sample libraries, you must remember to load only the ones found in the "Notation" folder:

THIS IS EXTREMELY IMPORTANT! If you are using Full GPO or JABB and you inadvertently load one of the instruments that isn't in the
"Notation" folder, many Human Playback features won't work correctly. The names of the non-Notation Garritan instruments are identical to
the names of the Notation instruments, which means it's not possible to tell after the fact which version you've loaded. So be very careful
when manually loading Garritan instruments!

JABB has a "Notation" folder as well. GPO Finale Edition does not have a "Notation" folder because all of the GPO Finale Edition instruments are Notation instruments. Finale's Setup Wizard always loads
instruments from the "Notation" folder, no matter which Garritan instrument library you are using.
You will also notice that in the full version of GPO, there are many more instruments to choose from compared to GPO Finale Edition - for instance, as you can see in the illustration above, Full GPO has
four different kinds of piccolo (whereas GPO Finale Edition has just one). But no matter which Garritan instrument library you are using, whenever instruments with KS in their name are available - for
example, Piccolo Solo KS - you should normally choose those instruments over other versions of the same instrument. For more information, see the entry on Keyswitches.
You should now have successfully loaded your first Garritan instrument. The Kontakt Player should now look like this:

GPO Finale Edition (Kontakt Player 2):

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Full GPO (Kontakt Player 1):

To load additional instruments in GPO Finale Edition (Kontakt Player 2): click again on the down arrow button to the right of the Instruments button. Then load the next instrument in
your score. In this case, the second instrument in our score is a flute, so let's load Flute Plr1:

By default, the second instrument you load in Kontakt Player 2 will be assigned to Channel 2. In this score, the next staff below the Piccolo is Flute 1, and that staff is assigned to Channel 2. You
can see which channel a virtual instrument has been assigned to by looking at the number next to the "Midi Ch" indication in the Kontakt Player's Virtual Rack:

You will notice that GPO Finale Edition has four different flutes to choose from, each with their own distinctive characteristics.

To load additional instruments in Full GPO (Kontakt Player 1): click on the first empty box in the horizontal strip at the top of the Kontakt Player (called the Virtual
Rack) just to the right of the blue (highlighted) box:

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By default, the second slot in the Virtual Rack corresponds to Channel 2. In this score, the next staff below the Piccolo is Flute 1, and that staff is assigned to Channel 2.

Load the next instrument in your score. In this case, the second instrument in our score is a flute, so let's load Flute Plr1:

You will notice that Full GPO has many different flutes to choose from, each with their own distinctive characteristics.
The procedure for loading additional instruments is much the same. GPO Finale Edition (Kontakt Player 2) users can load up to 16 instruments for each instance of the Kontakt Player 2, and these
16 instruments should correspond to the instruments assigned to Channels 1-16 in Finale's Instrument List. If you refer once again to Instrument List example 2, you will see that these instruments
are: Piccolo and Flute 1 (both already loaded), then Flute 2, Oboe, English Horn, Clarinet in Eb, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Contrabassoon, Horn in F
1, Horn in F 2, Trumpet in C 1, and Trumpet in C 2. To load these instruments, repeat the procedure described above - click on the down arrow button next to the Instruments button in the Kontakt
Player, then load the GPO instrument that best matches the instrument assigned to the corresponding channel in your score. (Since GPO Finale Edition does not have a Clarinet in Eb, you will
have to substitute a Clarinet in Bb. This is one of several additional instruments you will have access to if you upgrade to Full GPO.) The third instrument you load will be assigned to Channel 3,
the fourth to Channel 4, etc. As you load up the Kontakt Player 2 with Garritan instruments, you will probably want to have the Instrument Window open so you can refer back to it.

Here's what the Kontakt Player 2 might look like after you load the first sixteen instruments from the Instrument Window from Instrument List example 2 (N.B. each
instrument in the Virtual Rack has been minimized with the "-" button so you can see them all at once):

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This instance of the Kontakt Player 2 is now fully loaded: there are sixteen available slots in the Virtual Rack (corresponding to Channels 1-16), and each one can hold just one Garritan instrument.
Since our score has additional instruments, we will need to close this Kontakt Player instance and open another one.
On the other hand, Full GPO (Kontakt Player 1) users are limited to just 8 instruments per Kontakt Player instance. Since we already loaded two instruments, the remaining six empty slots in the
Virtual Rack correspond (by default) to Channels 3-8, which are assigned to the next six staves in your score. If you refer once again to the Instrument List window shown Instrument List example
1, you will see that the next six staves below Flute 1 are: Flute 2, Oboe, English Horn, Clarinet in Eb, Clarinet in Bb 1, and Clarinet in Bb 2. To load these instruments, repeat the procedure
described above - click on the next available empty slot in the Virtual Rack, then load the GPO instrument that best matches the next instrument in your score. As you load up the Kontakt Player 1
with GPO instruments, you will probably want to have the Instrument Window open so you can refer back to it.
Here's what the Kontakt Player 1 might look like after you load the first eight instruments from the Instrument Window:

This instance of the Kontakt Player 1 is now fully loaded: there are eight slots in the Virtual Rack (corresponding to Finale channels 1-8 by default), and each one can hold just one GPO instrument.
Since our score has additional instruments, we will need to close this Kontakt Player instance and open another one.
In the example shown above, we had to substitute a GPO Bb Clarinet for the Eb Clarinet in our score, because GPO Finale Edition does
not include an Eb Clarinet. That's one of several additional instruments you will have access to if you upgrade to full GPO.

After closing the first Kontakt Player instance, you will see that the Native Instruments VST/AU dialog box has remained open.
In this dialog box, click on the pull-down menu next to 17-32 and once again choose either Native Instruments: Kontakt Player 2 (for GPO Finale Edition) or Native Instruments:

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This brings up the second instance of the Kontakt Player, which looks just like the first one did - except for the title bar, which says:

What this means is that the first instrument you load into this second Kontakt Player instance will be assigned to Finale Channel 17, the second instrument will be assigned to Finale Channel 18,
and so on.
Kontakt Player 2 (GPO Finale Edition) users should continue to load the instruments in their score sequentially. Referring back to Instrument List example 1, you'll see that there are only 13
instruments remaining - the ones assigned to Finale Channels 17-29. That means we can load all of the remaining instruments into this second Kontakt Player 2 instance. So now it's just a matter
of loading the remaining instruments into the Virtual Rack in order, just like we did with the first Kontakt Player 2 instance.
Once it's fully loaded with the remaining 12 instruments, the second Kontakt Player 2 instance (Bank 2) might look like this (again, instruments have been minimized to fit):

Meanwhile, Kontakt Player 1 (Full GPO) users can load only 8 instruments per Kontakt Player instance, the first empty slot in the second Kontakt Player 1 instance corresponds to Finale Channel
17. You can (hopefully) now see why, when we were assigning channels in the instrument list, we skipped Finale Channels 9-16. But if you still find this a little confusing, don't worry - so long as
you set up your instrument list correctly in the first place, and you keep loading instruments in the order in which they appear in your score, you'll be fine.
Referring back to the first instrument list example, you'll see that the next group of eight instruments - the ones assigned to Finale Channels 17-24 - consists of: Bass Clarinet, Bassoon 1, Bassoon
2, Contrabassoon, Horn in F 1, Horn in F 2, Trumpet in C 1, and Trumpet in C 2.
So now it's just a matter of loading the first instrument in this group into the leftmost slot of the Virtual Rack, loading the second instrument into the second slot, and so on, just like we did with the
first Kontakt Player 1 instance.
Once it's fully loaded with the second group of eight instruments, the second Kontakt Player 1 instance (Bank 2) might look like this:

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Continue to load each subsequent group of eight instruments into subsequent instances of the Kontakt Player 1 until you have loaded all of the instruments needed in your score:
Third Kontakt Player 1 Instance (Bank 3) - Virtual Channels 33-48:

Fourth Kontakt Player 1 Instance (Bank 4) - Virtual Channels 49-64:

As you can see, we needed a total of four Kontakt Player 1 instances to load all of the instruments needed to play our orchestral score.

Full GPO (Kontakt Player 1) users: before you close the final Kontakt Player 1 instance, click the Options button (below the Load button) and make sure the following settings are correct:

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Use Std. CC#7/CC#10 Volume & Pan should be on.


Sustain/Sutenuto Pedal Mode should be set to Normal. If these settings are not already set correctly, after you fix them you may have to quit and re-launch Finale. (Remember to save
your document first!) These options are set automatically for Kontakt 2 (GPO Finale Edition) Instruments.
All users: If you want to hear the Garritan instruments you have selected when inputting music with a MIDI keyboard, choose MIDI Thru from the MIDI/Audio Menu, then choose Smart. Remember
to turn up the modulation wheel on your MIDI keyboard, or the GPO instruments might be too quiet to hear!

If you have used Garritan instruments with pre-Finale 2006 versions of Finale, and added expressions that were defined to trigger
keyswitches (such as the expressions in the Finale 2005 Keyswitch Library available on the Garritan website), and plan on using Human
Playback, you will need to edit the old keyswitching expressions used in your score so they are no longer defined for playback. To do so,
edit the Playback Options (see “Text Expression dialog box”) for all of those expressions and set them to None. The "Notation" versions of
Garritan instruments use different keyswitches, so your old keyswitch expressions will no longer work. In Finale 2008, Human Playback
automatically performs keyswitches.

Before you play back your file for the first time, click the triangle at the left of the Playback Controls window (Mac version) or the speaker at the right (Windows
version) to: reveal Finale's Playback Settings:

Choose the appropriate Human Playback style for your score:

In this dialog box, click the HP Preferences button, then click the Default button in the Human Playback Preferences dialog box.

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You can find out more about all of these options in the Human Playback Preferences section - but for now, it's easiest to just hit Default, which will select the best HP settings for basic Garritan
instruments playback.

Finally, to get the best stereo image for your instrument setup, from the MIDI/Audio Menu, choose Set Panning.

That's it! Now your Finale document is ready to playback using Garritan instruments!

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Swing

Swing
For a discussion of creating playback with a swing feel, see Swing in the Installation & Tutorials.
The most common convention is to notate “swung” eighth notes as standard eighth notes, with the word Swing above the score (usually on the first page, with the
tempo marking). Finale follows this convention in transcribing real-time performances. Note the Jazz Human Playback style applies a swing feel to your score. See
Playback Settings dialog box.

To notate swing performances (HyperScribe)


1. From the MIDI/Audio Menu, choose Quantization Settings. The Quantization Settings dialog box appears.
2. Select a Smallest Note Value. See Quantization Settings dialog box for more information.
3. Select Space Notes Evenly in Beat. Finale will notate swung eighth notes as normal eighth notes, but will accurately notate triplets if you play them.

Note: It’s a good idea to tell Finale beforehand exactly how you want the triplets notated—whether or
not they should have a bracket or slur, and so on. Instructions for defining the default tuplet
appearance can be found under Document Options-Tuplets.

4. Click More Settings. The More Quantization Settings dialog box appears.
5. Select Soften Syncopations. See More Quantization Settings dialog box for more information.
6. Click OK twice.
7. Record your performance. See Recording in HyperScribe–To record into one or two staves .

Note: For other ways to create a swing performance see Swing Playback.

To notate swing performances (Transcription Mode)


You can also transcribe swing performances with the Transcription Mode. The process is roughly the same, but the steps are slightly different.

1. Click the HyperScribe Tool and select Transcription Mode from the HyperScribe Menu. Click the measure at which you want
the transcription to begin. You enter the Transcription window.
2. Record your performance in the usual way. See “To record a performance,” above.
3. Click the Quant Settings button in the Transcription window. The Quantization Settings dialog box appears.
4. Select Space Notes Evenly in Beat. Finale will notate swung eighth notes as normal eighth-note pairs, but will accurately notate any triplets that occur. See
More Quantization Settings dialog box for more information. Note: Again, you can tell Finale beforehand exactly how you want the triplets notated—whether or
not they should have a bracket or slur, and so on. Instructions for defining the default tuplet appearance can be found under Tuplets.
5. Click OK.
6. Continue the transcription process in the usual way. Again, see “To transcribe a performance,” above.

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Vertical Collision Remover plug-in

Vertical Collision Remover plug-in

How to get there


From the Plug-ins Menu, choose Scoring and Arranging, then Vertical Collision Remover. This plug-in will process the entire document unless a region is selected with
the Selection Tool, in which case changes will be applied to all systems in the selected region (including partially selected systems).

What it does
This plug-in allows you to automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid collision of notes, articulations, smart
shapes and other items. This plug-in can also be used to manually adjust the vertical spacing of systems, instrument groups, and staves both in conjunction with the
automatic collision remover options, or independently. This plug-in is particularly useful after switching to Page View after creating a document in Scroll or Studio View
- where it is difficult to predict where these vertical collisions will occur.

Note: For files with only one system per page, this plug-in will not expand the system beyond the
bottom page margin. If the desired collision removal and spacing between staves cannot be achieved,
you may need to change your system scaling or increase your page size.

The speed of this plug-in depends on the size and complexity of the score as many calculations are processed to account for the position of every score element.

Main Options:

Process Entire Document· Process Systems _ Through _. Choose Process Entire Document to apply changes to all pages in the document. Choose
Process Systems _ Through _, and in the text boxes, enter the first and last system number for the region you would like to change. (Hint: To display system
numbers to the left of each system, choose the Page layout Tool ).
Remove Vertical Collisions. Check this box to find collisions of notes, articulations, Smart Shapes, Expressions, lyrics, chords, fretboards, and repeat
brackets between staves, and adjust the vertical staff and system formatting so that the items no longer collide. (This command can be used in conjunction with
the Balance White Space command so that the white space created by this function is more evenly distributed on the page.)
Minimum Space Between Closest Items on Adjacent Staves__ · [Tighter/Looser slider]. Use these controls to specify the minnimum amount of
space to introduce between colliding items. In the text box, you can provide the specific amount of vertical space required between elements. Or, click and drag
the slider to specify this value. The units of measurement are whatever you’ve selected using the Measurement Units submenu under the Edit Menu.
Balance White Space; Overall Space Between Systems__ · Instrument Groups__ · Other Staves__ · [Tighter/Looser sliders] · Do Not
Change. Check this box to specify the (minimum) amount of space between systems, groups and/or other staves. Systems/groups/staves will be spaced to the
values specified here unless extra space is required due to the value specified for Minimum Space Between Closest Items on Adjacent Staves above. “Balance”
here refers to the use of these commands in conjunction with the Remove Vertical Collisions command, which can yield inconsistent spacing if, for example, there
are severe collisions between some systems on a page and not others. Use these controls to regulate inconsistent spacing by choosing a value closer to the
greatest amount of space required by the Minimum Space Between Closest Items on Adjacent Staves setting.

In the text boxes, provide the specific amount of vertical space required between systems, instrument groups, or staves. Or, click and drag the slider to specify
these values. The units of measurement are whatever you’ve selected using the Measurement Units submenu under the Edit Menu. Check Do Not Change to

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maintain existing spacing for systems, instrument groups, or other staves (controls for that item will be grayed out). If the active document contains only one staff
per system, only the Systems controls will be available. If the active document contains two or more staves per system, but no instrument groups, the
Instrument Groups controls will not be available.
More:

Total System Height; Minimize · Try To Keep Existing · Change As Needed. Use these controls to specify the
degree to which you want this plug-in to adjust the total system height (from the top staff in the system to the bottom staff).
Select Minimize to move adjacent staves in a system so that the two closest items are set to the minimum distance
specified in the Remove Vertical Collisions field, even if there are no collisions between staves. Select Try to Keep Existing
to move some staves in a system farther apart to remove collisions - it will compensate by moving other staves closer
together to maintain the same overall system height. Select Change to move staves as required to meet the specifications in
Remove Vertical Collisions and Balance White Space. This is the default setting.
Can Be Decreased · Can Be Increased. Uncheck one of these boxes to prevent the plug-in from increasing or
decreasing system height, even if that is required to meet the spacing specified in Remove Vertical Collisions and Balance
White Space.
Keep Number of Systems on Each Page. If the new spacing changes the layout such that fewer systems can fit on a
page, this plug-in will move systems to the next page as needed. Similarly, if the new spacing allows more systems to fit on
a page, it will move systems to the previous page. If “Keep Number of Systems On Each Page” is checked, it will not move
systems, even if this means allowing collisions to remain. If space does not allow removing collisions with keeping the same
number of systems on the page, you may need to change your system scaling or increase your page size.

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Note positioning

Note positioning
The positions of notes in Finale are determined by a number of factors. Their default horizontal positions are linear, according to the time signature—a whole note gets
exactly as much room as four quarter notes.
When you have Automatic Music Spacing selected or use the Music Spacing command, notes are positioned according to the Allotment Library you’ve loaded (the
default file already has one)—a table of width measurements for notes of various rhythmic values. For a full discussion, see Document Options-Music Spacing. You
can also position notes manually. To move a note and have all other notes that fall on the same beat (in other staves) remain aligned with it—in other words, to move
the position of the beat itself—see Beat positions.

To move a note

1. Click the Speedy Entry Tool , and click the measure in question. The editing frame appears.
2. Drag the note to the left or right. If you want the note you’re dragging to move only horizontally, press shift as you drag (so that you won’t accidentally
drag it up or down to a new pitch).
3. Drag the note up or down to change its pitch. You need to click squarely on the notehead before dragging. If you want the note you’re dragging to
move only vertically, press shift as you drag (so that you won’t accidentally drag it to the left or right).

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Exercise Wizard

Exercise Wizard

How to get there


From the File Menu, choose New, then Exercise Wizard. Or, in the Launch Window, select Exercise Wizard.

What it does
The Exercise Wizard helps you to setup a lesson for your vocal or instrumental ensemble based on Exercises that you choose. The Exercise Wizard includes a large
selection of exercises to choose from, including scales, intervals, and arpeggios. Mix and match the exercises to create your own lesson plan. You can even share the
lesson with other ensembles or teachers. You can apply slurring articulations or change the key. It also allows you to specify the instruments and the number of copies
that are printed of each lesson.

Lesson Title. Type the title for the lesson. You are limited to one line of text and no carriage returns. It will appear at the top of the page.
Set Font. Click Set Font to specify the font, size and style for the lesson title.
Page Size. Select the page size you want to use. The page size information is stored in the text file pagesizes.txt and can be edited to your specifications. See
Configuring Pagesizes.txt in the Appendix.
Cancel · Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Next to continue on to the next dialog box in
the Exercise Wizard.

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[List of Exercises] · Add · Remove. Select exercises from the list on the left and add them to the list of selected exercises on the right. Click on the plus
signs to display more exercises; click on the minus signs to hide the exercises in the list below. Use the Scroll arrows to reorder the selected exercises. A
preview of the selected exercise appears in the lower right corner.
Cancel · Back · Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Back to return to the first page of
the Exercise Wizard. Click Next to continue to the next page of the Exercise Wizard.

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Exercise Wizard

Exercise Title. Click an exercise and assign it a title in this text box.
Apply Concert Key. Use the scroll bar to select a concert key. Exercises for transposing instruments will appear in the appropriate transposed key. Click the
up arrow to add sharps or subtract flats; click the down arrow to add flats or subtract sharps. Major or minor keys will appear depending on the selected exercise.
Apply Articulations. Click on a button to apply instrumental tonguing patterns (such as tongue 2, slur 2) to the selected exercise.
Cancel · Back · Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Back to return to the first page of
the Exercise Wizard. Click Next to continue to the next page of the Exercise Wizard.

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Exercise Wizard

Ensemble Name. Type a name for a new ensemble or select one from the drop down menu. Then, you can use the options on this page to configure and
save this ensemble. The default settings for the ensembles can be found in the Ensembles.txt file. For more information, see Configuring Ensembles.txt in the
Appendix.
Save · Save As · Delete. Use the Save button to Save any changes to the currently selected ensemble. Use the Save As button to save the currently selected
ensemble with a new name. Click the Delete button to remove the currently selected ensemble from the list.
Families · Parts: Add · Remove. Select a certain instrumental family, and add the part selected from the Parts column. If you want to Remove a part from
the list on the right, highlight the part and click remove. The family and part information is stored in the text file ensembles.txt and can be edited to your
specifications.
[Ensemble Instrument List]. The name and number of instruments found in your ensemble are listed on the right. Click an instrument, then use the arrow
buttons to increase or decrease the number of exercises to print for that instrument.
Instrument Range Checking: Basic · Intermediate · Advanced. Select a skill level for your ensemble here. The Exercise Wizard will transpose the
exercises by octaves to stay within the acceptable ranges for each individual instrument at the selected skill level. The ranges for each instrument are stored in
the Instrument.txt file. See Configuring Instrument.txt in the Appendix.
Fit Lesson on One Page. Check this box to tell Finale to adjust the spacing of the generated lesson so that it fits on a single page.
Print. Click the Print button to print a copy of every exercise in the lesson for each instrument in the ensemble.
Save Lesson. Click the Save Lesson box to save the exercises you’ve created as a lesson, as notation files for each instrument in the ensemble, or both. A
lesson file (.LSN) can be opened by the Exercise Wizard later for making changes or printing. Note that file names must be short enough to allow the instrument
name to be added and still remain under 32 characters long.
Cancel · Back · Finish. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a lesson. Click Back to return to the third page of
the Exercise Wizard. Click Finish to save your settings and exit the Wizard.

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SmartMusic Accompaniment Wizard

SmartMusic Accompaniment Wizard

How to get there


From the File Menu, choose New, then SmartMusic Accompaniment Wizard. Or, in the Launch Window, select SmartMusic Wizard.

What it does
The SmartMusic Accompaniment Wizard helps you setup a document to be saved as a SmartMusic accompaniment. Although you can save any standard Finale
(.MUS) file as a SmartMusic Accompaniment (.SMP) file, this wizard allows you to define accompaniment-specific parameters prior to entering the notation. This wizard
also allows you to create SmartMusic Accompaniments that can be assessed and graded in SmartMusic. After completing this wizard and choosing to save the
SmartMusic Accompaniment, Finale employs the information you have specified in this wizard.
After completing this wizard, enter the desired notation, and when you are ready to save as an accompaniment, from the File Menu, choose Save Special and then
Save as SmartMusic Accompaniment. See SmartMusic Accompaniment Options dialog box.

Tip: Save a Finale Notation File as a backup if you would like to make edits or additions later.

Create a new Finale file you intend to save as a SmartMusic Accompaniment. Choose this option to start a new SmartMusic Accompaniment
from scratch. You will begin with a new Finale document based on the settings you make in this wizard.
Open an Existing file you intend to save as a SmartMusic Accompaniment. Choose this option to select an existing Finale document you want to
save as a SmartMusic accompaniment.
Create or Open a Finale file or exercise that can be assessed and graded with SmartMusic Studio. Choose this option to create a file for use
with SmartMusic’s assessment feature. If you choose this option, when you click Next, you arrive at the Assessment Wizard where you can choose from
additional methods for starting your new file. See Assessment Wizard.

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SmartMusic Accompaniment Wizard

Solo with Accompaniment. Choose this option to create a SmartMusic Intelligent Accompaniment file containing a single solo line and accompaniment.
Ensemble. Choose this option to save the accompaniment without specifying a particular solo instrument. The generated SMP file will contain the staves you
select on page 2 of this wizard. When this option is selected, the Intelligent Accompaniment feature is not available when playing the file in SmartMusic. You
might choose this option if you want to “turn off” an instrument track during SmartMusic playback, and play your part along with, for example, a full concert band.
Select a Solo Instrument. From this drop-down menu, designate the solo instrument to be assessed. The selected instrument tells Finale Performance
Assessment which staff or track to use for “matching” against the musician’s performance.
Title · Composer · Copyright. Enter the Title, Composer and Copyright information for your piece here and Finale will automatically enter them into the
document for you. Finale is using text inserts to accomplish this. If you want to change this later, the information is kept in the File Information dialog box. See
File Info dialog box for more information.
Cancel · Back · Next. Click Cancel to exit out of the SmartMusic Accompaniment Wizard without creating a new document. Click Next to continue to page 3
of the SmartMusic Accompaniment Wizard.

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SmartMusic Accompaniment Wizard

Families · Parts: Add · Remove. Select a certain instrumental family, and add the part selected from the Parts column. The parts that are selected will be
displayed in the list on the right. Parts will be added in Score order. If you want to remove a part from the list on the right, highlight the part and click Remove.
The family and part information is stored in the text file Instrument.txt and can be edited to your specifications. See Configuring Instrument.txt in the Appendix.
Score Order · [Arrows]. You can choose to have your parts listed in Orchestral order or other standard order. If you prefer to have the parts in your score
listed in a different order, use the arrows to move the highlighted part up or down in the list on the right. The Score Order information is stored in the text file
Instrument.txt and can be edited to your specifications. See Configuring Instrument.txt in the Appendix.
Cancel · Back · Next. Click Cancel to exit out of the Wizard without creating a new document. Click Next to continue to page 4 of the SmartMusic
Accompaniment Wizard. Click Cancel to exit out of the Wizard without creating a new document. Click Next to continue to page 3 of the SmartMusic
Accompaniment Wizard.

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SmartMusic Accompaniment Wizard

Select a Time Signature. Select a time signature from several common time signatures.
Select a Concert Key Signature. Use the scroll bar to select a key. Click the up arrow to add sharps or subtract flats; click the down arrow to add flats or
subtract sharps. Use the drop down menu to specify major or minor.
Cancel · Back · Next. Click Cancel to exit out of the Setup Wizard without creating a new document. Click Back to return to the third page of the Setup
Wizard. Click Next to continue to the last page of the Setup Wizard.

Specify Initial Tempo Marking. Check this box to have Finale place a tempo marking on the first measure of the score. This Measure Expression will affect
the playback tempo. Click the quarter note to change the beats per minute. To edit the tempo marking later, see Expressions.
Specify Pickup Measures. Check this box to have Finale create a pickup measure before the first measure. Click on the note corresponding to the sum of
the pickup note or notes.
Default Music Font: Maestro · Jazz. Select the default file you want to use to create your document. Click Maestro to use a default file with the Maestro
music font. Click Jazz to use a default file with the Jazz music font. If you wish to customize these templates, make the changes to the Maestro Font Default or
Jazz Font Default files in the Finale folder. For more information, see Fonts.
Cancel · Back · Finish. Click Cancel to exit out of the SmartMusic Setup Wizard without creating a new document. Click Back to return to the fourth page of
the Wizard. Click Finish and Finale will create your document, based on your choices.

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Instrument Junction

Instrument Junction

How to get there


From the File Menu, choose Score Merger. Add files with different instrumentations. Click on Merge These Files into One File. In the Score Merger dialog box, check
Edit Instrument Junction Between Files. Click Merge.

What it does
This dialog box allows you to specify how the Score Merger deals with instruments that do not match perfectly while merging files horizontally. For example, while
merging movements, if an Oboe appears on the top staff in one file, and an English Horn for the top staff of the next, use this dialog box to specify whether you want
to place the Oboe and English Horn on separate staves and in which order, or join them into the same staff.
The title bar of this dialog box specifies the file at hand. Instruments to the left are from the file that
is about to be merged, and instruments to the right are from the merge result file in its current state.
(Note that instruments, such as a piano or other keyboard instruments, can include more than one
staff). On the right side lists what the result will be for a given instrument when the files are merged.
Here, the Bassoon from source file is going to be inserted below the existing Oboe staff in target,
because there is probably no bassoon in the target.
Also notice the instrument "Piano" is mapped to a similar instrument also called "Piano." We don't
necessarily need know how many staves are used for the piano in source and target files; a 3-staff
piano might be mapped onto a 2-staff piano, and Score Merger will add the missing 3rd staff in
target file accordingly.
Generally speaking, an instrument from the source can be inserted below, above, mapped exactly onto (joined), or just skipped. Double-clicking or pressing Edit
Selected Line opens the Choose Junction for Staff dialog box where you can edit the relative position of a merged staff.

Edit Selected Line. Choose Junction for Staff dialog box where you can specify whether you want to join, separate, or insert staves (above or below). See .
Choose Junction for Staff dialog box
Don't Show This Dialog Box Again. Check this box to bypass the Junction dialog for the remaining files.
Cancel Merge • Continue. Click Cancel Merge to close the Instrument junction dialog box and cancel the merge. Click Continue to advance to the next file to
be merged.

See Also:
Score Merger dialog box

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File Menu Toolbar

File Menu Toolbar

Choose "File Menu Tool Bar" from the Window Menu to display or hide the palette. Each Tool provides a shortcut to a specific menu item.

See Also:
New File
Open File
Save File
Print File

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Edit Menu Toolbar

Edit Menu Toolbar

The Edit Menu Toolbar contains buttons that duplicate certain commands on the Edit Menu. Click the Window Menu and choose Menu Toolbars, then Edit Menu
Toolbar to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing Customize Palettes, then Menu
Toolbars, then Edit Menu Toolbar.

See Also:
Edit Menu

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View Menu Toolbar

View Menu Toolbar

The View Menu Toolbar contains buttons that duplicate certain commands on the View Menu. Click the Window Menu and choose Menu Toolbars, then View Menu
Toolbar to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing Customize Palettes, then Menu
Toolbars, then View Menu Toolbar.

See Also:
View Menu

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Document Menu Toolbar

Document Menu Toolbar

The Document Menu Toolbar contains buttons that duplicate certain commands on the Document Menu. Click the Window Menu and choose Menu Toolbars, then
Document Menu Toolbar to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing Customize
Palettes, then Menu Toolbars, then Document Menu Toolbar.

See Also:
Document Menu

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MIDI/Audio Menu Toolbar

MIDI/Audio Menu Toolbar

The MIDI/Audio Menu Toolbar contains buttons that duplicate certain commands on the MIDI/Audio Menu. Click the Window Menu and choose Menu Toolbars, then
MIDI/Audio Menu Toolbar to display or hide the palette.

See Also:
MIDI/Audio Menu

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Help Menu Toolbar

Help Menu Toolbar

The Help Menu Toolbar contains buttons that duplicate certain commands on the Help Menu. Click the Window Menu and choose Menu Toolbars, then Help Menu
Toolbar to display or hide the palette.

See Also:
Help Menu

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Layout Toolbar

Layout Toolbar

The Layout Menu Toolbar contains buttons that duplicate certain commands related to layout and display. Click the Window Menu and choose Menu Toolbars, then
Layout Toolbar to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing Customize Palettes, then
Menu Toolbars, then Layout Toolbar.

See Also:
View Menu
Edit Menu

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View Percentage Toolbar

View Percentage Toolbar

The View Percentage Toolbar contains buttons that duplicate certain commands on the Zoom submenu of the View Menu. Click the Window Menu and choose Menu
Toolbars, then View Percentage Toolbar to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing
Customize Palettes, then Menu Toolbars, then View Percentage Toolbar.

See Also:
View Menu

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First and second endings

First and second endings


You can easily create a repeat with first and second endings that will playback correctly (as shown below).

To create a repeat with first and second endings

1. Click the Repeat Tool ; then click the first ending measure to highlight it. If the first ending is longer than one measure, click the first
measure of the first ending and the hold down Shift and click the last measure of the first ending so all measures you want to include in the first ending are
highlighted.
2. Right-Click the region you just highlighted and choose Create First and Second Ending. The first ending, backward repeat barline, and second
ending appear in the score. At this point during playback (upon reaching the backward repeat bar) Finale will go back to the closest forward repeat it finds, so
we’ll add that next.
3. Right-Click the first measure of the repeated section and choose Create Forward Repeat. You could also double-click the measure, and
double-click the forward repeat bar graphic. This section is automatically configured to playback correctly. Also, if any measures are inserted or removed from
within the repeated section, Finale makes the appropriate adjustments so playback continues to jump to the correct measures as indicated by the repeat
markings.

For more advanced repeat indication, such as nested repeats, to configure playback you may need to specify the target and number of passes for backward
repeat bars manually. See Backward Repeat Bar Assignment dialog box and Create Ending dialog box.

Note: You can add the forward repeat before creating the first and second endings. The order for the
last two steps isn’t crucial.

To adjust the brackets on a repeat ending

1. Click the Repeat Tool . Three handles appear on the bracket. (A single handle appears on each repeat bar.)
2. To stretch a bracket, drag its upper handles vertically or horizontally. To delete a repeat, click any handle and press delete. You can’t
stretch a bracket further than the length of one system.

To change the default bracket height for repeats (and set the number font)
1. From the Document Menu, choose Document Options and select Fonts. The Fonts options appear.
2. To change the font for the numbers that appear in a repeat bracket (for example, the “2.” in a second ending bracket), in the Text
drop-down menu, choose Ending repeat, and then click Set Font. See Document Options-Fonts for more details.
3. To change the height of any brackets in your score, choose the Repeats category, then click the Repeat Endings button. Change the
Height of Bracket number. The units are whatever you’ve selected in the Document Menu for Measurement Units. See Document Options-Repeats.

To move, hide, or delete a text repeat

1. Click the Repeat Tool . Handles appear on all repeat markings.


2. Drag its handle to move a text repeat; select it and press delete to remove it. Note that in terms of its playback functions, the marking is still
associated with the measure in which you originally placed it, even if you drag it to a different measure. Repeat markings initially appear in all staves. To assign
an ending or text repeat to specific staves of your score, use the Staff List options available in the Create/Edit Ending dialog box and Backward Repeat Bar
Assignment dialog box. Also see Staff List dialog box.

To change a backward repeat’s playback definition

1. Click the Repeat Tool ; a handle appears on the barline.


2. Double-click any handle. The Backward Repeat Bar Assignment (playback definition) dialog box reappears. Make the desired changes, and then click OK
(or press enter). (See “To place a repeat in your score,” for the playback options you can specify.)

To hide the ending brackets and text repeats for a specified staff

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First and second endings

If your score includes a piano part (for example), you normally won’t want ending brackets (such as a first ending bracket) to appear above both the treble and bass
staves. Similarly, you would probably want a Text Repeat (such as “To Coda”) only to appear above the treble staff, not above both. If you want to remove these items
from just one staff:

1. Click the Staff Tool , and double-click the staff for which you want to hide the brackets or Text Repeats. The Staff Attributes dialog
box appears.
2. In the Items to Display section, uncheck Endings and Text Repeats. Click OK. (If you want to assign the text repeat to a number of staves in
your score use Staff Lists in theCreate/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box).

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G_Simple_Entry_Caret

Simple Entry Caret


The simple entry caret is a vertical line in the score that indicates where the next note entered will appear. The next note entered could be the pitch displayed on the
caret (which can be moved using the up and down arrows) – initiated by pressing the Enter/Return key, a note letter typed on the computer keyboard, or a pitch or
pitches played on a MIDI device (with Use MIDI Device for Input checked under the Simple Menu). To activate the Simple Entry Caret, from the Simple. Menu, choose
Simple Entry Options, check Use Simple Entry Caret, and click OK.

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Measures per line

Measures per line


Finale can automatically lay out a certain number of measures per system for you—either within a certain region, or for the entire piece.

To specify a number of measures per line (within a region)


1. Choose Page View from the View Menu, if you’re not already there.

2. Click the Selection Tool , and select the range of measures for which you want to specify the number of measures per line. See
Selecting music for some region-selecting shortcuts. If you want the same number of bars per line for the entire piece, choose Select All from the Edit Menu.
3. Choose Fit Measures from the Utilities Menu. The Fit Measures dialog box appears.
4. Enter the number of measures per system for this document.
5. Click OK (or press enter). This technique creates measure groups, which don’t float from one system to another as the page layout changes. See Measure
layout for more information on measure groups.

To remove measure groups from the current page to the end


This process will undo the procedure above, restoring all measures to “floating” status—in other words, their system affiliation may change as the page layout changes.

While pressing shift, choose Update Layout from the Edit Menu.

To remove measure groups from a selected region

1. Click the Selection Tool , and select the system for which you want to remove measure groups.
2. Press Command-U to unlock the system. This will allow the measures to reflow during Fit Measures operations. See Selection Tool for more information.

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Smart Page Turns

Smart Page Turns plug-in

How to get there


From the Plug-ins Menu, choose Scoring and Arranging, and then Smart page Turns.

What it does
The Smart Page Turns plug-in adjusts the measures and page breaks in a document to avoid page turns during active portions of the music. This plug-in is especially
useful for instrumental parts.

Timing Settings: Ideal Page Break · Minimum Page Break · Measures · Seconds. Here, enter the Ideal and Minimum number of measures or
seconds required for a page turn.
Maximum Calculation Time _ Seconds. Here, enter the maximum calculation time allowed for calculating the page turns.
Search _ Systems at End of Page · _ Systems on Next page. Use these text boxes to tell Smart Page Turns which systems on each page to scan for
appropriate page turns.
Rests In One Staff are Sufficient. Check this box to indicate rests in a single staff is sufficient for a page turn. This feature is particularly useful for
keyboard music, where one hand can turn the page while the other continues with the music.
Treat Notes Smaller than 80% as Cue notes. Check this box to indicate notes in the document reduced to less than 80% should be treated as cue
notes. Cue notes created with the Add Cue Notes and Smart Cue Notes plug-ins are reduced to 75% by default.
Breaks are Possible Before These Measures. Enter measure numbers here (separated by commas) to specify points in the document Smart Page Turns
is allowed to begin a new page. If the plug-in cannot find ideal page turns, you may be asked to specify measure numbers here to give the Smart Page Turns
enough information to most accurately process the document.
Place Rests Before · After Page Break · Both (Split Evenly). Choose Before to tell Smart Page Turns to place rests before a page break (at the end
of the page). Choose After Page Break to tell Smart Page Turns to place rests after the page break (beginning of the next page). Choose Both (Split Evenly) to
tell Smart Page Turns to place half of the rests before and half after the page turn.
Page Settings: First Page · Left · Right. Here, choose left if the first page in the document is a left page. Choose right if the first page in the document is
a right page. You can adjust the page numbering (to accommodate a title page for example) using the settings below under Adjust Page Numbers.
Allow Exceptions. With this box checked Smart Page Turns allows exceptions to the left and right page specifications defined in this section if a page turn
solution is not found for the setting specified.
No Turn After Page 1. Available when Right is chosen for First Page. Choose this setting to tell Finale not to generate a page turn between page 1 and 2.
Adjust Page Numbers. Check Adjust Page Numbers to update the page numbering based on the settings for left and right pages.
First Page is No _ If Left _ If Right. Here, enter the desired first page number depending on whether the first page is a left or right page. By default, Smart
page Turns numbers the first page “2” if it is a left page and “1” if it is a right page.
Handle Left/Right Page Margins. If left and right page margins are not equal, and the plug-in swaps left/right pages, with this box checked, left and right
page margins will swap as well.

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Smart Page Turns

Allow Blank Pages. Check this box to allow Smart Page Turns to add blank pages if needed to provide the best possible page turn solution.
Add Text · Font. Check this box, and then specify the desired text that will appear as a text block in the middle of all blank pages added. Click Font to open
the Font dialog box where you can specify a font, size and style for the text block. See Font dialog box.
Space Systems Evenly if at Least _ Systems. Check this box to automatically space systems evenly if the number of systems on a page equals or is
greater than the number entered in the provided text box.
Warnings: Turn Immediately · Font · Always Add This if No Rest on Next Page. Check Turn Immediately, and then enter desired text to tell Smart
Page Turns to indicate text for sudden page turns. Click Font to open the Font dialog box where you can specify a font, size and style for the text block. See
Font dialog box. If you want to add this text any time there is no rest at the beginning of the next page, check Always Add This if There is No Rest on Next
Page. Note that if the time is more than .3 seconds less than the ideal turn time specified in the Timing Settings section, Smart Page Turns will add this text
automatically regardless of this setting.
Time · Always · Font. Check Time and enter desired text to add indicators in the document notifying the performer that there is time to turn the page. A %
sign will convert to the number of measures rest the performer has before music begins. Check Always to place this indicator at every page turn if there is no rest
at the top of the next page. Click Font to open the Font dialog box where you can specify a font, size and style for the text block. See Font dialog box.
Defaults · OK · Cancel. Click Defaults to reset this dialog box to the original settings. Click OK to process the document and generate a layout that
accommodates improved page turns based on these settings. Click Cancel to dismiss the dialog box without making any changes.

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Garritan Orchestra Support Page

Welcome to the Garritan Orchestral Libraries support area. Here you will find answers to the most common questions, update,
downloads, troubleshooting, tips and other valuable information. There are so many ways you can find the answers you need. The
vast majority of Garritan Orchestral Library users do not encounter difficulties, however if you should have any questions, we're
here to help. Your question may be addressed in support area and may save you time if you look here. You may also contact us
directly. Please take a few moments to explore this area before contacting our Support Team.

What Would You Like Help With?

Native Instruments takes care of ALL Registration and Authorization. Questions and
Register/Authorize GPO answers on product authorization can be found here at the NI site. You authorize
GPO by launching the Registration Tool in the Garritan Personal Orchestra folder
and follow the instructions. For additional registration & authorization questions, or
all questions regarding the Kontakt Player, please contact: register@native-
instruments.com, go to the Native Instruments Registration site, or call 323-467-
2693 in the US or +49-3061103520 in the EU.

Update Kontakt Player: MacIntel Compatibility: Expected 1st Quarter 2007


Stradivari Solo Violin 2.0: Mac and PC bug fixes are available to our download
page.
Jazz & Big Band: Garritan Jazz & Big Band Update #1 is available as a free
download on our download page.
Personal Orchestra: The latest Garritan Personal Orchestra Kontakt Player
Update Version 1.1.8.3 is for people who have the original CD set over a year ago.
Those with the DVD version do not need the download. Go to our download page.

Download Programs: The GPO download page features some unexpected extras such as the latest
updates for GPO Studio, Overture SE, or other files. Click here to access these
files. GPO Users have contributed programming such as MFX plug-ins, Sonar plug-
ins, Logic Environment files, additional Kontakt programming and other files to get
the most out of GPO.
Go here to access these User Created files.

Troubleshooting:
Solutions to Common Problems: Go here to find out solutions and workarounds to common problems and issues.

This section is for GPO Users helping GPO Users. Many have contributed MP3
Users Helping Users demos, MIDI files, sequencer song files, notation files, tips, tutorials, special
programming and GPO sites. The GPO Exchange Page serves as a focal point for
User contributions for the GPO community.

http://www.garritan.com/support.html[01/01/2009 6:02:00 PM]


Garritan Orchestra Support Page

GPO RESOURCE PAGES - Need help with any of these


programs? Do you need Tutorials?

Find Help and Useful Info for using GPO with


your Sequencer or Notation Program

Using forums to answer The Garritan Orchestral Libraries forum is located at Northern Sounds, click here to
questions about GPO: access the forum. Here you can have your questions answered and share you
experiences and your music. You'll notice Gary Garritan and members of the
development team visit the User Forum daily to answer questions and discuss ideas
with users. There is a helpful seach feature to find what you are looking from
among over 65,000+ posts on the GPO forum.

For frequently asked questions about Personal Orchestra and Orchestral Strings
Read the FAQ: please click here.

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Tutorials: Garritan Orchestral Libraries - Click Here.

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To go to the Interview page - Click Here

Garritan Orchestral Libraries is pleased to be able to offer customers free phone


Contact us: and email support, something that is becoming all too rare in the industry. If you
are having problems, please read the manual and refer to our troubleshooting
page before calling. If you still can't find the answer to your question and require
additional assistance call us at (360) 376-5766 - 9:00am - 5:00pm Mon-Fri PST. or
email us at:

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Garritan Orchestral Libraries, Box 400, Orcas Island, WA 98280 USA..... Telephone: 360-376-5766 .....Email:

Copyright © 2005. All rights reserved.

http://www.garritan.com/support.html[01/01/2009 6:02:00 PM]


[VSTINFO]
Name = Garritan Jazz & Big Band
PluginID = NGbB
PlayerChannels = 8

[INS:01 Brush Drum Kit]


DisplayName = 01 Brush Drum Kit
InstType = 01 Brush Drum Kit GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/01 Brush Drum Kit.nki

[INS:02 Brush Drum Kit]


DisplayName = 02 Brush Drum Kit
InstType = 02 Brush Drum Kit GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/02 Brush Drum Kit.nki

[INS:Brush Cymbals]
DisplayName = Brush Cymbals
InstType = Brush Cymbals GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/Brush Cymbals.nki

[INS:Brush HiHat]
DisplayName = Brush HiHat
InstType = Brush HiHat GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/Brush HiHat.nki

[INS:Brush Snare Drum 1]


DisplayName = Brush Snare Drum 1
InstType = Brush Snare Drum 1 GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/Brush Snare Drum 1.nki

[INS:Brush Snare Drum 2]


DisplayName = Brush Snare Drum 2
InstType = Brush Snare Drum 2 GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/Brush Snare Drum 2.nki

[INS:Brush Toms]
DisplayName = Brush Toms
InstType = Brush Toms GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/Brush Toms.nki

[INS:Sgl-layr-hd Bass Drum]


DisplayName = Sgl-layr-hd Bass Drum
InstType = Sgl-layr-hd Bass Drum GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Brushes/Sgl-layr-hd Bass Drum.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Bata]
DisplayName = Bata
InstType = Bata GJBB
Patch =1
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Bata.nki

[INS:Bongos]
DisplayName = Bongos
InstType = Bongos GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Bongos.nki

[INS:Cajones]
DisplayName = Cajones
InstType = Cajones GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Cajones.nki

[INS:Conga]
DisplayName = Conga
InstType = Conga GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Conga.nki

[INS:Cuica]
DisplayName = Cuica
InstType = Cuica GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Cuica.nki

[INS:Djembe]
DisplayName = Djembe
InstType = Djembe GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Djembe.nki

[INS:Pandero]
DisplayName = Pandero
InstType = Pandero GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Pandero.nki

[INS:Quinto]
DisplayName = Quinto
InstType = Quinto GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Quinto.nki

[INS:Super Tumba]
DisplayName = Super Tumba
InstType = Super Tumba GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Super Tumba.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Surdu]
DisplayName = Surdu
InstType = Surdu GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Surdu.nki

[INS:The Box]
DisplayName = The Box
InstType = The Box GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/The Box.nki

[INS:Timbales]
DisplayName = Timbales
InstType = Timbales GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Timbales.nki

[INS:Tumba]
DisplayName = Tumba
InstType = Tumba GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Tumba.nki

[INS:Udu]
DisplayName = Udu
InstType = Udu GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/01 Drums/Udu.nki

[INS:Cabassa]
DisplayName = Cabassa
InstType = Cabassa GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/02 Gourds/Cabassa.nki

[INS:Guira]
DisplayName = Guira
InstType = Guira GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/02 Gourds/Guira.nki

[INS:Guiro]
DisplayName = Guiro
InstType = Guiro GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/02 Gourds/Guiro.nki

[INS:Maraccas]
DisplayName = Maraccas
InstType = Maraccas GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/02 Gourds/Maraccas.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Shakers]
DisplayName = Shakers
InstType = Shakers GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/02 Gourds/Shakers.nki

[INS:Shekere]
DisplayName = Shekere
InstType = Shekere GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/02 Gourds/Shekere.nki

[INS:Clave]
DisplayName = Clave
InstType = Clave GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/03 Blocks/Clave.nki

[INS:Jam Block]
DisplayName = Jam Block
InstType = Jam Block GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/03 Blocks/Jam Block.nki

[INS:Woodblock]
DisplayName = Woodblock
InstType = Woodblock GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/03 Blocks/Woodblock.nki

[INS:Agogo Bells]
DisplayName = Agogo Bells
InstType = Agogo Bells GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/04 Bells/Agogo Bells.nki

[INS:Bongo Bells]
DisplayName = Bongo Bells
InstType = Bongo Bells GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/04 Bells/Bongo Bells.nki

[INS:Cha Cha Bells]


DisplayName = Cha Cha Bells
InstType = Cha Cha Bells GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/04 Bells/Cha Cha Bells.nki

[INS:Timbale Bell]
DisplayName = Timbale Bell
InstType = Timbale Bell GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/04 Bells/Timbale Bell.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Castinets]
DisplayName = Castinets
InstType = Castinets GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/05 Misc. Percussion/Castinets.nki

[INS:Handclaps - Fingersnaps]
DisplayName = Handclaps - Fingersnaps
InstType = Handclaps - Fingersnaps GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/05 Misc. Percussion/Handclaps - Fingersnaps.nki

[INS:Jawbone]
DisplayName = Jawbone
InstType = Jawbone GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/05 Misc. Percussion/Jawbone.nki

[INS:Rainstick]
DisplayName = Rainstick
InstType = Rainstick GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/05 Misc. Percussion/Rainstick.nki

[INS:Tambourine]
DisplayName = Tambourine
InstType = Tambourine GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/05 Misc. Percussion/Tambourine.nki

[INS:Triangles]
DisplayName = Triangles
InstType = Triangles GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/05 Misc. Percussion/Triangles.nki

[INS:Whistles]
DisplayName = Whistles
InstType = Whistles GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Percussion/05 Misc. Percussion/Whistles.nki

[INS:03 Classic Jz Drum Kit Lite]


DisplayName = 03 Classic Jz Drum Kit Lite
InstType = 03 Classic Jz Drum Kit Lite GJBB
Patch =
SampleFile = 09 Notation/10 Lite/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/03 Classic Jz Drum Kit
Lite.nki

[INS:03 Classic Jz Drum Kit]


DisplayName = 03 Classic Jz Drum Kit
InstType = 03 Classic Jz Drum Kit GJBB
Patch =

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


SampleFile = 09 Notation/10 Lite/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/03 Classic Jz Drum
Kit.nki

[INS:14inHiHat2]
DisplayName = 14inHiHat2
InstType = 14inHiHat2 GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/14inHiHat2.nki

[INS:15inHiHat]
DisplayName = 15inHiHat
InstType = 15inHiHat GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/15inHiHat.nki

[INS:Cymbals Lite]
DisplayName = Cymbals Lite
InstType = Cymbals GJBB
Patch =
SampleFile = 09 Notation/10 Lite/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/Cymbals Lite.nki

[INS:Cymbals]
DisplayName = Cymbals
InstType = Cymbals GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/Cymbals.nki

[INS:Sgl-layr-hd Bass Drum]


DisplayName = Sgl-layr-hd Bass Drum
InstType = Sgl-layr-hd Bass Drum GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/Sgl-layr-hd Bass Drum.nki

[INS:Sgl-layr-hd Piccolo Snare]


DisplayName = Sgl-layr-hd Piccolo Snare
InstType = Sgl-layr-hd Piccolo Snare GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/Sgl-layr-hd Piccolo Snare.nki

[INS:Sgl-layr-hd Toms]
DisplayName = Sgl-layr-hd Toms
InstType = Sgl-layr-hd Toms GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Classic Jazz Drum Kit/Sgl-layr-hd Toms.nki

[INS:04 Fusion Drum Kit Lite]


DisplayName = 04 Fusion Drum Kit Lite
InstType = 04 Fusion Drum Kit Lite GJBB
Patch =
SampleFile = 09 Notation/10 Lite/08 Drums and Percussion/Sticks/Fusion Drum Kit/04 Fusion Drum Kit Lite.nki

[INS:04 Fusion Drum Kit]


DisplayName = 04 Fusion Drum Kit
InstType = 04 Fusion Drum Kit GJBB

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Fusion Drum Kit/04 Fusion Drum Kit.nki

[INS:14inHiHat1]
DisplayName = 14inHiHat1
InstType = 14inHiHat1 GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Fusion Drum Kit/14inHiHat1.nki

[INS:Fusion Drum Kit Cymbals Lite]


DisplayName = Fusion Drum Kit Cymbals Lite
InstType = Fusion Drum Kit Cymbals Lite GJBB
Patch =
SampleFile = 09 Notation/10 Lite/08 Drums and Percussion/Sticks/Fusion Drum Kit/Cymbals Lite.nki

[INS:Fusion Drum Kit Cymbals]


DisplayName = Fusion Drum Kit Cymbals
InstType = Fusion Drum Kit Cymbals GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Fusion Drum Kit/Cymbals.nki

[INS:Dbl-layr-hd Bass Drum]


DisplayName = Dbl-layr-hd Bass Drum
InstType = Dbl-layr-hd Bass Drum GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Fusion Drum Kit/Dbl-layr-hd Bass Drum.nki

[INS:Dbl-layr-hd Piccolo Snare]


DisplayName = Dbl-layr-hd Piccolo Snare
InstType = Dbl-layr-hd Piccolo Snare GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Fusion Drum Kit/Dbl-layr-hd Piccolo Snare.nki

[INS:Dbl-layr-hd Snare]
DisplayName = Dbl-layr-hd Snare
InstType = Dbl-layr-hd Snare GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Fusion Drum Kit/Dbl-layr-hd Snare.nki

[INS:Dbl-layr-hd Toms]
DisplayName = Dbl-layr-hd Toms
InstType = Dbl-layr-hd Toms GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/Fusion Drum Kit/Dbl-layr-hd Toms.nki

[INS:GM Classic Jazz Drum Kit]


DisplayName = GM Classic Jazz Drum Kit
InstType = GM Classic Jazz Drum Kit GJBB
Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/GM Drum Kits/GM Classic Jazz Drum Kit.nki

[INS:GM Fusion Drum Kit]


DisplayName = GM Fusion Drum Kit
InstType = GM Fusion Drum Kit GJBB

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Patch =
SampleFile = 09 Notation/08 Drums and Percussion/Sticks/GM Drum Kits/GM Fusion Drum Kit.nki

[INS:Fretless Bass 1]
DisplayName = Fretless Bass 1
InstType = Fretless Bass
Patch = 35
SampleFile = 09 Notation/07 Basses/Fretless Bass 1.nki

[INS:Fretless Bass 1 Lite]


DisplayName = Fretless Bass 1 Lite
InstType = Fretless Bass
Patch = 35
SampleFile = 09 Notation/10 Lite/07 Basses/Fretless Bass 1 Lite.nki

[INS:Fretless Bass 2]
DisplayName = Fretless Bass 2
InstType = Fretless Bass
Patch = 35
SampleFile = 09 Notation/07 Basses/Fretless Bass 2.nki

[INS:Fretless Bass 2 Lite]


DisplayName = Fretless Bass 2 Lite
InstType = Fretless Bass
Patch = 35
SampleFile = 09 Notation/10 Lite/07 Basses/Fretless Bass 2 Lite.nki

[INS:Jazz Fretted Bass 1]


DisplayName = Jazz Fretted Bass 1
InstType = Electric Bass
Patch = 33
SampleFile = 09 Notation/07 Basses/Jazz Fretted Bass 1.nki

[INS:Jazz Fretted Bass 1 Lite]


DisplayName = Jazz Fretted Bass 1 Lite
InstType = Electric Bass
Patch = 33
SampleFile = 09 Notation/10 Lite/07 Basses/Jazz Fretted Bass 1 Lite.nki

[INS:Jazz Fretted Bass 2]


DisplayName = Jazz Fretted Bass 2
InstType = Electric Bass
Patch = 33
SampleFile = 09 Notation/07 Basses/Jazz Fretted Bass 2.nki

[INS:Jazz Fretted Bass 2 Lite]


DisplayName = Jazz Fretted Bass 2 Lite
InstType = Electric Bass
Patch = 33
SampleFile = 09 Notation/10 Lite/07 Basses/Jazz Fretted Bass 2 Lite.nki

[INS:Upright Bass 1]

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


DisplayName = Upright Bass 1
InstType = Acoustic Bass
Patch = 32
SampleFile = 09 Notation/07 Basses/Upright Bass 1.nki

[INS:Upright Bass 1 Lite]


DisplayName = Upright Bass 1 Lite
InstType = Acoustic Bass
Patch = 32
SampleFile = 09 Notation/10 Lite/07 Basses/Upright Bass 1 Lite.nki

[INS:Upright Bass 2 Arco]


DisplayName = Upright Bass 2 Arco
InstType = Acoustic Bass
Patch = 32
SampleFile = 09 Notation/07 Basses/Upright Bass 2 Arco.nki

[INS:Upright Bass 2 Arco Lite]


DisplayName = Upright Bass 2 Arco Lite
InstType = Acoustic Bass
Patch = 32
SampleFile = 09 Notation/10 Lite/07 Basses/Upright Bass 2 Arco Lite.nki

[INS:Upright Bass 2]
DisplayName = Upright Bass 2
InstType = Acoustic Bass
Patch = 32
SampleFile = 09 Notation/07 Basses/Upright Bass 2.nki

[INS:Upright Bass 2 Lite]


DisplayName = Upright Bass 2 Lite
InstType = Acoustic Bass
Patch = 32
SampleFile = 09 Notation/10 Lite/07 Basses/Upright Bass 2 Lite.nki

[INS:Accordion]
DisplayName = Accordion
InstType = Accordion
Patch = 21
SampleFile = 09 Notation/06 Keyboards and Vibes/Accordion.nki

[INS:Accordion Lite]
DisplayName = Accordion Lite
InstType = Accordion
Patch = 21
SampleFile = 09 Notation/10 Lite/06 Keyboards and Vibes/Accordion Lite.nki

[INS:Steinway Jazz Piano Lite]


DisplayName = Steinway Jazz Piano Lite
InstType = Piano
Patch =0
SampleFile = 09 Notation/10 Lite/06 Keyboards and Vibes/Steinway Jazz Piano Lite.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Steinway Jazz Piano]
DisplayName = Steinway Jazz Piano
InstType = Piano
Patch =0
SampleFile = 09 Notation/06 Keyboards and Vibes/Steinway Jazz Piano.nki

[INS:Vibraphone Hard Mallet]


DisplayName = Vibraphone Hard Mallet
InstType = Vibraphone
Patch = 11
SampleFile = 09 Notation/06 Keyboards and Vibes/Vibraphone Hard Mallet.nki

[INS:Vibraphone Hard Mallet Lite]


DisplayName = Vibraphone Hard Mallet Lite
InstType = Vibraphone
Patch = 11
SampleFile = 09 Notation/10 Lite/06 Keyboards and Vibes/Vibraphone Hard Mallet Lite.nki

[INS:Vibraphone Soft Mallet]


DisplayName = Vibraphone Soft Mallet
InstType = Vibraphone
Patch = 11
SampleFile = 09 Notation/06 Keyboards and Vibes/Vibraphone Soft Mallet.nki

[INS:Vibraphone Soft Mallet Lite]


DisplayName = Vibraphone Soft Mallet Lite
InstType = Vibraphone
Patch = 11
SampleFile = 09 Notation/10 Lite/06 Keyboards and Vibes/Vibraphone Soft Mallet Lite.nki

[INS:Vintage Electric Piano]


DisplayName = Vintage Electric Piano
InstType = Piano
Patch =0
SampleFile = 09 Notation/06 Keyboards and Vibes/Vintage Electric Piano.nki

[INS:Vintage Electric Piano Lite]


DisplayName = Vintage Electric Piano Lite
InstType = Piano
Patch =0
SampleFile = 09 Notation/10 Lite/06 Keyboards and Vibes/Vintage Electric Piano Lite.nki

[INS:Acoustic Guitar]
DisplayName = Acoustic Guitar
InstType = Acoustic Guitar
Patch = 25
SampleFile = 09 Notation/05 Guitars/Acoustic Guitar.nki

[INS:Acoustic Guitar Lite]


DisplayName = Acoustic Guitar Lite

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Acoustic Guitar
Patch = 25
SampleFile = 09 Notation/10 Lite/05 Guitars/Acoustic Guitar Lite.nki

[INS:Electric Guitar]
DisplayName = Electric Guitar
InstType = Electric Guitar
Patch = 26
SampleFile = 09 Notation/05 Guitars/Electric Guitar.nki

[INS:Electric Guitar Lite]


DisplayName = Electric Guitar Lite
InstType = Electric Guitar
Patch = 26
SampleFile = 09 Notation/10 Lite/05 Guitars/Electric Guitar Lite.nki

[INS:Electric Guitar Mellow]


DisplayName = Electric Guitar Mellow
InstType = Electric Guitar
Patch = 26
SampleFile = 09 Notation/05 Guitars/Electric Guitar Mellow.nki

[INS:Electric Guitar Mellow Lite]


DisplayName = Electric Guitar Mellow Lite
InstType = Electric Guitar
Patch = 26
SampleFile = 09 Notation/10 Lite/05 Guitars/Electric Guitar Mellow Lite.nki

[INS:Bass Clarinet]
DisplayName = Bass Clarinet
InstType = Bass Clarinet
Patch = 71
SampleFile = 09 Notation/01 Saxes and Woodwinds/Clarinets/Bass Clarinet.nki

[INS:Bass Clarinet Lite]


DisplayName = Bass Clarinet Lite
InstType = Bass Clarinet
Patch = 71
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Clarinets/Bass Clarinet Lite.nki

[INS:Bb Clarinet 1]
DisplayName = Bb Clarinet 1
InstType = Clarinet in Bb
Patch = 71
SampleFile = 09 Notation/01 Saxes and Woodwinds/Clarinets/Bb Clarinet 1.nki

[INS:Bb Clarinet 1 Lite]


DisplayName = Bb Clarinet 1 Lite
InstType = Clarinet in Bb
Patch = 71
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Clarinets/Bb Clarinet 1 Lite.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Bb Clarinet 2]
DisplayName = Bb Clarinet 2
InstType = Clarinet in Bb
Patch = 71
SampleFile = 09 Notation/01 Saxes and Woodwinds/Clarinets/Bb Clarinet 2.nki

[INS:Bb Clarinet 2 Lite]


DisplayName = Bb Clarinet 2 Lite
InstType = Clarinet in Bb
Patch = 71
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Clarinets/Bb Clarinet 2 Lite.nki

[INS:Bb Clarinet 3]
DisplayName = Bb Clarinet 3
InstType = Clarinet in Bb
Patch = 71
SampleFile = 09 Notation/01 Saxes and Woodwinds/Clarinets/Bb Clarinet 3.nki

[INS:Bb Clarinet 3 Lite]


DisplayName = Bb Clarinet 3 Lite
InstType = Clarinet in Bb
Patch = 71
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Clarinets/Bb Clarinet 3 Lite.nki

[INS:Alto Flute]
DisplayName = Alto Flute
InstType = Alto Flute
Patch = 73
SampleFile = 09 Notation/01 Saxes and Woodwinds/Flutes/Alto Flute.nki

[INS:Alto Flute Lite]


DisplayName = Alto Flute Lite
InstType = Alto Flute
Patch = 73
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Flutes/Alto Flute Lite.nki

[INS:Flute 1]
DisplayName = Flute 1
InstType = Flute
Patch = 73
SampleFile = 09 Notation/01 Saxes and Woodwinds/Flutes/Flute 1.nki

[INS:Flute 1 Lite]
DisplayName = Flute 1 Lite
InstType = Flute
Patch = 73
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Flutes/Flute 1 Lite.nki

[INS:Flute 2]
DisplayName = Flute 2
InstType = Flute
Patch = 73
SampleFile = 09 Notation/01 Saxes and Woodwinds/Flutes/Flute 2.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Flute 2 Lite]
DisplayName = Flute 2 Lite
InstType = Flute
Patch = 73
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Flutes/Flute 2 Lite.nki

[INS:Flute 3]
DisplayName = Flute 3
InstType = Flute
Patch = 73
SampleFile = 09 Notation/01 Saxes and Woodwinds/Flutes/Flute 3.nki

[INS:Flute 3 Lite]
DisplayName = Flute 3 Lite
InstType = Flute
Patch = 73
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Flutes/Flute 3 Lite.nki

[INS:Piccolo]
DisplayName = Piccolo
InstType = Piccolo
Patch = 72
SampleFile = 09 Notation/01 Saxes and Woodwinds/Flutes/Piccolo.nki

[INS:Piccolo Lite]
DisplayName = Piccolo Lite
InstType = Piccolo
Patch = 72
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Flutes/Piccolo Lite.nki

[INS:Alto Sax 1]
DisplayName = Alto Sax 1
InstType = Alto Sax.
Patch = 65
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Alto Sax 1.nki

[INS:Alto Sax 1 Lite]


DisplayName = Alto Sax 1 Lite
InstType = Alto Sax.
Patch = 65
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Alto Sax 1 Lite.nki

[INS:Alto Sax 2]
DisplayName = Alto Sax 2
InstType = Alto Sax.
Patch = 65
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Alto Sax 2.nki

[INS:Alto Sax 2 Lite]


DisplayName = Alto Sax 2 Lite
InstType = Alto Sax.
Patch = 65
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Alto Sax 2 Lite.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Alto Sax 3]
DisplayName = Alto Sax 3
InstType = Alto Sax.
Patch = 65
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Alto Sax 3.nki

[INS:Alto Sax 3 Lite]


DisplayName = Alto Sax 3 Lite
InstType = Alto Sax.
Patch = 65
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Alto Sax 3 Lite.nki

[INS:Bari Sax 1]
DisplayName = Bari Sax 1
InstType = Baritone Sax.
Patch = 67
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Bari Sax 1.nki

[INS:Bari Sax 1 Lite]


DisplayName = Bari Sax 1 Lite
InstType = Baritone Sax.
Patch = 67
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Bari Sax 1 Lite.nki

[INS:Bari Sax 2]
DisplayName = Bari Sax 2
InstType = Baritone Sax.
Patch = 67
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Bari Sax 2.nki

[INS:Bari Sax 2 Lite]


DisplayName = Bari Sax 2 Lite
InstType = Baritone Sax.
Patch = 67
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Bari Sax 2 Lite.nki

[INS:Bass Sax 1]
DisplayName = Bass Sax 1
InstType = Bass Sax
Patch = 67
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Bass Sax 1.nki

[INS:Bass Sax 1 Lite]


DisplayName = Bass Sax 1 Lite
InstType = Bass Sax
Patch = 67
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Bass Sax 1 Lite.nki

[INS:Bass Sax 2]
DisplayName = Bass Sax 2
InstType = Bass Sax
Patch = 67
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Bass Sax 2.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Bass Sax 2 Lite]
DisplayName = Bass Sax 2 Lite
InstType = Bass Sax
Patch = 67
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Bass Sax 2 Lite.nki

[INS:C Melody Sax 1]


DisplayName = C Melody Sax 1
InstType = C Melody Sax
Patch = 66
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/C Melody Sax 1.nki

[INS:C Melody Sax 1 Lite]


DisplayName = C Melody Sax 1 Lite
InstType = C Melody Sax
Patch = 66
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/C Melody Sax 1 Lite.nki

[INS:C Melody Sax 2]


DisplayName = C Melody Sax 2
InstType = C Melody Sax
Patch = 66
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/C Melody Sax 2.nki

[INS:C Melody Sax 2 Lite]


DisplayName = C Melody Sax 2 Lite
InstType = C Melody Sax
Patch = 66
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/C Melody Sax 2 Lite.nki

[INS:Contrabass Sax]
DisplayName = Contrabass Sax
InstType = Contrabass Sax
Patch = 67
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Contrabass Sax.nki

[INS:Contrabass Sax Lite]


DisplayName = Contrabass Sax Lite
InstType = Contrabass Sax
Patch = 67
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Contrabass Sax Lite.nki

[INS:Mezzo Soprano Sax]


DisplayName = Mezzo Soprano Sax
InstType = Mezzo Soprano Sax
Patch = 64
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Mezzo Soprano Sax.nki

[INS:Mezzo Soprano Sax Lite]


DisplayName = Mezzo Soprano Sax Lite
InstType = Mezzo Soprano Sax
Patch = 64
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Mezzo Soprano Sax Lite.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Sopranino]
DisplayName = Sopranino Sax
InstType = Sopranino Sax
Patch = 64
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Sopranino.nki

[INS:Sopranino Lite]
DisplayName = Sopranino Sax Lite
InstType = Sopranino Sax
Patch = 64
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Sopranino Lite.nki

[INS:Soprano Sax 1]
DisplayName = Soprano Sax 1
InstType = Soprano Sax.
Patch = 64
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Soprano Sax 1.nki

[INS:Soprano Sax 1 Lite]


DisplayName = Soprano Sax 1 Lite
InstType = Soprano Sax.
Patch = 64
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Soprano Sax 1 Lite.nki

[INS:Soprano Sax 2]
DisplayName = Soprano Sax 2
InstType = Soprano Sax.
Patch = 64
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Soprano Sax 2.nki

[INS:Soprano Sax 2 Lite]


DisplayName = Soprano Sax 2 Lite
InstType = Soprano Sax.
Patch = 64
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Soprano Sax 2 Lite.nki

[INS:SubContrabass Sax]
DisplayName = SubContrabass Sax
InstType = SubContrabass Sax
Patch = 67
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/SubContrabass Sax.nki

[INS:SubContrabass Sax Lite]


DisplayName = SubContrabass Sax Lite
InstType = SubContrabass Sax
Patch = 67
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/SubContrabass Sax Lite.nki

[INS:Tenor Sax 1]
DisplayName = Tenor Sax 1
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Tenor Sax 1.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tenor Sax 1 Lite]
DisplayName = Tenor Sax 1 Lite
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Tenor Sax 1 Lite.nki

[INS:Tenor Sax 2]
DisplayName = Tenor Sax 2
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Tenor Sax 2.nki

[INS:Tenor Sax 2 Lite]


DisplayName = Tenor Sax 2 Lite
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Tenor Sax 2 Lite.nki

[INS:Tenor Sax 3]
DisplayName = Tenor Sax 3
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Tenor Sax 3.nki

[INS:Tenor Sax 3 Lite]


DisplayName = Tenor Sax 3 Lite
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Tenor Sax 3 Lite.nki

[INS:Tenor Sax 4]
DisplayName = Tenor Sax 4
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/01 Saxes and Woodwinds/Saxophones/Tenor Sax 4.nki

[INS:Tenor Sax 4 Lite]


DisplayName = Tenor Sax 4 Lite
InstType = Tenor Sax.
Patch = 66
SampleFile = 09 Notation/10 Lite/01 Saxes and Woodwinds/Saxophones/Tenor Sax 4 Lite.nki

[INS:Bass Tbone Bucket Mute]


DisplayName = Bass Tbone Bucket Mute
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Bass Trombone/Bass Tbone Bucket Mute.nki

[INS:Bass Tbone Bucket Mute Lite]


DisplayName = Bass Tbone Bucket Mute Lite

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Bass Trombone/Bass Tbone Bucket Mute Lite.nki

[INS:Bass Tbone Cup Mute]


DisplayName = Bass Tbone Cup Mute
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Bass Trombone/Bass Tbone Cup Mute.nki

[INS:Bass Tbone Cup Mute Lite]


DisplayName = Bass Tbone Cup Mute Lite
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Bass Trombone/Bass Tbone Cup Mute Lite.nki

[INS:Bass Tbone Harmon Mute]


DisplayName = Bass Tbone Harmon Mute
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Bass Trombone/Bass Tbone Harmon Mute.nki

[INS:Bass Tbone Harmon Mute Lite]


DisplayName = Bass Tbone Harmon Mute Lite
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Bass Trombone/Bass Tbone Harmon Mute Lite.nki

[INS:Bass Tbone KS]


DisplayName = Bass Tbone KS
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Bass Trombone/Bass Tbone KS.nki

[INS:Bass Tbone KS Lite]


DisplayName = Bass Tbone KS Lite
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Bass Trombone/Bass Tbone KS Lite.nki

[INS:Bass Tbone Open]


DisplayName = Bass Tbone Open
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Bass Trombone/Bass Tbone Open.nki

[INS:Bass Tbone Open Lite]


DisplayName = Bass Tbone Open Lite
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Bass Trombone/Bass Tbone Open Lite.nki

[INS:Bass Tbone Straight Mute]


DisplayName = Bass Tbone Straight Mute

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Bass Trombone/Bass Tbone Straight Mute.nki

[INS:Bass Tbone Straight Mute Lite]


DisplayName = Bass Tbone Straight Mute Lite
InstType = Bass Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Bass Trombone/Bass Tbone Straight Mute Lite.nki

[INS:Tbone 1 Bucket Mute]


DisplayName = Tbone 1 Bucket Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 1/Tbone 1 Bucket Mute.nki

[INS:Tbone 1 Bucket Mute Lite]


DisplayName = Tbone 1 Bucket Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 1/Tbone 1 Bucket Mute Lite.nki

[INS:Tbone 1 Cup Mute]


DisplayName = Tbone 1 Cup Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 1/Tbone 1 Cup Mute.nki

[INS:Tbone 1 Cup Mute Lite]


DisplayName = Tbone 1 Cup Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 1/Tbone 1 Cup Mute Lite.nki

[INS:Tbone 1 Harmon Mute]


DisplayName = Tbone 1 Harmon Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 1/Tbone 1 Harmon Mute.nki

[INS:Tbone 1 Harmon Mute Lite]


DisplayName = Tbone 1 Harmon Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 1/Tbone 1 Harmon Mute Lite.nki

[INS:Tbone 1 KS]
DisplayName = Tbone 1 KS
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 1/Tbone 1 KS.nki

[INS:Tbone 1 KS Lite]
DisplayName = Tbone 1 KS Lite

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 1/Tbone 1 KS Lite.nki

[INS:Tbone 1 Open]
DisplayName = Tbone 1 Open
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 1/Tbone 1 Open.nki

[INS:Tbone 1 Open Lite]


DisplayName = Tbone 1 Open Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 1/Tbone 1 Open Lite.nki

[INS:Tbone 1 Straight Mute]


DisplayName = Tbone 1 Straight Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 1/Tbone 1 Straight Mute.nki

[INS:Tbone 1 Straight Mute Lite]


DisplayName = Tbone 1 Straight Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 1/Tbone 1 Straight Mute Lite.nki

[INS:Tbone 2 Bucket Mute]


DisplayName = Tbone 2 Bucket Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 2/Tbone 2 Bucket Mute.nki

[INS:Tbone 2 Bucket Mute Lite]


DisplayName = Tbone 2 Bucket Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 2/Tbone 2 Bucket Mute Lite.nki

[INS:Tbone 2 Cup Mute]


DisplayName = Tbone 2 Cup Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 2/Tbone 2 Cup Mute.nki

[INS:Tbone 2 Cup Mute Lite]


DisplayName = Tbone 2 Cup Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 2/Tbone 2 Cup Mute Lite.nki

[INS:Tbone 2 Harmon Mute]


DisplayName = Tbone 2 Harmon Mute

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 2/Tbone 2 Harmon Mute.nki

[INS:Tbone 2 Harmon Mute Lite]


DisplayName = Tbone 2 Harmon Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 2/Tbone 2 Harmon Mute Lite.nki

[INS:Tbone 2 KS]
DisplayName = Tbone 2 KS
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 2/Tbone 2 KS.nki

[INS:Tbone 2 KS Lite]
DisplayName = Tbone 2 KS Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 2/Tbone 2 KS Lite.nki

[INS:Tbone 2 Open]
DisplayName = Tbone 2 Open
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 2/Tbone 2 Open.nki

[INS:Tbone 2 Open Lite]


DisplayName = Tbone 2 Open Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 2/Tbone 2 Open Lite.nki

[INS:Tbone 2 Straight Mute]


DisplayName = Tbone 2 Straight Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 2/Tbone 2 Straight Mute.nki

[INS:Tbone 2 Straight Mute Lite]


DisplayName = Tbone 2 Straight Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 2/Tbone 2 Straight Mute Lite.nki

[INS:Tbone 3 Bucket Mute]


DisplayName = Tbone 3 Bucket Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 3/Tbone 3 Bucket Mute.nki

[INS:Tbone 3 Bucket Mute Lite]


DisplayName = Tbone 3 Bucket Mute Lite

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 3/Tbone 3 Bucket Mute Lite.nki

[INS:Tbone 3 Cup Mute]


DisplayName = Tbone 3 Cup Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 3/Tbone 3 Cup Mute.nki

[INS:Tbone 3 Cup Mute Lite]


DisplayName = Tbone 3 Cup Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 3/Tbone 3 Cup Mute Lite.nki

[INS:Tbone 3 Harmon Mute]


DisplayName = Tbone 3 Harmon Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 3/Tbone 3 Harmon Mute.nki

[INS:Tbone 3 Harmon Mute Lite]


DisplayName = Tbone 3 Harmon Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 3/Tbone 3 Harmon Mute Lite.nki

[INS:Tbone 3 KS]
DisplayName = Tbone 3 KS
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 3/Tbone 3 KS.nki

[INS:Tbone 3 KS Lite]
DisplayName = Tbone 3 KS Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 3/Tbone 3 KS Lite.nki

[INS:Tbone 3 Open]
DisplayName = Tbone 3 Open
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 3/Tbone 3 Open.nki

[INS:Tbone 3 Open Lite]


DisplayName = Tbone 3 Open Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 3/Tbone 3 Open Lite.nki

[INS:Tbone 3 Straight Mute]


DisplayName = Tbone 3 Straight Mute

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 3/Tbone 3 Straight Mute.nki

[INS:Tbone 3 Straight Mute Lite]


DisplayName = Tbone 3 Straight Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 3/Tbone 3 Straight Mute Lite.nki

[INS:Tbone 4 Bucket Mute]


DisplayName = Tbone 4 Bucket Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 4/Tbone 4 Bucket Mute.nki

[INS:Tbone 4 Bucket Mute Lite]


DisplayName = Tbone 4 Bucket Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 4/Tbone 4 Bucket Mute Lite.nki

[INS:Tbone 4 Cup Mute]


DisplayName = Tbone 4 Cup Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 4/Tbone 4 Cup Mute.nki

[INS:Tbone 4 Cup Mute Lite]


DisplayName = Tbone 4 Cup Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 4/Tbone 4 Cup Mute Lite.nki

[INS:Tbone 4 Harmon Mute]


DisplayName = Tbone 4 Harmon Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 4/Tbone 4 Harmon Mute.nki

[INS:Tbone 4 Harmon Mute Lite]


DisplayName = Tbone 4 Harmon Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 4/Tbone 4 Harmon Mute Lite.nki

[INS:Tbone 4 KS]
DisplayName = Tbone 4 KS
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 4/Tbone 4 KS.nki

[INS:Tbone 4 KS Lite]
DisplayName = Tbone 4 KS Lite

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 4/Tbone 4 KS Lite.nki

[INS:Tbone 4 Open]
DisplayName = Tbone 4 Open
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 4/Tbone 4 Open.nki

[INS:Tbone 4 Open Lite]


DisplayName = Tbone 4 Open Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 4/Tbone 4 Open Lite.nki

[INS:Tbone 4 Straight Mute]


DisplayName = Tbone 4 Straight Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 4/Tbone 4 Straight Mute.nki

[INS:Tbone 4 Straight Mute Lite]


DisplayName = Tbone 4 Straight Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 4/Tbone 4 Straight Mute Lite.nki

[INS:Tbone 5 Bucket Mute]


DisplayName = Tbone 5 Bucket Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 5/Tbone 5 Bucket Mute.nki

[INS:Tbone 5 Bucket Mute Lite]


DisplayName = Tbone 5 Bucket Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 5/Tbone 5 Bucket Mute Lite.nki

[INS:Tbone 5 Cup Mute]


DisplayName = Tbone 5 Cup Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 5/Tbone 5 Cup Mute.nki

[INS:Tbone 5 Cup Mute Lite]


DisplayName = Tbone 5 Cup Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 5/Tbone 5 Cup Mute Lite.nki

[INS:Tbone 5 Harmon Mute]


DisplayName = Tbone 5 Harmon Mute

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 5/Tbone 5 Harmon Mute.nki

[INS:Tbone 5 Harmon Mute Lite]


DisplayName = Tbone 5 Harmon Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 5/Tbone 5 Harmon Mute Lite.nki

[INS:Tbone 5 KS]
DisplayName = Tbone 5 KS
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 5/Tbone 5 KS.nki

[INS:Tbone 5 KS Lite]
DisplayName = Tbone 5 KS Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 5/Tbone 5 KS Lite.nki

[INS:Tbone 5 Open]
DisplayName = Tbone 5 Open
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 5/Tbone 5 Open.nki

[INS:Tbone 5 Open Lite]


DisplayName = Tbone 5 Open Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 5/Tbone 5 Open Lite.nki

[INS:Tbone 5 Straight Mute]


DisplayName = Tbone 5 Straight Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone 5/Tbone 5 Straight Mute.nki

[INS:Tbone 5 Straight Mute Lite]


DisplayName = Tbone 5 Straight Mute Lite
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone 5/Tbone 5 Straight Mute Lite.nki

[INS:Tbone Plunger Mute]


DisplayName = Tbone Plunger Mute
InstType = Trombone
Patch = 57
SampleFile = 09 Notation/03 Trombones/Trombone Plunger/Tbone Plunger Mute.nki

[INS:Tbone Plunger Mute Lite]


DisplayName = Tbone Plunger Mute Lite

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


InstType = Trombone
Patch = 57
SampleFile = 09 Notation/10 Lite/03 Trombones/Trombone Plunger/Tbone Plunger Mute Lite.nki

[INS:Flugelhorn 1]
DisplayName = Flugelhorn 1
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/02 Trumpets/Flugelhorns/Flugelhorn 1.nki

[INS:Flugelhorn 1 Lite]
DisplayName = Flugelhorn 1 Lite
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/10 Lite/02 Trumpets/Flugelhorns/Flugelhorn 1 Lite.nki

[INS:Flugelhorn 2]
DisplayName = Flugelhorn 2
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/02 Trumpets/Flugelhorns/Flugelhorn 2.nki

[INS:Flugelhorn 2 Lite]
DisplayName = Flugelhorn 2 Lite
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/10 Lite/02 Trumpets/Flugelhorns/Flugelhorn 2 Lite.nki

[INS:Flugelhorn 3]
DisplayName = Flugelhorn 3
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/02 Trumpets/Flugelhorns/Flugelhorn 3.nki

[INS:Flugelhorn 3 Lite]
DisplayName = Flugelhorn 3 Lite
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/10 Lite/02 Trumpets/Flugelhorns/Flugelhorn 3 Lite.nki

[INS:Flugelhorn 4]
DisplayName = Flugelhorn 4
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/02 Trumpets/Flugelhorns/Flugelhorn 4.nki

[INS:Flugelhorn 5]
DisplayName = Flugelhorn 5
InstType = Flugelhorn
Patch = 60
SampleFile = 09 Notation/02 Trumpets/Flugelhorns/Flugelhorn 5.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tpt 1 Bucket Mute]
DisplayName = Tpt 1 Bucket Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 1/Tpt 1 Bucket Mute.nki

[INS:Tpt 1 Bucket Mute Lite]


DisplayName = Tpt 1 Bucket Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 1/Tpt 1 Bucket Mute Lite.nki

[INS:Tpt 1 Cup Mute]


DisplayName = Tpt 1 Cup Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 1/Tpt 1 Cup Mute.nki

[INS:Tpt 1 Cup Mute Lite]


DisplayName = Tpt 1 Cup Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 1/Tpt 1 Cup Mute Lite.nki

[INS:Tpt 1 Harmon Mute]


DisplayName = Tpt 1 Harmon Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 1/Tpt 1 Harmon Mute.nki

[INS:Tpt 1 Harmon Mute Lite]


DisplayName = Tpt 1 Harmon Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 1/Tpt 1 Harmon Mute Lite.nki

[INS:Tpt 1 KS]
DisplayName = Tpt 1 KS
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 1/Tpt 1 KS.nki

[INS:Tpt 1 KS Lite]
DisplayName = Tpt 1 KS Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 1/Tpt 1 KS Lite.nki

[INS:Tpt 1 Open]
DisplayName = Tpt 1 Open
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 1/Tpt 1 Open.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tpt 1 Open Lite]
DisplayName = Tpt 1 Open Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 1/Tpt 1 Open Lite.nki

[INS:Tpt 1 Straight Mute]


DisplayName = Tpt 1 Straight Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 1/Tpt 1 Straight Mute.nki

[INS:Tpt 1 Straight Mute Lite]


DisplayName = Tpt 1 Straight Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 1/Tpt 1 Straight Mute Lite.nki

[INS:Tpt 2 Bucket Mute]


DisplayName = Tpt 2 Bucket Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 2/Tpt 2 Bucket Mute.nki

[INS:Tpt 2 Bucket Mute Lite]


DisplayName = Tpt 2 Bucket Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 2/Tpt 2 Bucket Mute Lite.nki

[INS:Tpt 2 Cup Mute]


DisplayName = Tpt 2 Cup Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 2/Tpt 2 Cup Mute.nki

[INS:Tpt 2 Cup Mute Lite]


DisplayName = Tpt 2 Cup Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 2/Tpt 2 Cup Mute Lite.nki

[INS:Tpt 2 Harmon Mute]


DisplayName = Tpt 2 Harmon Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 2/Tpt 2 Harmon Mute.nki

[INS:Tpt 2 Harmon Mute Lite]


DisplayName = Tpt 2 Harmon Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 2/Tpt 2 Harmon Mute Lite.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tpt 2 KS]
DisplayName = Tpt 2 KS
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 2/Tpt 2 KS.nki

[INS:Tpt 2 KS Lite]
DisplayName = Tpt 2 KS Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 2/Tpt 2 KS Lite.nki

[INS:Tpt 2 Open]
DisplayName = Tpt 2 Open
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 2/Tpt 2 Open.nki

[INS:Tpt 2 Open Lite]


DisplayName = Tpt 2 Open Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 2/Tpt 2 Open Lite.nki

[INS:Tpt 2 Straight Mute]


DisplayName = Tpt 2 Straight Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 2/Tpt 2 Straight Mute.nki

[INS:Tpt 2 Straight Mute Lite]


DisplayName = Tpt 2 Straight Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 2/Tpt 2 Straight Mute Lite.nki

[INS:Tpt 3 Bucket Mute]


DisplayName = Tpt 3 Bucket Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 3/Tpt 3 Bucket Mute.nki

[INS:Tpt 3 Bucket Mute Lite]


DisplayName = Tpt 3 Bucket Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 3/Tpt 3 Bucket Mute Lite.nki

[INS:Tpt 3 Cup Mute]


DisplayName = Tpt 3 Cup Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 3/Tpt 3 Cup Mute.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tpt 3 Cup Mute Lite]
DisplayName = Tpt 3 Cup Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 3/Tpt 3 Cup Mute Lite.nki

[INS:Tpt 3 Harmon Mute]


DisplayName = Tpt 3 Harmon Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 3/Tpt 3 Harmon Mute.nki

[INS:Tpt 3 Harmon Mute Lite]


DisplayName = Tpt 3 Harmon Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 3/Tpt 3 Harmon Mute Lite.nki

[INS:Tpt 3 KS]
DisplayName = Tpt 3 KS
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 3/Tpt 3 KS.nki

[INS:Tpt 3 KS Lite]
DisplayName = Tpt 3 KS Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 3/Tpt 3 KS Lite.nki

[INS:Tpt 3 Open]
DisplayName = Tpt 3 Open
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 3/Tpt 3 Open.nki

[INS:Tpt 3 Open Lite]


DisplayName = Tpt 3 Open Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 3/Tpt 3 Open Lite.nki

[INS:Tpt 3 Straight Mute]


DisplayName = Tpt 3 Straight Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 3/Tpt 3 Straight Mute.nki

[INS:Tpt 3 Straight Mute Lite]


DisplayName = Tpt 3 Straight Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 3/Tpt 3 Straight Mute Lite.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tpt 4 Bucket Mute]
DisplayName = Tpt 4 Bucket Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 4/Tpt 4 Bucket Mute.nki

[INS:Tpt 4 Bucket Mute Lite]


DisplayName = Tpt 4 Bucket Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 4/Tpt 4 Bucket Mute Lite.nki

[INS:Tpt 4 Cup Mute]


DisplayName = Tpt 4 Cup Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 4/Tpt 4 Cup Mute.nki

[INS:Tpt 4 Cup Mute Lite]


DisplayName = Tpt 4 Cup Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 4/Tpt 4 Cup Mute Lite.nki

[INS:Tpt 4 Harmon Mute]


DisplayName = Tpt 4 Harmon Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 4/Tpt 4 Harmon Mute.nki

[INS:Tpt 4 Harmon Mute Lite]


DisplayName = Tpt 4 Harmon Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 4/Tpt 4 Harmon Mute Lite.nki

[INS:Tpt 4 KS]
DisplayName = Tpt 4 KS
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 4/Tpt 4 KS.nki

[INS:Tpt 4 KS Lite]
DisplayName = Tpt 4 KS Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 4/Tpt 4 KS Lite.nki

[INS:Tpt 4 Open]
DisplayName = Tpt 4 Open
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 4/Tpt 4 Open.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tpt 4 Open Lite]
DisplayName = Tpt 4 Open Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 4/Tpt 4 Open Lite.nki

[INS:Tpt 4 Straight Mute]


DisplayName = Tpt 4 Straight Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 4/Tpt 4 Straight Mute.nki

[INS:Tpt 4 Straight Mute Lite]


DisplayName = Tpt 4 Straight Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 4/Tpt 4 Straight Mute Lite.nki

[INS:Tpt 5 Bucket Mute]


DisplayName = Tpt 5 Bucket Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 5/Tpt 5 Bucket Mute.nki

[INS:Tpt 5 Bucket Mute Lite]


DisplayName = Tpt 5 Bucket Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 5/Tpt 5 Bucket Mute Lite.nki

[INS:Tpt 5 Cup Mute]


DisplayName = Tpt 5 Cup Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 5/Tpt 5 Cup Mute.nki

[INS:Tpt 5 Cup Mute Lite]


DisplayName = Tpt 5 Cup Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 5/Tpt 5 Cup Mute Lite.nki

[INS:Tpt 5 Harmon Mute]


DisplayName = Tpt 5 Harmon Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 5/Tpt 5 Harmon Mute.nki

[INS:Tpt 5 Harmon Mute Lite]


DisplayName = Tpt 5 Harmon Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 5/Tpt 5 Harmon Mute Lite.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tpt 5 KS]
DisplayName = Tpt 5 KS
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 5/Tpt 5 KS.nki

[INS:Tpt 5 KS Lite]
DisplayName = Tpt 5 KS Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 5/Tpt 5 KS Lite.nki

[INS:Tpt 5 Open]
DisplayName = Tpt 5 Open
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 5/Tpt 5 Open.nki

[INS:Tpt 5 Open Lite]


DisplayName = Tpt 5 Open Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 5/Tpt 5 Open Lite.nki

[INS:Tpt 5 Straight Mute]


DisplayName = Tpt 5 Straight Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet 5/Tpt 5 Straight Mute.nki

[INS:Tpt 5 Straight Mute Lite]


DisplayName = Tpt 5 Straight Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet 5/Tpt 5 Straight Mute Lite.nki

[INS:Tpt Plunger Mute]


DisplayName = Tpt Plunger Mute
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/02 Trumpets/Trumpet Plunger/Tpt Plunger Mute.nki

[INS:Tpt Plunger Mute Lite]


DisplayName = Tpt Plunger Mute Lite
InstType = Trumpet in Bb
Patch = 56
SampleFile = 09 Notation/10 Lite/02 Trumpets/Trumpet Plunger/Tpt Plunger Mute Lite.nki

[INS:Tuba]
DisplayName = Tuba
InstType = Tuba
Patch = 58
SampleFile = 09 Notation/04 Tuba/Tuba.nki

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[INS:Tuba Lite]
DisplayName = Tuba Lite
InstType = Tuba
Patch = 58
SampleFile = 09 Notation/10 Lite/04 Tuba/Tuba Lite.nki

[GRP:Saxes and Woodwinds]


Name = Saxes and Woodwinds
Abbr = Saxes and WW
Soprano Sax 1 =x
Soprano Sax 1 Lite =x
Soprano Sax 2 =x
Soprano Sax 2 Lite =x
Alto Sax 1 =x
Alto Sax 1 Lite =x
Alto Sax 2 =x
Alto Sax 2 Lite =x
Alto Sax 3 =x
Alto Sax 3 Lite =x
Tenor Sax 1 =x
Tenor Sax 1 Lite =x
Tenor Sax 2 =x
Tenor Sax 2 Lite =x
Tenor Sax 3 =x
Tenor Sax 3 Lite =x
Tenor Sax 4 =x
Tenor Sax 4 Lite =x
Bari Sax 1 =x
Bari Sax 1 Lite =x
Bari Sax 2 =x
Bari Sax 2 Lite =x
Bass Sax 1 =x
Bass Sax 1 Lite =x
Bass Sax 2 =x
Bass Sax 2 Lite =x
Sopranino =x
Sopranino Lite =x
Mezzo Soprano Sax =x
Mezzo Soprano Sax Lite =x
C Melody Sax 1 =x
C Melody Sax 1 Lite =X
C Melody Sax 2 =x
c Melody Sax 2 Lite =x
Contrabass Sax =x
Contrabass Sax Lite =x
SubContrabass Sax =x
SubContrabass Sax Lite =x
Bass Clarinet =x
Bass Clarinet Lite =x
Bb Clarinet 1 =x

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Bb Clarinet 1 Lite =x
Bb Clarinet 2 =x
Bb Clarinet 2 Lite =x
Bb Clarinet 3 =x
Bb Clarinet 3 Lite =x
Alto Flute =x
Alto Flute Lite =x
Flute 1 =x
Flute 1 Lite =x
Flute 2 =x
Flute 2 Lite =x
Flute 3 =x
Flute 3 Lite =x
Piccolo =x
Piccolo Lite =x

[GRP:Trumpets and Flugelhorns]


Name = Trumpets and Flugelhorn
Abbr = Tpts. and Flugel
Tpt 1 Bucket Mute =x
Tpt 1 Bucket Mute Lite =x
Tpt 1 Cup Mute =x
Tpt 1 Cup Mute Lite =x
Tpt 1 Harmon Mute =x
Tpt 1 Harmon Mute Lite =x
Tpt 1 KS =x
Tpt 1 KS Lite =x
Tpt 1 Open =x
Tpt 1 Open Lite =x
Tpt 1 Straight Mute =x
Tpt 1 Straight Mute Lite =x
Tpt 2 Bucket Mute =x
Tpt 2 Bucket Mute Lite =x
Tpt 2 Cup Mute =x
Tpt 2 Cup Mute Lite =x
Tpt 2 Harmon Mute =x
Tpt 2 Harmon Mute Lite =x
Tpt 2 KS =x
Tpt 2 KS Lite =x
Tpt 2 Open =x
tpt 2 Open Lite =x
Tpt 2 Straight Mute =x
Tpt 2 Straight Mute Lite =x
Tpt 3 Bucket Mute =x
Tpt 3 Bucket Mute Lite =x
Tpt 3 Cup Mute =x
Tpt 3 Cup Mute Lite =x
Tpt 3 Harmon Mute =x
Tpt 3 Harmon Mute Lite =x
Tpt 3 KS =x
Tpt 3 KS Lite =x
Tpt 3 Open =x
Tpt 3 Open Lite =x

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Tpt 3 Straight Mute =x
Tpt 3 Straight Mute Lite =x
Tpt 4 Bucket Mute =x
Tpt 4 Bucket Mute Lite =x
Tpt 4 Cup Mute =x
Tpt 4 Cup Mute Lite =x
Tpt 4 Harmon Mute =x
Tpt 4 Harmon Mute Lite =x
Tpt 4 KS =x
Tpt 4 KS Lite =x
Tpt 4 Open =x
Tpt 4 Open Lite =x
Tpt 4 Straight Mute =x
Tpt 4 Straight Mute Lite =x
Tpt 5 Bucket Mute =x
Tpt 5 Bucket Mute Lite =x
Tpt 5 Cup Mute =x
Tpt 5 Cup Mute Lite =x
Tpt 5 Harmon Mute =x
Tpt 5 Harmon Mute Lite =x
Tpt 5 KS =x
Tpt 5 KS Lite =x
Tpt 5 Open =x
Tpt 5 Open Lite =x
Tpt 5 Straight Mute =x
Tpt 5 Straight Mute Lite =x
Flugelhorn 1 =x
Flugelhorn 1 Lite =x
Flugelhorn 2 =x
Flugelhorn 2 Lite =x
Flugelhorn 3 =x
Flugelhorn 3 Lite =x
Flugelhorn 4 =x
Flugelhorn 5 =x

[GRP:Trombones and Tuba]


Name = Trombones and Tuba
Abbr = Trom. and Tuba
Bass Tbone Bucket Mute =x
Bass Tbone Bucket Mute Lite = x
Bass Tbone Cup Mute =x
Bass Tbone Cup Mute Lite =x
Bass Tbone Harmon Mute =x
Bass Tbone Harmon Mute Lite = x
Bass Tbone KS =x
Bass Tbone KS Lite =x
Bass Tbone Open =x
Bass Tbone Open Lite =x
Bass Tbone Straight Mute =x
Bass Tbone Straight Mute Lite = x
Tbone 1 Bucket Mute =x
Tbone 1 Bucket Mute Lite =x
Tbone 1 Cup Mute =x

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Tbone 1 Cup Mute Lite =x
Tbone 1 Harmon Mute =x
Tbone 1 Harmon Mute Lite =x
Tbone 1 KS =x
Tbone 1 KS Lite =x
Tbone 1 Open =x
Tbone 1 Open Lite =x
Tbone 1 Straight Mute =x
Tbone 1 Straight Mute Lite =x
Tbone 2 Bucket Mute =x
Tbone 2 Bucket Mute Lite =x
Tbone 2 Cup Mute =x
Tbone 2 Cup Mute Lite =x
Tbone 2 Harmon Mute =x
Tbone 2 Harmon Mute Lite =x
Tbone 2 KS =x
Tbone 2 KS Lite =x
Tbone 2 Open =x
Tbone 2 Open Lite =x
Tbone 2 Straight Mute =x
Tbone 2 Straight Mute Lite =x
Tbone 3 Bucket Mute =x
Tbone 3 Bucket Mute Lite =x
Tbone 3 Cup Mute =x
Tbone 3 Cup Mute Lite =x
Tbone 3 Harmon Mute =x
Tbone 3 Harmon Mute Lite =x
Tbone 3 KS =x
Tbone 3 KS Lite =x
Tbone 3 Open =x
Tbone 3 Open Lite =x
Tbone 3 Straight Mute =x
Tbone 3 Straight Mute Lite =x
Tbone 4 Bucket Mute =x
Tbone 4 Bucket Mute Lite =x
Tbone 4 Cup Mute =x
Tbone 4 Cup Mute Lite =x
Tbone 4 Harmon Mute =x
Tbone 4 Harmon Mute Lite =x
Tbone 4 KS =x
Tbone 4 KS Lite =x
Tbone 4 Open =x
Tbone 4 Open Lite =x
Tbone 4 Straight Mute =x
Tbone 4 Straight Mute Lite =x
Tbone 5 Bucket Mute =x
Tbone 5 Bucket Mute Lite =x
Tbone 5 Cup Mute =x
Tbone 5 Cup Mute Lite =x
Tbone 5 Harmon Mute =x
Tbone 5 Harmon Mute Lite =x
Tbone 5 KS =x
Tbone 5 KS Lite =x
Tbone 5 Open =x

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Tbone 5 Open Lite =x
Tbone 5 Straight Mute =x
Tbone 5 Straight Mute Lite =x
Tbone Plunger Mute =x
Tbone Plunger Mute Lite =x
Tuba =x
Tuba Lite =x

[GRP:Keyboards and Vibes]


Name = Keyboards and Vibes
Abbr =K&B
Steinway Jazz Piano =x
Steinway Jazz Piano Lite =x
Vibraphone Hard Mallet =x
Vibraphone Hard Mallet Lite = x
Vibraphone Soft Mallet =x
Vibraphone Soft Mallet Lite = x
Vintage Electric Piano =x
Vintage Electric Piano Lite = x
Accordion =x
Accordion Lite =x

[GRP:Guitars]
Name = Guitars
Abbr = Guitars
Acoustic Guitar =x
Acoustic Guitar Lite =x
Electric Guitar =x
Electric Guitar Lite =x
Electric Guitar Mellow =x
Electric Guitar Mellow Lite = x

[GRP:Basses]
Name = Basses
Abbr = Basses
Fretless Bass 1 =x
Fretless Bass 1 Lite =x
Fretless Bass 2 =x
Fretless Bass 2 Lite =x
Jazz Fretted Bass 1 =x
Jazz Fretted Bass 1 Lite =x
Jazz Fretted Bass 2 =x
Jazz Fretted Bass 2 Lite =x
Upright Bass 1 =x
Upright Bass 1 Lite =x
Upright Bass 2 Arco =x
Upright Bass 2 Arco Lite =x
Upright Bass 2 =x
Upright Bass 2 Lite =x

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


[GRP:Brush Drum Kit]
Name = Brush Drum Kit
Abbr = Brush Drum Kit
01 Brush Drum Kit =x
02 Brush Drum Kit =x
Brush Cymbals =x
Brush HiHat =x
Brush Snare Drum 1 =x
Brush Snare Drum 2 =x
Brush Toms =x
Sgl-layr-hd Bass Drum =x

[GRP:Classic Jazz Drum Kit]


Name = Classic Jazz Drum Kit
Abbr = Classic Jazz
03 Classic Jz Drum Kit Lite = x
03 Classic Jz Drum Kit =x
14inHiHat2 =x
15inHiHat =x
Cymbals Lite =x
Cymbals =x
Sgl-layr-hd Bass Drum =x
Sgl-layr-hd Piccolo Snare =x
Sgl-layr-hd Toms =x

[GRP:Fusion Drum Kit]


Name = Fusion Drum Kit
Abbr = Fusion Drum Kit
04 Fusion Drum Kit Lite =x
04 Fusion Drum Kit =x
14inHiHat1 =x
Fusion Drum Kit Cymbals Lite = x
Fusion Drum Kit Cymbals =x
Dbl-layr-hd Bass Drum =x
Dbl-layr-hd Piccolo Snare =x
Dbl-layr-hd Snare =x
Dbl-layr-hd Toms =x

[GRP:GM Drum Kits]


Name = GM Drum Kits
Abbr = GM Drum Kits
GM Classic Jazz Drum Kit =x
GM Fusion Drum Kit =x

[GRP:Percussion]
Name = Percussion
Abbr = Perc.
Bata =x
Bongos =x
Cajones =x
Conga =x

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Cuica =x
Djembe =x
Pandero =x
Quinto =x
Super Tumba =x
Surdu =x
The Box =x
Timbales =x
Tumba =x
Udu =x
Cabassa =x
Guira =x
Guiro =x
Maraccas =x
Shakers =x
Shekere =x
Clave =x
Jam Block =x
Woodblock =x
Agogo Bells =x
Bongo Bells =x
Cha Cha Bells =x
Timbale Bell =x
Castinets =x
Handclaps - Fingersnaps =x
Jawbone =x
Rainstick =x
Tambourine =x
Triangles =x
Whistles =x

http://www.garritan.com/JABB/Finale/GarritanJazzinstrument.txt[01/01/2009 6:02:28 PM]


Assessment Wizard

Assessment Wizard

How to get there


This portion of the SmartMusic Accompaniment Wizard allows you to create .SMP files that can be assessed and graded with SmartMusic.
If you would like to create a file for use with SmartMusic’s assessment feature (.SMP format), from the File Menu, choose New, then SmartMusic Accompaniment
Wizard. Or, in the Launch Window, select SmartMusic Wizard. When the SmartMusic Accompaniment Wizard appears, choose "Create or Open a Finale file or exercise
that can be assessed and graded by SmartMusic."

What it does
The Assessment Wizard helps you setup a document to be saved for use with SmartMusic’s Assessment Feature. Although you can save any standard Finale (.MUS)
file as a SmartMusic Accompaniment (.SMP), there are several document and notation elements that SmartMusic’s Assessment feature do not support. Beginning an
assessment file with this wizard ensures you start with a file that is compatible with SmartMusic Assessment. We recommend you begin all new files you plan to save
as an assessment file with this wizard. If you want to use content from an existing Finale file, begin a new document with this wizard and then either choose to Open
an Existing File (on page 1) or use the Selection Tool to copy and Insert the music into a new document created with the Assessment Wizard. See Copying music.

Note: It is not possible to save a SmartMusic Accompaniment file with assessment without using the
Assessment Wizard.

Create a New Document. Choose this radio button to create a new document to be saved as an assessment file. When you click Next, you will be prompted
to select the time and key as you would in the Document Setup Wizard.
Select an Exercise File. Choose this radio button if you want to design a new custom exercise to be saved as an assessment file. When you click Next, you
will be able to select an exercise and customize it as you would in the Exercise Wizard.
Open an Existing Document. Choose this radio button if you want to open an existing Finale (or FPA) document and save it as an assessment file. When
you click Next, you will be prompted to navigate and select the desired file. Note that you cannot open SmartMusic Accompaniment files (.SMP) in Finale.
Select a Solo Instrument. From this drop-down menu, designate the solo instrument to be assessed. The selected instrument tells SmartMusic what
instrument to use for “matching” against the musician’s performance.
Title · Composer · Copyright. Enter the Title, Composer and Copyright information for your piece here and Finale will automatically enter them into the
document for you. Finale is using text inserts to accomplish this. If you want to change this later, the information is kept in the File Information dialog box. See
Text Inserts and File Info dialog box for more information.
Cancel · Back · Next. Click Cancel to exit out of the Wizard without creating a new document. Click Next to continue to page 2 of the Assessment Wizard.

file:///C|/...ents%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Assessment_Wizard.htm[01/01/2009 6:03:45 PM]


Assessment Wizard

Select a Time Signature. Select a time signature from several common time signatures.
Select a Concert Key Signature. Use the scroll bar to select a key. Click the up arrow to add sharps or subtract flats; click the down arrow to add flats or
subtract sharps. Use the drop down menu to specify major or minor.
Cancel · Back · Next. Click Cancel to exit out of the Wizard without creating a new document. Click Back to return to the second page of the Wizard. Click
Next to continue to page 3 of the Setup Wizard.

file:///C|/...ents%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Assessment_Wizard.htm[01/01/2009 6:03:45 PM]


Assessment Wizard

Specify Initial Tempo Marking; Text · Tempo. Check this box to have Finale place a tempo marking on the first measure. Type any tempo indication in
the text field, such as “Allegro”, “Vivace”, etc. This Measure Expression will affect the playback tempo. Click the quarter note to change the beats per minute. To
edit the tempo marking later, see Expressions.
Specify Pickup Measure. Check this box to have Finale create a pickup measure before measure 1. Click on the note corresponding to the sum of the pickup
note or notes.
Cancel · Back · Next. Click Cancel to exit out of the Wizard without creating a new document. Click Back to return to the second page of the Wizard. Click
Next to continue to page 4 of the Setup Wizard.

This page lists notation elements that are not supported by SmartMusic Assessment. If you attempt to save the file with any of these items present, Finale will prompt
you with the Assessment File Compatibility dialog box where you will see a list of all conflicts in the document. Once these conflicts are resolved, you will be able to
save the assessment file.

Cancel · Back · Finish. Click Cancel to exit out of the Wizard without creating a new document. Click Back to return to the second page of the Wizard. Click
Finish to complete the wizard and open the newly designed document.

file:///C|/...ents%20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Assessment_Wizard.htm[01/01/2009 6:03:45 PM]


Choose Junction for Staff

Choose Junction for Staff

How to get there


In the Score Merger dialog box, check Edit Instrument Junction Between Files. Add files with different instrumentations. Click on Merge These Files into One File. Click
Merge. In the Instrument Junction dialog box, double-click a staff or click Edit Selected Line.

What it does
The commands in this dialog box allow you to control how staves will be merged.
The title of the dialog reflects which instrument is being currently edited (in this case,
Bassoon). To the left are instruments from the target, and to the right Finale displays
what will happen to them in relation with the current instrument once the files are
merged. For example, the bassoon is currently configured to be inserted below the
Oboe.
Select a staff and use the buttons in this dialog box to edit the merging behavior of
staves relative to corresponding staves in the previous merged document.

Join.Choose Join totell Finale that the instruments are equivalent between the
two files being merged and should be combined. If the target instrument you
want to join the source instrument to is joined onto another instrument already,
an alert appears.

Separate. Choose Separate to clear the current assignment (inserted or joined) in order to specify that they are to be joined, inserted above, or inserted below
another staff in the merged document (or not merged altogether). For example, if no target instrument is assigned to the currently edited source instrument
(marked "Free"), then the source instrument will not be merged at all. You can see this clearly when returning to the Instrument Junction dialog box (as shown
below).

Insert Above. Choose Insert Above to indicate that you want the current staff inserted above the selected staff in the resulting merged document.
Insert Below. Choose Insert Below to indicate that you want the current staff inserted below the selected staff in the resulting merged document.
Continue • Cancel Merge. Click continue to apply your settings and advance through the score merging process. Click Cancel Merge to abort the current
merge procedure.

See Also:

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Choose_Junction_for_Staff.htm[01/01/2009 6:03:57 PM]


Choose Junction for Staff

To combine two files with ScoreMerger


Score Merger dialog box

file:///C|/...20and%20Settings/Paul/Desktop/Finale%20Manual/Help%20Files/Content/Finale/Choose_Junction_for_Staff.htm[01/01/2009 6:03:57 PM]


NATIVE INSTRUMENTS : Support : Registration Options

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https://www.native-instruments.com/index.php?id=register_us[01/01/2009 6:05:34 PM]


Garritan Orchestra Update & Download Page

Free Updates & Downloads


One of the benefits of owning Garritan Libraries is that you get FREE UPDATES! Below you will find the latest updates for
the Kontakt Player, Garritan Studio, the DFD Extension and other files. Your will also find GPO User created programming
such as MFX plugins, Sonar plug-ins, Logic Environment files, additional Kontakt programming and other files designed to
help to get the most out of GPO. Visit our Tutorial Page and Resource Pages for valuable information on how to use these
fine products. Free updates are what make Garritan Orchestral Libraries unique and set it apart from other sample libraries.
The most remarkable benefit of owning the Garritan Orchestral Libraries is that your investment is protected with free
updates.

://
NEW! STRADIVARI UPDATE (October 31, Windows Update Mac Update
2006 Updates):
MAC OWNERS: The Floating Pitch Syndrome- Pitch change related to CC#11- this modifed nki can be
downloaded from the link above.
PC OWNERS: The Silent Stradivari Syndrome - No audio - Overwrite the bugged dll by extracting the
zipped working dll into the following folder: system drive:\WINDOWS\system32 (example
C:\WINDOWS\system32). The dll can be downloaded from the link above.

MAC-INTEL UPDATE

Garritan Jazz & Big Band


Jazz & Big Band Update #1
... Update No. 1 (December 29,2005)
(7.2MB)

Garritan Jazz & Big Band Update #1 is available as a free download to all registered Jazz & Big Band users.
This first update includes new "Lite" versions of the Jazz & Big Band instruments (for greater performance &
polyphony), greater timbal contrasts with volume changes, enhancements with Air flow curve, and minor bug
fixes. Please be sure to read the Update Documentation below which provides installation instructions.

JABB UPDATE Documentation - (PDF File for GPO Update Document


the Dec. 2005 Updates):
This PDF document will explain about the latest Jazz and Big Band updates and provide instructions for
installation.

Garritan STUDIO - Now Supports Jazz & Big Windows Version (3.5 MB) Mac Version (3.6 MB)
Band & GPO
Garritan Studio is a VST host application for Windows and Mac, created specifically for the Garritan Personal
Orchestra and Jazz & Big Band. Foremost, GPO Studio allows you to use a notation program to play Garritan
libraries. It manages up to 8 instances of Garritan Personal Orchestra and/or Jazz & Big Band, allowing you
to play up to 64 instruments simultaneously on 64 separate MIDI channels. Garritan Studio also allows
Garritan Personal Orchestra to be played direct from the scores of virtually any notation program that
supports MIDI. Garritan Studio is available as a free download to all registered users. It will only work with
Garritan Personal Orchestra and Jazz & Big Band and will not work with any other sampler. If you already

http://garritan.com/downloads.html[01/01/2009 6:05:43 PM]


Garritan Orchestra Update & Download Page

have a previous version of GPO Studio, uninstall it before installing the version below. To select either GPO
or JABB right click (or Ctr click) on the desired player

Garritan Personal Orchestra Library &


.... Kontakt Player 1.1.8.3 Update (June 16, Windows Version (9.6MB: Mac Version (8.9 MB)
2005)
Garritan Personal Orchestra KONTAKT PLAYER 1.1.8.03 update is available as a free download to all
registered users of Personal Orchestra. It is recommended for all who have earlier editions of Personal
Orchestra. You can check the version by clicking on the Kontakt Logo button.You'll need to login to the Native
Instruments site in order to download these updates. These are password-protected downloads, so only
registered GPO users with their Native Instruments password will have access to them. This latest version is
especially recommended for those with OSX Tiger and for those that use ProTools RTAS.

UPDATE Documentation - (PDF File for the GPO GPO Update Document
Updates):
This PDF document will explain about the latest GPO library and GPO Kontakt Player updates and provide
instructions for the new features. Please note that, among many other things, the documentation discusses
the optional X-Custom folder.

Win XP: DFD Extension Mac OS X: DFD Extension


DFD (Direct From Disc) EXTENSION 1.2.9 1.2.9
(October 20,2004) for NI GPO Kontakt Player for NI GPO Kontakt Player
(280 KB): (855KB):
This DFD (Direct From Disk) extension for the NI KONTAKT Player enables it to stream samples from hard
disk. Garritan Personal Orchestra (GPO) and Jazz & Big Band (JABB) was specifically designed to run in
RAM (Random Access Memory) and DFD is not recommended. GPO is a small footprint library and was not
intended to stream from a hard drive. Large sample libraries may require disc streaming, but this library does
not and is designed as a RAM based library. Our recommended requirements as stated in the license
agreement call for a minimum of 1 (one) gigabyte of RAM in order to be able to load a complete orchestra.
The vast majority of GPO & JABB Users meet the recommended requirements. So the old adage applies: "If
it aint broke don't fix it". If you meet the RAM requirement, you do not need DFD.

AMBIENCE REVERB Great Sounding Reverb Windows VST Version Mac AU Version
Plug-In for GPO & JABB!
The Ambience Reverb plugin is ans excellent-sounding reverb rivals the quality of some of the best
commercial reverbs. Ambience allows you to simulate the reverberation of a concert hall and other
performance spaces that have been specially programmed for GPO. The PDF Document can be downloaded
here:

X-Custom Optional Folders - (October Windows/MAC Version (3.3MB Zipped)


21,2004)
This new addition to the library is for people who want to customize their controllers. It allows users to have
custom control over volume/timbre MIDI assignments and dynamic range thoruhg the assignable slider in the
Player. This feature is especially useful for users with Wind Controllers. Also, this is particularly helpful for
people with certain sequencers. For instance, Logic 6 (and earlier) and GarageBand users have the reset to
"0" bug which this addition will allow you to reset the controller and avoid. With the X-Custom Folders, please
note that all instruments load at full volume rather than the minimum volume standard used in the Dry and
Wet Audition folders. This is useful for people with Standard MIDI files they want to play or with particular
sequencers as well. Most users will not need this optional addition.

MIDI HARP Packets: The MIDI Harp Packets


The harp packets allow the white keys of the keyboard to emulate the open and stopped strings on the harp
with with various harp pedal positions. Running you finger up and down the keyboard will be like running your
finger up and down the strings of a harp. These packets will only work with the GPO Glissando Harp 1 (the
Venus Concert Harp) and Glissando Harp 2 (the Wurlitzer Concert Harp). Anyone who received their Garritan
Personal Orchestra after February 15, 2004 should have these packets on Disc #4

http://garritan.com/downloads.html[01/01/2009 6:05:43 PM]


Garritan Orchestra Update & Download Page

Running GPO on a Different Computer than your Sequencer:: Windows Version (28KB)
If you have two computers and wish to use Garritan Personal Orchestra on your PC Computer while using your sequencer
on a second computer, the GPO Studio MIDI inputs file will help. You must always have the GPO Studio MIDI inputs
program running to use the MIDI inputs with GPO Studio. This will only run with GPO Studio. To install copy it to your hard
disk. To run, double-click on the GPO Studio MIDI inputs exe program. A text document can be downloaded here.

GPO Users comprise a


User Created Programs talented community. The
following programs were
created by users so there are
no guarantees and, of course,
you use them at your own
risk.
GPO Remote - MIDI Over Network - Created by Dan Hristodorescu GPO Remote (865KB zip file)
GPO remote is a network MIDI over network application which allows using GPO studio on the different
machine than the notation/sequencing application. It is composed out of a client and a server application. The
user interface is very simple, the only setting required is to enter in the client the name (or IP address) of the
remote machine hosting the GPO studio and click connect. On the client machine you need the Maple MIDI
ports installed and on the server machine you need the GPO studio installed; besides that no other
requirements. It maps the Maple MIDI port 1 channels 1-8 to GPO Studio 1, channels 9-16 to GPO Studio 2
and so on (all 4 MIDI ports to all 8 GPO ports). In the client just input the hostname of the server and then
click connect. More information can be found here.

MFX PW Map (15KB MFX -


MFX Plug-In Pitch Wheel Map - Created by Markleford Friedman PC ONLY)
This is useful for GPO users without a Mod Wheel. Mike Kelley, a GPO user,was in a jam and asked on the
Garritan forum: "Here's my problem -- my midi keyboard doesn't have a mod wheel (ugh) and I need a mod
wheel to control volume (no other way around it with GPO)." Markleford Friedman to the rescue with MFX
PW-Map! Now Mike can remap his Pitch Wheel to send any CC information he wants, even partitioned bi-
directionally! Set up for Garritan Personal Orchestra by default, but usable with other systems that need
creative controls as well. This is an indispensable tool in your GPO arsenal. Although this is free, it is
"donationware" and if one finds it useful, please send a donation to TenCrazy.com and visit Markleford's site
for more useful musical gadgets.

MFX Key Peddler (15KB MFX


MFX Plug-In Key Peddler - Created by Markleford Friedman (PC) ONLY)
This is useful for GPO users without a Sustain Pedal. Neole.a GPO user,asked on the Garritan forum: "What
can be mapped to the sustain pedal to allow legato playing? [If I] could map the first C key to act as [the
Hold Pedal], it would be good. Any way?" Now you can! MFX Key Peddler allows you to use any key on your
keyboard to act in place of a Hold Pedal in order to let you play legato lines in GPO without a physical
sustain pedal. Useful for other synths, too! This plug-in is also free and if you find it useful, please send a
donation to TenCrazy.com and visit Markleford's site for more useful musical gadgets.

MFX Key Tweaker (15KB


MFX Plug-In Key Tweaker - Created by Markleford Friedman MFX (PC) ONLY)
After Markleford released MFX PW-Map on the Garritan forum, it still wasn't enough! "What about those of us
that don't have a Mod Wheel *or* a Pitch Wheel? How can *we* send modulation information to GPO?" So
Markleford invented yet *another* way! MFX Key Tweaker allows you to use a range of keys on your
keyboard to act in place of a Mod Wheel in order to let you play instrument-level volume changes without a
physical controller knob. Useful for other synths and any CC data, too!.

MFX Plug-In Standard MIDI File Translator (MFX Velocity to CC) - by MFX Vel to CC (15KB MFX
Markleford Friedman (PC) ONLY)
Many have scored and sequenced standard MIDI files and wanted to hear their files played with GPO. The
standalone "Standard MIDI File Translator" was specially designed to help convert note velocity volume to
CC#! Mod Wheel volume so that it would be possible to use GPO with Standard MIDI files. Markleford has

http://garritan.com/downloads.html[01/01/2009 6:05:43 PM]


Garritan Orchestra Update & Download Page

taken the next step in ease and useability by effectively making the "Standard MIDI File Translator" an MFX
Plug-in. To use, simply load up a standard MIDI file in your MFX-capable host, point the output at GPO, and
add the plugin to the MIDI tracks that you want to translate. By default, MFX Velocity to CC defaults to
substituting Modulation Wheel (CC#1) messages for velocity over the entire velocity range.

GPO SONAR Controller Reamapping Plug-In - Created by Dan GPOPlugin1.1.zip (25KB zip
Hristodorescu. file)
Dan wrote this MFX Plug-In to MFX plugin to improve GPO usability in Sonar. You can do several things with
this plug-in. The main thing you can do is remap any kind of controller to any other type of controller. for
example, you can transform velocity or breath control #CC2 into mod wheel control events #CC1 (also useful
for those with a keyboard without a mod wheel). This plug-in provides real-time recording mapping between
velocity, pitch bend or input controllers to any output controllers, the option of using a linear (default) or
logarithmic response curve for the output controllers, the option of muting the input events (except for
velocity) and keeping only the output controllers during recording and playback.

Version 1.1 adds even more features. It now converts existing standardMIDI files to be used with GPO by
mapping velocity to CC#1. After you translate a standard MIDI file into a GPO optimized file, your playback of
that midi sequence with GPO will be improved immensely! You can also display input events (including
generated ones). There's also VAR1 and VAR2 control.

Sonar Harp Packet (25KB zip


SONAR Glissando Harp Packets - Created by Charles Green file)
For those using Calkwalk SONAR3, Charles Green has converted the GPO MIDI Harp Packets into individual
two measure MIDI Groove Clips. The clips have been organized into seperate folders by key. The program
change controls are at the beginning of each clip so that the user can reduce the size of the clip to a single
beat if desired. Once dragged into position on a seperate track pointed to the same channel as the Glissando
Harp, one can take the mouse and reduce the length if desired by dragging the end of the clip to the left.
This approach saves memory and tracks in the current project while making it easy in SONAR to select the
required Harp Packet.

GPO Logic Files PC GPO Logic Files Mac (48KB)


GPO Logic Files - Created by Peter Delano (57KB) GPO Logic Files hxq
Peter Delano has created two Logic Song files. The first environment allows you to convert incominig Mod
Wheel data information into track automatation data. This will avoid the "return to zero" bug in Logic. The
second converts Mod Wheel, CC#20, #22 & 24 into automation data. The first one deal with only mod wheel
whereas the second one incorporates track-based automation control of GPO's other control parameters
(portamento, and the 2 variation knobs) and includes a few cable switchers for working with multiple GPO
instances.

SONAR GPO Percussion Instrument Definitions - Created by GPO Instrument Definitions


Matteo Bosi (1KB zip file)
This is a SONAR Instrument Definition file (.ins) for use with Sonar 2 (or another Cakewalk product which
supports Instruments Definitions). Matteo arranged the instruments definitions for GPO for displaying the note
names on the piano rolls when using the percussion instruments. To use this, load an instance of GPO and
load, for example, the GPO "Basic orchestral percussion combo" Click on the GPO MIDI track assigned to
the "Basic orchestral percussion combo" and open the relative Piano Roll view Right click on the keyboard
appearing on the left of the screen. Click"use these notes name instead", Choose "GPO Basic orch combo",
Click OK and now you will see the names of the notes you are playing on the left of the screen!

KONTAKT Additional GPO Programming - by Matteo Bosi GPO Programs (68KB zip file)
These programs were created got use with the full version of Kontakt. Matteo's additional nki files include
some brass "sections" by overlaying the different samples from different ENS program. These patches are
useful when you just need a unison section. For example: "french horn 1 3xens" is created from 3
instruments:"french horn 1 ens 1", "french horn 1 ens 2", "french horn 1 ens 3" combined to form a single
patch that will occupy only one GPO slot and to play at unison. The same concept apply with trombones and
trumpet. In the patches with "OVL" Matteo layered the "overlay" samples to the ensemble sounds. The
normal programming of GPO is not modified. The Bass Drum Sus Basic Orch Perc Combo 2 patch modifies

http://garritan.com/downloads.html[01/01/2009 6:05:43 PM]


Garritan Orchestra Update & Download Page

the length of the Bass Drum for a longer sustain and also activates "damping" to stop the sound by pressing
the sus pedal.

SibeliusGPOCresc-Dim
SIBELIUS CrescAndDim Plug-In - by Victor Etxebarria (30KB zip file)
Victor has wriiten a very useful plug-in for users of Sibelius Notation software. It is a rewritten version of the
original Sibelius CrescAndDim plugin, which inserts CC1 (ModWheel) MIDI messages in hairpins, thus
producing smooth crescrescendo and diminuendo playback in GPO. The user can choose to use either CC7
or CC1 messages. To install it, just copy the file in the plugins folder in Sibelius.

SibeliusLegatoSlur (30KB zip


SIBELIUS Legato Slur Plug-In - by Victor Etxebarria file)
Victor has wriiten another plug-in for Sibelius users to optimize Legato playback in GPO. The program
recognizes slurs in a Sibelius score and inserts sustain pedal MIDI messages. Specifically, it inserts a pedal
down (CC64,127) message AFTER the first slurred note event (so that the first attack is nor removed) and a
pedal up (CC64,0) after the last slurred note event. The delay in the pedal is half the corresponding note
duration (so the pedal is pressed when the first slurred note has been sounding for half its whole duration,
and depressed when the last slurred note has sounded for half its whole duration). In this way Sibelius slurred
passages sound automatically legato in GPO.

MFX TweakByDuration (16KB


MFX Plug-In Tweak by Duration - Created by Markleford Friedman MFX (PC) ONLY)
In GPO, the VAR 1 knob (cc#22) will introduce random tuning variations from note to note. Typically, one
makes these adjustments for fast passages, where players don't have time to adjust tuning by ear. So
Markleford created something to do this automatically.

Fin Gar PlugIn (100KB MFX


Finale Legato Slur Plug-In - Created by Adam Burford (PC) ONLY)
Adam has written a plug-in for Finale that inserts MIDI CC#64 for slurs. this version only works in Windows
(not MAC). Just copy into the "Plug-ins" directory of their Finale installation.

More Updates, Downloads and User Created Programs to Come... .

Back to Main Support Page

Home

Garritan Orchestral Libraries, Box 400, Orcas Island, WA 98280 USA..... Telephone: 360-376-5766 .....Email:
Copyright © 2005. All rights reserved.

http://garritan.com/downloads.html[01/01/2009 6:05:43 PM]


Garritan Orchestra Update & Download Page

Free Updates & Downloads


One of the benefits of owning Garritan Libraries is that you get FREE UPDATES! Below you will find the latest updates for
the Kontakt Player, Garritan Studio, the DFD Extension and other files. Your will also find GPO User created programming
such as MFX plugins, Sonar plug-ins, Logic Environment files, additional Kontakt programming and other files designed to
help to get the most out of GPO. Visit our Tutorial Page and Resource Pages for valuable information on how to use these
fine products. Free updates are what make Garritan Orchestral Libraries unique and set it apart from other sample libraries.
The most remarkable benefit of owning the Garritan Orchestral Libraries is that your investment is protected with free
updates.

://
NEW! STRADIVARI UPDATE (October 31, Windows Update Mac Update
2006 Updates):
MAC OWNERS: The Floating Pitch Syndrome- Pitch change related to CC#11- this modifed nki can be
downloaded from the link above.
PC OWNERS: The Silent Stradivari Syndrome - No audio - Overwrite the bugged dll by extracting the
zipped working dll into the following folder: system drive:\WINDOWS\system32 (example
C:\WINDOWS\system32). The dll can be downloaded from the link above.

MAC-INTEL UPDATE

Garritan Jazz & Big Band


Jazz & Big Band Update #1
... Update No. 1 (December 29,2005)
(7.2MB)

Garritan Jazz & Big Band Update #1 is available as a free download to all registered Jazz & Big Band users.
This first update includes new "Lite" versions of the Jazz & Big Band instruments (for greater performance &
polyphony), greater timbal contrasts with volume changes, enhancements with Air flow curve, and minor bug
fixes. Please be sure to read the Update Documentation below which provides installation instructions.

JABB UPDATE Documentation - (PDF File for GPO Update Document


the Dec. 2005 Updates):
This PDF document will explain about the latest Jazz and Big Band updates and provide instructions for
installation.

Garritan STUDIO - Now Supports Jazz & Big Windows Version (3.5 MB) Mac Version (3.6 MB)
Band & GPO
Garritan Studio is a VST host application for Windows and Mac, created specifically for the Garritan Personal
Orchestra and Jazz & Big Band. Foremost, GPO Studio allows you to use a notation program to play Garritan
libraries. It manages up to 8 instances of Garritan Personal Orchestra and/or Jazz & Big Band, allowing you
to play up to 64 instruments simultaneously on 64 separate MIDI channels. Garritan Studio also allows
Garritan Personal Orchestra to be played direct from the scores of virtually any notation program that
supports MIDI. Garritan Studio is available as a free download to all registered users. It will only work with
Garritan Personal Orchestra and Jazz & Big Band and will not work with any other sampler. If you already

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Garritan Orchestra Update & Download Page

have a previous version of GPO Studio, uninstall it before installing the version below. To select either GPO
or JABB right click (or Ctr click) on the desired player

Garritan Personal Orchestra Library &


.... Kontakt Player 1.1.8.3 Update (June 16, Windows Version (9.6MB: Mac Version (8.9 MB)
2005)
Garritan Personal Orchestra KONTAKT PLAYER 1.1.8.03 update is available as a free download to all
registered users of Personal Orchestra. It is recommended for all who have earlier editions of Personal
Orchestra. You can check the version by clicking on the Kontakt Logo button.You'll need to login to the Native
Instruments site in order to download these updates. These are password-protected downloads, so only
registered GPO users with their Native Instruments password will have access to them. This latest version is
especially recommended for those with OSX Tiger and for those that use ProTools RTAS.

UPDATE Documentation - (PDF File for the GPO GPO Update Document
Updates):
This PDF document will explain about the latest GPO library and GPO Kontakt Player updates and provide
instructions for the new features. Please note that, among many other things, the documentation discusses
the optional X-Custom folder.

Win XP: DFD Extension Mac OS X: DFD Extension


DFD (Direct From Disc) EXTENSION 1.2.9 1.2.9
(October 20,2004) for NI GPO Kontakt Player for NI GPO Kontakt Player
(280 KB): (855KB):
This DFD (Direct From Disk) extension for the NI KONTAKT Player enables it to stream samples from hard
disk. Garritan Personal Orchestra (GPO) and Jazz & Big Band (JABB) was specifically designed to run in
RAM (Random Access Memory) and DFD is not recommended. GPO is a small footprint library and was not
intended to stream from a hard drive. Large sample libraries may require disc streaming, but this library does
not and is designed as a RAM based library. Our recommended requirements as stated in the license
agreement call for a minimum of 1 (one) gigabyte of RAM in order to be able to load a complete orchestra.
The vast majority of GPO & JABB Users meet the recommended requirements. So the old adage applies: "If
it aint broke don't fix it". If you meet the RAM requirement, you do not need DFD.

AMBIENCE REVERB Great Sounding Reverb Windows VST Version Mac AU Version
Plug-In for GPO & JABB!
The Ambience Reverb plugin is ans excellent-sounding reverb rivals the quality of some of the best
commercial reverbs. Ambience allows you to simulate the reverberation of a concert hall and other
performance spaces that have been specially programmed for GPO. The PDF Document can be downloaded
here:

X-Custom Optional Folders - (October Windows/MAC Version (3.3MB Zipped)


21,2004)
This new addition to the library is for people who want to customize their controllers. It allows users to have
custom control over volume/timbre MIDI assignments and dynamic range thoruhg the assignable slider in the
Player. This feature is especially useful for users with Wind Controllers. Also, this is particularly helpful for
people with certain sequencers. For instance, Logic 6 (and earlier) and GarageBand users have the reset to
"0" bug which this addition will allow you to reset the controller and avoid. With the X-Custom Folders, please
note that all instruments load at full volume rather than the minimum volume standard used in the Dry and
Wet Audition folders. This is useful for people with Standard MIDI files they want to play or with particular
sequencers as well. Most users will not need this optional addition.

MIDI HARP Packets: The MIDI Harp Packets


The harp packets allow the white keys of the keyboard to emulate the open and stopped strings on the harp
with with various harp pedal positions. Running you finger up and down the keyboard will be like running your
finger up and down the strings of a harp. These packets will only work with the GPO Glissando Harp 1 (the
Venus Concert Harp) and Glissando Harp 2 (the Wurlitzer Concert Harp). Anyone who received their Garritan
Personal Orchestra after February 15, 2004 should have these packets on Disc #4

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Garritan Orchestra Update & Download Page

Running GPO on a Different Computer than your Sequencer:: Windows Version (28KB)
If you have two computers and wish to use Garritan Personal Orchestra on your PC Computer while using your sequencer
on a second computer, the GPO Studio MIDI inputs file will help. You must always have the GPO Studio MIDI inputs
program running to use the MIDI inputs with GPO Studio. This will only run with GPO Studio. To install copy it to your hard
disk. To run, double-click on the GPO Studio MIDI inputs exe program. A text document can be downloaded here.

GPO Users comprise a


User Created Programs talented community. The
following programs were
created by users so there are
no guarantees and, of course,
you use them at your own
risk.
GPO Remote - MIDI Over Network - Created by Dan Hristodorescu GPO Remote (865KB zip file)
GPO remote is a network MIDI over network application which allows using GPO studio on the different
machine than the notation/sequencing application. It is composed out of a client and a server application. The
user interface is very simple, the only setting required is to enter in the client the name (or IP address) of the
remote machine hosting the GPO studio and click connect. On the client machine you need the Maple MIDI
ports installed and on the server machine you need the GPO studio installed; besides that no other
requirements. It maps the Maple MIDI port 1 channels 1-8 to GPO Studio 1, channels 9-16 to GPO Studio 2
and so on (all 4 MIDI ports to all 8 GPO ports). In the client just input the hostname of the server and then
click connect. More information can be found here.

MFX PW Map (15KB MFX -


MFX Plug-In Pitch Wheel Map - Created by Markleford Friedman PC ONLY)
This is useful for GPO users without a Mod Wheel. Mike Kelley, a GPO user,was in a jam and asked on the
Garritan forum: "Here's my problem -- my midi keyboard doesn't have a mod wheel (ugh) and I need a mod
wheel to control volume (no other way around it with GPO)." Markleford Friedman to the rescue with MFX
PW-Map! Now Mike can remap his Pitch Wheel to send any CC information he wants, even partitioned bi-
directionally! Set up for Garritan Personal Orchestra by default, but usable with other systems that need
creative controls as well. This is an indispensable tool in your GPO arsenal. Although this is free, it is
"donationware" and if one finds it useful, please send a donation to TenCrazy.com and visit Markleford's site
for more useful musical gadgets.

MFX Key Peddler (15KB MFX


MFX Plug-In Key Peddler - Created by Markleford Friedman (PC) ONLY)
This is useful for GPO users without a Sustain Pedal. Neole.a GPO user,asked on the Garritan forum: "What
can be mapped to the sustain pedal to allow legato playing? [If I] could map the first C key to act as [the
Hold Pedal], it would be good. Any way?" Now you can! MFX Key Peddler allows you to use any key on your
keyboard to act in place of a Hold Pedal in order to let you play legato lines in GPO without a physical
sustain pedal. Useful for other synths, too! This plug-in is also free and if you find it useful, please send a
donation to TenCrazy.com and visit Markleford's site for more useful musical gadgets.

MFX Key Tweaker (15KB


MFX Plug-In Key Tweaker - Created by Markleford Friedman MFX (PC) ONLY)
After Markleford released MFX PW-Map on the Garritan forum, it still wasn't enough! "What about those of us
that don't have a Mod Wheel *or* a Pitch Wheel? How can *we* send modulation information to GPO?" So
Markleford invented yet *another* way! MFX Key Tweaker allows you to use a range of keys on your
keyboard to act in place of a Mod Wheel in order to let you play instrument-level volume changes without a
physical controller knob. Useful for other synths and any CC data, too!.

MFX Plug-In Standard MIDI File Translator (MFX Velocity to CC) - by MFX Vel to CC (15KB MFX
Markleford Friedman (PC) ONLY)
Many have scored and sequenced standard MIDI files and wanted to hear their files played with GPO. The
standalone "Standard MIDI File Translator" was specially designed to help convert note velocity volume to
CC#! Mod Wheel volume so that it would be possible to use GPO with Standard MIDI files. Markleford has

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Garritan Orchestra Update & Download Page

taken the next step in ease and useability by effectively making the "Standard MIDI File Translator" an MFX
Plug-in. To use, simply load up a standard MIDI file in your MFX-capable host, point the output at GPO, and
add the plugin to the MIDI tracks that you want to translate. By default, MFX Velocity to CC defaults to
substituting Modulation Wheel (CC#1) messages for velocity over the entire velocity range.

GPO SONAR Controller Reamapping Plug-In - Created by Dan GPOPlugin1.1.zip (25KB zip
Hristodorescu. file)
Dan wrote this MFX Plug-In to MFX plugin to improve GPO usability in Sonar. You can do several things with
this plug-in. The main thing you can do is remap any kind of controller to any other type of controller. for
example, you can transform velocity or breath control #CC2 into mod wheel control events #CC1 (also useful
for those with a keyboard without a mod wheel). This plug-in provides real-time recording mapping between
velocity, pitch bend or input controllers to any output controllers, the option of using a linear (default) or
logarithmic response curve for the output controllers, the option of muting the input events (except for
velocity) and keeping only the output controllers during recording and playback.

Version 1.1 adds even more features. It now converts existing standardMIDI files to be used with GPO by
mapping velocity to CC#1. After you translate a standard MIDI file into a GPO optimized file, your playback of
that midi sequence with GPO will be improved immensely! You can also display input events (including
generated ones). There's also VAR1 and VAR2 control.

Sonar Harp Packet (25KB zip


SONAR Glissando Harp Packets - Created by Charles Green file)
For those using Calkwalk SONAR3, Charles Green has converted the GPO MIDI Harp Packets into individual
two measure MIDI Groove Clips. The clips have been organized into seperate folders by key. The program
change controls are at the beginning of each clip so that the user can reduce the size of the clip to a single
beat if desired. Once dragged into position on a seperate track pointed to the same channel as the Glissando
Harp, one can take the mouse and reduce the length if desired by dragging the end of the clip to the left.
This approach saves memory and tracks in the current project while making it easy in SONAR to select the
required Harp Packet.

GPO Logic Files PC GPO Logic Files Mac (48KB)


GPO Logic Files - Created by Peter Delano (57KB) GPO Logic Files hxq
Peter Delano has created two Logic Song files. The first environment allows you to convert incominig Mod
Wheel data information into track automatation data. This will avoid the "return to zero" bug in Logic. The
second converts Mod Wheel, CC#20, #22 & 24 into automation data. The first one deal with only mod wheel
whereas the second one incorporates track-based automation control of GPO's other control parameters
(portamento, and the 2 variation knobs) and includes a few cable switchers for working with multiple GPO
instances.

SONAR GPO Percussion Instrument Definitions - Created by GPO Instrument Definitions


Matteo Bosi (1KB zip file)
This is a SONAR Instrument Definition file (.ins) for use with Sonar 2 (or another Cakewalk product which
supports Instruments Definitions). Matteo arranged the instruments definitions for GPO for displaying the note
names on the piano rolls when using the percussion instruments. To use this, load an instance of GPO and
load, for example, the GPO "Basic orchestral percussion combo" Click on the GPO MIDI track assigned to
the "Basic orchestral percussion combo" and open the relative Piano Roll view Right click on the keyboard
appearing on the left of the screen. Click"use these notes name instead", Choose "GPO Basic orch combo",
Click OK and now you will see the names of the notes you are playing on the left of the screen!

KONTAKT Additional GPO Programming - by Matteo Bosi GPO Programs (68KB zip file)
These programs were created got use with the full version of Kontakt. Matteo's additional nki files include
some brass "sections" by overlaying the different samples from different ENS program. These patches are
useful when you just need a unison section. For example: "french horn 1 3xens" is created from 3
instruments:"french horn 1 ens 1", "french horn 1 ens 2", "french horn 1 ens 3" combined to form a single
patch that will occupy only one GPO slot and to play at unison. The same concept apply with trombones and
trumpet. In the patches with "OVL" Matteo layered the "overlay" samples to the ensemble sounds. The
normal programming of GPO is not modified. The Bass Drum Sus Basic Orch Perc Combo 2 patch modifies

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Garritan Orchestra Update & Download Page

the length of the Bass Drum for a longer sustain and also activates "damping" to stop the sound by pressing
the sus pedal.

SibeliusGPOCresc-Dim
SIBELIUS CrescAndDim Plug-In - by Victor Etxebarria (30KB zip file)
Victor has wriiten a very useful plug-in for users of Sibelius Notation software. It is a rewritten version of the
original Sibelius CrescAndDim plugin, which inserts CC1 (ModWheel) MIDI messages in hairpins, thus
producing smooth crescrescendo and diminuendo playback in GPO. The user can choose to use either CC7
or CC1 messages. To install it, just copy the file in the plugins folder in Sibelius.

SibeliusLegatoSlur (30KB zip


SIBELIUS Legato Slur Plug-In - by Victor Etxebarria file)
Victor has wriiten another plug-in for Sibelius users to optimize Legato playback in GPO. The program
recognizes slurs in a Sibelius score and inserts sustain pedal MIDI messages. Specifically, it inserts a pedal
down (CC64,127) message AFTER the first slurred note event (so that the first attack is nor removed) and a
pedal up (CC64,0) after the last slurred note event. The delay in the pedal is half the corresponding note
duration (so the pedal is pressed when the first slurred note has been sounding for half its whole duration,
and depressed when the last slurred note has sounded for half its whole duration). In this way Sibelius slurred
passages sound automatically legato in GPO.

MFX TweakByDuration (16KB


MFX Plug-In Tweak by Duration - Created by Markleford Friedman MFX (PC) ONLY)
In GPO, the VAR 1 knob (cc#22) will introduce random tuning variations from note to note. Typically, one
makes these adjustments for fast passages, where players don't have time to adjust tuning by ear. So
Markleford created something to do this automatically.

Fin Gar PlugIn (100KB MFX


Finale Legato Slur Plug-In - Created by Adam Burford (PC) ONLY)
Adam has written a plug-in for Finale that inserts MIDI CC#64 for slurs. this version only works in Windows
(not MAC). Just copy into the "Plug-ins" directory of their Finale installation.

More Updates, Downloads and User Created Programs to Come... .

Back to Main Support Page

Home

Garritan Orchestral Libraries, Box 400, Orcas Island, WA 98280 USA..... Telephone: 360-376-5766 .....Email:
Copyright © 2005. All rights reserved.

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Personal Orchestra Troubleshooting Page

TROUBLESHOOTING: Solutions and Workarounds


Here you will find out solutions and workarounds to common problems. GPO Users have provided many of the solutions and workarounds that appear in
this section and have shared them with the rest of us. Click on the "+" next to the question or issue to expand it and view the answer.

Q. What Do I Do If I Have Problems with Registration or Authorization?

Q. What are Some of the Top Issues?

Q: I Don't Have a Mod Wheel

Q. I Want to Load More Instruments

Q. I want to run GPO on Windows 98/ME

Q: I am having problems with OSX

Q: I am experiencing slow load times

Q. GPO Content being recognized in the Kontakt full version

Q: There is a Warning When I Load Multis

Q. The Font Size in the Kontakt Player is Small and Hard to Read

Q. I Want to Use Sustain & Legato Pedal Modes for Separate Instances of the Player

Q: I Want to Use GPO and GigaStudio on the Same Machine

Q. The Soundcard in my Notebook (or Desktop) Computer does not have ASIO drivers

Q. I get Stuck Notes when I stop playing in my Sequencer.

Q: Logic Issues:

• Logic Pro, Logic Express: Remove Audio Unit plug-ins to troubleshoot issues
When troubleshooting Logic Pro or Logic Express, removing Audio Unit plug-ins can often help isolate the issue. Most Audio Units install to this
location:/Library/Audio/Plug-Ins/Components Other Audio Units install to:~/Library/Audio/Plug-Ins/Components To disable any Audio Unit for
troubleshooting purposes, simply move the file from one of the above locations to another one, such as the desktop, before launching Logic. If Logic
behaves correctly without your Audio Unit plug-ins, you need to find out which one caused the erratic behaviour. To do so, put them back into the original
folder one after the other, or a few at a time, checking after each plug-in or group of plug-ins to see if Logic still behaves correctly. As soon as the issue
reccurs, you've discovered the affected plug-in.

If using the a GPO/JABB sample as a mono instrument, Logic Pro crashes. If it is used as a stereo instrument, there is no problem. Mac OS 10.4.7
Logic Pro 7.2 "The plug-in can be used as a mono insert or a stereo insert instrument. When used with the mono version Logic crashes when the users
tries to "freeze" the track. In my opnion there is no advantage to using the mono version of GPO. Please see my screenshot from Logic.In further tests
with that Logic song, we see that he is using a Mono version of GPO. With this track "frozen", Logic crashes upon play. If he uses the stereo version,
Logic plays fine. It could be a bug on either side, but the workaround is for him to use the stereo plug-in version." I confirm this too. Mono plug with GPO
crash me everytime in Logic 7. MUST be stereo."

USER WORKAROUND: Submitted by Peter Delano


Peter Delano has created two Logic Song files. The first environment allows you to convert incoming Mod Wheel data information into track automatation
data. This will avoid the "return to zero" bug in Logic. The second converts Mod Wheel, CC#20, #22 & 24 into automation data. The first one deal with
only mod wheel whereas the second one incorporates track-based automation control of GPO's other control parameters (portamento, and the 2 variation
knobs) and includes a few cable switchers for working with multiple GPO instances. These will automatically set the cc#1 data to user defined values.
Here are the LSO (Logic) files: GPO Logic 1 (106KB) GPO Logic 2 (198KB)

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Personal Orchestra Troubleshooting Page

Q: Sonar Issues:

Q. Digital Performer Issues:

Q: Pro Tools Issues:

Q: GB3 Bug Work Around by Rick Schneblin:

Q: Finale - No Volume:

Q: Cubase - clicks & Glitches:

Q. Cubase and Nuendo Issues:

More Troublehooting Tips to Come....

Back to Main Support Page

Home

Garritan Orchestral Libraries, Box 400, Orcas Island, WA 98280 USA..... Telephone: 360-376-5766 .....Email:
Copyright © 2004. All rights reserved.

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