Contents

Finale 2002 Help

Click on any of the following for help.

Dialog Boxes

Menus

Main Tool Palette

Advanced Tools Palette

Navigational Tools Palette

Simple Entry Palette

Smart Shape Palette

Special Tools Palette

Menu Toolbars

Glossary

Simple Entry Keypad

General MIDI

Technical Support

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Staff Style

Arrowheads

Articulation Designer

Articulation Selection

Augmentation Dot


BDIALOG
Dialog Boxes

Backward Repeat Bar Assignment

Barlines

Baseline Shift

Beam Extension Selection

Beaming Chart

Beaming Options

Beat Chart

Bracket

Bracket Style


CDIALOG
Dialog Boxes

Change Articulation Assignments

Change Chord Assignments

Change Chord Suffix Fonts

Change Clef

Change Note Durations

Change Note Expression Assignments

Change Note Size

Change Noteheads

Change Ties

Change Tuplets

Character Settings

Check Graphics

Chord Definition

Chord Suffix Editor

Chord Suffix Selection

Clear Items

Clef Designer

Clef Selection

Click and Countoff

Click Assignment

Click Input

Click Output Type

Color

Compile PostScript Listing

Composite Time Signature

Copy Measure Widths

Copy Measures

Copy MIDI Data

Copy Positioning

Curves

Custom Frame

Customize Toolbar

Cut Measures

Cut Music


DDIALOG
Dialog Boxes

Dashed Line

Default Tuplet Visual Definition

Delete Blank Pages

Delete Element

Document Options

Dot Offsets


EDIALOG
Dialog Boxes

Edit Bookmarks

Edit Frame

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 Repeat Bar Assignment

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


FDIALOG
Dialog Boxes

File Info

File Integrity Test Results

File Statistics

Fill

Filter Channels

Finale Registration

Fit Music

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


GKDIALOG
Dialog Boxes

Graphic Attributes

Grid/Guide Options

Group Attributes

Hand Width Split

Handle Positioning

HyperScribe Dialog Box

HyperScribe Options

Implode Music

Import MIDI Data from Clipboard

Import MIDI File Options

Insert Blank Pages

Insert Measures

Insert Staff Systems

Instrument Definition

Instrument List

Interval

Items to Clip

Items to Snap to Grid

Items to Snap to Guide

Key Signature

Key Step Map


LDIALOG
Dialog Boxes

Layer Options

Limit - Continuous Data

Limit - Key Velocities

Limit - Note Durations

Line Spacing

Line Thickness

Lines

Listen

Listen to Tempo

Lyric Options


MDIALOG
Dialog Boxes

Measure Assignment for Ossia Measure

Measure Attributes

Measure Expression Assignment

Measure Items

Measure Number

Measure Number Style

MicNotator

Mid-Measure Clef

MIDI Event

MIDI Input Filter

MIDI Setup

MIDI Thru

MIDI Thru Table

MIDI Tool window

Mirror Attributes

More Quantization Settings

Movable Items

Move Layers

Moving Split Point

Multimeasure Rest

Multiple Splits

Multiple Total Passes for Ending

Multiple Total Passes for Repeat

Music Character Positioning

Music Characters

Music Options

Music Spacing Options


N-ODIALOG
Dialog Boxes

New Staves

Nonstandard Key Signature

Notation Options

Note Expression Assignment

Note Shapes

Notehead Settings

Open\Save\Save As

Ossia Measure Designer

Other Program Options


PDIALOG
Dialog Boxes

Page Assignment for Ossia Measure

Page Format for Parts

Page Format for Score

Page Offset

Page Options

Page Setup

Page Size

Partial Measure Selection

Percent Alteration Continuous Data

Percent Alteration Key Velocities

Percent Alteration Note Durations

Percussion Map Designer

Percussion Map Selection

Piano Braces

Place Graphics

Placeholder

Playback and/or Click

Playback Controls

Playback Data Dump

Playback Options

Playback Settings

Position Measure Number

Position

Print

Print Parts

Program Options

Punch In PreRoll


Q-RDIALOG
Dialog Boxes

Quantization Settings

Randomize - Key Velocities

Randomize - Note Durations

Rebar Options

Rebeam to Lyrics

Rebeam to Time Signature

Redefine Pages

Redefine Selected Pages

Redraw Options

Registration Confirmation

Remove Staff

Repeat Assignment

Repeat Bar

Repeat Designer

Repeat Endings

Repeat Selection

Reposition Guide

Resize Fretboards

Resize Note

Resize Notehead

Resize Page

Resize Staff

Resize Staff System

Respace Staves

Rulers and Grid


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 Default Fonts

Select Display Colors

Select Region

Select Staff Systems

Selective Mirror

Send MIDI Value

Set Distances

Set Duration

Set Patch To

Set Pickups

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

Size

Slur Contour

Smart Line Style

Smart Shape Options

Smart Shape Placement

Smart Slur Options

SmartMusic Accompaniment Options

Space Systems Evenly

Spacing Width

Special Key Signature Attributes

Specify Current Lyric

Speedy Options

Staff Attributes

Staff List

Staff Setup

Staff Style

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

Symbol Selection


TDIALOG
Dialog Boxes

Tablature

Tap Source

Tap States

Tempo Adjustment

Text Expression Designer

Text Inserts

There Are Too Many Beats in This Measure

Tie Alterations

Tie Contour

Tie Options

Tilting Mirror

Time Signature

Time Signature Options

Tone Center(s)

Track/Channel Mapping

Track/Channel Mapping to Staves

Tracking

Transcription

Transcription Filters

Transposition

Tuplet Definition


VDIALOG
Dialog Boxes

Undo/Redo Lists

Unknown Chord Suffix

Unknown Font

Update Layout Options

View Continuous Data

View Resolution

Web Page Options


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

View Menu

Options Menu

MIDI 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

Shape Designer Menu

Simple Menu

Smart Shape Menu

Special Tools Menu

Speedy Menu

Staff Menu

Mass Mover Menu

Note Mover Menu

Search Menu

Text Menu

Transcription Menu

Time Tag Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Chord Menu

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 Open 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.

Show All Chord Handles

======================

Manual Input

Type Into Score

MIDI Input

One Staff Analysis

Two 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

See Also:

Menus

Chord Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Chord/Show All Chord Handles

When this option and Manual Input are selected, Finale will display the handles for all chords.

See Also:

Chord Menu

Chord Tool


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


Chord/Type Into Score

When you select this option, you can click on a note or rest in the score 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 with any alteration (# or b), followed by the suffix. If you want an alternate bass to appear for the symbol, type a slash (/), underscore (_) or vertical bar (|) followed by the alternate bass note and alteration.

Pay attention to capitalization as you type: Finale displays chords like "F" or "e" or "IV" or "iii".  Capitalization also matters in suffixes -- it's how Finale distinguishes a "CM7" from "Cm7".

To advance the blinking cursor to the next note to continue entering chords press Spacebar, Tab or Shift-Right arrow; Finale displays the fully formatted chord after you enter it.

Special keystrokes for typing chords:

Press Enter to accept changes to the selected chord

Press Esc to discard changes to the entered chord

Press Spacebar, Tab, or Shift-Right arrow to move to next entry

Shift-Spacebar, Shift-Tab, Shift-Left arrow to move to previous entry

Press Up arrow to move to the next chord on the same entry, or prepare to create a new chord

Press Down arrow to move to the previous chord on the same entry

Type b to display flat symbol

Type # (Shift-3) to display sharp symbol

Type * (Shift-8)  to display diminished symbol (When Substitute Symbols is selected in the Chord Menu and the Arial, Times or JazzText Chord Library is loaded)

Type % (Shift-5) to display half-diminished symbol  (When Substitute Symbols is selected in the Chord Menu and the Arial, Times or JazzText Chord Library is loaded)

Type / to put alternate bass note next to the chord root

Type _ (Shift-hyphen) to put alternate bass note below the chord root

Type | (vertical bar) to put alternate bass note below and to the right of the chord root

Press Left arrow to move to previous character in the chord

Press Right arrow to move to next character in the chord

Type Letters with or without Shift (A, B, C, D, E, F, G or a, b, c, d, e, f, g) to display corresponding pitches for the root and alternate bass notes (press Shift for uppercase display)

Type , (comma) to distinguish the chord root from the suffix

Type :# (colon number) to display the chord suffix assigned to a specific slot number in the Chord Suffix Selection dialog box

Type :0 (colon zero) to display the Chord Suffix Selection dialog box, where you can choose any suffix

Type :f# (colon f number) to display the fretboard assigned to a specific slot number in the Fretboard Selection dialog box. (shortcut must follow the suffix)

See Also:

Chord Menu

Chord Tool


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


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. (It 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.

See Also:

Chord Menu

Chord Tool


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 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.

See Also:

Chord Menu

Chord Tool


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


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


Chord/Show Guitar Fretboards

When this item is selected, Finale displays full-blown guitar fretboard-chart diagrams beneath each chord symbol in the score (or will do so as soon as you add chord symbols).

The fretboard Finale displays depends on the playback defined for the suffix on the chord symbol. If no suffix is specified for the chord, Finale uses the "Lowercase" setting for the Root Scale Tone in the Chord Definition dialog box to determine what fretboard to display; if "Lowercase" is selected for the Root Scale Tone, Finale displays a minor fretboard; if "Lowercase" is not selected, Finale displays a major fretboard.

When you choose Show Guitar Fretboards a second time, all fretboards disappear.

See Also:

Chord Menu

Chord Definition

Chord Tool


Chord/Resize Fretboards

Choose this command to change the size of all of the fretboards.

See Also:

Chord Menu

Chord Tool


Chord/Position Chords

When you choose this command, four small triangles appear at the left side of the screen. These triangles govern the position of the baseline for the chord symbols (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.

See Also:

Chord Menu

Chord Tool


Chord/Position Fretboards

Position Fretboards is only available if Show Guitar Fretboards is selected in the menu.

When you choose Position Fretboards, four small triangles appear at the left side of the screen. These triangles govern the position of the baseline for the diagrams (the imaginary horizontal line against which the bottoms of the fretboard diagrams align).

Drag the first (leftmost) triangle up or down to move all the diagrams in the piece. Drag the second triangle to move the chord diagrams 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 diagrams in this staff in this system only. Dragging the rightmost triangle doesn't affect diagrams at all.

See Also:

Chord Menu

Chord Tool


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


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


Chord/Chord Style

Use this submenu to choose the display style for all chord roots and alternate bass notes in the piece.

Standard

European

German

Roman

Nashville

Solfeggio

Scandinavian

See Also:

Chord Menu

Chord Tool


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 Menu

Chord Tool


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 Menu

Chord Tool


Chord Style/German

When selected, 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 appears as H.

See Also:

Chord Menu

Chord Tool


Chord Style/Roman

When selected, 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 Menu

Chord Tool


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.

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 after 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 Menu

Chord Tool


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#)

Di	C#

Ra	Db

Re	D

Ri	D#

Me	Eb

Mi	E (or Fb)

Fa	E# (or F)

Fi	F#

Se	Gb

So*	G

Si	G#

Le	Ab

La	A

Li	A#

Te	Bb

Ti	Cb (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 Menu

Chord Tool


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 Menu

Chord Tool


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


Chord/Substitute Symbols

When selected, Finale substitutes the Maestro diminished and half-diminished symbols when you type "*" (Shift-8) 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 Shift-8 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


File Menu

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.

New

Open

Close

Close All

Save

Save As

Save Special

Post at Finale Showcase

Distribute on Net4Music

Save All

Revert

Import

MIDISCAN

======================

Open Library

Save Library

======================

Extract Parts

File Info

======================

Page Setup

Print

Print Parts

Compile Postscript Listing

======================

Exit

======================

Recent Files

See Also:

Menus


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

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:

File Menu


File/Open

Opens an existing file. Finale is capable of opening several kinds of files: Coda Notation File (the usual notation file), ENIGMA Transportable File (ETF), MIDI File, Finale Template File, AutoSave File (.ASV), Backup File (.BAK), and Lesson File.

Note: Finale can open notation files created in Finale Macintosh (or Windows); you do not need to create ETF files to transfer files to other computer platforms.

For detailed information see the Open dialog box.

See Also:

File Menu


File/Close

Closes the active (frontmost) document and any corresponding windows you opened by choosing the New Window command in the Window Menu.

See Also:

Window Menu

File Menu


File/Close All

Closes all documents and any corresponding windows you opened by choosing the New Window command in the Window Menu.

See Also:

Window Menu

File Menu


File/Save

Saves to disk any changes you've made to the active file. 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 Program Options dialog box). The Save command saves only the active file (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:

File Menu


File/Save As

Saves to disk any changes you've made to the active file, using the name that you specify. This offers you a chance to create a duplicate of the file you're working on, with a different name, and - if you wish - in a different directory or on a different disk. You can also save the current file as another kind of file - namely, a Finale Template File, an ENIGMA Transportable File or a Standard MIDI File.

See Also:

File Menu


File/Save Special

Choosing from this menu allows you to access unique ways of saving.

Save As Web Page

Save As SmartMusic Accompaniment

Save Preferences

See Also:

File Menu


File/Save Special/Save As SmartMusic Accompaniment

This command opens the SmartMusic Accompaniment Options dialog box, where you can specify which staves to set as the solo instrument or accompaniment. See SmartMusic Accompaniment Options dialog box.

See Also:

File Menu

SmartMusic Accompaniment Options


File/Save Special/Save As Web Page

This command opens the Web Page Options dialog box, where you can specify what actions you will permit in the resulting file. See Web Page Options dialog box. Finale will then save your file in a format that can be displayed on a website. Anyone who wishes to view this file will need the free SmartMusic Viewer plug-in. See our website at www.codamusic.com/viewer for details.

See Also:

File Menu

Web Page Options dialog box


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 Coda’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


File/Distribute on Net4Music

This command will be take you to Net4Music, the premier website for digital sheet music and MIDI file downloads. Net4Publication, the specific area of Net4Music you will access, has been designed to enable songwriters, composers and independent publishers to sell their sheet music and MIDI files on the Internet.

See Also:

File Menu


File/Save All

Saves to disk any changes you've made to all open files with a single command.

See Also:

File Menu


File/Revert

Restores your file to whatever condition it was in the last time you saved your work. (This command does the same thing as closing the file without saving it, then reopening it.)

See Also:

File Menu


File/Import

Choose this menu item to open the Import dialog box, where you can choose the file type to import into Finale. Finale can import Encore, Rhapsody, MIDIScan and SmartScore files.

Finale can convert Encore files created in Encore 3.0 through 4.2 and Rhapsody files into Finale. 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.

Finale can import SmartScore 1.3.1 FIN files and MIDIScan 2.5 MND files, regardless of which platform was used to create them. Finale will convert most items from your SmartScore or MIDIScan files. As you compare your results, make sure that you compare Finale's output to that of SmartScore's ENF file or MIDIScan's MND file, not the original scanned TIFF file. For more tips on getting the best scanning results, see Musitek's website at http://www.musitek.com.

See Also:

File Menu


File/MIDISCAN

Use this command to open and transcribe a scanned file, using Finale’s built-in MIDISCAN technology. See the User Manual under Scanning for more information and tips.

See Also:

File Menu


File/Open Library

Loads the specified library (set of special symbols or settings) into the active file. A Finale file 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.

See Also:

File Menu


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


File/Extract Parts

This command is Finale's most powerful part-extraction feature. Extracts the staves you specify from the active file, and saves each part as a separate file. It offers you a chance to change layout aspects for the parts. You can format, inspect, and adjust the resultant files, fixing any awkward page turns, for example, before you print them out.

For detailed information, see the Extract Parts dialog box.

See Also:

File Menu


File/File Info

Use this command to enter a description of your work into the file or enter 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. You can also review statistical information such as the total number of measures in the file.

For detailed information, see File Info dialog box and File Statistics dialog box.

See Also:

File Menu

Program Options


File/Save Special/Save Preferences

In Finale, you can customize program preferences to the work environment best suited to your music, so you can get straight to work when you open a file. Organize the tools, change the palette size and location, or set menu options such as Mass Mover's Select Partial Measures command and Speedy Entry's Use MIDI Keyboard command just the way you want them. The Save Preferences command gives you control over when to save these settings.

Choose Save Preferences from the File Menu to save your current settings in the FINALE.INI file (in your Finale directory). If you want these settings are saved automatically when you exit Finale, choose Program Options from the Options Menu, and make sure that "Save Preferences At Exit" is checked. Otherwise the settings are saved only when you choose Save Preferences.

See Also:

File Menu

Program Options


File/Page Setup

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 score 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.) 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 detailed information, see the Page Setup dialog box.

See Also:

File Menu


File/Print

Prints the full score as it appears 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


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.

For more detailed information see the Print Parts dialog box.

See Also:

Extract Parts

Special Part Extraction


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


File/Exit

This command exits Finale and returns to the Desktop. Finale closes all open files automatically, after first asking you if you want to save your changes (if you made any).

See Also:

File Menu


File/Recent File

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 directories in the open dialog box to find your file.

See Also:

File Menu


Edit Menu

You can find an assortment of editing and program operations commands in the Edit Menu. Note that some of them 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.

Some of the commands names change when the Mass Mover Tool is selected, or if you press the Ctrl or Shift before displaying the menu. For details, see Cut, Copy, Insert, Paste/Replace Entries, Export MIDI to Clipboard, Import MIDI from Clipboard.

Undo

Redo

Undo/Redo Lists

=====================

Cut

Copy

Insert

Replace Entries

=====================

Export MIDI to Clipboard

Import MIDI from Clipboard

=====================

Select All

Select Partial Measures

Select Region

=====================

Special Part Extraction

Update Layout

Automatic Update Layout

Automatic Music Spacing

=====================

Snap To Grid

Snap To Guide

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Edit/Select Partial Measures

Use this menu item to select a beat or more of a measure for use with the Mass Mover or Staff Tool.

See Also:

Menus

Mass Mover Tool

Staff Tool


Edit/Select Region

Use this dialog box to select large or small selections of your score without scrolling. Select Partial Measures, from the Edit Menu, must be checked to specify beats to start and stop on.

For more information, see Select Region dialog box.

See Also:

Menus

Mass Mover Tool

Staff Tool


Edit/Undo

Choose the Undo command immediately after performing any action with the Mass Mover Tool that you want to "take back"; Finale will undo your action. The Undo command also restores anything with a handle you've just dragged or deleted; examples include staves (Staff Tool), expression marks (Articulation, Staff or Expression Tools), titles (Text Tool), and so on. Undo also restores any change you've made with the Speedy Entry Tool.

Tip: Choose the Undo Tool from the Edit Menu Toolbar to perform this action.

See Also:

Edit Menu

Undo/Redo Lists


Edit/Redo

Choose Redo to perform the previous undo action. If you have performed too many undo actions in a row, use the redo to replace the actions removed.

Tip: Choose the Redo Tool from the Edit Menu Toolbar to perform this action.

See Also:

Edit Menu

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 may select a point in this list in which to undo or redo your actions. For an explanation of this dialog box see Undo/Redo Lists

See Also:

Edit Menu


Edit/Cut

After selecting a region of music with the Mass Mover Tool , choose Cut to place the selected music on the Clipboard and simultaneously remove the music from the score. (Finale asks you if you want to remove only the music, leaving behind rests, or to remove the selected beats or measures entirely.) Once you've placed the cut music on the Clipboard, you can paste it to another place in your score or another Finale file.

If you like, you can save the cut material into a separate file of its own, called a Clip File, which you can later access for pasting into another file. Press Ctrl before choosing Cut; the command name changes; 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 or Replace Entries commands (see below) to paste them into other files.

If you press Shift before choosing Cut, the command name changes, and Finale will display the Items to Clip dialog box, which gives you the option of excluding some of the score elements - lyrics or expression marks, for example - from the cut material. (If you press both Ctrl and Shift before choosing Cut, the command name changes, and Finale will display the Items to Clip dialog box and place the cut material into a Clip File.)

You can also place cut text on the Clipboard in Finale's Edit Lyrics or Edit Text window, or when editing text on-screen with the Text Tool. Select the text by dragging, then choose Cut from the menu or use its keyboard equivalent (Ctrl-X).

Tip: Choose the Cut Tool from the Edit Menu Toolbar to perform this action.

See Also:

Items to Clip

Edit Menu

Mass Mover Tool

Text Tool


Edit/Copy

After selecting a region of music with the Mass Mover Tool , choose Copy to place a duplicate of the selected music on the Clipboard, ready to paste to another place in your score or another Finale file. (You can't paste copied Finale music into another program, however).

As with the Cut command, you can press Ctrl before choosing Copy to save the copied material into a separate Clip File, which you can later access for pasting into another file. The command name changes, and 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 or Replace Entries commands (see below) to paste them into other files.

If you press Shift while choosing Copy, the command name changes, and Finale will display the Items to Clip dialog box, which gives you the option of excluding some of the score elements - lyrics or expression marks, for example - from the copied material. (If you press both Ctrl and Shift when you choose Copy, the command name changes and Finale will display the Items to Clip dialog box and place the copied material into a Clip File.)

You can also place copied text on the Clipboard in Finale's Edit Lyrics or Edit Text window, or when editing text on-screen with the Text Tool. Choose Copy from the Edit Menu, or use its keyboard equivalent (Ctrl-C).

Tip: Choose the Copy Tool from the Edit Menu Tool Bar to perform this action.

See Also:

Items to Clip

Edit Menu

Mass Mover Tool

Text Tool


Edit/Insert

Choose Insert if you want to insert whatever music you've cut or copied to the Clipboard between two existing beats or measures. First tell Finale where you want the material inserted by selecting any amount of music just after the desired point of insertion.

If you copied complete measures from only one staff, but you're pasting into a multistaff score, the music on all the other staves will be shifted to the right (and empty measures added), even though you're only inserting the copied music into one staff. In other words, Finale will ensure that one staff's music always aligns with another's.

On the other hand, if you've copied partial measures, Finale will shift the existing notes to the right, rebarring the piece as necessary, only in the  staves you're pasting into. To insert copied material while Select Partial Measures is turned on in the Mass Mover Menu, select a region of any size; Finale will insert the material just before the selected region.

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 music in those staves, and insert blank measures in all other staves. On the other hand, if you do want the entire copied section to be inserted, be sure to select a target region as many staves "deep" as the copied region.

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

Mass Mover Tool

Text Tool


Edit/Replace Entries
Edit/Paste or Replace Entries

The Edit Menu displays the Paste command unless the Mass Mover Tool is selected in which case the Edit Menu displays the Replace Entries command instead.

Choose Replace Entries 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 Mass Mover to select the area whose music you want to replace).

The Replace Entries command doesn't replace any measure items (such as Measure Expressions, Time Signatures, etc.) you may already have in the target (selected) region. Only notes and items attached to them (such as articulations, Note Expressions, chord symbols, and so on) are replaced.

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 Replace Entries command. Press Ctrl before choosing Replace Entries; 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.

The Paste command appears when the Mass Mover Tool is not selected. You can 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

Mass Mover Tool

Text Tool


Edit/Export MIDI to Clipboard

This command provides a quick way to transfer MIDI information to sequencing programs that support MIDI information on the clipboard. When you're ready to export your MIDI information, select the region that you want to export using the Mass Mover Tool, then choose Export MIDI to Clipboard. Finale copies the MIDI information from the selected region on to the clipboard. You can then paste or import the MIDI information into another program.

Press Shift before choosing this command to use the current transcription settings (without displaying the Import MIDI dialog box).

See Also:

Edit Menu


Edit/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 Mass Mover Tool, select the measures into which you want to paste the information, then choose this command. The Import MIDI Data 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


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


Edit/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. (See Special Part Extraction dialog box.) 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:

Edit Menu


Edit/Update Layout

To speed up its operations, Finale doesn't constantly recalculate the positioning and page layout of measures within your score. Instead, this recalculation only takes place when you request it by choosing Update Layout from the Edit Menu.

When you choose this command, Finale uses the settings in the Update Layout Options dialog box to determine what parts of the music layout it will recalculate to catch the changes in positioning and page layout.

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 (to widen a measure by dragging its barline). 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 file. 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 offers two other useful functions. One way to manually arrange measures on the page is to use Finale's measure group features (such as the Fit Music command in the Page Layout and Mass Mover Menus, or the Mass Mover up/down arrow technique). If you ever want to delete such measure groups (and restore all measures to their original "floating" status), press Shift while selecting Update Layout.

See Also:

Edit Menu

Mass Mover Tool

Page Layout Tool


Edit/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 to the score, Finale will update the layout.

See Also:

Edit Menu

Update Layout Options


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.

See Also:

Text Menu

Text Tool


Text/Custom Frame

When this command is selected, text is surrounded by a custom shape. Choose this command to display the Custom Frame dialog box, where you specify the positioning of text within or around a custom shape that you can create in the Shape Designer, and set the amount to indent the text from the frame.

For more detailed information, see the Custom Frame dialog box.

See Also:

Text Menu

Text Tool


Text/Placement

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)

Distance From Page Edge

Distance From Page Margin

See Also:

Text Menu

Frame Attributes

Text Tool


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


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


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


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


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


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


Placement/Distance 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


Placement/Distance 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


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


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


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


Graphics Menu

The Graphics Menu contains all the commands you'll need to export a selected region of a page, or to export one or more pages, and save them as either a PostScript or bitmapped graphics file. You can export full pages or portions of pages as EPS  or TIFF files. You can place EPS, TIFF, or WMF (Windows Metafiles) 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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; save the graphic as an EPS or TIFF file.

For more detailed information, see the Export Selection/Pages  dialog box.

See Also:

Graphics Menu

Graphics Tool


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; save the graphic as an EPS or TIFF file.

For more detailed information, see the Export Selection/Pages  dialog box.

See Also:

Graphics Menu

Graphics Tool


Graphics/Place Graphic

Choose this command to place an EPS, TIFF, or WMF (Windows Metafiles) 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


Graphics/Alignment

The commands in this submenu are only available when you're in Page View and have a page-assigned graphic selected. Use this submenu to specify how you want the graphic positioned on the page. Checkmarks appear by the alignment settings currently in use for the graphic. You can also set the alignment for graphics in the Graphic Attributes dialog box .

Left

Center Horizontally

Right

Top (Header)

Center Vertically

Bottom (Footer)

Distance from Page Edge

Distance from Page Margin

See Also:

Graphics Menu

Graphic Attributes

Graphics Tool


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


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


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


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


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


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


Graphics/Alignment/Distance 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


Graphics/Alignment/Distance 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


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 detailed information, see the Graphic Attributes dialog box.

See Also:

Graphics Menu

Graphics Tool


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 will be listed before the remaining "found" graphics. Use this command to make sure you have all the necessary graphics for your document if you'll be printing the document on another system.

For more detailed information, see the Check Graphics dialog box.

See Also:

Graphics Menu

Graphic Attributes

Graphics Tool


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

=================

Coda Music Technology Website

Register Finale

Finale Updates

================

QuickStart Videos

Tip Of The Day

About Finale

See Also:

Menus

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Help/User Manual

Finale's User Manual is the full documentation that comes with the program in the form of Adobe PDF files that can be read with Adobe's Acrobat Reader. The Acrobat Reader is installed with Finale if necessary when an easy install of Finale is done. All dialog boxes and all standard procedures needed to engrave music are explained. PDF's can be printed if desired as well as copy and pasted to another computer program. If you wish to have a printed copy of the User Manual, you can contact Coda Music's customer service department at 1.800.843.2066 or 1.952.937.9611.

If you were used to the original Finale documentation, rest assured that all information in volumes two and three have been included in the User Manual. The layout has been altered so that each chapter of a given tool or section has the appropriate volume two and three information.

The User Manual is linked within itself but is also divided into several chapters and sections. The following are major sections that take you to that specific part of the manual.

The Help text used in the file (Finale.hlp) that you are currently using via the Help buttons and the F1 key is based on the User Manual. If at any time you want more information than this smaller hlp file can offer, refer to the User Manual.

Table of Contents

Index

================

Keyboard Shortcuts

Engraver Font Character Map

Jazz Font Character Map

Maestro Font Character Map

What's New

================

How to Use the User Manual

See Also:

Help Menu


Help/User Manual/Table of Contents

Choose this menu item to launch Adobe Acrobat Reader and open the Table of Contents file of Finale's User Manual.

See Also:

User Manual


Help/User Manual/Index

Choose this menu item to launch Adobe Acrobat Reader and open the Index file of Finale's User Manual.

See Also:

User Manual


Help/User Manual/Keyboard Shortcuts

Choose this menu item to launch Adobe Acrobat Reader and open the Keyboard Shortcuts file of Finale's User Manual.

See Also:

User Manual


Help/User Manual/What's New

Choose this menu item to launch Adobe Acrobat Reader and open the What's New file of Finale's User Manual.

See Also:

User Manual


Help/User Manual/How to Use the User Manual

Choose this menu item to launch Adobe Acrobat Reader and open the How to Use the Manual of Finale's User Manual.

See Also:

User Manual


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


Help/About Finale

Choose About Finale to display the application version number and copyright information for Finale. Your registration number also appears on this Splash screen as well as a plethora of ways to reach Tech Support.

See Also:

Help Menu


HyperScribe Menu

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. This menu lets you make these settings, which have a great deal to do with the quality of the resulting transcription.

Beat Source

Record Mode

==================

HyperScribe Options

Transcription Mode

See Also:

Quantization Settings

Click and Countoff

Menus

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


HyperScribe/Beat Source

Use this submenu to 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


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.

For detailed information, see the Tap Source dialog box

See Also:

HyperScribe Menu

HyperScribe Tool


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, and if you want Finale play music in existing staves; the Playback and/or Click dialog box appears.

When Playback and/or Click is selected for the Beat Source, Finale uses the settings for the metronome click sound and the countoff measures specified in the Click and Countoff dialog box.

For detailed information, see the Playback and/or Click dialog box and the Click and Countoff dialog box

See Also:

HyperScribe Menu

HyperScribe Tool


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


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


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


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


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


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


Lyrics Menu

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 Select Default Fonts from the Options Menu).

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Lyrics/Edit Lyrics

Choose this command to enter the Edit Lyrics window. If you have copied lyrics from an external word processor, choose Paste from the Edit Menu, or 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 detailed information, see the Edit Lyrics window.

See Also:

Lyrics Menu

Lyrics Tool


Lyrics/Adjust Syllables

This command lets you move an individual syllable anywhere you want it. Click the staff above a syllable; a handle appears. Click a handle to select its syllable; Shift-click to select additional syllables attached to the same note. Drag a 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 Menu under the Lyrics Menu.

See Also:

Lyrics Menu

Lyrics Tool


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; click the staff to which you want to add lyrics (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) for as many notes as there are syllables.

For detailed information, see the Click Assignment dialog box.

See Also:

Lyrics Menu

Lyrics Tool


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.

Select the source measure, then drag the first selected measure so that it's superimposed on the first target measure. 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.

See Also:

Lyrics Menu

Lyrics Tool


Lyrics/Edit Word Extensions

A Word Extension is the underline that follows a syllable that's sustained beyond the note it's attached to.

To create a Word Extension, choose the 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.

See Also:

Lyrics Menu

Lyrics Tool


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


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


Lyrics/Alignment

Use the following menu items to align the selected syllables relative to the note they are attached to. If you wish to align all lyrics you may do so in Lyric Options. If you wish to be aligned with a celestial body, you'll have to look further than Finale.

Default

Center

Left

Right

See Also:

Lyrics Menu

Justification

Lyrics Tool


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 Lyric Options.

See Also:

Lyrics Menu

Lyrics Tool


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:

Lyric Options

Lyrics Tool


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:

Lyric Options

Lyrics Tool


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:

Lyric Options

Lyrics Tool


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 Lyric Options.

Default

Center

Left

Right

See Also:

Lyrics Menu

Alignment

Lyrics Tool


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 Lyric Options.

See Also:

Lyrics Menu

Alignment

Lyrics Tool


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:

Lyric Options

Lyrics Tool


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:

Lyric Options

Lyrics Tool


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 Lyric Options

Lyrics Tool


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


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


Lyrics/Lyric Options

Choose this command to display the Lyric Options dialog box. In this dialog box you can specify alignment, spacing and line thickness options.

See Also:

Lyrics Menu

Lyrics Tool


Mass Mover Menu

The Mass Mover Menu is one of the most important menus in Finale. Its commands transform your music in many powerful ways; it's called Mass Mover because it can make global changes to large selections of music at once. If you've told Finale you want to be able to select partial measures instead of only one-measure increments (by choosing Select Partial Measures from the Edit Menu), most of the Mass Mover 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-measure selections, except as noted otherwise.

Note: All commands in the Mass Mover Menu that affect a selected region of music (such as copying) can be interrupted. Simply press Escape to stop processing the command.

The Mass Mover Menu also contains commands for moving or copying music from one place to another. You can specify one of three ways to copy, and you can also specify which elements of the selected music you want copied - lyrics, chord symbols, articulations, notes, and so on.

In this menu, a check mark lets you know which action and which elements are currently selected. The Mass Mover Menu remembers your settings, even when you choose another tool and later return to the Mass Mover Tool.

You can also drag and drop measures between any open Finale document window. Drag between two windows on the same document, or between windows on different documents. Drag-enclose a region to select the measures in a document window that you want to copy to another window; drag the selected region of music to an unselected region in the destination window.

Copy and Replace

Copy and Insert

Mirror

=====================

Clear Entries and Smart Shapes

Clear Items

=====================

Copy Everything

Copy Entry Items

Copy Measure Items

=====================

Set SmartFind Source Region

Deselect SmartFind Source Region

Apply SmartFind and Paint

=====================

Change

Music Spacing

Rebar

Rebeam

Utilities

=====================

Apply Articulation

Move Layers

Retranscribe

Transpose

=====================

Lock Systems

Unlock Systems

Fit Music

See Also:

Menus

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Mass Mover/Copy and Replace

In this copying mode, Finale copies music (or selected musical elements) from the selected ("source") measures and pastes it into the "target" measures.

First, select a region of music; then drag the selected area so that it's superimposed on the beginning of the destination area. If Select Partial Measures is selected in the Mass Mover Menu, drag to the location of the precise beat where you want the material to be pasted; otherwise, drag to any point in the first measure of the destination region. Finale copies the specified musical elements of the source music to the target location, replacing that element of the music that's already there.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Copy and Insert

In this copying mode, Finale inserts a copy of the selected music just before the target measure. This command only works if you've specified that you want to copy notes (by choosing Copy Entry Items from the Mass Mover Menu); you can't insert any other items by themselves.

First, select a region of music, then drag the selected region so that it's superimposed on the beginning of the destination area. If Select Partial Measures is selected in the Mass Mover Menu, drag to the location of the precise beat where you want the material to be inserted; otherwise, drag to the measure before which you want the material inserted. Finale inserts a copy of the source material just before the beat or measure at which you release the mouse button. Note that Finale will automatically create enough new measures (in all staves) to accommodate the copied material, or rebar the piece as necessary.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Mirror

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 Mass Mover 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 Mirror from the Mass Mover Menu, the target measures will themselves be a mirror (of the mirror). If you've selected "Copy and Replace" or "Copy and Insert," however, the mirror you're copying will be turned into normal non-mirrored music.

See Also:

Mass Mover Menu

Mass Mover Tool

Mirror Tool


MassMover/Copy Everything

The Mass Mover Menu lets you specify which elements of the selected music you want copied. If there's a check mark beside Copy Everything, Finale assumes you intend to copy every element of the selected music - notes, markings, chord symbols, lyrics, changes in note size, stem and beam alterations, measure widths, key signatures, and so on. To specify only certain of these elements, choose either Copy Entry Items or Copy Measure Items.

See Also:

Mass Mover Menu

Mass Mover Tool


MassMover/Copy Entry Items

An entry is a note or rest; an entry item is anything attached to it: lyrics, articulations, chord symbols, and so on. When you select this item, a dialog box appears, listing entry items that you can select for copying. Your Mass Mover copying actions will only copy the selected items.

For detailed information, see the Entry Items dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


MassMover/Copy Measure Items

When you choose this command, Finale displays the Measure Items dialog box, listing various measure-related elements (Smart Shapes, measure widths, MIDI data, and so on) that you can select for copying. For a complete list that includes descriptions of these elements, see Measure Items dialog box. When this item is selected, your Mass Mover copying actions will only copy the selected items.

For detailed information, see the Measure Items dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Clear Items

Choose this menu item to display the Items to Clear dialog box, which lets you specify either Measure or Entry (note-related) items to erase. Either selection displays another dialog box (see Measure Items dialog box or Entry Items dialog box), listing every possible erasable item. 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 Items dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


Measure/Multimeasure Rest

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...

See Also:

Measure Menu


Measure/Multimeasure Rest/Break

Use this command in Page View to separate the multimeasure rests in the selected region into separate measures of rests. Use this command if you don't want the measures grouped together, or if you want to combine them into a different multimeasure rest grouping.

See Also:

Measure Menu


Measure/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 the Multimeasure Rest dialog box in the Options Menu.

See Also:

Measure Menu


Measure/Multimeasure Rest/Edit

Use this command in Page View to change the display for an occasional individual multimeasure rest in the score -- if you need to adjust for a clef change, for example. Finale changes the appearance of the first multimeasure rest in the selected region.

For detailed information, see the Multimeasure Rest dialog box.

See Also:

Measure Menu


Mass Mover/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:

Mass Mover Menu

Articulation Tool

Mass Mover Tool


Mass Mover/Set SmartFind Source Region

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 Mass Mover 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.

See Also:

SmartFind and Paint

Mass Mover Menu

Articulation Tool

Mass Mover Tool


Mass Mover/Deselect SmartFind Source Region

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

Mass Mover Menu

Articulation Tool

Mass Mover Tool


Mass Mover/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:

Mass Mover Menu

Articulation Tool

Mass Mover Tool


Mass Mover/Change

Use the commands in this submenu, to change certain aspects of a selected region all at once - make all the barlines invisible, all the measures wider, all the notes smaller, and so on.

Articulation Assignments

Chord Assignments

Note Expression Assignments

Ties

Tuplets

Note Durations

Noteheads

Note Size

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Change/Articulation Assignments

Choose Articulation Assignments 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:

Mass Mover Menu

Articulation Tool

Mass Mover Tool


Mass Mover/Change/Chord Assignments

Choose Chord Assignments 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:

Mass Mover Menu

Chord Tool

Mass Mover Tool


Mass Mover/Change/Note Expression Assignments

Choose Note Expression Assignments 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:

 Mass Mover Menu

Mass Mover Tool


MassMover/Change/Ties

Change tie settings of a region of music selected with the Mass Mover 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:

Mass Mover Menu

Mass Mover Tool


MassMover/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 dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool

Tuplet Tool


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Change/Note Size

Use Note Size to change the size of the notes in the selected region - to create cue notes, for example.

For detailed information, see the Change Note Size dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities

The Utilities command offers a selection of miscellaneous transformation commands.

Check Accidentals

Check Elapsed Time

Check Ties

Convert Mirrors

Explode Music

Fill With Rests

Freeze Stems Down

Freeze Stems Up

Implode Music

Remove Manual Slur Adjustments

Remove Stem Changes

Respell Notes

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities/Check 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:

Mass Mover Menu

Mass Mover Tool

Mass Mover/Utilities/Check Ties


Mass Mover/Utilities/Check Elapsed Time

Choose this command to verify the real-time length of the selected region of music.

For detailed information, see the Elapsed Time dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities/Check Ties

After you change tied notes, 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 it's tied to. Choose the Check Ties command to correct all ties within the selected region.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities/Fill With Rests

This command checks a selected region of music for rhythmically incomplete measures and automatically fills them with the correct number of rests. This command works on incomplete measures, but will not affect completely empty measures.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities/Freeze Stems 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 (Options Menu), Finale again chooses stem directions automatically. You can manually flip a region of stem down, though, by choosing Freeze Stems Down.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities/Freeze Stems 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 (Options Menu), Finale again chooses stem directions automatically. You can manually flip a region of stems up, though, by choosing Freeze Stems Up.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Utilities/Implode Music

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 command, which only affects full-measure selections, displays a dialog box in which you can specify how you want Finale to implode the music.

For detailed information, see the Implode Music dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


MassMover/Utilities/Remove Manual Slur Adjustments

To restore Smart Shape slurs to their default shape (as defined in the Smart Slur Options dialog box), select the region and choose Remove Manual Slur Adjustments.

See Also:

Mass Mover Menu

Mass Mover Tool

Smart Shape Tool


Mass Mover/Utilities/Remove Stem Changes

To restore stems that have been "frozen" stems (using the Freeze Stems Down or Freeze Stems Up commands) to stems that can flip depending on the notes' pitches, select the region and choose Remove Stem Changes. This command also removes any Reverse, Double, or Split Stem editing you've done with Special Tools.

See Also:

Mass Mover Menu

Mass Mover Tool

Special Tools Tool


Mass Mover/Utilities/Respell Notes

When you choose Respell Notes, Finale re-transcribes 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.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/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.

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:

Mass Mover Menu

Music Spacing Options


Mass Mover/Music Spacing/Apply Beat Spacing

If you Apply Beat Spacing to the selected music, Finale calculates the position of each beat in the measure according to the total duration of its notes; 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).

See Also:

Mass Mover Menu

Mass Mover Tool

Music Spacing Options


Mass Mover/Music Spacing/Apply Note Spacing

Choose Apply Note Spacing 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:

Mass Mover Menu

Mass Mover Tool

Music Spacing Options


Mass Mover/Music Spacing/Apply Time Signature Spacing

You can also choose Apply Time Signature Spacing, which restores notes to linear spacing, where a half note gets exactly twice as much space as a quarter note.

See Also:

Mass Mover Menu

Mass Mover Tool

Music Spacing Options


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Rebar

Use this submenu to control how far into the selection Finale will redistribute the notes when you choose the Rebar Music command.

Rebar Music

Rebar Options

See Also:

Mass Mover Menu


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/Rebeam

When you enter notes into Finale, it beams eighth notes (and smaller values) automatically, according to the time signature. For example, when the bottom number of the time signature is a 4 (meaning that the basic beat is a quarter note), eighth notes are beamed in pairs (quarter-note groupings).

Using the Rebeam commands, however, you can change the beaming patterns for notes you've already added to the score.

Rebeam Music

Rebeam to Time Signature

Rebeam to Lyrics

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


Mass Mover/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:

Mass Mover Menu

Mass Mover Tool


MassMover/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:

Mass Mover Menu

Lyrics Tool

Mass Mover Tool


Mass Mover/Retranscribe

This command renotates the selected music, regardless of whether the music contains recorded MIDI data. For example, Retranscribe enables you to renotate a recorded HyperScribe session using the settings that you specify in the Quantization Settings dialog box.

For detailed information, see the Quantization Settings dialog box.

See Also:

File Menu

HyperScribe Tool

Mass Mover Tool


Mass Mover/Fit Music

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 Music 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. (This command only works on full-measure selections.)

For detailed information, see the Fit Music dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


Mass Mover/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 command Show (Hide) System Locks.

See Also:

Unlock Systems

Mass Mover Menu

Mass Mover Tool


Mass Mover/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

Mass Mover Menu

Mass Mover Tool


Mass Mover/Move 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. This command only affects full-measure selections.

For detailed information, see the Move Layers dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool


MIDI Menu

The MIDI Menu contains items specific to your MIDI setup and usage.

MIDI Setup

MIDI Thru

Import MIDI File Options

Export MIDI File Options

Send MIDI Value

Send MIDI Sync

MicNotator

=====================

All Notes Off

=====================

Start Playback

Stop Playback

=====================

16-bit MIDI Driver

32-bit MIDI Driver (Windows NT)

See Also:

Menus

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Menu


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 Menu


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:

File Menu

MIDI Menu


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 Menu


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 Menu

MIDI Tool


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 Menu


MIDI/MicNotator

This command displays the MicNotator dialog box, where you can set up options for the MicNotator feature. With MicNotator, Finale converts the pitch you play in a microphone into a MIDI note when you use Speedy Entry or HyperScribe.

See Also:

MIDI Menu

MicNotator


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.

See Also:

MIDI Menu


MIDI/Start Playback

Choose this menu item to start the playback.

See Also:

MIDI Menu

Playback Controls


MIDI/Stop Playback

Choose this menu item to stop the playback.

See Also:

MIDI Menu

Playback Controls


MIDI/16-bit MIDI Driver

Choose this menu item to use the MIDI driver designed for Windows 95/98.

See Also:

MIDI Menu


MIDI/32-bit MIDI Driver

Choose this menu item to use the MIDI driver designed for Windows NT.

See Also:

MIDI Menu


MicNotator

How to get there

From the MIDI Menu, choose MicNotator. If the MicNotator is unavailable in the menu, make sure the 32-bit MIDI driver is selected.

What it does

This dialog box allows you to set up options for the MicNotator feature. With MicNotator, Finale converts the pitch you play in a microphone into a MIDI note when you use Speedy Entry or HyperScribe. Check the Enable box to use the MicNotator feature in Speedy Entry and HyperScribe. You should use the levels meter to fine-tune your microphone input.

•	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 Speedy Entry or HyperScribe.

•	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 impair MicNotator’s pitch recognition.

•	Recording Options: Channel. Specify your input channel.

•	Mic Options: Mic Source • Mic Thru Speaker. Select an input source from drop-down list. Check the Mic Thru box to have the microphone play through your speaker.

•	Microsoft® Volume Controls: Output • Input. These button open the Volume Controls of your Windows operating system.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, your MicNotator settings and return to the score.

For more detailed instructions, see MicNotator in the User Manual.

See Also:

MIDI Menu

Speedy Entry Tool

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


MIDI Tool Menu

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 select the section of your notated score whose captured MIDI data you want to edit. Click the MIDI Tool. If the region is large, select the measures exactly as you would with the Mass Mover 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 file. 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.

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 Mass Mover Tool to copy music. Be sure the MIDI data type you want to manipulate is selected in the MIDI 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. 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 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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


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 command 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.

After you select this command, a check mark appears beside it in the MIDI Tool Menu.

See Also:

MIDI Tool Menu

MIDI Tool


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 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


MIDI Tool/Set To

When you choose this command, the Set To dialog box or the Set Patch To dialog box appears, in which you can set the values of the specified MIDI data type (velocity, durations, or continuous data, or patch) 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).

For detailed information, see the following dialog boxes.

Set To - Key Velocities

Set To - Note Durations (Start - Stop Times)

Set To - Continuous Data

Set Patch To

See Also:

MIDI Tool Menu

MIDI Tool


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. This command is also useful for creating pitch bends.

For detailed information, see the following dialog boxes.

Scale - Key Velocities

Scale - Note Durations

Scale - Continuous Data

See Also:

MIDI Tool Menu

MIDI Tool


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

See Also:

MIDI Tool Menu

MIDI Tool


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

See Also:

MIDI Tool Menu

MIDI Tool


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


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


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


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


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


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 Menu.)

See Also:

MIDI Tool Menu

MIDI Tool


Note Mover Menu

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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


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


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


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


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 the Document Options dialog box.

See Also:

Note Mover Menu

Note Mover Tool


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


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


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


Search Menu

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 (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 and Alteration for Slot dialog boxes.

See Also:

Menus

Note Mover Tool


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


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


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


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


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


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 Menu

Page Layout Tool


Page Layout/Delete Blank Pages

Choose this command to display the Delete Blank Pages dialog box in which you can delete blank pages in your score.

For detailed information, see the Delete Blank Pages dialog box.

See Also:

Page Layout Menu

Page Layout Tool


Page Layout/Insert Page Break

Select a system, then choose this command to force the system to always appear at the top of a page.

See Also:

Page Layout Menu

Page Layout Tool


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 Menu

Page Layout Tool


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:

Insert Staff Systems

Page Layout Menu

Page Layout Tool


Page Layout/Delete Staff Systems

This command deletes the selected systems.

See Also:

Page Layout Menu

Page Layout Tool


Page Layout/Redefine Pages

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

All Pages

Left Pages

Right Pages

Selected Pages

See Also:

Page Layout Menu

Page Layout Tool


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 Menu

Page Layout Tool

Staff Tool


Page Layout/Fit Music

This command displays the Fit Music dialog box, which lets you specify how many measures you want on a line (in each system). See Fit Music dialog box.

See Also:

Page Layout Menu

Page Layout Tool


Page Layout/Avoid Margin Collisions

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 Menu

Page Layout Tool


Shape Designer Menu

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Shape Designer Edit/Cut

After selecting one or more elements with the Selection Tool (by drag-enclosing or shift-clicking), choose Cut to place the selected elements on the Clipboard and simultaneously remove them from the Shape Designer drawing area. Once the elements are on the Clipboard, you can paste them into the drawing area as many times as you'd like.

See Also:

Shape Designer Menu


Shape Designer Edit/Copy

After selecting one or more elements with the Selection Tool (by drag-enclosing or shift-clicking), choose Copy to place the selected elements on the Clipboard without removing them from the Shape Designer drawing area. Once the elements are on the Clipboard, you can paste them into the drawing area as many times as you'd like.

See Also:

Shape Designer Menu


Shape Designer Edit/Paste

After using the Cut or Copy command to place elements on the Clipboard, choose Paste to place the elements into the drawing area. You can paste them into the drawing area as many times as you'd like.

See Also:

Shape Designer Menu


Shape Designer Edit/Select All

Choose Select All to select every element in the Shape Designer drawing area.

See Also:

Shape Designer Menu


Shape/Show
Shape Designer/Show

Using this submenu, you can make Finale display or hide any of three 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.)

Show Rulers

Show Grid

Show Origin

Staff Template

See Also:

Shape Designer Menu


Shape/Show/Rulers
Shape Designer/Show 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


Shape/Show/Grid
Shape Designer/Show 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


Shape/Show/Origin
Shape Designer/Show 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


Shape/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 selecting an object and choosing Send to Back to place it behind the other object.

See Also:

Shape Designer Menu


Shape/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 selecting an object and choosing Bring to Front to place it in front of the other object.

See Also:

Shape Designer Menu


Shape/Group
Shape Designer/Group

Using the 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.

See Also:

Shape Designer Menu


Shape/Ungroup
Shape Designer/Ungroup

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


Shape/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


Shape/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


Shape/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


Shape/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


Shape/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:

Shape Designer Menu


Shape/Line Thickness/None
Line Thickness/None

Choose None if you do not want the line or outline to appear.

See Also:

Shape Designer Menu


Shape/Line Thickness/Hairline
Line Thickness/Hairline

Choose this command to specify a hairline line thickness of .25 points.

See Also:

Shape Designer Menu


Shape/Line Thickness/.5pt
Line Thickness/.5pt

Choose this command to specify a line thickness of .5 points.

See Also:

Shape Designer Menu


Shape/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


Shape/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


Shape/Line Thickness/2 pt
Line Thickness/2pt

Choose this command to specify a line thickness of 2 points.

See Also:

Shape Designer Menu


Shape/Line Thickness/5pt
Line Thickness/5pt

Choose this command to specify a line thickness of 5 points.

See Also:

Shape Designer Menu


Shape/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


Shape/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:

Shape Designer Menu


Shape/Fill/None
Fill/None

Choose None if you do not want the shape to be filled at all.

See Also:

Shape Designer Menu


Shape/Fill/White
Fill/White

Choose this command if you want the object filled with white (0%).

See Also:

Shape Designer Menu


Shape/Fill/25%
Fill/25%

Choose this command if you want the object filled with light gray (25%).

See Also:

Shape Designer Menu


Shape/Fill/50%
Fill/50%

Choose this command if you want the object filled with medium gray (50%).

See Also:

Shape Designer Menu


Shape/Fill/75%
Fill/75%

Choose this command if you want the object filled with dark gray (75%).

See Also:

Shape Designer Menu


Shape/Fill/Black
Fill/Black

Choose this command if you want the object filled with black (100%).

See Also:

Shape Designer Menu


Shape/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


Shape/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


Shape/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


Simple Menu

This menu controls the handling of extra notes, playback while using Simple Entry, padding a measure with rests when you leave the measure and whether to select the note you just entered.

Check For Extra Notes

Playback

Fill With Rests

Select Notes on Entry

See Also:

Menus

Simple Entry Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Smart Shape Menu

The Smart Shape Menu gives you control over the global settings for note-attached slurs and  measure-based Smart Shapes. 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.

Slur Contour

Smart Shape Placement

Smart Shape Options

Smart Slur Options

==================

Attach to Measures

Attach to Notes

Attach to Noteheads

Slur Direction

See Also:

Menus

Smart Shape Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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


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. Hint: 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


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


Smart Shape/Smart Slur Options

This command displays the Smart Slur Options dialog box where you can set various parameters regarding slurs and enable Engraver slurs.

For detailed information, see Smart Slur Options dialog box.

See Also:

Smart Shape Menu

Smart Shape Tool


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


Smart Shape/Direction

Use the commands in this submenu to determine whether Finale draws a note-attached slur in the direction dictated by the notes in the score, or whether Finale always draws an over or under slur regardless of the notes.

Flip

Automatic

Over

Under

See Also:

Smart Shape Menu

Smart Shape Tool


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:

Slur Direction-Automatic

Slur Direction-Over

Slur Direction-Under

Smart Shape Slur Direction

Smart Shape Tool


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 Menu

Smart Shape Tool


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 Menu

Smart Shape Tool


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 Menu

Smart Shape Tool


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


Special Tools/Update

When Update is selected, Finale draws the selected item when you drag its 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-axis 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


Special Tools/Show Crosshairs

When this command is selected, vertical and horizontal lines appear when you drag the handle of a Special Tools object. These lines help you position the element in the score. When this command is not selected, the lines will not appear when you drag an item.

See Also:

Special Tools Menu

Special Tools


Speedy Menu

This menu contains six settings that govern the music-entry operation of the Speedy Entry Tool.

Speedy Options

Use MIDI Keyboard 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Speedy/Speedy Options

Choose this command to open the Speedy Options dialog box where you can specify the size of the Speedy Edit frame.

See Also:

Speedy Options

Speedy Menu

Speedy Entry Tool


Speedy/Use MIDI Keyboard 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


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 feature is linked to the Simple Menu's Playback command. If you turn off Speedy's Playback, you also turn off Simple's Playback; and vice versa.

See Also:

Speedy Menu

Speedy Entry Tool

Simple Menu


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


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


Speedy/Check Beaming

When this item is selected (displays a check mark 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 Also:

Speedy Menu

Speedy Entry Tool


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


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


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.

Hint: You may prefer to have this item selected for tablature staves, but unselected for percussion staves.

See Also:

Speedy Menu

Speedy Entry Tool


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


Speedy/Auto Freeze Accidentals

When this item is selected (displays a check mark in the menu), Finale automatically freezes accidentals when you show or hide them by pressing the asterisk key (*). The advantage of freezing the display of accidentals is that they are never removed from a note even if you insert a note of the same pitch before it.

Unless an accidental is frozen, Finale scans a measure to determine what accidentals should be displayed according to general notation rules.

Note: If you would rather not automatically freeze the display of each accidental that you show or hide, deselect this option, then individually freeze the display of an accidental by pressing Ctrl -asterisk.

See Also:

Speedy Menu

Speedy Entry Tool


Speedy/Insert Notes or Rests

When this item 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 control-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-0 (zero).

See Also:

Speedy Menu

Speedy Entry Tool


Speedy/Speedy Edit Commands

This submenu lists the Speedy Edit  commands and their keyboard shortcuts.  Select the desired option from the menu, or just use the menu as a reminder for the keyboard shortcut.

Add Note

Delete Note

Delete Entry

Show/Hide Entry

================

Raise Half Step

Lower Half Step

Raise Half Step (entire measure)

Lower Half Step (entire measure)

================

Show/Hide Accidental

Freeze/Unfreeze Accidental

Enharmonic

Enharmonic (entire measure)

Add/Remove Accidental Parentheses

================

Flip Stem Direction

Set Stem Direction to Automatic

Break/Join Beam

Flat Beam

================

Tie/Untie to Next Note

Tie/Untie to Prev Note

================

Add Dot

Grace Note

Slash Flagged Grace Note

Freeze/Float Rest

See Also:

Speedy Menu

Speedy Entry Tool


Speedy/Speedy Navigation

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 shortcut.

Previous Measure

Next Measure

Next Layer

Change Voice

Up a Staff

Down a Staff

Start of Measure

End of Measure

Previous Note

Next Note

Up a Step

Down a Step

See Also:

Speedy Menu

Speedy Entry Tool


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


Staff Menu

Use this menu to add or insert blank staves into the score, 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 in the score, and set the spacing between staves. Create groups of staves 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 (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

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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


Staff/Delete Staves

Select the staff or staves that you want removed from the score, then choose this command to remove the selected staves and leave the remaining staves in their current positions.

Shortcut: Select the staves then press Delete.

See Also:

Staff Menu

Staff Tool


Staff/Delete Staves and Reposition

Select the staff or staves that you want removed from the score, then choose this command 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.

Shortcut: Select the staves then press Shift-Delete.

See Also:

Staff Menu

Staff Tool


Staff/Edit Staff Attributes

Choose this command to display the Staff Attributes dialog box where you can change characteristics such as name and transposition for the selected staff.

Shortcut: Double-click the staff.

For detailed information, see the Staff Attributes dialog box.

See Also:

Staff Menu

Staff Tool


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


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


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


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


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


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


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


Staff/Set Default Name Positions

Use this submenu to set up the default position and alignment for all full and abbreviated staff and group names in the score.

Full Staff Names

Abbreviated Staff Names

Full Group Names

Abbreviated Group Names

See Also:

Staff Menu

Staff Tool


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


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


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


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


Staff/Position Names

Use this submenu to adjust the position and alignment of full and abbreviated staff and group names in the score for an individual staff or group.

Full Staff Name

Abbreviated Staff Name

Full Group Name

Abbreviated Group Name

See Also:

Staff Menu

Staff Tool


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


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


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


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


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


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


Text Menu

This 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 (or text blocks). This menu contains all the commands you need for changing fonts, sizes, styles, and other character formatting for text, as well as justification and line spacing for text blocks. You can also use the Text Menu to display, edit, and adjust measure-assigned or page-assigned text blocks. Use it to 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

Placement

================

Frame Attributes

Line Spacing

Show Only On Screen

Word Wrap

================

Edit Text

================

Assign to Measure

Assign to Page

See Also:

Menus

Text Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Text/Font

Choose this command 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


Text/Size

Use this submenu to change the point size of the selected text. Choose Other to specify a different font size than appears in the menu. A checkmark indicates the current point size.

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


Text/Style

Use this submenu to select a style or combination of styles for the selected text.

Plain

Bold

Italic

Underline

Strikeout

See Also:

Text Menu

Text Tool


Text/Style/Plain
Style/Plain

Select this command to remove all other type style changes for the selected text.

See Also:

Text Menu

Text Tool


Text/Style/Bold
Style/Bold

Select this command to apply the specified type style 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


Text/Style/Italic
Style/Italic

Select this command to apply the specified type style 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


Text/Style/Underline
Style/Underline

Select this command to apply the specified type style 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


Text/Style/Strikeout
Style/Strikeout

Select this command to apply the specified type style 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


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


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


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


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


Text/Inserts

Use this submenu to add inserts in the text block you're currently creating or editing. The current date, time, page number, or other insert appears at the insertion point.

Finale updates inserts each time the screen is redrawn. An outline appears around inserts to remind you of their special function.

Date

Time

Page Number

Filename

Composer

Title

Copyright

Description

Sharp

Flat

Natural

Double Sharp

Double Flat

================

Symbol

See Also:

Text Menu

Text Tool


Text/Insert/Date
Insert/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 by the Document Options dialog box, 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


Text/Insert/Time
Insert/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 by the Document Options dialog box, 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


Text/Insert/Page number
Insert/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


Text/Insert/Filename
Insert/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:

Text Menu

Text Tool


Text/Insert/Composer
Insert/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


Text/Insert/Title
Insert/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:

Text Menu

Text Tool


Text/Insert/Copyright
Insert/Copyright

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


Text/Insert/Description
Insert/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


Text/Insert/Sharp
Insert/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.

Choose Text Inserts from the Document Settings submenu of the Options Menu to display the Text Inserts dialog box. 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 Text Inserts dialog box.

See Also:

Text Menu

Text Tool


Text/Insert/Flat
Insert/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.

Choose Text Inserts from the Document Settings submenu of the Options Menu to display the Text Inserts dialog box. 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 Text Inserts dialog box.

See Also:

Text Menu

Text Tool


Text/Insert/Natural
Insert/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.

Choose Text Inserts from the Document Settings submenu of the Options Menu to display the Text Inserts dialog box. 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 Text Inserts dialog box.

See Also:

Text Menu

Text Tool


Text/Insert/Double Sharp
Insert/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.

Choose Text Inserts from the Document Settings submenu of the Options Menu to display the Text Inserts dialog box. 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 Text Inserts dialog box.

See Also:

Text Menu

Text Tool


Text/Insert/Double Flat
Insert/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.

Choose Text Inserts from the Document Settings submenu of the Options Menu to display the Text Inserts dialog box. 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 Text Inserts dialog box.

See Also:

Text Menu

Text Tool


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


Text/Justification

Use this submenu to select how you want the text positioned within a frame. A checkmark indicates the justification in effect for the selected text block.

Left

Right

Center

Full

Forced Full

Expand Single Word

See Also:

Text Menu

Text Tool


Justification/Left

Choose this command to place each line of text flush with the left edge of the frame. A checkmark indicates that this justification style has been applied for the selected text block.

See Also:

Text Menu

Text Tool


Justification/Right

Choose this command to place each line of text flush with the right edge of the frame. A checkmark indicates that this justification style has been applied for the selected text block.

See Also:

Text Menu

Text Tool


Justification/Center

Choose this command to center each line of text between the left and right edges of the frame. A checkmark indicates that this justification style has been applied for the selected text block.

See Also:

Text Menu

Text Tool


Justification/Full

Choose this command to spread each line of text evenly between the left and right edges of the frame, except for the last line, which is always left-justified. Any line of text ending with a carriage return will also be left-justified. A checkmark indicates that this justification style has been applied for the selected text block.

See Also:

Text Menu

Text Tool


Justification/Forced Full

Choose this command to spread each line of text evenly between the left and right edges of the frame, including the last line. Lines of text ending with carriage returns will also be full-justified. A checkmark indicates that this justification style has been applied for the selected text block.

See Also:

Text Menu

Text Tool


Justification/Expand Single Word

This command is available only when Full or Forced Full is selected in the Justification submenu. Expand Single Word affects lines of text containing only one word. When selected, Finale spreads the letters of a word evenly between the left and right edges of the frame. Otherwise, all lines containing a single word are left-justified.

Note that if the text is Full justified, the last line is always left-justified, even if it contains only one word. If the text is Forced Full justified, and Expand Single Word is selected, the last line will be full-justified.

See Also:

Text Menu

Text Tool


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


Text/Word Wrap

Deselect this option to disable word wrapping in text blocks.

See Also:

Text Menu

Text Tool


Text/Assign to Measure

Use this command to create text blocks that are attached to a particular measure 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


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


Transcription Menu

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


Trans/Split Point
Transcription/Split Point

If you plan to transcribe onto two staves at once - for a keyboard piece, for example - you need to specify a point on the keyboard at which Finale should split your performance into right- and left-hand parts.

None

Fixed

Moving

See Also:

Transcription Menu


Trans/Split Point/None
Split Point/None

Choose None if you want the entire transcription written on a single staff.

See Also:

Transcription Menu


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


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


Transcription File/New

The Transcription window contains a  File Menu for opening and saving Note (.NOT) files. Note files are special Finale files that contain all the recorded MIDI information from the music that you play into the Transcription window. Your recorded performance (or the Note file) is represented as "piano roll" notation - lines that indicate the duration and pitch for each recorded note.

New

Clears the note display area, and prepares the Transcription window for the next "track" you want to play in.

See Also:

Transcription Menu


Transcription File/Open

The Transcription window contains a  File Menu for opening and saving Note (.NOT) files. Note files are special Finale files that contain all the recorded MIDI information from the music that you play into the Transcription window. Your recorded performance (or the Note file) is represented as "piano roll" notation - lines that indicate the duration and pitch for each recorded note.

Open

Opens an existing Note (.NOT) file. The Note file you open will be represented by "piano roll" notation in the Transcription window's note display area.

See Also:

Transcription Menu


Transcription File/Save As

The Transcription window contains a  File Menu for opening and saving Note (.NOT) files. Note files are special Finale files that contain all the recorded MIDI information from the music that you play into the Transcription window. Your recorded performance (or the Note file) is represented as "piano roll" notation - lines that indicate the duration and pitch for each recorded note.

Save As

Saves the current recorded performance in the Transcription window  to disk, using the name that you specify. For example, if you're transcribing music for a client, you may want to have the person record the tracks for each song, saving each track in a separate Note file. You can transcribe the Note files at a later, saving your client valuable time.

See Also:

Transcription Menu


Transcription Edit/Select All

The Transcription window contains an Edit Menu for selecting the music in the Transcription window's note display area.

Select All

Selects all the music in the Transcription window's note display area. Hint: To select only a some of the music, drag to select only the music that you want to select, or use the In or Out counters in the Transcription window.

See Also:

Transcription Menu


Transcription Options/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:

Transcription Menu


Transcription Options/MIDI Thru

If you prefer to use one keyboard as a controller and another device as the sound source, choose this command to specify your MIDI Thru preferences.

For detailed information, see the MIDI Thru dialog box.

See Also:

Transcription Menu


Transcription Options/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.

See Also:

Transcription Menu


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


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


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


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


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

==============================

Create Tags From Background File

Align Tags to Notes


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


Time Tag/Create Tags from Background File

This command is only available if you're using a Background File, Finale's "overdubbing tracks" mechanism.

In a true sequencer program, you can record one track while listening to a previously recorded track. In Finale, you achieve this effect by transcribing the first track, creating a playback file from it and reentering the Transcription Window. Finale automatically loads the playback file into the "background" of the new transcription window (and places an X in the Background File checkbox). Thus, you hear the earlier tracks being playing back while you record the new material.

The "Create Tags From Background File" command adds an extra convenience to this system. Since any new tracks you record are presumably in the same time signature and tempo as the first one you transcribed, you don't have to rerecord Time Tags in order to transcribe additional tracks, because Time Tags were already created with the first transcribed track.

When you choose this command, Finale adds Time Tags to the selected region of your most recent recording automatically, based on the positions of the Time Tags in the Background (Playback) File (which contains the playback of the tracks you've already transcribed). You still need to insert Measure Tags, however - choose "Assign Measure Tags" from the Time Tag Menu.

You should also choose Align Tags to Notes from the Time Tag Menu to get a more accurate transcription. But if you want to preserve the rhythmic nuances of your new track so that it plays back as accurately as possible once it's transcribed, don't select Align Tags to Notes, even though the transcription may not be as accurate.

See Also:

Time Tag Menu


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


View Menu

This menu contains commands pertaining to your view of the score. You can never change the score 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, rearrange the tool palette, or enable one of several speed-enhancing features.

Scroll View

Page View

=====================

Home Position

Redraw Screen

Redraw Options

Select Display Colors

=====================

Scale View

Select Staff Set

Bookmarks

Customize Tool Palettes

=====================

Grid/Guide Options

Show Grid

Show Guides

Show Rulers

Show Margins

Show Page Layout Icons

=====================

Select Layers

Show Active Layer Only

Show Multiple Pages

Show PostScript Preview

See Also:

Menus

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


View/Scroll View

Finale offers you the choice of two views of your music: Scroll View, where the music is a continuous horizontal band, and Page View, where the music is laid out like a page of sheet music. Most of Finale's tools work equally well in either mode, although you'll find that your computer redraws the screen faster in Scroll View than in Page View. Press Ctrl-E to switch from one view to another.

See Also:

View Menu


View/Page View

Finale offers you the choice of two views of your music: Scroll View, where the music is a continuous horizontal band, and Page View, where the music is laid out like a page of sheet music. Most of Finale's tools work equally well in either mode, although you'll find that your computer redraws the screen faster in Scroll View than in Page View. Press Ctrl-E to switch from one view to another.

See Also:

View Menu


View/Home Position

Choose this command to return to the first measure in the score (in Scroll View) or the upper-left corner of the current page (in Page View), no matter where you are in the piece.

See Also:

View Menu


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


View/Redraw Options

Choose this command to display the Redraw Options dialog box, where you can find a number of useful preference settings that have to do with screen redraw. For example, you can tell Finale not to draw the lyrics on screen, or only to redraw the screen when you explicitly tell it to.

For detailed information, see the Redraw Options dialog box.

See Also:

View Menu


View/Select Display Colors

Choose this command to display the Select Display Colors dialog box. The Select Display Colors dialog box 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 -- not for printing.

For detailed information, see the Select Display Colors dialog box.

See Also:

View Menu


View/Scale View to
View/Scale View

The Scale View to 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.

Scale View to 400%

Scale View to 200%

Scale View to 100%

Scale View to 75%

Scale View to 50%

Scale View to Other

Scale View to Last Size

Scale View to Fit in Window

See Also:

View Menu

Scale View

Zoom Tool


Scale View to 400%
Scale View/Scale View to 400%

To change your view of the score to 400%, just choose this command from the submenu. (You can also use Ctrl-4)

See Also:

View Menu

Zoom Tool


Scale View to 200%
Scale View/Scale View to 200%

To change your view of the score to 200%, just choose this command from the submenu. (You can also use the Ctrl-2.)

See Also:

View Menu

Zoom Tool


Scale View to 100%
Scale View/Scale View to 100%

To change your view of the score to 100% (actual size), just choose this command from the submenu. (You can also use the Ctrl-1.)

See Also:

View Menu

Zoom Tool


Scale View to 75%
Scale View/Scale View to 75%

To change your view of the score to 75%, just choose this command from the submenu. (You can also use the Ctrl-7.)

See Also:

View Menu

Zoom Tool


Scale View to 50%
Scale View/Scale View to 50%

To change your view of the score to 50%, just choose this command from the submenu. (You can also use the Ctrl-5.)

See Also:

View Menu

Zoom Tool


Scale View to Other
View/Scale View to Other

If you choose Other, the Scale View 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


Scale View to Last Size
Scale View/Scale View to 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


Scale View to Fit in Window
Scale View/Scale View to 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


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 score.

To create a staff template, 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 Select 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. Note that Finale prints all staves (and displays all staves in Page View), however, no matter which are visible in Scroll 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


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


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


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


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


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


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


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


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


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


View/Bookmarks

Use the first two commands in this submenu to add, and edit bookmarks in your score. 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.  Each bookmark you create appears at the bottom of this submenu, so that you can select the bookmark to jump to that place in the score.

Add Bookmark

Edit Bookmarks

See Also:

View Menu


Bookmarks/Add Bookmark

Choose this command 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


Bookmarks/Edit Bookmarks
Bookmarks/Edit Bookmark

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


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 Options Menu.

See Also:

View Menu


View/Show Margins

Choose this command to display the page margins and staff system margins when you're in Page View.

See Also:

View Menu


View/Show Page Layout Icons

Choose this command to show icons indicating which staff systems are "locked" against reflowing when performing an Update Page Layout command (unless you have selected Remove Fit Measure Groupings). The systems are locked when you use the Fit Music command in the Mass Mover Menu and when you move measures using the arrow keys in Mass Mover. Use L and U commands to Lock and Unlock selected systems when in Mass Mover.

For More information see: Update Layout Options and Fit Music dialog box

See Also:

View Menu

Mass Mover Tool


View/Select Layers

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


Select Layers/Layer 1

Choose this option to make layer 1 the active layer for note entry and editing.

See Also:

View Menu


Select Layers/Layer 2

Choose this option to make layer 2 the active layer for note entry and editing.

See Also:

View Menu


Select Layers/Layer 3

Choose this option to make layer 3 the active layer for note entry and editing.

See Also:

View Menu


Select Layers/Layer 4

Choose this option to make layer 4 the active layer for note entry and editing.

See Also:

View Menu


View/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 Mass Mover 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:

View Menu


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 "Scale View to" submenu. In any case, you can only edit the music on the first displayed page.

See Also:

View Menu


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


Options Menu

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 an Options 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 file - its layout and positioning variables, for example, or the fonts, musical symbols, and clefs it uses.

Measurement Units

=================

Enharmonic Spelling

Movable Items

=================

Program Options

Update Layout Options

==================

Document Settings

Display in Concert Pitch

Select Default Fonts

Data Check

==================

Click and Countoff

Playback Options

==================

Quantization Settings

See Also:

Menus

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Options/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.

EVPU's

Inches

Centimeters

Points

Picas

Spaces

See Also:

Options Menu


Measurement Units/EVPUs
Measurement Units/EVPU's

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:

Options Menu


Measurement Units/Inches

Choose this command to display the measurements in inches.

See Also:

Options Menu


Measurement Units/Centimeters

Choose this command to display the measurements in centimeters.

See Also:

Options Menu


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:

Options Menu


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:

Options Menu


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:

Options Menu


Options/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 Mass Edit's Retranscribe or 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:

Options Menu


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:

Options/Enharmonic Spelling


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:

Options/Enharmonic Spelling


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:

Options/Enharmonic Spelling


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:

Options/Enharmonic Spelling


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


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


Options/Movable Items

Choose this command to set up the amount that Finale moves items when you press the arrows keys to move Special Tools' items on screen. You can also determine whether you want Finale to automatically constrain dragging to horizontal and vertical movements, or if you prefer to drag items in any direction. (You can press Shift to temporarily allow constrained or unconstrained dragging.)

For detailed information, see the Movable Items dialog box.

See Also:

Options Menu


Options/Program Options

Choose this command to display the Program Options dialog box, whose checkboxes govern various program-wide settings, including where Finale will look for the User Manual and Plug-ins, as well as the where to save files you have created.

For detailed information, see the Program Options dialog box.

See Also:

Options Menu


Options/Document Settings

Use the commands in this submenu to control the settings that are saved with a specific document. Control the appearance and placement of augmentation dots, repeats, time signatures and so on.

Augmentation Dot

Barlines

Beaming

Clef Designer

Curves

Document Options

Layer Options

Lines

Multimeasure Rest

Music Characters

Music Options

Music Spacing Options

Notation Options

Note Shapes

Page Format for Parts

Page Format for Score

Piano Braces

Repeat Bars

Repeat Endings

Set Pickups

Stem Connections

Text Inserts

Tie Options

Time Signature Options

Web Page Options

See Also:

Options Menu


Document Settings/Augmentation Dot

Choose this command to set up the global placement of dots on notes. Adjust the vertical placement, and specify the distance between the notehead and the first dot, and the distance between dots on notes with two or more dots. You can even move the dot  to the right for upstem flagged notes. Determine whether you want Finale to adjust the dots when it detects multiple voices.

For detailed information, see the Augmentation Dot dialog box.

See Also:

Options Menu


Document Settings/Barlines

Choose this command to fine-tune the global appearance of barlines, and when they are displayed in the score. Determine when Finale draws the left barline for staff systems, and whether it draws a closing (right) barline at the end of each staff system in Page View, or only at the end of the last staff system in the piece. Or, choose whether you want to display or hide all barlines in the piece.

For detailed information, see the Barlines dialog box.

See Also:

Options Menu


Document Settings/Clef Designer

Finale supplies you with sixteen standard clefs for use in your pieces. Finale treats each clef intelligently, correctly renotating the music that follows it. Choose this command 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.

For detailed information, see the Clef Designer dialog box.

See Also:

Options Menu

Clef Tool


Document Settings/Curves

This item displays the Curves dialog box, in which you can specify how high of a resolution you want use to view your ties at while working in a document

For detailed information, see the Curves dialog box.

See Also:

Options Menu


Document Settings/Document Options

Choose this command to display the Document Options dialog box, which contains checkboxes governing stemming, time signature, and key signature options.

For detailed information, see the Document Options dialog box.

See Also:

Options Menu


Document Settings/Layer Options

Using Finale's four transparent layers per staff, you can notate complex inner voices on a single staff. The Layer Options dialog box that appears when you choose this item contains automatic stem direction, tie direction, and rest placement settings for each layer.

For detailed information, see the Layer Options dialog box.

See Also:

Options Menu


Document Settings/Lines

Lines means staff lines, ledger lines, barlines, and so on. This command displays the Lines dialog box, where you can change their thickness.

For detailed information, see the Lines dialog box.

See Also:

Options Menu


Document Settings/Multimeasure Rest

Choose this command to set up the global appearance of multiple measures of rests, including the placement of the shape and when Finale should display a number over the rest. You can choose between using the standard multimeasure rest shape or an alternate style of notation for multimeasure rests. The symbolic style combines whole and double-whole rests to represent block rests of different lengths, commonly those of eight or less measures.

For detailed information, see the Multimeasure Rest dialog box.

See Also:

Options Menu


Document Settings/Music Characters

Finale assumes that you'll generally want to use the # symbol to represent a sharp, a b to stand for a flat, and so on. You can, however, specify any musical symbol from the currently selected music font to appear as any musical element. In the dialog box that appears when you choose this command, you can specify the character you want Finale to use in your file for each of nearly three dozen musical elements.

For detailed information, see the Music Characters dialog box.

See Also:

Options Menu


Document Settings/Music Options

The Music Options dialog box lets you set a number of distances: between clef and key signature, between a note and a tie, between dots on a dotted note, and so on.

For detailed information, see the Music Options dialog box.

See Also:

Options Menu


Document Settings/Notation Options

Choose this command to display the Notation Options dialog box, which contains a variety of Finale settings. Most of them have to do with establishing default values for Finale variables: the size of grace notes and "clef-change" clefs, accidental spacing, and so on.

For detailed information, see the Notation Options dialog box.

See Also:

Options Menu


Document Settings/Note Shapes

Choose this command if you need every note on a certain pitch to have a certain shape. "Shape-note" gospel music uses such a system, for example, as do many drum parts (X's on the upper spaces of the staff to indicate cymbals, for example).

For detailed information, see the Note Shapes dialog box.

See Also:

Options Menu


Document Settings/Page Format for 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:

Options Menu

File Menu


Document Settings/Page Format for 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:

Options Menu

Page Layout Menu


Document Settings/Piano Braces

This command displays a dialog box in which you can change the thickness, shape and curvature of the curly brace that brackets piano staves together.

For detailed information, see the Piano Braces dialog box.

See Also:

Options Menu


Document Settings/Repeat Endings

Choose this command to set up the appearance and placement of endings for first and second repeats. Determine the initial placement of the bracket used for ending repeats, as well as the placement of the text. You can also change the thickness of all ending repeat brackets in the score.

For detailed information, see the Repeat Endings dialog box.

See Also:

Options Menu

Repeat Tool


Document Settings/Repeat Bars

Choose this command to set up the global appearance of repeat bars. Determine the thickness and distance between the lines, and the spacing of the dot used on repeat bars. Select how you want back-to back repeats to appear, and choose whether you want a repeat wing extension to appear on all repeat bars in the score.

For detailed information, see the Repeat Bars dialog box.

See Also:

Options Menu

Repeat Tool


Document Settings/Set Pickups

Choose this command to display the Set Pickups dialog box, where you can create a pickup measure at the beginning of the score.

See Also:

Options Menu

Set Pickups dialog box


Document Settings/Stem Connections

If you're using different notehead shapes in your music (X noteheads, diamond noteheads, and so on), you can control whether special stem connections - the way a note's stem attaches to the special notehead - are used in your score. Create new stem connections and edit or remove stem connections for the custom noteheads in your score.

For detailed information, see the Stem Connections and the Stem Connection Editor dialog boxes.

See Also:

Options Menu


Document Settings/Text Inserts

Choose this command to display the Text Inserts dialog box where you can change the definition of the sharp, flat, natural, double sharp, and double flat signs used as text inserts. Any changes you make are reflected in each alteration insert in the document.

For detailed information, see the Text Inserts dialog box.

See Also:

Options Menu

Text Tool


Document Settings/Tie Options

Choose this command to display the Tie Options dialog box where you can change the default appearance of all new ties you are about to create, and all existing ties.

For detailed information, see the Tie Options dialog box.

See Also:

Options Menu


Document Settings/Time Signature Options

Choose this command to set up the global appearance of time signatures. You can use a numeric or symbolic display for cut and common time signatures, and adjust the placement of the top and bottom symbols for enlarged time signatures.

For detailed information, see the Time Signature Options dialog box.

See Also:

Options Menu


Document Settings/Web Page Options

Choose this command to set up the defaults for future web pages created with the Save As Web Page command.

For detailed information, see the Web Page Options dialog box.

See Also:

Options Menu


Options/Display In Concert Pitch

Use this Menu item to have all staves which have a transposition defined in the Staff Attributes dialog box appear as if they are a non-transposing C instrument.

See Also:

Options Menu


Options/Select Default Fonts

This command displays the Select Default Fonts dialog box, which allows you to change the global or initial font used for many elements of your score.

For detailed information, see the Select Default Fonts dialog box.

See Also:

Options Menu


Options/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…

================

Remove Deleted Items

Test File Integrity

See Also:

Options Menu


Options/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.

If you prefer, you can click the Click and Countoff button in the Playback Settings dialog box.

For detailed information, see the Click and Countoff dialog box.

See Also:

Options Menu

HyperScribe Tool


Options/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.

If you prefer, you can click the Playback Options button in the Playback Settings dialog box.

For detailed information, see the Playback Options dialog box.

See Also:

Options Menu


Options/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:

Options Menu

HyperScribe Tool


Plug-ins Menu

Plug-ins allow Finale to extend its abilities. All Plug-ins should be placed together in a directory where Finale can find them (the default path which is preset in Finale is Finale\Plug-ins). The path can be specified in the Program Options dialog box reached from the Options Menu. All Plug-ins in the specified directory are listed and accessed from the Plug-in Menu.

Tip: You can organize plug-ins into subdirectories/folders in the main Plug-ins folder. You will see this demonstrated in Finale 2002 with subfolders such as: Lyrics, Measure Numbers, and Repeats. A folder called "My Favorite Plug-ins" allows you to drag plug-ins you frequently use to this folder for easy access. Upon restarting Finale 2002, the plug-ins will appear in the folder.

These are some of the Plug-ins that have been included with Finale 2002:

Add Cue Notes

Easily place cue notes on any staves you choose. Select the percentage reduction and the layer in which to place the cue. Select text to go with them.

Align/Move Dynamics

This plug-in vertically aligns dynamics, including expressions and hairpins.

Automatic Barlines

Place double-barlines automatically before all key changes and a final barlines at the end of the score.

Automatic Dynamic Placement

The Automatic Dynamic Placement  plug-in allows you to place dynamics in your score automatically based on the MIDI key velocity they were recorded with.  You can specify the range of key velocities associated with each dynamic.

Automatic Tablature

The Automatic Tablature plug-in allows you to easily create a Tablature staff with notation of the selected staff for a wide variety of stringed instruments.

Band-in-a-Box Auto-Harmonizer

This plug-in takes a melody line with chord symbols and outputs a harmonized melody in several styles.

Canonic Utilities

The Canonic Utilities plug-in transforms the selected region using inversion, retrograde, transposition or a combination of the above.

Cautionary Accidentals

The Cautionary Accidentals plug-in allows you to add cautionary accidentals in various forms to your document including having accidentals displayed on all notes.

Change Fonts

Change fonts globally for text blocks, staff names, group  names and lyrics-either all at once, or by verse, chorus and section.

Change Noteheads

This plug-in allows you to change the noteheads of all the notes in the selected region.

Change to Default Whole Rests

This plug-in allows you to change all the whole measure rests in the selected region to default rests.

Change to Real Whole Rests

This plug-in allows you to change all the default measure rests in the selected region to real whole rests.

Check Range

The Check Range plug-in allows you to verify that the staff you have selected is within the range of the specified instrument or voice.  This plug-in also has settings for beginning, intermediate, and advanced ranges.

Check Region for Durations

The Check Region for Durations plug-in checks the selected region for any measures that have too many or too few beats.

Chord Morphing

This plug-in generates a variety of smooth between-chord transitions.

Chord Realization

This plug-in generates four-part realizations of a triad based on the major key and scale degree specified.

Chord Reordering

This plug-in finds new placement options for chords.

Chord Splitting

This plug-in creates subsets of the original chord.

Classic Eighth Beams

Beams four eighth notes together when using common time over the selected region.

Clear Lyric Positioning

This plug-in will reset any changes you’ve made to your lyric baselines in the selected region.

Clear Measure # Positioning

This plug-in clears all measure number positioning in the selected region and sets it back to the default position.

Command Line

This plug-in allows for quick note entry by typing in specific text commands.

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.

Count Items

The Count Items plug-in displays a count of various items in your score such as measures, notes, and articulations.

Create Tempo Markings

The Create Tempo Markings plug-in allows you to easily create tempo markings as Measure or Note Expressions and set their playback features for the selected measures.

Easy Harmonics

This plug-in searches for intervals of a perfect fourth or third and turns the upper note into a diamond.

Easy Measure Numbers

The Easy Measure Numbers plug-in allows you to easily place and change measure numbers over a selected region.

Easy Repeats and First Ending Repeats

The Easy Repeats plug-in allows you to easily place a repeat in the selected region.  The First Ending Repeats plug-in allow you to easily place a repeat with multiple endings in the selected region.

Easy Tremolos

This plug-in converts all consecutive identical pitches into a tremolo. Plug-in options allow fine-tuning of the tremolo notation, such as the number of beams.

Extract Lyrics

This plug-in saves all lyrics, as found in the Edit Lyrics dialog box, to a text file.

Find Range

Run this plug-in to find the highest and lowest notes in the selected region.

Find Parallel Motion

Run this plug-in to find the parallel fifths and octaves in the selected region.

Flat Beams

Run this plug-in to flatten all the beams in the selected region.

Flat Beams (Remove)

Remove all flat beams in the selected region.

Frequency Modulation Chord Generator

This plug-in generates a series of chords with increasing complexity and texture.

Ledger Lines (Hide) and (Show)

Hide any ledger lines in the selected region. Use Ledger Lines (Show) to bring them back.

Make My Music Sound Pretty

While this has been a highly requested plug-in, there continues to be discussion as to what is pretty. You'll either have to wait for this plug-in or write your own. Visit our website (http://www.codamusic.com) for more information on writing your own plug-in.

Melodic Morphing

This plug-in creates a melodic transition from one melody to another.

Menu Shortcuts

Remaps keystrokes to menu commands.

Midline Stem Direction

This plug-in changes the stem direction of notes on the middle staff line to follow the direction of the melodic line.

Move Rests

This plug-ins lets you move rests in the selected region to a different vertical position.

Notes and Rests (Hide) and (Show)

Hide all notes and rests in the selected region. Use Notes and Rests (Show) to bring them back.

Number Repeated Measures

Place numbers over measures that are repeated again and again and so on and so on.

Patterson Beams

This plug-in adjusts both stem length and beam angles based on the staff positions of the notes and the number of notes on the beam.

Rhythm Generator

This plug-in creates up to six staves of percussion to accompany your score.

Rhythmic Subdivisions

Change the selected region to eighth notes, or divide all your notes in half or thirds.

Single Pitch

Change all the notes in your selected region to the specified pitch.

Slash Flagged Grace Notes

Run this plug-in to slash all flagged grace notes in the selected region

Slash Flagged Grace Notes (Remove)

Remove all slashes from flagged grace notes in the selected region.

Smart Playback

This plug-in creates a playback effect for glissandi, hairpins, trills, and tremolos.

Split Point

This plug-in lets you reset the split point between two staves in the selected region.

Tie Common Notes

This plug-in inserts a tie between any two successive notes if the notes have the same pitch.

Virtual Fundamental Generator

This plug-in gives you the appropriate "root" for any selected group of chords.

Voice 2 to Layer

This plug-in moves Voice 2 entries to the selected layer.

Word Extensions

The Word Extensions plug-in allows you to easily add word extensions to your lyrics.

Word Extension (Remove)

Remove all word extensions in the selected region.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Window Menu

The Window Menu 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 arrangement.

Main Tool Palette

Advanced Tools Palette

Navigational Tools Palette

Simple Entry Palette

Simple Entry Rests Palette

Smart Shape Palette

Special Tools Palette

===================

Instrument List

Playback Controls

===================

Menu 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.

See Also:

Menus

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Window/Main Tool Palette

When this item is checked, Finale's Main Tool Palette is open on the screen. The Main Tool Palette can be attached to the sides of the window or float in front of all other windows; you can close it by choosing this item so that the check mark disappears.

For detailed information, see the Main Tool Palette

See Also:

Window Menu


Window/Advanced Tools Palette

When this item is checked, the Advanced Tools Palette is open on the screen. The Advanced Tools Palette can be attached to the sides of the window or float in front of all other windows; you can close it by choosing this item so that the check mark disappears.

For detailed information, see the Advanced Tools Palette

See Also:

Window Menu


Window/Navigational Tools Palette

When this item is checked, the Navigational Tools Palette is open on the screen. The Navigational Tools Palette can be attached to the sides of the window or float in front of all other windows; you can close it by choosing this item so that the check mark disappears.

For detailed information, see the Navigational Tools Palette

See Also:

Window Menu


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 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 Palettes and Program Options dialog box.

See Also:

Window Menu

Simple Entry Tool


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 the Program Options dialog box, 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 dialog box.

See Also:

Window Menu

Smart Shape Tool


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 the Program Options dialog box, 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 dialog box.

See Also:

Window Menu


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


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


Window/Menu Toolbars

Choose from several toolbars based on commands found in menus.

File Menu Toolbar

Edit Menu Toolbar

View Menu Toolbar

Options Menu Toolbar

MIDI Menu Toolbar

Help Menu Toolbar

Layout Toolbar

View Percent Toolbar

See Also:

Window Menu


Window/Menu Toolbars/File Menu Toolbar

Choose this item to display the File Menu Toolbar.

See Also:

File Menu Toolbar

Window Menu


Window/Menu Toolbars/Edit Menu Toolbars

Choose this item to display the Edit Menu Toolbar.

See Also:

Edit Menu Toolbar

Window Menu


Window/Menu Toolbars/View Menu Toolbar

Choose this item to display the View Menu Toolbar.

See Also:

View Menu Toolbar

Window Menu


Window/Menu Toolbars/Options Menu Toolbar

Choose this item to display the Options Menu Toolbar.

See Also:

Options Menu Toolbar

Window Menu


Window/Menu Toolbars/MIDI Menu Toolbar

Choose this item to display the MIDI Menu Toolbar.

See Also:

MIDI Menu Toolbar

Window Menu


Window/Menu Toolbars/Help Menu Toolbar

Choose this item to display the Help Menu Toolbar.

See Also:

Help Menu Toolbar

Window Menu


Window/Menu Toolbars/Layout Toolbar

Choose this item to display the Layout Toolbar.

See Also:

Layout Toolbar

Window Menu


Window/Menu Toolbar/View Percent Toolbar

Choose this item to display the View Percent Toolbar.

See Also:

View Percent Toolbar

Window Menu


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


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


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


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


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


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


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


Window/Windows Open

1, 2, 3, 4…

Next to these numbers are the names of the files and window numbers of currently open windows. You can use this list to switch between different open files or different views of the same file.

See Also:

Window Menu


Main Tool Palette

The Main Tool Palette contains all of Finale's primary tools. Choose "Main Tool Palette" from the Window Menu to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing Main Tool Palette from the Customize Palettes submenu.

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

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.

Mass Mover Tool

Drag to select music (to transpose or edit). Drag a selection to copy it.

Measure Tool

Double-click a measure to set characteristics; drag to move a barline. Click or Ctrl-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

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

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

Simple Entry Tool

Select values from the palette; click the staff to insert notes one by one.

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.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Navigational Tools Palette

The Navigational Tools Palette contains tools that help you navigate through your score. Choose "Navigational Tools Palette" from the Window Menu to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing Navigational Tools Palette from the Customize Palettes submenu.

Hand Grabber Tool

Drag the music to move your view.

Zoom Tool

Click the score to zoom in. Control-click the score to zoom out.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Advanced Tools Palette

The Advanced Tools Palette contains some of Finale's more esoteric tools. Choose "Advanced Tools Palette" from the Window Menu to display or hide the palette. Note that you can rearrange, add and remove tools by going to the View Menu and choosing Advanced Tools Palette from the Customize Palettes submenu.

Graphics Tool

Use the menu to place graphics or export part of the score as a graphics file.

MIDI Tool

Drag to select music, then double-click to edit velocity, timing or other MIDI data.

Mirror Tool

Use to edit and identify measures that are live copies of other measures.

Note Mover Tool

Click a measure, select notes (to cross-staff beam or search and replace).

Ossia Tool

Double-click the score to add a floating alternate ('ossia') measure.

Special Tools Tool

Click a measure to fine-tune beams, note shapes, accidentals, ties and dots.

Tempo Tool

Click a measure to create, or edit, beat by beat tempo changes.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Options Menu Toolbar

The Options Menu Toolbar contains buttons that duplicate certain commands on the Options Menu. Click the Window Menu and choose Menu Toolbars, then Options 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 Options Menu Toolbar.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


MIDI Menu Toolbar

The MIDI Menu Toolbar contains buttons that duplicate certain commands on the MIDI Menu. Click the Window Menu and choose Menu Toolbars, then MIDI Menu Toolbar to display or hide the palette.

See Also:

MIDI Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


View Percentage Toolbar

The View Percentage Toolbar contains buttons that duplicate certain commands on the Scale View to 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

When you click the Staff Tool, the Staff Menu appears, and handles appear on each staff and on staff-related items in the score. Select a handle then choose a menu command, or use the shortcuts listed below. The shortcuts are arranged by what the handle controls: staff handles and staves, group handles (includes the group name), staff name handles and bracket handles.

Staff handles and staves:

Staff handles always appear on staves in the score, even on staves that are hidden.

Click the Staff Tool to display the Staff Menu. Handles appear on each staff and staff-related item in the score.

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

Shift-click a staff or a staff handle to add the staff to the selection. If a staff is already selected, Shift-click to remove the staff from the selection.

Double-click a staff or a staff handle to edit the staff's attributes.

Double-click in the score (in Scroll View) to add a staff without repositioning the lower staves to make room for the new staff.

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

Ctrl-Shift-click a staff or staff handle in one or more selected staves to create a new group for the selected staves.

Press Delete to remove the selected staves from the score without repositioning the remaining staves.

Press Shift-Delete to remove the selected staves from the score and reposition the remaining staves.

Drag a staff or a staff handle in Scroll View to adjust the staff's position in Scroll View.

Note: The horizontal adjustment affects the placement of the staves in Scroll View only; it does not affect printout or the display in Page View.

Drag a staff or a staff handle in Page View (when Special Part Extraction is not selected in the Edit Menu) to adjust the staff's position in every staff system in Page View, and the position of the staff in Scroll View. When the top staff is adjusted, Finale adjusts the distance between staves, as well as staff systems.

Note: If two handles appear on a staff, drag the top handle. Drag a staff or a staff handle in Page View (when Special Part Extraction is selected in the Edit Menu) to adjust the staff's position in every staff system in Page View; leave the position of the staff unchanged in Scroll View.

Drag the bottom staff handle in Page View to adjust the staff's position only in the current staff system (drag the top handle to adjust the position of the staff in all staff systems in Page View).

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.

Hold down backspace while clicking on a staff with Staff Styles or the Style bar to remove the selected Staff Style from the selected region.

Double-click on a Staff Style bar to display the selected Staff Style dialog box.

Group handles:

Group handles always appear on existing groups of staves in the score, even if you did not enter a group name.

Click a group handle, or drag-enclose group handles to select a group (or groups of staves).

Shift-click a group handle to add the group to the selection. If a group is already selected, Shift-click to remove the group from the selection.

Double-click a group handle to edit the group's attributes.

Ctrl-click a group handle to edit a group name.

Ctrl-Shift-click a group handle to position a group name.

Press Backspace to revert the position of the selected group names
to their default position.

Press Delete to remove the selected group definitions.

Drag a group handle to adjust the position of a group name.

Staff name handles:

Staff name handles appear on existing staves in the score only if you have entered a staff name, or if Finale's default staff name appears for an unnamed staff.

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

Shift-click a full or abbreviated staff name handle to add the staff name to the selection. If a staff name is already selected,

Shift-click to remove the staff name from the selection.

Double-click a full or abbreviated staff name handle to edit the staff's attributes.

Ctrl-click a full or abbreviated staff name handle to edit a full or abbreviated staff name.

Ctrl-Shift-click a full or abbreviated staff name handle to position the selected staff name.

Press Backspace to revert the position of the selected full or abbreviated staff name to its default position.

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

Bracket handles:

Two bracket handles appear on each bracket on a group, even if you did not enter a group name.

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

Shift-click a bracket handle to add the bracket to the selection. If a bracket is already selected,

Shift-click to remove the bracket from the selection.

Double-click a bracket handle to edit a group.

Press Delete to remove the selected brackets.

Press Backspace to revert the selected brackets to their default length.

Drag a bracket handle vertically to make a bracket taller or shorter.

Drag a bracket handle horizontally to move a bracket closer to or away from bracketed staves.

See Also:

Main Tool Palette

For complete information, see the Staff Tool in the User Manual.


Measure Tool

This tool adds new blank measures at the end of the score (in all staves at once), creates and edits numbers for measures as well as creates and edits multimeasure rests.

Special mouse clicks

Double-click the Measure Tool to add a single new blank measure at the end of the score.

Ctrl-click the Measure Tool to display the Add Measures dialog box, in which you can tell Finale how many new blank measures you want to appear at the end of the score.

Click the Measure Tool to display a handle on every measure number and barline in the score.

Ctrl-click the measure to display all measure numbers defined for a measure (even if no numbers are currently showing in the measure).

Ctrl-shift-click the measure to display all measure numbers in the system.

Click a measure number’s handle, shift-click an additional handle, or drag-enclose several handles to select specific measure numbers (with "Dragging Selects Number Handles" selected).

Select a measure number’s handle and press delete, or |right mouse click the handle and select Delete from the contextual menu to remove a measure number. Finale hides the measure number for that measure in that staff only (not for every measure above or below it).

Drag a selected handle to reposition the measure number (and any other selected measure numbers). If auto-constrain dragging is not selected, press shift to constrain dragging.

Select the measure number’s handle, then press backspace, or |right mouse click the handle and select Restore Default Positioning from the contextual menu to reset a manually positioned measure number back to its default position. Finale moves the measure number back to its original position as defined in the Measure Number dialog box for the measure number map.

Double-click the handle of a measure number, or |right mouse click the handle and select Edit Enclosure from the contextual menu to display the Enclosure Designer dialog box, where you can select an enclosure shape or edit the shape’s height, width, center, and line thickness.

Double-click a measure, or |right mouse click the top handle and select Edit Measure Attributes from the contextual menu to display the Measure Attributes dialog box. (You can also double-click a measure’s handle or select a handle and press enter.)

Drag the top barline handle right or left to make the measure wider or narrower. If you’re in Page View, the measure to the right of the barline gets narrower or wider to compensate.

Click the second barline handle of a measure or |right mouse click the top handle and select Edit Beat Chart from the contextual menu to display a beat chart, which you can use to change the horizontal positions of the beats in the measure (in all staves).

Click the third (bottom) barline handle of a measure or |right mouse click the top handle and select Edit Split Points from the contextual menu to display a split point bar, where you can double-click to indicate a permissible place for Finale to break the measure in half, if necessary, at a system break.

Drag one of the lower handles in a beat chart to move that beat horizontally in all staves.

Shift-drag the lower handle of a beat chart to move that beat and all subsequent beats in the measure horizontally in all staves.

Double-click between two upper handles of a beat chart to add another upper/lower pair of beat positioning handles for the beat between the two original handles. Click any upper handle and press delete to remove it. (You can’t remove the first handle in the measure, however.)

Double-click an upper handle of a beat chart to display the Beat Chart dialog box, where you can tell Finale precisely which beat’s position you want the handle you double-clicked to control.

Click an upper handle (Remember that the first handle can be removed) to select it, whereupon you can press delete to remove it from the beat chart.

See Also:

Main Tool Palette

For complete information, see the Measure Tool in the User Manual.


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.

For further information, see the Key Signature dialog box.

See Also:

Main Tool Palette.

For complete information, see the Key Signature Tool in the User Manual.


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.

For further information, see the Time Signature dialog box.

See Also:

Main Tool Palette

For complete information, see the Time Signature Tool in the User Manual.


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). (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. The Simple Entry keyboard commands are summarized in the diagram that appears on your Quick Reference Card.

Special mouse clicks

Double Whole Note - Press 8 and click the staff

Whole Note - Press 7 and click the staff

Half Note - Press 6 and click the staff

Quarter Note - Press 5 and click the staff

Eighth Note - Press 4 and click the staff

Sixteenth Note - Press 3 and click the staff

32nd Note - Press 2 and click the staff

64th Note - Press 1 and click the staff

128th Note - Press 0 and click the staff

Double whole rest-128th rest - Press shift and a number key (0-8); click the staff

Erase an item - Press delete and click the item

Grace Note - Press / or G and click the staff

Sharp - Press S or + and click the note

Flat - Press F or - and click the note

Natural - Press Shift-8 or N or * and click the note

Double-Flat – Select the note then press V

Double-Sharp – Select the note then press X

Half Step Down Press Shift-F and click the staff

Half Step Up Press Shift-S and click the staff

Dot - Press . (period) and click the staff

Tie - Press T or = and click the staff

See Also:

Main Tool Palette

Simple Entry Palette

For complete information, see the Simple Entry Tool in the User Manual.


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

Press Ctrl-number when you're editing a measure to tell Finale that the next notes you enter are part of a tuplet (triplet, quintuplet, and so on). Press Ctrl-2 through Ctrl-8 to signify tuplets from duplets to octuplets, respectively. If you press Ctrl-1, Finale assumes you want to enter a tuplet that's more complex than one of the 2-through-8 tuplets. The Tuplet Definition dialog box appears, in which you can specify the temporal and visual aspects of more complex tuplet groupings.

Press Caps Lock before pressing a rhythmic-value key to tell Finale that you're about to enter a whole series of notes that all have that same rhythmic value. Now you can play notes on your MIDI instrument, rapidly, and Finale will automatically enter them into the score, without your having to press a rhythmic-value key each time. Caps Lock with Use MIDI Keyboard unchecked will also allow the use of the alphabet pitch entry keys.

Metatools

While the Speedy Entry Tool's preprogrammed keyboard equivalents aren't technically Metatools, they're similar in that they're one-keystroke commands. They let you edit the notes in one measure at a time very rapidly. See Speedy Entry in the Keycuts chapter of the User Manual for details.

See Also:

Main Tool Palette

For complete information, see the Speedy Entry Tool in the User Manual.


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.

Special mouse clicks

Click a measure to indicate where you want the transcription to begin.

After playing only partway into a measure, Ctrl-click the screen to end the HyperScribe session without affecting the measure. (You'd do this if there was some music already in that measure that you wanted to preserve.)

See Also:

HyperScribe Menu

Main Tool Palette

For complete information, see the HyperScribe Tool in the User Manual.


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).

Note, incidentally, that you can predefine the default appearance of tuplets when you first create them (with the Speedy Entry or HyperScribe) 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 Default Tuplet Visual Definition dialog box, where you can specify how you want new tuplets to look.

Special mouse clicks

Change Tuplet settings over a selected region with the Mass Mover Tool.  Choose Tuplets from the Change Submenu of the Mass Mover Menu.

Click the first note of a tuplet to display its set of four positioning handles.

Drag a positioning handle to adjust the height and position of the tuplet's visual elements (bracket, slur, number, and so on).

Ctrl-drag a positioning handle to adjust the position of a tuplet's visual element without using dynamic drawing (where the element is visible at all times while you're dragging it). The object will disappear until you release the mouse button.

Double-click a positioning handle to display the Tuplet  Definition dialog box, where you can change the definition of the tuplet.

Click the first of a series of notes you want to turn into a tuplet grouping to display the Tuplet Definition dialog box, where you can specify a definition to create a tuplet. (If this first note is in Voice 2, shift-click.) You can even click a note that's part of an existing tuplet grouping if you want to create an inner (nested) tuplet.

Ctrl-click the Tuplet Tool icon to display the Default Tuplet Visual Definition dialog box, in which you can specify the default appearance of new tuplets you create with the HyperScribe or Speedy Entry.

For further information, see the Tuplet Definition dialog box.

See Also:

Main Tool Palette

For complete information, see the Tuplet Tool in the User Manual.


MIDI Tool

When you record a real-time performance with the HyperScribe Tool or in the Transcription Mode of the HyperScribe Tool, 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 score.

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 two ways. You can listen to Finale 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.

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 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 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 split 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.

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.

Special mouse clicks

Click a measure to select it.

Drag-enclose several measures to select more than one.

Shift-click (or shift-drag-enclose) a measure (or measures) to extend the selected region from the first measure(s) you selected.

Click to the left of a staff to select an entire staff.

Shift-click to the left of a staff to extend the selection from any other staves you've selected.

Double-click the highlighted area to display the MIDI Tool split-window for the top selected staff.

See Also:

Advanced Tools Palette

For complete information, see the MIDI Tool in the User Manual.


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.

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

Click the Smart Shape icon on the Main Tool Palette to make handles appear on every Smart Shape in the score.

Click the handle of a Smart Shape in the score to select it; click a Smart Shape handle to make diamond editing handles appear. When these editing handles are visible, you can delete, move, stretch, or reshape the selected Smart Shape.

Drag an inner diamond editing handle to make the slur asymmetrical.

Press ctrl and drag the end points of a selected slur to change the inset percentage.

Press ctrl, double-click and drag to create an element such as 8va below the staff or 8vb above the staff.

Ctrl-click the Custom Line Tool to bring up the Smart Line Style Selection dialog box.

Press ctrl-A to select all Smart Shapes.

Hold down S and double-click and drag to create a slur.

Hold down < and double-click and drag to create a crescendo.

Hold down > and double-click and drag to create a decrescendo.

See Also:

Main Tool Palette

Smart Shape Palette

For complete information, see the Smart Shape Tool in the User Manual.


Expression Tool

With this tool, you can create expression markings - either textual or graphic - that appear in one or more staves at the same place in the score. For example, you might want a rehearsal letter or a tempo indication to appear in every staff in the score or "mute" for the Viola part.

You can attach an Expression to a measure (even an empty one) or attach an Expression to a note or rest. Choosing the former allows you to use the Staff List feature, where you can specify which staves you want a given Measure Expression to appear in. Furthermore, you can specify, for each marking you place in the score, whether you want it to appear in the full score in a particular staff as well as in the extracted part - a marking can appear in one place without appearing in the other.

Expressions can actually affect the playback of the music in the way you'd expect. You can, for example, program a "Vivace" marking to affect the score's playback tempo wherever it occurs.

Special mouse clicks

Double- click above, below, or on any measure to display the Expression Selection dialog box, from which you can select an expression to place in the score at the position you clicked and if you clicked by a note or rest decide if you want to attach the Expression to that note or to the measure. Hint: If the Note Expression radio button is grayed out then you did not click close enough to a note or rest.

Click or shift-click Expression handles to select one, additional, or several Expressions, respectively.

Drag a selected handle to move all selected Expressions; press delete to remove the selected marking. If you double-click the handle of a Shape Expression, eight bounding handles, or reshaping handles (for curves and single lines) appear, which you can drag to stretch the shape. If you double-click one of these handles (for single, ungrouped shapes), the shape's control handles appear, which you can drag to reshape the marking itself.

Double-click or Ctrl-double-click a handle to display the Text Expression Designer dialog box (where you can edit the spelling, playback definition, and font of a Text Expression) or the Shape Expression Designer dialog box (where you can adjust the shape or playback definition of a Shape Expression).

Ctrl-drag a handle if you want to adjust its position without using dynamic drawing (where the element is visible at all times while you're dragging it). The expression will disappear until you release the mouse button.

Shift-double-click an Expression handle to display the Expression Assignment dialog box, where you can specify positioning parameters for the expression whose handle you clicked.

See Also:

Main Tool Palette

For complete information, see the Expression Tool in the User Manual.


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.

Special mouse clicks

Click on, above, or below a note or rest that doesn't have an articulation attached to display the Articulation Selection box, from which you can select an articulation marking you want to insert. (If the note or rest is in Voice 2, click below the middle line of the staff.)

Click a note to which an articulation has been assigned to display a handle on the articulation.

Click or shift-click articulation handles to select one (or additional) articulations, respectively.

Drag a selected handle to move all selected articulations; press delete to remove them.

Ctrl-drag a handle to adjust a articulation's position without using dynamic drawing (where the element is visible at all times while you're dragging it). The marking will disappear until you release the mouse button.

Click a note whose articulations' handles are visible to display the Articulation  Selection dialog box, from which you can select an additional articulation to attach to the same note.

Double-click an articulation handle to display the Articulation Designer dialog box, where you can edit the character used for an articulation marking, including its playback definition, font, and automatic-placement options.

For further information, see the Articulation Designer dialog box and Articulation Selection.

See Also:

Main Tool Palette

For complete information, see the Articulation Tool in the User Manual.


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.

Special mouse clicks

Choose Type Into Score or Click Assignment from the Lyrics Menu, and then click a staff to tell Finale the staff to which you want lyrics attached.

In Type Into Score mode or Click Assignment mode, drag the positioning triangles at the left edge of the screen to specify the vertical position of the baseline for the lyric set you're inserting.

In Type Into Score mode, click within the staff lines at the position of the first note to indicate which note you want to attach a syllable to. Then type the lyrics normally.

In Type Into Score mode, click within the staff lines at the position of a note to select (highlight) the syllable attached to it. Anything you now type replaces the highlighted syllable.

In Click Assignment mode, click within the staff lines at the position of the first note to attach the first syllable in the scrolling window. (If the note is in Voice 2, shift-click.)

In Click Assignment mode, Ctrl-click within the staff lines at the position of the first note to tell Finale to assign all syllables in the lyric set displayed in the scrolling window. Finale attaches one syllable at a time to subsequent notes in the melody, automatically skipping over rests and tied notes. (Finale only assigns lyrics to the notes in the current layer, as identified by the Layer buttons in the lower-left corner of the window.)

In Edit Word Extensions mode, click within the staff lines at the position of the sustained syllable to display a handle at the end of the syllable. (If the note is in Voice 2, shift-click.) Drag this handle to the right to draw a word extension underline (indicating that the syllable is sustained through more than one note). Click this handle and press delete to remove the word extension.

In Adjust Syllables mode, click within the staff lines at the position of the syllable you want to move to display handles on that syllable and any others attached to the same note. (If the syllable is assigned to a note in Voice 2, shift-click.) Drag a handle to move the syllable; select it and press Backspace to restore it to its original position; select it and press delete to remove it from the score. Select several vertically-aligned handles (by shift-clicking) and choose Align Syllable Left or Align Syllable Right from the Lyrics Menu if you want all selected syllables aligned with the left or right edge of the top selected syllable.

In Clone Lyric mode, click one measure, shift-click another measure, drag-enclose several measures, or click to the left of the staff to select one measure, additional measures, a group of measures, or the entire staff at once. Drag the first selected measure so that it's superimposed on the first target measure to copy the lyrics from the selected measures to the target measures.

In Shift Lyrics to the Right mode, click within the staff lines at the position of the first syllable you want shifted to shift that syllable and subsequent syllables one note to the right (automatically skipping rests and tied notes).

In Shift Lyrics to the Left mode, click within the staff lines at the position of the syllable just before the one you want shifted to shift the next syllable and subsequent syllables one note to the left (automatically avoiding rests and tied notes).

See Also:

Lyrics Menu

Main Tool Palette

For complete information, see the Lyrics Tool in the User Manual.


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. Or, display chords in different styles: Standard, European, German, Roman, Nashville, Scandinavian or Solfeggio.

Special mouse clicks

Click the staff (but not on a note or rest) to display the four vertical-positioning arrows at the left side of the screen, which you use to adjust the position of the baseline for the chord symbols.

When Manual Input is selected in the Chord Menu, click a note to which no chord symbol is attached to display the Chord Definition dialog box, where you can specify a chord symbol you want to appear at that point.

When Manual Input is selected in the Chord Menu, click a note to which a chord symbol has been attached to display a handle on the chord symbol. (If the note is in Voice 2, shift-click instead.)

When Manual Input is selected in the Chord Menu, drag a chord symbol handle to move the chord symbol; press delete to remove the symbol from the score.

When Manual Input is selected in the Chord Menu, Ctrl-drag a chord symbol handle if you want to adjust its position without using dynamic drawing (where the chord symbol is visible at all times while you're dragging it). The chord symbol will disappear until you release the mouse button.

When Manual Input is selected in the Chord Menu, double-click a chord symbol handle to display the Chord Definition dialog box, where you can change the identity or suffix of the chord symbol.

When Type Into Score is selected in the Chord Menu, click a note to which you want to attach a chord symbol. A flashing cursor appears above the note. Type the chord symbol you want attached to the note.

When Type Into Score is selected in the Chord Menu, click a note to select the chord symbol attached to it. The chord symbol you type will replace the selected chord symbol.

When MIDI Input is selected in the Chord Menu, click a note to place the ear-shaped cursor at that spot. Now play a chord on your MIDI instrument; Finale will correctly analyze it and place the corresponding chord symbol into the score. Press a single note above Middle C to advance the ear cursor to the next note.

When One-Staff Analysis (or Two-Staff Analysis) is selected in the Chord Menu, click a note to make Finale analyze the chord at that spot (one staff or two staves deep, respectively) and place the corresponding chord symbol into the score.

For further information, see the Chord Definition dialog box.

See Also:

Main Tool Palette.

For complete information, see the Chord Tool in the User Manual.


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

Use Metatools to easily place clefs throughout your score. (For more information on Meta Tools refer to the User Manual.)

Double-click a measure that doesn't contain a mid-measure clef to display the Change Clef dialog box, where you can specify a clef that you want to insert in the measure you clicked.

Click a measure that contains a mid-measure clef to display a handle on every mid-measure clef.

Drag a mid-measure clef handle up, down, left, or right to adjust the clef's position. The notes before and after it are renotated accordingly as you drag it.

Click a mid-measure clef handle to select it; press delete to remove it. You can also shift-click to select additional mid-measure clef handles or drag-enclose several.

Double-click a mid-measure clef handle; on the second click, hold the mouse button down and drag the handle right or left to change the clef's identity (from a bass clef to a treble clef, for example). As you drag the clef horizontally, it cycles through its sixteen available identities.

Double-click a measure containing a mid-measure clef to insert a new mid-measure clef at the place you clicked.

Ctrl-click a mid-measure clef handle to display the Mid-measure Clef dialog box, where you can change the clef, specify its positioning, or turn it back into a single clef (one that appears just before the first barline of the measure and can't be moved).

For further information, see the Change Clef dialog box.

See Also:

Main Tool Palette

For complete information, see the Clef Tool in the User Manual.


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

Click a measure that doesn't contain a repeat sign to display the Repeat Selection box, where you can create either a repeat barline or a text repeat to insert into the score (and define it for playback, if you wish).

Click a measure that already contains a repeat sign to display a handle on every text repeat in the measure and a handle at the top and bottom of the repeat barline, if any. Double-click to display the Repeat Selection dialog box, where you can select an additional text repeat or repeat barline.

Click a text repeat handle to select it; shift-click to select an additional one. Press delete to remove any selected text repeats.

Drag a text repeat handle to move the text repeat in any direction (in all staves simultaneously).

Click a repeat barline handle to select it; press delete to remove it.

Drag a repeat barline bracket handle up or down to make the bracket taller or shorter (or, in the case of the open end of the bracket, drag left or right to lengthen or shorten the bracket). (If you want to drag the bracket so that it's longer than a measure or so, double-click its handle, select Individual Positioning, and click OK.)

Double-click a text repeat handle to display the Repeat Designer dialog box, where you can change the spelling, font, or justification of the text repeat.

Double-click a repeat barline handle (or its bracket handle) to display its Repeat Bar Assignment dialog box, where you can change the playback effects of the repeat barline.

Shift-double-click a text repeat handle to display the Repeat Assignment dialog box, where you can change the playback effects of the text repeat.

For further information, see the Repeat Selection dialog box.

See Also:

Main Tool Palette

For complete information, see the Repeat Tool in the User Manual.


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, 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.

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 in the User Manual.

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.

Special mouse clicks

Click a measure to display a handle on every notehead in the measure.

Click, shift-click, drag-enclose, or shift-drag-enclose notehead handles to select one note handle, an additional note handle, groups of note handles, or additional groups of handles, respectively. (You can select nonadjacent handles, or only certain notes in a chord.) You can also choose Select All from the Edit Menu to select every handle in the measure.

Drag any selected note handle to another measure (above, below, or to the right or left of the original measure) to move or copy the notes to the target measure, depending on the copying mode you've selected from the Note Mover Menu. (Press delete to remove selected notes that are still in their original measure.)

Drag a note (or selected group of notes) to the end of its own measure to place a copy there (following all existing notes). This feature works regardless of the currently selected command in the Note Mover Menu, and works only if the measure isn't rhythmically full.

Drag a note (or selected group of notes) to the beginning or middle of its own measure to place a copy at the beginning of the measure (preceding all existing notes). This feature works regardless of the currently selected command in the Note Mover Menu, and works only if the measure isn't rhythmically full.

See Also:

Advanced Tools Palette

For complete information, see the Note Mover Tool in the User Manual.


Mass Mover Tool

With this tool you can select a region of your score (from a single note to the entire score) and edit all selected music at once. The Mass Mover Menu appears, containing all the commands you need to edit the selected music. For example, you can change any selected measures' key, time signature, 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.

The Mass Mover gets its name from the fact that it can also be used to copy music from one place to another - even from one Finale file 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.

Note: You can undo any Mass Mover operation by choosing Undo from the Edit Menu immediately afterward. After extensive Mass Mover operations, however, you may discover that it takes a long time for Finale to catch up with you when you click a different tool. If so, you might want to turn the Undo feature off; to do so, choose Program Options from the Options Menu, and deselect Allow Undo.

Special mouse clicks

 If "Select Partial Measures" is selected in the Edit Menu, double-click a measure to select it. If "Select Partial Measures" is off, a single click selects a measure.

Double-click a selected measure to extend the selection to include the entire vertical measure "stack" (that measure in all staves). (If "Select Partial Measures" is turned on, the first double-click selects a single full measure, and the second double-click selects the measure stack.)

Drag-enclose a region to select it. If "Select Partial Measures" is turned on, drag diagonally across any region, large or small, to select it, even if it straddles a barline.

Shift-click a measure (or a beat within a measure) to extend the selected region from the first region you selected.

Click to the left of a staff to select an entire staff.

Shift-click to the left of a staff to extend the selection from any other staves you've selected. You can also choose Select All from the Edit Menu to select the entire score.

Drag a selected region so that it's superimposed on the beginning of an unselected region to copy or move the selected music to the destination region. You specify which musical elements you want to move, as well as how you want them copied, from the Mass Mover Menu before you drag.

Ctrl-shift-click an unselected region to copy or move the specified contents of any selected music - no matter where it is in the score - to the point you clicked. You specify which musical elements you want to move, as well as how you want them copied, from the Mass Mover Menu before you click.

Press Ctrl while choosing Cut or Copy from the Edit Menu to display the Clip dialog box; you're in the process of creating a Clip File (a special kind of Finale file that's named and saved separately from the original file).

Press Ctrl while choosing Insert or Replace Entries from the Edit Menu to display the Paste dialog box from which you can select any Clip File you've already created (so that you can paste it into the current file).

Press shift while choosing Cut or Copy to display the Items to Clip dialog box, where you can specify which musical elements you want to cut or copy. You can also press shift and Ctrl (see above) if you want to select only certain musical elements and create a Clip File.

Press delete to remove the selected music from the score, in all staves, so that there are fewer measures remaining.

Press backspace to erase the selected music, leaving behind only rests.

See Also:

Main Tool Palette

For complete information, see the Mass Mover Tool in the User Manual.


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. Particularly if you plan to print on a PostScript printer, however, you'll probably use this tool most often to reduce the overall size of the music. It's important, however, that you choose Update Layout from the Edit Menu after you reduce 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.

Special mouse clicks

Click directly on a notehead to reduce or enlarge the notehead itself. (If the note is in Voice 2, shift-click.)

Click a note stem to reduce or enlarge the entire note, including the notehead, stem, flag, any other notes in the same chord, and - if the note you clicked was the first note of a beamed group - any other notes in the beamed group. (If the note is in Voice 2, shift-click.) Finale also reduces any expression markings, chord symbols, or lyric syllables attached to the note.

In Page View, click to the left of a staff to reduce or enlarge the staff.

In Page View, click between and to the left of any two staves to reduce or enlarge the entire system.

In Page View, click the upper-left corner of a page to reduce or enlarge that page, a range of pages beginning with the one you clicked, or all pages from the one you clicked through the last page of the file.

See Also:

Main Tool Palette

For complete information, see the Resize Tool in the User Manual.


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.

For detailed information, see the Special Tools Palette.

See Also:

Advanced Tools Palette

For complete information, see the Special Tools Tool in the User Manual


Text Tool

You can use this tool to place titles, page numbers, and other headers and footers such as composer credits, copyright notices and other similar lines of text that appear on one or more pages in the score. You can also place longer text such as a note to the performer, an extra or optional set of lyrics, or -- if you're preparing a textbook or examination -- explanatory text. You can even create notes that will appear in the score, but won't print out.

Text blocks in Finale have two elements: the text itself, which can be any number of characters, in multiple fonts and styles and can appear anywhere in the score; and the frame (the shape that contains the text). Most of the time you'll use a standard frame, which is a simple rectangle for which you can display a border. Or, you can create a custom frame and create any shape to enclose the text. You can even create a second, inner enclosed shape for a custom shape and pour in the text around it (to create a cutout for an illustration, for example).

There are two kinds of text blocks: measure-assigned and page-assigned text blocks. A measure-assigned text block remains attached to its measure in the score, even if the measure's positioning in the score changes. A page-assigned text block remains fixed to its position of the page, regardless of changes made to the layout of the measures around it.

When you click the Text Tool the Text Menu appears. Handles appear on each text block in the score.

Special mouse clicks

Click a text block handle or drag-enclose text block handles to select a text block or text blocks.

Shift-click a text block handle to add a text block to the selection. If a text block is already selected, Shift-click to remove the text block from the selection.

Double-click in the score to create a frame that expands as you enter text.

Double-click and drag in the score to create a fixed-size frame for text.

Double-click a text block handle to edit the text block. The editing frame surrounding the text appears, and a cursor appears in the text block.

Shift-double-click a text block handle to edit the text block's attributes.

Press Delete to remove the selected text blocks from the score.

Drag a selected text block handle to adjust its position in the score.

See Also:

Text Menu

Main Tool Palette

For complete information, see the Text Tool in the User Manual.


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.

Special mouse clicks

Drag a handle to resize the page margins or system margins.

Drag in the middle of a system to change the position without changing the shape, useful when you want to move the first system down without changing the height of the system.

Hold down Control and drag the center of a staff system to move the staff system without moving other systems.

Control-A to select all system handles.

See Also:

Main Tool Palette

For complete information, see the Page Layout Tool in the User Manual.


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 explication of a trill, propose a cadenza, or suggest an easier alternative to the real measure.

Because such a measure isn't part of any staff or system and can be dragged freely around the page, it's also useful for notating cutout scores or for adding musical examples. These "ossia" measures don't play back; they're purely graphic.

A measure-assigned ossia measure, which you create in Scroll 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 spot on the page, regardless of any repositioning of the music around it.

Special mouse clicks

In Page View, click the Ossia Tool to display a handle on every page-assigned ossia measure.

In Page View, double-click anywhere on any page to display the Ossia Measure Designer dialog box, where you can create a floating measure that will be attached to the place on the page you clicked.

In Scroll View, click a measure to which an ossia measure has been attached to display its handle. Double-click to display the Ossia Measure Designer dialog box, where you can create an additional floating measure.

In Scroll View, click a measure with no ossia measures attached to display the Ossia Measure Designer dialog box, where you can create an ossia measure.

Double-click a floating measure's handle to display the Ossia Measure Designer dialog box, where you can edit certain parameters of the ossia measure, such as its positioning clef, key, and size.

Click an ossia measure's handle to select it; drag it to move the measure; press delete to remove the measure.

Shift-double-click a floating measure's handle to display the Page or Measure Assignment for Ossia Measure dialog box, where you can specify positioning coordinates for the floating measure.

For further information, see the Ossia Measure Designer dialog box.

See Also:

Advanced Tools Palette

For complete information, see the Ossia Tool in the User Manual.


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 using the Mass Mover Tool if the passage you want to copy is a full measure long (or longer). However, use the Mirror Tool if you want only selected notes from a source measure to appear in the mirror measure.

Furthermore, you can 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

Click the Mirror Tool to display a Mirror icon on every mirror measure, and a Placeholder icon on every pickup measure. You can't edit the notes in a mirrored measure directly; you must edit them in the source measure.

Click a measure with notes in it (or a measure with a Placeholder icon) to display the Placeholder dialog box (which lets you turn the measure you clicked into a pickup measure).

Click an empty measure (or a measure with a Mirror icon) to display the Tilting Mirror dialog box, which you can use to create or edit a composite mirror (containing selected notes from other measures).

Shift-click a measure displaying a Mirror icon to display the Mirror Attributes dialog box, where you can specify a number of parameters for the mirror (such as a transposition or beaming pattern).

For further information, see the Mirror Attributes dialog box.

See Also:

Advanced Tools Palette

For complete information, see the Mirror Tool in the User Manual.


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 the Transcription Mode of the HyperScribe Tool. You can also use this tool to create a swing effect, although the Playback Controls provide a much more efficient and effective method of creating swing.

Special mouse clicks

Click a measure to display the Tempo Adjustment dialog box, where you can edit the moment-by-moment tempo changes within the measure.

For further information, see the Tempo Adjustment dialog box.

See Also:

Advanced Tools Palette

For complete information, see the Tempo Tool in the User Manual.


Graphics Tool

Use this tool to exchange PostScript and bitmapped graphics between programs. You can place Encapsulated PostScript (EPS) files, Windows Metafiles (WMF), 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

Click in the Shape Designer to display the Place Graphics dialog box where you can select the graphic to place into the Shape Designer.

Click a graphic or drag-enclose graphics to select a graphic or graphics. Eight bounding handles appear on each selected graphic.

Shift-click a graphic to add a graphic to the selection. If a graphic is already selected, removes the graphic from the selection.

Double-click a graphic to edit the graphic's attributes.

Double-click in the score to place a graphic in the score.

Double-click and drag to enclose a region in Page View containing the musical example to export.

Press Delete to delete the selected graphics.

Drag to adjust the selected graphics' position in the score.

Drag a graphic's bounding handle to resize the graphic horizontally or vertically.

For further information, see the Shape Designer and Graphics Menu..

See Also:

Advanced Tools Palette

For complete information, see the Graphics Tool in the User Manual.


Selection Tool

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), Notes & Rests (Simple Entry), Smart Shapes, Expressions, Articulations, Repeats, Lyrics, Chords & Fretboards, Text Blocks, Graphics, Brackets, Tuplets, Key and Time Signatures, Clefs, Ossias, Staff and Group Names.

Press |Ctrl-shift-A to switch to the Selection Tool.

Click to select the item. If two items overlap, click the Selection Tool, click an item, then

press + (plus) or - (minus) to cycle through the overlapping items.

Drag a selected item to move it.

Select an item then use the arrow keys to nudge an item.

Select an item and hit backspace to restore default positioning.

Click and press delete, or right mouse click the handle and select Delete from the contextual menu to remove them.

Double-click an item or press enter with an item selected to select the item with the appropriate tool.

See Also:

Navigational Tools Palette

For complete information, see the Selection Tool in the User Manual.


Simple Entry Palette
Simple Entry Palettes

Choose "Simple Entry Palette" or "Simple Entry Rest 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. The Simple Entry keyboard commands are summarized in the diagram that appears on your Quick Reference Card.

Eraser

Click an item to delete it.

Double Whole Note

Click the staff to place a double whole note (breve).

Whole Note

Click the staff to place a whole note.

Half Note

Click the staff to place a half note.

Quarter Note

Click the staff to place a quarter note.

Eighth Note

Click the staff to place a eighth note.

16th Note

Click the staff to place a 16th note.

32nd Note

Click the staff to place a 32nd note.

64th Note

Click the staff to place a 64th note.

128th Note

Click the staff 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.

Sharp

Click a note to make it sharp.

Flat

Click a note to make it flat.

Natural

Click a note to make it natural.

Half Step Up

Click a note to raise its pitch by a half step.

Half Step Down

Click a note to lower its pitch by a half step.

Tie

Click a note to tie it to the next note; click a stem to tie an entire chord.

Tuplet

Click a note to create a tuplet; click again to delete the tuplet.

Grace Note

Click a note to toggle between grace note, slashed grace note, or full-sized note.

Simple Entry Rest Palette

Double Whole Rest

Click the staff to place a double whole rest.

Whole Rest

Click the staff to place a whole rest.

Half Rest

Click the staff to place a half rest.

Quarter Rest

Click the staff to place a quarter rest.

Eighth Rest

Click the staff to place an eighth rest.

16th Rest

Click the staff to place a 16th rest.

32nd Rest

Click the staff to place a 32nd rest.

64th Rest

Click the staff to place a 64th rest.

128th Rest

Click the staff to place a 128th rest

See Also:

Simple Entry Tool


Smart Shape Palette

Choose "Smart Shape Palette" from the Window Menu to display or hide the Smart Shape Palette. This palette contains an individual icon for each of several Smart Shapes - stretchable markings such as slurs, crescendo hairpins, 8va and 15ma brackets, dashed lines, and so on. (If the Smart Shape Palette doesn't appear, click the Smart Shape Tool.)

Finale automatically determines the direction of measure-based slurs, curves, 8va and 15ma markings and brackets. If you draw a marking over the middle line, Finale creates an over slur (or curve), or an 8va or 15ma marking (or bracket) with a down hook. If you draw a marking below the middle line, Finale creates an under slur (or curve), or an 8vb or 15mb marking (or bracket) with a up hook. When "Attach to Notes" or Attach to Noteheads" are selected in the Smart Shape Menu, slurs, curves attach to notes, glissandos and tab slides will automatically adjust when you edit or transpose them.

Slur

Double-click by the first note and drag to the last note to draw a note-attached tapered slur. Double-click above or below the staff to draw a measure-based tapered slur. ("Attach to Notes" must be unchecked.)

Dashed Curve

Double-click by the first note and drag to the last note to draw a note-attached dashed curve. Double-click above or below the staff to create a measure-based dashed curve. ("Attach to Notes" must be unchecked.)

Note: The dashed curves do not have tapered ends.

Decrescendo Tool

Double-click and drag to the right to draw a decrescendo (hairpin).

Crescendo Tool

Double-click and drag to the right to draw a crescendo (hairpin).

Trill

Double-click and drag to the right to draw a trill marking with an extension (wavy line).

Trill Extension

Double-click and drag to the right to draw a trill extension (wavy line).

8va

Double-click above or below the staff to draw an octave up or down (8va or 8vb) marking.

15ma

Double-click above or below the staff to draw a two octave up or down (15ma or 15mb) marking.

Solid Double-Ended Bracket

Double-click above or below the staff to draw a solid horizontal bracket with hooks at both ends.

Dashed Double-Ended Bracket

Double-click above or below the staff to draw a dashed horizontal bracket with hooks at both ends.

Solid Bracket

Double-click above or below the staff to draw a solid horizontal bracket with a down or up hook.

Dashed Bracket

Double-click above or below the staff to draw a dashed horizontal bracket with a down or up hook.

Solid Line

Double-click and drag to draw a solid line.

Dashed Line

Double-click and drag to draw a dashed line.

Glissando

Double-click and drag to draw a Glissando line.

Bend

Double-click and drag to draw a bend used for Guitar notation.

Tab Slide

Double-click and drag to draw a tab slide used for Guitar notation

Custom Line

Double-click and drag to draw a line defined by you; Ctrl-click to specify the line you wish to assign to this tool on the palette.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Glossary

Aftertouch

Alternate Notation

Background File

Baseline

Beat Chart

Bookmark

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

Non-Standard Key Signature

Note On - Note Off

Optimization

Patches

Petrucci

Playback File

Plug-ins

Portrait Orientation

PostScript

PostScript Listing

Quantization

RAM

Seville

Shape Expression

Smart Shapes

Staff List

Staff Set

Tamburo

Text Block

Text Expression

TIFF

Tiling Pages

Time Tags

Track

True Type Fonts

Tuplets

Type 1 Fonts

Voice

Word Extension


G_Alternate Notation
Alternate Notation

Alternate methods of notating music, such as slash notation,

which indicate free interpretation or "comping" of passages.

Finale also displays one and two-bar repeat symbols.


G_Aftertouch
Aftertouch

A MIDI signal transmitted by changing the pressure of a MIDI controller

while it's held. (Useful for creating crescendos or decrescendos).

There are two types of aftertouch: Channel Pressure

(Monophonic Aftertouch) and Key Pressure (Polyphonic Aftertouch).


G_Background File
Background File

An alternate name for a Finale Playback file which can

be played back while  recording a new track in the

Transcription window.


G_Baseline
Baseline

An imaginary line used to align the bottom edge of font

characters. Finale displays arrows that control the

baseline positioning for lyrics and chords.


G_Beat Chart
Beat Chart

A set of handles (accessed through the Measure Tool)

used to adjust the horizontal position of notes. Handles appear

either on the beat (Beat Spacing) or on each note of a measure

(Note Spacing). Adjusting the handle for one note or beat will move

the notes in all staves at once, keeping them rhythmically aligned.


G_Channel
Channel

MIDI channels are used to transmit and receive MIDI information such

as note on and note off messages as well as controller and patch

information to your MIDI device(s).


G_Clip Files
Clip Files

A Finale file similar to a Clipboard file that can actually be saved to or loaded from

your hard drive to copy or paste into Finale files. They are created by holding

the Ctrl key down while choosing Cut or Copy from Finale's Edit Menu.


G_Continuous Data
Continuous Data

Continuous Data is a broad MIDI term which includes both Controller

data, such as volume or aftertouch, as well as patch, pedaling, and

pitch wheel information. Continuous Data is not associated with

particular notes, but is stored with measures.


G_EDU
EDU - Enigma Duration Unit

EDUs, or ENIGMA Durational Units, are Finale's high-resolution

measurement for the duration of notes and rests.

1024 EDUs = 1 quarter note


G_EPS
EPS - Encapsulated PostScript

An EPS file is a high-resolution graphics file format that

uses PostScript to define images and text. You can create

music examples in Finale and save them as EPS files

for use in desktop publishing and word processing programs.


G_EVPU
EVPU - Enigma Virtual Page Unit

EVPUs, or ENIGMA Virtual Page Units, are Finale's flexible

measurements used to calculate the size and spacing of your music.

You can display the measurements in more common units such as

inches, centimeters, points or spaces.

288 EVPUs = 1 inch

24 EVPUs   = 1 space


G_Frame
Frame

A frame is a layer that contains one measure's worth

of music. You can have up to four layers of music per

measure, so one measure can contain up to four frames.


G_Handle
Handle

A small square which appears on currently "selectable" elements

in the score. Handles allow you to select, edit  and adjust musical

elements in the score.


G_HyperScribe
HyperScribe

A patented method of entering music in Finale by

transcribing a real-time MIDI performance into notation.

It transcribes the music onto one or two staves,

even if you alter the tempo as you play.


G_Icons
Icons

A visual representation of a file type or tool that

can be selected to perform a particular function.


G_Keyboard Equivalents
Keyboard Equivalents

A shortcut or alternate method of choosing a menu command,

or performing a function. See the Quick Reference Card for a

list of keyboard shortcuts.


G_Landscape Orientation
Landscape Orientation

A positioning of the printed page so that it is

that is wider than it is tall.


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.


G_Learned Chords
Learned Chords

Chords that Finale has analyzed during chord entry that do

not match any chord in it's chord suffix library. When Finale

encounters a chord it does not recognize, it lets you define it

yourself, or Finale will make its "best guess." You can change

the definition or spelling of learned chords.


G_Libraries
Libraries

Sets of musical symbols, expression markings,

and other important musical elements that are

stored on your hard drive. They can be loaded

into Finale files.


G_Metatool
Metatool

A Finale keyboard shortcut that lets you enter markings very quickly.

Up to 36 metatools can be programmed for the following items:

Articulations, Chord Symbols, Expressions, Key Signatures, Time

Signatures, Mass Mover, Repeats, and Tuplets.


G_MIDI
MIDI - Musical Instrument Digital Interface

MIDI is a standardized protocol by which music applications,

computers and MIDI instruments talk to each other.


G_MIDI Time Code
MIDI Time Code

A type of signal that is used to synchronize one or more MIDI devices

to another MIDI device, which generates the signal. This signal

allows the devices to play "in time" with each other.


G_MIDI File
MIDI File

A type of file written in a standardized format that can be understood

by music programs from different manufacturers so that one file can be used in

several different programs. For example, music created in any sequencer

program can be opened by Finale and converted into written notation.


G_Mirror
Mirror(s)

Intelligent copies of musical source regions

that are dynamically linked: when the source

measure is changed, the mirror also changes.


G_Note On - Note Off
Note On - Note Off

MIDI signals that instruct MIDI instruments to play or

stop a note, "turn on" and "turn off," respectively.


G_Optimization
Optimization

A Finale feature that suppresses any empty staves

(in a staff system) from page view and the printed page.

The staves will, however, be visible in scroll view.


G_Patches
Patch

Particular instrument sounds within a MIDI channel.

Consists of a simple program change or a combination

of bank and program changes.


G_Petrucci
Petrucci

One of Finale's music character fonts, named for Ottaviano Petrucci, the sixteenth-century Italian who first used movable type for printing polyphonic music. Both TrueType and PostScript versions are supported.


G_Playback File
Playback File

A special audio-only file, created from your notated

music, that can be saved onto your disk.


G_Plug-ins
Plug-ins

Plug-ins extend abilities to the existing program and are usually written as separate applications by various engineers.


G_Portrait Orientation
Portrait Orientation

A positioning of the printed page so that it is

taller than it is wide.


G_PostScript
PostScript

A page-description language that computers and

high-resolution printers use to communicate with each other.


G_PostScript Listing
PostScript Listing

A special type of text file containing all of a document's printing

information. You can send the listing to any PostScript printer

directly, without having to run Finale to print your document.


G_Quantization
Quantization

A process of rounding off rhythmic values of notes played

in a MIDI performance to the nearest selected duration,

resulting in a cleaner transcription of the notes.


G_RAM
RAM

Random Access Memory, is a computer's internal working

memory. This is not the same as the storage capacity

of the computer's hard drive.


G_Seville
Seville

Finale's guitar fretboard font. Both TrueType

and PostScript versions are supported.


G_Shape Expression
Shape Expression

A graphic expression mark, such as a vertical bracket, grand pause,

or hairpin, added to the score with the Expression tools.


G_Smart Shapes
Smart Shapes

Curves and lines that expand and compress if a measure width changes.

They also automatically separate if the shape needs to stretch across

more than one staff system in Page View.


G_Staff List
Staff List

A listing of all staves in a score that lets you determine

in which staves a Measure Expression will appear.


G_Staff Set
Staff Set

A particular group of staves displayed in Scroll View,

using the View Menu. They let you display only the staves

you need to edit, rather than all the staves in the score.


G_Tamburo
Tamburo

One of Finale's percussion and shape note fonts. Both TrueType

and Type 1 PostScript versions are supported


G_Text Block
Text Block

Text created and edited in the score that is enclosed in a "Standard"

rectangular frame for which a border can be displayed, or a "Custom"

frame that you create. They can be placed anywhere in the score,

and displayed on a single page or a range of pages.


G_Text Expression
Text Expression

A text marking, such as dynamics or tempo markings,

added to the score with the Expression tool.


G_Tiling Pages
Tiling Pages

A way of printing out very large scores (e.g.: 11" by 17") onto

several smaller pages that can be taped together.

A portion of the full score page appears on each printed page.


G_Time Tags
Time Tags

Points of reference for tempo entered into Finale's Transcription

window by the user. They determine how the real-time performance

is rhythmically divided for transcription into notated music.


G_True Type Fonts
True Type Fonts

Scalable fonts used to display and print your Finale

documents. These fonts do not require a PostScript printer.


G_Type 1 Fonts
Type 1 Fonts

Refers to PostScript printer fonts. PostScript printers

use Type 1 fonts to accurately scale text on the printed

page at any resolution.


G_Voices
Voice

Independent musical voices that respond with different stem

direction depending upon which note(s) the Voice 2 notes

were "launched." Only two voices are available per layer.


G_Word Extension
Word Extension

An underline that is used to indicate that a syllable

is being sustained through more than one note.


Simple Entry Keypad

The Simple Entry keyboard commands are also summarized in the diagram that appears on your Quick Reference Card. Keyboard shortcuts can also be found in the Keycuts chapter of the User Manual.

Special mouse clicks

Double Whole Note	Press 8 and click the staff
Whole Note	Press 7 and click the staff
Half Note	Press 6 and click the staff
Quarter Note	Press 5 and click the staff
Eighth Note	Press 4 and click the staff
Sixteenth Note	Press 3 and click the staff
32nd Note	Press 2 and click the staff
64th Note	Press 1 and click the staff
128th Note	Press 0 and click the staff
Double whole rest-128th rest	Press shift and a number key (0-8); click the staff
Erase an item (note, rest, accidental,etc.)	Press delete and click the item
Sharp note	Press a duration number, press S; click the staff
Natural note	Press a duration number, press N; click the staff
Flat note	Press a duration number, press F; click the staff
Half Step Down	Press Shift-F and click the note to change
Half Step Up	Press Shift-S and click the note to change
Augmentation Dot	Press . (period) and click the note to change
Tie Notes	Press = and click the note to change
Grace Note	Press G and click the staff
Select a note or rest	Control-click the note or rest
Show or Hide an Accidental	Select the note then press A
Bream or join a Beam	Select the note then press B
Hide or Show a Note or Rest	Select the note then press H
Flip the Stem	Select the note then press L
Add Parentheses around Accidental	Select the note then press P

See Also:

Simple Note Entry

Simple Entry Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Speedy Entry Keypad

The Speedy Entry keyboard commands are also summarized in the diagram that appears on your Quick Reference Card.

Special mouse clicks

Press Ctrl-number when you're editing a measure to tell Finale that the next notes you enter are part of a tuplet (triplet, quintuplet, and so on). Press Ctrl-2 through Ctrl-8. signify tuplets from duplets to octuplets, respectively. If you press Ctrl-1, Finale assumes you want to enter a tuplet that's more complex than one of the 2-through-8 tuplets. The Tuplet Definition dialog box appears, in which you can specify the temporal and visual aspects of more complex tuplet groupings.

Press Caps Lock before pressing a rhythmic-value key to tell Finale that you're about to enter a whole series of notes that all have that same rhythmic value. Now you can play notes on your MIDI instrument, rapidly, and Finale will automatically enter them into the score, without your having to press a rhythmic-value key each time.

Metatools

While the Speedy Entry Tool's preprogrammed keyboard equivalents aren't technically Metatools, they're similar in that they're one-keystroke commands. They let you edit the notes in one measure at a time very rapidly.

See Also:

Speedy Entry Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

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

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in 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 Technical Support.

To view this dialog box, go to the Help Menu and choose About Finale

See Also:

Technical Support


Accidental Octave Placement

How to get there

Click the Key Signature Tool, and 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 sixteen defined clefs, numbered 0 through 15. 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 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 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.

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. 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 "middle C" octave are labeled with negative numbers: –1 is the first octave below Octave 0, and so on.

•	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:

Nonstandard Key Signature

Key Signature Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Accidental Order and Amount

How to get there

Click the Key Signature Tool, and 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:

Nonstandard Key Signature

Key Signature Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Options 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 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 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:

Special Tools Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Copy Measure Width

How to get there

Select a region with the Mass Mover Tool. From the Mass Mover Menu, choose Copy Measure Items. From the Measure Items box that appears, select Measure Widths.

What it does

When you’re about to copy only certain elements of a selected region to another region—specifically Measure Widths—you can use this dialog box to specify that certain changes be made to the resultant copy.

•	No Change. If this radio button is selected, the copying process you’re about to perform won’t affect measure widths. You’re simply telling Finale to copy these elements to a target region exactly as they appear in the source region. (This item has no effect unless you’re in the process of copying a selected region.)

•	Set Width To. If this radio button is selected, you can fix their widths at a uniform measurement by entering a measurement into the box.

•	Add To Current Width. This option lets you modify the copies of all selected measures at once, thus preserving any variations within the selected region. Enter the amount by which you want the widths of the copied measures increased (positive number) or decreased (negative number) relative to the widths of the source measures.

•	OK. Click OK to confirm the settings you’ve made in this dialog box. You return to the Measure Items box, where you’ll see that Measure Widths is now selected.

•	Cancel. Click Cancel to tell Finale to ignore any settings you’ve made. You return to the Measure Items box, where you’ll see that Measure Widths has not been selected.

See Also:

Measure Items

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Copy Positioning

How to get there

Select a region with the Mass Mover Tool. From the Mass Mover Menu, choose Copy Measure Items. From the Measure Items box that appears, select Measure Positioning.

What it does

When you’re about to copy only certain elements of a selected region to another region—specifically Measure Positioning—you can use this dialog box to specify that certain changes be made to the resultant copy. To copy Positioning, Automatic Music Spacing must be turned off in the Edit Menu.

•	Position Notes: No Change • According to the Time Signature • Manually (by Dragging). If the No Change radio button is selected, the copying process you’re about to perform won’t affect the Measure Positioning mode (as determined by the measure attributes for the selected measures). You’re simply telling Finale to copy these elements to a target region exactly as they appear in the source region. (This item has no effect unless you’re in the process of copying a selected region.)

If the According to the Time Signature radio button is selected, Finale copies the measure, but uses the default positioning mode; Finale uses proportional spacing to place the notes in the measure.

If the Manually (by Dragging) radio button is selected, you can drag each note in the measure into place, one by one. Finale copies the measure, but 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.

•	Position Notes Evenly Across Measure. Select this option if the measure you’re copying to 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.

To find out more about these positioning modes, see Measure Attributes dialog box, Key Signature dialog box and Time Signature dialog box.

•	OK. Click OK to confirm the settings you’ve made in this dialog box. You return to the Measure Items box, where you’ll see that Measure Positioning is now selected.

•	Cancel. Click Cancel to tell Finale to ignore any settings you’ve made. You return to the Measure Items box, where you’ll see that Measure Positioning has not been selected.

See Also:

Measure Items

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool Menu

MIDI Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool Menu

MIDI Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Add Bookmark

How to get there

From the Bookmarks submenu of the View Menu, choose Add Bookmark. Or type control-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 • Scale View to • 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. Scale View to 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 • Scale View to • 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. Scale View to 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Add Measures

How to get there

Ctrl-click the Measure Tool. Or choose Add from the Measure Menu.

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:

Measure Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool Menu

MIDI Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Adjust 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 (Options 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 Options 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 by choosing Select Default Fonts from the Options Menu and clicking Verse, Chorus, or Section.

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). Or suppose you’ve been experimenting with the positioning triangles, but you can’t get them back to their evenly-spaced default positions; click this button, and Finale will restore them.

•	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 Menu

Lyrics Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Adjust Page Range

How to get there

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool Menu

MIDI Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool Menu

MIDI Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

Note Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

•	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 Music Character Positioning dialog box 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 Music Character Positioning dialog box 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.

•	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.

•	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

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Apply Articulation

How to get there

Click the Mass Mover Tool, and select a region of measures (or part of a measure). From the Mass Mover 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 • Through • 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:

Mass Mover Menu

Articulation Tool

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Multiple Passes and Sample List Overview

The following dialog boxes are very similar. Click a dialog box name for specific information.

Multiple Total Passes for Ending

Multiple Total Passes for Repeat

Sample List for Executable Shape


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 (U or ^), and upside-down (u or v) 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 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 U, and your Flipped symbol was this one U, you’d choose Main from this drop-down list.

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.

•	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 U, and your Flipped symbol was this one U, 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 lists.

•	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.

•	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 list, 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.

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.

•	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. 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.

•	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.

•	Position: Manually • 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 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:

Articulation Tool

Apply Articulation

Articulation Selection

Symbol Selection

Handle Positioning

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, 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 Articulations.

See Also:

Selection Overview

Articulation Designer

Articulation Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Augmentation Dot

How to get there

Choose Augmentation Dot from the Document Settings submenu of the Options Menu to display the Augmentation Dot dialog box.

What it does

The Augmentation Dot dialog box has several controls for fine-tuning the placement of dots in your music. To select the default measurement units, click on the Options 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.

•	OK • Cancel. Click OK to save the new settings, or click Cancel to discard the changes and return to the score.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Backward Repeat Bar Assignment

How to get there

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.

What it does

The two middle graphic repeat barline icons (the Backward Repeat and the Backward Repeat with Bracket) aren’t just for display; they can also be defined to affect the playback of your piece. The way in which Finale performs this repeat and the measure to which it repeats are determined in this dialog box.

•	Measure: (#). This indicator specifies the measure in which the repeat barline will appear.

•	Target Measure. The number in this text box specifies the measure Finale will jump to when playback reaches the repeat barline. Note that a repeat barline doesn’t necessarily direct the playback backward—the playback might jump to a later measure.

•	Always Jump. If you select this radio button, Finale will execute the repeat every time the playback reaches the repeat barline—creating, in effect, an infinite loop.

•	Jump on Total Passes. If you select this radio button, Finale will only execute the repeat upon one particular repetition of the music (as specified by the number in the Total Passes text box).

•	Repeat Until Total Passes. If you select this radio button, Finale will execute the repeat every time the playback reaches the repeat barline until it’s been reached a specified number of times (the number in the Total Passes text box). Thereafter, it won’t execute the repeat (the barline will behave like a normal barline).

•	Stop on Total Passes. If you select this radio button, Finale will execute the repeat every time the playback reaches the repeat barline until it’s been reached a specified number of times (the number in the Total Passes text box), after which it will stop playback.

•	Total Passes. The Total Passes text box lets you specify how many times during playback Finale should reach the repeat barline (how high it should "count") before performing the Repeat Action you’ve specified. (The number in the Total Passes text box has no effect, however, if you’ve selected Always Jump.)

•	Reset on Repeat Action. Once Finale has played the music the number of times in the Total Passes text box—and thus performed the Repeat Action—it can be made to 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.

•	Individual Positioning. If you’ve selected the repeat barline with a bracket attached, Finale places an identical bracket in every staff. Click Individual Positioning 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—a useful fact to remember if you’re creating, for example, a first ending that’s four measures long.

•	Relative Jump. Select this option to indicate that Finale should add the number in the Target Measure text box to the current measure number to find the jump location, rather than treat the Target Measure number as an absolute measure number. Enter a negative number in the Target measure text box for the number of measures you want Finale to jump back, and a positive number for the number of measures to jump forward. For example, if this option is selected and there’s a value of -8 in the Target Measure text box, Finale will jump back 8 measures from the current location.

•	OK • Cancel. Click OK 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:

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Barlines

How to get there

Choose Barlines from the Document Settings submenu of the Options Menu to display the Barlines dialog box.

What it does

The Barlines dialog box provides 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. To select the default measurement units, click on the Options Menu, then Measurement Units, then select the desired units.

•	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.

•	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.

•	Display All Barlines. When selected, Finale displays all barlines in your score.

•	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 checkboxes. 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. See Measure Attributes dialog box.

•	OK • Cancel. Click OK to save the new settings, or click Cancel to discard any changes. You return to the score.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Options 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 Menu

Text Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Hint: Any beam not selected cannot be extended.

See Also:

Special Tools Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Tilting Mirror

Mirror Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 (#). 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

Measure Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Expression Designer

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Articulation Assignments

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Change submenu of the Mass Mover 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:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Chord Assignments

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Change submenu of the Mass Mover Menu, choose 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 Ef7 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 Ef7. 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 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 Guitar Fretboards must be selected in the Chord Menu.

See Also:

Mass Mover Menu

Chord Tool

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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 type style.

•	Selected Font • Font • Size • Style • Set Font. If you want Finale to search your chord suffixes for a particular type style, 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 type style you want to replace, click this Set Font button to specify the replacement type style. 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 Menu

Chord Definition

Chord Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Clef

How to get there

Click the Clef Tool, then click any measure.

What it does

You can change the clef at the beginning—or even in the middle—of any measure in the score. 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.

•	Create a Clef Change at Beginning of Measure. When this option is selected, Finale will change the clef for the entire measure (or whatever range of measures you specify).

•	Place Clef After Barline. Check the Place Clef After Barline checkbox to display the clef immediately to the right of the barline. Uncheck the box to display the clef to the left of the barline.

•	Create a Movable Mid-measure Clef. When this option is selected, Finale will place a draggable clef symbol at the beginning of the measure you clicked, but it displays a handle. Drag to move the clef anywhere in the measure. By double-clicking the measure, you can add additional mid-measure clefs.

•	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:

Clef Tool

Clef Designer

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Note Durations

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Change submenu of the Mass Mover Menu, choose 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:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Noteheads

How to get there

Click the Mass Mover Tool. Select the region containing the notes you want to change. Choose Noteheads from the Change submenu of the Mass Mover Menu.

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:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Note Size

How to get there

Click the Mass Mover Tool, and select a region of music. From the Change submenu of the Mass Mover Menu, choose 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:

Mass Mover Menu

Resize Tool

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Tuplets

How to get there

Click the Mass Mover Tool, and select a region of music. From the Change submenu of the Mass Mover 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 the Default Tuplet Visual Definition dialog box, where you can specify these parameters. (See Default Tuplet Visual Definition dialog box 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").

•	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 • Beam Side. When Manual is selected in this drop-down 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.

•	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.

•	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.

•	Ignore Format Offset. If you have specified a global sideways shift for the numbers in your tuplets (see Music Options dialog box), select this option if you don’t want it to apply to this tuplet.

•	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.

•	Match Length of Hooks. This option is selected by default so that the tuplet shape is symmetrical. If you shorten or lengthen one hook in a tuplet, when this option is selected, Finale automatically draws the other hook the same length.

•	Auto Bracket. Choose this option to have Finale automatically place only numbers on beamed groups of notes, and a number with bracket or slur on unbeamed groups. If this option is not selected, Finale always places numbers and shapes according to the Number and Shape settings.

•	Number: H: • V:. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score.

•	Shape: H: • V:. These values show 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:.

•	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.

•	Slope. Enter a positive value to angle the bracket or slur so the right side is higher than the left. Enter a negative value to angle the right side of the tuplet lower than the left.

•	Reset. Click this button to change the Tuplet Definition settings to match those in the Default Tuplet Visual Definition dialog box.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the tuplet appearance you’ve created. You return to the score.

See Also:

Mass Mover Menu

Mass Mover Tool

Tuplet Tool

Tuplet Definition dialog box

Default Tuplet Visual Definition dialog box

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Note Expression Assignments

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Mass Mover Menu, choose Change, then Note Expression Assignments.

What it does

Using the Note Expression Assignments 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:

Mass Mover Menu

Expression Tool

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool

Select Default Fonts

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 List: Missing Graphics • Found Graphics. Finale searches for each graphics file placed in the current document. Any missing graphics appear at the top of this list. Finale provides the original location and full name of the graphics file that it was unable to locate. Found graphics appear in the list after any missing graphics in the file. One or two lines of information are provided about each graphics file. The first line shows the original location and full name of the graphics file. The second line only appears if Finale is unable to locate the file in its original location, but finds the graphic in a new location. This line is indented, and begins with "Found in—", then lists the location of the folder where the file was found.

Finale searches folders for missing graphics in the following order: the original location of the graphics file, the folder the current Finale document is contained in, the Music folder, and the Libraries folder. Note that Finale does not search any folders contained in the main folders.

To copy the complete list to the clipboard, click Copy List to Clipboard, explained next. To copy only part of the list, make your selection, then use the Edit Menu’s keyboard shortcuts. Press ctrl-A (Select All) to select the complete list, or drag-select or click and shift-click to select a portion of the list. Press ctrl -C (Copy) to copy a selected portion of the graphics list to the clipboard, then switch to another application and press ctrl -V to paste the list. For example, you may want to copy only the list of missing graphics.

•	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.

•	Done. Click Done to return to the score.

See Also:

Graphics Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, click the note to display a handle on the chord, then either 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 Ef13/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.

•	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 Ef 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 Fs 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 Bf 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 Bf).

•	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 Bf (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 Ef7 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 Ef7. 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 the Select Default Fonts dialog box. 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. Hint: 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 Guitar Fretboards must be selected in the Chord Menu.

See Also:

Chord Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, 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 using the Chord Accidentals button in the Select Default Fonts dialog box in the Options Menu.)

•	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 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 Type Style 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 the Select Default Fonts dialog box (use the Select Default Fonts command in the Options Menu.) (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 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

Chord Suffix Selection

Chord Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Clef Designer

How to get there

From the Options Menu, choose Document Settings, then Clef Designer.

What it does

Finale supplies sixteen 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 sixteen clefs (replacing existing clefs).

•	[Clef icons]. These icons illustrate the sixteen 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 the Select Default Fonts dialog box.

•	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.

•	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 sixteen available. Remember that when you define a new clef, you replace one of the sixteen 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:

Document Options

Clef Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 sixteen clefs currently available in this piece. Finale initially offers sixteen clefs, however, you can edit these clefs or even design your own, using the Clef Designer command in the Document Settings submenu of the Options Menu. See Clef Designer dialog box.

•	[Clef icons]. These icons illustrate the sixteen 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.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, change the number in the Suffix ID text box to zero, 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÷7".

•	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. Use 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 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

Chord Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Click and Countoff

How to get there

Choose Click and Countoff from the Options 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.

•	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.

||You can also choose Internal Speaker. This option uses your internal speaker instead of a MIDI Note or Event as the source for your click.|	end

•	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.

Note: Finale will always sound a metronome click while playing the countoff measures.

See Also:

Playback Controls

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Menu

Lyrics Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 the 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

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

MIDI Sync

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Color

How to get there

From the View Menu, choose Grid/Guide Options. 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.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Hint: 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:

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Composite Time Signature

How to get there

Click the Time Signature Tool, and 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 Signature

Time Signature Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Copy Measures

How to get there

Click the Mass Mover Tool (and make sure Select Partial Measures isn’t selected in the Edit Menu), and select a region of measures. Drag the first selected measure so that it’s superimposed on the first target (destination) measure, or Ctrl -shift-click the target measure (as long as the target measure isn’t directly above or below the selected measure).

What it does

When you copy music, 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 Mass Mover to copy it into the second measure. This dialog box appears, asking how many times you want it copied; enter 3 and click OK. Finale will copy the selected measure into measures 2, 3, and 4.

•	How many times? In this text box, enter the number of times you want the selected music copied. If you enter a number higher than 1, Finale will place the additional copies after the first copy, on the same set of staves.

•	OK • Cancel. Click OK to proceed with, or Cancel to abort, the copying process. You return to the score.

See Also:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Copy MIDI Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool, and select a region of measures. Drag the selected region so that it’s superimposed on the first target (destination) measure, or ctrl-shift-click the target measure (as long as the target measures aren’t directly above or below the selected measures).

What it does

When you copy MIDI data, Finale offers you the chance to create multiple copies, placed one after another. For example, if you want the same accents (key velocity information) from one-measure to extend for an eight measure passage (repeat seven more times), you need only enter it once (in the first measure); then you can use the MIDI Tool to copy it into the second measure (make sure that Key Velocities is selected in the MIDI Tool Menu). The Copy MIDI Data dialog box appears, asking how many times you want it copied. If you enter 7 and click OK, Finale will copy the selected measure into the next seven measures.

•	How Many Times?. In this text box, enter the number of times you want the selected MIDI data copied. If you enter a number higher than 1, Finale will place the additional copies after the first copy, on the same set of staves.

•	OK • Cancel. Click OK to proceed with, or Cancel to abort, the copying process. You return to the score.

See Also:

MIDI Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Style 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.

•	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 Style dialog box without selecting a preset arrowhead.

•	Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line Style dialog box. Instead of using the Select button, you can simply double-click the desired arrowhead.

See Also:

Smart Shape Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Cut Measures

How to get there

Click the Mass Mover Tool, and select a region of music. Choose Cut from the Edit Menu.

What it does

When you indicate that you want to delete some music, Finale can remove either the music alone from the specified region (leaving behind empty measures) or the measures themselves (removing the measures from the piece completely). This dialog box lets you specify whether or not Finale should remove the measures from the piece.

•	Clear. Select Clear if you want to remove music from the score, leaving behind only rests. (You can undo this action by choosing Undo from the Edit Menu.)

•	Delete. Select Delete if you want to remove the selected material from the score completely, shifting the following music to the left to fill in the gap. You end up with fewer measures in the score, and Finale rebars the music as necessary. Important: If full measures have been selected, Finale will remove the music from every staff in the score, even if you only selected the measures in one staff. (You can undo this action by choosing Undo from the Edit Menu.) Be sure that you haven’t disabled Undo in the program before deleting any music you aren’t sure of (see Program Options dialog box).

•	 OK • Cancel. Click OK or press enter to execute the selected option. Click Cancel if you decide not to remove any music. You return to the score. (If you chose Cut from the Edit Menu, the measures you selected are still copied to the Clipboard, just as though you’d copied them).

Tip: if you want to recover deleted measures, choose Undo from the Edit Menu

See Also:

Edit Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Cut Music

How to get there

Click the Mass Mover Tool, and select a region of music. Choose Cut from the Edit Menu.

What it does

When you indicate that you want to delete some music, Finale can remove either the music alone from the specified region (leaving behind empty measures) or the measures themselves (removing the measures from the piece completely). This dialog box lets you specify whether or not Finale should remove the measures from the piece.

•	Clear. Select Clear if you want to remove music from the score, leaving behind only rests. (You can undo this action by choosing Undo from the Edit Menu.)

•	Delete. Select Delete if you want to remove the selected material from the score completely, shifting the following music to the left to fill in the gap. You end up with fewer beats or measures in the score, and Finale rebars the music as necessary. Important: If full measures have been selected, Finale will remove the music from every staff in the score, even if you only selected the measures in one staff. (You can undo this action by choosing Undo from the Edit Menu.) Be sure that you haven’t disabled Undo in the program before deleting any music you aren’t sure of (see Program Options dialog box).

•	 OK • Cancel. Click OK or press enter to execute the selected option. Click Cancel if you decide not to remove any music. You return to the score. (If you chose Cut from the Edit Menu, the measures you selected are still copied to the Clipboard, just as though you’d copied them).

Tip: if you want to recover deleted music or measures, choose Undo from the Edit Menu

See Also:

Edit Menu

Rebar Options

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Curves

How to get there

Choose Curves from the Document Settings submenu of the Options Menu.

What it does

The resolution settings apply to all slurs, ties and curves for on-screen display and non-PostScript printing.

•	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.

•	Shape Designer Slur Tip Width. This setting determines the thickness of the curved line at the end of a slur in the Shape Designer.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in your document’s curve settings. You return to the score.

Resolution:

Type a number here to represent the quality of ties as drawn on the screen.

1 = lowest quality, fastest screen drawing 128 = highest quality, slowest screen drawing

Hint: It's faster to select one of the Resolution options below.

Hint: The resolution settings do not affect printouts on PostScript printers.

See Also:

Document Settings

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Swap One Font For Another

How to get there

Choose Swap One Font for Another from the Data Check submenu of the Options 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. See 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. See the Font dialog box.

•	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.

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.

•	OK • Cancel. When you click OK, when it’s finished swapping the fonts, you return to the score. Click Cancel to return to the score 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Scale Fonts

How to get there

Choose Scale Fonts from the Data Check submenu of the Options 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 score. Click Cancel to return to the score 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Default Tuplet Visual Definition

How to get there

Ctrl-click the Tuplet Tool to display the Default Tuplet Visual Definition dialog box.

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.

•	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 • Beam Side. When Manual is selected in this drop-down 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.

•	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.

•	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.

•	Ignore Format Offset. If you have specified a global sideways shift for the numbers in your tuplets (see Music Options dialog box), select this option if you don’t want it to apply to this tuplet.

•	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.

•	Match Length of Hooks. This option is selected by default so that the tuplet shape is symmetrical. If you shorten or lengthen one hook in a tuplet, when this option is selected, Finale automatically draws the other hook the same length.

•	Auto Bracket. Choose this option to have Finale automatically place only numbers on beamed groups of notes, and a number with bracket or slur on unbeamed groups. If this option is not selected, Finale always places numbers and shapes according to the Number and Shape settings.

•	Number: H: • V:. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score.

•	Shape: H: • V:. These values show 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:.

•	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.

•	Slope. Enter a positive value to angle the bracket or slur so the right side is higher than the left. Enter a negative value to angle the right side of the tuplet lower than the left.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the default tuplet appearance you’ve created. You return to the score.

See Also:

Mass Mover Tool

Tuplet Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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:

Page Layout Menu

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Document Options

How to get there

Choose Document Options from the Document Settings submenu of the Options Menu.

What it does

This dialog box contains many options governing the way Finale operates as you work. Most have to do with the way it displays your music (such as Courtesy Clefs).

•	Display Expressions for Extracted Parts. Through the use of Staff Lists, you can use the Expression Tool to place a measure attached marking in only certain staves in the full score, but in a different set of staves (usually all of them, or all staves in an instrumental section) in the extracted parts. By selecting this option, you tell Finale to display expressions as they’ll appear in the extracted parts (which means you’ll usually see each marking in more staves). If this option isn’t selected (which is the default condition), you’ll see the markings only in the staves you specified for display in the full score.

•	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.)

•	Display Half-Stems for Beamed Rests. If you’ve turned on Extend Beams Over Rests in Beaming Options, you may also wish to select this option, which places a half-stem, or stem stub, for each rest that’s bridged by a beam.

•	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 on all unbeamed grace notes. If this option is on, the Simple Entry and Speedy Entry Tools will only toggle between slashed grace and full note. If this option is off, you can slash grace notes on an individual basis with the Simple Entry Tool, Speedy Entry Tool or Slash Flagged Grace Notes plug-in.

•	Scale Manual 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 noteheads’ 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.)

•	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). See Text Menu.

•	Display Courtesy Key Signature at End of Staff System • Display Courtesy Time Signature at End of Staff System • Display Courtesy Clef at End of Staff System. If a clef, key, or time signature change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by displaying the incoming clef, key or time signature at the rightmost end of the preceding system.

If you want this "courtesy" clef, key or time signature to appear, select the appropriate checkbox here. If not, leave these checkboxes unselected, and the new clef, key or time signature will only appear at the beginning of the new line.

•	Break Tablature Lines at Numbers. Select this option to have space between the tablature lines and the tablature numbers.

•	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.

•	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.

•	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 flat 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.

•	Display Clef Only on First Staff System • Display Key Signature Only on First Staff System. These controls will help you notate lead sheets quickly and easily. When selected, Finale displays the clef and key signature on the first staff system of each page only.

•	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. See Text Menu, Date stamps.

•	Cancel • OK. Click OK to confirm, or Cancel to discard, the changes you’ve made in this dialog box; you return to the score.

See Also:

Document Settings

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Settings submenu of the Options Menu). See Augmentation Dot dialog box.)

•	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 Settings

Special Tools Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Spacing Widths

How to get there

From the Options Menu, choose Document Settings, then Music Spacing Options. Click Widths.

What it does

By spacing your music with the aid of a Spacing Library, you can create extremely professional-looking scores, in which measures are neither wider nor narrower than they need to be.

There are several spacing libraries provided with Finale: Fibonacci, Loose, Medium, Tight, etc. After you’ve loaded one of these libraries into the document (by choosing Open Library from the File Menu), you apply its spacing to your music by selecting the desired region and using the Music Spacing command in the Mass Mover Menu. You can also edit or create your own Spacing Table using this dialog box.

•	Duration. The number in this text box, measured in EDUs (1024 per quarter note), identifies the durational value whose width allotment you’re viewing. If you want to create a new duration/width pairing—for a tuplet that has no specified allotment, for example—you must first calculate the duration, as expressed in EDUs, and enter it in this box. (For example, the EDU value for a quintuplet eighth note is 205, because it’s one-fifth of a quarter note, whose duration is 1024). Then you enter a width allotment in the Allotment box, and click Insert.

Instead of calculating the EDU equivalent, however, you can also click Duration to display a visual palette of rhythmic values. Click the desired value (and the dot, if it’s a dotted value) and click OK; Finale returns to the Duration Allotment box and fills in the EDU equivalent in the Duration box for you. (If, when viewing a duration/width pairing whose EDU number isn’t evenly divisible into a quarter note—a quintuplet value, for example—the duration palette will display the closest possible value.)

•	Spacing Width. The number you enter in this text box specifies the horizontal width to be allotted to any note of the displayed rhythmic value (Duration box). (As usual, the units of measurement are whatever you’ve selected using the Measurement Units submenu of the Options Menu.) If you notice that a certain Spacing Table isn’t allotting enough space for your sixteenth notes, for example, increase the Spacing Width value of the sixteenth note (Duration value: 256) and use the Music Spacing command again. You should notice that Finale is now giving more space to every sixteenth note in the selected region (if you made a large enough increase in its Spacing Width value).

•	Insert. If you need to create a new duration/width pairing, enter new numbers into the Duration and Spacing Width boxes, as explained above. (Don’t worry about typing over existing values; Finale will remember the values you’re replacing.) Then click Insert to save your new pairing into this Spacing Table.

•	Delete. Click Delete to remove a duration/width pairing from the table.

•	Prev • Next. Click Prev or Next to move backward or forward through the displays of duration/width pairings.

•	OK. Click OK to save any changes you’ve made to the Spacing Table and return to the Music Spacing Options dialog box. If you then click OK again, your modified spacing widths are applied to the selected measures. If you’ve made substantial changes, you may want to save the complete edited library into a separate file of its own (a spacing library on your disk with its own icon), so that you can load it later into other pieces. If so, choose Save from the Library submenu of the File Menu, click Music Spacing, click OK, give your customized library a title, and click Save. See also Save Library dialog box.

•	Cancel. Click Cancel to discard the last change you’ve made to the Spacing Table and return to the Music Spacing Options dialog box.

See Also:

Mass Mover Menu

Mass Mover Tool

Music Spacing Options dialog box

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

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 that 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 Menu

Chord Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Select Default Fonts command in the Options 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 Mass Mover 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 Select Default Fonts from the Options 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:

Text Menu

Edit Menu

Lyrics Menu

Lyrics Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Edit Major and Minor Key Spellings

How to get there

Choose Edit Major and Minor Key Spellings from the Enharmonic Spelling submenu in the Options 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 to save the new settings, or click Cancel to discard any changes you made to the settings. You return to the score.

See Also:

Options/Enharmonic Spelling

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Edit MIDI Modifiers

How to get there

Click the Speedy 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 note into a rest. 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 Options

Speedy Entry Menu

Speedy Entry Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Edit Modal or Chromatic Spellings

How to get there

Choose Edit Modal or Chromatic Spellings from the Enharmonic Spelling submenu in the Options Menu.

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 to save the new settings, or click Cancel to discard any changes you made to the settings. You return to the score.

See Also:

Options/Enharmonic Spelling

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Elapsed Time

How to get there

Click the Mass Mover Tool, and select a region of measures. Select Check Elapsed Time from the Utilities sub-menu of the Mass Mover Menu. 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.

Hint: This information is useful when composing music that must last an exact amount of time such as jingles for commercials.

See Also:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Enclose Expression.

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 (Options Menu).

•	Width. Type the distance to add to Finale’s default width of the enclosure in the selected measurement units (Options 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, 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.

Hint: 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:

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Ending Repeat Bar Assignment

How to get there

Click the Repeat Tool, and click a measure. The Repeat Selection dialog box appears. Double-click the rightmost repeat barline icon (the Multiple Ending repeat bracket). If the measure already has a repeat bracket, click in the measure once, then double-click the handle of the repeat bracket.

What it does

The Multiple Ending Repeat bracket is the only one of Finale’s functional graphic repeats which makes playback jump to a specified measure when the playback reaches the beginning of the measure. This characteristic makes it ideal for the beginning of a first ending, for example. Don’t let the appearance of this barline’s bracket (it’s open at the right end) confuse you; though it appears to be a "first ending" bracket, it’s also very useful as a second ending (you can always change the bracket’s shape once it’s in the score). In this dialog box, you can specify various elements of behavior and appearance in the score.

•	Ending Text (Optional). Any text you enter here will appear under the bracket when the bracket appears in the score. If you don’t type anything, Finale will automatically use the number in the Total Passes (or Multiple Total Passes) text box. If you want to combine the Total Passes 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 Select Default Fonts from the Options Menu and clicking the Ending Repeat from the text drop-down list.

•	Target Measure. In this text box, enter the number of the measure to which you want the playback to jump (when it reaches this repeat bracket). You’ll usually want the music to jump to a later measure in the score, but you can enter any measure’s number here. If you leave zero in this text box, the repeat won’t have any playback function at all.

•	Total Passes. The number in this text box tells Finale how many times to play the bracketed measure instead of jumping. If you’re creating a first ending, for example, the Total Passes would be 1; on subsequent passes, Finale will direct playback to the Target Measure (which could be, for example, a second ending).

•	Individual Positioning. 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 Individual Positioning.

•	Jump if Ignoring Repeats. Select this option on any repeat that you want taken unconditionally if Finale is ignoring repeats. For example, you could set this at the beginning of a first ending repeat.

•	Relative Jump. Select this option to indicate that Finale should add the number in the Target Measure text box to the current measure number to find the jump location, rather than treat the Target Measure number as an absolute measure number. Enter a negative number in the Target Measure text box for the number of measure you want Finale to jump back, and a positive number for the number of measures to jump forward. For example, if this option is selected and there’s a value of -8 in the Target Measure text box, Finale will jump back 8 measures from the current location.

•	Multiple. Click the Multiple checkbox to enter the Multiple Total Passes for Ending dialog box, where you can, in effect, specify more than one Total Passes value; in the text boxes, enter the numbers corresponding to the passes when you want the bracketed measure played. See Multiple Total Passes for Ending dialog box.

There may be situations where you want Finale to play an ending several times. For example, if this is a "1, 3, 5." ending, you’d want Finale to play the bracketed measure the first, third, and fifth times through, and you’d want the playback to jump to the Target Measure the second and fourth times through.

When you click OK and return to the Ending Repeat Bar Assignment dialog box, the Multiple checkbox is selected and the Total Passes text box is ignored.

Provided you didn’t type anything into the Ending Text text box, Finale will automatically put the appropriate numbers—separated by commas—under the bracket when it appears in the score. In the example above, "1, 3, 5" would appear under the bracket.

•	OK • Cancel. Click OK 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:

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Entry Items

How to get there

Click the Mass Mover Tool, and select a region of measures. If you’re about to copy or move an element of the music, choose Copy Entry Items from the Mass Mover Menu. If you’re about to erase an element of the music, choose Clear Items from the Mass Mover Menu (the Clear Items dialog box appears); click Only Selected Items, and then click Entries.

Or, when you’re cutting or copying music from the score, press shift while choosing Cut or Copy from the Edit Menu. The Items to Clip dialog box appears; deselect Entry Items, then click it again.

What it does

You can copy or erase any element of your music without disturbing the remaining elements. These fall into two broad categories: Entry Items, or note-related markings (lyric syllables, chord symbols, articulations, and so on) and Measure Items, or measure-related markings and variables. Entry Items are listed in this dialog box. For example, you might want to erase only the lyrics from a selected region (while keeping the notes); or you might want to copy chord symbols or articulations from one place to another (without changing or moving the notes). This dialog box lets you specify which elements you want to copy or erase.

•	Entries. If you’re copying the selected music by dragging it, Entries means notes and rests alone, 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 erasing, clicking Entries is the same as selecting all entry-related items (notes, 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).

•	Articulations. Select this item to move or copy all articulation markings (staccatos, accents, and so on) created with the Articulation Tool. See Articulation Tool for more information on Articulations.

•	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.

•	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.

•	Smart Shapes (Assigned to Notes). This checkbox allows you to select note-attached slurs or bends for copying and erasing.

•	Notehead and Percentage Alterations. This item includes any reductions or enlargements you’ve performed on notes or note groups with the Resize Tool, as well as adjustments you’ve made to the positions of notes or accidentals with the Special Tools Tool. 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. 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. This performance data includes the velocity information (how hard you struck each key) as well as minor rhythmic deviations from the beat (Start and Stop Time data).

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 Start and Stop Time information.

•	Tuplet Definitions. This element is only available when you’re erasing; it specifies that tuplet definitions created with the Tuplet Tool will be erased 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.

•	Beam Extensions • Secondary Beam Breaks. These elements refer to beaming changes you’ve made with the Special Tools Tool (the Beam Extension and Secondary Beam Break tools). The significance of these 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.

•	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.

•	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.

•	Entries in Other Staves. This element refers to cross-staff notes (notes that have been moved, for clarity, to another staff with the Note Mover Tool, even though they still "belong" to their original staff). If you don’t select Entries in Other Staves, 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. See Note Mover Tool.

•	Clefs. Use the Clefs checkbox to determine whether to include the starting clef and any clef changes in the selected region for copying.

Note that clefs will not copy by default when you drag-copy full measures. This checkbox does not affect partial measure copies, which continue to not copy the clef.

•	All • None. Click All to select all of the checkboxes at once, or None to deselect all of them.

•	OK • Cancel. Click OK to confirm the settings you’ve made in this dialog box and continue with the erasing or copying operation. Click Cancel if you decide not to specify any of these elements. You return to the score (or previous dialog box).

See Also:

Measure Items

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Entry Modifications

How to get there

Click the Mass Mover Tool, and select a region of measures. If you’re about to copy or move an element of the music, choose Copy Entry Items from the Mass Mover Menu. After the Entry Items dialog box appears click Entries.

Or, when you’re cutting or copying music from the score, press shift while choosing Cut or Copy from the Edit Menu. The Items to Clip dialog box appears; deselect Entry Items, then click it again. Click the Mass Mover Tool, and select a region of measures. After the Entry Items 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 Mass Mover 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:

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Erase Layer

How to get there

This alert appears if you choose Move Layers from the Mass Mover 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 Mass Mover Tool, and select a region of measures. Choose Move Layers from the Mass Mover Menu. In the dialog box, specify that one layer’s contents be placed into a layer that already contains notes. Click OK.

See Also:

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Playback Options; 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, 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: dotted quarter, dotted quarter, quarter.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Playback Options; click Execute Shape; 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:

Selection Overview

Text Expression Designer

Shape Expression Designer

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Explode Music

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Utilities submenu of the Mass Mover Menu, choose Explode Music.

You can also use a Mass Mover 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.

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:

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Export MIDI File Options

How to get there

Choose Export MIDI File Options from the MIDI 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 MIIDI file, only when Export MIDI File Options is selected from the MIDI 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:

Instrument List

MIDI Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 lineart), 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 PackBits 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. (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.

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 Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

There are three ways to extract parts in Finale. Of the three, the Extract Parts command provides the most flexibility, because it places each extracted part in its own separate Finale document that you can view and edit before printing.

In this dialog box, you can specify which parts you want extracted, tell Finale which staves or groups to be extracted (so that both staves of a keyboard part will be extracted together, for example), and create a basic title for the resultant files, so that you can let Finale perform the part extraction unattended.

 This dialog box also provides convenient access to four other dialog boxes, which you can use to set up page formatting, page and music spacing options, and define multimeasure rest settings for the extracted parts.

•	Staves • Groups. The Staves list contains the name of each staff in the score, and the Group list contains the name or number of each group. Use the scroll bar to display all staves in the score. Click to select a single staff in the Staves list. Shift-click to select all staves between the currently selected staves and the staff you shift-click. Ctrl-click to select an additional single staff from anywhere in the list, or ctrl-click a selected staff to remove a single staff from the selection. After selecting staves to extract, select any groups you want to extract at the same time. Finale will extract each selected staff and group, and create a separate document for the extracted part.

•	Music Layout: Fit ___ Measures Per System • Treat Multi-Measure Rests as One Measure. If you want the same number of measures across each system for the entire piece, select this option and enter a number in the text box. Enter the number of measures to spread across each staff system in the extracted parts. You may optionally treat multi-measure rests as one measure (when checked) or count each measure inside the multi-measure rest individually (when unchecked.)

•	Music Layout: Space Systems Evenly. Select this option to have Finale space the systems evenly across the page in the extracted parts. See Space Systems Evenly.

•	Music Layout: Preserve Current Spacing • Apply Beat Spacing • Apply Note Spacing • Apply Time Signature Spacing. Click one of the music spacing options to space and lay out each part according to your selection. Choose Preserve Current Spacing to keep the same spacing in the extracted parts as currently appears in the score. Choose Apply Beat Spacing to position each beat in the measure according to the total duration of its notes. Choose Apply Note Spacing to position each note based on its duration. Choose Time Signature Spacing if you want Finale to match the measure widths in the extracted part to those in the score, but space the beats evenly according to the time signature.

•	Music Layout: Music Spacing Options. Click this button to display the Music Spacing Options dialog box, where you define Finale’s music spacing in detail.

Note: The music spacing options that you specify are the same as those shared by the full score; changing them here also changes the options in the full score.

See Music Spacing Options dialog box for more details.

•	File Names: Generate Names From • Prompt for Each Name • 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 you parts. The variables are detailed in the table below.

Variable	Represents	Example
%f	Score file name	"Pastorale"
%s	Staff name or group name	"Flute I" or "Piano" or "Strings"
%i	Staff or group number	"001"
%n	Staff index (score order)	"001"
%t	Score title from File Info dialog	"Symphony No 6"
%a	Abbreviated staff or group name	"Flt I" or "Pno"
The default is %f - %s, which using the examples in the table would give you extracted parts with file names like "Pastorale-Flute I.mus," "Pastorale-Piano.mus," and "Pastorale-Strings.mus," depending on what parts you selected for extraction.

Using %n in your file name can help searching and opening files in List boxes. Using %n %s would give you "001 Flute.mus," "002 Oboe.mus," "003 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.

If you are using %i Finale will add a G to the files with group numbers to distinguish them from staff number files.

Select Prompt for Each Name if you want Finale to ask you for a file name each time a document is created.

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.

•	Page Format • Multimeasure Rests • Options. Click these buttons to access dialog boxes where you define page layout and multimeasure rest settings for the extracted parts. The dialog boxes are: Page Format for Parts, Multimeasure Rest, and Page Options.

For more information, see Page Format for Score dialog box, Page Format for Parts dialog box, Multimeasure Rest dialog box and Page Options dialog box.

•	OK • Cancel. Click OK to confirm your parts extraction settings, or click Cancel to return to the score without changing any settings.

See Also:

Music Spacing Options

Page Layout Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 • Composer • Copyright • Description • 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 dialog box

Text Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


File Integrity Test Results

How to get there

Open a file with inconsistencies. From the Options Menu, choose Data Check, then Test File Integrity.

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 2002 prevents further damage from occurring. While using 2002 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:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Information dialog box.

See Also:

File Menu/File Info

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Filter Channels

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 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:

Track/Channel Mapping

Track/Channel Mapping to Staves

Import MIDI File Options

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Finale Registration

Use this dialog box to personalize your copy of Finale. This information will then appear in the About Finale dialog box.

This dialog box will appear any time the program is launched and not registered. To view your registration information, go under the Help Menu to About Finale.

See Also:

Help Menu


Fit Music

How to get there

In Page View, click the Mass Mover Tool, and select a region of full measures. From the Mass Mover Menu, choose Fit Music. Or click the Page Layout Tool. From the Page Layout Menu, choose Fit Music.

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 Music command also allows you to lock the measure grouping and the contents.

•	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 Installation & Tutorials.)

•	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: Whole Document • 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 Mass Mover Tool after selecting individual systems. See Mass Mover Tool and Update Layout Options dialog box for more details.

See Also:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 that 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Format Parts

How to get there

From the File Menu, choose Print Parts, click Format Parts in the Print dialog box. Or, choose Compile PostScript Listing, select Parts, then click Compile.

What it does

The Format Parts dialog box gives you more control over the quick printing or compiling of parts. This method provides a more functional layout of parts when you need to generate parts quickly.

Note that if you choose Print Parts from Page View, all parts in the score will be printed. However, if you choose Print Parts from Scroll View only the staves displayed in the current staff set will be printed.

When Finale displays the Format Parts dialog box, it automatically gathers the settings from the Page Format for Score dialog box.

•	First System Top Margin. Type the vertical position of the first staff system on the first page of your music. Enter a value to specify where, measured from the top page margin, Finale should place the music.

•	First System Left Margin. Type the amount to indent the first staff system on the first page of your music. Enter a value to specify where, measured from the left page margin, Finale should place the music.

•	First Page Top Margin. Type 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.

•	Scale Pages To. Type the percentage of normal size the music on the new pages should appear.

•	Distance Between Staves. Type the amount of space Finale should allow between the single staff systems.

•	Multimeasure Rest. Click to display the Multimeasure Rest dialog box, where you can change the appearance of multimeasure rests created in the parts. For more information, see Multimeasure Rest dialog box.

See Also:

File Menu

Print Parts

Multimeasure Rest

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Note that 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.

•	Font Style. Choose an appropriate style for the font you are setting. Select Regular, italic, bold or bold italic. You can view the effects of these font style changes in the Sample text box.

•	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.

•	Effects: Strikeout • Underline • Outline • Shadow • Fixed Size. Check as many of these checkboxes as you want; each creates a stylistic change in the font and size you’ve selected as follows: strikeout, underline, outline, and shadow.

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.

•	Sample display. This display shows how the font selections you have chosen will look.

•	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.

•	Include Printer-Only Fonts. Leave this box unchecked to have the Font dialog box appear quicker. Check this box to display fonts in your printer’s memory and not found on your system, although this may delay the appearance of the dialog box.

•	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, outline, underline, and shadow.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the font change you’ve specified. You return to the previous dialog box.

Tip: The icon to the left of the font name indicates the type of font: the "T" icon indicates a TrueType font, and the printer icon indicates a PostScript font.

See Also:

Articulation Tool

Expression Tool

Lyrics Tool

Measure Tool

Text Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Font Multi - state
Font

How to get there

Click on the Text Tool. From the Text Menu, choose Font. This is a three-state dialog box, so that you can change certain character formatting such as the font without changing other formatting such as the font size.

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.

Note that 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.

•	Font Style. Choose an appropriate style for the font you are setting. Select Regular, italic, bold or bold italic. You can view the effects of these font style changes in the Sample text box.

•	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.

•	Effects: Strikeout • Underline • Outline • Shadow • Fixed Size. Check as many of these checkboxes as you want; each creates a stylistic change in the font and size you’ve selected as follows: strikeout, underline, outline, and shadow.

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.

•	Sample display. This display shows how the font selections you have chosen will look.

•	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.

•	Include Printer-Only Fonts. Leave this box unchecked to have the Font dialog box appear quicker. Check this box to display fonts in your printer’s memory and not found on your system, although this may delay the appearance of the dialog box.

•	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, outline, underline, and shadow.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the font change you’ve specified. You return to the previous dialog box.

Tip: The icon to the left of the font name indicates the type of font: the "T" icon indicates a TrueType font, and the printer icon indicates a PostScript font.

See Also:

Text Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Font Annotation

How to get there

From the Options Menu, choose Select Default Fonts. Click on 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. We’ve provided annotation files for each of the fonts provided by Coda. If you use an alternative music font, you can 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 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 Select Default Fonts dialog box.

See Also:

Program Options

Select Default Fonts

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Frame Attributes

How to get there

Click the Text Tool. Click a text block handle, then choose 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.

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 from drop-down list to have Finale calculate a page-assigned text block’s position starting from either the page margin or page edge. Select 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

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.

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. 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 Definition

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 new fretboards. 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.

•	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.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	Num Frets (Default). Enter the default number of frets to use when creating custom fretboards.

•	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 Size. 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.

•	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:

Chord Definition

Fretboard Editor

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.


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 Shapes Selection dialog box, where you can design an alternate marking for these fretboard elements. See Fretboard Shapes 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 guitar 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 • Scale View to • Horizontal • Vertical. These settings are the same as the Add Bookmark Page View settings. See Add Bookmark dialog box.

•	Settings for Scroll View: Measure • Scale View to • 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

View Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Edit Frame

How to get there

Click the Speedy Entry Tool and ctrl-click a measure that contains music.

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.

•	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 the Layer Options dialog box.

•	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 Layer Options [Options 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 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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.

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.

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 Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 lists 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.

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.

•	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:

Staff Menu

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Track/Channel Mapping

Track/Channel Mapping to Staves

Import MIDI File Options

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 (Options Menu). For more instructions on the use of HyperScribe, see Quantization Settings dialog box.

See Also:

HyperScribe Options

HyperScribe Menu

Quantization Settings

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Hint: 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 Box. 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Implode Music

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Utilities submenu of the Mass Mover Menu, choose Implode Music.

You can also use a Mass Mover 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:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Insert Measures

How to get there

Click the Measure Tool, click a measure, and choose Insert from the Measure Menu.

What it does

The Insert Measure dialog box lets you specify how many new measure you want inserted before the first measure of the selected region.

•	How Many Measures?. In this text box, enter the number of new measures you want inserted.

•	OK • Cancel. Click OK (or press enter) to insert the specified measures, or Cancel to leave the number of measures unchanged, and return to the score.

See Also:

Measure Tool

Measure Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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 Menu

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Page Layout Menu

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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: 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.

•	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.

•	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 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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. 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).

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.

•	P (Play). In this column, a black square appears across from the name of each staff that you want to play back when you play your score. By clicking in this column across from a certain staff, you make the square disappear, indicating that the staff will be silent when you play the score. (The square disappears—meaning "muted"—when you’re soloing another staff; see Solo, below.)

If you’ve expanded a staff to view its individual layer assignments, and you turn off the Play setting for some layers but not others, the square in the Play column will appear striped. That’s your signal that the individual layers of the staff have mixed settings in the Play column.

•	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.

•	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.

•	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 Instruments. 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Interval

How to get there

Click the Mass Mover Tool, and select a region of music. From the Mass Mover 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

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Items to Clip

How to get there

Click the Mass Mover Tool, and select a region of music. While pressing shift, choose Cut and Filter or Copy and Filter from the Edit Menu. (If you’re about to create a Clip File, which can be saved separately on the disk, press both ctrl and shift when you choose Cut or Copy.)

What it does

When you cut or copy music from your score, Finale usually copies every note- and measure-related element of your music. (The only exceptions are measure-assigned text blocks, measure-assigned Ossia measures, and continuous MIDI data.)

In this dialog box, however, you have the option of excluding some of the score elements—lyrics or expression, for example. If you’ve chosen Cut from the Edit Menu, Finale still removes all music from the selected region; the Items to Clip dialog box merely lets you specify which elements of the music you want placed on the Clipboard (ready for pasting elsewhere in the score).

•	Expressions and Smart Shapes (Assigned to Measures). If this checkbox is selected, Finale will include any existing measure expressions and Smart Shapes in your Clipboard selection.

•	Repeats. If this checkbox is selected, Finale will include any repeat barlines or text repeats (created with the Repeat Tool) in the Clipboard selection.

•	Entry Items. An entry item is anything associated with a note or rest—lyrics, chord symbols, articulations, note attached expressions, beam modifications, and so on. If you want to eliminate some of these elements from the selection, click the Entry Items box, then click it again; the Entry Items dialog box appears. Click only those you want included in the Clipboard selection—but you must include the notes (Entries) themselves. See Entry Items dialog box.

•	OK • Cancel. Click OK to confirm your selections. If you chose Cut, Finale now asks whether you intend to clear the selected measures (leaving them empty) or delete them (removing them from the score completely). If you pressed ctrl while choosing Cut or Copy, Finale now asks you to title the Clip File you’re creating. Click Cancel to return to the score without cutting or copying anything.

See Also:

Edit Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Clear Items

How to get there

Click the Mass Mover Tool, and select a region of measures. Choose Clear Items from the Mass Mover Menu.

What it does

This dialog box lets you specify which elements of the music Finale should remove when you use the Clear Items command.

•	Everything. Select this button if you want every element of the music (including lyrics, chord symbols, notes, expressions, and so on) removed, leaving behind empty measures. (This is the same as highlighting a region of music and hitting the backspace key.)

•	Only the Selected Items. Select this radio button if you want to erase only certain elements of the selected music. The two options below (Measures and Entries) become available.

•	Measures. When you select this checkbox, the Measure Items dialog box appears, listing various measure-specific elements of the music you can erase, including Smart Shapes, measure expressions, measure-assigned text blocks, and so on. (See Measure Items dialog box.) Select any of these items you want to erase, and click OK.

•	Entries. When you select this checkbox, the Entry Items dialog box appears, listing various note-specific elements of the music you can erase. These include lyrics, chord symbols, expression marks, and so on. (See Entry Items dialog box.) Select any of these items you want to erase, and click OK. (If you specify in the Entry Items dialog box that you want to erase Entries, Finale will also remove everything attached to those notes—lyrics, expression marks, chord symbols, and so on.)

•	OK • Cancel. If you’ve selected Everything, click OK to return to the score, and Finale removes all music from the selected region. If you’ve selected Only the Selected Items, but haven’t specified Measures or Entries, you return to the score, and nothing is erased. Click Cancel to return to the score without having erased anything.

Hint: you can select Lyrics in the Entry Items dialog box and remove lyrics without removing notes.

See Also:

Mass Mover Menu

Mass Mover Tool

Entry Items dialog box

Measure Items dialog box

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 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 Signature Tool

Mass Mover Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Layer Options

How to get there

Choose Layer Options from the Document Settings submenu of the Options Menu.

What it does

The easiest way to notate simultaneous independent voices on a single staff is to use Finale’s Layer mechanism. In this dialog box, 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.

•	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. Check this box 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 Apply Setting 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.

•	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.

•	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.

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

Hint: Check Apply Settings Only if Notes are in Other Layers if you want rests and stems to float until multiple layers appear in the measure, such as a divisi part. Uncheck this option if you want all stems in your layers to be up or down respectively, such as a percussion part.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 F 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Lines

How to get there

Choose Lines from the Document Settings submenu of the Options Menu.

What it does

In this dialog box, you can specify, with great precision, the thickness of staff lines, barlines, ledger lines, and other straight lines used in the current document.

•	Enclosures • Ledger Lines • Staff Lines • Stem Lines • Tuplet Bracket • Grace Note Slashes. In each of these boxes, enter the desired thickness for the appropriate musical item. Most of them should be self-explanatory.

•	Ledger Line Length: Left Half • Right Half. You can actually 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, as illustrated in the dialog box. A positive number makes the ledger half longer.

•	Ledger Line Length: Left Half Rest • Right Half Rest. You can also specify the lengths of ledger lines on half or whole note rests, independent of note ledger lengths.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, your changes to the document’s line settings and return to the score.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Lyric Options

How to get there

Click the Lyrics Tool. Choose Lyric Options from the Lyrics Menu.

What it does

In this dialog box, 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. 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.

•	Lift • Push. The numbers in these two text boxes affect lyric syllable extension lines, or word extensions—the underline drawn after a syllable that’s sustained through more than one note. Lift refers to the vertical distance between the baseline of the lyrics and the underline itself. Push refers to the amount of horizontal space between the end of the syllable and the beginning of the underline. (The default value for both parameters is 0.014 inches.)

•	Line Thickness. This option sets the line thickness for word extensions in your score. Enter a value for the line thickness.

•	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.

•	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 settings. Click Cancel to tell Finale to ignore any changes you made in this dialog box. You return to the score.

See Also:

Lyrics Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Measure Designer

Ossia Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Mass Mover 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__. You can enter the number of the measure you want to edit or use the arrows to select another measure.

•	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 Width. Select this text box to add the specified amount to each measure in the selected measure region.

•	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 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.

•	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.

•	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.

•	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.)

•	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 Mass Mover in Page View. Click the Mass Mover 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.

•	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.

•	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 8th barline to the specified type.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, your measure attributes settings and return to the score.

See Also:

Measure Tool

Measure Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Measure Items

How to get there

Click the Mass Mover Tool, and select a region of measures. If you want to erase only measure items, choose Clear Items from the Mass Mover Menu, click Only Selected Items, then click Measures. If you want to copy only measure items, choose Copy Measure Items from the Mass Mover Menu.

What it does

When you copy or delete musical material from a selected region, Finale lets you select the specific elements of the selected music you want to copy (or erase). These fall into two broad categories: Entry Items, or note-related markings (lyric syllables, chord symbols, articulations, and so on) and Measure Items, or measure-related markings and variables. Measure Items are listed in this dialog box, although certain items are available only for specific actions. (If you select only part of a measure before choosing Clear Items, the Measure Items choice won’t be available in the dialog box.) Select the desired items (as many as needed) to copy, clear, or edit.

Measure Item	What it includes
Continuous Data	(Copy or Erase) MIDI controller data (pedaling, channel pressure, and so on) and pitch wheel data you’ve captured from a performance in Transcription Mode by clicking Save Continuous Data. Also any editing you’ve done to this data with the MIDI Tool.
Graphics (Assigned to Measures)	(Copy or Erase) Graphics you’ve attached to measures, in Scroll View only, with the Graphics Tool.
Key Signatures	(Copy only) Any key changes you’ve created with the Key Signature Tool.
Measure Number Enclosures	(Copy only) Any occurrences (in a region for which you’ve specified measure numbers with a geometric enclosure on Selected Numbers) where you’ve added, deleted, or resized the enclosures with the Measure Tool.
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. When you click this item, the Copy Positioning dialog box appears, where you can tell Finale how, or if, you want to change the positioning of the copy you’re creating.
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.
Ossia (Assigned to measures)	(Copy or Erase) Floating measures you’ve attached to measures, in Scroll View only, with the Ossia Tool.
Repeats	(Copy or Erase) Repeat barlines or text repeats (such as "To Coda") created with the Repeat Tool.
Measure Expressions	(Copy or Erase) Expression markings you’ve created with the Expression Tool: dynamics, rehearsal marks, and so on.
Smart Shapes (Assigned to measures)	(Copy or Erase) The intelligent, stretchable expression markings created with the 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.
Tempo Changes	(Copy or Erase) Tempo changes captured from a Transcription Mode performance, 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.
Time Signatures	(Copy only) Any meter changes you’ve created with the Time Signature Tool.
•	Select All • Select None. Click the appropriate box to check all of the boxes or clear all of the boxes.

•	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:

Clear Items

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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…) or select one of four styles (a, b, c...aa, bb, cc…; A, B, C...AA, BB, CC…; a, b, c...aa, ab, ac…; A, B, C...AA, AB, AC…) from the Style drop-down list. 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. See Measure Number Style dialog box.

•	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.

•	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.

•	Edit Enclosure. Click this button to display the Enclosure Designer dialog box, where you can edit the settings of the currently selected shape.

•	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.

•	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.

•	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. 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.

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.

•	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 Number Style

Enclosure Designer

Position Measure Number

Program Options

Measure Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Number

Measure Tool

Measure Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Mid-Measure Clef

How to get there

Click the Clef Tool. Click any measure containing an inserted mid-measure clef; ctrl-click the mid-measure clef’s handle.

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.

•	Clef Selection. The Clef display identifies which clef you want to appear. (Each Finale document offers sixteen 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 Notation Options dialog box (Options Menu).

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 Notation Options dialog box.

•	Allow Vertical Drag. Select this checkbox to allow the mid-measure clef to be moved vertically as well as horizontally in the score.

•	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.

Click on the Place Clef After Barline checkbox to display the clef immediately to the right of the barline.

•	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 sixteen 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 Mass Mover to avoid collision of clef changes.

See Also:

Change Clef

Clef Tool

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Playback and/or Click

Tap Source

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


MIDI Setup

How to get there

Choose MIDI Setup from the MIDI Menu.

What it does

In the MIDI Setup dialog box you can edit a number of settings pertaining to your MIDI interface setup.

•	MIDI Setup • Advanced. 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 MIDI In and MIDI Out, below). Choose the driver for your MIDI Interface from the drop-down list for which slot through which you want to receive or send MIDI information.

•	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. 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.

•	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.

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

Tip: Refer to the beginning pages of the Tutorial to assist you in setting up your MIDI instrument to Finale.

See Also:

MIDI Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


MIDI Thru

How to get there

Choose MIDI Thru from the MIDI Menu. The MIDI Thru dialog box appears.

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 a second MIDI keyboard—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 keyboard.

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 Menu. If you selected Off, MIDI Thru will not be checked, indicating that no MIDI Thru mode is in use.

See Also:

MIDI Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


MIDI Thru Table

How to get there

Choose MIDI Thru from the MIDI 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—64. 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’ve made to the dialog box and return to the MIDI Thru dialog box.

See Also:

MIDI Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


MIDI Tool split window

How to get there

From the Window Menu, choose Advanced Tools. 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 split-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. For a complete tutorial in the use of the MIDI Tool, see Installations & Tutorials.)

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 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 choosing Playback Controls from the Window Menu, 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 Mass Mover 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 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.

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 Mass Mover 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 Mass Mover 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.

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 Mass Mover 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 Mass Mover Tool to clear Continuous Data.

•	[Pitch Wheel]. Choose this item from the MIDI Tool Menu 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 the Program Options dialog box. 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Mass Mover 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 Mass Mover Tool. Choose Mirror from the Mass Mover 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
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 the three below it, apply only to the selective mirror identified in the text box.

Normally, when you create a selective mirror, Finale substitutes rests for any notes you didn’t select. 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.

•	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:

Mass Mover Menu

Mass Mover Tool

Mirror Tool

Tilting Mirror dialog Box

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


More Quantization Settings

How to get there

Choose Quantization Settings from the Options 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).

Hint: 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 Mass Mover Menu to correctly place Voice 1 and Voice Two in the few places you want them.

•	Allow Dotted Rests. Usually Finale writes out all rests instead of notating dotted rests. Select this option only if you want Finale to notate dotted rests when transcribing your MIDI file, or during a HyperScribe or Transcription Mode performance. For example, when this option is selected, Finale notates a quarter rest followed by an eighth rest as a dotted quarter rest.

•	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 Settings

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Movable Items

How to get there

Choose Movable Items from the Options Menu.

What it does

Use the Movable Items dialog box to instruct Finale to automatically constrain movements when dragging or nudging elements, and to set the distance to nudge by whenever you use an arrow key to move an element. Since nudging sometimes involves very fine adjustments to the position of an element, we’ve improved the precision with which you can nudge when using Special Tools. You can make the "nudge" amount as small as one pixel, or as large as you like. You should note that the specified nudge amount only applies to certain tools, such as the Special Tools, Text Tool, Page Layout Tool, Staff Tool and SmartShape Tool. This setting is saved with your preferences in the Finale.INI file.

The auto-constrain setting controls whether you can drag handles in any direction, or only in horizontal or vertical movements. The auto-constrain setting is used throughout Finale. Turning auto-constrain on is very useful when you’re editing pitch with Speedy Entry, adjusting stem lengths with Special Tools, positioning lyric syllables, adding Smart Shape crescendo and decrescendo hairpin shapes, moving measure numbers, and so on.

•	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.

•	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 score.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Move Layers

How to get there

Click the Mass Mover Tool, and select a region of measures. Choose Move Layers from the Mass Mover Menu.

What it does

The Move 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.

•	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:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Hint: middle C=60=C4.

See Also:

Transcription Menu

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Multimeasure Rest

How to get there

You can access the Multimeasure Rest dialog box 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 Options Menu, choose Document Settings, then 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 File Menu, choose Print Parts, click Format Parts, then click Multimeasure Rest.

4. From the File Menu, choose Extract Parts and select Multimeasure Rest in the Extract Parts dialog box.

5. 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 multimeasure rests for the score or parts. Depending how you reach this dialog box, you can set up the appearance of newly created multimeasure rest measures in the score, or edit the appearance of a single multimeasure rest. For example, if you reach the Multimeasure Rest dialog box via one of the first four methods listed above, you will be defining the initial appearance of each multimeasure rest Finale creates. (Finale also uses the multimeasure rest settings from the Document Settings submenu of the Options Menu when you create a multimeasure rest by choosing Create from the Multimeasure Rests submenu in the Measure Menu.) If you use the last method, you will be changing the appearance of an existing multimeasure rest.

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 Options Menu, then Measurement Units, then select the desired units.

•	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.

•	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.

•	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. See Measure Tool.

•	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.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, your changes to the document’s Multimeasure Rest settings and return to the score.

Tip: If you don't want numbers to appear over the symbolic rests, be sure to change the "Start Numbering at ___ Measures" text box.

See Also:

Options Menu

Extract Parts

Format Parts

Special Part Extraction

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Multiple 'Total Passes' for Ending

How to get there

Click the Repeat Tool, and click a measure. When the Repeat Selection dialog box appears, double-click the Multiple Ending repeat bracket icon (the rightmost icon). Click Multiple. If there’s already a Multiple Ending repeat bracket in the measure, click in the measure. Then, double-click the Multiple Ending repeat bracket’s handle.

What it does

In general, you use the Multiple Ending repeat bracket as the first measure of, for example, a first ending. When Finale plays back the repeated section a second time through, this barline is responsible for directing playback to the second ending (or any other place in the score).

However, there may be times when you’ll want the playback to jump to another ending only on specific passes. For example, if this is a "1, 3, 5." ending, you’d want the playback to jump to the target measure (or target Mark-defined text repeat) only the second and fourth times through. In this dialog box, you can specify which times the Multiple Ending measure is to be played.

•	«    ». Click these right and left arrow buttons to scroll through the text boxes to specify more than four passes.

•	[Text boxes]. In each text box, enter a number corresponding to the repetition of the music on which you want Finale not to jump to another measure—in other words, specify which times the music should play this measure. For example, if you want Finale to jump to the second ending only the fourth time it encounters this measure, creating a "1, 2, 3." ending—enter 1, 2, and 3 in the first three text boxes.

•	Clear. Click Clear to enter zeros in all the text boxes. If you now click OK, you’ll return to the Ending Repeat Bar Assignment dialog box, where there’s no longer a mark in the Multiple checkbox.

•	OK • Cancel. Click OK to confirm your Multiple Total Passes settings. You return to the Ending Repeat Bar Assignment dialog box, where the Multiple checkbox is now selected and any number in the Total Passes text box is ignored. Click Cancel to return to the Ending Repeat Bar Assignment dialog box without changing the status of the Multiple Total Passes settings.

See Also:

Ending Repeat Bar Assignment

Multiple Passes and Sample List Overview

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Multiple 'Total Passes' for Repeat

How to get there

Click the Repeat Tool, and click a measure. (If there’s already a graphic barline repeat sign or text repeat in the measure, double-click the measure.) When the Repeat Selection dialog box appears, double-click one of the displayed text repeats (if any). (If none appears, click Create to create your own; click OK, then double-click the new text repeat.) Click Multiple. See Repeat Selection dialog box

If you’ve placed a text repeat in the score, you can also enter this dialog box by shift–double-clicking its handle, then clicking Multiple.

What it does

There may be times when you’ll want the text repeat you’re designing to affect playback only on specific passes. For example, if the text repeat says "To Bridge (1st and 3rd times only)," you’d want the text repeat to have no playback effect the second and fourth times through. In this dialog box, you can, in effect, specify more than one Total Passes value (see Repeat Assignment dialog box for a detailed description of total passes).

•	«    ». Click these right and left arrow buttons to scroll through the text boxes if you want to specify more than four passes.

•	[Text boxes]. In each text box, enter a number corresponding to the repetition of the music on which you want the Repeat Action to be performed. For example, if you want Finale to jump "To Bridge" only on the first and third repetitions of the music, enter 1 in the first text box and 3 in the second.

•	Clear. Click Clear to enter zeros in all the text boxes. If you now click OK, you’ll return to the Repeat Assignment dialog box, where there’s no longer a mark in the Multiple checkbox.

•	OK • Cancel. Click OK to confirm your Multiple Total Passes settings. You return to the Repeat Assignment dialog box, where the Multiple checkbox is now selected and any number in the Total Passes text box is ignored. Click Cancel to return to the Repeat Assignment dialog box without changing the status of the Multiple Total Passes settings.

See Also:

Repeat Assignment

Multiple Passes and Sample List Overview

Repeat Selection Dialog Box

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Music Characters

How to get there

Choose Music Characters from the Document Settings submenu of the Options Menu to display the Music Characters dialog box.

What it does

Finale assumes that you’ll generally want to use the s symbol to represent a sharp, a ä to stand for an eighth rest, and so on. You can, however, specify any musical symbol from the currently selected music font to appear as any musical element. (You choose a music font using the Select Default Fonts command in the Options Menu.) In this dialog box, you can specify the character you want Finale to use in your document for each of nearly three dozen musical elements.

This lets you specify characters for virtually every music symbol in a document. Use the Flags drop-down list to select the characters. The Flags drop-down list includes options for an alternative style of straight upstem and downstem flags.

Specify the font to use for each type of musical symbol in the Select Default Fonts dialog box. You can choose symbols for accidentals on notes, chords, and key signatures, and for augmentation and repeat dots. There are settings for specifying alternate notation characters such as diamonds and slashes (used in percussion notation), plus the Music Character Positioning dialog box where you can precisely position a variety of rests, flags, and alternate notation symbols used for rhythmic notation. Also, the Tamburo font offers an alternate style of straight flags that look like beams on single notes. Choose between horizontal or angled straight flags, depending on your preference.

Here’s how it works. When you click a Select button, Finale displays a palette containing every symbol or character in the selected music font. Double-click the symbol you want to use for the musical element whose Select button you clicked.

•	Noteheads, Select. The items in this drop-down list refer to the shapes used as the basis of Quarter notes and smaller values (Ï), Half notes (ú), Whole notes (w), and Double Whole notes W). Use the drop-down list to choose the type of notehead you want to change, then click Select to choose an alternate shape.

•	Rests, Select. The items in this drop-down list govern the character to be used for rests of the indicated values: Double Whole (ã), Whole (·), Half (î), Quarter (Î), Eighth (ä), Sixteenth (Å), 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.

•	Flags, Select. 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).

•	Straight Flags. Click to choose straight flags on note stems (angled or horizontal straight flag symbols are available). You must select Finale’s Tamburo font in the Select Default Fonts dialog box before you select Straight Flags. If Straight Flags is not selected, Finale places curved flags on stems.

•	Accidentals: Notes • Chords • Key Signatures; Select. You can separately specify which accidentals (naturals, flats, sharps, and so on) to use with notes, chords, and key signatures. For each option, select an accidental type from the drop-down list, then click Select to choose the character for the accidental.

•	Alternate Notation, Select. If you’re using alternate notation such as percussion notation, this option provides the ability to select the symbols for each listed element.

•	Other Symbols: Augmentation Dot • Repeat Dot • Plus; Select. You can define the symbol for the Augmentation Dot character separately from that of Repeat Dots. See Repeats for details about repeat dot characters. Select Plus from the drop-down list to choose the symbol used for composite time signatures.

•	Positioning. Click this button to display the Music Character Positioning dialog box, where you can specify the precise placement of rests of various durations, flags, and alternate notation symbols used for rhythmic notation. See Music Character Positioning dialog box.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, any changes you’ve made in this dialog box and return to the score.

Tip: if you want all your Quarter/Eighth noteheads to use the Engraver font instead of Maestro, change it here.

See Also:

Music Character Positioning

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Music Character Positioning

How to get there

Choose Music Characters from the Document Settings submenu of the Options Menu, then click Positioning to display the Music Character Positioning dialog box.

What it does

The Music Character Positioning dialog box contains settings that allow you to precisely place elements such as stems, rests, flags, and noteheads and stems used in alternate notation. You can also individually position rests with different durations. You can have Finale automatically adjust the vertical and horizontal placement of upstem and downstem flags. There is also a set of options for when you’re using alternate notation which lets you shift notehead characters and stem connections so they’re connected correctly (you can, for example, properly attach a stem to a diamond notehead). To select the default measurement units, click on the Options Menu, then Measurement Units, then select the desired units.

Note: Finale automatically updates the settings in this dialog box to match the default font if Maestro, Petrucci, Engraver or Sonata is set as the default font. If you don’t choose one of these as the default music font, you’ll need to update this dialog box to make the correct adjustments for the font you are using.

•	Rests: 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
8th, 16th, 32nd	0
64th	-24
128th	-48
The default rest position values in EVPUs for the Sonata font are:

Rests	Values
8th	12
16th, 32nd	-12
64th	-36
128th	-60
•	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.

•	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 notehead 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. See Stem Connections Selection dialog box.

•	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.

•	Rhythmic Notation: Quarter Note (Small) Slash V: Baseline Adjust • Stem Connection • Half Note Diamond V: Baseline Adjust • Stem Connection • Whole Note Diamond V: • Double Whole Note Diamond V:. 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.

•	Alternate Notation 2 Bar Repeat Number V:. The number in this text box controls the vertical placement of the number for the two-bar repeat alternate notation.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, your changes to the document’s music character positioning settings and return to the score.

Hint: Change values in this dialog box only if you're using a font other than Petrucci. Engraver, or Maestro..

See Also:

Music Characters

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Music Options

How to get there

Choose Music Options from the Document Settings submenu of the Options Menu.

What it does

This dialog box lets you specify precise distances between items of your score: between the clef and key signature, between dots on double-dotted notes, between accidentals, and so on. To select the default measurement units, click on the Options Menu, then Measurement Units, then select the desired units.

•	Spacing: 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.

•	Spacing: Key • 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.

•	Spacing: Time. These numbers determine the amount of space to the left and right of a time signature in the score, respectively.

•	Spacing: 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.

•	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. See Document Options dialog box.

•	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 Between Key Signature Accidentals. This number determines the distance between accidentals in key signatures.

•	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.

•	Tuplet Number on Upstem Side of Note • Tuplet Number on 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. However, a few publishers feel that the number appears to be off-center when positioned that way.

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 the Tuplet Definition dialog box (see Tuplet Definition dialog box).

•	Grace Note Spacing. 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.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in this dialog box and return to the score.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Music Spacing Options

How to get there

From the Options Menu, choose Document Settings, then Music Spacing Options.

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 Options 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.

•	Ignore Hidden Notes. Check this box to have hidden notes not affect the calculation of music spacing. Notes can be hidden with the O or H keys in Simple or Speedy Entry, or with the Notes and Rests (Hide) Plug-in. You may wish to use Ignore Hidden Notes when creating a hidden playback for a tremolo or trill. Leave this box unchecked if you want the hidden notes to affect the calculation of music spacing. You may wish to uncheck Ignore Hidden Notes for a source measure of an ossia.

•	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 button to enter the Spacing Widths dialog box, where you can view or change the actual pairings of rhythmic values to width allotments. (See Spacing Widths 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 Spacing Widths 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 checked under the Edit Menu or select a region of music with the Mass Mover and choose Apply Music Spacing from the Mass Mover Menu.

See Also:

Document Settings Menu

Options Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 that 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.

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Notation Options

How to get there

From the Options Menu, choose Document Settings, then Notation Options.

What it does

This dialog box contains a collection of miscellaneous settings. Most let you establish default values for Finale variables: the size of grace notes, the key and time signature of a new Untitled document, and so on. Some are technical parameters governing beaming and the placement of accidentals. To select the default measurement units, click on the Options Menu, then Measurement Units, then select the desired units.

•	Default Clef Change: Select. 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 15). You may find it easier, however, to click Select; Finale displays a palette of all sixteen available clefs. Double-click the clef you want; Finale enters its number in this text box automatically.

•	Default Clef Change: Percent. The number in this text box specifies the default size of an inserted clef (one that appears in mid-staff), expressed as a percentage of full size. (If the inserted clef is a mid-measure clef—one that appears in the middle of a measure—you can override this default reduction on a case-by-case basis.) The default value is 75%.

•	Default Clef Change: Offset. The number in this text box sets the distance between an inserted clef and the barline it precedes.

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 –.0278 inches (a negative number, because it’s being measured leftward from the barline).

•	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.

•	Reverse Stem Adjust. A reverse stem is one that’s attached to the "wrong" side of its notehead, often in conjunction with cross-staff notes or notes in different registers.

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.

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 the Beaming Options dialog box) 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.

•	Decimal Places. 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.

•	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%.

•	Tab Spaces. 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.)

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

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Note Shapes

How to get there

From the Options Menu, choose Document Settings, then Note Shapes.

Or,

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.

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 W , for Whole is w , for Half is ú , and for Quarter (and smaller values) is Ï . 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 the Options Menu, is the master switch for the settings you’ve made in this dialog box. When it’s selected, the score displays your new notehead shapes; deselect this checkbox to restore normal noteheads (until you re-select it).

•	OK • Cancel. Click OK to confirm, or Cancel to discard, any changes in the note shape scheme you’ve established and return to the score (or the previous dialog box).

Hint: Be sure to check Use Note Shapes if you want to enable this functionality.

Tip: There is a template with the Note Shapes predefined in the Church folder of templates.

See Also:

Staff Attributes

Options Menu

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

What it does

The Notehead Settings dialog box allows you to 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.

•	Positioning: Horizontal. 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 Options Menu, Measurement Units submenu.

•	Size: Resize To __ %. This text box specifies how much you want to resize the notehead, expressed as a percentage of the original full size.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, 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 Coda Notation File (.MUS) to display "regular" Finale files. Choose Enigma Transportable File (.ETF) to display Finale files that were saved in a special "transportable" format. Generally ETF files are used when you're going to share a file between PC's and Macintoshes. 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 Open 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, or SmartScore to display the files of the selected type in the scrolling list.

See Also:

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	Key Signature • Time Signature • Clef • Select. 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.)

•	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.

•	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 Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Other Program Options

How to get there

Choose Program Options from the Options Menu. Click Other Options.

What it does

The Other Program Options dialog box lets you set additional Program Options.

•	Default File 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.

•	View Percent. Select the View percentage new documents should display when opened.

•	View: Scroll View • Page 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.

•	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.

•	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 or other palettes.

•	Chime When Edit Complete. Deselect this checkbox to prevent Finale from notifying you after a long edit action is complete.

•	Allow Undo. You can undo almost any Finale operation by choosing Undo from the Edit Menu. After extensive Mass Mover 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.

•	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.

•	Show All Messages. Select this option to re-enable all messages that have a "Don’t Show This Again" checkbox.

•	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. However, there are times (such as converting many files at once) when you would prefer to open files with their original names, allowing you to overwrite them without prompting. This can be done by deselecting this checkbox. 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!

•	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!

•	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.

•	OK • Cancel. Click OK to confirm your settings. Click Cancel to disregard any changes and return to the Program Options dialog box.

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:

Program Options

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Page Format for Parts

How to get there

Choose Page Format for Parts from the Document Settings submenu of the Options Menu.

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, 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.

•	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

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Page Format for Score

How to get there

Choose Page Format for Score from the Document Settings submenu of the Options Menu.

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, 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.

•	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:

Options Menu

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Page Options

How to get there

Click the Options button in the Extract Parts dialog box to display the Page Options dialog box.

What it does

In the Page Options dialog box you can specify a page layout for the extracted parts and specify certain elements in the full score that you do not want to appear in the extracted part (such as staff names or graphics).

•	Staff Placement: New Staff Position • Top Staff • Between Staves. If you want the distance between staves and systems to be different in the extracted parts than in the full score, select the New Staff Position checkbox, and change the numbers in the Top Staff and Between Staves text boxes.

The number in the Top Staff text box sets the distance between each system and the one above it. It’s a negative number, because it’s measured down from the bottom line of the system above it.

The number in the Between Staves text box sets the distance between staves (if the extracted part consists of more than a single staff). It’s also a negative number, because it’s measured down from the top line of the staff above it.

•	Items to Remove: Single-Page Text Blocks and Graphics (Page 1). This option affects the appearance of text blocks and graphics placed as headers and footers. Only page-assigned text blocks and graphics displayed on only the first page of the full-score document are affected. When selected, the items will not appear in the extracted parts.

•	Items to Remove: Single-Page Text Blocks and Graphics (Page 2+). This option affects the appearance of text blocks and graphics placed as headers and footers. Only page-assigned text blocks and graphics displayed on any single page (except page 1) of the full-score document are affected. When selected, the items will not appear in the extracted parts.

•	Items to Remove: Staff or Group Names. When selected, Finale hides the staff or group names depending on whether you’re currently extracting staff or a group of staves, respectively. When selected, the staff or group name will not appear by the staves in the extracted parts.

•	Items to Remove: Multiple-Page Text Blocks and Graphics. This option affects the appearance of text blocks and graphics placed as headers and footers. Only page-assigned text blocks and graphics displayed on more than one page of the full-score document are affected. When selected, the items will not appear in the extracted parts.

•	Part Names: Create Staff or Group Name Header. When selected, Finale creates a part header using the staff or group names depending on whether you’re currently extracting a staff or a group of staves, respectively.

•	Part Names: Set Font. Click this button to go to the Font dialog box where you can select the font type, size and style for your staff or group name header.

•	Part Names: Resize Name to. Enter a value to resize the text used when displaying the staff name, as a percentage of the original text size; for example, you’d enter 50 to halve the text’s size.

•	Part Names: Page___Through___. Enter the pages on which you want the staff name header to appear. Enter zero or leave the Through text box blank to indicate that you want the header to appear on the first page specified, through the end of the piece.

•	Part Names: H: • V:. These values specify where you want Finale to position the staff name header on the first page of each extracted part, relative to the left and top page margins, respectively. The staff name moves to the right as the H: value increases (and to the left as it decreases); it moves up as the V: value decreases (that is, it becomes a larger negative value) and down as V: increases.

•	OK • Cancel. Click OK to confirm the new page layout for the extracted parts. Finale will proceed to generate an individual Finale document for each part, according to your specifications. Allow plenty of time for Finale to complete the task, especially with large files, and make sure there’s room on the hard disk to hold them. Click Cancel to discard any changes you’ve made in this dialog box and cancel the part extraction process.

See Also:

Extract Parts

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Mass Mover Tool. From the Edit Menu, make sure Select Partial Measures is selected. Select a region containing partial measures. Choose one of the following Mass Mover Menu commands, which can only be applied to increments of a full measure: Utilities submenu: Check Ties, Convert Mirrors, Explode Music, Implode Music; Music Spacing submenu: Apply Beat Spacing, Apply Note Spacing, Apply Time Signature Spacing; Fit Music; Move Layers.

See Also:

Edit Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 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 Map Selection

Staff Attributes

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Open 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.

•	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:

Selection Overview

Staff Attributes

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Piano Braces

How to get there

Choose Piano Braces from the Document Settings submenu of the Options Menu.

What it does

Using this dialog box, 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. 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.

•	 OK • Cancel • Reset. Reset restores the piano brace to its original default settings. Click OK to confirm, or Cancel to discard, your changes to the document’s piano brace shape.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Set Pickups dialog box.)

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 let you save a MIDI or playback file, and 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 when the HyperScribe Tool is selected.

•	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__. This text box has two functions. Before you begin playback, it indicates the first measure to be played. And while playback is underway, it changes to show you the measure being played.

•	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 (a speaker icon). 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 Options

Click and Countoff

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Playback Options

How to get there

From the Options 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 and playback 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 Options Menu, then More Quantization Settings before recording, and check Record Key Velocities and Record Note Durations. (HyperScribe doesn’t record continuous data or tempo changes.)

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.

•	Playback Files. All options in the Playback Files group box are only used when a playback file is selected for playback. (If you’re playing the Active File, Pre-Scan Music must be selected in Playback Settings.)

•	Wait for 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 (If you’re playing the Active File, Pre-Scan Music must be selected in Playback Settings.) 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).

•	Use MIDI Configuration from: Playback File • Active Document. Suppose you create a playback file of a document and save it onto your disk (see Playback Settings for a description of playback files). Now you open a different document, but specify that you want to hear the playback file played back.

In that instance, Finale has two possible sets of MIDI setup information (MIDI channel assignments, patch selections, Instrument List configuration) from which to choose—that of the open Finale document, or that of the playback file you’ve selected. Use this drop-down list to specify which MIDI parameters you want to use.

•	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. 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 or creates a playback file. Click Cancel to exit the dialog box without changing any settings.

See Also:

Playback Controls

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 playback 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.

•	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 menu 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.

•	Playback Source: Play Active Document • Play from Playback File. There are two kinds of files Finale can play. You’re already familiar with a Finale document—the notated, sheet-music kind of document you work on most of the time. The active document is the one in the frontmost window (if you have several documents open at once), whose name is identified by a check mark in the Window Menu.

A playback file is a special audio-only file which can be saved onto your disk independently of the notation document. When Finale creates a playback file, it’s already done all of the work involved in "sight-reading" your score. Therefore, when you play back a playback file, you’re less likely to overwhelm the computer with the task of creating MIDI playback—a useful fact to remember if you’re working on a fast or "notey" score which seems to be bogging down the computer.

The second important advantage of a playback file is that it permits the computer to focus its processing power on the task of scrolling the screen display to keep up with the audio playback. Only when it’s using a playback file (or pre-scanning the music) can Finale scroll the music on the screen for you.

If you’ve created playback files by clicking the Save File button, you can load them into Finale’s memory, ready to play, by clicking on Select File in the Playback File area. A list box will appear, showing the contents of the current folder on your hard disk; find the playback file you want to play and double-click it. Then make sure Play from Playback file is selected in Playback Source. Click Play on the Playback Controls to hear it played back.

•	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.

•	Playback File: Save File • Select File • Current Selected File. Click the Save File button to create either a MIDI file or a Playback File of the measures indicated in the Play From and Play Through boxes. You’ll be asked to provide a title, and you can save it into any folder on your hard disk. When you want to play it later, choose Play from Playback File from the Playback source area, then click on Select File in the Playback File area. When your file is selected, it will appear under Current Selected File.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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.

•	Tempo • Listen. Finale will use this 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.

•	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.

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.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Style 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.

•	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, 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 Style 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Style 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 Style dialog box without selecting a preset arrowhead.

•	Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line Style dialog box. Instead of using the Select button, you can simply double-click the desired arrowhead.

See Also:

Smart Shape Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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).

•	Print Quality. Choose the resolution setting you want from this drop-down list.

•	Copies. Enter the number of copies you want to print.

•	Left and Right Pages • Left Pages Only • Right Pages Only. Select Left & Right Pages to print both the left and right pages in the specified page range. Select Left Pages Only or Right Pages Only to print only the left or right pages, respectively, in the specified page range. For example, to print a score 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!

Hint: 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.

•	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. Select 2-up to print two pages of music side-by-side; 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. Select 4-up to print four pages of music on one page; Finale automatically scales the music to fit on the printed page.

•	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 to print two or more copies of a piece in sets so that you don’t have to sort them. Select Tile Pages if you want Finale to print a page of music on more than one page of paper. 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.

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 Options Menu).

•	Print Display Colors. Select this option to allow Finale to print the colors on your display to your color printer. Note that if you do not have a color printer, this will only print in shades of gray.

•	Crop Marks • Registration Marks • Registration Filename. Select these options if you want registration and crop 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. 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.

•	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.

•	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 score.

•	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.

•	OK • Cancel. Click OK to print. Click Cancel to return to the score without printing.

See Also:

Page Setup dialog box

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Program Options

How to get there

Choose Program Options from the Options Menu.

What it does

The Program Options dialog box lets you configure Finale’s program-wide settings. For example, you can also specify how to save your preferences–automatically when you exit Finale, or only when you explicitly use the Save Preferences command. The settings in this dialog box are saved in your the Finale.INI file (in your Finale folder). Use the measure number display options in the Program Options dialog box to control whether Finale displays its internal "actual" measure numbers, or the measure numbers you defined in the Measure Number dialog box. You can specify as a program option whether you want MIDI notes displayed as MIDI note numbers, or as pitches.

•	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.

•	Load Window States at Startup. If this item is selected, Finale will load the last saved position of the palettes and windows when you start Finale. See Save Window States at Exit below.

•	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 Auto Save folder specified in the Folders group box. If no folder is specified, the backup files are stored in the Music folder.

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.

•	Make Setup Wizard the Default New Operation. Select this option to change the keyboard shortcut for New (ctrl-N) from creating a new document from your default file, to selecting the Setup Wizard.

•	Startup Action: 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.

•	Save Preferences At Exit. 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.

•	Save Window States at Exit. 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 Load Windows At Startup is selected.

•	Folders: Music • Libraries • Backup • Auto Save • Plug-ins • User Manual • Template • Temporary Files • Font Annotations; 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.

•	Other Options. Click this button to display the Other Program Options dialog box where you can specify preferences for new document appearance. See Other Program Options dialog box.

•	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.

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.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, your new program settings.

Tip: Click the Browse button to navigate to a specific folder if you do not know the full path to that folder

See Also:

Options Menu

Other Program Options

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 window

Transcription Menu

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Quantization Settings

How to get there

Choose Quantization Settings from the Options 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 Quitting in the Program Options dialog box. See Program Options dialog box.

•	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:

Options Menu

HyperScribe Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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).

Hint: Enter values between 5-20 to achieve a more "human" feel.

See Also:

MIDI Tool Menu

MIDI Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Rebar Options

How to get there

Click the Mass Mover Tool; select a region. From the Rebar submenu of the Mass Mover 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:

Time Signature

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Rebeam to Lyrics

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Rebeam submenu of the Mass Mover 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

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Rebeam to Time Signature

How to get there

Click the Mass Mover Tool, and select a region of measures. From the Rebeam submenu of the Mass Mover 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

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Redraw Options

How to get there

From the View Menu, choose Redraw Options.

What it does

Because painting a screen full of complex graphics is one of the most demanding tasks for a personal computer, Finale provides a number of options to help you minimize the time it takes to do so. In this dialog box, you can turn these options on or off.

•	Redraw Only the Active Window. If you have several windows open that contain the same document, you may not want Finale to redraw all of them any time you change one of them. If you only want Finale to redraw the frontmost (active) window, select this option; in that case, other windows will only be updated when brought to the front.

•	Allow Redraw Interrupt. In many cases, you don’t need Finale to redraw the screen. For example, if you’re scrolling through a piece, you can probably tell where you are after only the first couple measures appear; at that point, you could save time by clicking the scroll bar again. Therefore, the Allow Redraw Interrupt feature lets you halt the redrawing process with almost any action: a mouse-click, a menu selection, a scroll bar click, a keystroke, and so on. Such an interruption leaves the rest of the screen blank, but returns control of the computer to you.

If you halt a redraw when only part of the screen is visible, you can edit anything you can see. As you get used to it, you’ll discover that Redraw Interrupt can save you hours of cumulative waiting time.

If you find this feature useful, be sure to choose Allow Redraw Interrupt in your Maestro Font Default file, and then choose Save from the File Menu. From now on, any new file you create will allow redraw interruption.

It’s useful to remember that even if this feature is turned off, you can still cancel any redraw in progress by pressing esc.

•	Draw: Music • Lyrics • Expressions • Graphics • Text Blocks • Chord Symbols • Special Positioning. The more graphic objects Finale has to display, the longer it takes to redraw the music. For this reason, you can omit certain musical elements from the display; click to deselect the checkboxes of those items you don’t need to see for the time being. (Everything still prints, however.) Finale will only draw the items whose checkboxes are selected. If you’re working on large scores, your work may speed up significantly if Finale hides, for example, the lyrics and text blocks while you’re working on the music. (Expressions are text and shape expressions; Special Positioning is any music spacing you’ve done using beat charts, using the Measure Tool—it takes Finale a few fractions of a second to calculate the new position of each such note.)

•	OK • Cancel. Click OK to confirm, or Cancel to discard your settings. You return to the score.

Tip: Uncheck text elements if you wish to edit the music in Page view and don’t want to wait for text blocks to draw.

See Also:

View Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Registration Confirmation

Use this dialog to verify that you have entered the correct information in the Finale Registration dialog box.

Tip: To see Registration information, go to About Finale under the Help Menu at any time.

This dialog box appears immediately after you have entered data in the Registration dialog box. Registration is only requested when Finale has not be run before.

See Also:

Finale Registration

About Finale

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Repeat Assignment

How to get there

Click the Repeat Tool, and click a measure. (If there’s already a repeat sign or text repeat in the measure, double-click.) 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; click OK, then double-click the new text repeat.)

If you’ve placed a text repeat in the score, you can also enter this dialog box by shift-double-clicking its handle.

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 Open Library from the File Menu.

Once you’ve selected a text repeat by double-clicking it, this dialog box appears, in which you can define its playback effect. 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.

•	Repeat: (#). This indicator identifies the text repeat by number.

•	Measure: (#). This indicator identifies the measure you clicked by number and the measure where the repeat will have it’s effect.

•	Mark • Jumper. Select the radio button that describes the function of your text repeat, as follows: A Jumper directs playback to another measure or to another repeat defined as a Mark—for example, to the coda. A repeat defined as a Mark doesn’t direct playback anywhere—in fact, it’s the target for a Jumper which has been set to jump to a Mark defined repeat.

In other words, if you’re defining a text repeat to be a Jumper—one that says "To Coda," for example—playback can be directed to a specific measure in the score, or to another text repeat defined as a Mark (the word "Coda," for example). If you plan to use this method, where a text Jumper directs playback to a Mark, be sure to note the number ID of the Mark defined text repeat (as indicated by the "Repeat:" indicator at the top of this dialog box), because you’ll need to enter this number in the Target text box (see below) of the Jumper repeat.

•	Target. The number in this text box is used when you’re designing a Jumper repeat. The number placed in this text box directs the flow of playback to either another measure or to a Mark-defined text repeat.

When the Measure radio button (see below) is selected, this text box indicates the measure number to which the text repeat should direct playback.

When the Repeat radio button (see below) is selected, this text box indicates the Repeat ID number of a text repeat you have defined to be a Mark. Note: To make this method work you must have defined the selected text repeat as a Mark. If the Target number is zero, the text repeat will have no playback effect.

•	Measure • Repeat. These radio buttons let you identify the number in the Target text box. If you click Measure, the number in the Target text box indicates the measure number to which the playback will jump when it encounters this text repeat. If you click Repeat, the number in the Target text box indicates the ID number of a Mark-defined text repeat to which the playback will jump when it encounters the text repeat you’re defining. Remember, a text repeat can direct the playback to any measure in the score, regardless of whether it occurs before or after the text repeat measure.

Note: these buttons, as well as the Target text box, have no effect when the Mark radio button in this dialog box is select (indicating this repeat is to be used as a Mark-defined text repeat and will have no playback-directing capability of its own).

•	Always Jump. If you select this radio button, Finale will execute the repeat every time the playback reaches the text repeat—creating, in effect, an endless loop.

•	Jump on Total Passes. If you select this radio button, Finale will only execute the repeat upon one particular repetition of the music (as specified by the number in the Total Passes text box). You might select this Repeat Action if the text repeat is "Last time to Coda," for example.

•	Repeat Until Total Passes. If you select this radio button, Finale will execute the repeat every time the playback reaches the text repeat until it’s been reached a specified number of times (the number in the Total Passes text box), after which it won’t repeat any more.

•	Stop on Total Passes. If you select this radio button, Finale will execute the repeat every time the playback reaches the text repeat until it’s been reached a specified number of times (the number in the Total Passes text box), after which it will stop playback.

•	Total Passes. The Total Passes text box lets you specify how many times the playback should reach the end of the text repeat measure (how high Finale should "count") before Finale performs the Repeat Action you’ve specified. (The number in the Total Passes text box has no effect, however, if you’ve selected Always Jump.)

•	Multiple. There may be times when you’ll want the text repeat you’re designing to affect playback only on specific passes. For example, if the text repeat says "To Bridge 2nd and 4th times only," indicating you want the playback to jump to the Target Measure (or the Mark-defined text repeat) the second and fourth times through. Click the Multiple checkbox to enter the Multiple Total Passes for Repeat (#) dialog box, where you can, in effect, specify more than one Total Passes value. (In this example, you would enter 2 in the first text box and 4 in the next.) When you click OK and return to the Repeat Assignment dialog box, the Multiple is selected and the Total Passes text box is ignored. See Multiple Total Passes for Repeat (#) dialog box.

•	Reset on Repeat Action. Once Finale has played the music the number of times specified in the Total Passes text box—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.

•	Jump if Ignoring Repeats. Select this option on any repeat that you want taken unconditionally if Finale is ignoring repeats. For example, you could set this at the beginning of a first ending repeat.

•	Relative Jump. Select this option to indicate that Finale should add the number in the Target Measure text box to the current measure number to find the jump location, rather than treat the Target Measure number as an absolute measure number. Enter a negative number in the Target Measure text box for the number of measures you want Finale to jump back, and a positive number for the number of measures to jump forward. For example, if this option is selected and there’s a value of -8 in the Target Measure text box, Finale will jump back 8 measures from the current location.

•	Individual Positioning. Finale usually places a text repeat in the same place in every staff. Click Individual Positioning to allow each staff’s text repeat to be independently movable.

•	OK • Cancel. Click OK 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:

Repeat Designer

Repeat Selection

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Repeat Bars

How to get there

From the Options Menu, choose Document Settings, then Repeat Bars.

What it does

The Repeat Bars dialog box provides 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.

•	Dot: Select. Click Select to choose the character used for the repeat dots.

•	OK • Cancel • Reset. Click OK to save new settings and return to the score. Click Cancel to cancel any changes you made to the settings, or click Reset to restore the built-in Finale default settings.

See Also:

Options Menu

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.) 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 create a text repeat which can 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 prefer, 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 Repeat Assignment dialog box (see Repeat Assignment dialog 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.

•	Replace ‘#’ with Total Passes. When you type #, (or shift-3) in the Repeat Text text box and select this option, the ‘#’ sign is a stand-in for the number in the Total Passes text box. When the text repeat appears in the score, Finale will display the Total Passes number instead of #. (You specify the Total Passes in the Repeat Assignment dialog box, which appears when you place the text repeat in the score.) See Repeat Assignment dialog box.

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 Total Passes text box).

•	Replace ‘#’ with Repeat Mark in Target. When you type #, (or shift-3) in the Repeat Text text box and this radio button is selected, the ‘#’ sign is a stand-in for the actual text of a Mark-defined text repeat.

To make the Mark-defined repeat appear in the score, select a Jumper-defined text repeat from the Repeat Selection dialog box. Once in the Repeat Assignment dialog box, make sure the Jumper and Repeat radio buttons are selected. In the Target text box, select a Mark-defined text repeat ID number, and click OK. Finale will then display the text of the Target Mark instead of #. See Repeat Assignment dialog box for a more complete discussion on defining a repeat as a Mark or a Jumper.

For example, you could create the text repeat: "Last time to #." When you place this Jumper-defined text repeat in the score, from the Repeat Assignment dialog box, you specify that this Jumper should direct playback to a Mark-defined text repeat ("Coda," for example) whose ID number you enter in the Target text box. When this text repeat appears in the score, it will say "Last time to Coda," because Finale substitutes the word "Coda" for the # sign.

•	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.

•	Replace ‘#’ with Measure Number in Target. When you type #, (or shift-3) in the Repeat Text text box and select this option, the ‘#’ sign is a stand-in for the measure number of the measure to which this Jumper-defined text repeat will direct playback. When the text repeat appears in the score, Finale will substitute the measure number in place of the # sign.

For example, you might type "Last time to m. #." When this text repeat appears in the score, it will read "Last time to m. 44" (substituting whatever measure number you’ve designated as the Target in the Repeat Assignment dialog box).

•	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. See Enclosure Designer dialog box.

•	Set Font. Click this button to display the Font dialog box, in which you can set the font for 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. Note that the Horizontal and Vertical Offset will affect the final position of your text repeat.

•	Horizontal Offset • Vertical Offset. The numbers in these text boxes adjust the position of the text repeat horizontally relative to its default position (as specified by your Justification selection) and vertically relative to the top staff line. A positive number in the Horizontal Offset text box moves the text repeat to the right; a positive number in the Vertical Offset text box moves it upward. Remember, however, that you can always adjust the position of a text repeat manually by dragging its handle when you return to the score.

•	OK • Cancel. Click OK 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:

Repeat Assignment

Repeat Selection

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Repeat Endings

How to get there

Choose Repeat Endings from the Document Settings submenu in the Options Menu to display the Repeat Endings dialog box.

What it does

The Repeat Endings dialog box increases 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 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. Click Cancel to cancel any changes you made to the settings, or click OK to save new settings and return to the score.

See Also:

Options Menu

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 predefined Text Repeats Library into your document, see Open 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:

Repeat Assignment

Repeat Designer

Repeat Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Hint: 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Hint: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

Note: If you want to resize a notehead in Voice 2, you must press shift as you click.

See Also:

Resize Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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 (Options 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.)

Hint: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

See Also:

Resize Tool

Page Layout Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

Hint: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

See Also:

Resize Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 static text 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.

•	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 (Options 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.

Hint: Numbers greater than 100 enlarge it, and numbers less than 100 reduce it.

See Also:

Resize Tool

Page Layout Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Web Page Options

How to get there

From the File Menu, choose Save Special, then Save As Web Page. Or, from the Options Menu, choose Document Settings, then Web Page Options.

What it does

Finale supplies a quick, convenient way to turn your score into web page. Based on your choices in this dialog box, Finale will create a web page which will allow or disallow certain actions. If you want people to be able to preview your score, but buy the sheet music, you may wish to disallow printing or saving. Anyone who wishes to view this file will need the free SmartMusic Viewer plug-in to be used with an Internet browser. For more information about preparing your score for the Web, see To create a web page using the Save As Web Page command, below.

•	Viewer will allow: Transposition • Display of File Info • Scrolling • Viewing Multiple Pages • Save • Printing • Playback. Check the Transposition box to allow users to transpose your file in the SmartMusic Viewer. Check the Display of File Info box to have the SmartMusic Viewer show the title and composer information found in the File Info dialog box. Check the Scrolling box to show the scroll bars in the Viewer and allow users to scroll around the page. Check the Viewing Multiple Pages to allow users to view past the first page of the file. Check the Save box to allow users to save a copy of your file. Check the Printing box to allow users to print a copy of your file. Check the Playback box to allow users to playback the file.

•	Designate a Solo Instrument Staff: Staff • Instrument. These settings allow you to designate a specific staff as a solo instrument to provide for transposing the solo line only in the Viewer. For example, if you have a piece written for piano and clarinet, but the person viewing and printing the file plays oboe, they can change the transposition of the solo line, while keeping the entire piece in the same key. Select the Designate a Solo Instrument Staff to enable the feature. Select the staff and type of instrument from the Staff and Instrument drop-down list.

•	OK • Cancel. Click OK to use the information entered. Finale will ask to save your current document, if needed, and save an HTML document with the same name in your selected directory. Both the notation file and the HTML document must be placed on the website. Click Cancel to return to the score and not create a web page. For more information about preparing your score for the Web, see To create a web page using the Save As Web Page command, below.

To create a web page with the Save As Web Page command

•	Carefully prepare the file, completing all changes that might affect layout or playback. For example, you may wish to do a final Update Layout. Instead of disallowing Viewing Multiple Pages in the Web Page Options, you may find it easier to create a copy of your score with only the first page of music. Please note that the Display Colors will appear as black and white in the Viewer. For more information, see Page Layout.

You may wish to double-check the Playback Settings. For example, if you have the Playback Controls set to Always start at measure 13, the Viewer user will never be able to hear measure 1. Make sure you have the appropriate base tempo setting, although Expression and Tempo Tool adjustment can override the base tempo. Check for properly functioning repeats. For more information, see Playback Controls.

•	From the File Menu, choose File Info. The File Info dialog box appears. Add any comments or information to the File Info, if you will allow access to the File Info for the Viewer user. For more information, see File Info dialog box.

•	Check the file for any unusual fonts. Note that fonts are not embedded. In order for the user of the SmartMusic Viewer to see your file exactly as you do, they must have the same music fonts AND text fonts on their system. The SmartMusic Viewer includes the Maestro music font. Files containing the Maestro music font and common text fonts will appear the same for all users of the Viewer. Files containing other Coda music fonts may require users of the SmartMusic Viewer to download additional fonts from the Coda website. Files containing obscure text or music fonts can result in font substitution and unexpected results. For more information, see Fonts in the User Manual.

•	Check the file for graphics with the Graphics Tool. Graphics are referenced, not embedded. Graphics will not be displayed in files viewed in a browser.

•	Check the file for potential collisions after transposition. If you allow the Viewer user to transpose the solo line, note-attached items, such as articulations and expressions, will move with the transposed notes. Measure-attached items, such as lyrics, chord symbols, fretboards, repeats and measure-attached text blocks, will not move with the transposed notes and may result in collisions.

You may wish to post more than one version of the file. For example, you could have a high voice file and a low voice file. Lyrics, chord symbols and repeats could be positioned appropriately to avoid most collisions in those ranges.

•	From the File Menu, choose Save. Finale saves the notation file.

•	From the File Menu, choose Save As Web Page. Finale will ask to save your notation (or .MUS) file. You may change the directory if you wish.

•	Click Save. Finale will save the notation file and an HTML document (web page) with the same name in your selected directory.

You may now place *both* files on your website. Because the HTML document references the notation file, both files are needed in order for the web page to display properly.

Finale references the default.htm file when you save a web page. If desired, you may edit the default.htm file to make your SmartMusic Viewer pages more closely match the look of your website. For more information about editing HTML, please see your local bookstore or library.

See Also:

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Save Library

How to get there

Choose Save Library from the File Menu.

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 element 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: Sixteen 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 the Select Default Fonts dialog box.

Document Settings: Finale settings having to do with the active document, including almost every setting in the Options 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 Music Spacing Options 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).

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 Open Library command. Click Cancel if you decide not to create a new library. You return to the score.

See Also:

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 (see Installations and Tutorials or Start and Stop Times for full discussions of these terms). 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Scale View

How to get there

From the Scale View to 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.

Hint: 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 (Options 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 Positioning. 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 Positioning 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:

Expression Selection

Staff List

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.)

•	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 that you can simply double-click the desired expression instead of clicking it and clicking Select.

See Also:

Selection Overview

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

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 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 column). When an "F" appears, the expression will always appear in that staff, even if you’ve elected to hide an expression 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.

•	Always Show On: Top Score Staff • Top Part Staff • Bottom Score Staff • Bottom Part Staff. If you’ve optimized your score so that all blank staves are hidden, but you want an expression (such as a rehearsal letter) to always appear at the top of the score above the top staff, the expression normally won’t be shown if the top staff was removed from a staff system by the optimizing process. Select Top (or Bottom) Score Staff to tell Finale to always show a measure expression on the top (or bottom) staff of each system, regardless of which staff happens to be at the top (or bottom) of the system.

Note: You can also make a measure expression always appear in the top or bottom staff for a part. This is a useful feature if you want to extract several staves from your score into a single "part" and then optimize the extracted part. Click Top (or Bottom) Part Staff to display a measure expression in the top or bottom staff of every system of the extracted part.

•	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:

Measure Expression Assignment

Expression Selection

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, 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 that 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Select Default Fonts

How to get there

Choose Select Default Fonts from the Options Menu.

What it does

This dialog box lets you 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. It also provides access to the Font Annotation dialog box, where you can fine-tune the selection size of font characters. See Font Annotation dialog box for more information.

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. For details, see Staff Tool.

•	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.

•	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.

•	Set Default Music Font. Click this button if you want to use a music font other than the Maestro font that came with your Finale package. Finale will display the Font dialog box, from which you can select the font, size and style of the new music font.

Note: If you choose Maestro, Engraver, Petrucci, Jazz Font or Sonata as the default music font using this button, Finale resets the music symbols in the Notation drop-down list then automatically updates the Music Character Positioning dialog box to the correct settings for the font you selected. Finale also resets the Extra Distance for Mid-measure Clef checkbox in the Clef Designer dialog box. However, if you choose a different font, you’ll need to remember to change the settings in the Music Character Positioning and the Clef Designer dialog boxes.

•	Font Annotation. Click this button to open the Font Annotation dialog box, where you can fine-tune the selection area for font characters.

•	OK • Cancel. Click OK to confirm, or Cancel to undo, the font changes you’ve made, and return to the score.

See Also:

Options Menu

Font Annotation

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Select Display Colors

How to get there

Choose Select Display Colors from the View Menu.

What it does

The Select Display Colors dialog box 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 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. (See Print dialog box.) The color display settings are Program Options that are saved when Finale saves your preferences in the Finale.INI.

•	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.

•	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 Select 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.

•	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.

•	Interface Elements: 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.

•	OK • Cancel. Click OK to save new settings and return to the score, or click Cancel to cancel any changes you made to the settings.

See Also:

View Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Select Region

How to get there

Choose Select Region from the Edit Menu. (Used with the Mass Mover Tool, Staff Tool, Measure 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. If you select a beat, Finale will put a checkmark next to Select Partial Measures in the Edit Menu to show it has been enabled.

•	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. If you select a beat, Finale will put a checkmark next to Select Partial Measures in the Edit Menu to show it has been enabled.

•	OK • Cancel. Click OK to return to the score, where Finale selects (highlights) the measures in the region you specified. Click Cancel to return to the score without selecting any measures.

See Also:

Mass Mover Tool

Edit Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Selection Overview

The following dialog boxes are very similar. Click a dialog box name for specific information.

Articulation Selection

Chord Suffix Selection

Custom Arrowhead Selection

Executable Shape Selection

Expression Selection

Fretboard Selection

Fretboard Shape Selection

Percussion Map Selection

Preset Arrowhead Selection

Smart Line Style Selection

Shape Selection

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Selective Mirror

How to get there

After creating a mirror with the Mass Mover Tool: From the Window Menu, choose Advanced Tools. Click the Mirror Tool. 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

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Send MIDI Value

How to get there

Choose Send MIDI Value from the MIDI 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 Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Set Distances

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. 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Music Spacing Options

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Set Pickups

How to get there

From the Options Menu, choose Document Settings, then Set Pickups.

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 score. If you need to create a pickup measure elsewhere in the score, see the Mirror Tool.

•	[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 Pickups. Click on Clear Pickups to remove a pickup and restore the measure to a normal, non-pickup, measure.

•	OK • Cancel. Click Cancel to return to the score without changing any pickup settings. Click OK to confirm your pickup settings and return to the score.

See Also:

Document Settings

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Set Placeholder

How to get there

From the Window Menu, choose Advanced Tools. Click the Mirror Tool, and click any measure that contains notes. The Placeholder dialog box appears, letting you specify how many "blank" beats you want (for use in creating a pickup measure). Make a selection and click OK.

What it does

If your piece has more than one staff, Finale is asking whether the pickup measure only occurs in the staff you clicked, or in all staves.

•	Change This Staff Only. Click this button if you want the "placeholder" beats (invisible beats at the beginning of a pickup measure) to occur only in the staff you clicked.

•	Change All Staves. Click this button if you want the "placeholder" beats to occur in every staff.

•	OK • Cancel. Click OK to confirm, or Cancel to discard your set placeholder selection.


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.

Hint: The higher the number, the later the second note in a swing pair and the heavier the swing.

See Also:

MIDI Tool

Tempo Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 (see Installation & Tutorials for full discussions of these terms). 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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. For an introduction to the Shape Designer, see Installation & Tutorials.

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 type style 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:

•	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 type style 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; double-click a bounding handle 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. Double-click it 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	Type: • Effect: Set to Value • Execute Shape; Select • Play Only on Pass. These items, visible only after you click Playback Options, list and describe the various playback effects your Shape Expression can have. These playback options for a Shape Expression are precisely the same as the options for a Text Expression. For a complete description, see Text Expression Designer dialog box.

See Also:

Expression Tool

Shape Designer

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Selection Overview

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 the Default Tuplet Visual Definition dialog box, where you can specify these parameters. (See Default Tuplet Visual Definition dialog box 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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 Options 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 existing slurs.

See Also:

Smart Shape Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

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.

•	Slur • Tab Slide • Glissando. 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.

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 voice or using Mass Mover), Finale may automatically flip the slur. You can also override inidividual slur or bend directions by using the Direction submenu in the Smart Shape Menu. Collision avoidance in Engraver slurs can also override Smart Smart Shape 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 slide’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 Tab 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.

•	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 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.

•	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 Options 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, any new Smart Shapes you create will have the appearance you specified as soon as they’re created. (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: Any changes you make to the Smart Shape Options settings, except for the opening width of Crescendo and Decrescendo markings, affect all existing Smart Shapes in the score.

•	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 Line Style: Glissando • Tab Slide • Custom Line; 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 Style Selection dialog box will appear. See Smart Line Style 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 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 Style 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.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made to the default Smart Shapes. You return to the score.

See Also:

Smart Shape Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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: Any changes you make to the Smart Slur Options settings affect all existing Smart Slurs in the score.

•	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.

•	Use Engraver Slurs. Check this box to have slurs avoid collisions with other items, such as stems, beams, and noteheads.

•	Space Around Objects. Enter a value for how much space Engraver slurs should leave to avoid collisions with other objects.

•	Maximum Slur Angle In Degrees. Enter a value between 0 and 90 to restrict the angle of a slur.

•	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 Symmetry Percentage. Enter a percent value (between 0 and 100) to allow for slur symmetry.

•	Avoid Accidentals. Check this box to have Engraver slurs take accidentals into account for collision avoidance.

•	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 (see Smart Shape Placement dialog box).

•	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.

•	Reset. Click 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Special Tools Palette

The tools in this palette give you very fine control for a number of special notational situations. Within a given measure you can move notes or noteheads, change the lengths and directions of stems, adjust dots and ties, and modify beams in almost every way imaginable: their length, angle, breaks and so on.

Click the measure you want to edit, select one or more handles, then drag, press the arrow keys, or double-click a handle to change the element. When you drag an element, the message bar shows the relative adjustment. Use the Special Tools Menu to show or hide handles on the elements in the measure. To change layers, click on the Layer push buttons at the bottom of the document window, or choose a layer from the Select Layers submenu in the View Menu.

To view this palette, click on the Window Menu, and choose Advanced Tools. Click the Special Tools Tool. If the palette does not appear, choose Special Tools Palette from the Window Menu.

Note Position

Select one or more handles, then drag a handle to move the  notes left and right.

Notehead Position

Select one or more handles, then drag a handle to move the noteheads left and right.

Note Shape

Select one or more handles, then double-click to display the Symbol Selection dialog box in which you can select an alternate notehead (for X noteheads).

Accidental Mover

Select one or more handles, then drag a handle to move the accidentals left or right. Double-click a handle to display the Accidental Settings dialog box in which you can change the character, the size, specify a numeric placement and allow vertical movement.

Stem Length

Select one or more handles, then drag up or down to change the stem length; drag left or right to move the stem away from the notehead.

Broken Beam

Click a handle to change the broken beam direction (left or right).

Stem Direction

Click an upper or lower handle to freeze the stem up or down.

Double/Split Stem

Click an outer handle to draw a second stem; click a notehead handle to split the stem.

Reverse Stem

Click a handle to move the stem to the left or right side of the notehead.

Custom Stem

Select one or more handles, then double-click to display the Shape Selection dialog box where you can choose or create a replacement stem shape.

Beam Angle

Drag the left handle to change stem lengths; drag the right handle to change the beam angle.

Secondary Beam Break

Double-click a handle to display the Secondary Beam Break Selection dialog box where you can break 16th or smaller beams.

Beam Extension

Drag a handle to extend the 8th beam; double-click a handle to display the Beam Extension Selection dialog box to select which beam to extend.

Secondary Beam Angle

Drag the left handle to change the beam height; drag the right handle to change the beam angle.

Tie

Drag the left or right handles to adjust the start or end of the tie; drag the middle handle to change the arc.  Double-click to enter the Tie Alterations dialog box, where exact adjustments can be made.

Dot

Drag the left (or only) handle to move the first dot away from the note; drag the right handle on notes with more than one dot to change the distance between the dots.  Double Click a handle to display the Dot Offsets dialog box where you can make exact adjustments to augmentation dots.

Beam Width

Drag a handle to change the thickness of the beams in the beam group.

Beam Stem Adjust

Drag a stem handle up or down to change the length of a stem when under a beam group.

Tip: Use this special tool to create French Beams

See Also:

Special Tools Tool

Special Tools Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, by choosing Select Default Fonts from the Options Menu).

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 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 menu 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 sixteen 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 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 Options 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: Barlines • Clefs • Endings and Text Repeats • Key Signatures • Measure Numbers • Repeat Bars • Measure Attached Expressions • Staff Name • Time Signatures. 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 treble-clef staff, you’d deselect the Measure Numbers checkbox.

•	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 dialog box. Refer to Note Shapes dialog box and Tablature dialog box if you selected either of those options.

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

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 Attributes dialog box. If you don't want barlines to appear in your entire score, deselect "Display All Barlines" in the Barlines dialog box.

See Also:

Staff Tool

Staff Setup

Percussion Map Selection

Percussion Map Designer

Note Shapes

Tablature

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Note Expression Assignment

How to get there

Click the Expression Tool, and double-click on, above, or below a note. Select Note Expression in the Expression Selection dialog box. Double-click an existing expression from the selection box (or create one by clicking Create). If a marking is already in the score, you can also reach this dialog box by shift-double-clicking its handle.

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:

Expression Selection

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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.

•	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.

•	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.

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

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.

•	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.

•	Whole Document • System(s) __ through __. Click on Whole Document 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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
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 Options 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Staff Usage List

How to get there

Click the Staff Tool. 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.

Hint: 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 dialog box

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Stem Connections

How to get there

Choose Stem Connections from the Document Settings submenu of the Options Menu.

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.

•	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.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Stem Connection Editor

How to get there

Choose Stem Connections from the Document Settings submenu of the Options Menu. 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 Connection

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	<<  >>. 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.

Hint: 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Sweep For Channels Present In A Track

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 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Signatures

Key Signature Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Articulation Definition, Chord Suffix Editor, Clef Designer, Note Shape Assignment, and Stem Connection dialog boxes.

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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Tablature

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

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. This special "staff" is, in fact, a series of one-line staves each of which represent one string. In this dialog box, you specify the "open" pitch for the string staff you’re creating. You can also choose a font and position for the numbers themselves.

•	Base Key • Listen. In this text box, enter the MIDI key number or pitch corresponding to each open string. You can control whether this value is represented in MIDI key number (middle C=60) or pitch (middle C=C4) in the Program Options dialog box. If you prefer, you can press the listen button and then play the appropriate pitch on a MIDI keyboard.

•	Distance from Topline of Staff. The number in this text box specifies the vertical placement for the fret numbers Finale will automatically generate. It’s the distance, in points (72 per inch), between the top line of the staff (the only line, in this case) and the baseline (bottom edge) of the numbers.

•	Set Font. Click this button to display the Font dialog box, where you can choose a font for the fret numbers.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, your tablature settings. 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:

Staff Attributes

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	Tap 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

See Also:

Tempo Tool

Set Swing Ratio

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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, including correcting its spelling or setting its font. If you click Playback Options, the dialog box expands to show you the playback definitions to which you can assign your Text Expression.

•	[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. For example, if you’re using the Maestro font to create an F symbol, you’ll see a capital F in this box.

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.

•	Set Font. Click this button to display the Font dialog box, where you can specify a font for the text expression. Once again, the expression will appear in the system font in the Text Expression Designer; only when you return to the Expression Selection dialog box (or to the score itself) will you see the expression displayed in the font you chose.

•	Playback Options. Click this button to make the dialog box expand. Additional options appear, governing this expression’s effect on playback. If your score isn’t intended for MIDI playback, you need never click this button or know what it conceals.

•	Enclose Expression. If you want your expression framed by a geometric enclosure, click this box to display 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.

•	Do Not Print Text in <Angle Brackets>. Select this checkbox to prevent text enclosed by angle brackets, such as <cellos only>, from printing.

•	Break Multimeasure Rest. Select this checkbox to force a multimeasure rest to break where this expression is placed, such as for a rehearsal number.

•	Replace ‘#’ with: Set-to-Value Number • Controller Number • Pass Number. To use the number sign variable, make sure the Replace ‘#’ With checkbox is selected. Select the top radio button if you want the number sign to be replaced by the number in the Set To Value box. For example, in the Text box you could type "Allegro (MM = #)." If you then define this marking to have a tempo-controlling playback definition with a value of 144 (that is, 144 quarter notes per minute), the marking will appear in the score as "Allegro (MM = 144)." (You’d create this playback effect by clicking Show Playback Options, choosing Tempo from the drop-down list, and entering 144 in the Set To Value text box.) Click the Controller Number radio button if you want the number sign to be replaced by the number in the Controller box (in the expanded dialog box). For example, you could type "Use MIDI controller #" in the Text box. If you then define the playback of this expression to activate controller 64 (by choosing Controller from the Type drop-down list and entering 64 in the Controller text box), the expression will say "Use MIDI controller 64" when it appears in the score. Finally, click Pass Number if you want the number sign to be replaced by the number in the Play Only on Pass ___  text box (in the expanded dialog box). Because the number in the Play Only on Pass ___  text box identifies the repetition during which this marking should affect playback, you could type "#th Time Only" in the Text box. If you then define the playback of this expression to affect the playback only on pass number 4 (that is, the fourth time the music is repeated), the expression will say "4th Time Only" when it appears in the score.

•	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.

•	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 number	Controller	Controller number	Controller	Controller number	Controller
1	Modulation wheel or lever	7	Main volume	65	Portamento
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 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.

•	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 pedals; any value from 0 to 127 for variable controllers (such as a modulation wheel)	Patch	Synthesizer patch number (1 to 128)
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 negative)	Channel Pressure	Channel Pressure (0 to 127)
•	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.

Tip: Set an opaque enclosure to have the Text Expression cut away other items underneath it in the score.

See Also:

Expression Selection

General MIDI Patch Numbers & Names

Enclosure Designer

Playback Data Dump

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Text Inserts

How to get there

Choose the Text Inserts command from the Document Settings submenu of the Options Menu.

What it does

Use the Text Inserts dialog box 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.

•	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 the Select Default Fonts dialog box. See Select Default Fonts dialog box.)

•	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 em’s (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.

•	OK • Cancel. Click OK to accept the changes and return to the score, where your changes are reflected in each flat, sharp, and natural, double sharp and double flat insert in the score. Click Cancel to discard the changes and return to the score.

Note: Any changes you make are reflected in each alteration insert in the document.

See Also:

Options Menu

Text Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 the Tie Options and Tie Contour dialog boxes. To edit all the ties in your document on a global basis, choose Tie Options from the Options Menu and change the Tie variables. See Tie Options dialog box 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 the Tie Options dialog box. 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 the Tie Options dialog box. 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 the Tie Options dialog box. 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 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:

Options Menu

Special Tools Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Tie Contour

How to get there

Choose Tie Options from the Document Settings submenu of the Options Menu. Click Tie Contour.

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.

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 Options 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 dialog box without making any changes. Click OK to save your changes and return to the Tie Options dialog box.

See Also:

Tie Alterations

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Tie Options

How to get there

Choose Tie Options from the Document Settings submenu of the Options Menu.

What it does

Use the Tie Options dialog box 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—see Tie Alterations dialog box).

•	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.

•	Tie System Breaks: System Start Adjustment • System End Adjustment. 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.

•	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. For information about the stem reversal point, see 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. See Tie Alterations dialog box.

•	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. See Tie Alterations dialog box.

•	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 Options Menu. If you prefer, choose a different measurement unit for ties from the drop-down list.

•	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. See Tie Contour dialog box.

•	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.

For information about the stem reversal point, see Staff Setup Dialog box

See Also:

Tie Contour

Document Settings submenu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Time Signature Options dialog box.

•	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 (c) 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.

You can decide whether or not to use the symbols (c or C) each time a cut or common time signature appears in your music. This capability lets you easily mix c and 4/4 (or C 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 Time Signature Options dialog box for more information.

See Also:

Time Signature Tool

Composite Time Signature dialog box

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Time Signature Options

How to get there

Choose Time Signature Options from the Document Settings submenu of the Options Menu.

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.

•	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 Select to choose a different symbol to use 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.

•	OK • Cancel. Click OK to accept the changes and return to the score. Click Cancel to discard the changes and return to the score.

See Also:

Options Menu

Time Signature Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Track/Channel Mapping

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 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 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 Mass Mover 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 sixteen 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 Dialog Box

Multiple Splits Dialog Box

Hand Width Split Dialog Box

Filter Channels Dialog Box

Import MIDI File Options

Track/Channel Mapping to Staves

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Mass Mover 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Import MIDI Data from Clipboard

How to get there

Place some MIDI data on the clipboard (from Finale or another sequencing program). Click the Mass Mover 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 Data 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 Data 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 dialog box

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Import MIDI File Options

How to get there

Choose Import MIDI File Options from the MIDI 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 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.

•	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 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


MIDI File Status

This status box appears when Finale is transcribing the MIDI File you opened. It allows you to see that the file is being successfully imported into Finale.

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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), 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.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Transposition

How to get there

Click the Mass Mover Tool, and select a region of measures. Choose Transpose from the Mass Mover Menu.

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:

Mass Mover Menu

Mass Mover Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 the Default Tuplet Visual Definition dialog box, where you can specify these parameters. (See Default Tuplet Visual Definition dialog box 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 • Beam Side. When Manual is selected in this drop-down 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.

•	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.

•	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.

•	Ignore Format Offset. If you have specified a global sideways shift for the numbers in your tuplets (see Music Options dialog box), select this option if you don’t want it to apply to this tuplet.

•	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.

•	Match Length of Hooks. This option is selected by default so that the tuplet shape is symmetrical. If you shorten or lengthen one hook in a tuplet, when this option is selected, Finale automatically draws the other hook the same length.

•	Auto Bracket. Choose this option to have Finale automatically place only numbers on beamed groups of notes, and a number with bracket or slur on unbeamed groups. If this option is not selected, Finale always places numbers and shapes according to the Number and Shape settings.

•	Number: H: • V:. Enter values (in measurement units) to adjust the horizontal and vertical position of the tuplet number displayed in the score.

•	Shape: H: • V:. These values show 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:.

•	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.

•	Slope. Enter a positive value to angle the bracket or slur so the right side is higher than the left. Enter a negative value to angle the right side of the tuplet lower than the left.

•	Reset. Click this button to change the Tuplet Definition settings to match those in the Default Tuplet Visual Definition dialog box.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the tuplet appearance you’ve created. You return to the score.

Tip: Enter a smaller value for H: of the Shape to change the position of the entire shape in relation to the notes. Enter a smaller V: 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:

Tuplet Tool

Default Tuplet Visual Definition

Change Tuplets

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 return to the score.

See Also:

Edit Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Unknown Font

How to get there

From the File Menu, choose Open 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Update Layout Options

How to get there

Choose Update Layout Options from the Options Menu.

What it does

Use the Update Layout Options dialog box to control how Finale adjusts the layout of your score in Page View when you choose the Update Layout command from the Edit Menu.

•	Reflow Measures: Do Not Reflow. Selecting this option from the drop-down list 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 list 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 drop-down list 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 Mass Mover Tool, or when you choose Fit Music or Lock Systems from the Mass Mover Menu or the Page Layout 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 list 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 to the score, Finale will update the layout.

•	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.

•	OK • Cancel. Click OK to confirm, or Cancel to discard any changes and return to the score.

See Also:

Options Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Technical Support

As a registered owner, you may call Coda 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

 (Adobe Acrobat Reader 3.0 (or higher) must be installed) for information on your question.

If you have a question about a specific tool, click on the word TOC to the right, short for Table of Contents and scroll through pages using the Page Down key on your keyboard to go to the next page. Once you find the proper chapter, place your cursor on the page number to jump to that specific page. Note, the cursor will change from an open hand to a pointing finger when you move onto a link.

If you have a question about a musical term or symbol and don't know what specific tool to use, click on the word Index then click on the appropriate letter (like R)  on the right side to jump to the R's of the Index. Scroll through the pages, then place your cursor on the page number of the topic you want more information. Note, the cursor will change from an open hand to a pointing finger when you move onto a link.

If you have a question and are unsure where it might be listed , choose Find (Ctrl-F) from the Tools Menu. Enter the word or phrase you are looking for. If the first find is not exactly what you are looking for, choose Find Again (Ctrl-G) from the Tools Menu to continue looking through the manual.

If you have a problem with connecting MIDI or printing with Finale for example, check in the Troubleshooting section of the Appendix to the User Manual. Common problems and solutions are given in this section.

You can contact us through any of the following:

Address

Coda Music Technology

6210 Bury Drive

Eden Prairie, MN 55346-1718

Coda Technical Support

(952) 937-9703

11:00 am to 4:00 pm (US Central Time)

Monday through Friday

FAX

(952) 937-9760

E-Mail

If you have a modem (a telephone hookup for your computer), you can access Finale information, and communicate directly with Coda Technical Support by sending email to winsupport@codamusic.com.

Visit the Coda Music Technology support web site to see answers to FAQs (Frequently Asked Questions), engage in a forum discussion with other Finale users and discover the latest news from Coda Music.


G_Key Velocity
Key Velocity

The volume of a MIDI note.


G_Bookmark
Bookmark

A particular position on the Page (Page View), or a measure (Scroll View) that can be saved and recalled.


G_Tuplets
Tuplets

The irregular division of notes into a given beat (i.e. 3 into 2).

Includes triplets, quintuplets, septuplets, etc.


G_TIFF
TIFF

Tagged Image File Format—format for storing bitmapped images/graphics. This format is supported on both Macintosh and Windows (.tif extension) and does not require a PostScript printer.


G_Track
Track

A location where one records or plays back a musical message —usually a portion of the total arrangement. Tracks are for convenience; channels are required.


G_Non-Standard Key Signature
Non-Standard Key Signature

A key not based on a 12 tone scale that supports a harmonic scheme around a circle of Fifths. For example, a quarter tone scale.


G_ETF
ETF

Enigma Transportable File. A file format easily shared between Windows and Macintosh for Finale files.


G_Mus
Mus

MUS or .mus. A standard Coda notation or music file.


G_FTM
FTM

A file format that behaves like a piece of stationary or template in Finale.


G_Maestro
Maestro

One of Finale's music character fonts. Both TrueType and PostScript versions are supported.


File/New/Document With Setup Wizard

Use this menu item to begin a new file with a series of questions asked such as Title, Composer, Page size and instruments used.

See Also:

Default

Document From Template

Document Without Libraries

Exercise Wizard


File/New/Default

Use this menu item to begin a new file based on the default file in the Finale folder. The default file has one staff with one page of music.

See Also:

Document With Setup Wizard

Document From Template

Document Without Libraries

Exercise Wizard


File/New/Document From Template

Use this menu item to begin a new file based on an existing file. Finale comes with a group of templates based on common instrument combinations.

See Also:

Document With Setup Wizard

Default

Document Without Libraries

Exercise Wizard


File/New/Document Without Libraries

Use this menu item to begin a new file based on an empty document. An empty document will have no libraries (such as Articulations, Text Expressions and Shapes) loaded.

See Also:

Document With Setup Wizard

Default

Document From Template

Exercise Wizard


File/New/Exercise Wizard

Use this menu item to begin a new lesson of exercises.

See Also:

Document With Setup Wizard

Default

Document From Template

Document Without Libraries


Edit/Automatic Music Spacing

Use this menu item for Finale to apply Music Spacing as notes and rests are entered.

Tip: If this menu item is not checked, use the Mass Mover and Apply Music Spacing from the Mass Mover Menu.

See Also:

Edit Menu


Edit/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:

Edit Menu


Edit/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:

Edit Menu


View/Customize Tool Palettes

Choose the Tool Palette you wish to edit to your needs.

Main Tool Palette

Navigational Tool Palette

Advanced Tool Palette

Simple Entry Tool Palette

Simple Entry Rests Palette

Smart Shape Palette

Special Tools Palette

File Menu Toolbar

Edit Menu Toolbar

View Menu Toolbar

Options Menu Toolbar

MIDI Menu Toolbar

Help Menu Toolbar

Layout Toolbar

View Percent Toolbar

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Main Tool Palette

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palettes/Navigational Tool Palette

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palettes/Advanced Tool Palette

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Simple Entry Tool Palette

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Simple Entry Rests Palette

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Smart Shapes Palette

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Special Tools

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Toolbars/File Menu Toolbar

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Toolbars/Edit Menu Toolbar

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Toolbars/View Menu Toolbar

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Toolbars/Options Menu Toolbar

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Toolbars/Layout Toolbar

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Customize Tool Palette/Toolbars/View Percentage Toolbar

Choose this menu item to display the Customize Toolbars dialog box, where you can edit and rearrange the tools that appear on the palette. Tools appearing in the Left window can be added; Tools appearing in the Right window are currently appearing on the Tool Palette.

See Also:

View Menu

Customize Toolbars


View/Grid/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


View/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


View/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


Options/Update Layout Options

Use this dialog box to define how Finale will reflow the music when Update Layout is invoked from the Edit Menu. For example, no reflow of measures or allow reflow across the Page.

See Also:

Options Menu

Update Layout Options


Document Settings/Beaming

Use this dialog box to define how Beams will appear, such as the beam angle and how rests should affect beams.

See Also:

Beaming Options

Options Menu


Document Settings/Music Spacing Options

Use this dialog box to determine the amount of space given for notes and rests as well as what items should avoid collision.

Tip: Allow Finale to automatically apply these settings as music is entered by checking Automatic Music Spacing in the Edit Menu.

See Also:

Options Menu

Music Spacing Options


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 dialog box.

See Also:

Window Menu

Simple Entry Tool


Help/User Manual/Engraver Character Map

Choose this menu item to launch Adobe Acrobat Reader and open the Engraver Font Character Map file of Finale's User Manual.

See Also:

User Manual


Help/User Manual/Jazz Character Map

Choose this menu item to launch Adobe Acrobat Reader and open the Jazz Font Character Map file of Finale's User Manual.

See Also:

User Manual


Help/User Manual/Maestro Character Map

Choose this menu item to launch Adobe Acrobat Reader and open the Maestro Font Character Map file of Finale's User Manual.

See Also:

User Manual


Help/Coda Music Technology Website

Choose this menu item to go to the Coda Music Technology Website for information about Finale and other products made by Coda Music Technology.

Tip: Internet Access will be needed to view the site.

See Also:

Help Menu


Help/Register Finale

Choose this menu item to register your version of Finale with Coda Music via the Internet. Registered Users of Finale have access to Technical Support and notification of future updates and upgrades.

Tip: Internet Access will be needed to view the site.

See Also:

Help Menu


Help/Finale Updates

Choose this menu item to view the latest updated version of Finale from Coda Music via the Internet. These updates can be downloaded to registered users.

Tip: Internet Access will be needed to view the site.

See Also:

Help menu


Help/Tip Of The Day

Choose this menu item to view the Tip Of The Day dialog box. The Tip Of The Day provides basic instructions on how to use Finale and what’s new to Finale as well.

See Also:

Help Menu


Staff/New (With Setup Wizard)

Choose this menu item to create new staves by choosing from a list of instruments already defined.

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


Staff/Define Staff Styles

Choose this menu item to create or define new or existing Staff Styles.

See Also:

Staff Tool

Staff Menu


Staff/Clear Staff Styles

Choose this menu item to remove Staff Styles from staves selected in the score.

See Also:

Staff Tool

Staff Menu


Staff/Apply Staff Styles

Choose this menu item to place a Staff Style on staves selected in the score.

See Also:

Staff Tool

Staff Menu


Staff/Show Staff Styles

Choose this menu item to see where Staff Styles have been applied in the score.

Note: A thick line will appear above the staff that has a Staff Style in place.

See Also:

Staff Tool

Staff Menu


Staff/Show Staff Style Names

Choose this menu item to see the names of Staff Styles where they have been applied in the score.

See Also:

Staff Tool

Staff Menu


Measure Menu

Use this menu to add or insert blank measures to the document, edit how measure numbers appear through the score and create, edit or break multimeasure rests. Select a measure or region of measures and edit the attributes such as measure width, barline style and display of Time or Key signatures.

Add

Insert

Delete

================

Multimeasure Rests

Measure Numbers

Edit Measure Attributes

================

Dragging Selects Measure Handles

Dragging Selects Number Handles

See Also:

Menus

Lyrics Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Measure/Measure Numbers

Use the items in this menu to add, show or edit measure numbers throughout the score.

Edit Region…

Add Enclosures…

================

Show Measure Numbers

Hide Measure Numbers

Reset Defaults

See Also:

Measure Tool

Measure Menu


Measure Numbers/Edit Region

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:

Measure Tool

Measure Menu


Measure Numbers/Add 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


Measure Numbers/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


Measure Numbers/Hide Measure Numbers

Choose this menu item to force measure numbers to disappear in the selected measures.

See Also:

Measure Tool

Measure Menu


Measure Numbers/Reset 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


Measure/Dragging Selects Measure Handles

Select this menu item to select measures when drag-enclosing with the Measure Tool.

See Also:

Measure Tool

Measure Menu


Measure/Dragging Selects Number Handles

Select this menu item to select measure numbers when drag-enclosing with the Measure Tool.

See Also:

Measure Tool

Measure Menu


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


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


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


Expression Menu

Use this menu to define when handles will appear and how metatools will behave.

Show All Handles

Show Measure/Note Handles

================

Metatools: Measure Attached

Metatools: Note Attached

Metatools: Context Sensitive

See Also:

Expression Tool

Menus

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Expression Menu/Show All Handles

Choose this menu item to see handles on all expressions.

Tip: Distinguish the difference between expressions attached to notes or measure by the color of the item.

See Also:

Expression Menu

Expression Tool


Expression Menu/Show Measure/Note Handles

Choose this menu item to see handles on expressions attached to the measure or note that you click on.

Tip: Distinguish the difference between expressions attached to notes or measure by the color of the item.

See Also:

Expression Menu

Expression Tool


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


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


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


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


MassMover/Clear Entries and Smart Shapes

Choose this menu item to remove notes, rests and smart shapes from selected measures.

Tip: For more control, choose Clear Items from the Mass Mover Menu to selectively delete items from the score.

See Also:

Mass Mover Tool

Mass Mover Menu


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 Menu

Page Layout Tool


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 Document Settings submenu of the Options 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 Menu

Page Layout Tool


Page Layout/System
Page Layout/Systems

Choose items from this menu to affect the Staff Systems of the layout. Remember a Staff System is defined as the same measures for all instruments on the page. A System can be comprised of one staff or the entire score.

Edit Margins…

Allow Individual Staff Spacing

================

Select Staff System Range…

See Also:

Page Layout Menu

Page Layout Tool


Page Layout/Page Margins

Choose items from this menu to change the margins of the page in Finale. Remember that Finale’s page and the margins of your Printer can be two different sizes and/or orientations.

Edit Page Margins …

================

Adjust Current Page Only

Adjust All Pages

Adjust Left Or Right Pages

Adjust Page Range…

See Also:

Page Layout Menu

Page Layout Tool


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 Menu

Page Layout Tool


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 Menu

Page Layout Tool

Resize Tool


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 Menu

Page Layout Tool

Resize Tool


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


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


Systems/Select Staff System Range

Choose this menu item to define a range of systems to adjust in the Staff System Range 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


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


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


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


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


Page Layout Menu

Use this menu to insert or remove blank pages, remove empty staves with optimization and adjust the margins of staff systems, page margins and page sizes.

Insert Blank Pages

Delete Blank Pages

Insert Page Break

Delete Page Break

Insert Staff Systems

Delete Staff Systems

================

Redefine Pages

Optimize Staff Systems

Fit Music

Space Systems Evenly

================

Avoid Margin Collisions

Update Page Format For Score

================

Systems

Page Margins

================

Page Size

Resize Pages

Resize Staff Systems

See Also:

Menus

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Measure/Add

Choose this menu item to add measures to the end of your score.

For more details see the Add Measure dialog box.

See Also:

Measure Menu

Measure Tool


Measure/Insert

Choose this menu item to insert measures prior to a selected measure.

Note: Measures will be added in all staves of the score.

For more details see the Insert Measure dialog box.

See Also:

Measure Menu

Measure Tool


Measure/Delete

Choose this menu item to delete selected measures from the score.  Note measures will be removed  in all staves of the score

See Also:

Measure Menu

Measure Tool


Measure/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:

Measure Menu

Measure Tool


Grid/Guide Options

How to get there

Choose Grid/Guide Options from the View Menu.

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. See Items to Snap to Grid dialog box.

•	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. See 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 Edit Menu.

•	OK • Cancel. Click OK to save new settings and return to the score, or click Cancel to cancel any changes you made to the settings.

Tip: Create a Guide by double-clicking in the Ruler.

See Also:

View Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Items to Snap to Grid

How to get there

Choose Grid/Guide Options from the View Menu. 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:

Grid/Guide Options

View Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Items to Snap to Guide

How to get there

Choose Grid/Guide Options from the View Menu. 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:

Grid/Guide Options

View Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Grid/Guide Options

View Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	OK • Apply • Cancel. Click OK to return to the score where any adjustments will affect the selected range of staff systems. Click Apply to make the adjustments and leave the dialog box available for more changes. Click Cancel to return to the score without making any changes.

See Also:

System submenu

Page Layout Menu

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Edit Page 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 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.

•	OK • Apply • Cancel. Click OK to return to the score where any adjustments will affect the selected range of staff systems. Click Apply to make the adjustments and leave the dialog box available for more changes. Click Cancel to return to the score without making any changes.

See Also:

Page Margins submenu

Page Layout Menu

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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 Menu

Page Layout Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Apply Staff Style

How to get there

Click the Staff Tool. Select a region of measures. Choose Apply Staff Styles 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.

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

See Also:

Staff Styles

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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 Mass Mover 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 lists 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.

Hint: To apply a Staff Style, select a measure of a staff and choose Apply Staff Style from the Staff Menu.

Tip: If you want the Staff Style to copy when the measure is copied with the Mass Mover, check Copyable.

See Also:

Apply Staff Style

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Smart Line Style 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 Style 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 Style 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 Style 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

Selection Overview

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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.

•	Select Solo Instrument: Include Intelligent Accompaniment. Check the Include Intelligent Accompaniment box to create a SmartMusic accompaniment file that will follow a particular melodic line. If this option is unchecked, a SmartMusic accompaniment file will be created without the following capability. When Include Intelligent Accompaniment is unchecked, No Melody Instrument will appear in the Instrument drown-down list. You can choose an Instrument instead of No Melody Instrument for non-Intelligent Accompaniment files; the selected Instrument and Staff will be used only for playing the Solo track and not for following.

•	Select Solo Instrument: Instrument • Staff. These settings allow you to designate a specific staff as the solo instrument that the Intelligent Accompaniment will follow. The selected staff will also playback when Hear Solo Line is active in SmartMusic. Select the type of instrument and staff from the Instrument and Staff drop-down lists.

The selected Instrument 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.

The selected Staff tells SmartMusic Studio which staff or track to use for "matching" against the musician’s performance.

•	File Info. Click this button to open the File Info dialog box, where you 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 a piano accompaniment. 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. For more information about preparing your score for the SmartMusic Studio, see To prepare a file for SmartMusic Studio in the User Manual.

See Also:

File Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


SmartFind and Paint

How to get there

Select a region with the Mass Mover Tool. From the Mass Mover Menu, choose Set SmartFind Source Region. From the Mass Mover Menu, choose 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:

Mass Mover Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Beaming Options

How to get there

Choose Beaming from the Document Settings submenu of the Options Menu.

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 Options 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 non-slanting, horizontal beams—for example, to minimize the jaggedness of beams in lower resolution situations. Select this option if you want only horizontal beams. See also Staff Attributes dialog box for flat beams on a staff, Flat Beams plug-in for flat beams over a region, and Speedy Entry to change individual 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.

•	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 Max 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. Therefore, if you change the default value for this parameter, you may not see any immediate changes in the score.

•	Units: EVPUs • Inches • Centimeters • Points • Picas • Spaces. The first time you enter the Beaming Options dialog box, Units defaults to the current measurement unit selected in the Measurement Units submenu of the Options Menu. If you prefer, choose a different measurement unit for beaming from the drop-down list.

•	OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in your document’s curve settings. You return to the score.

See Also:

Document Settings menu

Options menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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:

Shape Designer

Shape Designer menu

Expression Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Redefine Pages/All Pages

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


Redefine Pages/Current Page

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


Redefine Pages/Left Pages

Use this menu item to redefine the Left pages according to the settings in the Page Format for Score dialog box.

Hint: 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


Redefine Pages/Right Pages

Use this menu item to redefine the Right pages according to the settings in the Page Format for Score dialog box.

Hint: 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


Redefine Pages/Selected Pages

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 Selected Pages dialog box.

See Also:

Page Format for Score

Redefine Pages Menu

Page Layout Menu

Page Layout Tool


Print Parts

How to get there

Choose Print Parts (or Compile PostScript Listing to compile parts) from the File Menu.

What it does

Select Print Parts to print the individual parts from your score. If you choose Print Parts while in Page View, all parts in the score will be printed. If you choose Print Parts while in Scroll View, only the staves displayed in Scroll View (in the current staff set) will be printed.

•	Print Quality. Choose the resolution setting you want from this drop-down list.

•	Print to File. Select this checkbox to print to a file instead of the printer.

•	Print Display Colors. Select this option to allow Finale to print the colors on your display to your color printer. Note that if you do not have a color printer, this will only print in shades of gray.

•	Format Parts. Click this button to display the Format Parts dialog box where you can select more options about how your parts will print. See Format Parts dialog box.

•	Setup. Click this button to display the Page Setup dialog box. See Page Setup dialog box.

•	OK • Cancel. Click OK to print your parts. Click Cancel to return to the document without printing.

See Also:

File Menu

Format Parts

Page Setup

Extract Parts

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Special Tools Menu

The options in this menu control whether Finale will display or hide the handles of elements in the selected measures and how Finale draw an element when you adjust it.

Show Handles

Update

Show Crosshairs

================

Tie Direction

See Also:

Menus


Special Tools/Tie Direction

Use the options in this menu to control the direction of ties while using the Tie Tool on the Special Tools palette.

For more information on all aspect of ties, see the Tie Options dialog box.

Flip

================

Automatic

Over

Under

See Also:

Special Tools Menu


Tie Direction/Flip

Choose this menu item to force the tie in the opposite direction from which it is currently curved.

For more information on all aspect of ties, see the Tie Options dialog box.

See Also:

 Special Tools Menu

Automatic

Over

Under


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 the Tie Options dialog box.

See Also:

Special Tools Menu

Flip

Over

Under


Tie Direction/Over

Choose this menu item to turn the tie curve over easy.

For more information on all aspect of ties, see the Tie Options dialog box.

See Also:

Special Tools Menu

Flip

Automatic

Under


Tie Direction/Under

Choose this menu item to turn the tie curve under.

For more information on all aspect of ties, see the Tie Options dialog box.

See Also:

Special Tools Menu

Flip

Automatic

Over


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: You can also use the Simple Entry Palette to enter rests by holding the Shift key as you click in the score.

Double Whole Rest

Click the staff to place a double whole rest.

Whole Rest

Click the staff to place a whole rest.

Half Rest

Click the staff to place a half rest.

Quarter Rest

Click the staff to place a quarter rest.

Eighth Rest

Click the staff to place an eighth rest.

16th Rest

Click the staff to place a 16th rest.

32nd Rest

Click the staff to place a 32nd rest.

64th Rest

Click the staff to place a 64th rest.

128th Rest

Click the staff to place a 128th rest.

See Also:

Simply Entry Tool

Simple Entry Palette


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.

New File

Open File

Save File

Print File


New File Tool

Click on this tool on the File Menu Toolbar to begin a new score.

Tip: Define what type of new file will be opened in the Program Options dialog box.

See Also:

File Menu Toolbar

File Menu


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

While using any other tool, press the right mouse button to switch temporarily to the Hand Grabber Tool. Drag in the score to make a display adjustment without having to move the mouse to the Navigational Tools Palette.

See Also:

Navigational Tools Palette

For complete information, see the Hand Grabber Tool in the User Manual.


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

Click the music to display it at twice its previous size.

Ctrl-click the music to display it at half its previous size.

In Page View, drag diagonally across a region of music to enlarge it just enough to fill your screen.

While using any other tool, shift-click the right mouse button to zoom in, even though the Zoom Tool isn’t selected. Ctrl-shift-click the right mouse button to zoom out.

See Also:

Navigational Tools Palette

For complete information, see the Zoom Tool in the User Manual.


Shape/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


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


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


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


Data Check/Remove Deleted Items

Choose this menu item to reduce the size of the Finale file by removing items you have deleted in the process. For example, staves, expressions, and shapes are stored until you choose this menu item to completely remove them from the file.

See Also:

Data Check Menu


Data Check/Test File Integrity

Choose this menu item to test the currently open file for inconsistencies, particularly those caused by the initial release of Finale 2001.

See Also:

Data Check Menu

File Integrity Test Results


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:

Expression Tool

Shape Selection

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Tool Menu

This menu of all the tools in Finale appears when Show Tool Menu is checked in the Other Program Options. It is simply another way to select the tool you wish to use.

See Also:

Other Program Options


Chord Style/Nashville B

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.

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 after 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 Menu

Chord Tool


Simple/Check 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.

See Also:

Simple Menu

Simple Entry Tool


Simple/Playback

When this item is selected, every time you enter 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.

See Also:

Simple Menu

Simple Entry Tool


Simple/Fill With Rests

When this item is selected,

See Also:

Simple Menu

Simple Entry Tool


Simple/Select Note on Entry

See Also:

Simple Menu

Simple Entry Tool


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

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Page Margins/Edit 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


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:

Select Partial Measure

Staff Styles

Staff Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Change Ties

How to get there

Click the Mass Mover Tool, and select a region of music. From the Change submenu of the Mass Mover Menu, choose 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 the Tie Options dialog box. 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 Tie Options dialog box. 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 the Tie Options dialog box to globally set all ties.

See Also:

Mass Mover Tool

Mass Mover Menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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 Note Menu

Speedy Tool


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


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


Speedy Edit Commands/Slash Flagged 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 dialog box in the Document Settings Submenu of the Options Menu.

See Also:

Speedy Edit Commands Submenu

Speedy Note Menu

Speedy Tool


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


Speedy Navigation/Previous Measure

Choose this menu item to jump to the preceding measure.

See Also:

Speedy Navigation Submenu

Speedy Note Menu

Speedy Tool


Speedy Navigation/Next Measure

Choose this menu item to succeeding measure.

See Also:

Speedy Navigation Submenu

Speedy Note Menu

Speedy Tool


Speedy Navigation/Next Layer

Choose this menu item to cycle through the four layers.

See Also:

Speedy Navigation Submenu

Speedy Note Menu

Speedy Tool


Speedy Navigation/Change Voice

Choose this menu item to switch to the other voice.  Hint: There are two voices for each layer.

See Also:

Speedy Navigation Submenu

Speedy Note Menu

Speedy Tool


Speedy Navigation/Up a Staff

Choose this menu item to move to the staff above the current one.

See Also:

Speedy Navigation Submenu

Speedy Note Menu

Speedy Tool


Speedy Navigation/Down a Staff

Choose this menu item to move to the staff below the current one.

See Also:

Speedy Navigation Submenu

Speedy Note Menu

Speedy Tool


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


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


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


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


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


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


Speedy Tie Direction/Flip

Choose this menu item to force the tie in the opposite direction.

See Also:

Speedy Tie Direction Submenu

Speedy Note Menu

Speedy Tool


Speedy Tie Direction/Automatic

Choose this menu item to allow Finale to determine the direction of the Tie.

Tip: Globally set the direction of ties in Tie Options in the Document Settings submenu of the Options Menu.

See Also:

Speedy Tie Direction Submenu

Speedy Note Menu

Speedy Tool


Speedy Tie Direction/Over

Choose this menu item to force the tie to appear over the notes.

See Also:

Speedy Tie Direction Submenu

Speedy Note Menu

Speedy Tool


Speedy Tie Direction/Under

Choose this menu item to force the tie to appear under the notes.

See Also:

Speedy Tie Direction Submenu

Speedy Note Menu

Speedy Tool


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 Tool

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Shape/Arrowheads

Choose this menu item to enter the Arrowheads dialog box and define how kind of arrowhead will appear on the line or curve you have selected.

See Also:

Shape Designer

Arrowheads dialog box


G_Jazz Font
Jazz Font

A font that looks like handwritten notation typically seen in Jazz and Studio music.


Customize Toolbars

How to get there

From the View 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 return to the score. Click Reset to return the palette to the default tool arrangement.

See Also:

View menu

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Entering the Music

Use the Setup Wizard to create your score with the desired instruments, key signature and time signature. There are many ways to enter music in Finale: Simple Entry (no MIDI keyboard needed), Speedy Entry (MIDI keyboard optional), HyperScribe (MIDI keyboard required), or Import a MIDI file by choosing Open from the File Menu and set the file type to MIDI file.

For more information, refer to the Tutorial book that came with Finale, view the QuickStart video accessed from the Help Menu, refer to the User Manual for a complete discussion about each Tool, menu and dialog box.

Next Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Editing the Music

Use the Speedy Entry Keypad  to change the pitches of notes, the durations of notes, when notes are beamed and whether accidentals appear as well as the Mass Mover Tool to make changes to a region of music. Check your work by playing back the file from the Playback Controls.

Previous Step

Next Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Entering Lyrics

Attach lyrics to notes with the Lyrics Tool.

Tip: Use the Spacebar to advance to the next note while Typing Into Score; use the Hyphen key to advance to the next syllable.

Previous Step

Next Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Spacing the Music

If Automatic Music Spacing is checked under the Edit menu, your music is automatically spaced as you enter it according to engraving standards. If unchecked, then select a region with the Mass Mover Tool and choose Apply Note Spacing from the Music Spacing submenu of the Mass Mover menu.

Previous Step

Next Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Entering Chord Symbols

Attach Chord Symbols with an alternate bass note and suffix with the Chord Tool.

Previous Step

Next Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Entering Dynamics, Articulations and other Expressions

Attach dynamics (such as Forte or Piano) and other expressions (such as a tempo and Meno Mosso) with the Expression Tool. Use the Articulation Tool to attach markings (such as staccato and tenuto). Finally, use the Smart Shape Tool to attach slurs, glissandos, hairpins (crescendos) and piano pedal markings.

Previous Step

Next Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Editing the Page Layout

If you are not currently in Page view, switch to it from the View menu. Use the Page Layout Tool to adjust Page Size, Page Margins and Staff System Margins and the size of the music on the page. Use the Mass Mover Tool with the Fit Music dialog box to arrange the measures per system.

Tip: Select a measure with the Mass Mover, then press the Up or Down arrow on your keyboard to move the measure to the previous or next Staff System respectively.

Previous Step

Next Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.


Optimize the Page
Optimizing the Page and Printing

If your score has multiple parts you can hide staves with no music to reduce the number of Pages by choosing Optimize Staff Systems from the Page Layout menu. You can also separate individual parts into separate files by choosing Extract Parts from the File Menu. Finally, choose Print from the File Menu to print your composition.

Previous Step

For complete information, see the Finale 2002 User Manual. To access, click on the Help button [image] in Finale.