anathematized_one

Regardless, this is all still highly off-topic. So what if I'm not ENTIRELY correct in what I said, which was also not entirely wrong either, I'm not trolling or breaking the rules. That's not proper moderation and that response is better left for a private message. I remember why left this forum now...

Not everyone has the fortune of living in an area that even has any form of an orchestra and has to contact ones nowhere near them. Now quit trolling and being generally irrelevant.

That's irrelevant. An orchestra typically will only play something you wrote if it was given by a publicist. Regardless of how one goes about it, if you're not born famous or are not the son/daughter of somebody famous or didn't gain fame in another way on your own, nobody will even answer your phone calls or open the package you mail them. Hell, I can't even get the university music department to even consider answering the phone or looking at anything even though I greatly impressed many of the professors in that department with some of my compositions. Not famous = never going to happen. It's this way everywhere. The school sanctioned plays suck, the ones drama students put together on their own can sometimes be brilliant, and that is when they perform plays written by semi-famous or famous playwrights. You either need to know somebody or know somebody who knows somebody.

I don't know about previous versions, but Finale 2010 has this edit you can try. Document > Data Check > File Maintenance. Check the box (at minimum), "Remove deleted items". This MIGHT help. As to why a deleted item wouldn't be deleted when you delete it... you'll have to ask the brilliant programmers at MakeMusic about that one. Also, if anyone knows about fixing this other bug, I could use help with that as well: Though mine is a bit different of a problem. Let's say you have a grand staff with a piano, no matter what I do, if I put a different dynamic on the treble than on the bass, it ignores the quieter dynamic. Also... Care to tell us where we can find an orchestra to perform our scores for free? Individual instruments that are decent are expensive enough as it is, not to mention that I cannot try to learn all brass and woodwinds on top of knowing how to play harp, guitar, bass, viola, violin, cello and concerto bass.

So here's the deal. Currently I have Finale 2010 and 2011, but I don't use 2011 because it's a pain and it took long enough as it is to get used to 2010 and 2011 has nothing new that is of any use to me. So now 2012 is out and I looked (and quickly gave up doing so) on the site to see if it has support for East/West Quantum Leap Symphonic Orchestra (here-forward abbreviated as EWQLSO). I didn't see it listed anywhere except in a review of the program on their site. I don't trust it because their fan-boys can get REALLY defensive and stupid. First Question: Does Finale 2012 actually have Human Playback Support for EWQLSO? Now, I'm debating on upgrading to 2012 or not. If it doesn't have the HP support for EWQLSO, it really would not be worth it. The 2010 version works just fine for creating the scores. The only way I'd update is if I could get more realistic rendering. It is far too much a pain to simply export the MIDI and completely re-work it in a DAW and add in EWQLSO. I have the Gold version of EWQLSO which has all the articulations on the key-switching instruments. I've seen before where people complained that the dynamics and things always get destroyed by HP when using EWQLSO. I've not found anywhere that just simply gave a way to set up HP for EWQLSO (after searching for nearly 3 hours now). Second Question: How can I best manually set up HP instrument techniques for EWQLSO?

Wftla;sdkfjaf? So, I'm working on a new piece and I have a single measure, 4/4 time and three woodwinds (flute, oboe and B♭ clarinet) that have a whole note. I just want them to gradually fade out and Finale apparently things that woodwind players can't change their dynamic range mid sustain? Well I know what it is, it's trying to change key velocity which... isn't changing as it's a single note, rather than changing the volume or regular velocity. I tried editing the MIDI data; I tried adding in hidden dynamic marks; I tried creating my own custom expressions... nothing has worked. Any suggestions?

I see, but it'll still be played as if 1/16th notes on each hand, staggered between left and right? Also, how do you notate that in Finale 2010? Because what I'm really doing is 1/16th tremolo but having one hand 1/32 off from the other... if that makes sense? Wait, I almost got it. This wonkey crap... I've got it cross-staff now. Took forever and a day to find it in Google search, glad I didn't go to their forums and ask just to have some elitist immediately shout "read the manual blah blah blah" (because it's not in there). The question is how to get to where the tremolo beams are detached from the stems...

So, this is what I have trouble with, the one bar: And this is what it sounds like, and it sounds right: http://www.impetus-aesthetica.com/pianoquestion.mp3 My question is what is the proper way to notate this?

Wow, off topic sorry about this but... I had no idea it displayed practically your whole profile in the side bar... O_o

I'm going to bge honest and admit I didn't read the last 12 pages... that's a lot to read when you're busy. Formal training in composition is not necessary, but it will make things a great deal easier to understand. With how much there is to the theory of composing music, it can be quite a daunting and imposing task to take on by one's self. Yet at the same time, most of the information (if not all) is available for free on-line. If you are bright enough and devote enough time, I'm sure you can extract a lot of stuff on your own just by playing or looking at written music (assuming you know how to read it), but this would be tedius and time consuming, even for a savant. However, it wouldn't be impossible, though it would be impossible to know specifics of the terminology. Even then, there are differen aspects from which to study the theory of musical composition. You could view/learn it from a historical and/or academic perspective (commonly taught in bachelor's level music theory/composition courses); you could also learn musical composition from an aesthetic/aesthetic theory view. It also depends a lot on how you learn best. Either way, understanding how to compose music TYPICALLY leads to better musical composition, so I would recommend above all else to learn to compose, even informally. The only thing is that informal training a HIGH PROBABILITY of leading to misinformation.

Thanks, I already tried there though and the pdf of the score, the music part that I don't need is readable, but the words/text I do need is nowhere near legible.

So they just... don't ever provide lyrics for classical bits? So then how do people like Christopher Lee make an entire album of singing just 5 minute classical bits from various things? They pay hundreds of dollars per song to get the score for the entire thing they're getting the song from? I mean yeah, he's famous... but not for singing. http://www.youtube.com/watch?v=iETKgc7e0Zk&list=PL2D3C063FFFBAE2C2 Christopher Lee performing classical bits.

Yeah but I mean, all I want is the lyrics, not the actual music. For example, I am trying to learn (just the vocal part) Mussorgsky's "Song of the Flea" as sung by Vladimir Miller. I have all the correct notes down, but I have no idea what on earth I'm supposed to be saying because I don't speak Russian... Vladimir Miller singing Modest Mussorgsky - "Song of the Flea"

Seriously, I can't seem to find any at all. I am pretty sure the vast majority of what I've looked for is all in the public domain (but I can't even find information of whether or not they are). The closest I can get is finding a $100+ book. Sorry but, I'm not paying $100+ for the lyrics to ONE song that's 2-5 minutes long. I just, don't get it at all. Like, where do all the "pro's" get them?

Well so far, the best settings I found were: Human Playback > Custom 1% rhythmic feel swing: none 2% rhythmic accents 0% rubato Interpret: (everything checked) Advanced Settings: 1% mood checked: Automatic expression Adjust dotted 8th+16th/triplet: longer soften accompaniments auto piano pedaling chord balance soften basses string harmonics strum plucked string chords (copied from Romanic settings) interpret harmonic cadances I think what matters most is the rhythmic feel, rhythmic accents, and rhythmic rubato, and the mood in advanced settings. I'm not sure exactly what each of these do, as the Finale 2010 user manual doesn't have a section (that I can find) that talks about this particular set up (the only thing I can find about human playback is the actual settings where you chose the techniques that get used). I just noticed that from the old settings I was using (romantic), they were much higher (anywhere from 10-20%) and they boggled up the MIDI files pretty bad. With them lower (which is all that I changed), the MIDI files aren't so bad, and all the interpretations are made for things like slurs, by inserting a legato pedal trigger into the MIDI file. So all I was really looking for was the automation of the interpretation of the written dynamics, slurs, etc. I can humanize it later in Reaper. I'm going to try setting every slider to 0 and only doing one at a time to see what each one apparently effects. I'm going to start by setting the mood to 15%