Have you noticed that a typical internet search doesn’t always produce relevant results for music notation? For instance, if you do a Yahoo, Bing or Google search for “articulation”, you’ll get dozens of results, with none of them related to Finale or Sibelius, and only a handful related to music . . .
‘NET SEARCH (see sidebar) is a useful resource that can help.
Q: I am trying to convert my piano vocal score to an original musical from Logic Pro 9.1 to Sibelius 7.5. Having a monstrously diffucult time exporting and importing as MIDI files. Would you be able to help with this?
A: I’m not a Logic user, so I wouldn’t be able to help with that side, but hopefully I can offer some help on the Sibelius side. (These are very general tips which can work with Finale or any notation program)
As I’m sure you are aware from your experience, accurate transcription of piano music is a difficult assignment for notation programs such as Sibelius or Finale because of the general complexity of the music, multiple voices / layers, and other factors. In addition to the usual requirement for your recorded performance to be metronomic with the click, with piano music, you need to take into account inside and outside voices for each hand which aren’t necessarily homophonic.
Measured tremolo is a specific repetition of notes per beat measured exactly in a given tempo. It’s a type of notation shorthand which takes up less space than writing all the notes out, commonly found in published classical works.
It’s common practice to write out the full notation of the first beat or bar of a measured tremolo passage to avoid confusion:
In her book “Behind Bars”, Elaine Gould also recommends adding the label “non trem.” to the first note value of the abbreviation.
You can apply these in either duple or triple meter, with the added benefit that Sibelius plays these back as if they were written out in long form, (which will help you to check your work).
One case where the “how to” is not quite as obvious, however, are tuplets that are represented by measured tremolo. For instance, in 2/4 time, how would you create:
Let’s take a look…
Q: I’m trying to move bar numbers on a score in Sib 7 (mac) independently. I’ve got them centered on every measure below the last staff (bass)and below the winds so they show up sort of in the middle of the score as well.
I’ve assigned them a distance that works for the most part, but there are a few that need to be wiggled to avoid collisions. When I move them on one staff, they of course move on the other thus causing a collision on that staff. Is there a way to assign a row differently on a score so they can be controlled independently?
A: In addition to being able keep individual objects from colliding with each other, the Magnetic Layout of Sibelius has the ability to group, or “lock” similar types of objects together, so that they avoid collisions as a group.
Generally, when preparing music, it is desirable to keep similar types of text, such as Tempo Marks, Rehearsal Marks or Bar Numbers in the same vertical and horizontal location relative to the staff for every occurrence wherever possible. In addition, lines such as piano pedal lines are typically grouped along a common baseline, as are dynamics or chord symbols, if the music is inside the staff without ledger lines. Placing these objects at a consistent location relative to the staff or note allows the musicians and the conductor to focus on reading the music without distraction.
The Magnetic Layout Feature of Sibelius automatically groups a number of similar Text and Line objects together:
I frequently receive scores where tuplets are subdivided more than necessary for the time signature, like this passage in 2/4 time:
It would be great if there was a way to convert the full bars of triplets into sextuplets. There is a plugin in Sibelius called “Split or Join Tuplets” but this plugin is designed to split or join a single tuplet, not a whole passage of them.
However, I recently learned a cool edit filtering trick from Sibelius power user Wim Hoogewerf that allows you to convert an extended passage of triplets to sextuplets. I thought I would share it with you. Check this out:
If you are composing, arranging or orchestrating in Finale or Sibelius and have ever tried to incorporate any of the available high end third party sample libraries with the goal of achieving realistic, expressive playback from your notation program, you might be interested in a recent survey posted by Steinberg titled “Scoring software and sample libraries“.
The survey is here:
As you may already be aware, Steinberg is currently developing a professional level scoring program.
There are already several professional level scoring (music notation) programs available. Some, like Finale and Sibelius offer decent playback using bundled sound sets, but while playback quality is adequate, it is nowhere close to the level of realism offered by sample libraries from VSL, EastWest, Project SAM, Wallander, Cinesamples, and others when triggered via a DAW.
Finale and Sibelius both allow the user to control (and save for later recall) parameters to control Instrument Techniques (in sample library parlance “Articulations”), Dynamics and Special Effects optimally configured for playback of a specific sample library. Finale calls these parameters Human Playback Preferences, while Sibelius calls them Sound Sets.
However, many composers, arrangers and orchestrators working in Finale or Sibelius have simply given up trying to achieve realistic playback from within their scoring program. The result is that their primary use of playback from the scoring software becomes checking for wrong notes and other mistakes.
For those professionals who need to produce high quality audio mockups for clients, the most intuitive and least labor intensive option remains a DAW sequencer (Logic, Digital Performer, Cubase etc), which offers much greater flexibility and ease of use to get realistic playback results.
Sibelius users should check out The Sound Set Project, which provides Sound Sets for a number of 3rd party sample libraries designed to facilitate realistic playback from Sibelius. If you are aware of any other resources of this type for either Sibelius or Finale, please share them in the comments.
I encourage you to take the survey, even if you plan to continue to work in Finale and / or Sibelius in the future. In a small niche market like notation software, competition raises the bar – if Steinberg develops a scoring program with amazing playback of third party sample libraries, there is a greater chance that playback will improve in your scoring program of choice, too.
MakeMusic has issued a security notice for all registered customers of SmartMusic, Finale or Garritan products. On April 23rd, an attempted intrusion to MakeMusic’s computer systems was detected.
At this time, there is no indication of unauthorized acquisition of computerized data that would compromise the security, confidentiality, or integrity of personal information maintained by MakeMusic.
However, as a precaution, MakeMusic is encouraging all of their customers to change their current password to a new secure, strong password for all MakeMusic related products and accounts.
MakeMusic is in the process of hiring a third party computer security firm to review their systems to prevent future compromises of online security, and has pledged to communicate with their customers when additional information becomes available.
If you have any questions or concerns, please contact MakeMusic’s Customer Support team.
source : finalemusic.com
If you’ve spent any time creating bracketed instrument groups in Sibelius, you know that Sibelius only offers only one specific bracket, with standard serifs or “hooks”, which look like this:
In Sibelius, you can choose between the above bracket, a sub-bracket, or a brace, and even combine these, but there are no style options for the bracket itself, as there are in Finale, which sports a couple of additional style options for brackets (only the three options on the right are available in Sibelius):
However, a lot of modern scores use a less ornate bracket, which is just the thick vertical line without the serifs, or “hooks”. For what it’s worth, the popularity of this look is due, in no small part, to its availability in Finale.
Here are a few bars of woodwinds from Pete Anthony’s orchestration of the Opening Montage for “Spiderman 3″, composed by Christopher Young. Mr. Anthony is using Finale here. Note the simplicity of the brackets: