Finale Plugin : Yada Tremolo version 2.01

Hot on the heels of the release of JW Yada Yada Tremolo for Finale 25  is a new version 2.01, which addresses some limitations of the first release:

* Supports percussion notation
* Speed improvements (typically around 30% shorter processing times)
* Added safety dialog when if settings have been modified.
* If a document region is selected when Apply or OK has been pressed, there’s now a user question if the settings should be applied directly to the region.
* “Scale Custom Spacing Relative to 24 Points” now scales with a bit more precision. It now uses the glyph height ratio instead of the point size ratio.
* Error message box for strange/non-existent FAN data has been redesigned
* When verifying fonts, the current document is now also checked for potential problems with tremolo
* Font list (in the tremolo font dialog box) is now sorted alphabetically
* Windows version can now rearrange items in the tremolo font list as well
* Numerous UI fixes on Windows

Download link for Windows/Finale 25

Download link for Mac/Finale 25

original post: Finale 25 Plugin : Yada Tremolo (v2)

Finale : Experiments in Automatic Font Conversion

Plugin developer Jan Angermüller has been hard at work on a promising new plug-in for Finale he calls “House Style Changer“. You may remember that Jan wrote a guest article for the Of Note blog back in July describing his Music Font Comparison tool, which is a development tool related to this new plug-in.

Jan just posted a new article on his own website entitled “Experiments in Automatic Font Conversion“. The article is resplendent with geeky fontographer-centric detail and lots of great visuals. And one more thing: a freeware font package with 21 free new Maestro compatible music fonts converted for Finale.

Check out this video demo, which shows the creation of a Maestro-compliant music font from an arbitrary unicode font that previously didn’t work in Finale at all. The whole conversion process takes under a minute.

Fonts are: Bravura, Beethoven, Cadence, Emmentaler, Euterpe, FreeSerif, Gootville, Gutenberg, LV-GoldenAge, Haydn, Improviso, JazzyBasic, LilyBoulez, Leipzig, LilyJazz, Profondo, Paganini, Ross, Scorlatti, Sebastiano, and Unifont Upper.

Moving forward, Jan’s automated method of converting older, well-loved music notation fonts into the SMuFL format using a music symbols database and custom scripting has the potential to benefit people working in a variety of music notation software. Pretty exciting stuff.

More information:

 

Finale 2014.5 : TG Tools – Align/Move Dynamics : Mac Keyboard Shortcuts

If you have been using Finale 2014.5 for Mac, you may be experiencing an issue with the TG Tools LE plug-in “Align/Move Dynamics” with the keyboard shortcuts for this plug-in not working.

This has been resolved in an updated version of the plug-in bundle which is available in the MakeMusic website.

  1. Close any open programs (including Finale)
  2. Download and then Double-click the ‘Finale_Plugins_TGToolsLE_Mac_2_artifacts.zip’ file to extract its contents. A file called ‘TGToolsLE.bundle’ should appear on your Desktop
  3. Click Go > Go To Folder… from the Finder menu.
  4. Type in the following directory path…/Library/Application Support/MakeMusic/Finale 2014.5/Plug-ins/
  5. Click Go, then open the TG Tools plug-in subfolder.
  6. Move the existing ‘TGToolsLE.bundle’ file to the Trash
  7. Click and drag the new ‘TGToolsLE.bundle’ from your Desktop into this folder
  8. Launch Finale 2014.5 again.

At this point your keyboard shortcuts for Align / Move should be restored on Mac. If you are still having issues, contact MakeMusic Customer Support.

Finale Page Layout Advancements & Plugins | JW Copy Part Layout…

Back before there was such a thing as computer notation software, commercial music copyists working with pen and ink used a technique called “Advancing the Layout”.

To illustrate, I’ll use French Horn parts in an orchestral score. In this hypothetical score, there are a lot of commonalities between the four horn parts:

  1. The four horns always enter together.
  2. Horns are in unison for a good portion of the score.
  3. Rhythms are generally homophonic when they are playing chords.
  4. They share a common transposition.

To advance the layout, common elements such as Page Text, Key and Time Signatures, Rehearsal Marks and other System Text, Barlines, Repeats, Endings are laid out in ink on the page. Next, any common unison passages are copied into the chart, as well as any common rests for homophonic chord passages.

The copyist then takes this “master page”, which functions as a partially filled-out template to the photocopier and runs copies so that the notes for each part can be filled in. As you can imagine, this technique of capitalizing on the commonalities within the parts saved hours of work, back in the day.

Before photocopiers, the ozalid process was used to reproduce music for commercial recording sessions and concerts.

These days, because of the way Finale automatically applies music spacing as you go, the page layout can change dynamically as music is entered into your score. A byproduct of this is that user attention to page layout is typically at the end of the workflow rather than the beginning. This reorganization of workflow is not a bad thing as long as you are, in fact, paying attention to the page layouts at some point!

In more recent versions of Finale, the business of having to ink different notes into a copy of a parts template, or copy and paste notes from the score into a separate part staff or file during the part creation stage has largely been replaced with Linked Parts; specifically the “Voicing” feature in the Manage Parts… dialog. You can enter diads or triads in a line of score, and then for any given part, choose rules for Finale to select which specific notes from that staff will display for that part.

However, even though we can control which notes go where using this dialog, the page layout for the parts themselves is not addressed in the Manage Parts dialog.

Wouldn’t it be great to be able to create the layout for Horn 1 and then copy that layout to the other Horn parts so we don’t have to recreate this page layout manually 4 different times? Turns out, there is a plugin for this very task.

Enter the very useful “JW Copy Part Layout…” plugin by Jari Williamsson. Once you have manually created your layout for the first part, with the second (or subsequent) part frontmost, run the plugin. The dialog looks like this:

fin-jw-copy-part-layout

The plugin displays the name of the Current (open) Part which will inherit the new layout. You select the part  you want to copy the page layout from in the instrument list.

Note there are a couple of useful options in this dialog besides the Copy Layout button. If you have sections where the Multi-measure rests are not identical you can uncheck the “Multi-measure Rests” option so that the majority of the layout will still be copied. You can then manually adjust the layout of the region with the differences manually.

You can switch to a specific part while the plugin dialog is forward by selecting a part, and then clicking the “View Selected” button. This will bring the selected part forward. Note that the “Current part:” name will then change in the dialog, allowing you to Copy the Layout from any other selected part in the dialog.

JW Copy Part Layout is free (donate to the developer if you would like), and works with Finale 2012 or newer. While there is no direct link to individual plugins provided by the developer, you can download the JW Copy Part Layout plugin here:

For Finale 2011 and earlier, a good solution is the Transfer function of the full (paid) version of the TGTools plugin suite to copy locked measure groups (measure layout) as well as system margins and attributes between parts..

~robert