Controlling Layout with Auto & Manual Breaks in Sibelius

Q: What I want to achieve is control over the number of bars per line as a general rule in Sibelius (4 per line, as in the jazz chart style), but with occasional exceptions, e.g. an intro or pickup bar followed by 4 bars (drum chart, gap is guitar intro), or 3 or 5 bars on a line here or there where necessary. Can you give me any helpful hints on how you achieve this?

A: As you say, this type of layout is common for drum / rhythm section parts. To achieve this, I use Auto Layout in combination with locking the systems as I go.

more >> “Controlling Layout with Auto & Manual Breaks in Sibelius”

Controlling Symbols, Hooks & Dashed Extension Lines in Sibelius & Finale

Q: I am currently studying Elaine Gould’s “Behind Bars” and on page 30 she states: “Terminate the octave transposition with a corner”. In Finale, octave lines seem to automatically end with a corner whereas in Sibelius the line finishes as a vertical stroke which the writer advises to avoid.

How can I make a proper corner at the end of the extension line in Sibelius, if at all possible?

A: Both Finale and Sibelius by default use line strokes rather than shapes to create both the horizontal extension line and the vertical end “hook” for the Octave up and Octave down symbols and other lines.

Both programs also allow the use of a Symbol to end a line, so you can end a line with an  arrowhead, corner or any other shape. The advantage of using vector lines for this is that it allows the engraver to precisely mate the line width of the extension line and the hook very precisely so that the line and hook appear to be an extension of the same line.

more >> “Controlling Symbols, Hooks & Dashed Extension Lines in Sibelius & Finale”

Instrument Name Positioning in Finale

As a professional music copyist, I’m always interested in the alternate solutions and workarounds that composers and arrangers use in Finale to achieve specific tasks. Instrument names is an area where I’ve seen a number of interesting workarounds.

If you review typeset works by different publishers, you’ll discover there are several different concurrent standards for placing instrument names in a full score. My goal with this blog post is to show you the proper way to achieve these standard placements in Finale, and hopefully, ultimately save you some time in the bargain.

more >> “Instrument Name Positioning in Finale”

Vertical Spacing of Staves and Systems in Finale

Q: I’m working on an orchestral score in Finale, and I’m having some trouble with the vertical staff spacing. Is there something like the Space Systems evenly tool, but for staves within a system? Finale’s leaving a big margin on the bottom! Thanks!

With orchestral scores, one system very often represents a full page of music, and so in this case, we want to adjust the vertical positioning between the staves themselves, rather than the distance between systems to create the proper look. Fortunately, Finale offers some great tools for this purpose.

more >> “Vertical Spacing of Staves and Systems in Finale”

Finale : Using Linked Parts, Finalescript & House Styles for Commercial Parts

Back in 2011, I posted Making Efficient Use of Linked Parts In Finale which outlined a few of the advantages of using Linked Parts in Finale vs. the “old school” method of individual part extraction, or pasting parts into a separate template file.

Recently, a conversation with an industry colleague made me realize that even 6 years after the introduction of Linked Parts in Finale, some of the very best veteran professional music copyists working in LA and elsewhere still are not taking advantage of Finale’s Managed Parts feature.

more >> “Finale : Using Linked Parts, Finalescript & House Styles for Commercial Parts”

Page Numbering in Finale & Sibelius : Ranges : X of Y

This tutorial was updated 9/26/12.

Question: A client wants the page numbering to read, page 2 of 7, page 3 of 7, etc., for pdf downloads of some piano pieces (regular numbering for print versions). These would be in the upper outside corners where standard page numbers would appear. If you can tell me whether this can be done and how, I would greatly appreciate it.

Depending on whether you are using Finale or Sibelius, you’ll be using text “Inserts” or “Wildcards: to facilitate this. Here’s how:

more >> “Page Numbering in Finale & Sibelius : Ranges : X of Y”

Centered dynamics between staves on braced grand staff instruments

Q: I can never get the placement of dynamics to align nicely to the middle of the grand staff in piano parts. Because they are connected to the treble or bass clef stave, they tend to move towards that stave. But it would be nice to have them in the middle, centered between the 2 staves. I can’t find an option in to automate this.  What’s the best way to center these dynamics?

A: I’ve found that consistently attaching dynamics below the treble clef staff really helps with dynamics text / hairpin positioning on a braced (grand staff) instrument. Both Finale and Sibelius offer a mechanism to center dynamics between grand staves as a group, but in order to move as a group, they have to be attached consistently to the same staff.

Generally, dynamics should be placed as close as possible to the notes they refer to. However, in keyboard music, a convention is to center the dynamics between the staves, as the dynamics most typically refer to both the left and right hand. As with parts on one staff, keep dynamics on the same horizontal plane where possible.

The following techniques can also be helpful when entering music in a dense score for an instrument with ledger lines. 

more >> “Centered dynamics between staves on braced grand staff instruments”