Finale User Manual

Finale 2009 for Windows

2009

Finale 2009 User Manual:

Table of Contents
DialogBoxes
3-Beam Groups dialog box ......................................................................................... 9
4-Beam Groups dialog box ....................................................................................... 10
About Finale ............................................................................................................... 11
Accidental Octave Placement .................................................................................. 12
Accidental Order and Amount.................................................................................. 14
Accidental Settings ................................................................................................... 16
Add - Continuous Data .............................................................................................. 19
Add - Key Velocities .................................................................................................. 20
Add Measures ............................................................................................................ 21
Add - Note Durations ................................................................................................. 22
Add SmartMusic Markers ......................................................................................... 23
Add Tempo ................................................................................................................. 25
Additional PostScript Information ........................................................................... 26
Adjust Lyric Baselines .............................................................................................. 27
Alter Feel - Note Durations ....................................................................................... 29
Adjust Page Range .................................................................................................... 31
Align Time Tags To Note Starts ............................................................................... 32
Alter Feel - Key Velocities......................................................................................... 33
Alteration for Slot ...................................................................................................... 35
Alternate Notation ..................................................................................................... 37
Apply Articulation ...................................................................................................... 39
Apply Human Playback Preferences ....................................................................... 41
Apply Music Spacing ................................................................................................ 43
Apply Staff Style ........................................................................................................ 45
Aria Player for Finale ................................................................................................. 46
Arrowheads ................................................................................................................ 48
Articulation Designer ................................................................................................ 49
Articulation Selection ................................................................................................ 54
Audio Clip Attributes ................................................................................................. 56
Audio Setup................................................................................................................ 58
Automatic Check for Updates .................................................................................. 60
Backward Repeat Bar Assignment .......................................................................... 61
Baseline Shift ............................................................................................................. 63
Beam Extension Selection........................................................................................ 64
Beaming Chart ........................................................................................................... 65

Beat Chart................................................................................................................... 66
Bracket........................................................................................................................ 68
Bracket Style .............................................................................................................. 70
Breath Mark ................................................................................................................ 71
Category Designer ..................................................................................................... 72
Change Articulation Assignments ........................................................................... 75
Change Chord Assignments .................................................................................... 77
Change Chord Suffix Fonts ...................................................................................... 79
Change Clef ................................................................................................................ 81
Change Lowest Fret .................................................................................................. 83
Change Note Durations ............................................................................................. 84
Change Note Size ...................................................................................................... 86
Change Expression Assignments ........................................................................... 87
Change Noteheads .................................................................................................... 89
Change Ties ............................................................................................................... 90
Change Tuplets .......................................................................................................... 92
Character Settings ..................................................................................................... 96
Check Graphics ......................................................................................................... 98
Check Repeats ......................................................................................................... 100
Choose Junction for Staff....................................................................................... 101
Chord Definition....................................................................................................... 103
Chord Suffix Editor .................................................................................................. 107
Chord Suffix Selection ............................................................................................ 110
Clef Designer............................................................................................................ 112
Clef Selection ........................................................................................................... 114
Click and Countoff ................................................................................................... 115
Click Assignment..................................................................................................... 117
Click Input ................................................................................................................ 119
Click Output Type .................................................................................................... 121
Color ......................................................................................................................... 123
Compile PostScript Listing..................................................................................... 124
Composite Time Signature ..................................................................................... 126
Create/Edit Ending .................................................................................................. 128
Custom Arrowhead Selection ................................................................................ 130
Custom Frame.......................................................................................................... 132
Customize Toolbar dialog box ............................................................................... 134
Dashed Line ............................................................................................................. 135
Define Keyboard Shortcut ...................................................................................... 136
Delete Blank Pages ................................................................................................. 137
Delete Element ......................................................................................................... 138
Diatonic Instrument Definition ............................................................................... 139
Document Options dialog box ............................................................................... 140

Document Options-Accidentals ............................................................................. 142

Document Options-Alternate Notation .................................................................. 144
Document Options-Augmentation Dots ................................................................ 146
Document Options-Barlines ................................................................................... 148
Document Options-Beams ..................................................................................... 150
Document Options-Chords..................................................................................... 153
Document Options-Clefs ........................................................................................ 155
Document Options-Flags ........................................................................................ 157
Document Options-Fonts ....................................................................................... 159
Document Options-Grace Notes ............................................................................ 161
Document Options-Grids and Guides ................................................................... 163
Document Options-Layers...................................................................................... 166
Document Options-Lines and Curves ................................................................... 168
Document Options-Lyrics....................................................................................... 170
Document Options-Multimeasure Rests ............................................................... 172
Document Options-Music Spacing ........................................................................ 174
Document Options-Notes and Rests ..................................................................... 177
Document Options-Piano Braces and Brackets................................................... 180
Document Options-Repeats ................................................................................... 182
Document Options-Stems ...................................................................................... 184
Document Options-Staves...................................................................................... 187
Document Options-Text .......................................................................................... 189
Document Options-Ties .......................................................................................... 191
Document Options-Time Signatures ..................................................................... 194
Document Options-Tuplets .................................................................................... 196
Dot Offsets ............................................................................................................... 199
Duration Allotments ................................................................................................ 200
Edit Bookmarks ....................................................................................................... 202
Edit Filter/Clear Selected Items .............................................................................. 204
Edit Frame ................................................................................................................ 209
Edit Keyboard Shortcuts ........................................................................................ 213
Edit Learned Chords ............................................................................................... 215
Edit Lyrics ................................................................................................................ 217
Edit MIDI Modifiers .................................................................................................. 219
Edit MIDI Note .......................................................................................................... 221
Edit Modal or Chromatic Spellings ........................................................................ 222
Edit Major and Minor Key Spellings ...................................................................... 223
Edit Page Margins ................................................................................................... 224
Edit System Margins ............................................................................................... 225
Edit Text.................................................................................................................... 226
Edit Text limited ....................................................................................................... 228
Elapsed Time............................................................................................................ 230

Enclosure Designer ................................................................................................. 231

Entry Modifications ................................................................................................. 233
Erase Layer .............................................................................................................. 235
Executable Shape Designer ................................................................................... 236
Executable Shape Selection ................................................................................... 239
Exercise Wizard ....................................................................................................... 241
Explode Music.......................................................................................................... 246
Export MIDI File Options ......................................................................................... 248
Export Selection/Pages........................................................................................... 250
Expression Assignment.......................................................................................... 252
Expression Selection .............................................................................................. 254
Expression Designer-Main ..................................................................................... 256
Expression Designer-Positioning .......................................................................... 258
Expression Designer-Playback .............................................................................. 260
Extract Parts............................................................................................................. 265
File Info ..................................................................................................................... 267
File Integrity Test Results ....................................................................................... 269
File Maintenance ...................................................................................................... 271
File Statistics............................................................................................................ 273
Fill .............................................................................................................................. 274
Filter Channels ......................................................................................................... 275
Fit Measures ............................................................................................................. 279
Fit to Time................................................................................................................. 281
Fixed Split................................................................................................................. 282
Fixed Split Point....................................................................................................... 284
Font Annotation ....................................................................................................... 285
Font ........................................................................................................................... 287
Frame Attributes ...................................................................................................... 289
Fretboard Editor....................................................................................................... 292
Fretboard Instrument Definition............................................................................. 294
Fretboard Selection ................................................................................................. 296
Fretboard Shape Selection ..................................................................................... 298
Fretboard Style Fonts and Shapes ........................................................................ 300
Fretboard Styles ...................................................................................................... 302
Full Measure ............................................................................................................. 304
Graphic Attributes ................................................................................................... 305
Garritan Ambience .................................................................................................. 308
Group Attributes ...................................................................................................... 310
Guitar Bend Options ............................................................................................... 313
Hand Width Split ...................................................................................................... 315
Handle Positioning .................................................................................................. 316
Human Playback Custom Style .............................................................................. 317

Human Playback Preferences ................................................................................ 324

Human Playback Preferences - Dynamics & Volume .......................................... 327
Human Playback Preferences - Instrument Techniques & Effects .................... 330
Human Playback Preferences - Garritan Specials ............................................... 341
Human Playback Preferences Glissandi & Bends ............................................... 343
Human Playback Preferences - MIDI Data ............................................................ 345
Human Playback Preferences - Ornaments & Tremolos ..................................... 347
Human Playback Preferences - Tempo Variations............................................... 349
HyperScribe.............................................................................................................. 351
HyperScribe Options ............................................................................................... 352
Implode Music .......................................................................................................... 354
Import MIDI from Clipboard .................................................................................... 355
Import MIDI File Options ......................................................................................... 356
Import Score Files - Options .................................................................................. 359
Import Score Files - Order ...................................................................................... 360
Insert Blank Pages .................................................................................................. 361
Insert Staff Systems ................................................................................................ 362
Instrument Definition .............................................................................................. 363
Instrument Junction ................................................................................................ 365
Instrument List ......................................................................................................... 367
Intelligent Accompaniment..................................................................................... 372
Interval ...................................................................................................................... 373
Items to Snap to Grid .............................................................................................. 374
Items to Snap to Guide ........................................................................................... 375
Key Signature........................................................................................................... 376
Key Step Map ........................................................................................................... 378
Last Recorded Tempo ............................................................................................. 380
Launch Window ....................................................................................................... 381
Limit - Continuous Data .......................................................................................... 383
Limit - Key Velocities .............................................................................................. 384
Limit - Note Durations ............................................................................................. 385
Limit - Tempo ........................................................................................................... 386
Line Spacing ............................................................................................................ 387
Line Thickness ......................................................................................................... 388
Listen ........................................................................................................................ 389
Listen to Tempo ....................................................................................................... 390
Lowest Fret............................................................................................................... 391
Manage Parts ........................................................................................................... 392
Manage VST Plug-ins .............................................................................................. 394
Measure Assignment for Ossia Measure .............................................................. 396
Measure Attributes .................................................................................................. 397
Measure Number ..................................................................................................... 400

Measure Number Style ............................................................................................ 403

Mid-Measure Clef ..................................................................................................... 405
MIDI Event ................................................................................................................ 407
MIDI File Status ........................................................................................................ 408
MIDI Input Filter........................................................................................................ 409
MIDI Setup ................................................................................................................ 411
MIDI Thru .................................................................................................................. 414
MIDI Thru Table ........................................................................................................ 416
MIDI Tool window .................................................................................................... 418
Mirror Attributes ...................................................................................................... 423
Mixer ......................................................................................................................... 426
More Settings ........................................................................................................... 429
More Quantization Settings .................................................................................... 431
Move Groups dialog box ......................................................................................... 434
Move/Copy Layers ................................................................................................... 435
Movie Window .......................................................................................................... 437
Moving Split Point ................................................................................................... 438
Multimeasure Rest ................................................................................................... 440
Sample List for Executable Shape ......................................................................... 442
Multiple Splits .......................................................................................................... 444
New Category ........................................................................................................... 445
New Staves ............................................................................................................... 446
Nonstandard Key Signature ................................................................................... 447
Notehead Settings ................................................................................................... 450
Note Shapes ............................................................................................................. 452
Open File .................................................................................................................. 454
Optional Octave Region .......................................................................................... 456
Ossia Measure Designer ......................................................................................... 457
Page Assignment for Ossia Measure .................................................................... 459
Page Format for Parts ............................................................................................. 460
Page Format for Score ............................................................................................ 462
Page Offset ............................................................................................................... 464
Page Setup ............................................................................................................... 465
Page Size .................................................................................................................. 466
Part Creation Preferences ...................................................................................... 467
Paste Multiple........................................................................................................... 469
Partial Measure Selection ....................................................................................... 470
Percent Alteration Continuous Data ...................................................................... 471
Percent Alteration Key Velocities .......................................................................... 472
Percent Alteration Tempo ....................................................................................... 473
Percent Alteration Note Durations ......................................................................... 474
Percussion Map Designer....................................................................................... 475

Percussion Map Selection ...................................................................................... 478

Pickup Measure ....................................................................................................... 480
Playback and/or Click ............................................................................................. 481
Placeholder .............................................................................................................. 483
Playback Controls ................................................................................................... 485
Playback Data Dump ............................................................................................... 487
Playback/Record Options ....................................................................................... 489
Playback Settings .................................................................................................... 491
Position..................................................................................................................... 493
Position Groups dialog box.................................................................................... 496
Position Measure Number ...................................................................................... 498
Preset Arrowhead Selection ................................................................................... 499
Print ........................................................................................................................... 501
Program Options dialog box .................................................................................. 503
Program Options-Display Colors ........................................................................... 505
Program Options-Edit ............................................................................................. 507
Program Options-Folders ....................................................................................... 510
Program Options-New ............................................................................................. 512
Program Options-Open ........................................................................................... 514
Program Options-Palettes and Backgrounds....................................................... 516
Program Options-Save ............................................................................................ 518
Program Options-View ............................................................................................ 520
Punch In PreRoll ...................................................................................................... 522
Quantization Settings .............................................................................................. 523
Randomize Key Velocities ...................................................................................... 525
Randomize Note Durations..................................................................................... 526
Rebar Options .......................................................................................................... 527
Rebeam to Lyrics ..................................................................................................... 529
Rebeam to Time Signature ..................................................................................... 530
Record Continuous Data ........................................................................................ 531
Redefine Pages ........................................................................................................ 533
Redefine Selected Pages ........................................................................................ 534
Rehearsal Mark ........................................................................................................ 535
Remove Staff ............................................................................................................ 536
Repeat Designer ...................................................................................................... 537
Repeat Endings........................................................................................................ 539
Repeat Marker .......................................................................................................... 541
Repeat Selection ...................................................................................................... 542
Reposition Guide ..................................................................................................... 544
Reset Measure Marker ............................................................................................ 545
Reset Tempo Marker ............................................................................................... 546
Resize Fretboards ................................................................................................... 547

Resize Note .............................................................................................................. 548

Resize Notehead ...................................................................................................... 549
Resize Page .............................................................................................................. 550
Resize Staff .............................................................................................................. 552
Resize Staff System ................................................................................................ 553
Respace Staves ....................................................................................................... 555
Rulers and Grid ........................................................................................................ 557
Save As Audio File .................................................................................................. 558
Save Library ............................................................................................................. 559
Save Tempo Changes ............................................................................................. 561
Scale Continuous Data ........................................................................................... 563
Scale Key Velocities ................................................................................................ 565
Scale Note Durations .............................................................................................. 566
Scale - Tempo .......................................................................................................... 567
Scale Fonts............................................................................................................... 569
Score Merger ............................................................................................................ 570
Search and Replace ................................................................................................ 572
Secondary Beam Break Selection ......................................................................... 574
Select Region ........................................................................................................... 576
Select Staff Systems ............................................................................................... 578
Selection Overview .................................................................................................. 579
Selective Mirror ........................................................................................................ 580
Send MIDI Value ....................................................................................................... 582
Set Distances ........................................................................................................... 584
Set Duration ............................................................................................................. 585
Set Patch To ............................................................................................................. 586
Set Placeholder ........................................................................................................ 587
Set Swing Ratio........................................................................................................ 588
Set To - Continuous Data ........................................................................................ 590
Set To - Key Velocities ............................................................................................ 591
Set To - Start/Stop Times ........................................................................................ 592
Set To - Tempo ......................................................................................................... 593
Setup Wizard ............................................................................................................ 594
Shape Designer........................................................................................................ 598
Shape Selection ....................................................................................................... 601
Shift Lyrics ............................................................................................................... 603
Simple Entry Options .............................................................................................. 605
Simple Entry Tuplet Definition ............................................................................... 607
Size ............................................................................................................................ 608
Slur Contour ............................................................................................................. 609
Smart Line Style....................................................................................................... 611
Smart Shape Placement.......................................................................................... 617

Smart Slur Options .................................................................................................. 627

SmartScore Lite dialog box .................................................................................... 630
SmartFind and Paint ................................................................................................ 632
SmartMusic Accompaniment File Compatibility .................................................. 634
SoftSynth Settings................................................................................................... 636
Space Systems Evenly............................................................................................ 637
Spacing Widths ........................................................................................................ 639
Special Key Signature Attributes ........................................................................... 641
Specify Current Lyric .............................................................................................. 643
Speedy Options ....................................................................................................... 644
Staff Attributes ......................................................................................................... 646
Staff Controls ........................................................................................................... 649
Staff List ................................................................................................................... 651
Staff Setup ................................................................................................................ 654
Staff Styles ............................................................................................................... 656
Staff Stem Settings .................................................................................................. 658
System Space Before/After Music ......................................................................... 660
Staff System Optimization ...................................................................................... 661
Staff Transpositions ................................................................................................ 663
Staff Usage List........................................................................................................ 666
Standard Frame ....................................................................................................... 668
Stem Connection Editor .......................................................................................... 670
Stem Connections ................................................................................................... 672
Staff Stem Settings .................................................................................................. 674
Suffix Keynumber Offsets ...................................................................................... 676
Superscript ............................................................................................................... 678
Swap One Font For Another ................................................................................... 679
Sweep For Channels Present In A Track .............................................................. 680
Symbol List .............................................................................................................. 681
Sync and Video Options ......................................................................................... 685
Tablature MIDI Channels......................................................................................... 687
Tablature Staff Attributes ....................................................................................... 688
Tap Source ............................................................................................................... 690
Tap States................................................................................................................. 692
Tempo Adjustment .................................................................................................. 694
Expression Designer-Main ..................................................................................... 696
Text Repeat Assignment......................................................................................... 698
Text Search and Replace dialog box ..................................................................... 700
There Are Too Many Beats In This Measure ......................................................... 702
Tie Alterations .......................................................................................................... 704
Tie Contour............................................................................................................... 706
Time Style ................................................................................................................. 709

Tilting Mirror............................................................................................................. 710

Time Signature ......................................................................................................... 712
Tone Center(s) ......................................................................................................... 714
Track/Channel Mapping .......................................................................................... 716
Track/Channel Mapping to Staves ......................................................................... 719
Tracking .................................................................................................................... 721
Transcription ............................................................................................................ 722
Transcription Filters ................................................................................................ 729
Transposition ........................................................................................................... 731
Tuplet Definition ...................................................................................................... 733
Undo/Redo Lists ...................................................................................................... 736
Unknown Chord Suffix ............................................................................................ 737
Unknown Font .......................................................................................................... 738
Update Available ...................................................................................................... 739
View Continuous Data ............................................................................................. 740
View Resolution ....................................................................................................... 742
Voicing for Staff in Part ........................................................................................... 743
VST Instruments ...................................................................................................... 745
Wait for End of Note ................................................................................................ 747
Measure Assignment for Ossia Measure .............................................................. 748
Wait for Note ............................................................................................................ 749
Word Extensions ..................................................................................................... 750
Zoom .........................................................................................................................752

Tools
Articulation Tool ...................................................................................................... 753
Chord Tool................................................................................................................ 755
Clef Tool ................................................................................................................... 757
Expression Tool ....................................................................................................... 759
Graphics Tool........................................................................................................... 762
Hand Grabber Tool .................................................................................................. 763
Key Signature Tool .................................................................................................. 764
Lyrics Tool................................................................................................................ 766
HyperScribe Tool ..................................................................................................... 768
Measure Tool............................................................................................................ 769
MIDI Tool................................................................................................................... 773
Mirror Tool ................................................................................................................ 775
Note Mover Tool....................................................................................................... 776
Ossia Tool ................................................................................................................ 777
Page Layout Tool ..................................................................................................... 779
Repeat Tool .............................................................................................................. 781
Resize Tool ............................................................................................................... 784

Selection Tool .......................................................................................................... 785

Simple Entry Tool .................................................................................................... 793
Smart Shape Tool .................................................................................................... 798
Special Tools Tool ................................................................................................... 802
Speedy Entry Tool ................................................................................................... 804
Staff Tool .................................................................................................................. 806
Tempo Tool .............................................................................................................. 809
Text Tool ................................................................................................................... 810
Time Signature Tool ................................................................................................ 812
Tuplet Tool ............................................................................................................... 814
Zoom Tool ................................................................................................................ 817

Menus
Chord Menu .............................................................................................................. 818
Document Menu ....................................................................................................... 820
Edit Menu.................................................................................................................. 822
Expression Menu ..................................................................................................... 824
File Menu .................................................................................................................. 825
Graphics Menu ......................................................................................................... 827
Help Menu................................................................................................................. 828
HyperScribe Menu ................................................................................................... 829
Lyrics Menu .............................................................................................................. 830
Measure Menu .......................................................................................................... 831
MIDI/Audio Menu...................................................................................................... 832
MIDI Tool Menu ........................................................................................................ 833
Mirror Menu .............................................................................................................. 835
Note Mover Menu ..................................................................................................... 836
Page Layout Menu ................................................................................................... 838
Plug-ins Menu .......................................................................................................... 840
Repeat Menu ............................................................................................................ 845
Simple Menu............................................................................................................. 846
Shape Designer Menu ............................................................................................. 847
Smart Shape Menu .................................................................................................. 848
Special Tools Menu ................................................................................................. 849
Speedy Menu............................................................................................................ 850
Staff Menu ................................................................................................................ 851
Text Menu ................................................................................................................. 853
Utilities Menu ........................................................................................................... 855
View Menu ................................................................................................................ 857
Window Menu........................................................................................................... 858

KeyboardShortcuts
Keyboard Shortcuts and Special Mouse Clicks ................................................... 860

Plugins
Add Cue Notes Plug-in ............................................................................................ 893
Align/Move Dynamics Plug-in ................................................................................ 894
Apply Human Playback plug-in .............................................................................. 895
Auto-Dynamic Placement Plug-in .......................................................................... 897
Auto Slur Melismas Plug-in .................................................................................... 899
Automatic Barlines Plug-in..................................................................................... 900
Band-in-a-Box Auto-Harmonizing Plug-in ............................................................ 901
Beam Over Barlines Plug-in ................................................................................... 903
Canonic Utilities Plug-in ......................................................................................... 904
Cautionary Accidentals Plug-in ............................................................................. 907
Change Fonts Plug-in ............................................................................................. 909
Change Noteheads Plug-in ..................................................................................... 910
Change to Default Whole Rests Plug-in ................................................................ 911
Change to Real Whole Rests Plug-in .................................................................... 912
Check Range Plug-in ............................................................................................... 913
Check Region for Durations Plug-in ...................................................................... 915
Chord Analysis Plug-in ........................................................................................... 916
Chord Morphing Plug-in ......................................................................................... 917
Chord Realization Plug-in ....................................................................................... 918
Chord Reordering Plug-in ....................................................................................... 919
Chord Splitting Plug-in ........................................................................................... 920
Classic Eighth Beams Plug-in ................................................................................ 921
Clear Lyric Positioning Plug-in .............................................................................. 923
Clear Measure # Positioning Plug-in ..................................................................... 924
Command Line Plug-in ........................................................................................... 925
Common Tone Transposition Plug-in ................................................................... 929
Composers Assistant Plug-ins ............................................................................. 930
Count Items Plug-in ................................................................................................. 931
Create Coda System Plug-in .................................................................................. 932
Create Handbells Used Chart Plug-in .................................................................... 934
Create Tempo Marking Plug-in............................................................................... 936
Cross Staff plug-in................................................................................................... 938
Drum Groove plug-in ............................................................................................... 940
Easy Harmonics Plug-in ......................................................................................... 942
Easy Measure Numbers Plug-in ............................................................................. 943
Easy Tremolos Plug-in ............................................................................................ 944
Extract Lyrics Plug-in .............................................................................................. 946

FinaleScript plug-in .............................................................................................. 947

Find Parallel Motion Plug-in ................................................................................... 968
Find Range Plug-in .................................................................................................. 969
Flat Beams Plug-in, Flat Beams (Remove) Plug-in .............................................. 970
Frequency Modulation Chord Generator Plug-in ................................................. 971
Global Staff Attributes plug-in ............................................................................... 973
Group Style Definition dialog box.......................................................................... 975
Latin Percussion plug-in ......................................................................................... 977
Ledger Lines (Hide) Plug-in, Ledger Lines (Show) Plug-in ................................. 979
Melodic Morphing Plug-in ....................................................................................... 980
Merge Measures Plug-in ......................................................................................... 981
MiBAC Jazz Rhythm Section Generator Plug-in .................................................. 982
Menu Shortcuts Plug-in .......................................................................................... 985
Mid-Measure Repeats Plug-in ................................................................................ 986
Midline Stem Direction Plug-in............................................................................... 987
Modify Rests Plug-in ............................................................................................... 988
Move Rests Plug-in ................................................................................................. 989
Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in ..................... 990
Number Repeated Measures Plug-in ..................................................................... 991
Patterson Beams Plug-in ........................................................................................ 993
Piano Reduction Plug-in ......................................................................................... 996
Process Extracted Parts plug-in ............................................................................ 997
Resize Noteheads Plug-in..................................................................................... 1000
Rhythm Generator Plug-in .................................................................................... 1002
Rhythmic Subdivisions Plug-in............................................................................ 1004
Score System Divider Plug-in .............................................................................. 1006
Single Pitch Plug-in ............................................................................................... 1009
Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove) Plug-in 1010
Smart Cue Notes Plug-in ...................................................................................... 1011
Smart Page Turns plug-in ..................................................................................... 1013
Smart Playback Plug-in......................................................................................... 1015
Smart Split Point plug-in....................................................................................... 1017
Split Measure Plug-in ............................................................................................ 1019
Split Point Plug-in .................................................................................................. 1022
Tie Common Notes Plug-in................................................................................... 1023
Update Groups and Brackets plug-in .................................................................. 1024
Vertical Collision Remover plug-in ...................................................................... 1026
Virtual Fundamental Generator Plug-in .............................................................. 1029
Voice 2 to Layer Plug-in ........................................................................................ 1030

TermsandSymbols
Terms and Symbols Contents .............................................................................. 1036

Symbols .................................................................................................................. 1037

Terms-A .................................................................................................................. 1043
Terms-B .................................................................................................................. 1049
Terms-C .................................................................................................................. 1051
Terms-D .................................................................................................................. 1054
Terms-E .................................................................................................................. 1057
Terms-F................................................................................................................... 1060
Terms-G .................................................................................................................. 1062
Terms-H .................................................................................................................. 1065
Terms-I .................................................................................................................... 1066
Terms-J ................................................................................................................... 1067
Terms-K .................................................................................................................. 1068
Terms-L................................................................................................................... 1069
Terms-M .................................................................................................................. 1072
Terms-N .................................................................................................................. 1076
Terms-O .................................................................................................................. 1078
Terms-P .................................................................................................................. 1079
Terms-Q .................................................................................................................. 1082
Terms-R .................................................................................................................. 1083
Terms-S .................................................................................................................. 1086
Terms-T................................................................................................................... 1091
Terms-U .................................................................................................................. 1093
Terms-V .................................................................................................................. 1095
Terms-W ................................................................................................................. 1097
Terms-Z................................................................................................................... 1098

Appendix
About the FINMIDI.INI file...................................................................................... 1099
Alternative music fonts ......................................................................................... 1100
Bank Select - Bank Change Table........................................................................ 1105
Configuring Ensembles.txt ................................................................................... 1109
Configuring Instrument.txt ................................................................................... 1110
Configuring MacSymbolFonts.txt ........................................................................ 1112
Configuring Pagesizes.txt .................................................................................... 1113
Customized Speedy Keymap ............................................................................... 1114
Document Styles.................................................................................................... 1119
Document Settings and Program Settings ......................................................... 1120
Encore Conversion ................................................................................................ 1128
Engraver Font ........................................................................................................ 1130
Engraver font set ................................................................................................... 1151
Ethnic Percussion Map Table............................................................................... 1172
Equivalents............................................................................................................. 1174

Exercise numbers in the Exercise Wizard .......................................................... 1176

Exercise Wizard Instrument Ranges ................................................................... 1178
Finale 2009 Interface Changes ............................................................................. 1181
Finale and Explorer ............................................................................................... 1192
Finale File Extensions ........................................................................................... 1200
Finale Libraries ...................................................................................................... 1204
Finale Notational Defaults .................................................................................... 1225
Finale Score Templates ........................................................................................ 1228
General MIDI Orchestral Percussion Map Table ................................................ 1233
General MIDI Patch Set Groupings ...................................................................... 1235
General MIDI Percussion Map Table ................................................................... 1236
General MIDI Table ................................................................................................ 1238
Garritan Finale Edition Instrument Details ......................................................... 1241
Guitar markings ..................................................................................................... 1251
Harmony Presets ................................................................................................... 1255
Human Playback Dictionary ................................................................................. 1258
Jazz Font ................................................................................................................ 1261
Jazz Fusion Percussion Map Table ..................................................................... 1304
Latin Percussion Map Table ................................................................................. 1306
Linking Details for Linked Parts........................................................................... 1308
Marching Percussion Map Table.......................................................................... 1318
Maestro Font .......................................................................................................... 1321
MIDI Note to Pitch Table ....................................................................................... 1334
MIDI Terminology................................................................................................... 1336
More on MIDI .......................................................................................................... 1340
Other SmartMusic SoftSynth Patches ................................................................. 1342
Plug-in filenames ................................................................................................... 1343
Quantization Guide ................................................................................................ 1347
Template Percussion Mappings........................................................................... 1351
Troubleshooting .................................................................................................... 1357

TheFinaleEncyclopedia
Using the Finale Encyclopedia............................................................................. 1368
8va/8vb.................................................................................................................... 1369
Accelerando ........................................................................................................... 1370
Accidentals (Speedy Entry) .................................................................................. 1372
Adobe PDF documents ......................................................................................... 1374
Arrows .................................................................................................................... 1376
Articulations ........................................................................................................... 1377
Attack and release ................................................................................................. 1384
Audio ....................................................................................................................... 1385
Augmentation......................................................................................................... 1387

Backbeats ............................................................................................................... 1388

Barlines................................................................................................................... 1390
Batch Printing ........................................................................................................ 1394
Beam angles........................................................................................................... 1395
Beam thickness ..................................................................................................... 1397
Beaming.................................................................................................................. 1398
Beaming across barlines ...................................................................................... 1401
Beaming over rests ............................................................................................... 1402
Beaming: feathered beaming ............................................................................... 1403
Beaming: Secondary beams ................................................................................ 1404
Beat positions ........................................................................................................ 1406
Bend hats ............................................................................................................... 1407
Blank pages............................................................................................................ 1408
Booklets.................................................................................................................. 1409
Boomwhackers Tuned Percussion Tubes / Chroma-Notes Instruments .. 1412
Brackets: Horizontal lines .................................................................................... 1414
Brackets: Notes ..................................................................................................... 1415
Brackets: Staves .................................................................................................... 1416
Breath marks .......................................................................................................... 1419
Cadenzas ................................................................................................................ 1420
Cesuras................................................................................................................... 1421
Channel Pressure .................................................................................................. 1422
Character names ................................................................................................... 1423
Choral music .......................................................................................................... 1424
Chord symbols....................................................................................................... 1425
Chords .................................................................................................................... 1436
Clefs ........................................................................................................................ 1437
Click and Countoff ................................................................................................. 1441
Closed symbols ..................................................................................................... 1443
Coda ........................................................................................................................ 1444
Common time ......................................................................................................... 1446
Composite time signatures .................................................................................. 1447
Compound meters ................................................................................................. 1449
Continuous data .................................................................................................... 1450
Copying music ....................................................................................................... 1452
Copyright notices .................................................................................................. 1466
Counting measures ............................................................................................... 1467
Courtesy accidentals ............................................................................................ 1468
Courtesy clef changes .......................................................................................... 1469
Courtesy key signatures ....................................................................................... 1470
Courtesy time signatures ..................................................................................... 1472
SmartMusic .......................................................................................................... 1473

Crescendo/Decrescendo ...................................................................................... 1481

Crossed hands ....................................................................................................... 1484
Cross-staff notes ................................................................................................... 1485
Cue notes ............................................................................................................... 1488
Custom lines .......................................................................................................... 1490
Customize Toolbar dialog box ............................................................................. 1491
Cut time .................................................................................................................. 1492
Cutaway scores ..................................................................................................... 1493
Dashed lines........................................................................................................... 1494
Date stamps ........................................................................................................... 1495
D.C. .......................................................................................................................... 1496
Diminution .............................................................................................................. 1497
Distances ................................................................................................................ 1498
Divisi ....................................................................................................................... 1500
Doits ........................................................................................................................ 1501
Dotted notes ........................................................................................................... 1502
Double barlines ...................................................................................................... 1504
Double whole notes ............................................................................................... 1505
Downbeats.............................................................................................................. 1506
D.S., D.S. al Coda ................................................................................................... 1507
Dynamics ................................................................................................................ 1509
8va/8vb.................................................................................................................... 1511
Elapsed time........................................................................................................... 1512
Encapsulated PostScript (EPS)............................................................................ 1513
Enharmonics .......................................................................................................... 1514
Engraver slurs........................................................................................................ 1515
Erasing.................................................................................................................... 1516
Exploding music .................................................................................................... 1517
Expressions ........................................................................................................... 1518
Extracting parts ..................................................................................................... 1525
Fall-offs ................................................................................................................... 1526
Fermatas ................................................................................................................. 1527
Figured bass .......................................................................................................... 1528
Final barline............................................................................................................ 1529
Fingering numbers ................................................................................................ 1530
First and second endings ..................................................................................... 1531
Flags ....................................................................................................................... 1533
Flutter-tongue ........................................................................................................ 1535
Font Annotation ..................................................................................................... 1536
Fonts ....................................................................................................................... 1537
Fretboard diagrams ............................................................................................... 1546
Fugues .................................................................................................................... 1548

Garritan Personal Orchestra Finale Edition........................................................ 1549

General MIDI ........................................................................................................... 1553
Glissandos ............................................................................................................. 1554
Grace notes ............................................................................................................ 1556
Grand Pause........................................................................................................... 1558
Graphics ................................................................................................................. 1559
Grids and guides ................................................................................................... 1565
Group names.......................................................................................................... 1566
Staff groups............................................................................................................ 1569
Guitar bends........................................................................................................... 1571
Guitar markings ..................................................................................................... 1573
Guitar notation ....................................................................................................... 1577
Harmonics .............................................................................................................. 1579
Harp pedal diagrams ............................................................................................. 1580
Headless notes ...................................................................................................... 1581
Hiding key signatures ........................................................................................... 1582
Hiding notes and rests .......................................................................................... 1583
Hiding staves ......................................................................................................... 1584
Hiding time signatures .......................................................................................... 1586
Human Playback .................................................................................................... 1587
Hymns ..................................................................................................................... 1589
Hyphens.................................................................................................................. 1590
Imploding music .................................................................................................... 1591
Importing ................................................................................................................ 1592
Indenting systems ................................................................................................. 1596
Working with the Instrument List......................................................................... 1597
Internet.................................................................................................................... 1598
Key signatures ....................................................................................................... 1599
Key velocity ............................................................................................................ 1600
Kodly Stick Notation and Solfge ...................................................................... 1602
Landscape and Portrait orientation ..................................................................... 1603
Lead sheets ............................................................................................................ 1604
Ledger lines............................................................................................................ 1605
Left barlines ........................................................................................................... 1606
Legal-size paper..................................................................................................... 1607
Limiting MIDI data .................................................................................................. 1608
Linked Parts ........................................................................................................... 1609
Lyrics ...................................................................................................................... 1630
Macros .................................................................................................................... 1639
Major seconds (in different voices and layers) .................................................. 1640
Manuscript paper ................................................................................................... 1641
Margins ................................................................................................................... 1642

Masks ...................................................................................................................... 1643

Measure layout....................................................................................................... 1645
Measure numbers .................................................................................................. 1647
Measure repeat signs ............................................................................................ 1649
Measures ................................................................................................................ 1650
Measures per line .................................................................................................. 1653
Melismas................................................................................................................. 1654
Metatools ................................................................................................................ 1655
Metronome markings ............................................................................................ 1660
MicNotator .............................................................................................................. 1664
MIDI ......................................................................................................................... 1667
MIDI files ................................................................................................................. 1670
MIDI Sync................................................................................................................ 1672
Minor keys .............................................................................................................. 1674
Mirroring ................................................................................................................. 1675
Mordents................................................................................................................. 1677
Multimeasure rests ................................................................................................ 1678
Multiple key signatures ......................................................................................... 1681
Multiple passes and endings................................................................................ 1682
Multiple time signatures ....................................................................................... 1684
Multiple voices ....................................................................................................... 1685
Music spacing ........................................................................................................ 1688
Mutes ...................................................................................................................... 1692
VST Instruments .................................................................................................... 1693
Neutral key ............................................................................................................. 1695
Nonstandard key signatures ................................................................................ 1696
Note positioning .................................................................................................... 1701
Note shapes ........................................................................................................... 1702
Note size ................................................................................................................. 1704
Noteheads .............................................................................................................. 1705
Note values (durations) ......................................................................................... 1706
Optimizing systems ............................................................................................... 1707
Ossia ....................................................................................................................... 1709
Page layout............................................................................................................. 1711
Page numbers ........................................................................................................ 1715
Page size ................................................................................................................ 1716
Page turns .............................................................................................................. 1717
Page View ............................................................................................................... 1718
Parentheses ........................................................................................................... 1720
Part Voicing ............................................................................................................ 1721
Patches ................................................................................................................... 1723
Pedal markings ...................................................................................................... 1726

Percussion ............................................................................................................. 1729

Percussion tones ................................................................................................... 1736
Piano reductions.................................................................................................... 1737
Pickup measures ................................................................................................... 1738
Pitch wheel ............................................................................................................. 1739
Pizzicato ................................................................................................................. 1742
Playback ................................................................................................................. 1743
Landscape and Portrait orientation ..................................................................... 1749
PostScript ............................................................................................................... 1750
Printing ................................................................................................................... 1751
Punch in/Punch out ............................................................................................... 1752
Quantization Guide ................................................................................................ 1753
Tuplets .................................................................................................................... 1757
Rallentando ............................................................................................................ 1760
Recording with HyperScribe ................................................................................ 1763
Rebarring music .................................................................................................... 1768
Redraw .................................................................................................................... 1769
Reducing/Enlarging ............................................................................................... 1770
Rehearsal letters .................................................................................................... 1772
Repeats (barlines and text indications) .............................................................. 1774
Rests (Simple Entry) ............................................................................................. 1776
Rests (Speedy Entry) ............................................................................................ 1777
Retranscription ...................................................................................................... 1779
Reverse stems ....................................................................................................... 1780
Rolled chords ......................................................................................................... 1781
Running headers ................................................................................................... 1783
Scanning................................................................................................................. 1784
Score Conversion .................................................................................................. 1787
Scroll View .............................................................................................................. 1790
Search and replace ................................................................................................ 1791
First and second endings ..................................................................................... 1792
Selecting music ..................................................................................................... 1794
Shape Designer...................................................................................................... 1798
Shape Note music ................................................................................................. 1800
Slashes ................................................................................................................... 1801
Slurs ........................................................................................................................ 1802
SmartMusic .......................................................................................................... 1806
SmartMusic Compatibility Guidelines ................................................................. 1814
SmartMusic Performance Markers ...................................................................... 1816
SMPTE and MIDI Time Code ................................................................................. 1825
Snapping to grids and guides .............................................................................. 1826
SoundFonts ............................................................................................................ 1828

Split points ............................................................................................................. 1829

Music spacing ........................................................................................................ 1831
Staccato marks ...................................................................................................... 1835
Staff groups............................................................................................................ 1836
Staff handles .......................................................................................................... 1838
Staff lines................................................................................................................ 1839
Staff names ............................................................................................................ 1840
Staff size ................................................................................................................. 1843
Staff styles.............................................................................................................. 1844
Start and Stop Times ............................................................................................. 1847
Staves ..................................................................................................................... 1849
Stemless notes ...................................................................................................... 1852
Stems ...................................................................................................................... 1853
Studio View ............................................................................................................ 1856
Swing ...................................................................................................................... 1857
Swing Playback...................................................................................................... 1858
Syncopation ........................................................................................................... 1860
System (line) break ................................................................................................ 1861
Systems .................................................................................................................. 1862
Tab Slides ............................................................................................................... 1864
Tablature................................................................................................................. 1865
Tempo (for playback) ............................................................................................ 1869
Tempo markings .................................................................................................... 1870
TempoTap............................................................................................................... 1872
Text ......................................................................................................................... 1873
Text blocks ............................................................................................................. 1874
Ties .......................................................................................................................... 1879
Tiling pages for printing ....................................................................................... 1886
Time signatures ..................................................................................................... 1888
Title page ................................................................................................................ 1889
Titles ....................................................................................................................... 1890
Transcribing a sequence ...................................................................................... 1891
Transcription Mode ............................................................................................... 1897
Transposing: by interval ....................................................................................... 1899
Transposing: changing key .................................................................................. 1900
Transposing instruments ..................................................................................... 1901
Tremolos................................................................................................................. 1903
Trills ........................................................................................................................ 1905
Tuplets .................................................................................................................... 1906
Tuplets (Simple Entry) .......................................................................................... 1909
Undo ........................................................................................................................ 1911
Using Grids and Guides........................................................................................ 1912

Vocal music ............................................................................................................ 1913

Volume .................................................................................................................... 1914
VST .......................................................................................................................... 1915
Whole rests ............................................................................................................ 1916
Working with the Instrument List......................................................................... 1918
Zoom in/Zoom out ................................................................................................. 1919
Index ....................................................................................................................... 1920

Welcome to Finale 2009!

The printed version of the Finale User Manual includes the following resources, which are identical to the
content available from Finale's Help Menu:

Reference. This includes a detailed description of each of Finale's commands.

Encyclopedia. This "how to" resource is arranged alphabetically and by musical topic. Anything you
don't find in the tutorials will be explained here.
Underlines indicate hypertext links available when
viewing this material on your computer screen
(under the Help Menu or by clicking a help button).
Use the index at the back of this volume to find
page numbers for these references.

Upgrading users
For a list of interface changes since Finale 2008, see Finale 2009 Interface Changes.
For a list of new Finale 2009 features, see What's New.

Other resources
Visit http://finalemusic.com/support.aspx to view the Knowledge Base and access additional help.
Visit http://forum.makemusic.com to interact with the Finale community on our user forums.

What's New in Finale 2009

Categorized Expressions. Finale's new Expression categories allow all markings of a similar type
(e.g. dynamics) to share font, positioning, and staff list settings. See Expressions and Category
Designer dialog box.

New Expression Positioning. Expression positioning is now part of every expression category's
definition, and can also be assigned individually. See Category Designer dialog box and Expression
Designer - Positioning dialog box.

Drag-apply expressions. You can now click and drag over multiple staves to apply expressions en
masse.

Simplified Staff Lists. Staff lists are now part of expression categories, which makes editing,
copying, and assigning expressions that apply to the full score easier. See Expressions.

Easier Expression Metatool Assignment. You can now assign several metatools at once in the
Expression Selection dialog box. See Metatools - To use an expression metatool.

Expression Attachment Indicators. Each expression is now equipped with an indicator that
displays its attachment point on the staff (relative to the beat or measure). Expressions can now be
dragged to different beats, measures, or staves to change their attachment point. See
Expressions_Ref-1847415853.

Selection Dialog Box Zooming and Resizing. New "Zoom In"

and "Zoom Out"
buttons,
and resize functionality have been added to Finale's selection dialog boxes for easier navigation.
Some dialog boxes that benefit from this are the Expression Selection dialog box, Articulation
Selection dialog box, and Shape Selection dialog box.

Multiple Page Viewing and Editing. Finale now displays more of your score at once with multiple
pages accessible for convenient editing. See Page View.

FinaleScript 2.0. Finale's scripting language is now capable of calling virtually any command,
whether in a dialog box, menu, or list. Press any button, check any check box, or enter a value into
any text box. With an integrated dictionary and dynamic text coloring, creating powerful scripts is
easier than ever. See FinaleScript Plug-in.

Updated Human Playback. Human Playback Enhancements include user interface improvements,
compatibility with the Aria player, a new technique set supporting Finale 2009s open VST abilities,
and additional fixes and improvements. Plus Human Playback options are now found in Finales
MIDI menu, making access to different styles as well as techniques and preferences much more
accessible. See Human Playback.

New Aria Player. The Garritan Aria Player is included FREE and is fully integrated into Finale 2009.
It offers superior sound, more control, and a vastly improved user playback experience. See Aria
Player.

Use any VST instrument plug-in and accompanying instrument libraries. See Manage VST
plug-ins dialog box.

Improved Playback Performance. With new ASIO drivers, Finale's playback engine has been
retooled to allow for higher playback quality.

Updated SmartMusic Accompaniment Creation. Creating SmartMusic Accompaniments (.SMP

files) has never been easier with improvements to both Finale's saving mechanism and
SmartMusic's interpretation capabilities. See SmartMusic.

Updated Music XML. File interchange between notation programs and between different versions of
Finale is more accurate than ever. See File/MusicXML.

Tapspace Virtual Drumline Sounds. Finale now includes a library of performance-quality marching
percussion sounds by Tapspace. See Setup Wizard.

Features that have changed as of the Finale 2009 (or earlier) release marked with an *.

What's New in Finale 2008

A Powerful New Selection Tool

has inherited all the functionality of the expired Mass Edit
Tool. Adapted for selecting measure regions, the Selection Tool is now Finale's universal editing
utility. See Selection Tool.

Cut, Copy, Paste, and Insert Improvements allow unprecedented flexibility when choosing how,
what, and where to copy. Plus, consistent results whether drag-copying or using the clipboard, even
between documents. See Copying Music.

Merge Multiple Scores automatically using the Score Merger. Consolidate multiple movements
horizontally into a single document (even from different instrumentations) or merge a collection of
parts vertically into a full conductor's score. See To combine files with Score Merger.

Add An Audio Track to your score by either importing an audio file or recording a live performance
with HyperScribe. See Audio.

New Garritan Sounds including saxophone, guitar, jazz bass, choir, marching percussion and many
more. See Setup Wizard.

Human Playback updates provide even more support for Garritan products as well as additional
Instrument Techniques and an enhanced dictionary. See Human Playback.

Playback using Garritan and SoundFont instruments simultaneously. See Setup Wizard.

HyperScribe improvements allow you to easily record first and second endings and offer more
control of the recording tempo. See Recording with HyperScribe.

Vista support allows you to install, register, and run Finale on Microsofts latest operating system.

Boomwhackers Tuned Percussion Tubes / Chroma-Notes Instruments - Ready with

colored noteheads and an accompanying Boomwhackers tubes SoundFont. See Setup Wizard and
Document Options-Notes and Rests.

Document Styles allow you to formulate a custom medley of libraries and document settings, or
choose from one of Finale's offerings, for integration with the instrumentation of your choice in the
Setup Wizard. See Setup Wizard and Document Styles.

Customize templates when you open them using the last two pages of the Setup Wizard. See
Finale Score Templates.

Improved Scanning with MusicXML technology means better recognition. See Scanning.

Expanded MusicXML import and export offers higher quality formatting and page layout, as well
as support for fretboards, metronome markings, piano pedals and can now import the default music
font. See File/MusicXML.

More Text Inserts including "Arranger," "Lyricist," and "Subtitle." These are recorded in
Finale's New File Info dialog box and can also be defined in Finale 2008's redesigned Setup Wizard.
See Text inserts, File Info dialog box and Setup Wizard.

Expanded Setup Wizard Options allow you to select a Document Style, assign Document Styles to
specific ensembles, and add additional score information including Arranger, Lyricist, and Subtitle.
See Setup Wizard.

Customize Zoom Percentages as you wish them to appear in the View Menu. See View Menu.

Updated Documentation provides the information you need quickly and easily. Finale's new User
Manual features improved navigation, context-sensitivity, and an interactive Visual Index. See How
to Use the Finale 2009 User Manual.

What's New in Finale 2008a

In files with VST instruments*, audio files are no longer saved in real-time. The process is now
quicker on fast machines, and slower machines will produce better-sounding results.

Time Signatures can now be excluded when copying stacks. See Edit Filter dialog box and To
Copy Time Signatures.

Human Playback Improvements to performance, instrument techniques, and more. See Human
Playback.

Measure settings can now be copied when either the source or target constitutes a stack.

What's New in Finale 2007

Linked Parts. Content from the score is now intelligently linked to parts so editing the score and part
documents separately is no longer required. Print parts directly from your main project file. See
Linked Parts.

Latin Percussion plug-in. Use this plug-in to automatically create authentic Latin Percussion
rhythm section notation, with a variety of styles to choose from. See Latin Percussion plug-in.

Latin Percussion Sounds. You can now make your Latin rhythms sound as good as they look. See
Latin Percussion Map Table.

SMPTE/MIDI Time Code Support. Use MTC to synchronize Finale with the integrated Movie
Window or another MTC-compatible device. See SMPTE and MIDI Time Code.

Integrated On-screen Video. Use Finales built-in Movie Window to write to picture. No external
software required. See Movie Window.

Fit to Time. Instantly assign a duration for any region of music. Finale modifies the tempo to fit the
music to the time specified. See Fit to Time dialog box.

Playback Counter. Finale's Playback Controls now include a counter that displays SMPTE MIDI
Time Code during playback (hours, minutes, seconds, and frames). See Playback Controls.

Time Markers. A new Measure Number Style allows you to view the elapsed time at any measure.
See Measure Number dialog box.

Change Expressions Quickly. Simple key commands can now be used to change the expression
definition directly from the document. See Expressions.

Intelligent Articulation Positioning. Finale can now automatically flip articulations to the
appropriate side of the staff as stems flip during the addition or removal of layers. Use the Auto
Note/Stem Side setting in the Articulation Designer dialog box.

Multimeasure Rests Now Update Automatically when a note is added in Scroll or Studio View to a
measure within a multimeasure rest region. See Document Options-Multimeasure Rests.

Vertical Collision Remover. Automatically reformat the vertical positioning of staves, systems, and
instrument groups to avoid collision of notes, articulations, smart shapes and other items. See
Vertical Collision Remover plug-in.

Human Playback Improvements. The Human Playback Preferences dialog box now includes
specific "techniques" designed to give you a completely customizable Human Playback environment.
Techniques also allow Human Playback to make the most of multiple sound libraries used in the
same document. See Human Playback Preferences dialog box.

KONTAKT Player 2 for Finale.* (Now Aria Player). The new integrated Kontakt Player 2 allows
you to load up to 64 instruments and channels at once. Also benefit from optimized sample
management, and DFD disk streaming, and more. .

More Control of Groups and Brackets. Groups and brackets can now be edited en mass after a
systems has been optimized. See Update Groups and Brackets plug-in.

Hide Chords, Fretboards, and Lyrics on Individual Staves. Or, hide them on a region of a staff
with Staff Styles. See Staff Attributes dialog box and Staff styles.

New QuickStart Videos. Finales QuickStart Videos have been updated with a new look and
additional content to get you up and running even faster. See Launch Window.

What's New in Finale 2006

Studio View. Page View is your print shop for layout like Studio View is your sound stage for
playback. Use this new view to audition Finales MIDI performance, "conduct" a tempo, adjust
playback settings, and record HyperScribe transcriptions. See Studio View.

Mixer Controls. Control the volume, panning, and reverb for your full score, and find the perfect
balance using convenient sliders and knobs for each staff - all in real-time during playback. See
Mixer. Use the convenient Staff Controls of Studio View to adjust these settings as well. See Staff
Controls.

TempoTap. Studio Views new TempoTap staff allows you to "conduct" your score by tapping with a
MIDI device or your computer keyboard. Your tempo is recorded and applied to playback. The beat
durations can also be edited to optimize accuracy while recording a tempo. See TempoTap.

New Instrument List Controls. As part of Finales real-time playback enhancements you can now
audition real-time changes to volume, panning, and instruments with controls added to the
instrument list. See Instrument List window.

Kontakt for Finale with Garritan Personal Orchestra. (Now Aria Player). Assign GPOs world
class instrument sounds to staves of a new document with the Setup Wizard.

Ambience Reverb. Customize the room size, decay, and a collection other reverb settings that allow
you to control of the overall reverb effect of playback. See VST Instruments dialog box.*

Speedier Playback Processing. Without the need to prescan your music, a click on the Play button
initiates playback with almost no hesitation. Only Human Playback processing is necessary (if HP is
enabled).

Export a measure region as a MIDI or Audio File with a new command in the Playback Settings
dialog box. To export a MIDI file and To export an audio file.

More MIDI Channels. SmartMusic SoftSynth playback has been expanded from 16 to 128 channels.
Now choose up to eight different MIDI Out devices. See MIDI Setup dialog box.

Assign Each Staff a Unique Channel automatically while setting up your score. See Setup Wizard.

Spacebar-click Scrolling Playback. Finale now supports scrolling when you use the spacebar-click
method to start playback. See Playback.

Start Playback Mid-Measure. Finales Playback Control interface now supports a more robust
counter, showing the measure, beat, and EDU. See Playback Controls.

Human Playback Improvements. Enhanced support for GPO and improved performance of
percussion rolls and trills are part of the new Human Playback. See Human Playback.

Enhanced Performance. Optimized drawing routines and memory handling now provide faster
screen redraw and expedited application startup. Youve never been able to do so much so fast!

Copy and Paste Measure and Entry Items Simultaneously using Finales new Items to Copy
dialog box. You can now also choose any combination of items to clear. (Now called the Edit Filter
dialog box).

Automatically Insert a Symbol. You can now insert a Copyright symbol automatically in the
Setup Wizard. See Setup Wizard.

Embed Graphics in your Document. Graphics can now be embedded into Finale documents. You
no longer need to move graphic files independently when sharing Finale files across computers. See
Graphics Tool.

Automatically Fit Music to a Printed Page using Finales new Fit to Page option in the Print dialog
box.

Improved Scanning Recognition. Import grayscale TIFF images with SmartScore Lite. See
Scanning.

Composite Libraries. Save a collection of elements in the same library file for transfer to other
documents. See Save Library dialog box.

Create Smart Shape Libraries. Now you can save the Custom Smart Shapes you created in
Finales Smart Line Designer dialog box in a library to open across documents. See Save Library
dialog box.

More Instrument Choices. Choose from an expanded list of instrument staves, including a new Orff
Instruments category. See Setup Wizard.

Key Signature Contextual Menu. While using the Key Signature Tool, simply right-click a measure
to choose from a list of several common key signatures. See Key Signature Tool.

Mass Edit Contextual Menu. While using the Mass Edit Tool, simply right-click a measure to
choose from a list of Mass Edit Commands. (Now called the Selection Tool)

Textured Manuscript Background. You now have even more ways to customize Finales work
environment with a collection of textured manuscript paper backgrounds. Easier on the eyes after
long hours. See Program Options-Palettes and Backgrounds.

More Control over Measure Numbering. Its now easy to instruct Finale to skip a measure in a
measure number sequence. No complex Time Signature or Measure Tool adjustments required just uncheck Include in Measure Numbering. See Measure Attributes dialog box.

Display in Concert Pitch Warning. If you choose to print parts for your brass quintet in concert
pitch, Finale now reminds you the music is not prepared for transposing instruments.

Create a Bells Used Chart Automatically with the new Create Handbells Used Chart Plug-in. This
plug-in scans your handbell score and generates a bells used chart based on the notes found in the
document. See Create Handbells Used Chart Plug-in.

Auto-generate Chord Symbols with the Chord Analysis Plug-in. This plug-in analyzes the
harmonic progression of a selected region of your score and adds chord symbols automatically. See
Chord Analysis Plug-in.

All-Staff Analysis. Include notes from all staves of your score while adding chords using the staff
analysis method. See Chord Menu.

Easily Split Measures Across Systems or Create Dashed Barlines with the Split Measure Plugin. No measure number editing required. See Split Measure Plug-in.

Combine Measures and update measure numbering automatically using the Merge Measures
Plug-in. See Merge Measures Plug-in.

Easily Create Mid-measure Repeat Barlines with the Mid-Measure Repeats Plug-in. No time
signature or measure number editing necessary. This plug-in does it for you automatically. See MidMeasure Repeats Plug-in.

Create Coda Systems Automatically with the Create Coda System Plug-in. Isolate a separate
coda system, generate coda markings, and even define a coda for playback with this powerful plugin. See Create Coda System Plug-in.

Place Slurs on Melismatic Passages Automatically with the Auto Slur Melismas Plug-in. This
plug-in can find multiple notes over a syllable and place slurs accordingly. See Auto Slur Melismas
Plug-in.

Resize Noteheads of Specific Voices within Chords using the Resize Noteheads Plug-in. See
Resize Noteheads Plug-in.

Specify a Staff List for Generated Tempo Markings using the updated Create Tempo Marking
Plug-in. See Create Tempo Marking Plug-in.

Create System Separation Marks Automatically with the Score System Divider Plug-in. See Score
System Divider Plug-in.

What's New in Finale 2006a

Real-Time Save As Audio Support for VST/AU. Save As Audio now supports Wave or AIFF output
for documents that use Finales integrated GPO sounds or other supported VST instruments.
Furthermore, adjustments to the Mixer or Staff Controls during the saving process apply to the
generated audio file.

What's New in Finale 2006b

EPS Export. EPS graphics can now be exported using any Finale-compatible operating system.

Check for Finale Updates Automatically with the new option Check for Finale Updates under the
Help Menu.

Expanded Documentation. Learn how to get the most out of GPO and HP with the new GPO and
HP Finale Installation and Tutorials Supplement.

What's New in Finale 2005

SmartMusic Accompaniment Wizard. It is now easier than ever to create SmartMusic

Accompaniments. (Replaced with File/Export to SmartMusic in Finale 2009. See SmartMusic.)

Easily Add SmartMusic Markers. You no longer need to manually add performance markers with
expressions. Easily add pauses, rehearsal markers, and even scan the score to add repeat markers
automatically with the Add SmartMusic Markers dialog box.

Enhanced Human Playback capabilities. Combine Human Playbacks interpretation with your own
custom MIDI data in the new Human Playback Preferences dialog box. Then, use the Apply Human
Playback plug-in to apply Human Playback styles and elements to regions of your score. See Apply
Human Playback plug-in. Human Playback now includes a new "Marching Band" style and support
for Garritan Personal Orchestra. See Human Playback.

Record Continuous Data. You can now record pitch bend, sustain pedal, and other continuous data
controllers in real-time using HyperScribe. See Record Continuous Data dialog box.

New Launch Window. Get up and running quickly with Finales new Launch Window. From here,
open existing files, choose how you want to start a new one, view reference material, and even
import scanned documents. See Launch Window.

Expanded Setup Wizard. Save time by starting a new document using one of Finales preset
ensembles, or create your own custom ensemble. See Setup Wizard.

Engraver Tuplets. Tuplet brackets now avoid collision with notes, stems, rests, and other items and
angle appropriately according to the notation. Finale also offers greater control over the spacing of
non-beamed tuplets. See Document Options-Tuplets.

Updated Repeats. Apply repeats to a region of your score using keystrokes and contextual menus;
playback is set up for you automatically. You can now also assign staff lists to endings and text
repeats. See Repeat Tool.

Improved Scanning. Use Finales new TWAIN supported scanning to acquire sheet music from
your scanner and configure your scanning software for Finale import automatically. See Scanning.

Simple Entry Improvements. Toggle enharmonic spelling, add expressions, and flip ties while
entering with Simple Entry. See Keycuts-Simple Entry Tool.

FinaleScript Plug-in Improvements. Now, call any plug-in or menu item from the FinaleScript
palette. New commands include "apply staff style", "clear staff style", "title", "composer", "copyright",
and more. See FinaleScript plug-in.

Save as MP3. You can now save audio files in compressed MP3 format. See Audio Files.

Marching Percussion Sounds have been added to SmartMusic SoftSynth playback. See Marching
Percussion Map Table.

New TGTools Plug-ins. Customize rest appearance, divide voices from one staff into two parts, and
generate logical split points with these new plug-ins. See Modify Rests Plug-in, Process Extracted
Parts plug-in, and Smart Split Point plug-in.

3rd Party Sound Font Support. Specify your favorite sound font for playback or audio output. See
SoftSynth dialog box.

Improved Grace Note Spacing. Spacing of consecutive grace notes has been improved. See
Grace Notes. See Document Options-Music Spacing.

Additional Spacing Controls. Specify before and after barline spacing by measure in the Measure
Attributes dialog box. Control spacing between the clef, key signature, and time signature in
Document Options-Clefs and Document Options-Key Signatures.

Copy Staff Lists. You can now accurately copy measure expressions, repeat text and repeat ending
brackets assigned to staff lists from one document to another without manually creating the staff lists
in the destination document. See Expressions.

Easily Change the Path for Graphics. Now, you can manually update the path for referenced
graphics you have placed in the score (instead of moving or replacing the graphic). See Graphic
Attributes dialog box.

New Navigation Keystrokes. Press Ctrl-= to Zoom in or Ctrl--(minus) to zoom out. See View Menu.

Whats New in Finale 2005a

New system spacing options. You can now define extra space at the beginning and end of any
number of systems. See System Space Before/After Music dialog box.

Repeat "Show On" settings in Document Options. You can now define Staff List information for
all repeat markings in a document on the Repeats page of the Document Options dialog box. See
Document Options-Repeats.

Human Playback improvements include enhanced Incorporate MIDI Data, improved rolled and
strummed chords, trills, turns with an accidental and hairpins. HP now supports turns with doublesharp and double-flat. Human Playback Dictionary additions include "slargando", "riten.", and "rfz".
Messages can now be disabled program-wide. See Human Playback Preferences dialog box.

Batch processing FPA files is now possible with FinaleScript.

What's New in Finale 2004

Improved Note Entry. Enter notes, articulations, and even clef, key and time signature changes in
Simple Entry using your computer or MIDI keyboard. See Simple Entry.

Definable Simple Entry Keyboard Shortcuts. Customize a set of Simple Entry commands to your
own preferred keystrokes. Edit Keyboard Shortcuts.

Enhanced Expressions. The redesigned expression designer allows you to use multiple fonts for
the same expression, align expressions with automatic placement options and add a description for
each expression. Expression Designer dialog box.

Sound Font Playback. Finales included General MIDI Sound Font offers high quality instrument
simulation. Now, using this sound font, Finale delivers identical playback from one computer to the
next. See MIDI Setup dialog box.

Human Playback. Playback of Finale documents, as well as MIDI files and SmartMusic
Accompaniments generated with Finale now simulate a live human performance with automatic
interpretation of expressions, articulations, hairpins and other markings. Choose from several
playback styles including Baroque, Jazz, and Reggae. See Human Playback.

Save as Audio File. Like the sound of Finales improved playback? You can now save that
performance in Wave format to burn to a CD, or as a compressed Wave for transfer over the
Internet. See Save as Audio File dialog box.

Improved Redraw. Smoother interface handling. No more residual artifacts, or need for manual
redraws.

Smart Hyphens and Word Extensions. No longer manually add word extensions or adjust
hyphens. Finale does it for you. See Update Smart Word Extensions and Hyphens.

Smart Page Turn plug-in. Tell Finale to intelligently edit the layout of an entire part to avoid
awkward page turns. See Smart Page Turns plug-in.

Smart Cue Notes plug-in. Search an entire score for cue note opportunities, and add them
automatically. See Smart Cue Notes plug-in.

Patterson Plug-ins Lite. Easily beam over barlines with the new Beam Over Barlines plug-in, or edit
all beams in a document with the Improved Patterson Beams plug-in. See Beam Over Barlines plugin.

Search and replace text with the new Text Search and Replace plug-in. (Now an option under
the Edit Menu).

FinaleScript plug-in. Apply a change or series of changes using many of Finale features and
options to a single Finale document, or batch process multiple Finale documents at once. See
FinaleScript plug-in.

Drum Groove plug-in. Choose from dozens of drum groove styles to add to your score along with a
percussion map defined for you automatically. Drum Groove plug-in.

Cross Staff plug-in. Easily move notes across staves with a single keystroke. Cross Staff plug-in.

New Text Inserts. Now, insert a copyright symbol, the total number of pages, or the performance
time into a text block. See Text Menu.

Hidden Text Style. With this new text style, text blocks can be set to display on the screen and not
in the printout. See Text Menu.

Create SmartMusic Accompaniments with Performance Markers. Now, you can use expressions
to indicate performance markers such as pauses, rehearsal marks and repeats, for SmartMusic
Accompaniments saved from Finale. See SmartMusic.

Multitimbral SmartMusic Accompaniment generation. Create SmartMusic Accompaniments

containing many instruments primed for Sound Font playback in SmartMusic. See SmartMusic.

Improved scanning recognition with SmartScore Lite 3.0. See SmartScore Lite.

Updated SmartScore 2.0 and 3.0 Import. Import .FIN files saved in SmartScore version 2.0 and
3.0. See File Menu.

Select Multiple Articulations at Once. Drag and edit any number of articulations simultaneously.
See Articulations.

Regional Clef Change Selection. Apply a clef change to a highlighted a region of your score. See
Clef Tool.

Cross-layer Accidental Positioning. Automatically avoid collision of accidentals between layers

and align accidentals on intervals of an octave vertically. See Document Options-Accidentals.

Copy Between Layers. Copy notes in one layer to another, without changing the original notes. See
Move/Copy Layers dialog box.

What's New in Finale 2004b

New File Maintenance dialog box allows you to remove duplicate library elements. Remove
Deleted Items and Test File Integrity features are also found here. (Look in the Options Menu/Data
Check submenu). See File Maintenance dialog box.

3-Beam Groups dialog box

How to get there

From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then
Patterson Beams. Click on Additional Beam Separation for 3-Beam Groups.

What it does
The 3-Beam Groups dialog box allows you to adjust the distance between the beams when there are 3
beams present. You can specify when space should be added depending on how the beam is drawn in
relation to staff placement, the number of beams at the end or the creation of wedges. See also
Patterson Beams plug-in.

Additional Separation Amount. Enter a value in the current measurement unit to be added to the
Beam Separation amount.

In Staff Only Only If An Endpoint Has Enough Beams Only If Resulting Beam Creates A
Wedge. Check each option that you want to have 3-Beam Groups edited. In Staff Only requires the
beam group to be inside or touch a staff line. Only If An Endpoint Has Enough Beams requires the
beam group start or end with 3 beams. Only If Resulting Beam Creates A Wedge requires the beam
group to form a white triangular space between any beam and a staff line.

Addl Beam Thickness. Checking this option causes the specified amount to be added to the beam
thickness. Enter a value to be added to the Beam Thickness in Document Options-Beaming (under
the Document Menu). Normally, this value is less than or equal to the Additional Separation Amount.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes youve made.
You return to the Patterson Beams dialog box.

See Also:
Beaming
Patterson Beams plug-in

4-Beam Groups dialog box

How to get there

From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then
Patterson Beams. Click on Additional Beam Separation for 4-Or-More-Beam Groups.

What it does
The 4-Beam Groups dialog box allows you to adjust the distance between the beams when there are 4
beams present. You can specify when space should be added depending on how the beam is drawn in
relation to staff placement, the number of beams at the end or the creation of wedges. See also
Patterson Beams plug-in.

Additional Separation Amount. Enter a value in the current measurement unit to be added to the
Beam Separation amount.

In Staff Only Only If An Endpoint Has Enough Beams Only If Resulting Beam Creates A
Wedge. Check each option that you want to have 4-Beam Groups edited. In Staff Only requires the
beam group to be inside or touch a staff line. Only If An Endpoint Has Enough Beams requires the
beam group start or end with 4 beams. Only If Resulting Beam Creates A Wedge requires the beam
group to form a white triangular space between any beam and a staff line.

Addl Beam Thickness. Checking this option causes the specified amount to be added to the beam
thickness. Enter a value to be added to the Beam Thickness in Document Options-Beams (under the
Document Menu). Normally, this value is less than or equal to the Additional Separation Amount.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes youve made.
You return to the Patterson Beams dialog box.

See Also:
Beaming
Patterson Beams plug-in

10

About Finale
This dialog box displays the user's name and serial number along with the current software version
number and ways to contact Customer Support.
To view this dialog box, go to the Help Menu and choose About Finale
See Also:
Customer Support

11

Accidental Octave Placement

How to get there

Click the Key Signature Tool
, and double-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 createand for some nonstandard clefs you designyou 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 eighteen defined clefs, numbered
0 through 17. This indicator identifies, by number, the clef for which youre adjusting accidental
placement. Click Previous and Next to change the Clef (#) indicator and scroll through the eighteen
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 Fs in the key of G) would be Unit 1; the second (the Cs 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 Bf in the key of F) would be Unit 1 (in the standard key system), the next (Ef) would be Unit 2,
and so on. This indicator identifies the Unit, or accidental, whose octave placement youre 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 keysonly a single key
signaturethe Units are simply numbered sequentially as they appear in the key signature.)

Octave. octave are labeled with negative numbers: 1 is the first octave below Octave 0, and so
on."middle C"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

OK Cancel. Click OK to confirm, or Cancel to discard, the changes youve 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 youve been defining).

12

See Also:
Key Signatures
Nonstandard Key Signature dialog box
Key Signature Tool

13

Accidental Order and Amount

How to get there

Click the Key Signature Tool
, and double-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 doesnt 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 youre 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,
youd 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 youre 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 youre 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 signaturethus, the Unit numbers are always positive in a nonlinear key
signature.)
The Unit indicator identifies the Unit, or accidental, youre 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.

14

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 spacethree 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 spacefive 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 youve 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 youve 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:
Key Signatures
Nonstandard Key Signature dialog box
Key Signature Tool

15

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. Doubleclick 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 Edit
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
Document Options-Fonts for accidentals. 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 youll see the effects of your accidental
changes. The handle you clicked remains selected to remind you that youve modified it. Click
Cancel to return to the score without changing any accidentals.

See Also:
Accidentals (Simple Entry)
Accidentals (Speedy Entry)

16

Special Tools Tool

Add Bookmark

How to get there

From the Bookmarks submenu of the View Menu, choose Add Bookmark. Or type Ctrl-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 youve 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 Zoom 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. Zoom 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 bookmarks horizontal position on the
page. Enter a value in the Vertical text box corresponding to the bookmarks vertical position on the
page. Use the current measurement unit.

Settings for Scroll View: Measure Zoom 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. Zoom 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.

17

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 dialog box

18

Add - Continuous Data

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
. Select some measures. (If
youre 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 youre 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 boxs 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 controllers value for all the selected music. The
Add command isnt relevant if youve 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 youve specified. You
return to the MIDI Tool split-window (or the score)

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

19

Add - Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
. Select some measures. (If
youre 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 youre in the MIDI Tool splitwindow, 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 boxs 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

20

Add Measures

How to get there

From the Edit Menu, choose Add Measures.

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:
Measures
Edit Menu

21

Add - Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
. Select some measures. (If
youre 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 youre 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 boxs 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
editeither 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

22

Add SmartMusic Markers

How to get there

From the Document Menu, choose Add SmartMusic Markers.

What it does
Use this dialog box to add SmartMusic performance markers to your music while creating a SmartMusic
accompaniment file. These markers control how SmartMusic responds to performance characteristics
such as pauses (fermatas, tenutos), tempo changes, repeated sections, and Intelligent Accompaniment
level. See SmartMusic Performance Markers for details.
The options here are shortcuts for adding SmartMusic markers to your score with Expressions manually.
To do this, use the Playback tab in the Expression designer to define the marker (see To add SmartMusic
performance markers as expressions). For a description of each SmartMusic marker, see SMS Markers
in Finale Libraries.

[Marker List]. On the left side of this dialog box you see a list of SmartMusic Marker types. Choose
a marker type and then click Add to add a marker of that type to the document. See SmartMusic
Performance Markers for a description of each marker.

[Marker window]. In the middle of this dialog box you see a list of SmartMusic markers that have
been added to the document. You can select one of these markers and then click Edit to edit it.

Add. Choose a marker type from the Marker List, and then click Add to add a marker of that type to
your document. A dialog box appears which allows you to control the location and attributes for that
marker.

Edit. Choose a marker you have already added (in the Marker window) and click Edit to change the
location or settings for that marker.

Delete. Choose a marker you have already added (in the Marker window) and click Delete to remove
that marker.

Intelligent Accompaniment Slider Set. This slider is available when Intelligent Accompaniment is
chosen in the Marker List, and a marker of this type is selected in the Marker window. Move the
slider to the right to increase the Intelligent Accompaniment level, or to the left to decrease the
Intelligent Accompaniment level. 0 = No Intelligent Accompaniment (soloist follows accompaniment

23

entirely), 10 = full intelligent accompaniment (accompaniment follows soloist completely). Click the
Set button to set the selected marker to the level indicated on the slider. The default SmartMusic
setting for Classical repertoire, for example, is 2; Romantic repertoire, 5.

Create/Update Repeat Markers. Click this button to scan the document for repeat markings and
generate all repeat markers automatically.

Done Cancel. Click Done to add the markers you have created to your document. They appear as
hidden expressions. Click Cancel to dismiss the dialog box without adding SmartMusic markers.

See Also:
SmartMusic

24

Add Tempo

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
. Select some measures. (If
youre 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 Tempo from the MIDI Tool Menu. If youre in the MIDI Tool splitwindow, 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 boxs 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 tempo 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 in a slightly
faster tempo by adding, for example, 5 beats per minute.

Add ___. In this text box, enter the value you want added to the number of beats per minute.

OK Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

25

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 doesnt
print out; in fact, youll 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 youve made in this dialog box
and return to the Compile PostScript Listing dialog box.

See Also:
Compile Postscript Listing dialog box

26

Adjust Lyric 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 (Edit Menu). Lower values (that is, larger negative values) move
the baseline down.
Youll 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, Finales 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
Document 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 youre 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 youre 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 youre 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 youve specified the Piece Offset (see above), the
lyrics in one particular staff may need a slightly different placementfor 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

27

corresponds to the positioning of the second of the four positioning triangles.) The Staff: indicator
identifies the staff by name, if youve 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 piecein 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 lyricsbut 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 youve specified in Document Options-Fonts.
You might click this button, for example, if youve just chosen a font for your verses thats smaller
than usual; Finale will respond by moving all the Verse lyric lines closer together (than they were
when a larger font was selected).
Note: To neatly stack all lyrics using the Set Piece to Default Font feature, first
align the positioning arrows for each verse, section, or chorus (this button only
resets the leftmost positioning arrow).

OK Cancel. Click OK to confirm the settings youve made in this dialog box and return to the score,
where youll see the effects of your lyric line positioning (if youve 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
Lyrics Menu
Lyrics Tool

28

Alter Feel - Note Durations

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
. Select some measures. (If
youre 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 youre 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 boxs contents change to reflect your MIDI data type selection (key velocities or
note durations; the Alter Feel command isnt 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 youve selected Note
Durations from the MIDI Tool Menu, youre 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 timeor the second quarter
note of every beat in 2/2 timeis the backbeat. In triple meters, the second and third thirds of the

29

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 youve selected Note Durations from the MIDI Tool Menu, youre 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 youre 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 youve 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 youre 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 youre 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
MIDI Tool Menu
MIDI Tool

30

Adjust Page Range

How to get there

Click the Page Layout Tool
Range.

. From the Page Layout Menu, choose Page Margins, then Adjust Page

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
youve made in this dialog box.

See Also:
Page layout
Page Layout Tool

31

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 youve 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, youre "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 Mode
Transcription dialog box
HyperScribe Tool

32

Alter Feel - Key Velocities

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
. Select some measures. (If
youre 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 youre in the MIDI Tool splitwindow, 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 boxs contents change to reflect your MIDI data type selection (key velocities or
note durations; the Alter Feel command isnt 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 youve 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 downbeatsthus preserving their relative velocity valuesclick 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 youve selected Note

33

Durations from the MIDI Tool Menu, youre 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 timeor the second quarter
note of every beat in 2/2 timeis 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 youve selected Note Durations from the MIDI Tool Menu, youre 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 youre 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool Menu
MIDI Tool

34

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
Finales 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 youve selected more than one note, the Slot Number identifies which of the
notes youre 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 youve 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 youve 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

35

Search and Replace dialog box

Note Mover Tool

36

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.
Tip: To apply alternate notation to selected
measures, use staff styles. For more information,
see Apply Staff Style.

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 Document Options-Alternate Notation for changing rhythmic
notation character positioning settings.

37

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, theyre filled with the two-bar repeat symbol, indicating that the player is
to repeat the contents of the previous two measures. See Document Options-Alternate Notation 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 layersuch as chord symbols, lyrics,
and so onremain in view. This feature opens up many notational possibilities: multiple chord
symbols per note, lyrics beneath blank measures, and so on.

Blank Notation with Rests. Choose this option to hide all the music in the selected staves and
display rests instead. This option is useful when using multiple voices in a linked part that display, for
example, a single note to specify a tutti (both or all players) section in some measures and a solo in
others. Use this alternate notation style in a Staff Style to temporarily change extra notes to rests for
printing.

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 youve 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 dialog box
Document Options-Alternate Notation
Staff Tool

38

Apply Articulation

How to get there

Click the Selection Tool
, and select a region of measures (or part of a measure). From the Utilities
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 youre
about to place on the selected notes. (The articulations in Finales 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 youve created (or loaded) in this document. Double-click the one you want; you
return to the Apply Articulation dialog box, where that markings 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 (Shortest Note) Through (Longest note) EDUs. It
doesnt 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 valueand in the Through palette,
click the longest note valueyou 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 wont apply
staccato marks to whole notes, half notes, 32nd notes, for example.

39

If the note-duration youre looking for doesnt appear in the palettefor example, if you want to
specify a quintuplet quarter noteyou can calculate its EDUs value and enter that number directly
into one of the EDUs boxes. There are 1024 EDUs per quarter note; youd enter 1024 for a quarter
note, 128 for a sixteenth, and so on.

Include Notes that Start a Tie. You usually wouldnt 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 wont apply the selected articulation to any note thats
tied to a later note.

Include Notes that Continue or End a Tie. Similarly, you normally wouldnt expect to find an accent
mark on a note thats 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 youve selected
(beyond any "smart" positioning its 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 specificationsor click Cancel to return to the score without changing anything.

See Also:
Articulations
Utilities Menu
Articulation Tool

40

Apply Human Playback Preferences

How to get there

From the Plug-ins Menu, choose Playback, and then Apply Human Playback. Then click HP
Preferences. When Human Playback is applied to a region of your document, the settings in this dialog
box apply. These are program-wide settings, and not specific to the document you are editing. Settings in
this dialog box do not apply to standard Human Playback defined in the Playback Settings dialog box.
Note: to adjust preferences for standard Human
Playback, from the Windows Menu, choose
Playback Controls. Click on the Playback
Settingsbutton on the Playback Controls. Click HP
Preferences.

What it does
41

Here, you can control how Human Playback deals with existing MIDI data and make additional settings
for regions of the score affected by this plug-in. See Human Playback Preferences dialog box (which
contains the exact same settings as the Apply Human Playback Preferences dialog box).
See Also:
Human Playback

42

Apply Music Spacing

How to get there

Choose the Selection Tool and select a region of measures. From the Utilities Menu, choose Music
Spacing, and then Apply Music Spacing to Selected Parts/Score.

What it does
This dialog box allows you to choose any combination of the score and/or parts to which you would like to
apply changes.

[Parts/Score list]. The score and all parts are listed here. Check the box next to the item to which
you would like to apply changes.

Check All Check None. Click Check All to select all items in the list. Click Check None to uncheck
all items in the list

Beat Spacing Note Spacing Time Signature Spacing. Here, choose which type of music
spacing you would like to apply. See Music Spacing.

OK Cancel. Click OK (or press enter) to confirm your settings. Click Cancel to discard settings and
dismiss the dialog box.

See Also:
Linked Parts
Utilities Menu

43

44

Apply Staff Style

How to get there

Click the Staff Tool

. Select a region of measures. Choose Apply Staff Style 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 dont 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.
Tip: To create a Staff Style choose Define Staff
Styles from the Staff Menu.

See Also:
Staff styles
Staff Styles dialog box
Staff Tool

45

Aria Player for Finale

How to get there

From the MIDI/Audio Menu, choose Instrument Setup > VST Instruments. Click a drop-down menu for
one of the channel groups and choose a VST plug-in, such as "Instruments for Finale 2009." Click Edit
for that channel group.

What it does
The Aria Player for Finale allows you to assign Finale's included Garritan instruments to Finale channels.
It also displays the range of each instrument, its keyswitches, and allows you to make adjustments to the
properties of the instrument sound.

[Channels and instruments list]. Each of these sixteen boxes represents the channel assignment
for one bank of 16 Finale channels. You can load up to eight Aria Players in Finales VST
Instruments dialog box, for a total of 128 instruments.
To load new Instruments, select an empty box and choose the instrument from the drop-down
menu.
If you load more than one Aria Player, channel 1 in each player window will equal the first channel
in its channel range. For example, if you select "Instruments for Finale 2009" for Channels 17-32 in
the VST Instruments dialog box, channel 1 displayed in the Aria Player will equal channel 17 in
Finale. The staff for this instrument will need to be set to channel 17 in the Instrument List window.

[Controller #7 and controller #10 sliders]. You can use these sliders to adjust the MIDI controller
data (#7 Volume or #10 Mod Wheel). Note that you can leave these controls alone and use Finale's
Mixer to manage the volume, panning, and other playback parameters. See Mixer.

[Keyboard]. The Aria Player virtual keyboard will allow you to audition the sound of each instrument
in the document by simply clicking on the keys on the screen with your mouse. If you have a MIDI
keyboard connected, you may play the samples using your keyboard as well. (To do so, MIDI Thru
must be on. See MIDI Thru dialog box. Also, under the MIDI/Audio Menu, Play Finale File through
VST must be checked. If you dont hear any sound when playing the keys on the keyboard, turn up
the Mod wheel.Use the keyboard to reference the instrument range and the keys used for
keyswitches. See keyswitches.

Controls: Click the Controls tab in the lower right of the Aria Player to display these dials.

46

Porta (CC20): All wind and string instruments have this graduating slide function (CC#18). This is
especially useful for instruments like the trombone and the strings where slides are a normal
characteristic. It can also be useful with other wind instruments to simulate the way movement by
larger intervals settles into the destination pitch.

Length(CC21): This controller allows you to adjust the duration of notes.

VAR1 (CC22): This controller allows you to introduce random variability in intonation. This can make
a big difference, especially in fast passages where real players almost never achieve accurate
intonation from note-to-note.

VAR2 (CC23): This controller allows you to introduce random variability in timbre. The two variability
controllers can go a long way toward eliminating the dreaded machine gun effect of rapid repeated
notes. Proper application of the VAR controls can also help the user create convincing double and
triple tongued passages in the brass.

ModWhl(CC1): This knob controls the Modulation Wheel controller.

About. Click About to view additional information about the Aria player and the impact of your
computer's resources. You can click Get More Sounds to launch the Garritan website where
additional sounds are available.
Note: To apply reverb to playback, use the
included Ambience Reverb option in the VST
Instruments dialog box.

See Also:
VST Instruments dialog box
GPO and HP Tutorial

47

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 youre 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:
Arrows
Shape Designer dialog box
Shape Designer Menu
Expression Tool

48

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 its 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
weve provided, work from the Maestro Font Default file weve 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 youre working on; click the up or down arrows on the small control to view the settings
of other articulations in the current documents library.

Display On Screen Only (Do Not Print). Select this checkbox to prevent the articulation from
printing.

49

Main. The articulation youre 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
or ), and upside-down (
or ) when theyre below a note. Finale lets
theyre above a note (
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 its 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 youve 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
, and your Flipped symbol was this one
, youd choose Main from
symbol was this fermata
this drop-down list.

When Placed Below a Note, use the: Main symbol Flipped symbol. If youve 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
, and your Flipped symbol was this one
, youd choose Flipped from
symbol was this fermata
this drop-down list.
If theres no "upside-down" version of a symbolwhich is usually the casechoose Main symbol
from both drop-down
Once youve 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.

Copy the Main Symbol: Vertically Horizontally. Some markingsnotably the rolled chord and
trill symbolsneed 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. See Trills and
Rolled Chords.

Playback Effect: None Change Attack Change Duration Change Velocity. Use this dropdown 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, 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;

50

accents, stress marks, and marcato marks are good examples. (A key velocity of 0 = silent
playback)
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 playback256 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, youre telling Finale to shift the attack of the affected note
forward or backward in time (without changing the notes 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. Thats 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. For a more detailed discussion, see Rolled
Chords.

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 youre attaching an articulation to a chord, because a chords
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, its easy to create effects such as rolled chords.
If you dont need a varied playback effect in chord situations which is likely to be most of the
timeleave 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 notes 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
thats 50% greater than an unaffected note (as in the case of an accent).

Avoid Staff Lines. If you want to ensure that the articulation youre designing will never overlap a
staff line, select this checkbox. Note, though, that Finale will only see to it that the markings handle
doesnt fall on a staff line. Its up to you to adjust the handles position (using the Handle Positioning
button) so that the symbol itself doesnt fall on a staff line. In the case of large symbols, you may not
be able to find a position that doesnt 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, as shown here.

51

Select this checkbox if you want the articulation youre 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 markings distance should be fixed from the top
note; dont 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. See Slurs.

Position: Manually Auto Note/Stem Side On Notehead Side On Stem Side Above Note
Below Note. Using this drop-down list, you can instruct the articulation youre designing always to
appear inand maintaina certain vertical position relative to the note.
Choose Auto Note/Stem Side to allow Finale to decide whether the articulation should reside on
the note or stem side of the staff. For example, if the addition of a new layer forces stems to flip,
the articulation will also flip to the stem side.

If you manually flip the stem (L) of a note containing an articulation set to Auto Note/Stem Side, the
Articulation will flip to the stem side. Revert to the default stem (Shift-L) to restore the articulations
original placement. (These options are called "Flip Stem" and "Default Stem" under the Simple
Menu > Simple Edit Commands > Modify Entry.) Additionally, this setting automatically handles
articulation placement when notes and layers are removed from staves while isolating a voice in a
part. See Voicing for Staff in Part dialog box and Articulations in Linked Parts. Choose On
Notehead Side if this marking should always appear on the notehead side of a note, even flipping
if a transposition flips the notes stem in the opposite direction. Choose On Stem Side for a
marking that does the oppositeappears on, and always flips as necessary to remain on, the stem
side of a note. (If youve specified a Flipped symbol, Finale will automatically substitute the upsidedown symbol when the stem direction changes.)
Choose Above Note if you want this articulation always to appear above the note, regardless of
the notes 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 youre attaching it to. (This distance, of course, is subject to the other settings youve
made in this dialog box, such as Always Place Outside Staff.)

Handle Positioning. Finales 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 characters 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 dont need to specify a handle position if youre 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.

52

OK Cancel. Click OK to confirm your editing and return to the Articulation Selection dialog box (or
to the score). If youve just designed a new articulation, it now appears in the selection box. Click
Cancel to tell Finale to ignore any editing youve 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:
Articulations
Articulation Tool
Apply Articulation dialog box
Articulation Selection dialog box
Symbol Selection dialog box
Handle Positioning dialog box

53

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, in Simple Entry, select a note, press Alt-Shift-A,
and then click Select. Also, 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.

54

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.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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 Articulation

See Also:
Articulations
Selection Overview
Articulation Designer dialog box
Articulation Tool

55

Audio Clip Attributes

How to get there

With an Audio Track Loaded, from the MIDI/Audio Menu, choose Audio Track, then Audio Clip Attributes.

What it does
This dialog box allows you to manage audio file references (path), the start point of the audio file within
the document, and how to display the audio file in Finale's audio track. This dialog box also displays
information about the audio file including the type, length, and format.

Path; Select. This section displays the path to the chosen audio file on your computer. Audio files
are not embedded within the Finale file. Instead they are referenced by the path listed here. If the
Finale file and its associated audio file are moved to a different computer, the path may need to be
updated to restore the reference. To do so, click Select, navigate to the desired audio file, and select
it.

File Type File Length File Format. This section includes general information about the audio file.

Start in Score Repeat. An audio file can be set to start at any point in the score. Here, choose the
measure and beat you would like to designate as the start point for the audio file.

Start in Clip End in Clip. Use these commands to crop an audio file so that it begins at a point
other than the beginning of the audio file and/or ends at a point prior to the ending. Enter a value for
Start in Clip to specify the point in the audio file you would like to begin. Enter a value for End in Clip
to specify the point in the audio file you would like to end. You can use the Time measure number
style to reference the elapsed time at each barline. See Time Style dialog box and Measure
Numbers.

Display Unit; Time Samples. Choose Time to display the File Length, Start in Clip, and End in
Clip parameters in time (i.e. hours|minutes|seconds|miliseconds). Choose samples to display the File
Length, Start in Clip, and End in Clip parameters in samples. The granularity of the sample (number
of samples per minute) depends on the sample rate of the original audio recording and/or additional
editing.

OK Cancel. Click OK to accept changes and return to the document. Click Cancel to dismiss the
dialog box without making changes.

56

See Also:
Audio
Add Bookmark dialog box
View Menu

57

Audio Setup

How to get there

From the MIDI/Audio Menu, choose Audio Setup.

What it does
This dialog box allows you to set up options for recording audio and configuring the MicNotator feature.

Audio Driver. Here, you can choose an Audio Driver to use with MicNotator. Note that the
ASIO audio drivers are not compatible with MicNotator. DirectSound drivers are compatible with
MicNotator.

Mic Source. Select an input source from drop-down list.

58

Play Through. From this drop-down menu, choose the device you would like to use while
playing the microphone input through your computer's speakers.

Output. From this drop-down list, choose the device used to play sound coming through the
microphone.

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

Levels: Mic Level Input Meter. When you play into the microphone, youll 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 doesnt hit the red levels. If the levels are too "hot,"
the distortion will cause poor quality recordings and will also impair MicNotators pitch recognition.

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 Simple Entry,
Speedy Entry or HyperScribe. You should use the levels meter to fine-tune your microphone input.

MicNotator: Channel MIDI In Latency. In the Channel text box, specify your input channel. Enter
a value in the MIDI-In Latency text box to correct for a delayed response from an external MIDI
device during a Recording session. The MIDI latency value compensates for the short delay it
sometimes takes for MIDI information to travel from an external MIDI device into the computer.

Reverb Type: From this drop-down menu, choose the

Reverb level. Enter a reverb level (1-127) in this text box. A higher number amplifies the type of
reverb selected above.

Recording Latency. Enter a value in this text box to delay Finales translation of audio information
while recording in HyperScribe. The latency value compensates for the short delay it sometimes
takes for audio information to travel from the microphone into the computer.

OK Cancel. Click OK to confirm, or Cancel to discard, your settings and return to the document.

See Also:
Audio
MIDI/Audio Menu
Speedy Entry Tool
HyperScribe Tool

59

Automatic Check for Updates

How to get there

From the Help Menu, choose Check for Finale Updates. Then click Settings.
What it does
With this dialog box, you can set the frequency for automatic update checks.

Yes. Please check every _ days. Here, enter the number of days between checks. If an update is
available, you will be notified upon Finale startup. (A notice is only shown if an update is available).

No. Choose this option to prevent Finale from checking for automatic updates.

OK Cancel. Click OK to confirm, or Cancel to discard, your settings and return to the score.
See Also:
Help Menu

60

Backward Repeat Bar Assignment

How to get there

Click the Repeat Tool
, click a measure, then double-click either the "Back" or "Back Ending" repeat
bar icons. Or, if a backward repeat barline is already in the score, double-click its handle, or right-click its
handle and select Edit Repeat Assignment.

What it does
The two middle graphic repeat barline icons (Back and Back Ending) can be defined to affect the
playback of your piece. The playback assignment is determined in this dialog box.

Play Section_Times. Select this radio button, and enter the number of times you would like this
section to play. Since a standard repeat with one forward and one backward repeat barline (and no
endings) plays back two times, "2" is entered by default.

Jump on Pass. Select this radio button and enter the pass(es) you want Finale to jump to the
specified target. To indicate multiple passes, separate the pass numbers with commas, or indicate a
range with a hyphen (e.g. "2-4").

Reset on Repeat Action. Once Finale has played the music the number of times specified in the
Play Section_Times or Jump on Pass(es) text boxesand thus performed the Repeat Actionit 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 youre creating nested repeats, and want an inner
repeat to be fully executed with each pass of the larger repeated region.

Always Jump. If you select this radio button, Finale will execute the repeat every time the playback
reaches the repeat barline.

Target Measure. The number in this text box specifies the measure Finale will jump to when
playback reaches the repeat barline. From the drop-down list, choose Nearest Forward Repeat to

61

direct playback to the closest forward repeat barline defined earlier in your score. Choose Measure #
and enter a number in the text box to direct playback to that measure. Choose Backward and enter
the number of measures previous to the backward repeat barline that you would like to direct
playback.

Show On: All Staves This Staff Only. Select All Staves to show the text repeat on every staff in
the score and parts. All Staves is selected by default. Select This Staff Only to assign the text repeat
to the current staff only. Use the This Staff Only option if you want a text repeat 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 text repeats. 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 text repeat should appear in.

Allow Individual Edits Per Staff for Ending Bracket. If youve selected the repeat barline with a
bracket attached, Finale places an identical bracket in every staff. Check Allow Individual Edits Per
Staff to allow each staffs bracket to be moved or resized independently. Note, too, that a bracket
may be stretched horizontally as long as needed. Note that if you drag the right end of an ending
bracket across the right barline in the score, the positioning link will be broken in all parts. (This is a
property unique to ending brackets). See "Linked Parts" for details.

OK Cancel. Click OK (or press enter) to confirm the settings youve made in this dialog box and
place the repeat sign in the score (if it wasnt 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:
Repeats
Repeat Tool

62

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 Edit 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
Text Menu
Text Tool

63

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 youve 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.
Tip: Any beam not selected cannot be extended.

See Also:
Beaming
Special Tools Tool

64

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 havent 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 youve 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:
Beaming
Tilting Mirror dialog box
Mirror Tool

65

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 controleven if theres 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 Element (#). This number shows which beat chart handle, in order from left to right,
youre 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

66

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, youd type 682 into the text box,
because thats 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 youve made in this dialog box
and return to the beat chart.

See Also:
Measure Attributes dialog box
Measure Tool

67

Bracket

How to get there

From the Window Menu, choose Advanced Tools. Click the Ossia Tool
. If youre in Page View,
double-click the location on the page to which you want to attach the "floating measure." If youre in Scroll
View, click the measure to which you want it attached (or click again if theres 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 brackets 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 brackets ends
manually once its 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 youve made in this dialog box and proceed to the next
dialog boxor 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
Ossia Tool

68

69

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 Designers Bracket Tool, with a single click, you can add a bracket to a custom shape
youre 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). Youll have the opportunity to resize or reshape it once its 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 designer
Expression Tool

70

Breath Mark

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Breath Mark from the marker list on
the left and click add. Or, select an existing breath mark marker from the Marker window and click Edit.
This marker should be placed on the note ending the breath, and the effect begins one note prior. This
marker temporarily slows the tempo (from the prior note) by roughly 80 to 90 percent.

What it does
Use the settings in this dialog box to control the measure assignment, and other attributes, for the breath
mark SmartMusic Marker you are adding or editing

Rehearsal Mark Bar Note Repeat. Choose a rehearsal mark, repeat, or specify a bar and note
to add a Wait for Breath Mark marker.

Large Breath. Select Large Breath to indicate a larger pause.

Small Breath. Select Small Breath to indicate a short pause.

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

See Also:
Add SmartMusic Markers dialog box

71

Category Designer

How to get there

Click the Expression Tool
, and double-click a note or measure. The Expression Selection dialog
box appears. Click Edit Categories.
Or, from the Document Menu, choose Category Designer.

What it does
Because similar types of expressions usually share positioning and appearance characteristics, Finale
separates the different types of expressions into independent categories (see Expressions). This dialog
box displays text, positioning, and staff assignment settings for the expression category selected to the
left.
Each category includes its own font, size, and style. When you create a new expression, Finale
automatically assigns the category's font, size, and style to the text you type. Also, because some
markings, particularly tempo marks, require multiple fonts, a category can include up to three different
fonts, Text (e.g. Times New Roman), Music (e.g. Maestro), and Number.
Each category's positioning settings also apply to all expressions in the category. Review the preview
beneath the positioning settings for an example of the positioning option chosen from the
Horizontal/Vertical Alignment drop-down menu.
To accommodate markings that apply to the full score, but only appear on certain staves, some
expression categories include a Staff List. For example, tempo marks often appear above the top staff of

72

a large score, as well as above the top staff in each instrumental section. Staff lists are also capable of
automatically placing expressions properly in optimized scores, where various staves are hidden in some
systems (see Staff List dialog box). Staff lists are not designed for dynamics. (To quickly apply dynamic
expressions to multiple staves, simply drag a box around them. See To add an expression.)
Changes to this dialog box apply to all expressions in the selected category, including those that already
exist in the score, except those specifically defined to ignore category settings (see the Use Category
Fonts and Use Category Positioning check boxes in the Expression Designer-Main dialog box, and the
Expression Designer-Positioning dialog box).

Text Font Music Font Number Font. Choose whether you would like to edit the font, size,
and style of the text or music font. The Expression Designer allows you to easily combine
text and music fonts as you create or edit expressions using the Font drop-down. See
Expression Designer dialog box.

Fixed Size. When this option is selected, Finale maintains the exact size of the text despite
the size of the music altered with the Resize Tool.

Hidden. Select this checkbox to prevent the expression from printing. Hidden expressions will
continue to display on-screen at the Hidden Object Shading percentage specified in Program
Options-View.

Justification: Left Center Right. From this drop-down menu, choose the desired
justification relative to the Horizontal Alignment point and Offset.

Horizontal Alignment: Horizontal Click Position Left of All Noteheads Left of Primary
Notehead Stem Center of Primary Notehead Center of All Noteheads Right of All
Noteheads Left Barline Start of Time Signature After Clef/Key/Time/Repeats Start of
Music Center Between Barlines Center Over/Under Music Right Barline. Use these
options to specify the alignment of the expression relative to the notehead, barline, or music,
as illustrated by the diagram in this dialog box. To place the expression at the horizontal
position clicked in the score, choose Horizontal Click Position. To align the expression to the
left edge of the notehead (or left-most notehead of a chord), choose Left of All Noteheads. To
align the expression with the left edge of the notehead (or primary notehead of a chord),
choose Left of Primary Notehead. To align the expression with the stem, choose Stem. To
center the expression based on the primary notehead (changes if added to a chord
containing an interval of a second), choose Center of Primary Notehead. To align the
expression on the center of a notehead, or, if added to a chord with a second, center the
expression between the notes, choose Center of All noteheads. To Align the expression with
the right edge of the notehead, choose Right of All Noteheads. To align the expression with
the left barline, choose Left Barline. To align the expression with the left edge of the time
signature, choose Start of Time Signature. To align the expression with the end of the clef,
key signature, time signature, or repeat bar, choose After Clef/Key/Time/Repeats. To align the
expression with the first entry in the measure, choose Start Of Music. To center the
expression between the left and right barline, choose Center Between Barlines. To center the
expression based on where the music starts and ends (taking into account "Before" and
"After" spacing in Document Options-Music Spacing), choose Center Over/Under Music. To
align the expression with the right barline, choose Right barline.

Additional Horizontal Offset. Enter a value here, positive or negative, to make an additional
adjustment to the horizontal positioning of the expression

Vertical - Vertical Click Position Above Staff Baseline Below Staff Baseline Top Note
Bottom Note Above Entry Below Entry Above Staff Baseline or Entry Below Staff
Baseline or Entry. Use these options to specify the vertical positioning of the expression
relative to the note or staff. To position the expression based on the vertical distance you
clicked from the top staff line choose Vertical Click Position. To position the expression on
the baseline above or below the staff (akin to lyrics and chords) choose Above Staff Baseline
or Below Staff Baseline. To "fasten" the expression to the top or bottom note of the chord,
choose Top Note or Bottom Note from the drop-down list. If you choose Top Note or Bottom
Note, the value for vertical positioning in the Expression Assignment dialog box represents
the distance from the top or bottom note in the chord. To place the expression on the above
or below staff baseline, or, if the expression collides with the note, above or below the note,
choose Above Staff Baseline or Entry or Below Staff Baseline or Entry.

Additional Vertical Offset. Enter a value here, positive or negative, to make an additional
adjustment to the vertical positioning of the expression.

73

Additional Entry Offset. Enter a value here, positive or negative, to make an additional
adjustment to the vertical positioning of the expression relative to the entry.

Additional Baseline Offset. This option appears only when Above/Below Staff Entry or
Baseline is chosen. Enter a value here to specify an offset from the baseline above or below
the staff.

Staff List; Edit. From this drop-down menu, choose the Staff List you would like to apply to the
selected category. Staff Lists are designed to accommodate expressions that often appear on
multiple staves in a consistent arrangement. For example, tempo markings often appear above the
top staff as well as above the top staff of instrumental sections. Click Edit to open the Staff List dialog
box where you can edit the selected Staff List.

Duplicate. Click Duplicate to make a duplicate copy of the category. The New Category dialog box
will appear, prompting you to enter a name for your new category.

Rename. Click this button to open the Category Name dialog box where you can rename new
categories. Finale only allows you to rename categories you create using the Duplicate button.

Delete. Click Delete to delete the selected category.

See Also
Expressions
Expression Selection dialog box

74

Change Articulation Assignments

How to get there

Click the Selection Tool
, and select a region of measures. From the Change submenu of the
Utilities 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 youve 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 symbols 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 its auto-centering, supposed to lie
outside the staff lines, and so onplus 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 articulations
auto-positioning settings.) If you instead choose Add to Current Position from the drop-down list,

75

Finale ignores whatever auto-positioning youve established for your articulations (in the Articulation
Designer dialog box). Instead, Finale simply slides each markingfrom its current positiona
distance youve 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
doesnt 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:
Articulations
Utilities Menu

76

Change Chord Assignments

How to get there

Click the Selection Tool
then Chord Assignments.

, and select a region of measures. From the Utilities menu, choose Change,

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 wont 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

77

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 themor 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 graymeaning that Finale wont change this element at all. To turn an
item off (so it wont 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 E7 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 E7. 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 symbolfrom its current position,
even if youve dragged it by handa 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 wont move them at all.

OK Cancel. Click OK to confirm the changes youve made. Click Cancel to return to the score
without changing any chord assignments.
Note: To display fretboards on all chords in the
piece, Show Fretboards must be selected in the
Chord Menu.

See Also:
Chord symbols
Utilities Menu
Chord Tool

78

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. Chord suffixes are often made up of characters in more than one font
(one for text and one for musical symbols). In this dialog box, you can isolate characters in a specific font
to change (font, size or style) for all suffixes. Or, you can also change the font, size or style for all suffix
text characters at once (without changing the musical symbols).

Search For: All Fonts. Click All Fonts if you want to change any font, size, or style of text in all your
documents chord symbols to a certain other font, size or style. By chooseing All Fonts, Finale will
change all text characters in chord suffixes, and leave music characters (sharps, flats, etc.) alone.

Selected Font Font Size Style Set Font. If you want Finale to search your chord suffixes for a
particular Font, 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
elementfor example, you want to change the type size but not the font or styledeselect 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 wont affect musical characters such as the f in C7f9.

Replace With: Font Size Style Set Font. After specifying the Font you want to replace, click
this Set Font button to specify the replacement Font. 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,

79

regardless of the fontand 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 theyre 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 youve made. Click Cancel to return to the score
without changing any chord suffix fonts.

See Also:
Chord symbols
Chord Menu
Chord Definition dialog box
Chord Tool

80

Change Clef

How to get there

Click the Clef Tool
, then double-click any measure to enter a clef change at the beginning of the
measure. To enter a mid-measure clef, highlight a region beginning where you would like to enter the clef
change, then double-click the highlighted region (or press Enter). See Selecting music. Or, in Simple
Entry, select a note, press Alt-Shift-C, and then Select.

What it does
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.

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.

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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 youre only changing a single
measure, you dont 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:
Clefs
Clef Tool
Clef Designer dialog box

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Change Lowest Fret

How to get there

Click the Selection Tool and select a region of measures in a TAB staff. Choose Lowest Fret from the
Change submenu of the Utilities Menu.

What it does
Use this dialog box to specify the lowest fret for a region of tablature in a TAB staff.

Use Staffs Default Lowest Fret. Select this option to use the Default Lowest Fret specified in the
Tablature Staff Attributes.

Specify Lowest Fret. Enter a fret number to tell Finale to recalculate the string placement of the fret
numbers to appear no lower than a certain fret.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your transposition selection.
If you click OK, Finale performs the transposition.

See Also:
Tablature
Utilities Menu

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Change Note Durations

How to get there

Click the Selection Tool
the Note Durations.

, and select a region of measures. From the Utilities Menu, choose Change,

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 notes rhythmic valueto 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,
youd 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 youre halving the rhythmic values of a passage, an eighth-note tuplet
will become a sixteenth-note tuplet. If you dont select this option, the eighth note tuplet will remain
the same.

Rebar Music. If youre 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 selectionredistribute notes in their measuresso that each measure contains the
proper number of beats.

OK Cancel. Click OK to confirm the changes youve made. Click Cancel to return to the score
without making any changes.

See Also:
Note durations

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Utilities Menu

85

Change Note Size

How to get there

Click the Selection Tool
then Note Size.

, and select a region of music. From the Utilities Menu, choose Change,

What it does
Using the Change Note Size dialog box, you can change the sizes of all notes in a selected region. Its
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:
Note size
Utilities Menu
Resize Tool

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Change Expression Assignments

How to get there

Click the Selection Tool
then Expressions.

, and select a region of measures. From the Utilities Menu, choose Change,

What it does
Using this 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 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 youve
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 youve 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 symbols
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).

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If you instead choose Add to Current Position from the drop-down list, Finale simply slides each
markingfrom its current positionby the distance youve 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:
Expressions
Utilities Menu
Expression Tool

88

Change Noteheads

How to get there

Click the Selection Tool. Select the region containing the notes you want to change. From the Utilities
Menu, choose Change, then Noteheads.

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 noncustom 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 youve made. Click Cancel to return to the score
without making any changes.

See Also:
Noteheads
Utilities Menu

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Change Ties

How to get there

Click the Selection Tool
then Ties.

, and select a region of music. From the Utilities Menu, choose Change,

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
Document Options-Ties. 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
Document Options-Ties. 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.

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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 Document Options-Ties to globally set all
ties.

See Also:
Ties
Utilities Menu

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Change Tuplets

How to get there

Click the Selection Tool
Menu, choose Tuplets.

, and select a region of music. From the Change submenu of the Utilities

What it does
In this dialog box you can change the definition of both the rhythmic and visual aspects of tupletsthe
number of eighth notes that are to be played in the time of a quarter note, for exampleand 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 Document Options-Tuplets, where you can specify these parameters. (See
Document Options-Tuplets for a more complete discussionalthough its contents are identical to almost
all of this dialog box.)

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Note also that you can store tuplet "definitions"the settings you make in this dialog boxin 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").
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
youre 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 Note Side Above Below. When Manual is selected in this drop-down list,
Finale uses the settings from the Document Options-Tuplets 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 Document Options-Tuplets settings. You can then drag to adjust the tuplet in your score.
Choose Above to place the tuplet above the staff by default. Choose Below to place the tuplet below
the staff by default.

Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver Tuplets automatically
reposition to account for raised or lowered notes in the staff. They also update to avoid rests and
staff lines. Bracket placement and slope for Engraver Tuplets is determined by the stem direction of
the majority of stems in the tuplet (rather than the first stem in the tuplet as is the case when this box
is not checked).

Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or
below the bottom line of the staff.

Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in
the score. If this box is not checked, tuplets can only be adjusted vertically in the 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.

Appearance:

Number: Nothing Number X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale
should place a number, a ratio, or no mark on a tuplet. If you choose, for example X:Y, Finale will
display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display
"3q:2q". Finale does not display X or Y values of 1. If durations are different (i.e. 3 quarter in the
space of one half) X:Yq will display as Xq:Yq.

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),

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unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with
non-tapered ends).

Break Slur or Bracket. If youve 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.

Always Use Specified Shape Bracket Unbeamed Notes Only Never Bracket Beamed Notes
on Beam Side No Change. Choose Always Use Specified Shape to place a bracket (of the shape
defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place
brackets on unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to
instruct Finale to place brackets on tuplets defined to appear on the note side of the staff (for
example, if the beam appears above notes tuplets will only contain brackets if placed below the
staff). Choose No Change to leave this setting as defined.

Position:

Number: Horizontal Vertical. Enter values (in measurement units) to adjust the horizontal and
vertical position of the tuplet number displayed in the score.

Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic
center of the tuplet (rather than equidistant from the first and last note/rest of the tuplet).

Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in
your tuplets, select this option if you dont want it to apply to this tuplet.

Shape: Horizontal Vertical. Enter values here to specify 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:.

Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets.

Extend Bracket. Check this option to extend the right edge of the bracket to enclose the full duration
of the tuplet.

Match Lengths of Hooks. Check this box to always use same length for left and right hooks. If the
values for Hook Length are different, Finale uses the smallest value for both hooks.

Allow Horizontal Drag. Select this option so you can drag every tuplet handle horizontally onscreen. You can move a slur, bracket, and number to the left or right.

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 leftmost 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 its 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.

Maximum Slope. Enter a positive value to specify the maximum angle of brackets or slurs when the
right side is higher than the left. Enter a negative value to specify the maximum angle when the right
side of the tuplet lower than the left.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the tuplet appearance
youve created. You return to the score.

See Also:
Tuplets
Utilities Menu
Tuplet Tool
Tuplet Definition diaog box
Document Options-Tuplets

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95

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).

96

Tracking. Enter the amount of horizontal space, in ems, that Finale should leave between
characters for the selected text. One em is equivalent to 1/1000 of the point size. Ems 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
Text Tool
Document Options-Fonts

97

Check Graphics

How to get there

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Graphics from the Graphics Menu.

. Choose Check

What it does
Finale doesnt actually embed a graphic in your Finale document when you place a graphic. Instead, it
places a link to the graphics 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 Graphic List: Finale searches for each graphics file placed in the current document. Any
missing graphics appear marked with an asterisk in italics. Finale also lists the filename and path for
all found graphics . Finale provides the original location and full name of the graphics file that it was
unable to locate. Found graphics and their path also appear in the list after any missing graphics in
the file.

Select Graphic. Select a graphic and then click this button to display the Open dialog box where you
can choose a new path for the selected graphic.

Attributes. Select a graphic and click this button to open the Graphic Attributes dialog box where
you can apply positioning, assignment, and other settings for the selected graphic. See Graphic
Attributes dialog box.

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 youll be printing from another system, and want to have all the graphics available
when you print the file.

Select Graphic. Highlight a graphic from the list and click Select Graphic to specify a graphic
manually.

98

Attributes. Highlight a graphic from the list and click Attributes to open the Graphic Attributes dialog
box where you can adjust the positioning, page/measure assignment and other attributes. See
Graphic Attributes dialog box.

Done. Click Done to return to the score.

See Also:
Graphics
Graphics Tool

99

Check Repeats

How to get there

Click the Repeat Tool

. From the Repeat Menu, choose Check Repeats.

What it does
This option scans the entire score for repeat markings and lists the chronological sequence of measures
as they will be performed when you playback the score.

[Playback route]. Here, you see a list of the measure sequence you will hear when you playback
the score. Finale includes all repeat markings that have been defined for playback to generate this
list. If you have a repeat defined to loop infinitely, you will see the same measure region listed the
number of times entered for "Maximum Repeat Passes" in the Repeats page of Document Options.

Done. Click Done to close this dialog box and return to the score.

See Also:
Repeat Menu

100

Choose Junction for Staff

How to get there

In the Score Merger dialog box, check Edit Instrument Junction Between Files. Add files with different
instrumentations. Click on Merge These Files into One File. Click Merge. In the Instrument Junction
dialog box, double-click a staff or click Edit Selected Line.

What it does
The commands in this dialog box
allow you to control how staves will
be merged.
The title of the dialog reflects which
instrument is being currently edited
(in this case, Bassoon). To the left
are instruments from the target, and
to the right Finale displays what will
happen to them in relation with the
current instrument once the files are
merged. For example, the bassoon
is currently configured to be
inserted below the Oboe.
Select a staff and use the buttons in this dialog box to edit the merging behavior of staves relative to
corresponding staves in the previous merged document.

Join.Choose Join totell Finale that the instruments are equivalent between the two files being
merged and should be combined. If the target instrument you want to join the source instrument to is
joined onto another instrument already, an alert appears.

101

Separate. Choose Separate to clear the current assignment (inserted or joined) in order to specify
that they are to be joined, inserted above, or inserted below another staff in the merged document
(or not merged altogether). For example, if no target instrument is assigned to the currently edited
source instrument (marked "Free"), then the source instrument will not be merged at all. You can see
this clearly when returning to the Instrument Junction dialog box (as shown below).

Insert Above. Choose Insert Above to indicate that you want the current staff inserted above the
selected staff in the resulting merged document.

Insert Below. Choose Insert Below to indicate that you want the current staff inserted below the
selected staff in the resulting merged document.

Continue Cancel Merge. Click continue to apply your settings and advance through the score
merging process. Click Cancel Merge to abort the current merge procedure.

See Also:
To combine two files with ScoreMerger
Score Merger dialog box

102

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, 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 E 13/G chord in

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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 youd 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,
youll 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, youll 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: RootLowercase. Select Lowercase if you want the Root Scale Tone to appear in
lowercase. For example, if youre using the Roman display chord style, youd 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 youre 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 BassLowercase. Select Lowercase if you want the Alternate Bass note to
appear in lowercase. This checkbox is automatically updated when you type your chord symbol.

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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 its 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 chords root may
affect playback when the chord doesnt 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 ToneAlteration. You can specify a modification of the diatonic scale step youve
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 E flat 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 F sharp
chord in the key of C, enter a 4 in the Root Scale Tone box and enter 1 in the Alteration box.

Alternate BassScale 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 youre 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 BassAlteration. 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 B flat 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 B flat).

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 B flat (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 suffixs number appears in the Chord

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Suffix ID box. If the chord suffix hasnt 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 E flat 7
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 E flat
7. 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
Document Options-Fonts. Uncheck this box to use a custom fretboard.

OK Cancel. Click OK to return to the score and add the chord youve 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.
Tip: 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 Fretboards must be selected in the
Chord Menu.
See Also:
Chord symbols
Document Options-Chords
Chord Tool

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Chord Suffix Editor

How to get there

Click the Chord Tool
, choose Manual Input from the Chord Menu, then click any note that doesnt
have a chord symbol attached. 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 chords 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 sevenththe
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 chords playback.
You can also use the Chord Suffix Editor dialog box to teach Finale new chords when youre entering
chords using one of Finales automatic analysis modes. When you see the Unknown Chord Suffix dialog
box, click Ill 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 youre 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 youve specified a different font for the character. (The character appears with
the correct font in the display area.)

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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 youve told Finale that youre
entering a number (by selecting Number), in which case you can enter a multidigit number.

Number. Select this option if the symbol youre 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 didnt select Number, youd 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). Youll generally use these prefixes in
conjunction with a number (9, for example), but theyll 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 in Document Options-Fonts by Modifying the Alteration in
the Chord drop-down list.)

H: V:. The H: and V: boxes contain coordinates that determine the distance of the currently
selected character from the chord suffixs handle (where the crosshairs intersect, at the suffixs
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 characters handle in any direction, the H: and V: numbers will
change as you move it. If youre 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 youve already selected
the last character in the suffix (and its displayed in the Symbol text box), then click Next to open a
slot for an additional character; Finale will automatically place the new characters handle far enough
to the right that it doesnt 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 Font 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 youre
combining several fonts within a single suffixfor example, if the suffix contains a half-diminished
symbol (), 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 youve selected using the Set Font button. Click the Update button to see the effects of
your font changes in the display area.)
Incidentally, dont 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 Document Options-Fonts (from the Document Menu, choose Document Options
and select Fonts.) (Theres 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 symbolsEf, for exampleas
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 theyre obscuring some small character, for example).
You can still drag the character by its handle, but the handle itself will be invisible.

108

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, youll see the character at all times while youre
dragging it; when Update isnt selected, youll only see the character in its new position when you
finish dragging.

OK Cancel. Click OK to confirm the settings youve made in this dialog box and return to the Chord
Definition (or Chord Selection) box. If youve created a new suffix, its now stored in the Chord Suffix
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 dialog box
Chord Suffix Selection dialog box
Chord Tool

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Chord Suffix Selection

How to get there

Click the Chord Tool
, choose Manual Input from the Chord Menu, then click a note that doesnt
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, and click Select.

What it does
The Chord Suffix Selection dialog box displays any chord suffixes youve 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 youve 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 suffixs appearance or playback definition.
Any alterations you make to one occurrence of a suffix automatically change all occurrences of that

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suffix throughout the score. You might use this technique, for example, to change all occurrences of

"Gdim7" to "G 7".

Create. If you dont see the suffix youre 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 youve 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. Ctrl-click to select only a specific additional item in the list.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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). Doubleclicking 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 dialog box
Chord Tool

111

Clef Designer

How to get there

From the Document Menu, choose Document Options and select Clefs. Then, click Clef Designer.

What it does
Finale supplies eighteen 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 eighteen clefs (replacing existing clefs).

[Clef icons]. These icons illustrate the eighteen 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 youve
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 Finales music font) it looks like the G-clef
symbol (&).

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If youre 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 Document Options-Fonts.

Shape: Select Edit. Click Shape to create a clef based on a shape. The number in the text box
identifies the raw shape youre editing. If theres 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 isnt 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 isnt the bottom of the characterits the "curl" thats
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). Its 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), youll see your new clef
represented as one of the eighteen available. Remember that when you define a new clef, you
replace one of the eighteen 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:
Clefs
Clef Tool

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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 eighteen clefs currently available in this
piece. Finale initially offers eighteen clefs, however, you can edit these clefs or even design your own,
using the Clef Designer available in the Clef section of the Document Options dialog box. (See Document
Options-Clefs)

[Clef icons]. These icons illustrate the eighteen clefs defined for this piece. Double-click one to
select it and exit the dialog box.

OK Cancel. Instead of double-clicking a clefs 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.

See Also:
Clefs
Clef Tool

114

Click and Countoff

How to get there

Choose Click and Countoff from the MIDI 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 youre recording with
HyperScribe. Choose While Playing if you want a countoff only when youre playing back with
Playback Controls, or choose Never if you dont 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 dont 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.

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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 dont want any metronome click to sound while recording
or playing back. Note, if you have a countoff measure selected, Finale will always click for the
countoff measures.

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, youll 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.

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; youll 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 youre 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 0127 (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 devices
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:
Recording with HyperScribe
Playback Controls
HyperScribe Tool

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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 youve created different lyrics typesVerse, Chorus, and Sectionthe Click Assignment
window will display only the most recent lyric type youve 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 youre 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 dont select Auto Update, the
lyrics may overlap slightly as youre 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 youre "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
Lyrics Menu

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Lyrics Tool

118

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 dont have to choose the Click Input
command at all, in this case; if youre recording Time Tags in a separate pass, Finale assumes that any
key you tap is meant to be the tempo tap, provided that (1) youve remembered to click the Record button
under the words Time Tag, and (2) that youre 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 youll be
tapping. If youre 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 its "listening." The
program will translate the next MIDI event you transmitby tapping a key or pedal, for example
into the MIDI codes. Youve just specified the device (key, pedal, or controller) and the MIDI channel
Finale will listen to for Time Tags; now youre ready to record Time Tags and a performance
simultaneously.
If the "Finale is listening" message doesnt 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
Troubleshooting in the User Manual.

Ignore First Data Byte. In short, this checkbox tells Finale how particular it should be about the
MIDI event its receivingin 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, dont 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 boxthe first data byte

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when determining whether or not a MIDI event matches the event youve specified for your Time
Tags.)

Second Data Byte Greater Than Zero. This checkbox should almost always be selected. The only
time it shouldnt be selected is when youre 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
transmissionthe key velocity of the Time Tags, for example. Therefore, unless you strike the key
with precisely the specified key velocity, Finale wont 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 wont confuse the drum machines 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 mode
Transcription dialog box
HyperScribe Tool

120

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 wont 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 transmitby playing a key, for exampleinto the MIDI codes. (Technically,
Finale registers the next two MIDI eventsa note on and note off command, for example, that
constitute a single key strike.) Youve 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, youll 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.

121

OK Cancel. Click OK to confirm the click settings youve 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 mode
Transcription dialog box
MIDI Sync
HyperScribe Tool

122

Color

How to get there

From the Document Menu, choose Document Options and select Grids and Guides. 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.

123

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. Youll 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 fullsize 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 pageeither Portrait (the standard upright orientation) or Landscape
(sideways). The same applies if youre tiling pagesuse these buttons to tell Finale the orientation of
the pages youll be taping together.

124

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). Youll note
that Finale fills in these boxes automatically when you select your paper size, because Finale
assumes youll 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 youre creating one large tiled page by taping several standard pages
together, this option will center the printed music on the composite page. If you dont 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. Youll 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 youve made. Finale asks you to name
the PostScript listing (or EPS file) and then proceeds to create it, storing it on your disk; youll 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 isnt necessary.

Cancel. Click Cancel to return to the score without creating a PostScript file.
Tip: 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:
PostScript
File Menu

125

Composite Time Signature

How to get there

Click the Time Signature Tool
, and double-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 signatures

126

Time Signature dialog box

Time Signature Tool

127

Create/Edit Ending

How to get there

Create Ending: Click the Repeat Tool
, and highlight the measures you want to include in the
ending. Right-click and select Create Ending. Or, after selecting the desired measures, from the Repeat
Menu, choose Create Ending. Or, double-click a measure. The Repeat Selection dialog box appears.
Double-click an ending graphic repeat.
Edit Ending: Right-click an existing ending and choose Edit Ending.

What it does
In this dialog box, you can specify the properties of a repeat ending, including the text and playback
attributes.
Tip: To easily create repeats with a standard first
and second ending, select the desired first ending
measure(s) and from the Repeat Menu, choose
Create First and Second Endings.

Ending Number(s). Here, enter the number(s) that you would like to appear within the ending
bracket. The numbers entered here also apply to playback. For example, enter a 1 here to indicate a
first ending that is to be played the first time only. On all other passes, playback skips over the
ending and goes to the target (specified below in this dialog box). You can enter multiple numbers to
indicate multiple passes, and Finale will playback the ending accordingly (during playback, after the
last pass, Finale will skip over the ending and jump to the specified target). Separate multiple
numbers with commas (or a hyphen for number ranges). Finale automatically places a period after a
single number if Add Period After Number is checked in Document Options-Repeats.

128

Alternate Text in Ending. Text entered in this text box will appear within the ending bracket instead.
Enter a number sign (#) as a stand-in for the ending number defined above). Text entered in this box
does not apply to playback. If you want to combine the Ending 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 Fonts
in the Document Options dialog box (under the Document Menu) and clicking Font. In the Text dropdown list, choose Ending repeat. Then click Set Font. This will affect the font for all existing and
future ending repeat text.

Target. When a target is specified, after playing back the total number of passes (specified in Ending
Numbers), Finale will skip from the beginning of the repeat ending measure(s) to the specified target.

Choose Next Ending to automatically skip to the next ending in the score.

Choose Measure # to indicate a specific measure number.

Choose Forward or Backward to indicate a relative number of measures in that direction.

Choose Never Skip Ending if this ending is the last ending and will be played every time through.

Skip Ending if Ignoring Repeats. Check this option to skip this ending during playback if Ignore
Repeats is checked in the Playback/Record Options dialog box.

Allow Individual Edits Per Staff. 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 Allow individual
edits per staff. You can specify on which staves you want repeat endings to appear using Staff Lists
available in the Create/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box.

Create Backward Repeat Bar (Create Ending only). Choose this option to automatically create a
repeat bar after the ending. (It will be assigned to "Always Jump" and have a target of "Nearest
Forward Repeat"). Uncheck this box when creating the last ending of a repeated section (which
requires no repeat barline).

Show On: All Staves This Staff Only. Select All Staves to show the text repeat on every staff in
the score and parts. All Staves is selected by default. Select This Staff Only to assign the text repeat
to the current staff only. Use the This Staff Only option if you want a text repeat 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 text repeats. 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 text repeat should appear in.

OK Cancel. Click OK (or press enter) 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:
Repeats (barlines and text indications)
Repeat Tool

129

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 Designer 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 youve
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 dialog box.

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.

130

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.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

Cancel. Click Cancel to return to the Smart Line Designer dialog box without selecting a preset
arrowhead.

Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line
Designer dialog box. Instead of using the Select button, you can simply double-click the desired
arrowhead.

See Also:
Arrows
Smart Shape Tool

131

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 visuallyor to create a new oneclick Select. The Shape Select dialog box will appear; if
youve 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 youre 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 theyre initially superimposed, so that all you can see is the
white one). The white circle represents the location of the custom frames handle when it appears in
the score.

132

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
youre editing it on-screen. When youve 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

133

Customize Toolbar dialog box

How to get there

From the Window 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 dismiss the dialog box. Click Reset to return
the palette to the tool arrangement you had when you entered the dialog box.

134

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 youre creating a shape in the Shape Designer, you can specify that a selected line (or one youre
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 Finales 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
Expression Designer

135

Define Keyboard Shortcut

How to get there

Choose the Simple Entry Tool. From the Simple Menu, choose Simple Entry Options and then choose
Keyboard Shortcuts. Click Add or Edit.

What it does
In this dialog box, you can add a new keyboard shortcut association for any of the Simple Entry
Commands, or edit an existing association. To add a new keyboard shortcut, click Add in the Keyboard
Shortcuts dialog box. To edit an existing association, highlight the keyboard you want to
change in the Keyboard Shortcuts dialog box and choose Edit.

Commands [window]. In this window, select the Simple Entry Command you want to assign to a
keystroke.

Key. Enter the main letter or number you want to assign to the Simple Entry Command highlighted in
the window above.

Modifiers Ctrl Alt Shift. Check Ctl or Alt or Shift to add these modifier to the keystroke.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the keyboard shortcuts
youve added or edited and return to the Keyboard Shortcuts dialog box.

See Also:
Simple Entry
Simple Menu
Simple Entry Tool
Edit Keyboard Shortcuts dialog box

136

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.

Delete Blank Page(s) in: Current Part or Score Selected Parts/Score All Parts All Parts
and Score; Select. Choose Current Part or Score to apply changes to the score or part that is
currently active in the document window. Choose Selected Parts/Score and click Select to open the
Select Parts/Score dialog box where you can choose to apply changes to any combination of the
score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply
changes to the full project - all parts and the score.

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:
Blank pages
Page Layout Menu
Page Layout Tool

137

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:
Expressions
Expression Tool
Shape Selection

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Diatonic Instrument Definition

How to get there

Click the Staff Tool
, and double-click any staff. From the Notation Style drop-down list choose
Tablature, click Select, then click the Edit Instrument button. Click the Define button.

What it does
In this dialog box, specify the pitch variation, in whole and half steps, for a diatonic fretted instrument. In
the text box, enter "1" to specify a pitch variation of a half step from the previous (lower) fret or from the
nut. Enter a "2" to specify a pitch variation of a whole step from the previous (lower) fret or from the nut.
Separate each entry in this text box with a comma.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your changes and return to
the Fretboard Instrument Definition dialog box.

See Also:
Tablature
Guitar Notation
Fretboard Instrument Definition dialog box

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Document Options dialog box

How to get there

From the Document Menu, choose Document Options.

What it does
This dialog box allows you to change the global settings for a number of musical items. You will find
global settings for augmentation dots, barlines, ties, text inserts and many other items. Choose one of the
categories on the left side of this dialog box to display its options on the right.

Load Library Save Library. Click the Save button to select from a list of document elements to
save in a library. Click the Load button to open an existing library.

Units. Click the drop-down list to select the measurement unit you want Finale to understandand
displayin all of its dialog boxes.

OK Cancel Apply. Click OK (or press enter) to save the new settings and return to the score.
Click cancel and you will be prompted to save or discard unapplied changes. Click Apply to save the
selected changes in your dialog box and keep the Document Options box open.

Press Ctrl-Alt-A at any time to open the Document Options dialog box.
Hold down the Ctrl key and press Page Down to move to the next page.

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Hold down the Ctrl key and press Page Up to move to the previous page.
See:
Document Options-Accidentals
Document Options-Alternate Notation
Document Options-Augmentation Dots
Document Options-Barlines
Document Options-Beams
Document Options-Chords
Document Options-Clefs
Document Options-Flags
Document Options-Fonts
Document Options-Grace Notes
Document Options-Grids and Guides
Document Options-Key Signatures
Document Options-Layers
Document Options-Lines and Curves
Document Options-Multimeasure Rests
Document Options-Music Spacing
Document Options-Notes and Rests
Document Options-Piano Braces
Document Options-Repeats
Document Options-Stems
Document Options-Text
Document Options-Ties
Document Options-Time Signatures
Document Options-Tuplets

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Document Options-Accidentals

How to get there

From the Document Menu, choose Document Options and select Accidentals.

What it does
These options control the spacing of accidentals in relation to both the notes they are attached to
and other accidentals in an entry.

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 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.

Minimum 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

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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.

When the Vertical Spacing Between Accidentals is 4 (above left), both flats may occupy the same
vertical position, because their noteheads aren't less than four lines and spaces apart. If the
Vertical Spacing Between Accidentals is 6 however, one of the flats must move to the left to avoid
crowding, because the noteheads are indeed less than six lines and spaces apart.

Music Characters; Select. Here, specify font characters to use for accidentals in your notation.
Select an accidental type from the drop-down list, then click Select to choose the character for the
accidental. The available characters will depend on the default font for accidentals specified in the
Font options.

Adjustment at Start of Measure. This is an adjustment to the Spacing Before Music value
displayed in Document Options Notes and Rests. If you do not want to leave as much space for
notes with accidentals to the right of barlines, you can use this value to move notes with accidentals
to the left.

Use Cross-Layer Accidental Positioning. Check this box to automatically avoid collision of
accidentals between layers and voices and to align accidentals an octave apart vertically. Also, with
this option checked, manually adjusting an accidentals positioning will not modify the positioning of
other accidentals attached to the entry. Note that this option does not apply to cross-staff notes
moved to an adjacent staff with the NoteMover Tool.

See Also:
Accidentals (Simple Entry)
Accidentals (Speedy Entry)
Document Options-Fonts
Document Menu/Document Options

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Document Options-Alternate
Notation

How to get there

From the Document Menu, choose Document Options and select Alternate Notation.

What it does
Use these options to specify spacing and font characters for alternate notation applied to a staff.
Alternate notation can be applied to any staff or a portion of a staff.

Vertical Offset for Two bar Repeat Number. The number in this text box controls the vertical
placement of the number for the two-bar repeat alternate notation.

Rhythmic Notation Vertical Positioning: Quarter Note (Small) Slash: Baseline Adjust Stem
Connection Half Note Diamond: Baseline Adjust Stem Connection Whole Note Diamond:
Double Whole Note Diamond. Use these settings to control the exact placement of slash and
diamond noteheads and how these symbols attach to note stems when youre 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.

Music Characters; Select. Here, specify font characters to use for alternate notation. Select the
alternate notation item from the drop-down list, then click Select to choose the character for that

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item. The available characters will depend on the default font for alternate notation specified in the
Font options.
See Also:
Staff Tool
Alternate Notation dialog box
Staff Styles dialog box
Document Options-Fonts
Document Menu/Document Options

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Document Options-Augmentation
Dots

How to get there

From the Document Menu, choose Document Options and select Augmentation Dots.

What it does
The Augmentation Dots options have several controls for finetuning the placement of dots in your music.
To select the default measurement units, click on the Edit 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.

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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.

Music Character; Select. Click Select to choose a character for your augmentation dots. The
characters available will depend on the default augmentation dot font (specified in Font options).

See Also:
Augmentation
Simple Entry Tool
Speedy Entry Tool
Document Menu/Document Options

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Document Options-Barlines

How to get there

From the Document Menu, choose Document Options and select Barlines.

What it does
The Barlines options provide 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.

Display All Barlines. When selected, Finale displays all barlines in your score. Note that barlines
hidden by Staff Attributes or Staff Styles will remain hidden.

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.

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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 Measures 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 check boxes. 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 Measures 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.

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.
Finales 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. Finales 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.

See Also:
Barlines
Staff Attributes dialog box
Staff Styles dialog box
Measure Attributes dialog box
Staff Tool
Measure Tool
Document Menu/Document Options

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Document Options-Beams

How to get there

From the Document Menu, choose Document Options and select Beams.

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 Edit 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 linethe 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.

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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 beamthe 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 nonslanting, horizontal beamsfor example, to minimize the jaggedness of beams in lower
resolution situations. Select this option if you want only horizontal 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.

Display Half-Stems for Beamed Rests. If youve turned on Extend Beams Over Edge Rests in
Beaming Options, you may also wish to select this option, which places a half-stem, or stem stub, for
each rest thats bridged by a beam.

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.

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The Maximum Distance from Middle Staff Line setting specifies the maximum distance a beam
may be from the middle line of the staff. Its calculated based on the note thats farthest from the
middle line.
There are a number of variables governing the angle of beams and the length of stem lines (such
as Max Slope). Therefore, if you change the default value for this parameter, you may not see any
immediate changes in the score.
See Also:
Beaming
Staff Attributes dialog box
Patterson Beams and Flat Beams plug-in
Time Signature Tool
Document Menu/Document Options

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Document Options-Chords

How to get there

From the Document Menu, choose Document Options and select Chords.

What it does
Here, you can specify the font of chord elements, adjust their baselines and change their font characters.

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.

Music Characters; Select. Here, specify font characters to use for accidentals in chords. Select an
item from the drop-down list, then click Select to choose the character for that item. The available
characters will depend on the default font for chord alterations specified in Font options.

See Also:
Chord symbols
Chord Tool
Document Options-Fonts
Document Menu/Document Options

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154

Document Options-Clefs

How to get there

From the Document Menu, choose Document Options and select Clefs.

What it does
Finale treats each clef intelligently, correctly renotating the music that follows it. Use these options to
specify when to display clefs, modify clef spacing, configure settings for clef changes, load and save clef
libraries, and design your own clefs. Finale supplies you with eighteen standard clefs for use in your
pieces.

Display Clef Only on First Staff System. When selected, Finale displays the clef on the first staff
system of each page only. This option is particularly useful for lead sheets.

Display Courtesy Clef at End of Staff System. If a clef change occurs at the end of a line (system)
of music, its traditional to forewarn the musician by displaying the incoming clef at the rightmost end
of the preceding system. Check this box to display these courtesy clef changes.

Spacing: Before Clef After 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.

Extra Space Between Clef and Key Signature. Here, specify the space between clefs and key
signatures. You can use this setting as an alternative to the Before Clef and After Clef setting.

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Extra Space Between Clef and Time Signature. Here, specify the space between clefs and time
signatures. You can use this setting as an alternative to the Before Clef and After Clef setting.

Default Clef Change: Clef; Select Percent Reduction Offset. This text box identifies, by
number, the default starting clef of a new staff and any floating measures you create with the Ossia
Tool. (Finales 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 17). You may find it easier, however, to click Select; Finale displays a palette of
all eighteen available clefs. Double-click the clef you want; Finale enters its number in this text box
automatically.
The number in the Percent Reduction text box specifies the default size of an inserted clef (one
that appears in mid-staff), expressed as a percentage of full size. The default value is 75%. (You
can override this default reduction on a case-by-case basis. See Clef Tool.)
The number in the Offset text box sets the distance between an inserted clef and the barline it
precedes:

This offset applies only to single Finale clefsthose that appear just before the left barline of the
measure theyre to modify. (Contrast with mid-measure clefs, which can appear anywhere in a
measure.) The default value is .028 inches (a negative number, because its being measured
leftward from the barline).

Clef Designer. Click the Clef Designer button to display the Clef Designer dialog box, where you can
replace or edit any of the clefsincluding their appearance, placement, and effect on the music.

See Also:
Clefs
Clef Tool
Clef Designer
Document Menu/Document Options

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Document Options-Flags

How to get there

From the Document Menu, choose Document Options and select Flags.

What it does
With these options, specify global settings for flag type, positioning and spacing. You can also choose
new font characters for each type of flag.

Use Standard Flags Use Straight Flags. Click Use Standard Flags to use Finales default flag
characters. Click Use Straight Flags to place straight flags on note stems (angled or horizontal
straight flag symbols are available). You must select Finales Tamburo font in the Fonts options
before you select Straight Flags. If Straight Flags is not selected, Finale places curved flags on
stems.

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.

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

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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.

Music Characters; Select. Here, choose any character in the default flag font to use for any flag
type. Select the flag type from the drop-down list, then click Select to choose a character for that flag.
The available characters will depend on the default font for flags specified in Font options. 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).

See Also:
Flags
Document Options-Fonts
Document Menu/Document Options

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Document Options-Fonts

How to get there

From the Document Menu, choose Document Options and select Fonts.

What it does
These options allow you to 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. 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

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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.

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 elementnotes, flags, rests and so on. Use the drop-down list to set the font for each item.
Theres 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 Finales 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.

See Also:
Fonts
Font Annotation
Staff Attributes dialog box
Measure Attributes dialog box
Document Menu/Document Options

160

Document Options-Grace Notes

How to get there

From the Document Menu, choose Document Options and select Grace Notes.

What it does
Use these options to globally modify the size, spacing, thickness and playback duration of grace
notes throughout your document.

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%.

Tablature Grace Note Size. The number in this text box specifies the size of grace notes in a
tablature staff, expressed as a percentage of normal-sized notes. The default is 50%.

Grace Note Offset on Entry. 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.

Grace Note Slash Thickness. This value controls the thickness of grace note slashes.

Always Slash Flagged Grace Notes. Its customary to place a small diagonal slash through the flag
of any grace note thats not beamed to other notes. Select this option if you want the slash to appear
by default on all unbeamed grace notes. If this option is on, the Simple Entry and Speedy Entry
Tools will only toggle between slashed grace note and full note.

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Playback Duration _ 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.

See Also:
Grace notes
Slash Flagged Grace Notes plug-in
Simple Entry Tool
Speedy Entry Tool
Document Menu/Document Options

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Document Options-Grids and

Guides

How to get there

Choose Grid/Guide Options from the View Menu, or from the Document Menu, choose Document
Options, then select Grids and Guides.

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.

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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.

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 Also:
Grids and Guides
Items to Snap to Grid dialog box
Items to Snap to Guides dialog box
View Menu
Document Menu/Document Options

Document Options-Key Signatures

How to get there

From the Document Menu, choose Document Options and select Key Signature.

What it does
Use these options to specify where to display key signatures, and configure key signature spacing.

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Display Key Signature Only on First Staff System. When selected, Finale will display the key
signature on the first staff system of each page only. This options is particularly useful for notating
lead sheets.

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 youve 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 arent actually the same key (and are instead in different modes)for example, from C minor to
E major. Select this item if you want Finale to treat such a key change in the usual wayby
canceling the first key signature before displaying the second. If you dont select this option, Finale
wont cancel the first key signature before displaying the second.

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.

Display Courtesy Key Signature at End of Staff System. If a time signature change occurs at the
end of a line (system) of music, its traditional to forewarn the musician by displaying the incoming
time signature at the rightmost end of the preceding system. If you want this "courtesy" key or time
signature to appear, select this checkbox. If not, leave it unselected, and the new key or time
signature will only appear at the beginning of the new line.

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.

Space Before Key Signature Key Space After Key Signature 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.

Space Between Key Signature Accidentals. This number determines the distance between
accidentals in key signatures.

Extra Space Between Key and Time Signature. Here, specify the space between the key
signature and time signature. You can use this setting as an alternative to the Space Before key
signature setting.

Music Characters; Select. Here, specify characters to use for accidentals on key signatures. Select
an accidental type from the drop-down list, then click Select to choose the character for the
accidental. The available characters will depend on the default font for key specified in Font options.

See Also:
Key signatures
Key Signature dialog box
Key Signature Tool
Document Options-Fonts
Document Menu/Document Options

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Document Options-Layers

How to get there

From the Document Menu, choose Document Options and select Layers.

What it does
The easiest way to notate simultaneous independent voices on a single staff is to use Finales Layer
mechanism. Using these options, you can define the behavior of music in each layerfor example, you
might want the second layers 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 youre 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 4since there arent
any more stem directions to choose fromdepends on the structure of the inner voices in the
particular piece youre 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 youll want to freeze Layer 1s stems up and Layer 2s 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
necessarywhen theres another voice (that is, in another layer) on the same staff.

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Freeze Ties in the Same Direction as Stems. When theres only a single voice on a staff, a tie
customarily arcs away from the noteheads its attached tohence, 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, youll 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 voices rests
up out of the way only when theres 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.

Hide Layer when Inactive. When this item is selected, the notes in this layer will only appear when
it is the active editing layer. When this item is not selected, the notes in a hidden layer will appear as
greyed notes when you are editing other layers.

Apply Settings Only if Notes are in Other Layers. Select this option if you want the other
optionsinvolving stems, ties, and reststo apply only when theres another voice (in another
layer). If you dont 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 Ignore Hidden Layers. Check Ignore Hidden
Notes 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 Settings Only box is checked. For example, you may wish to check this box if
youre using hidden notes in another layer for playback of a notated trill. Check Ignore Hidden Layers
to have Finale skip Layer Options settings if the entire layer is hidden by the Hide Layer when
Inactive checkbox above.

Playback. If you select this item, notes in this layer will playback as normal. If you uncheck this item,
notes in this layer wont playback. For example, you may wish to leave layer 1 unchecked for
playback for a notated trill. Note that the Play setting in the Instrument List provides the same
function.

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.

See Also:
Multiple voices
Instrument List
Simple Entry Tool
Speedy Entry Tool
Document Menu/Document Options

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Document Options-Lines and

Curves

How to get there

From the Document Menu, choose Document Options and select Lines and Curves.

What it does
Lines means staff lines, ledger lines, underlines, and so on. Here, you can change their thickness. In the
Curves section, you can specify the resolution for curves displayed on the screen and for Non-PostScript
printers. The resolution settings apply to all slurs, ties and curves for on-screen display and nonPostScript printing.

Line Thickness: Enclosures Staff Lines. In these boxes, enter the desired thickness for
enclosures and staff lines.

Ledger Lines: Thickness Left Half Left Half Rest Right Half Right Half Rest. Enter a value
after Thickness to globally set the thickness of ledger lines. For the remaining parameters in this
section, you can 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 or rest. A positive number
makes the ledger half longer.

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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 bebut (as indicated in the wording of the dialog box) the longer
itll take the program to draw them on the screen. For that reason, you may want to leave the Curve
Resolution on Low while youre 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.

Underline Depth. The number in this text box sets the distance, for underlined text, between the
underline itself and the baseline of the text.

Underline Thickness. The number in this text box sets the thickness, for underlined text, of the
underline itself.

Shape Designer Slur Tip Width. This setting determines the thickness of the curved line at the end
of a slur in the Shape Designer.

See Also:
Shape Designer dialog box
Document Menu/Document Options

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Document Options-Lyrics

How to get there

From the Document Menu, choose Document Options, and then select Lyrics.

What it does
Here, 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. (See Lyrics Menu for examples of syllable
alignment and justification.) 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.

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Use Smart Hyphens. With this box checked, Finale can create hyphens over system breaks
automatically and also uses the hyphen character of the font specified for lyrics.

Always. Choose Always to place a hyphen at the start of the following system whenever the last
syllable on the previous system has a hyphen. With this option selected, a hyphen will appear at the
start of the second system even if the lyric is attached to the first note.

Only when the first syllable is attached to the second note or later. Choose this option to only
show hyphens at the start of the second system if the lyric appears on the second note of the system
or later.

Never. Choose this option to never put a hyphen at the start of the second system.

Maximum 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.

Word Extensions. Click Word Extensions to open the Word Extensions dialog box where you can
modify the appearance and behavior of Smart Word Extensions.

See Also:
Lyrics
Document Menu/Document Options
Word Extensions dialog box

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Document Options-Multimeasure
Rests

How to get there

You can access the Multimeasure Rest options from a number of places, depending on whether youre
setting up global values for multimeasure rests, extracting parts, or creating and editing multimeasure
rests in your music.
1. From the Document Menu, choose Document Options, then select 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 Document Menu, choose Manage Parts, click Part Creation Preferences, then click
Multimeasure Rests.

What it does
Use the Multimeasure Rest dialog box to define how Finale will display multimeasure rests for the score
or parts. In this dialog box, you can set up the appearance of newly created multimeasure rest measures
in the score. Here, you will be define the initial appearance of each multimeasure rest Finale creates.
(Finale also uses the multimeasure rest settings from the Document Options when you create a
multimeasure rest by choosing Create from the Multimeasure Rests submenu in the Measure Menu.) To
change the appearence of an existing multimeasure rest, use the Multimeasure Rest dialog box.

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,

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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 wont 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 shapes
start or end point to the right; enter negative values to shift the start or end point to the left.

Update Automatically. With this box checked, Finale automatically redistributes multimeasure rests
to show measures containing notes added within the measure region of a multimeasure rest. (Notes
can be entered into one of these measures in Scroll or Studio View where multimeasure rests are
not visible). With this box checked, multimeasure rests will never overwrite notation. If this box is not
checked, notes can appear in Scroll or Studio view, but be hidden by a multimeasure rest in Page
View. Note that Finale does not automatically re-create multimeasure rests if the notes are deleted.

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 thats 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 youre notating rests with
symbols instead of a shape. Standard notation practice advises using symbols for rests that are less
than nine measures. If you dont 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.

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 dont 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 youre using the symbolic style to notate multimeasure rests.

See Also:
Multimeasure rests
Shape Designer dialog box
Measure Attributers dialog box
Measure Tool
Document Menu/Document Options

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Document Options-Music Spacing

How to get there

From the Document Menu, choose Document Options, then select Music Spacing.

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 Edit Menu, then Measurement Units, then select the desired
units.

Avoid Collision of: Notes and Accidentals Articulations Chords Lyrics 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 youve specified, Finale will adjust them so
that they fall within the specified range.

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This feature can be useful for setting whole-rest and whole-note measures to some width thats
wider than Finales 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 youve 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 werent manually positioned; after spacing,
Finale will add the positioning to its result. Finally, choose Incorporate to include any manual
adjustments into Finales calculations while spacing the music.

Grace Note Offset on Entry: Automatic Distance Between Keep Current Reset to Grace
Note Offset. Enter a value here (in the measurement unit chosen under the Edit Menu) to specify
the distance between consecutive grace notes. Choose Keep Current to leave grace notes at their
current positions upon music spacing (use this option if you want to retain manual positioning applied
to grace notes). Choose Reset to Grace Note Offset to set grace notes back to the positions
specified by the Grace Note Offset on Entry option in Document Options-Grace Notes.

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
Duration Allotments 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 doesnt have a
predetermined width valuea 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 valuesa sixteenth note and a 32nd note, in the quintuplet
exampleand 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 catchall width value. See Duration Allotments 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 youve made in this dialog box.
You return to the score.
Tip: Music Spacing can be applied when notes are
entered with Automatic Music Spacing (Program
Options-Edit) or select a region of music with the
Selection Tool and choose Apply Music Spacing
from the Utilities Menu.

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See Also:
Music spacing
Document Menu/Document Options
Document Menu

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Document Options-Notes and Rests

How to get there

From the Document Menu, choose Document Options and select Notes and Rests.

What it does
This dialog box contains options for choosing specific characters for note and rest durations. Also specify
rest positioning and the amount of space before and after each barline in your document.

Use Note Shapes. This checkbox is the switch for the settings you make in this section. When its
selected, the score displays your selected notehead shapes; deselect this checkbox to restore
normal noteheads (until you re-select it). 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 section 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.

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

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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 youre specifying; it appears in the system font,
regardless of what it looks like in the music font. For example, even if youve selected an X notehead
in the Maestro music font, youll 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 symbols
alphabetic system font equivalent in the text box automatically.

Rest Positioning: 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

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
Spacing Before Music Spacing After 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.

ScaleManual 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
apartan F in the stems-down voice and a G in the stems-up voice, for examplewhich you must
drag apart so that their noteheads dont 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 theyre 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 notea quarterinch, for exampleinstead of storing the note-heads positions relative to the measure width.
Therefore, even when the measures change width, notes that youve 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, youll 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 crossstaff 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 wont see the results
until you deselect this checkbox.)

Notehead Characters, Select. The items in this drop-down list refer to the shapes used as the basis
of Quarter notes and smaller values. Use the drop-down list to choose the type of notehead you want

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to change, then click Select to choose an alternate shape. The available characters will depend on
the default font for noteheads and rests specified in Font options.

Rest Characters, Select. The items in this drop-down list govern the character to be used for rests
of the indicated values: Double Whole 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. The available characters will depend on the
default font for noteheads and rests specified in Font options.

Colored Noteheads Show Border Around Color Noteheads Reset Colors C D#/Eb ...B.
These colors apply to noteheads in any staff designated to use color noteheads (in the Staff
Attributes dialog box). Choose Show Border Around Color Noteheads to display a black border
surrounding the colored noteheads as shown below:

Finale's default colors are based on the Chroma-Notes Colored Music System for use with
Boomwhackers Tuned Percussion Tubes. (See Boomwhackers Tuned Percussion Tubes /
Chroma-Notes Instruments for details). To customize a pitch's color, click its corresponding
button to open the Color dialog box where you can select a new color. Click Reset Colors to revert
to Finale's default notehead color settings.
See Also:
Staff Styles
Document Options-Fonts
Document Menu/Document Options

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Document Options-Piano Braces

and Brackets

How to get there

From the Document Menu, choose Document Options and select Piano Braces.

What it does
Using these options, 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.

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H: V:. These values for each of the items listed below describes the horizontal and vertical
placement of the corresponding handle (as shown in the diagram above). 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 centerthe 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.

Default Distance from Left Edge of Staff. Here, you can specify the space between group brackets
and the left edge of the staff.

Reset. Reset restores the piano brace to its original default settings.

See Also:
Groups
Document Menu/Document Options

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Document Options-Repeats

How to get there

From the Document Menu, choose Document Options and select Repeats.

What it does
The Repeat options provide 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.

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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.

Show On: All Staves Top Staff Only Staff List: New Staff List (All defined Staff Lists); Edit.
These options control the default "Show On" setting for all repeat dialog boxes including the
Backward Repeat Bar Assignment, Text Repeat Assignment, and Edit Ending dialog boxes. Select
All Staves to indicate you want to show repeat markings on every staff in the score and parts. Select
Top Staff Only to indicate you want repeat markings to appear on the top staff only. Select New Staff
List to display the Staff List dialog box, where you define which staves will display repeat markings.
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
repeat markings should appear in. The set tings in this subsection do not apply to existing repeats.

Add Period After Number. Check this box to automatically place a dot after the number that
appears in repeat ending brackets (the number that appears after "Ending Number(s)" in the Create
Ending dialog box or Edit Ending dialog box. This option does not apply to Alternate text specified in
these dialog boxes.

Repeat Dot Character: Select. Click Select to choose the character used for the repeat dots.

Reset. Click Reset to restore the built-in Finale default settings.

Maximum Repeat Passes. Enter a value in this text box to specify the maximum number of times a
repeated section is allowed to playback. This option overrides a repeated section defined to repeat a
greater number of times. Most importantly, if any repeated section in the document is defined to loop
back on itself at every pass, this setting prevents Finale from processing these measures infinitely
(which effectively hangs the program upon initiating playback).

Repeat Endings. Click this button to open the Repeat Endings dialog box. See Repeat Endings
dialog box.

See Also:
Repeats
Repeat Tool
Repeat Endings
Document Menu/Document Options

183

Document Options-Stems

How to get there

From the Document Menu, choose Document Options and select Stems.

What it does
This dialog box contains options for controlling stem length, thickness and offset from notehead as well
as options for customizing your stem connections.

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 thats been flipped in the "wrong" direction, on a note a line (or more)
away from the middle staff line.

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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.

Reverse Stem Adjust. A reverse stem is one thats attached to the "wrong" side of its note-head,
often in conjunction with cross-staff notes or notes in different registers, as shown here:

The number in the Reverse Stem Adjust text box specifies where a notes stem should end,
measured in the currently selected measurement units from its normal location, in those cases
where the stem direction is also reversed (see figure below).

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 Document
Options-Beaming) 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.

Stem Line Thickness. Enter a value here to specify stem line thickness throughout your document.

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 note-head 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.

Display Reverse Stemming. A reverse stem is one thats drawn on the "wrong" side of its
notehead; its encountered most frequently in conjunction with cross-staff notes.

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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.)

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.

Stem Connections. Click to display the Stem Connections dialog box, where you can define custom
stem connections.

See Also:
Stems
Document Options-Beams
Stem Connections
Document Menu/Document Options

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Document Options-Staves

How to get there

From the Document Menu, choose Document Options and select Staves.

What it does
This dialog box contains settings for controlling staves in documents used as Document Styles. See
Document Styles.

Default Topline to Topline Distance. This is the default distance between new staves (in currently
selected measurement units (see Edit/Measurement Units), measured from the top line of one staff
to the top line of the next. Enter a value to place the staves closer or farther apart in scores using
these settings as part of a Document Style.
Note: Finale always measures Topline to Topline
Distance from the top line of a standard, 5-line
staff. To locate Finales 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.
Always Use Default Topline to Topline Distance. The Default Topline to Topline Distance is a
Preferred Value that can Change if Necessary. Choose Always Use Default Topline to Topline
Distance to apply this setting to all new files using this Document Style (when starting new
documents with the Setup Wizard). Choose The Default Topline to Topline Distance is a Preferred
Value that can Change if Necessary to tell Finale to make adjustments to the staff spacing in order to

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make the most of space available on the page. If this option is selected, for example, Finale might
squeeze the staff spacing in order to fit more systems on a page.

Setup Wizard "Extra Space" Value. This is the amount of vertical space added when the Add
Vertical Space button is used to add space between staves in the Document Setup Wizard. See
Setup Wizard.

See Also:
Staves
Staff Attributes dialog box
Document Menu/Document Options

188

Document Options-Text

How to get there

From the Document Menu, choose Document Options and select Text.

What it does
In these options, specify the number of spaces in place of one tab number. Use the Text Inserts
subsection 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. Also, modify the
format of the time stamp.

Use _ Spaces in Place of One Tab Character. 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.)

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 youre
using a font other than Maestro for your music font.

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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 Document Options-Fonts

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 ems (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.

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).

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 Also:
Text
Document Options-Fonts
Document Menu/Document Options

190

Document Options-Ties

How to get there

From the Document Menu, choose Document Options and select Ties.

What it does
Use the Ties Options 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 in the Tie
Alterations dialog box). To select the default measurement units, click on the Edit Menu, then
Measurement Units, then select the desired units.

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 ties distance horizontally from the inside edge of the first note tied note. A larger number

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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 ties 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 ties 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 ties 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 multidotted 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.

On the left: Shift For Seconds is selected. On the right: Shift For Seconds is not selected.

Tie System Breaks: System Start Adjustment System End Adjustment Extra System Start
Space. 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 ties 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 ties 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. Enter a value for Extra System Start Space to adjust the Spacing
Before Music value displayed in Document Options Notes and Rests. If you do not want to leave as
much space for notes with ties to the right of barlines, you can use this value to move notes with ties
to the left.

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. You can modify the stem reversal point in the
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 ties 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 evenlyties in the upper half of the
chord go over tied notes, and ties in the lower half of the chord go under tied notes.

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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.

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.

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.

Reset. Click Reset to restore the original settings.

See Also:
Ties
Tie Alterations dialog box
Staff Setup dialog box
Tie Contour dialog box
Document Menu/Document Options

193

Document Options-Time Signatures

How to get there

From the Document Menu, choose Document Options and select Time Signatures.

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, as well as spacing options. Since the appearance of time
signatures sometimes differs between the part and score, separate settings are available - one for the
score and one for parts.

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 Score to choose a different symbol to use for the score (or just type the
keyboard equivalent into the text box). Click Part to choose a different symbol to use for linked parts
(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

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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.
Use the Score column to apply these settings to the score. Use the Parts column to apply these
settings to linked parts.

Display Courtesy Time Signature at End of Staff System. If a time signature change occurs at the
end of a line (system) of music, its traditional to forewarn the musician by displaying the incoming
time signature at the rightmost end of the preceding system. If you want this "courtesy" time
signature to appear, select the appropriate checkbox here. If not, leave these checkbox unselected,
and the new time signature will only appear at the beginning of the new line.

Space Before Time Signature Space After Time Signature. These numbers determine the
amount of space to the left and right of a time signature in the score, respectively. These numbers
determine the amount of space to the left and right of a time signature in the document, respectively.
Use the Score column to apply these settings to the score. Use the Parts column to apply these
settings to linked parts.

Decimal Places for Composite Meters. When you create a composite meter (using the Time
Signature Tool) that includes a fraction in the upper number, its 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. This number specifies the maximum
number of decimal places you want Finale to use when it expresses these fractional numerators.

Composite Time Signature Plus Sign Character; Select. Click this button to open the Symbol
Selection dialog box, where you can choose the character for the plus sign in composite time
signatures. Choose the font for this character in Document Options-Fonts, under notation. Click
Score to choose a different symbol to use for the score (or just type the keyboard equivalent into the
text box). Click Part to choose a different symbol to use for linked parts (or just type the keyboard
equivalent into the text box).

See Also:
Time signatures
Time Signature dialog box
Document Menu/Document Options

195

Document Options-Tuplets

How to get there

Ctrl-click the Tuplet Tool to display Document Options-Tuplets. Or, from the Document Menu, choose
Document Options and select Tuplets.

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.
Default Placement:

Manual Stem/Beam Side Note Side Above Below. When Manual is selected in this
dropdown 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. Choose Above to place the tuplet
above the staff by default. Choose Below to place the tuplet below the staff by default.

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Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver tuplets automatically
reposition to account for raised or lowered notes in the staff. They also update to avoid rests and
staff lines. Bracket placement and slope for engraver tuplets is determined by the stem direction of
the majority of stems in the tuplet (rather than the first stem in the tuplet as is the case when this box
is not checked).

Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or
below the bottom line of the staff.

Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in
the score. If this box is not checked, tuplets can only be adjusted vertically in the 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.

Default Appearance:

Number: Nothing Number X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale
should place a number, a ratio, or no mark on a tuplet. If you choose, for example X:Y, Finale will
display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display
"3q:2q".

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).

Break Slur or Bracket. If youve 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.

Always Use Specified Shape Bracket Unbeamed Notes Only Never Bracket Beamed Notes
on Beam Side. Choose Always Use Specified Shape to place a bracket (of the shape defined
above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets on
unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct
Finale to place brackets on tuplets defined to appear on the note side of the staff (for example, if the
beam appears above notes tuplets will only contain brackets if placed below the staff).

Default Position:

Number: Horizontal Vertical. Enter values (in measurement units) to adjust the horizontal and
vertical position of the tuplet number displayed in the score.

Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic
center of the tuplet (rather than equidistant from the first and last note/rest of the tuplet).

Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in
your tuplets, select this option if you dont want it to apply to this tuplet.

Shape: Horizontal Vertical. Enter values here to specify 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:.

Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets.

Extend Bracket. Check this option to extend the right edge of the bracket to enclose the full duration
of the tuplet.

Match Lengths of Hooks. Check this box to always use same length for left and right hooks. If the
values for Hook Length are different, Finale uses the smallest value for both hooks.

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 leftmost 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.

197

Left Extension Right Extension. By default, Finale initially creates a tuplet that surrounds the
position of notes in the measures. However, in some cases its 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.

Manual Slope Adjustment. Enter a positive value to specify the angle of brackets or slurs when the
right side is higher than the left. Enter a negative value to specify the angle when the right side of the
tuplet lower than the left.

Horizontal Number Offset:

Upstem Side of Note Downstem Side of Note. When Finale places the number above a tuplet
grouping (such as the "3" above a triplet), it chooses a position thats aligned precisely with the
central notehead of the group. When the number appears on the stem side of the triplet, Finale
follows the same ruleit aligns the number with the central notehead of the group as shown here.

However, a few publishers feel that the number appears to be off-center when positioned that way
as shown here.

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 triplets central stem. You
can override this global tuplet-number positioning offset on a case-by-case basis, using the Ignore
Format Offset checkbox in Tuplet Definition dialog box.

Bracket Thickness. In this box, enter the desired thickness for all tie brackets.

Maximum Slope_Degrees. Enter a positive value to specify the maximum angle of brackets or slurs
when the right side is higher than the left. Enter a negative value to specify the maximum angle when
the right side of the tuplet lower than the left.

See Also:
Tuplets
Tuplet Definition dialog box
Tuplet Tool
Document Menu/Document Options

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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 Options dialog box). See Document
Options-Augmentation Dots.)

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 youve made to the status of the dot you
clicked. You return to the score.

See Also:
Document Options-Augmentation Dots
Special Tools Tool

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Duration Allotments

How to get there

From the Document Menu, choose Document Options, then select Music Spacing. Click Spacing Widths.
Then 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
youve loaded one of these libraries into the document (by choosing Load 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 Utilities Menu. You can also edit or create your own Spacing Table using this dialog box.

Spacing Widths (#). A Spacing Width Table is constructed by assigning a horizontal space
measurement to each rhythmic valuefrom sixty-fourth note to double whole note. The Spacing
Width indicator tells you which of such duration/width pairings youre viewing. (Click the Prev and
Next buttons to cycle through the pairings.)| end

Duration. The number in this text box, measured in EDUs (1024 per quarter note), identifies the
durational value whose width allotment youre viewing. If you want to create a new duration/width
pairingfor a tuplet that has no specified allotment, for exampleyou 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 its 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 its 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 isnt evenly divisible into a
quarter notea quintuplet value, for examplethe 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 youve selected using the Measurement Units submenu of the Edit Menu.) If you notice
that a certain Spacing Table isnt 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. (Dont worry about typing over existing values; Finale will

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remember the values youre 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 youve made to the Spacing Table and return to the Document
Options-Music Spacing dialog box. If you then click OK again, your modified spacing widths are
applied to the selected measures. If youve 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 youve made to the Spacing Table and return to the
Document Options-Music Spacing dialog box.

See Also:
Music spacing
Music spacing dialog box
Utilities Menu
Document Options-Music Spacing dialog box

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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 youve 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 Zoom Horizontal Vertical. These settings are the same as the
Add Bookmark Page View settings. See Add Bookmark dialog box.

Settings for Scroll View: Measure Zoom 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 dialog box
View Menu

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203

Edit Filter/Clear Selected Items

How to get there

Edit Filter: From the Edit Menu, choose Edit Filter (Shift-Alt-Ctrl-F). Or, select a region of music, then a
Ctrl-Shift-Click the target region. Or, if you want to paste from the clipboard, press Shift-Ctrl-V to call the
Edit Filter dialog before the paste.
IMPORTANT: The settings for copying (Edit Menu
> Edit Filter) in the Edit Filter dialog box are
program-wide. That means these settings apply to
all documents when copying music, even after
closing and restarting Finale. If you are unsure of
previous settings be sure to review this dialog box
prior to copying to ensure it is set up as desired. In
contrast to copying, the Clear Selected Items
dialog box invoked for clearing items (Edit Menu >
Clear Selected Items) is session-specific and
resets after each use.

What it does
You can copy or erase any element of your music without disturbing the remaining elements. This dialog
box lets you specify which elements you want to copy or erase. For example, you might want to erase

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only the lyrics from a selected region, or you might want to copy only staff styles or time signatures from
one place to another. You can specify any combination of items to copy or erase. Settings made here
apply to music copied using both the drag-copy method and the Copy/Replace Entries commands under
the Edit Menu.
Item

What it includes

Notes and Rests

When copying music, this includes notes and rests only, 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 youre clearing, clicking Notes and Rests is the same as selecting all
entry-related items (notes, articulations, slurs, lyrics, chord symbols,
and so on) from the selected region (because those items cant exist
unless there are notes they can be attached to).

Tuplet Definitions

This element is only available when youre erasing; it specifies that

tuplet definitions created with the Tuplet Tool will be cleared 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.

Cross-staff notes

This element refers to cross-staff notes (notes that have been moved,
for clarity, to another staff with the Note Mover Tool or with the Cross
Staff Plugin). If you dont select Cross-Staff Notes, 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. (In order for
cross-staff notes to copy, you must also have both staves in your
selection.) See Note Mover Tool.

Articulations

Select this item to clear or copy all articulation markings (staccatos,

accents, and so on) created with the Articulation Tool. See Articulation
Tool for more information on Articulations.

Chords and Fretboards

This item governs chord symbols (and fretboard diagrams, if any) you
created with the Chord Tool. If youre 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.

Expressions; Dynamics...

(Copy or Erase) Expression markings in categories without staff lists:

Dynamics, Expressive Text,Technique Text, and Miscellaneous (see
Expressions).

Expressions; Tempo...

(Copy or Erase) Expression markings in categories with staff lists:

Tempo Marks, Tempo Alterations, and Rehearsal Marks (see
Expressions). Stack Selection Required.

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.

Smart Shapes (Assigned to

Notes)

This checkbox allows you to select note-attached slurs or bends for

copying and erasing.

Lyrics

Select this item to copy or erase lyrics you created with the Lyrics
Tool. See Lyrics Tool for more information on Lyrics.

Text Blocks (Assigned to

(Copy or Erase) Text blocks youve attached to measures with the

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Measures)

Text Tool.

Beam Extensions

These elements refer to beaming changes youve made with the

Special Tools Tool (the Beam Extension tool). The significance of this
and other elements in this dialog box pertaining to beaming is that you
need only create such special beaming oncein 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, theyll receive the
same custom beaming as the source measure. See Special Tools
Tool.

Dot and Tie Alterations

Special Alterations include any changes youve made with the Tie or
Dot tools in the Special Tools Tool. See Special Tools Tool.

Notehead, Accidental and

Tablature String Alterations

This item includes any reductions or enlargements youve performed

on notes or note groups with the Resize Tool, as well as adjustments
youve made to the positions of notes or accidentals with the Special
Tools, or string changes to fret numbers on TAB staves. If youve
created a measure of cue notes, for example, youd select this
checkbox to copy onto other measures so that their notes are reduced
equally. See Resize Tool and Special Tools Tool

Secondary Beam Breaks

These refer to beaming changes youve made with the Special Tools
Tool (the Secondary Beam Break tool). The significance of this and
other elements in this dialog box pertaining to beaming is that you
need only create such special beaming oncein 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, theyll 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 youve created

with the Special Tools Tool. It includes any changes youve made with
the Stem Length, Custom Stem, Broken Beam, Beam Angle, and
Secondary Beam Angle tools. See Special Tools Tool.

Performance Data

Performance data includes the key velocity information (how hard you
struck each key) as well as note durations, minor rhythmic deviations
from the beat (Start and Stop Time 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.
After youve 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 datafor example, only the key velocity data, or only the
Note Duration (Start and Stop Time) information.

Smart Shapes (Assigned to

Notes)

This checkbox allows you to select note-attached slurs or bends for

copying and erasing.

Stem and Beam Alterations

This element refers to custom stemming and beaming youve created

with the Special Tools Tool. It includes any changes youve made with
the Stem Length, Custom Stem, Broken Beam, Beam Angle, and

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Secondary Beam Angle tools. See Special Tools Tool.

Tie Alterations

This element refers to custom ties edited with the Special Tools Tool.
See Special Tools Tool.

Continuous Data

This refers to continuous MIDI data. See MIDI Tool.

Performance Data

This refers to MIDI performance Data. See HyperScribe and MIDI

Tool.

Tempo Changes

This refers to tempo data defined with TempoTap, or the Tempo Tool.
See Tempo.

Graphics (Assigned to
Measures)

(Copy or Erase) Graphics youve attached to measures, in Scroll View

only, with the Graphics Tool.

Measure Number Positioning

& Enclosures

(Copy or Erase) Any occurrences (in a region for which youve

specified measure numbers with a geometric enclosure on Selected
Numbers) where youve added, deleted, or resized the enclosures
with the Measure Tool. This will erase manual positioning of measures
numbers as well. (Measures that have been forced to show will copy
with a Stack Selection.)

Ossia (Assigned to measures)

(Copy or Erase) Floating measures youve attached to measures, in

Scroll View only, with the Ossia 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 Stack
selection is required.

Barline Styles

The barline style specified in the Measure Attributes dialog box.

Extra Space

The space specified for "Extra Space at Beginning" and/or "Extra

Space at End" in the Measure Attributes dialog box.

Key Signatures

(Copy only) Any key changes youve created with the Key Signature
Tool, Simple Entry Tool, or Selection Tool.

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 youre creating.

Note Positioning

(Copy only) This refers to the type of Note positioning you have
selected in Measure Attributes. Automatic Music Spacing must be off
and a Stack must be selected.

Page Breaks

(Copy or Erase) Page breaks added with the Page Layout Tool. Stack
selection is required.

Repeats

(Copy or Erase) Repeat barlines, endings or text repeats (such as "To

Coda") created with the Repeat Tool. Stack Selection is required.

Split Points

(Copy or Erase) Any measure "split points"places youve specified

as permissible breaking points in a long measure that might straddle a
system break. (You create split points with the Measure Tool.)

System Breaks

(Copy or Erase) System Breaks added with the Page Layout Tool.

Time Signatures

(Copy or Erase) Time Signatures added with the Time Signature Tool,
Simple Entry Tool, or Selection Tool. Stack Selection is required.

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Note: Time Signatures always copy with stack

selections, and never without a stack selection.

Copy Clefs: Always Never When Needed. Use the Clef radio buttons to determine whether to
include the starting clef and any clef changes in the selected region for copying. Choose Always to
include the clef of the source region while copying. Choose Never to always use the clef of the
destination region for the copied material. Choose When Needed to copy the clef only when there is
a clef change within the original selected region.

Uncheck All Reset to Defaults. Click Uncheck all to deselect all items in this dialog box. Click
Reset to Defaults to restore the original settings.

None All. Click None to deselect all items in this dialog box and to set Copy Clefs to Never. Click
All to check all items and set Copy Clefs to When Clef Changes.

OK Cancel. Once youve 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:
Copying music
Clear Selected Items dialog box
Edit Menu

208

Edit Frame

How to get there

Click the Speedy Entry Tool and ctrl-click a measure that contains music (that is not being edited with the
Speedy Entry Frame)..

What it does
Youll 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. Youll encounter some technical terms in this discussion; one of the most important is entry,
which refers to any note, rest, or chord.

209

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 youre editing. A frame refers to one measure
in one staff. You should note, however, that Finale doesnt number the frames in the order they occur
in the scoreinstead, 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 youre 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 youre 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) youre looking at. The
first entry in the measure is 0, and the "slots" are numbered from left to right; theres 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, theres an articulation mark attached to currently displayed
entry.

Beam/Beat. If this checkbox is selected, the currently displayed entry isnt beamed to the note
before it.

Beam Ext. If this checkbox is selected, the currently displayed entrys beam has been extended with
the Beam Extension Tool (within the Special Tools Tool).

Chord. If this checkbox is selected, theres a chord symbol attached to the currently displayed entry.

Clef Change. This very technical item is used by Finales 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 Document Options-Layers.

Float Rest. If this checkbox is selected, the currently displayed entry (if its a rest) is fixed on the
middle staff line (or another line, if youve established in Document Options-Layers [Document 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 entrys 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. Utilities/Rebeam will override this setting.

Freeze Stem. If this checkbox is selected, the currently displayed entrys stem has been frozen up or
down. (See the checkbox labeled Up/Down in the fourth column of dialog box items; if its selected,
the stem is frozen up.)

Grace. If this checkbox is selected, the currently displayed entry is a grace note.

210

Ignore. If this checkbox is selected, the currently displayed entry is invisible and doesnt play back
(because youve 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 isnt 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, its a rest.

Perf Data. If this checkbox is selected, theres 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, youve 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 entrys 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, theres an 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 entrys 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, theres 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 entrys stem has been frozen up or down. If Up/Down is selected, the stem is frozen up; if
not, its frozen down.

Voice 2. If this checkbox is selected, the currently displayed entry belongs to Voice 2.

V2 Beam. Under normal circumstances, you cant 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 2launched groups; youll 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. Its 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 isnt
correct, select this checkbox for the first note of the Voice 2 tuplet to correct the notes positioning.

211

Note Slot (#). This indicator specifies which of the notes in a chord youre 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 notes 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 notes accidental appears, even if it
wouldnt normally (such as the natural before a C in the key of C)sometimes called a courtesy
accidental.

(Accidental). If this checkbox is selected, theres 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 youve 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 notes notehead
is drawn on the "wrong" side of its stem, usually because its 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 notes 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 youve 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

212

Edit Keyboard Shortcuts

How to get there

Choose the Simple Entry Tool. From the Simple Menu, choose Simple Entry Options and then choose
Keyboard Shortcuts.

What it does
In this dialog box, you can edit the keystroke commands used for note entry and editing in Simple
Entry.

Tool: Simple Entry Simple Entry Tablature. From this drop-down menu, choose Simple Entry to
define keyboard shortcuts for use while entering into a standard staff. Choose Simple Entry
Tablature to define keyboard shortcuts for use while entering into a tablature staff.

Add. Click Add to open the Define Keyboard Shortcut dialog box where you can create a new
keystroke association for any Simple Entry command. See Define Keyboard Shortcut dialog box.

Edit. Click Edit to open the Define Keyboard Shortcut dialog box where you can change the currently
highlighted command.

Delete. Click Delete to remove the currently highlighted command.

New Set. Click New Set to create a new collection of keyboard shortcuts. New sets created appear
under the Name drop-downpopup menu.

Delete Set. Click Delete Set to delete the keyboard shortcut set currently selected under the Name
drop-down menu. The Default Shortcut Table set, which supplies Finales default short-cuts, cannot
be deleted.

Duplicate Set. Click Duplicate Set to duplicate the keyboard shortcut set currently selected under
the Name drop-down menu.

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Reset to Defaults. Click Reset to Defaults to reset the currently selected keyboard shortcut set to
Finales default set.

Name: Default Shortcut Table. From the Name drop-down menu, choose the keyboard shortcut set
you want to use. Any new sets you have created or duplicated are available in this list.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the keyboard shortcuts
youve added, edited, or deleted. You return to the score.

See Also:
Simple Menu
Simple Entry Tool

Define Keyboard Shortcut

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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 Finales 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 youve 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: "Ill 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 "Ill 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 Finales default
notation for the same chord (Am7/C). Or you might want Finale to learn a chord by another namefor
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. See Chord Symbols for a more complete discussion of learned chords.
Once youve 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
wont 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 youre 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

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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 wont 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 wont
remove any chord symbols already in the score by clicking this buttonFinale simply wont
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 youve 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 pitchesand the same bass noteas the learned chord
for which youre searching. Finale responds either by displaying the chord symbol or by telling you
that it doesnt recognize what you played. (At this point it also asks if you want it to learn the chord
you just played.)
Note: If you teach Finale a chord it already knows,
youre 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 symbols
Chord Menu
Chord Tool

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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 youve specified with the Set Default Fonts command in the Document Menu)for example, you
can italicize a phrase within the lyrics. If youve 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 youve 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 its 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 windowbut not when you erase lyrics from the score using the Selection Tool or the Adjust
Syllables feature. In those cases, youre 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

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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. Theyre 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 Set Default Fonts from the Document Menu).

OK Cancel. Click OK if you want Finale to store the lyrics or modifications youve 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 youve entered or changes youve made while in the Edit Lyrics window.
You return to the score.

See Also:
Lyrics
Edit Menu
Lyrics Menu
Lyrics Tool

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Edit MIDI Modifiers

How to get there

Click the Speedy Entry Tool
Map or Edit Key Map.

. From the Speedy Menu, choose Speedy Options. Click Create Key

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 rest into
a note. Or, click the Listen button and play the note on the MIDI keyboard.

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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 Entry
Speedy Options dialog box
Speedy Entry Menu
Speedy Entry Tool

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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
youve specified. You return to the MIDI Tool split-window (or the score).

See Also:
MIDI
MIDI Tool

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Edit Modal or Chromatic Spellings

How to get there

From the Edit Menu, choose Preferences > Enharmonic Spelling > Edit Modal or Chromatic Spelling.

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 its 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 youve created, like a
church mode.
OK Cancel. Click OK (or press enter) to save the new settings, or click Cancel to dismiss the dialog
box and discard any changes you made to the settings.

See Also:
Options/Enharmonic Spelling

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Edit Major and Minor Key Spellings

How to get there

Choose Edit Major and Minor Key Spellings from the Enharmonic Spelling submenu in the Edit 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. Youll 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 halfstep 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 its entered in your score. If you select b2, the same halfstep 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 halfstep 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 its entered in your score. If you select b2, the same halfstep between Fixed Scale Steps 1 and 2 will be displayed as a lowered interval.

OK Cancel. Click OK (or press enter) to save the new settings, or click Cancel to dismiss the dialog
box and discard any changes you made to the settings.

See Also:
Options/Enharmonic Spelling

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Edit Page Margins

How to get there

Click the Page Layout Tool
Margins.

. From the Page Layout Menu, choose Page Margins, then Edit

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.

Apply to Parts/Score. Select this button to open the Select Parts/Score dialog box where you can
choose to apply changes to any combination of the score and/or parts.

Apply X. Click Apply to make the adjustments and leave the dialog box available for more
changes. Click X to dismiss the dialog box without making any changes.

See Also:
Page layout
Page Margins submenu
Page Layout Menu
Page Layout Tool

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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.

Apply to Parts/Score. Select this button to open the Select Parts/Score dialog box where you can
choose to apply changes to any combination of the score and/or parts.

Apply X. Click Apply to make the adjustments and leave the dialog box available for more
changes. Click X to dismiss the dialog box without making any changes.

See Also:
Page layout
System submenu
Page Layout Menu
Page Layout Tool

225

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 Finales 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 youre currently editing. The
type of text block being editedfull or abbreviated staff name, group name, or block of text
appears first (Item Type). The texts Finale-assigned ID number also appears.

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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 Finales text
editing window.

See Also:
Text Menu
Edit Menu
Lyrics Tool
Text Tool

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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, ctrlclick 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 Finales 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.

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Editing: [Item Type] ID [ID #]. These settings identify the text block youre currently editing. The
type of text block being editedfull or abbreviated staff name, group name, or block of text
appears first (Item Type). The texts 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 Finales text
editing window.

See Also:
Text Menu
Edit Menu
Lyrics Tool
Text Tool

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Elapsed Time

How to get there

Click the Selection Tool
, and select a region of measures. From the Utilities Menu, choose Check
Notation, then Check Elapsed Time. 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.

Tip: This information is useful when composing
music that must last an exact amount of time such
as jingles for commercials.

See Also:
Utilities Menu

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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 Expression
Designer text box, then click Edit under Enclosure Shape.
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.
and select Edit
Finally, you encounter this dialog box in the Measure Tool. Click the Measure Tool
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
youve 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 dont want an enclosure to appear.

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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 shapes 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 Finales default height of the enclosure, in the selected
measurement units (Edit Menu).

Width. Type the distance to add to Finales default width of the enclosure in the selected
measurement units (Edit Menu).

Center: H: V:. Type the amount to shift the enclosure horizontally and vertically, if you dont 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 texts 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 enclosures height doesnt 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.
Tip: 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:
Expressions
Expression Tool

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Entry Modifications

How to get there

Click the Selection Tool
, and select a region of measures. If youre about to copy or move an
element of the music, choose Edit Filter from the Edit Menu. After the Edit Filter dialog box appears click
Entries.

What it does
This dialog box lets you modify the music youre 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 doesnt show an accidental, but
that a recurrence of that note (if it is a non-diatonic note) later in the measure does. Its the
equivalent of the Check Accidentals command (see Utilities 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 youve 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.

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See Also:
Selection Tool

234

Erase Layer

How to get there

This alert appears if you choose Move/Copy Layers from the Edit 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 Selection Tool, and select a region of measures. Choose Move/Copy Layers from the Utilities
Menu. In the dialog box, specify that one layers contents be placed into a layer that already contains
notes. Click OK.
See Also:
Move/Copy Layers dialog box
Edit Menu

235

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, double-click.) Click Create (or click an existing shape in the selection box and
click Edit). Click the Playback tab; then click 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 thats being used as an
Executable Shape. If you dont know the number of the shape you want to useor if you havent yet
created itclick Shape ID; youll 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). Youll 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 havent told Finale to do otherwise, it will "sample" (or consult the level of) an
Executable Shape once every eighth note. For example, if youre creating a rallentando that lasts for
one measure of , Finale will decrease the tempo slightly in eight eighth-note increments.

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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 youve 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 youve specified) over time. If
you leave the Level Scale at 1:1, Finale examines the shape youve 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 youve 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), youll hardly hear any tempo change at all in the playback. Based
on what you now know, youll realize that its 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.

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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 cant 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 its 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:

Repeat Count. There may be times when you want the Executable Shape youve just defined to
repeat itself several times. For example, if youve just designed a magnificent trill that lasts for only a
quarter notebut you want to create a trilling whole noteyou 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 wont restrike the note at all, because Finale doesnt notice any
changes in the lines 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 youve specified a sample list by selecting Use List, and if the shape
is long enough to produce more samples than the highest number youve entered in the Sample List,
Finale will ordinarily start over at the beginning of the Sample List in deciding which samples to
"notice." If youd rather have Finale respond only once to the specific samples named in the listand
not to repeat the actionselect this option.

OK Cancel. Click OK to confirm, or Cancel to discard, the Executable Shape settings youve made
and proceed to the next dialog box.
Tip: Create your shape to be exactly as you
wantspan the amount of time and offering the
exact effect you want. Then set Time and Level
Scales to 1:1

See Also:
Expression Tool

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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 the Playback tab, Execute Shape, then 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. Youll enter the Executable Shape Designer dialog box, where
you can modify Finales 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.

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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 cant delete it if its
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.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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, youll return to the 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
Expression Designer

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Exercise Wizard

How to get there

From the File Menu, choose New, then Exercise Wizard. Or, in the Launch Window, select Exercise
Wizard.

What it does
The Exercise Wizard helps you to setup a lesson for your vocal or instrumental ensemble based on
Exercises that you choose. The Exercise Wizard includes a large selection of exercises to choose from,
including scales, intervals, and arpeggios. Mix and match the exercises to create your own lesson plan.
You can even share the lesson with other ensembles or teachers. You can apply slurring articulations or
change the key. It also allows you to specify the instruments and the number of copies that are printed of
each lesson.

Lesson Title. Type the title for the lesson. You are limited to one line of text and no carriage returns.
It will appear at the top of the page.

Set Font. Click Set Font to specify the font, size and style for the lesson title.

Page Size. Select the page size you want to use. The page size information is stored in the text file
pagesizes.txt and can be edited to your specifications. See Configuring Pagesizes.txt in the
Appendix.

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Cancel Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without creating a
lesson. Click Next to continue on to the next dialog box in the Exercise Wizard.

[List of Exercises] Add Remove. Select exercises from the list on the left and add them to the
list of selected exercises on the right. Click on the plus signs to display more exercises; click on the
minus signs to hide the exercises in the list below. Use the Scroll arrows to reorder the selected
exercises. A preview of the selected exercise appears in the lower right corner.

Cancel Back Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without
creating a lesson. Click Back to return to the first page of the Exercise Wizard. Click Next to continue
to the next page of the Exercise Wizard.

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Exercise Title. Click an exercise and assign it a title in this text box.

Apply Concert Key. Use the scroll bar to select a concert key. Exercises for transposing
instruments will appear in the appropriate transposed key. Click the up arrow to add sharps or
subtract flats; click the down arrow to add flats or subtract sharps. Major or minor keys will appear
depending on the selected exercise.

Apply Articulations. Click on a button to apply instrumental tonguing patterns (such as tongue 2,
slur 2) to the selected exercise.

Cancel Back Next. Click Cancel to exit out of the Exercise Wizard and return to Finale without
creating a lesson. Click Back to return to the first page of the Exercise Wizard. Click Next to continue
to the next page of the Exercise Wizard.

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Ensemble Name. Type a name for a new ensemble or select one from the drop down menu. Then,
you can use the options on this page to configure and save this ensemble. The default settings for
the ensembles can be found in the Ensembles.txt file. For more information, see Configuring
Ensembles.txt in the Appendix.

Save Save As Delete. Use the Save button to Save any changes to the currently selected
ensemble. Use the Save As button to save the currently selected ensemble with a new name. Click
the Delete button to remove the currently selected ensemble from the list.

Families Parts: Add Remove. Select a certain instrumental family, and add the part selected
from the Parts column. If you want to Remove a part from the list on the right, highlight the part and
click remove. The family and part information is stored in the text file ensembles.txt and can be
edited to your specifications.

[Ensemble Instrument List]. The name and number of instruments found in your ensemble are
listed on the right. Click an instrument, then use the arrow buttons to increase or decrease the
number of exercises to print for that instrument.

Instrument Range Checking: Basic Intermediate Advanced. Select a skill level for your
ensemble here. The Exercise Wizard will transpose the exercises by octaves to stay within the
acceptable ranges for each individual instrument at the selected skill level. The ranges for each
instrument are stored in the Instrument.txt file. See Configuring Instrument.txt in the Appendix.

Fit Lesson on One Page. Check this box to tell Finale to adjust the spacing of the generated lesson
so that it fits on a single page.

Print. Click the Print button to print a copy of every exercise in the lesson for each instrument in the
ensemble.

Save Lesson. Click the Save Lesson box to save the exercises youve created as a lesson, as
notation files for each instrument in the ensemble, or both. A lesson file (.LSN) can be opened by the

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Exercise Wizard later for making changes or printing. Note that file names must be short enough to
allow the instrument name to be added and still remain under 32 characters long.

Cancel Back Finish. Click Cancel to exit out of the Exercise Wizard and return to Finale without
creating a lesson. Click Back to return to the third page of the Exercise Wizard. Click Finish to save
your settings and exit the Wizard.

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Explode Music

How to get there

Click the Selection Tool
Music.

, and select a region of measures. From the Utilities Menu, choose Explode

You can also use a Selection Tool Metatool: press the 2 key with selected measures. Or, hold down E
while dragging selected measures to a destination.

What it does
In essence, Finales 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

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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 youre 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 Finales
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:
Selection Tool

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Export MIDI File Options

How to get there

Choose Export MIDI File Options from the MIDI/Audio 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 fileby 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 14, Chords, and Expressions) can have its own
Instrument assignment. Remember, too, that unless youve given each of these elements its own
Instrument, the resultant MIDI file wont 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 youve assigned a different Instrument to every element (Layer 14, 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 piecethat 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 youd like the Finale bookmarks converted to
sequencer marks.

Dont 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

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box will not be displayed when you save a MIDI file, only when Export MIDI File Options is selected
from the MIDI/Audio 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:
MIDI
Instrument List
MIDI/Audio Menu

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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 youre either exporting a selected region , 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 line art), 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 Pack Bits 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.

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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 files 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, youre 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. Select Allow Transparency if you want
to create a transparent EPS file. (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 dropdown list to change the resolution of the TIFF file, or enter a value between 13500 dpi into the text
box; the higher the value, the better quality of printout youll obtain. Generally, you should set this
value to match the resolution of your printer. For example, if youre printing on a 300 dpi printer,
enter 300. If youre 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 filesperhaps 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
Graphics Tool

251

Expression Assignment

How to get there

Click the Expression Tool
, and Shift-double-click on an expression's handle (or press Shift-Enter).
Or right-click an expression's handle and choose Edit Expression Assignment.

What it does
After youve selected an expression to place in the score, you can access this dialog box for several
additional options pertaining to the markings placement and playback definition.

Alignment Point. Enter a value and then select the desired increment in the adjacent drop-down
menu to specify the point at which the expression will be attached.

Grace Note. Refer to the diagram to the right to specify the grace note positioning. Grace notes are
numbered left to right.

Offset from Alignment Point: Horizontal Vertical: These controls let you specify the precise
vertical and horizontal position of the expression mark. Specify the markings distance from the
attachment point by entering values in the Horizontal and Vertical number boxes. (A higher number
moves the marking to the right or upward.) Of course, you can also simply drag the markings handle
when you return to the score. The measurement unit is determined by the settings chosen for
Measurement Units in the Edit Menu.

Show On: All Layers Score and Parts. From these drop-down menus, you can assign the
expression to an individual layer or to the score, part(s), or score & parts.

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On Playback, Affect: Current Layer Layer 1 Layer 2 Layer 3 Layer 4 Chord Dynamic
Layer. This drop-down menu allows you to specify which of these musical elements you want
affected by a markings playback definition. For example, its possible to specify that a dynamic
marking affect only the chord symbol above the music to which its attached, or to attach a patch
change to only one of Finales four layers.

Begin Playback at Beginning of Measure Position in Measure. If the expression youre placing
has been defined for playback, you can control where its playback effect will "kick in." See Horizontal
Alignment Point in the Expression Designer. When Beginning of Measure is selected, youll hear its
effect at the beginning of the measure. When Position in Measure is selected, you wont hear the
markings effect until Finale reaches the marking itself while playing back, no matter where it falls.
Remember that your layers need to be assigned to unique channels in order to apply a playback
effect to one independently. See Instrument List.

OK Cancel. Click OK to confirm your settings and return to the score, where youll see the
expression marking. Click Cancel to return to the score without adding or editing an expression
marking.

See Also:
Expressions
Expression Selection
Expression Tool

253

Expression Selection

How to get there

Click the Expression Tool
, and double-click a note, measure, or existing expression in the score.
This dialog box also appears when youre 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) youve created in, or
loaded into, your document. If your Maestro Font Default file is in place, this dialog box displays a
selection of common Expressions, such as Allegro, ritard, and various dynamic markings. All of Finale's
expressions are organized into categories that include unique font and positioning settings. Use the
category list to the left to isolate specific categories of expressions in the preview window.
From this dialog box, you can select an expression to put in the score, edit an existing one, or create a
new one. Characters in in the top right corner of an item in the selection dialog box indicate the Metatool
assigned to the item.

Edit. After clicking an existing expression, click Edit to enter the Expression Designer dialog box,
where you can edit it. Remember that youre simultaneously editing every occurrence of that
expression in the score.

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.

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Delete. After clicking an existing expression, click Delete to remove the expression from the palette.
You can select more than one item. Use Ctrl-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 To. Use this drop-down menu to move the selected expressions into a different category. If the
"Use Category Fonts/Positioning" check boxes are checked, the expression will inherit these settings
from the destination category.

Reset to Category. Choose an expression and use this drop-down menu to reset the expression's
font and/or positioning settings to match those of its category.

Create. Click Create if you want to create your own expression. You proceed to the Expression
Designer dialog box, where you can create a new expression. See Expression Designer dialog box
for more information.

Move Up Move Down (arrows). Click these arrows 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 adding an expression.

Select. After clicking an Expression in the selection box, click Select to tell Finale you want to place
it in the score.

[Magnifying glass icons]. Use the magnifying glass icons in the upper right to zoom in and out.
Click and drag the lower right corner of the dialog box and drag to resize it.
Note. You can simply double-click the desired
expression instead of clicking it and clicking Select.

See Also:
Expressions
Selection Overview
Expression Tool

255

Expression Designer-Main

How to get there

Click the Expression Tool
and then click Edit.

, and double-click a note or measure. Click Create, or click an expression

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 youve
created in the Shape Designer. Either can be defined for playback.
In this dialog box, you can create a new Expression or edit an existing one. This dialog box is separated
into three tabs, each responsible for different attributes of the expression. Use options under the Main tab
to edit the spelling, font, or description, options under the Playback tab to edit how the expression affects
playback, such as volume or tempo, and options under the Positioning tab to specify precise positioning
of the expression relative to its corresponding note or measure.

Description. You can use this text box to label each expression for reference later. The description
entered here displays near the bottom of the expression in the Expression Selection dialog box. The
description can be particularly helpful if you have a number of expressions that do not contain any
text, such as expressions defined only to modify the playback.

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Text Shape. Choose the Text radio button to define or edit a Text Expression and the Shape radio
button to define or edit a Shape Expression.
Important note: Slurs, phrase markings, and hairpin crescendos should be entered with the Smart
Shape Tool.

[Text box]. This text box is where you type the expression text itself.

Use _ Category Fonts. Check this box to use the font, size, and style defined for this category.
Fonts for each category can be defined in the Category Designer dialog box. Uncheck this box to
display additional font, size, and style options that allow you to define these settings for this specific
expression only (see Expression Designer-Positioning).

Font. Use this drop-down menu to switch between entering text and musical symbols. The text and
music font can be defined for each category of expressions. The text and/or music font for a category
can be changed in the Category Designer dialog box. Uncheck Use Category Fonts to display
additional font options that you can use to apply to this particular expression (independent from the
category).

Hidden. Select this checkbox to prevent the expression from printing. Hidden expressions will
continue to display on-screen at the Hidden Object Shading percentage specified in Program
Options-View.

Enclosure: Shape Edit. If you want your expression framed by a geometric enclosure, click this
drop-down menu to choose the desired shape. Click Edit to open the Enclosure Designer dialog box,
where you can specify the shape, size, and line thickness of the enclosure. (See Enclosure
Designerfor more information.) You might use this feature, for example, when creating rehearsal
lettersyou can enclose each letter in a neat rectangle.

Edit Create Select. Click Edit or Create to open the Shape Designer where you can edit the
selected shape expression or create a new one. Click Select to choose an existing Shape
Expression.

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 youll want any Shape Expressions to stretch along with the measures in
which they occur. In such cases, select this item. Deselect this checkbox if you dont want to permit a
shape to be stretched horizontallyfor example, you might prefer that a harp pedaling diagram
retain its original dimensions.

Hidden. Select this checkbox to prevent the shape expression from printing. Hidden expressions will
continue to display on-screen at the Hidden Object Shading percentage specified in Program
Options-View.
Tip: Set an opaque enclosure to have the Text
Expression cut away other items underneath it in
the score.

To apply playback settings to the expression, click the Playback tab. See Expression Designer-Playback.
To set the default positioning, click the Positioning tab. See Expression Designer-Positioning.
See Also:
Expression Selection
General MIDI Patch Numbers & Names
Enclosure Designer
Playback Data Dump
Expression Tool

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Expression Designer-Positioning

How to get there

Click the Expression Tool
, and double-click a note or measure. Click Create, or click a text
expression and then click Edit. Click the Positioning tab.

What it does
These options control the default positioning of the expression relative to the note, barline, or music.

Use _ Category Positioning. Check this box to use the positioning defined for this category in the
Category Designer dialog box. Uncheck this box to unlock the positioning options below that allow
you to define these settings for this specific expression only.

Break Multimeasure Rest. Select this checkbox to force a multimeasure rest to break where this
expression is placed, such as for a rehearsal letter.

Justification: Left Center Right. From this drop-down menu, choose the desired justification
relative to the Horizontal Alignment point and Offset.

Horizontal Alignment: Horizontal Click Position Left of All Noteheads Left of Primary
Notehead Stem Center of Primary Notehead Center of All Noteheads Right of All
Noteheads Left Barline Start of Time Signature After Clef/Key/Time/Repeats Start of
Music Center Between Barlines Center Over/Under Music Right Barline. Use these options
to specify the alignment of the expression relative to the notehead, barline, or music, as illustrated by

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the diagram in this dialog box. To place the expression at the horizontal position clicked in the score,
choose Horizontal Click Position. To align the expression to the left edge of the notehead (or leftmost notehead of a chord), choose Left of All Noteheads. To align the expression with the left edge
of the notehead (or primary notehead of a chord), choose Left of Primary Notehead. To align the
expression with the stem, choose Stem. To center the expression based on the primary notehead
(changes if added to a chord containing an interval of a second), choose Center of Primary
Notehead. To align the expression on the center of a notehead, or, if added to a chord with a
second, center the expression between the notes, choose Center of All noteheads. To Align the
expression with the right edge of the notehead, choose Right of All Noteheads. To align the
expression with the left barline, choose Left Barline. To align the expression with the left edge of the
time signature, choose Start of Time Signature. To align the expression with the end of the clef, key
signature, time signature, or repeat bar, choose After Clef/Key/Time/Repeats. To align the
expression with the first entry in the measure, choose Start Of Music. To center the expression
between the left and right barline, choose Center Between Barlines. To center the expression based
on where the music starts and ends (taking into account "Before" and "After" spacing in Document
Options-Music Spacing), choose Center Over/Under Music. To align the expression with the right
barline, choose Right barline.

Additional Horizontal Offset. Enter a value here, positive or negative, to make an additional
adjustment to the horizontal positioning of the expression.

Vertical Alignment: Vertical Click Position Above Staff Baseline Below Staff Baseline Top
Note Bottom Note Above Entry Below Entry Above Staff Baseline or Entry Below Staff
Baseline or Entry. Use these options to specify the vertical positioning of the expression relative to
the note or staff. To position the expression based on the vertical distance you clicked from the top
staff line choose Vertical Click Position. To position the expression on the baseline above or below
the staff (akin to lyrics and chords) choose Above Staff Baseline or Below Staff Baseline. To "fasten"
the expression to the top or bottom note of the chord, choose Top Note or Bottom Note from the
drop-down list. If you choose Top Note or Bottom Note, the value for vertical positioning in the
Expression Assignment dialog box represents the distance from the top or bottom note in the chord
(as in Finale version 2003 or earlier). To place the expression on the above or below staff baseline,
or, if the expression collides with the note, above or below the note, choose Above Staff Baseline or
Entry or Below Staff Baseline or Entry.

Additional Baseline Offset. This option appears only when Above/Below Staff Entry or Baseline is
chosen. Enter a value here to specify an offset from the baseline above or below the staff.

Additional Vertical Offset. Enter a value here, positive or negative, to make an additional
adjustment to the vertical positioning of the expression.

Additional Entry Offset. Enter a value here, positive or negative, to make an additional
adjustment to the vertical positioning of the expression relative to the entry.

OK Cancel. Click OK (or press enter) to return to the Expression Selection dialog box, where your
new (or edited) text expression appears in the list 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.

See Also:
Expressions
Expression Designer
Expression Selection
Expression Tool

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Expression Designer-Playback

How to get there

Click the Expression Tool, and double-click a note or measure. (If you want to edit a text expression
thats already in the score, double-click or ctrl-double-click its handle.) Click Create, or click a text
expression and then click Edit. Click the Playback tab.

What it does
These options control playback effects assigned to the 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 youre 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), dont enter any value in the Set To Value box.
Instead, use an Executable Shape.

260

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

Modulation
wheel or lever

Main volume

65

Portamento

Breath
Controller

10

Pan

66

Sostenuto

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 youre 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), dont 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 youre creating to affect the
transposition of the music wherever it appears in the score. (Use this option to define an 8va
marking, for examplebut dont 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, dont
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 youre 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 youre 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 youre 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 youre 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 its 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.

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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 chooseor createthe shape thats 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 staffs playback information over more than a
single MIDI channel. If youre 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 youve 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 youve told Finale not to use this stored tempo information, it
will use the default tempo youve set in the Playback Controls, or it will adhere to any Tempo-defined
expressions youve 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.

Type: SmartMusic Studio Marker. Choose this option to create a performance marker, such as a
pause for a fermata or cesura, a repeat, or an Intelligent Accompaniment level, for a file saved as a
SmartMusic Accompaniment file (*.SMP). Expressions containing SmartMusic Markers should be
attached to the solo staff. If the file is to be saved as a Full Ensemble, expressions containing
SmartMusic Studio markers should be assigned to the top staff of the score. Note that some
markers, such as repeats, require additional parameters added to the Description text box of the
Text Expression Designer dialog box.

Type: Human Playback On. Select Human Playback On to tell Finale to incorporate Human
Playback settings configured in the Playback Controls to the MIDI performance. After assigning an
expression containing this playback effect, you can enter an expression assigned to Human
Playback Off to turn human playback off at any point during the MIDI performance of the score.

Type: Human Playback Off. Select Human Playback Off to tell Finale to ignore Human Playback
settings configured in the Playback Controls during the performance. After assigning an expression
containing this playback effect, you can enter an expression assigned to Human Playback On to turn
human playback on at any point during the MIDI performance of the score.

SMS Marker. When SmartMusic Studio Marker is chosen under the Type drop-down list, this new
drop-down list appears. Here, choose the SmartMusic Studio Marker you would like to apply to the
expression. These options are described below.

SMS Marker: Intelligent Accompaniment=0 through Intelligent Accompaniment=10. Choose

one of these settings to adjust the Intelligent Accompaniment level. For example, if you would like
SmartMusic Studio to follow the performer precisely, adjusting to all spontaneous tempo changes,
choose Intelligent Accompaniment=10. To indicate the performer should follow the accompaniment,
choose Intelligent Accompanimnet=0. Choose Intelligent Accompaniment=2, 5, or 8 (low, medium, or
high) to indicate an intermediate level.

SMS Marker: Wait for End of Note. Choose this option to instruct SmartMusic Studio to wait for the
soloist to release a held note before resuming the accompaniment. After assigning this marker to an
expression, enter the expression to a point containing a note that should be held in the solo staff.
Then, enter an expression containing a Resume marker at the point the accompaniment should
resume after the release of the held note. When the soloist releases the note, SmartMusic will
resume the accompaniment at the next resume marker.

SMS Marker: Wait for Note On. Choose this option to instruct SmartMusic Studio to wait for the
soloist to play a specified pitch before resuming the accompaniment. After assigning this marker to
an expression, enter the expression at a point you want the accompaniment to pause. Then, enter
an expression containing a Resume marker on the note in the solo staff SmartMusic should wait for
to resume the accompaniment. SmartMusic will listen for the specified pitch before resuming the
accompaniment.

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SMS Marker: Wait for Foot Pedal. Choose this option to instruct SmartMusic Studio to wait for a
foot pedal message before resuming the accompaniment. After assigning this marker to an
expression, enter the expression at a point you want the accompaniment to pause. Then, enter an
expression containing a Resume marker at the point SmartMusic should resume the
accompaniment. When the performer presses the foot pedal, the accompaniment resumes. This
marker might be used if the solo and accompaniment resume simultaneously, or if the
accompaniment resumes before the soloist (after a cadenza for example).

SMS Marker: Resume. Choose this option to specify the end of a pause, or, in other words, a trigger
for the accompaniment to resume. After assigning this marker to an expression, assign the
expression to the point in the solo staff that SmartMusic Studio should wait for before resuming the
accompaniment. The trigger used to resume the accompaniment depends on the wait for marker
used. If a Resume marker appears after a Wait for End of Note, SmartMusic will resume upon the
release of a held note. If a Resume marker appears after a Wait for Note On marker, SmartMusic will
resume upon hearing the note under the Resume marker. If a Resume marker appears after a Wait
for Foot Pedal, SmartMusic will resume upon receiving a foot pedal message.

SMS Marker: Reset Tempo. Choose this option to instruct SmartMusic Studio to resume the
accompaniment at the tempo defined by a tempo expression or other tempo indication. This marker
eliminates tempo adjustments made by SmartMusics Intelligent Accompaniment feature. These
markers are generally placed at the same point as Resume markers, or any point the performer is to
return to the written tempo (such as an a tempo marking).

SMS Marker: Opt. Octave Up 1. Choose this option to instruct SmartMusic Studio to acknowledge a
performance that sounds an octave higher than written (in addition to the original octave).

SMS Marker: Opt. Octave Down 1. Choose this option to tell SmartMusic Studio to acknowledge a
performance that sounds an octave lower than written (in addition to the original octave).

SMS Marker: End opt. Octave. Choose this option end an Opt. Octave Up or Opt. Ovate Down
section.

SMS Marker: Rehearsal. Choose this option to indicate a rehearsal letter. Then, enter the text (A,B,
etc.) into the Description text box in the Expression Designer. In SmartMusic Studio, you can begin
an accompaniment all points marked by rehearsal letters. These should be added at the first beat of
a measure.

SMS Marker: Repeat. Choose this option to specify the beginning of a repeated section. This
marker is displayed in SmartMusics Repeat window during the performance. This marker is also
used to indicate repeat endings (first ending, second ending, etc.). After choosing this option,
additional parameters must be set in the Description text box of the Expression Designer dialog box
to indicate the repeat number, pass, measure number, and other parameters.

SMS Marker: Repeat End. Choose this option to specify the end of a repeated section.

SMS Marker: Repeat DS. Choose this option to indicate a D.S. section. A Repeat DS marker is
required at the first pass of the D.S. as well as the actual D.S. section.

SMS Marker: Repeat DC. Choose this option to indicate a D.C. section. A Repeat DS marker is
required at the beginning of the score, as well as at the actual D.S. section.

SMS Marker: Use Description Text. This option accommodates any additional markers that could
be added to future versions of SmartMusic Studio.

Set to Value. The number in this text box specifies the MIDI value of the playback parameter youve
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 youve 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 1732, if youre
using both ports])

Controller

0 (off) or 127 (on) for

pedals; any value from
0 to 127 for variable
controllers (such as a

Patch

Synthesizer patch
number (1 to 128)

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modulation wheel)
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 timea ritard, for example, or a crescendo. To
create playback definitions of this latter type, you can assign a Text Expression to an Executable
Shapein essence, a graph whose contours Finale "reads" as it plays back the music. The number
in this text box identifies the Executable Shape youve chosen to represent the playback effect of the
marking youre 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 doesnt
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 youre defining more
than oncein other words, if it falls within a repeated section youve created using the Repeat
Toolthe 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 youve created an expression such as "ritard 2nd time only" by entering a 2
into this box, Finale will apply the playback definition youve defined only on the second time it plays
back the affected passage.

See Also:
Expressions
Expression Selection
General MIDI Patch Numbers & Names
Playback Data Dump
Expression Tool

264

Extract Parts

How to get there

Open the document from which youll be extracting parts. Choose Extract Parts from the File Menu.

What it does
This dialog box allows you to extract parts into individual documents. When you do this, each new file
Finale creates is identical to the corresponding part from the parent document.

[Parts/Score list] Check All Check None Check Current. The score and all parts appear in
this section. From this list, choose the parts (and/or score) you would like to extract. Click Check All
to select all items in the list. Click Check None to uncheck every item in the list. Click Check Current
to check an item if it is highlighted.

Manage Parts. Choose this option to open the manage Parts dialog box where you can add, delete,
and customize parts. See Manage Parts dialog box.

Generate Parts. Click this button to generate a part for each instrument in the score. Finale
recognizes instruments that contain more than one staff, such as Piano, and creates a single part
accordingly. This is identical to the Generate Parts button in the Manage Parts dialog box.

File Names: Generate Names From Prompt for Each Name Save In 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

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part, select Generate Names From and enter the folder in the text box, followed by any variables you
would like to use in naming your parts. The variables are detailed in the table below.
Variable

Represents

Example

%f

Score file name

"Pastorale.mus"

%t

Score Title from the File Info

dialog box

"Symphony No 6"

%p

Part name

"Flutes 1 and 2"

%s

First staff name

"Flute 1"

%a

First abbreviated staff name

"Flt I" or "Pno"

First staff number

"1"

%i

The default is %p, which using the examples in the table would give you extracted parts with a
name like "Flutes 1 and 2.mus."
Using %f %p will name all the files first with the score name followed by the part name: "Pastorale
Flutes 1 and 2.mus," "Pastorale Oboe.mus," "Pastorale Clarinet.mus".
Using %n %s would give you "1 Flute 1.mus," "2 Oboe.mus," "3 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.
Select Prompt for Each Name if you want Finale to ask you for a file name each time a document is
created. Click the Save In button to select the folder in which you want the parts saved.
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.

OK Cancel. Click OK (or press enter) to confirm your parts extraction settings, or click Cancel to
dismiss the dialog box without changing any settings.

See Also:
Extracting parts
Document Options-Music Spacing
Page Layout Menu

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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 youre sending the file. The File Information dialog box has
plenty of room for you to enter the title of the piece, the composers name, copyright information, and a
document description. You can type any file-specific information that you may want to refer to later on. If
youre 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 files 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 Subtitle Composer Arranger Lyricist Copyright Description Score Name Insert
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.

267

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
Text Tool

268

File Integrity Test Results

How to get there

Open a file with inconsistencies. From the Document Menu, choose Data Check, then File Maintenance.
Ensure Check File Integrity is checked and click OK.

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 2009 prevents further damage from occurring. While using 2009 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.

269

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 Expressions Removed. The utility found and deleted empty 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:
Document Menu
File Maintenance

270

File Maintenance

How to get there

From the Document Menu, choose Data Check, and then File Maintenance.

What it does
Use this dialog box to remove deleted items from your document to reduce file size, or to run a file
integrity check.

Remove Deleted Items. When you delete or erase music, measures, or staves from a document
youre working on, Finale doesnt immediately discard that music. The Remove Deleted Items
command permanently removes any deleted staves, measures, notes and rests that Finale is
"remembering," and can dramatically decrease the size of your document (in terms of the disk space
consumed). Select the Remove Deleted Items check box and click OK. A dialog box appears
warning you that the process of removing items takes some time. When the operation is complete
Finale will display the results of the process.

Remove Duplicate Library Elements Text Expressions Shape Expressions Articulations

Retain Duplicate Elements With Unique Metatools. Check one or more of these options to
remove duplicate items from these libraries. You might want to do this if you load a library that was
saved from a different document that contains identical expressions or articulations. Instead of
deleting all duplicate items manually in the Expression/Articulation Selection dialog box, you can use
this option to tell Finale to do it for you. Check Retain Duplicate Elements With Unique Metatools to
tell Finale to keep any duplicate item that has a unique metatool assignment.

Test File Integrity. Choose this option to test the file for damage caused by a small percentage of
documents created in Finale 2001. See File Integrity Test Results.

See Also:
Document Menu

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272

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 copyistshow
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 isnt quite right either, because an expert user with a highpowered 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 doesnt
count any measures that contains whole rests, even if theyre "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 Info dialog box.

See Also:
File Menu/File Info

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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 youre 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 its 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 youve 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 dont, 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
Expression Designer
Expression Assignment

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Filter Channels

How to get there

Choose Open from the File Menu, and Select MIDI 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 Trackto-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 youve 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
havent 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 thats higher than the High number; Finale will include in
the transcription all notes except those in the register youve just outlined.) Note, however, that you
dont have to calculate the key numbers and type them in manuallyyou can play them instead.

Listen. Click the Listen button beside each pair of text boxes, and play each notethe lowest, then
the highest note in the range; Finale enters their key numbers in the text boxes automatically.

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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:
MIDI
Track/Channel Mapping
Track/Channel Mapping to Staves
Import MIDI File Options

FinaleScript Editor dialog box

How to get there

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From the Plug-ins Menu, choose Miscellaneous, and then FinaleScript Palette. Then, click the View
Current Script button .

What it does
In this dialog box, create or edit scripts used in the FinaleScript plug-in

Script Name. Enter the name of the script here. This text will appear will appear in the Script List
portion of the FinaleScript Palette.

Show in Menu. Check this box to display this script in the FinaleScript submenu of the Plug-ins
menu.

Use Shortcut; Select. Check this box to assign this script to a keyboard shortcut. Click Select to
open the FinaleScript - Shortcut Editor dialog box where you can define a keyboard shortcut.

[Script Editor Window]. Use this window to define Finale commands to be applied when the script
is run. The shorthand used to specify FinaleScript commands and Finale Commands can be found in
the Appendix. See FinaleScript Plug-in. The // command can be used to type comments that will not
be processed. Use /* <multi-line comment> */ to enter a comment of more than one line.

Run Script. Choose Run Script to execute your script without leaving the FinaleScript - Editor dialog
box.

Save and Close Cancel. Click Save and Close to save the script and return to the FinaleScript
Palette. Click Cancel to return to the FinaleScript Palette without saving the changes to the script.

Contextual menus
Contextual menus are reached by right-clicking text in the FinaleScript - Editor dialog box. A contextual
menu will be displayed where you can select various items (see also FinaleScript Helpers).

Menu item

What it does

Insert path

Launches the Open dialog box where you can

choose a source or destination folder (choose a
folder and FinaleScript will insert the path
automatically)

Comment/uncomment

Comments or uncomments the selected line

Help

Opens the FinaleScript - Editor topic of the Finale

User manual.

Command unfound/(no keyword found)

Indicates whether or not the selected command

is in the FinaleScript Dictionary

Dictionary list

Lists all keywords bearing resemblance to the

selected text

Script Syntax Coloring

FinaleScript uses an automated coloring scheme to display the function of script text. As you type
FinaleScript updates the coloring automatically.

Deep green for command keywords

Deep purple for command attributes

Dark blue for numbers

Dark Orange for strings "between quotes"

Red for font names (between brackets)

Light gray for comments

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Dark gray for unrecognized words (ignored by FinaleScript)

See Also:
FinaleScript plug-in

278

Fit Measures

How to get there

In Page View, click the Selection Tool, and select a region of full measures. From the Utilities Menu,
choose Fit Measures.

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 Measures command also allows you to
lock the measure grouping and the contents.

Change Current Part or Score Selected Parts/Score All Parts All Parts and Score; Select.
Choose Current Part or Score to apply changes to the score or part that is currently active in the
document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score
dialog box where you can choose to apply changes to any combination of the score and/or parts.
Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full
project - all parts and the score.

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
youve 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 Measure layout).

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: All Measures 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.

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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, youre changed systems will
now display them. See View Menu.
To undo measure groups youve created in this way, choose Update Layout from the Edit Menu
while pressing shift or press U in the Selection Tool after selecting individual systems.

See Also:
Utilities Menu

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Fit to Time

How to get there

. Select a region of music. From the MIDI Tool Menu, choose Tempo. Then,
Click the MIDI Tool
from the MIDI Tool Menu, choose Fit to Time.
What it does
This dialog box displays the start and end time of the selected region of music based on the playback
tempo. It allows you to specify a duration for the selected region of music or the elapsed time of the entire
score.
This dialog box does not account for tempo changes applied by Human Playback. To eliminate Human
Playbacks tempo changes, for Tempo, choose No HP Effect in Human Playback Preferences - MIDI
Data.

New End Time. Here, enter the moment (from the beginning) playback should reach the end of the
selected region.

New Elaped Time. In this text box, enter the duration for the selected region. Finale adjusts the
tempo of the music so that the measures selected fit into the amount of time specified.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the Fit to Time data changes
youve specified.

See Also:
MIDI Tool

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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)
youve 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 flutes register to place in
one staff; only the notes in the basss 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 referand all notes in
betweenwill be split into their own staff.
Note: You dont 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 notethe 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) youve 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.

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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, youll see Fixed (if
you clicked OK) or None (if you clicked Cancel).

See Also:
Track/Channel Mapping

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Fixed Split Point

How to get there

Click the HyperScribe Tool
HyperScribe Menu.

. Choose Split into Two Staves from the Record submenu of the

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 youre 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

284

Font Annotation

How to get there

From the Edit Menu, choose Program Options and select Edit. Then click 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 and collision avoidance
for Engraver slurs. Weve provided annotation files for each of the fonts provided by Coda. If you use an
alternative music font, you should 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-Edit 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
characters origin and baseline.

Bounding Rectangle: Top Left Right Bottom. These text boxes reflect the values for the
annotated size of the font character.

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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
characters origin and baseline.

View % Magnifier Glass + Magnifier Glass -. Select a view percentage from the View dropdown 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 youve made, and
return to the Font dialog box.

See Also:
Program Options-Edit

286

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 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 youre
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 youve typed, if appropriate. Enter the Size (and click each check
box to remove any dashes) to preview the selected font. (A dash indicates the current fixed size or
style specified for any text existing in the document. Since more than one size/style may exist in the
document for any given font, the font preview is only available with dashes removed.)
Note: When youre 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.

Size. In this text box, enter the size, in points (72 per inch), for the textual element youre designing.
Each time you enter a number, Finale updates the sample text display to reflect the change. See
Fonts for some important advice about selecting fonts and type sizes.

Fixed Size. Normally, when you use the Resize Tool to make your music larger or smaller on the
page, Finale scales all page elements by the same amount, including text. Therefore, the size of
your lyrics and titles, for example, always remains proportional to the music around it.

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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 thats the case, select Fixed Size; Finale wont scale this text if the size of the music
changes.

Style. Click as many of these checkboxes as you want; each creates a stylistic change in the font
and size youve selected, as follows: Bold, Italic, Underline, and Hidden.

OK Cancel. Click OK to confirm, or Cancel to discard, the font change youve specified. You return
to the previous dialog box.

See Also:
Articulation Tool
Expression Tool
Lyrics Tool
Measure Tool
Text Tool

288

Frame Attributes

How to get there

Click the Text Tool. Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shiftdouble-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, leftfacing (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 (youd select Left Pages, and 6 Through 10 to display the text block on every
left page between pp. 610, 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, youd select Page Range and enter 6 Through 0, or enter 6 and leave Through blank.
The page number(s) in the Frame Attributes dialog box may differ between the part and the score if
either contains blank/title pages. For example, if there is one title page on the part but not the score
and a text frame is assigned to the first page containing music, the Frame Attributes dialog box
indicates page 1 while viewing the score and page 2 while viewing the part.

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Note: A text block assigned to a measure will only appear on the page containing that measure, so
the page settings arent 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 youre 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 fromdrop-down list to have Finale calculate a page-assigned text blocks position
starting from either the page margin or page edge. Select Page Margin to have Finale measure
the text blocks position starting from the page margin. Select Page Edge to measure the text
blocks 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.

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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

291

Fretboard Editor

How to get there

Click the Chord Tool
, choose Manual Input from the Chord Menu, then click any note that doesnt
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.

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. From this drop-down menu you can choose to show fretboards
for banjo, dulcimer, gamba. 7-string guitar, bass, lute, mandolin, requinto, sitar, ukulele, and vihuela.
You can also edit these styles to account for custom tuning. 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.

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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 roots 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 symbols
Chord Definition

293

Fretboard Instrument Definition

How to get there

Click the Chord Tool
, choose Manual Input from the Chord Menu, then click any note that doesnt
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 chords 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.

Diatonic; Define. Some fretted instruments, such as dulcimer, have varying pitches between frets.
Click the Define button to define a non-chromatic fretboard. See Diatonic Instrument Definition.

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 dont 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.

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Speedy Clef. Click this button to open the Clef Selection dialog box where you can choose a clef to
use when editing TAB staves , which use this instrument, as standard notation in Speedy Entry.

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

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Fretboard Selection

How to get there

Click the Chord Tool
, choose Manual Input from the Chord Menu, then click a note that doesnt
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 youve 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 or edit new fretboards.

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). Doubleclicking 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.

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Edit. If youve 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 dont see the fretboard youre 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 youve 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.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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.

See Also:
Chord symbols
Chord Definition
Fretboard Editor

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Fretboard Shape Selection

How to get there

Click the Chord Tool
, choose Manual Input from the Chord Menu, then click any note that doesnt
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 chords 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 youve 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.

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Create. If you dont see the shape youre 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 youve 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.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

See Also:
Chord Definition
Fretboard Editor

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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 doesnt
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 chords 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 Shape Selection dialog box, where you can design an alternate marking for
these fretboard elements. See Fretboard Shape 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:

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Chord Definition
Fretboard Editor

301

Fretboard Styles

How to get there

Click the Chord Tool
, choose Manual Input from the Chord Menu, then click any note that doesnt
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 chords 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 youre editing.

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. 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.

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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.

Number of Frets (Default). Enter the default number of frets to use when creating custom
fretboards.

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

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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:
Staff Styles
Staff Tool

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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 youre 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.

Link to file Path Select. Check Link to file to instruct Finale, instead of embedding the graphic, to
maintain a relationship with the file as it is located in the hard drive. When an embedded graphic is
changed to "linked" via the Graphic Attributes or Check Graphics dialog, the Save TIFF dialog box
appears where you can specify the linked image. You can change a graphic from linked to
embedded, as long as the linked file is found. The original path of the graphic (where it was located
when you placed it into the score) is listed below these check boxes. Click Select to change the path

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of the referenced graphic. This is especially useful if the file link is broken (which happens when
linked files are moved).

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 (oddnumbered) 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. 610). 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, youd
select Page Range and enter 6 Through 0, or enter 6 and leave Through blank.
The page number(s) in the Graphic Attributes dialog box may differ between the part and the score
if either contains blank/title pages. For example, if there is one title page on the part but not the
score and a graphic is assigned to the first page containing music, the Graphic Attributes dialog
box indicates page 1 while viewing the score and page 2 while viewing the part.
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 youre 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 youre 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 graphics position
starting from either the page margin or page edge. Select Page Margin to have Finale measure the
graphics position starting from the page margin. Select Page Edge to measure the graphics
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

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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 measureand 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 graphics 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
Graphics Tool

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Garritan Ambience

How to get there

From the MIDI/Audio Menu, choose Instrument Setup > VST Instruments. Click the Edit button next to
Ambience Reverb.

What it does
From the Garritan documentation:
Reverberation describes the phenomenon that occurs when a sound is made in an ambient space.
Whenever a sound is produced it radiates in all directions in that space. When these radiated sounds hit
a surface such as a wall or the ceiling, the sound is either reflected or absorbed. Our ears and our brain
recognize these signals and let us know about the type and size of space we are in. Much in the same
way as the acoustical space adds a great deal to the music, reverb can impart that certain threedimensional ambient sound to sampled instruments. Reverb can also help smooth out the sounds of the
instruments and cause them to blend together in the mix. Of all the effects that can be applied to music,
reverb is perhaps the most widely used since it emulates the sound that's literally heard everywhere
around us. The Ambience Reverb plug-in is an excellent-sounding reverb that rivals the quality of some
of the best commercial reverbs. Ambience allows you to simulate the reverberation of a concert hall and
other performance spaces. Included with Ambience are customized presets that were designed for the
instruments of Garritan Personal Orchestra. These presets include concert halls, a cathedral, ballrooms,
parlors, halls, and other performance spaces. You can also design your own spaces with Ambience.

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Gating: Amount Attack Release. These controls affect how the reverb follows the dynamics of
the audio input and can generate some interesting effects. These effects arent suitable for naturally
sounding reverb, although they can be useful for experimental music.

Decay: Time Diffusion Hold. The Time dial controls the time it takes for the reverb reflections to
fade away into silence. Diffusion has a subtle effect on the sound, especially noticeable with small
room sizes. The Hold button will freeze the reverb at its current sound, holding it indefinitely until you
press it again. This is useful for creating a pad from a plucked instrument. (This could produce
interesting effects when used with the gater.)

Shape: Size Predelay Width Quality/CPU Variation. The Size dial controls the size of the
room. Note that long reverb time and small room sizes do not mix well. For natural sounds, a large
room size, such as a concert hall, should be accompanied by a long reverb time, and vice verse.
Predelay is the amount of time between the direct sound and the first of the reverb reflections. It is
pre-delay that defines our perception of the size of the room. The Width dial controls the stereo
spread from mono (0%) all the way to a wide stereo (100%). It is recommended this be set close to
100%. The Quality/CPU dial allows you to trade off reverb quality for CPU usage. High quality = high
CPU usage. If there is too much CPU demand on your machine, try turning down the quality. You
can make fun effects if you set it very low (try it). The Variation dial can create a new variant of the
same room. If there is some annoying echo or ringing in the reverb that bugs you, adjust this control
until you find a desirable variation. (If a problem still persists, try raising the Quality/CPU too.)

EQ. These controls allow you to put equalizer effects on the reverb. They can be useful for cutting
away bass that can otherwise make the reverb sound muddy. They can also help to simulate the rolloff in response at high frequencies characteristic of most concert halls.

Damping. The Damping section affects how the reverb's character develops over time as it decays.
Use it to control the decay time of bass and treble.

Dry. This slider controls the volume of direct (unprocessed) sound. When using Ambience as a send
effect, set this parameter to -inf.

Wet. This slider controls the volume of the processed reverberant sound.

See Also:
Aria Player

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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.

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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 list 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 groups attributes will alter its appearance in Scroll View. The
changes will also appear in every staff system in Page Viewunless youre 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 groups attributes in
Page View will affect its appearance in every staff systemexcept for optimized staff systemsbut
wont 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 groups 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.

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Group Optimization: Optimize Normally Only Remove if All Staves are Empty Never
Remove. These options dictate how Finale will treat the group after Optimization. Choose optimize
Normally to disregard the group definition while optimizing. Choose Only Remove if All Staves are
Empty to leave all staves if the group contains any notes in the system. This is typically used for
instruments such as piano and harp that are notated on more than one staff. In these cases, you
would ordinarily want either both staves to show, or none, but not just one. Choose Never Remove to
always leave all staves in the group after optimization.

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 dont 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, nonprinting 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:
Staves
Staff Menu
Staff Tool

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Guitar Bend Options

How to get there

Click the Smart Shape Tool

. From the Smart Shape Menu, choose Guitar Bend Options.

What it does
The Guitar Bend Options dialog box allows you to specify various settings related to how the bend affects
tab numbers in a tab staff and the text that accompanies bend curves when you create them. Settings
you make in this dialog box will affect all guitar bends in your document.

Place Release Bend Number in Parenthesis. Check this box to place parentheses around a fret
number when the number indicates a bend that has been released.

Hide "Bend-to" number. In tab notation, the second note of a bend is often absent in the tab staff.
Check this box to automatically hide the second fret number of a guitar bend.

Automatically Generate Text. Check this box to automatically generate text indicating the pitch
variation of the bend. If the second note of a bend is one half-step higher than the first, for instance,
you will see a "1/2" accompanying the guitar bend when this option is selected.

Replace "1" with "Full". Check this box to indicate bends of a whole step with "full" instead of "1".
Click the Set Font button to the right of this check box to specify the Font, Size or Style of the text
"Full" as it will appear in the score. This option is only available if Automatically Generate Text is
selected.

Whole Number/Set Font. Click this Set Font button to specify the Font, Size or Style of any whole
number generated while entering a guitar bend.

Fraction/Set Font. Click this Set Font button to specify the Font, Size or Style of any fraction
generated while entering a guitar bend.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes youve made to
your settings for guitar bends. You return to the score.

See Also:
Guitar notation
Smart Shape Menu

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314

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 Trackto-Staff List. In the Track/Channel Mapping for Staves dialog box, click the first row of information you
havent yet filled in. Click Hand Width.

What it does
This dialog box lets you transcribe the contents of the sequencer tracks youve 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 pointprovided theres 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 youre
transcribing. Finale automatically enters the key number into the appropriate text box (in which
youve 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 youve just made.
You return to the Track/Channel Mapping dialog box.

See Also:
MIDI
Track/Channel Mapping
Track/Channel Mapping to Staves
Import MIDI File Options
File Menu

315

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 themselvesand distance themselves uniformly from the
noteheadautomatically.
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 youve told Finale to center it on the note, its 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 symbols 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 symbols extra height when you
use the Avoid Staff Lines placement option. See Articulation Designer dialog box. (Note: You generally
dont need to specify a handle position for each marking for centering purposes; Finale automatically
measures a symbols 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 youve just
made. You return to the Articulation Designer dialog box.

See Also:
Articulation Designer
Articulation Tool

316

Human Playback Custom Style

How to get there

From the Windows Menu, choose Playback Controls. Click on the expand arrow. From the Human
Playback drop-down list, choose Custom.

What it does
In this dialog box, you can create custom Human Playback settings.

Copy Settings From. Choose a Human Playback style from this drop-down list to apply its settings
to the parameters in this dialog box.
Tip: Use FinaleScript to copy Human Playback
settings between documents.

Revert Settings. Click Revert Settings to restore all parameters to the last confirmed group of
settings.

% Rhythmic Feel. Move this slider right to increase or left to decrease subtle rhythmic variations
that a musician would give to the notes while performing any type of music, depending on the time
signature, tempo, style, and other factors. This parameter does not change the global tempo
measure by measure, only subtle variances within the existing tempo.

317

% Rhythmic Accents. Move this slider right to increase or left to decrease the degree to which
dynamic accentuation is applied to the performance. Any part of a measure in human performance
has a slightly different accentuation, and joint movements, such as scales, are naturally accentuated
differently than disjoint ones such as arpeggios. The results of this setting also depend on the time
signature. For example, the 3rd 8th note in 4/4 time is played in a different manner than the 3rd 8th
note of 6/8 time. Fixed-dynamic instruments, such as organ or cembalo, should have this parameter
put to zero.

% Rubato. Move this slider right to increase or left to decrease the degree to which the overall
tempo can be adjusted during the course of the performance. Tempo rubato means "stolen time."
Actually, time is stolen (accelerando) but also given back (deccelerando). This is the distinguishing
characteristic of rubato style. For creating this rubato effect, Human Playback analyzes the score as
a complex stream of notes, dynamics, rhythms, tempos, and calculates a resulting data structure
called entropy, which is basically the measurement of the disorder, or chaos, of the music. As an
example, the well-known first prelude in C major of Bachs Well-Tempered Clavier has an entropy
close to zero (except at the end, which leads to some rubato) while about any of Beethovens
sonatas have a very high degree of entropy.

Swing: None...Dotted 8th, 16th. This control allows you to apply a swing feel to the Human
Playback style. Click on the Swing Values drop-down list to select from several levels of swing. Or,
choose Current to use the current setting in the Playback Settings. Note that Human Playback
recognizes documents created using the Jazz music font and applies Swing playback automatically.

Interpret: Human Playback will incorporate items checked here into the performance.

Slurs. Suggests to the performer how the music should be articulated and phrased. Human
Playback interprets slurs by slightly overlaying one note onto its neighbor.
The amount of overlap depends on the instrument. For example, overlap for the piano or
harpsichord is relatively longer than for a wind instrument. The value of the overlap also depends
on the context (as most parameters in HP), and generally speaking, does not depend on the
tempo.
The last note of a slured passage is relatively shorter.
Staccato notes within a slur (string spiccato) do not overlap but are relatively longer than normal
staccato.
Repeated notes within slur are taken into account so not to overlap.
Non slured notes are given a shorter end time value (so to sound somewhat detached).
Certain notes are automatically slured (without requiring an actual slur symbol), such as
ornaments, tremolos, and glissandi. For example, piano glissando (on black or white keys) gets a
strong overlap because the player's hand actually clusters the keys when glissing.

Slurs with GPO: For sustaining instruments (winds, brass, strings), controller 64 or 68 is used (see
GPO Finale Edition Instrument Details). Value 127 is applied just after the start of the first slured
note. Value 0 is applied back just before the end of the last passage note. An overlap between notes
(of 1 EDU) is required to alter the attack. The GPO manual recommends to have a polyphony of 1 for
solo winds and brass, although legato effect does work in practice if polyphony > 1 (default in Finale
GPO is poly=2 for solo instruments.) For non sustaining instruments (piano, etc), normal overlap is
applied.

Tempo Changes. When checked, Accelerandi and Rallentandi are processed. Tempo changes
added as text expressions or smartshapes are interpreted. When a smarshape is used, such as a
hairpin, the duration of the effect is dictated by the length of the smartshape. When an expression is
used, HP uses the following factors to guess the duration of the tempo change: whether it is the end
of a movement, near a fermata, near an expression tempo change, near an "a tempo" expression, or
near a subsequent rall or acc. When none of these clues is available, HP decides the duration on its
own (generally not more than 2 measures). Generally speaking, HP uses linear model for tempo
changes. The number of steps depends on the actual time involved.
The effect depends on the context: slowing down from Presto is not the same thing as from
Andante.
The effect also depends on the Rubato slider.
See Human Playback Dictionary for a complete list of words Human Playback understands. Note
that Some wording is ignored (has no effect) including: poco a poco, peu a peu, nach und nach,
little by little, sempre, toujours, always, and immer.

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Other wording intensifies or softens the effect including: molto, moltissimo, moltiss, trs, beaucoup,
much, pi, un poco, poco, pochissimo, poch, un peu, lgrement, etwas, a little.

Trills, Ornaments, Tremolos. HP interprets nearly all known ornaments (trills, rolls, rare baroque
ornaments, etc.) and tremolos. In Finale, these can appear as Smart Shapes, expressions or
(symbol-based) articulations. The context is very important: HP finds the right interval (when not
specified) and right speed, the right accent and legato. The ornaments recognized range from early
music to jazz (more than a hundred symbols). HP also catches Third-party font ornaments such as
November and Jazz. Trill notes are created in Voice 2 of the trill note layer.
Whether an ornament is measured or not depends on the context and on the notation.
Unmeasured HP ornaments are not dependent on the tempo, even a fermata. Their speed
depends on the Orniment/Tremolo Minimum Speed values specified in the Human Playback
Preferences dialog box, as well as the context. For example, if Humanize Rolls and Trills is
checked, the trill speed for string and winds slightly depends on the pitch - a lower trill on a bass
clarinet is physically slower to produce than a high pitch on a piccolo.
Tremolos, according to HP, fall into two categories: string diddles and percussion rolls (slashed
notes), and piano tremolos (alternate). Whether the tremolo/diddle is measured or not depends on
the context. Generally, a diddle counting less than 3 slashes (including beams) is measured,
unless they are string tremolos and the tempo is fast (half note > 60). If Play 32nd Note Diddles
Exactly is checked, diddles are always measured for percussion rolls or 2-beam string tremolos.
Trills and Tremolos are given some legato feel as if they were slured.
For ornaments (trill, gruppetto, etc.) with no accidental specified, HP watches the notes nearby to
determine the best guess for the interval. (Adding an articulation accidental will modify the interval
accordingly. Accidentals can be parenthized, small version, or EngraverFontSet trill notes). See
Human Playback Dictionary.
Long trills (multi-measure smart shapes) are possible. The trilled notes can change, and some
different accidental can be specified along the way, such as an articulation, using available
accidentals as well as rarer symbols such as November Extra char # 132 to 136, or Engraver 76,
89, 180, 194, 231, and 241.
Trills generally start with the lower note, unless otherwise specified: grace note before, or HP
option Baroque Ornaments and Grace Notes checked.
If a trill or ornament is on a chord, HP only processes the upper/lower note only, depending on
where the ornament is placed.
Multiple trills are possible on the same staff - 2 trills going on different layers.
When a trill is placed on a fermata, it doesn't get slowed down, and it stops a little bit on the last
note at the end. A breath can be heard before the music starts again.
If Humanize Rolls and Trills is set, start of trill (the first 3-4 notes) is a little bit delayed (some Mood
factor is used, here, too), using a linear progression to the final trill speed. This delay slightly
depends on whether the passage/staff is solo or not.
(Music Font char. 84) depends on context, following classical
Performance of Gruppetti
interpretation rules. A grupetto on a dotted note followed by a half-value note (e.g. dotted
quarter+8th) is different than on a plain non-dotted note. If Baroque Ornaments and Grace Notes is
checked, grupetti on relatively short notes start with the upper note. On long plain notes, grupetti
are "packed" at the end.
Grace notes: HP distinguishes between accacciatura and appoggiatura. An accacciatura is a
slashed grace note and is performed as fast note somewhere before the beat. An appoggiatura is
an unslashed grace note and must be performed rather slowly, at about (but not quite) half the
value of its successive note, starting on the beat.
Percussion flams: Simple, double and triple flams, written as grace notes, are interpreted as fast
repetition; the speed is those of normal trills (real time: doesn't depend on tempo). If the preceeding
note is too short, then the value is adjusted accordingly (no overlap possible).
Jazz Shake (wavy line smartshape): Shakes are interpreted as relatively fast minor-third
alternate tremolos. For sustaining instruments, (and if Humanize Rolls and Trills is checked, they
are much better performed as pitch bend variation, using a mix of sin-based and linear curves.
Jazz char # 148 and 149 can also be used as articulations.

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Other Jazz Stuff: Turn (char#84):

The interpretation depends on the melodic context
(ascending, descending melody). See Glissandi and Bends below for more information.
Percussion Rolls (or trills): If Humanize Rolls and Trills is checked in the Human Playback
Preferences dialog box, rolls (timpani, snare drum, etc.) are brought special treatment to make
them sound more realistic. Rolled notes are generally somewhat softer than the main note, and
overall, small, irregular series of dim/cresc are applied. The range and length of these dim/cresc
depend on the context, and on a controlled random factor. Also, start times are slightly randomized.
These effects are best suited for superior sound libraries such as GPO. Some humanization also
applies actual (written) fast repeated percussion notes. There is also a less subtle effect for diddles
or trills.
Trills, Ornaments, Tremolos with GPO: Some special GPO controller effects are applied to
tremolos and ornaments (Humanize Rolls and Trills must be checked).
Finale GPO is able to handle piano sustain pedal and sustaining instrument legato effect at the
same time, because it uses CC#68 for legato instead of CC#64. Because of this, one can fully take
advantage of HP Automatic Pedaling and standard pedal symbol interpretation.
Strings, Winds and Brass trills or alternate tremolos: CC#21 (length) is increased to 110
(default=64) to get a better "blend". Keyswitch trills are not used by HP.
Timpani rolls: CC#22 (Intonation) is increased to 105 (default=10), and CC#23 (Timbre) is set to 20
(default=10).
Bass drum (Basic Orchestral Perc, MIDI note 35/36): CC#22 is set to 45, and CC#23 to 24; For
Snare Drum (MIDI note 59/60), CC#22 is 23 and CC#23 is 28; For Side Drum (MIDI note 57/58),
CC#22 is 15 and CC#23 is 18. Standard value of 10 for CC#22 and 23 are written back after a roll.
For Timpani, Bass drum, Snare and side drums, alternate strokes are used (for Timpani, alternate
notes are separate by 2 "octaves"). No CC# 22/23 or alternate note changes are given to other
percussive instruments.
String Tremolos: If Support for String, Harp and Brass Techniques is checked, keyswitches are
used. Finale GPO uses unified string keyswitches (Use Unified KS is set by default) available for
either section or solo strings: MIDI note 0 = arco/ordinario, MIDI note 1=mute, MIDI note 5= pizz,
MIDI note 6=tremolo mute, MIDI note 7=tremolo.
Non-unified keyswitches can be used as well for compatibility with GPO1 and 2 (uncheck HP pref
Use Unified KS for this); for instance, non-unified pizz is MIDI note 41 (any string non-unified KS is
supported, from Contrabass to Violin, but note that string tremolo KS are not available in GPO 1/2 possible inconsistency). GPO Finale Full String KS are supported, too, but GPO 1/2 Full String KS
are not.

Fermatas. Includes fermatas added with the Expression and Articulation Tools, and also includes
breath marks, grand pauses (GP) and commas. The playback effect is highly context dependent
(based on the surrounding music). A fermata (and sometimes breath marks) are preceded by an
automatic rallentando, which depends on both the Rubato and Mood sliders. A short breath is heard
after a fermata, breath mark and comma. Commas or breath marks that are already defined for
playback (shorter note length) are taken into account (and overridden). Note fermata playback also
depends on the Minimum Duration setting applied in the Human Playback Preferences dialog box.

Hairpins and Dynamics. Any type of dynamic marking, graphic or textual, is interpreted by Human
Playback. These can be added as text expressions or smartshapes. The playback effect used is
either Volume (controller 7) or Key Velocity based on whether the instrument is a sustaining (flute) or
non-sustaining (piano) instrument. Hairpins (expression or smart shape) in the middle of piano
staves have effect on both. Effect can depend on the Mood parameter, and also relies heavily on the
corresponding HP preferences. See Human Playback Preferences dialog box. For a complete list of
words Human Playback understands, see Human Playback Dictionary.
HP interprets graphic hairpins and text expressions such as "cresc" or "dim". Hairpins apply to
playback for their duration unless a dynamic marking is encountered. Several factors are evaluated
as HP decides whether the concluding hairpin dynamic should apply to the following notes,
including the distance to the next dynamic marking, whether a hairpin follows, and whether it is the
end of a passage.
For percussive instruments and plucked strings (keyboards, mallet instruments, percussion, harp,
etc.), Velocity is used for dynamic changes exclusively.

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For sustaining instruments, such as winds, brass, and strings, HP uses a complex combination of
Velocity and Volume because MIDI Volume alone is not sufficient to account for timbre changes. A
and ending
. HP solves this by
typical difficult case is a single sustained note starting
using a fractional-power equivalence function between Velocity and Volume. Fast passage on
sustaining instruments, however, are processed using Velocity, because it generally sounds better.
The base staff Volume value is taken into account in the calculation, or whether it is a solo
instrument or phrase. Hairpins are processed phrase by phrase examining the context always very
carefully.
A complex case is alternation of pizz and arco passage. Pizz are processed as Velocity, and arco
as Volume. Sometimes pizz/arco changes are very close altogether and HP has been designed to
handle these changes fluently.
For a complete list of dynamic text expressions that HP understands, see Human Playback
Dictionary.
Hairpins and Dynamics with GPO: For percussive instruments and plucked strings Velocity is
used for dynamics, as is the GM standard. For sustaining instruments, such as winds, brass and
strings, HP takes advantage of GPO's unique dynamic approach using CC#1 (Modulation). For this
to function, Use Contr. #1 for Continuous Dynamic must be checked in the Human Playback
Preferences dialog box.

Pedal Markings. Pedal markings indicated by smart shapes, expressions and articulations are
interpreted by HP. CC#64 (Sustain) data is added with value 127 (Ped) or 0 (*). Pedal signs can be
used for the piano and mallet instruments (Glokenspiel, Marimba, Celesta, Xylophone).
The following symbols and expressions are tracked: Ped, con pedale, pedale, (#161), * (#42).
If several "Ped" signs follow each other without "*", HP automatically releases the Ped in between,
so not to blend the sound. Also, Pedal Markings do not conflict with Automatic Piano Pedaling
function. Near notated pedal markings, HP will not apply the automatic pedal function.
Pedal Markings with GPO: Finale GPO is able to handle piano sustain pedal and sustaining
instrument legato effect at the same time, because it uses CC#68 for legato instead of CC#64.
Because of this, one can fully take advantage of HP Automatic Pedaling and standard pedal
symbol interpretation.

Glissandi and Bends. This is complementary to the Trills, Ornament, Tremolo setting. Noteattached Smart Shape Glissandi, guitar bends, tab slides, and wavy lines (custom or not) are
interpreted by Human Playback. The type of gliss performed (white key piano, black key piano, harp
tone-based, harp with altered scale) is based on the context of the music. Pitch bends are used for
relatively short spans under an octave, chromatic for a short piano gliss (theater music gliss).
Note attached slurs and jazz bends added with the Jazz Font as articulations are recognized and
interpreted. A piano or harp gliss (or xylophone, etc.) can be a chord (or gliss of third, 5th, octave,
etc). Some additional preferences are available in the Human Playback Preferences dialog box.
HP is able to perform glissandi and bends in about any type of situation. Basically, there are two
types of glisses and bends: using note scales, or pitch bend.

Glissandi. They are written as note-attached smartshape (wavy, or straight line), and can be crossmeasure, and cross-staff.
Piano/keyboard gliss: Depending on then start note (black versus white), a keyboard gliss is
performed as white note gliss or black note gliss, automatically. The effect doesn't depend on the
current key signature. Small (< 5th) chromatic "theater" piano/organ glissandi are also available.
Harp Gliss: These depend on the current key signature/accidental context. To perform harp
glissandi right, HP watches the key signature, as well as the accidentals before. Also, courtesy
small notes can be used to indicate which note are being altered (ex: Debussy's Aprs-midi d'un
Faune)Note that Harp gliss are never chromatic in HP.
Harp and keyboard glissandi can be performed on multiple notes (glissandi of chords). They both
use a square root-based algorithm, making speed somewhat flexible during the gliss.
Gliss on sustaining instruments: They use pitch bend, and above the max pitch bend range (see
Pitch Bend Range in the Human Playback Preferences dialog box), they are performed as
chromatic or diatonic glissandi.

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When starting the pitch bend change and restoring the normal pitch bend (=0), HP takes breath
and resonance into account, as far as possible. Curve is either cubic or linear, depending on the
context.
Doits/Falls, Prebends. They generally are Jazz Font articulations, but can also be created as
smartshape (wavy/straight line, slur) attached to a single note, or attached to a note and a rest.
Placement and direction are watched to determine the best performance.
Guitar bends and prebends (of any kind: 1/2, 1/4, etc) are also interpreted, written as smarthapes.
On the guitar, the wavy line is interpreted as a pitch-bend vibrato, using a decay exp/sin-based
curve.
Glissandi and Bends with GPO: Finale GPO can take full advantage of HP's bends and glissandi.
Note that HP does not use Portamento.
Final Bars. Human Playback creates a unique effect for the end of a piece based on the dynamic,
note density, and other musical factors, as well as the Mood and Rubato sliders. This effect applies
to several movements in a single document (in that case, a breath is performed between
movements). DC al fine and other repeats are taken into account.
% Mood. Move the Mood slider right to increase, or left to decrease a slight degree of randomness
in the performance. Virtually all items interpreted by HP are effected by the position of the mood
slider.
Advanced Settings: Use these options to apply or remove advanced Human Playback effects to the
custom settings.

Automatic Expression. Adds espressivo automatically to held notes from sustaining instruments
(such as winds and strings). It creates three types of effects: smooths attacks on long notes with soft
dynamics, adds expressivo to long notes, and softens the ending of long notes. This effect is volume
based and dependant on the Mood slider.

Detection of Solo Instruments. Check Detection of Solo Instrument to tell Human Playback to
recognize a solo instrument in a score in order to apply appropriate settings (Such as Soften
Accompaniment). HP recognizes not only a soloist instrument (e.g. 1st violin of a string quartet), but
also solo passages in, for example, an orchestral score. Note that the balance between the solo and
others can be adjusted in the Human Playback Preferences dialog box. This setting uses the Volume
controller for balancing, and also effects how the solo part is placed in the orchestral space.

Baroque Style for Ornaments. Check Baroque Style for Ornaments to perform mordents, trills and
other ornaments in a Baroque style (i.e. trills start on upper note, appoggiaturas are slow, etc.).

Short Syncopations/Off Beats. This options makes jazz music sound more realistic by
emphasizing off beats and short syncopations. The effect is applied with Key Velocity.

Viennese Waltz Feel. When checked, this gives a special feel to 3-based time signatures, with
emphasis on the 3rd beat. It influences both Rhythmic and Accent feels.

Play 32nd note diddles exactly. This option tells HP to always perform 3-beam diddles exactly as
32nd notes, opposed to unmeasured. It also allows to perform 16th note diddle exactly on fast
tempo, long notes (briefly: Mozart's style, opposed to Beethoven's).

Adjust Dotted 8th+16th/Triplet Longer Shorter. Check Adjust Dotted 8th+16th/Triplet, and then
choose Longer to increase the duration of the sixteenth note in dotted eighth-sixteenth figures
(relative to a quarter and eighth eighth-note triplet). Choose Shorter to decrease the duration of the
sixteenth note in dotted eighth-sixteenth figures (relative to a quarter and eighth eighth-note triplet).

Soften Accompaniments. Detects and softens accompaniment figures (such as Alberti basses,
arpeggios, etc), to emphasize melodies. Key velocity is used to apply this effect.

Auto Piano Pedaling. Complementary to the Pedal Marking feature, this options creates a pedal
effect automatically (using MIDI controller 64). It analyzes harmonic progressions for changes and
avoids note confusion as much as possible. It is inactive in passages that contain pedal markings
that have been added manually.
As expected, this function will only work on grand piano staff. HP analyzes the evolution of
harmony and voicing, and creates CC#64 data automatically. Basically, HP attempts to avoid
harmony confusion based on several factors, such as an interval of a major 7th, presence of
staccato notes and rests, and so on. Slured chord progressions (meaning note overlap) are also
taken into account. Also, Pedal Markings do not conflict with Automatic Piano Pedaling function.
Near pedal markings HP will not apply automatic pedaling.

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Chord Balance. Check Chord Balance to highlight melodies by balancing notes within chords
appropriately by adjusting key velocities. This is especially useful for piano music.

Soften Basses. On some sound device, piano basses are generally too loud compared to other
notes of the same Velocity. Check Soften Basses to decrease the volume of piano basses.

String Harmonics. Creates harmonic effect for strings (violin, etc.) and harp, using standard
notation. With this option, HP processes string artificial harmomics and harp harmonics. Artificial
string harmomics look like 2-note intervals with the upper note as diamond notehead, sounding
between one octave and two octave and a fifth higher, using music font char # 79, 180, 225 and 226.
Harp harmonics are note with small circle articulation with char # 76 and 111, sounding one octave
up. Both are processed using a transposition MIDI data, on a note-by-note basis.
String Harmonics with GPO: If Harp Harmonics is checked in the Human Playback Preferences
dialog box, HP automatically uses keyswitches for the best effect. For Unified keyswitches, the
Harp Harmonic is MIDI note = 2, standard is MIDI note = 0. (For GPO versions 1 and 2, harmonic
is MIDI note = 16 and standard = 12.)

Strum Plucked String Chords. Slightly rolls chords automatically. Works for Harp, Guitar (strum
and Brush), and harpsichord. For Harp, this setting takes non-arpeggio-like expressions into
account. Uses start and stop times.

Interpret Harmonic Cadences. Check Interpret Harmonic Cadences to tell Human Playback to
analyze the harmonic progression of the score and automatically decrease the tempo slightly for
perfect and semi cadences.

OK Cancel. Click Cancel to return to the Playback Settings dialog box without making any
changes. Click OK (or press enter) to confirm your settings and return to the Playback Settings
dialog box.
Note: When Human Playback is active, existing
MIDI data assigned to the score with the MIDI or
Expression Tool is ignored in favor of the Human
Playback settings. To use MIDI data applied
manually, set Human Playback to None in the
Playback Controls.

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Human Playback Preferences

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click HP Preferences.

What it does
This dialog box allows you to customize intricate details of Human Playbacks interpretation. Explicit
performance techniques indicated on the score, such as the type of mute or bowing style, can be
specified here. But this dialog box controls more subtle nuance as well. In an orchestral rehearsal,
aspects of this dialog box would be equivalent to directions from the conductor scribbled on parts, such
as how to approach a fermata, or the amount to exaggerate certain dynamic markings. In fact, even MIDI
data you have specified manually can be intertwined with Human Playbacks interpretation using these
settings.

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In general, the settings here are program-wide, but a configuration can also be saved and attached to a
specific document. Similarly, a configuration can be transferred across documents.
Note: An identical dialog box also exists to control
regions to which Human Playback has been
applied with the Apply Human Playback plug-in
(program-wide, or attached to the document). In
the Apply Human Playback dialog box, choose
Preferences.
Preference Sets Management
HP maintains and stores multiple sets of preferences in a single file ("HP.dat") located in the Component
Files folder. Human Playback overwrites the HP.dat when upgrading from Finale 2006 or earlier since the
file format is completely different. However, Human Playback Preferences can be imported from Finale
2007 or 2008 to Finale 2009 using the Import function (explained below).
The default Human Playback Preferences set handles playback for SoftSynth, Finale GPO, GPO, and
other Garritan products including Jazz & Big Band (JABB), Marching Band, Stradivari Violin, and
Gofriller Cello - all automatically.

Current. The current Human Playback Preferences Set is displayed here. A Set is simply a
configuration of settings from all pages of this dialog box (similar to the Document Options dialog box
and Program Options dialog box). All available sets are listed under this drop-down menu.

Name. Use this text box to name the current set of preferences. Typing in this text box automatically
changes the name in drop-down menu, as well as the dialog box title.

Attach to Active File. When you check this box (and save), the current set of preferences is
duplicated and reserved for use with this file instead of the program-wide set. To indicate a Human
Playback Preferences Set is attached to a file, attached appears in the Current drop-down menu as
well as in the title bar. When a set is attached to a file, changes to this dialog box apply only to the
attached set (for the active file only). If you decide to select a different set under the Current dropdown menu (or uncheck Attach to Active File), you are prompted to either save or discard the set. If
saved, the set appears in the Current drop-down list for all files, and is available for program-wide
use or to be attached to another file. If you discard, the set is lost.

Keep this Prefs Set Locked. Disables all dialog commands to prevent any accidental changes on a
given preferences set, whether it is attached to a file or not.

Duplicate. Click this button to copy the current preferences set into a duplicate set. Using Duplicate
is a convenient way to begin designing new custom sets if only some items require changing.

Default. Click this button to reset all options in this dialog box to their original default settings.

Delete. Click this button to delete the current set of preferences.

Import. Click this button to import Human Playback Preferences from an earlier Finale installation.

Allow Temporary Score Items Adjustments. Check this box to allow HP to adjust the horizontal
position of score items while processing the score for playback. Any adjustments made to
expressions or other score items return to their original position after playback.

Never Show Messages. Check this box to skip all static messages/warnings that appear while
working with the Human Playback Preferences.

Save and Close Cancel. Click Save and Close to save your changes. Click Cancel to discard
changes and return to the active document.

See Also:
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - MIDI Data
Human Playback Preferences - Glissandi & Bends
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

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326

Human Playback Preferences Dynamics & Volume

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click Dynamics & Volume.

What it does
Use these options to customize Human Playbacks interpretation of dynamic markings such as hairpins
and dynamic expressions.

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Type: Automatic Key Velocity Only Volume Contr. Only. Click this drop-down menu and
choose Key Velocity Only to apply crescendo/diminuendo effects as Key Velocity data (generally
used for non-sustaining instruments). See Key velocity. Choose Volume Contr. Only to apply
crescendo/diminuendo effects as Volume continuous data (generally used for sustaining
instruments). Choose Automatic to instruct Human Playback to decide which type of data to apply for
crescendo and diminuendos. Note that key velocity is always used for piano staves regardless of this
setting.

Curve: Automatic Cubic Quadratic Linear. Click this drop-down menu and choose one of the
options to define how Human Playback interprets crescendos and diminuendos. Choose Automatic
to instruct Human Playback to decide which type of crescendo/diminuendo effect to apply.

Hairpin Pair Emphasis. Move this slider to the right to increase the dynamic (expressivo) effect of
hairpins in the score. Move this slider left to decrease the dynamic effect of hairpins in the score.

Auto Expression Emphasis: Move this slider to the right to increase the dynamic (expressivo)
effect of expressions in the score. Move this slider left to decrease the dynamic effect of expressions
in the score.

Automatic Diminuendo on Long Ending Notes. By default, Human Playbacks interpretation of

long notes at the end of a score includes a diminuendo effect. If you do not want Human Playback to
perform this diminuendo in, for example, a jazz score, uncheck this box.

Controller for Sustaining Instruments: Automatic Volume (CC#7) Modulation (CC#1)

Expression (CC#11). For percussive instruments and plucked strings, Velocity is used for dynamics
(as is the GM standard). For sustaining instruments, such as winds, brass and strings, the type of
controller used depends on the sound library. For example, HP takes advantage of GPO's unique
dynamic approach using Continuous Data Controller #1.
For sustaining GPO instruments, dynamics are controlled by Controller #1 entirely, allowing a cresc
up to a
on the same sustained note, with, unlike GM Volume, highly
from the finest
realistic timbre and dynamic changes. In this context, Velocity is used for the initial attack only
(average attack value is 80 - See Optimize Attacks below).
Since dynamic expressions use Velocity, one might ask, how does HP avoid interfering with the
proper attack? HP doesn't modify the expression's definition, but actually readjusts every note's
velocity depending on the current dynamic, to match the Attack Base Value. At first stage, this is
done uniformly, but some further adjustments are brought for accentuated or staccato notes.
Accents (Velocity peak in articulation) are also adjusted by HP since GM and GPO velocities are
not equivalent.
An

-like accents are given both a velocity peak and a Controller #1-based peak.

receives a max velocity accent value of 127, and an

of 115.

Once Velocities have been optimized, HP processes hairpins (or flat dynamics if any) using
Controller #1 throughout sustaining instruments.
Note that the setting for this option can be
overwritten with a Technique.

Optimize Attacks Base Value. When Controller #1 is used for dynamic changes, Velocity for
attacks must be adjusted because its meaning differs from GM completely. This option is on by
default, with a base value set to 80.

Solo/Accompaniment Balance. Move this slider right to increase the volume of the solo compared
with the accompaniment. Move this slider left to decrease the volume of the solo compared with the
accompaniment. This slider tells HP how much solo instruments and passages should be
emphasized. Note that HP has a comprehensive list of solo values for different situations, based on
this fundamental value.

Base Value for Instrument Volume. Enter a value in this text box to specify the volume you want
Human Playback to use for notes without dynamic adjustments.

See Also:
Human Playback Preferences
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - MIDI Data
Human Playback Preferences - Glissandi & Bends

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Human Playback Preferences - Ornaments & Tremolos

Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

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Human Playback Preferences Instrument Techniques & Effects

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click Instruments Techniques & Effects.

What it does
These settings allow you to customize performance techniques, such as pizzicato or fluttertougue. They
also provide a way to take advantage of a given sound library, and allow you to specify settings for an
individual playback device. For example, if GPO and SoftSynth are both used in the same document,

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different Human Playback Instrument Techniques can (and should) be used to accommodate for the
unique properties of the playback device. This is particularly the case while using combinations of other
sound sample libraries (e.g. Full GPO, Garritan Jazz & Big Band and EWQL). Using these settings
Human Playback is capable of detailed changes to the playback, and can take full advantage of any
combination of sound devices.

[Instrument Techniques and Effects] window. All available Instrument Techniques and Effects are
listed in this window. Each definition listed includes the name, action, and Apply Only text.

Name. This column displays the available techniques. You can use this text box to name the current
technique. When you click Save and Close, the technique will be added to the list above.

Instrument. This drop-down menu lists instrument categories and individual instruments that have
special techniques generally available in sound libraries.

Technique. The techniques listed here depend on the Instr. drop-down selection, and correspond to
the type of techniques possible for the selected instrument. The technique chosen is enabled by the
notation, whether it be articulations, expressions, smart shapes, or by the musical context (e.g. a
dtach passage). Choose Custom, and then enter text in the Apply Only text box to use specific
expression text to trigger a technique.

Action 1 Action 2 Action 3. Using these drop-down menus, you can pinpoint specific properties
(such as keyswitch or controller data) for the chosen technique. The drop-down menus to the right
are values for the specific actions, depending on the kind of action.

Apply Only. Choose an item from this drop-down menu to apply an additional filter for the technique.
Enter text into the text box to the right to specify a specific variable. For example, you might apply a
technique only if the playback devices name includes GPO.

Use this Technique. Check this box to activate the selected technique.

Show/Hide Details. Click this button to display the advanced options where you can edit or create
your own custom techniques and effects.

New Technique. Click this button to add a new technique to the selected folder.

New Folder. Click this button to create a new folder in the Techniques window.

Duplicate. Click this button to duplicate the current technique. Using Duplicate is a convenient way
to begin designing new techniques if only some items require changing.

Delete. Click this button to delete the selected technique.

Up Down. Use these buttons to move techniques up or down in the list window.

Working with Instrument Techniques and Effects

Click the "Use this technique" checkbox or press the Space Bar to enable or disable a technique line.
Click a line to select a technique for editing.
Lets take the Pizzicato as an example:

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The first popup is the kind of instrument. It can vary from instrument type or family, to isolate instruments:

Not all instruments are listed here, only the ones that have special techniques generally available from
sample libraries. The subsequent Technique drop-down menu depends on the type of instrument. The
technique or effect is enabled by the notation - articulations, expressions, smart shapes, or simply by the
musical context (dtach passage for instance). A similar technique will be applied by priority to each
individual instrument. For instance, if pizz is defined twice, first for Strings and then for Violin, the
Violin pizz will be applied by priority to violin staves, ignoring the Strings pizz.
For the strings, the following techniques are available:

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The subsequent 3 action lines basically count fewer and fewer items. In our example, we have:

Action 1

Action 2

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Action 3
The other drop-down menus to the right are values for the specific actions, depending on the kind of
action. Also, the last drop-down menu with an attached text box provides an additional, even more
precise, text-based filter:

This last filter is particularly important. In our case, the pizz, as defined here, will be applied only for slots
(AU, VST, external through MIDI Setup) which name contains Finale GPO or Garritan. Youll find
some more details about the filter below.
So to abstract our GPO pizz:

Any strings

Keyswitch note# F-2

Use Velocity

Search device with name containing Finale GPO or Garritan.

In Vienna Symphonic Library, for instance, (packaged with Kontatk2 software), for the KS sample Violin
Ens 14 (All X) would be different: violin only, keyswitch note# F#0, use CC#1, device name containing
kontatk2.
In the case of GM (bottom of the current list) we have:

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Its the standard program change #46. It applies only to devices not containing GPO or Garritan, so it
can be either in the context of SoftSynth, of for external MIDI playback. At that point it is important to
emphasize that HP scans all playback devices available automatically, whether they are AU- or VSTbased, or SoftSynth, or External playback (MIDI setup), but always leaving the choice of customization.

Types of Actions
Refering to the Action 1 drop-down menu...

Many other items are available in addition to keyswitches.

Controller has 2 parameters: the controller# and the value. Controllers are generally used for any type of
sound and tone change, it really depends on the sound library context.
Use CC#1 Use CC#11+Velocity have no parameter. They simply tell Human Playback to force a
particular dynamic approach. In first position (action 1), this is only used for the technique Dynamic
Controller which, in conjunction with the filter text box, may override the global setting (see Human
Playback Preferences - Dynamics & Volume) for some specific channels, staves, or devices. In action 2
or 3, this is used for the Pizz to specify the type of dynamic approach, locally. Timpani rolls are another
example: timpani hits are velocity based, but rolls are generally CC#1-based (in EWQL SO), so both
approaches must be able to coexist within the same notation context.
Channel Change has one pararameter, the expected MIDI (1-based, up to 128) channel. Channel
change is often used by certain users for changing sample, instead of KeySwitches.
Staffs Channel. This means to go back to the original staffs channel. This is generally used for
Ordinario or Standard types of technique.

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Staffs Channel Relative. The corresponding popup is from 16 to +16. This is particularly useful
because it does not depend on absolute channel #, and some prefer to always organize their sample the
same way (arco=#n, pizz=#n+1, tremolo=#n+2, as an example).
Staffs Patch. Goes back to the original staff patch, for patch-based (a la GM) samples.
Bank 0+Prg Change, Bank 32+Prog Chnge, Progr Chnge+Progr Chnge.
Additional types of actions include: Add Pitch (for use with percussion rolls for instance), Set to
absolute pitch, Apply to these notes only, and Base Volume.

The filter text is meant to be case-, space-, and punctuation- independent (dots, dash, accents. ).
Different items may be separate by commas.
If playback device name contains. As seen above in the example, the device name can be from AU or
VST slots, or MIDI setup slots, or SoftSynth, or QuickTime. Example: gpo, garritan will filter devices
Finale GPO, Garritan Personal Orchestra or Garritan Jazz.
If device name doesnt contain. Well, same thing, but works negatively.
If staff name contains. Filters staff names, rather than device names. Example: flute, piccolo, recorder
will filter staves named Flute 1, Flute 2 / Piccolo solo or Alto Recorder.
If MIDI channel # is. Human Playback expects channel numbers here (1-based). Example 1-16, 20,
126. Channels or channel ranges must be separated by commas.
If text expression contains. Here, you can specify text that will be tracked amongst non-playback
defined expressions (it also works for smart shapes and measure-attached text). For instance, for a
Penderecki effect, you might define a new expressions Behind the bridge that will trigger channel #45,
with keyswitch C1. Different wording may be separated with comas (e.g. behind the bridge, penderecki).
Note that a custom expression effect will override any predefined Human Playback expression. For
instance, you may change the way pizz is taken into account making your own.
On SoftSynth. Effect will apply only for SoftSynth playback. This is the same as putting softsynth when
If Playback Device Name Contains is selected.
On SoftSynth or External Playback. Effect will apply only on SoftSynth or MIDI Setup playback. This is
the same as putting softsynth, external with If Playback Device Name Contains.
Additional filter items include: Library Name, Patch Name, and Filter Multiple. Multiple allows you to
move, duplicate, delete, and edit multiple techniques at once. You can filter techniques for specific library
and patch names - #library# and #patch#respectively. For example: "#library#FinaleGPO #patch#Viola
KS".
Here are some details on how the filter works:

Technique Types per Instrument

When "Any" is selected from the Instrument drop-down menu, only one item appears in the Technique list
:

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This is most commonly used in conjunction with an If text expression contains type of filter.
Sustaining instruments techniques:

Legato is enabled with slurs and ornaments; GPO, for instance, uses CC#68 for the legato effect, but
some other sample libraries have devoted patches (QLegato in EWQL, True Legato in Vienna, ).
Staccato can be enabled for series of shorts notes, whether it comes from the notation (staccato
articulations) or from the user MIDI stop time value. What short means for Human Playback is hardwired.
Trills are normally created by Human Playback as actual virtual notes, but some sample libraries do
offer sampled trills. Keep in mind, however, that those sampled trills generally have fixed speed. Sampled
trills, if defined in list, will be used only in strictly monophonic context; otherwise, regular triggered Human
Playback trills are used.
Dynamic Controller is to be used in conjunction with Use CC#1 Use CC#11+Velocity, Velocity Only
types of action (see Types of Actions). It may override the global Dynamic & Volume / Controller for
Sustaining Instruments option, for any particular device slot, staff or MIDI channel.
Strings family techniques - any specific string instrument:

Due to the quantity of string techniques, the terminology Human Playback uses does not always match
the academic vocabulary, but rather a "sample library minded" compromise.

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Spiccato, for Human Playback, means very short staccato, whether from actual notation (accidentals) or
from user MIDI stop time edits.
Martel (Martellato) means heavily accentuated, relatively short, non slurred, notes. From notation or
user MIDI data.
Dtach means non-slurred, normally accentuated, notes, alternating up and down bows. No special
notation required.
Tremolo is non-measured tremolo. Notated with 3-mark tremolo diddle (or 2-mark on 8th notes, 1-mark
on 16th notes and shorter).
Sul ponticello (text) is playing near the bridge. Canceled by ordinario type of expression.
Sul tasto (text) is playing near the fingerboard. Canceled by ordinario.
Flautando (text) is a flute-like tone, by slightly touching the string with the edge of the bow. Canceled
with ordinario.
Bartok Pizz. Snap pizzicato. In Finale, they are notated as a shape-based articulation.
Col legno. Played with the wood of the bow. HP currently makes no difference between bowed or stroke
col legno, but the user could, using the text filter.
Harmonics. To be used in conjunction with HP regular harmonic playback. Note that HP now supports
natural harmonic playback, using the little o on the note (dont confuse with 0 which means open
string).
Certain techniques can be mixed if the samples are available:
Tremolo+mute
Ponticello+mute
Trills+mute
As an example, when sul ponticello is encountered, Human Playback scans backward to determine
whether a con sordino preceeds, but only if there exists a technique definition (= a technique line) for the
combination Ponticello+Mute, and for this peculiar instrument; otherwise, the plain (= no mute) Ponticello
definition is used (if available of course). It works the same for Tremolo and sampled trills.
Woodwind techniques (including saxophone):

Fluttertongue (notated like a strings tremolo). Note that JABB and GPO have different way of enabling
fluttertongue (in GPO, this is a KS, in JABB CC#18). Both are supported by the default preferences set,
and altogether.
Brass techniques

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Cup, Harmon, Bucket mutes (text). Those are found in JABB, enabled by various wording.
Harp techniques:

Timpani techniques:

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See Also:
Human Playback
Human Playback Preferences
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - MIDI Data
Human Playback Preferences - Glissandi & Bends
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

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Human Playback Preferences Garritan Specials

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click Garritan Specials.

What it does
Use these settings to optimize Human Playback when using Garritan Personal Orchestra sounds.

Enhanced Jazz Feel Using Automatic Tonguing. A common basic jazz articulation is for players
to tongue offbeat eighth notes and slur onbeat eighth notes. It is also customary to play consecutive

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eighth notes more evenly than anticipations, which are usually delayed. Selecting this option causes
Human Playback to automatically apply this tonguing pattern and swing feel. Note that Swing must
be turned on in the Playback Controls for this feature to take effect.

Enhanced Percussion Rolls using Contr. #22 and 23. Select this option to instruct Human
Playback to manipulate the "Var. 1" and "Var. 2" controls to humanize percussion rolls. (This effect is
applied in addition to "Humanize Rolls and Trills," if that option is also selected.)

Enhanced Winds and Strings Trills Using Contr. #21. Selecting this option causes Human
Playback to apply MIDI Controller #21 (Length) to humanize wind and string trills. (This effect is
applied in addition to "Humanize Rolls and Trills," if that option is also selected.)

Apply Garritan special effect also to Kontakt 2 Slots. Finale is not able to automatically detect
which libraries have been loaded by Kontakt 2 (full version, not the Kontakt Player). When this box is
checked, Finale will assume that all instruments loaded by Kontakt 2 are Garritan instruments.

Solo String Series Specifics (Stradivari, Gofriller): Optimize Performance (Velocity, Attack,
Glissandi) Enable Automatic Vibrato. For users of the Garritan Stradivari Solo Violin library and
the upcoming Gofriller Solo Cello library. These libraries are very different from the solo strings
included in GPO Finale Edition and Full GPO. Selecting these two options enables Human Playback
support for these libraries.

See Also:
Human Playback Preferences
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - MIDI Data
Human Playback Preferences - Glissandi & Bends
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Tempo Variations

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Human Playback Preferences

Glissandi & Bends

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click Glissandi & Bends. Choose Glissandi & Bends.

What it does
You can use these settings to control the playback style of glissandi and pitch bends.

Type Automatic Always Use Pitch Bend Always Chromatic Always Diatonic. Click this
drop-down menu and choose one of the options to define how Human Playback interprets

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glissandos and bends. Choose Automatic to instruct Human Playback to decide which type of
glissando/bend effect to apply. Note that the Always Use Pitch Bend option does not apply to piano,
harp, or other percussive/plucked instrument staff.

Curve Automatic Cubic Quadratic Linear. From this drop-down menu, choose the desired
playback effect for glissandos and bends. Choose Automatic to let HP decide the method to used
based on the context of the music. A pitch bend or glissando assigned to a Cubic curve sweeps
dramatically towards the end of the note. A Quadratic curve also reserves the most dramatic pitch
bend effect for the end of the note, but at a more measured rate. Cubic and Quadratic would
represent a common performance of a trombone gliss (for example). A pitch bend or glissando
assigned to Linear ascends or descends in pitch at the same rate throughout the effect. Linear would
be more appropriate for a chromatic glissando performed by a piano or other chromatic (or diatonic)
instrument.

1/2 Tone Pitch Bend Range: None...24. Use this drop-down menu to select the number of
semitones to apply to 1/2 tone pitch bends. Finale GPO Pitch Bend Range is 12 semi-tones. Finale
GPO can take full advantage of HP's bends and glissandi. For GPO version 1 and 2 users, pitch
bend range is adjustable in HP, but the effect is uncertain because instruments have different actual
pitch bend ranges (for example, violin=1 whole tone, flute=1 half-tone). Default is 12.

Delay if Possible. Check this box if you want the effect to be tempered by the context of the
situation. For example, a crescendo shouldn't start right on the attack if a slow string patch is used,
otherwise the patch never plays at full volume.

See Also:
Human Playback Preferences
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - MIDI Data
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

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Human Playback Preferences - MIDI

Data

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click HP Preferences. Choose MIDI Data.

What it does
You can use these settings to combine custom MIDI data, such as edits made with the MIDI Tool, with
Human Playbacks interpretation.

Continuous Data Velocity Start/Stop Time Tempo. Here, you can specify whether you want
Human Playback to ignore, incorporate, or use MIDI data you have deliberately applied to the score

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with the MIDI Tool, Expression Tool, or Tempo Tool. Click the drop-down menu next to a MIDI data
type and choose HP (Ignore Data) to use Human Playbacks interpretation for that type of MIDI data.
Choose HP (Incorporate Data) to instruct Human Playback to use existing MIDI data of that type in
the interpretation (existing MIDI data of that type will influence Human Playback). Choose No HP
Effect to instruct Human Playback to disregard that type of MIDI data while processing the score
(that type of MIDI data will playback as if Human Playback was set to None).
All four of these settings apply to any MIDI data added to the score. For example, the Continuous
Data setting applies to all continuous data, whether defined with an expression, or the MIDI Tool.
To apply MIDI data to your score manually, see MIDI Tool, Tempo Tool, and To define an
expression for playback.

Anticipate Continuous Data By_Milliseconds. Some sound devices, in particular software synths,
have a long latency, resulting in a gap in volume, pitch bend and other continuous data. This option
anticipates the data sent to Finale, taking even slight tempo changes exactly into account. Default is
15 ms (for SmartMusic SoftSynth, GPO, and hardware sound devices). Suggested value for
QuickTime is 200.

See Also:
Human Playback Preferences
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - Glissandi & Bends
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

346

Human Playback Preferences Ornaments & Tremolos

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click HP Preferences. Choose Ornaments and Tremolos.

What it does
Use these settings to customize the playback style of ornaments and tremolos.

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Minimum Speed of: Trill/Orniment:_Notes/Second Tremolo:_Notes/Second. Enter a value in

this text box to specify the minimum number of notes per second Human Playback should perform
for trills and tremolos. The trill might speed up depending on the context.

Humanize Rolls and Trills: With this option selected, special GPO controller effects are applied to
tremolos and ornaments to give them a more human feel.

Use Pitch Bend Variations (vs. Triggered Notes). Check this box to use pitch bend MIDI data to
execute the shake instead of MIDI pitches.

See Also:
Human Playback Preferences
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - MIDI Data
Human Playback Preferences - Glissandi & Bends
Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

348

Human Playback Preferences Tempo Variations

How to get there

From the Window Menu, choose Playback Controls. Click on the Playback Settings button on the
Playback Controls. Click HP Preferences. Choose Tempo Variations.

What it does
Use these settings to define how Human Playback interprets changes in tempo.

Minimum Duration: _Seconds Ritardando Before. Enter a value in this text box to specify the
minimum number of seconds Human Playback should hold a fermata in addition to the notes original

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duration. Check Ritardando Before to gradually reduce the tempo prior to fermatas (highly
dependent on the context).

Dont Randomize (Exact Timing). Check this box to ensure Human Playback does not invoke any
random variations in tempo from performance to performance.

See Also:
Human Playback Preferences
Human Playback Preferences - Instrument Techniques and Effects
Human Playback Preferences - Dynamics and Volume
Human Playback Preferences - MIDI Data
Human Playback Preferences - Glissandi & Bends
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Garritan Specials

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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 dotsleft 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 youve 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 youre generating. If either of the buffer boxes becomes completely filled with dots,
thats your warning that the computer cant transcribe the notes as fast as youre playing them; if you
dont 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 youd 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 (Document Menu). For more instructions on the use of
HyperScribe, see Quantization Settings dialog box.

See Also:
HyperScribe Options
HyperScribe Menu
Quantization Settings
HyperScribe Tool

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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 youll 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.
Tip: 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 youre 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. 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 youre 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 thats the case,
select Only Channel, and enter the MIDI Channel number in the text box. Otherwise, select All
Channels; HyperScribe will transcribe the music its 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 youve 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.

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See Also:
HyperScribe Menu
HyperScribe Tool

353

Implode Music

How to get there

Click the Selection Tool
Music.

, and select a region of measures. From the Utilities Menu, choose Implode

You can also use a Selection Tool 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:
Utilities Menu

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Import MIDI from Clipboard

How to get there

Place some MIDI data on the clipboard (from Finale or another sequencing program). Click the Selection
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 from Clipboard dialog box to change quantization settings and other options when
youre 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 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
Selection Tool

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Import MIDI File Options

How to get there

Choose Import MIDI File Options from the MIDI/Audio 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 filetype 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, youre essentially telling it to transcribe the file. The options in
this dialog box are very similar to those you encounter when youre 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 sequencers 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

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register of the music in each track. In fact, if the notes have such a wide range that it wouldnt 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 (thats 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 dont 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
Dont show this during File Open selected. If you have selected Set Track-to-Staff List and Dont
show this during File Open while in the MIDI/Audio 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 Files. 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 wont see the
results of Finales intelligent guesses until its 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 Files. 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 its been
transcribed. (These are the same as Save Tempo Changes, and Save Continuous Data checkboxes
in the Transcription window.) If you dont 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 youve selected all four data types for playback (see Playback/Record 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 Finales instrument list.

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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.

Dont 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/Audio 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 Dont 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 werent quite right, you can close the new Finale
document and try againthe original MIDI file is unaffected by Finales 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

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Import Score Files - Options

How to get there

From the File menu, choose Import, then Score. Select a file or files and click Open.

What it does
In this dialog box, specify the page size and orientation as well as the method for choosing file
order upon conversion.

[Page sizes] Width: Height: Portrait Landscape. Select the desired page size from the dropdown list or type in the desired Width and Height (custom will be displayed in the drop-down list).
Select Portrait or Landscape as well.

Specify File Order Let Finale Determine File Order. If you initially select more than one file for
conversion, these options will be available. Each Score file will consist of either a single page of the
score, or a part of the page. Because of this, it is often necessary to import many score files at once
for conversion into a single Finale document. Choose Specify File Order to select the order of the
files and page breaks. With this option selected, clicking OK will open the Import Score Files - Order
dialog box where you can make these settings. Choose Let Finale Determine File Order to let Finale
use standard Score naming con-ventions (Name01.pag...Name02.pag, or
Name001a.mus...Name001b.mus etc.) to order the files and assign page breaks.

OK Cancel. Click OK (or press enter) to generate the Finale file. If Specify File Order is chosen,
clicking OK will open the Import Score Files - Order dialog box. Click Cancel to return to the score
without generating a Finale document.

See Also:
Import Score Files - Order
File Menu

359

Import Score Files - Order

How to get there

From the File menu, choose Import, then Score. Navigate to a folder containing score files, then
hold down the Shift key and click to select more than one file. Click Open. In the Import Score
Files - Options dialog box, choose Specify File Order and click OK.

What it does
In this dialog box, specify the order and page break information for conversion into a Finale document.

Up Arrow Down Arrow. Click the up arrow to move the selected file or page up in the file order.
Click the down arrow to move the selected file or page down in the file order.

Add Page Remove Page. Click Add Page to add a page break above the selected file. Click
Remove Page to remove a selected page.

OK Cancel. Click OK (or press enter) to generate the Finale file. Click Cancel to return to the score
without generating a Finale document.

See Also:
Import Score Files - Options
File Menu

360

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.

In: Current Part or Score Selected Parts/Score All Parts All Parts and Score; Select.
Choose Current Part or Score to apply changes to the score or part that is currently active in the
document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score
dialog box where you can choose to apply changes to any combination of the score and/or parts.
Choose All parts to apply changes to all parts and All Parts and Score to apply changes to the full
project - all parts and the score.

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 youre 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
Page Layout Menu
Page Layout Tool

361

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:
Systems
Page Layout Menu
Page Layout Tool

362

Instrument Definition

How to get there

Choose Instrument List from the Window Menu, if it isnt 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 AppendixBank 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.

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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 Lists
"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

364

Instrument Junction

How to get there

From the File Menu, choose Score Merger. Add files with different instrumentations. Click on Merge
These Files into One File. In the Score Merger dialog box, check Edit Instrument Junction Between Files.
Click Merge.

What it does
This dialog box allows you to specify how the Score Merger deals with instruments that do not match
perfectly while merging files horizontally. For example, while merging movements, if an Oboe appears on
the top staff in one file, and an English Horn for the top staff of the next, use this dialog box to specify
whether you want to place the Oboe and English Horn on separate staves and in which order, or join
them into the same staff.
The title bar of this dialog box specifies the file
at hand. Instruments to the left are from the file
that is about to be merged, and instruments to
the right are from the merge result file in its
current state. (Note that instruments, such as a
piano or other keyboard instruments, can
include more than one staff). On the right side
lists what the result will be for a given
instrument when the files are merged. Here, the Bassoon from source file is going to be inserted below
the existing Oboe staff in target, because there is probably no bassoon in the target.
Also notice the instrument "Piano" is mapped to a similar instrument also called "Piano." We don't
necessarily need know how many staves are used for the piano in source and target files; a 3-staff piano
might be mapped onto a 2-staff piano, and Score Merger will add the missing 3rd staff in target file
accordingly.
Generally speaking, an instrument from the source can be inserted below, above, mapped exactly onto
(joined), or just skipped. Double-clicking or pressing Edit Selected Line opens the Choose Junction for
Staff dialog box where you can edit the relative position of a merged staff.

Edit Selected Line. Choose Junction for Staff dialog box where you can specify whether you want to
join, separate, or insert staves (above or below). See . Choose Junction for Staff dialog box

365

Don't Show This Dialog Box Again. Check this box to bypass the Junction dialog for the remaining
files.

Cancel Merge Continue. Click Cancel Merge to close the Instrument junction dialog box and
cancel the merge. Click Continue to advance to the next file to be merged.

See Also:
Score Merger dialog box

366

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-timbralcapable of playing more than one instrument sound at oncethe
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 staffand, 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 keyboards 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, its 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 reversemap a single staff into multiple
Instrumentsby setting a staffs 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

367

resizable frame. (You can also hide the Instrument List window by choosing its name a second time from
the Window Menu.)

R (Record). 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 youre not multitrack recording (Record into One Staff or Split into Two Staves is selected in the
Record Mode submenu of the HyperScribe Menu), you dont 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 Controls Record button (instead of clicking a measure
in the score), then you must use the Instrument Lists 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 wont 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 youre using multitrack recording, you must
set up the Instrument List windows R and RChan
columns for each staff (or layer) you want to record
into.
Note: When youre 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 dont 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 Lists R
column to determine which staff to record into only
if you click the Record button on Playback
Controls.)

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Staff Name [Arrows]. In the Instrument List, you see the staves in your score. (If you havent
named the staves, they appear numbered.) Using the controls in this staffs 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 elementsallowing the
music on each layer, for example, to have its own sound. Chords refers to the chord symbol youve
placed in a staff; they can actually play back over their own patch and channel, if you wish. (If you
dont 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 boardin the
event that youve created expressions that control these external devicesyou can leave the
expression assignments alone.

M (Mute). In this column, a black square appears across from the name of each staff that you want
to mute when you play your score. By clicking in this column across from a certain staff, you make
the square disappearturn white, indicating that the staff will sound when you play the score.
If youve expanded a staff to view its individual layer assignments, and you turn on the Mute setting
for some layers but not others, the square in the Mute column will appear striped. That is your
signal that the individual layers of the staff have mixed settings in the Mute column. Note that the
Playback checkbox in Document Options-Layers provides the same function.

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, youve 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 wishfor
example, you can solo two or three staves, and all the others will be silent. In fact, you can solo all
staves, although there wouldnt be much point, since you may as well solo none of them.

Vol. You can use this text box specify an exact volume value, 0-127, for a staff, and all other staves
set to the same channel. This setting is dynamically linked to the Volume sliders in the Mixer and
Staff Controls.

Pan. Use this text box to specify an exact pan value, 0-127, for a staff, and all other staves set to the
same channel. A higher value pans right, a lower value pans left. Playback volume will be weighted
to the left or right speaker accordingly. 64 is center. This setting is dynamically linked to the Volume
sliders in the Mixer and Staff Controls.

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 youve 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 layerssimply choose one of your
Instrument names from the Instrument drop-down list, and the staff youre working with will
automatically get the same MIDI channel, program, and bank settings as other staves with that
Instrument.
Heres 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 22and if you change the program or channel for either staff, the other staffs program
or channel will change to match.

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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 youve assigned several staves to the same Instrument, by the way, remember that theyre 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 youve assigned several staves to the same Instrument, once again remember that theyre 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 its 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 instruments 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 instruments 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 wont 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 youve set on your
MIDI instrument, and use the information defined in the Instrument List window for playback.

Auto-create Instrument. 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 isnt selected, then Finale will assign every staff

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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

371

Intelligent Accompaniment

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Intelligent Accompaniment from the
marker list on the left and click Add. Or, select an existing Intelligent Accompaniment marker from the
Marker window and click Edit.

What it does
Use the settings in this dialog box to control the Intelligent Accompaniment level, and the measure
assignment, for the SmartMusic Marker you are adding or editing.

Rehearsal Mark Bar Beat Repeat. Choose a rehearsal mark, repeat, or specify a bar and beat
to add an Intelligent Accompaniment marker.

Intelligent Accompaniment Slider. Move the slider to the right to increase the Intelligent
Accompaniment level, or to the left to decrease the Intelligent Accompaniment level. 0 = No
Intelligent Accompaniment (soloist follows accompaniment entirely), 10 = full intelligent
accompaniment (accompaniment follows soloist completely). Click the Set button to set the selected
marker to the level indicated on the slider.

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

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Interval

How to get there

Click the Selection Tool
, and select a region of music. From the Utilities Menu, choose Transpose.
From the Interval drop-down list, choose Other.

What it does
If, when youre 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) stepsand
in the Alteration box, enter the number of chromatic stepsby 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 youve 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

373

Items to Snap to Grid

How to get there

Choose Grid/Guide Options from the View Menu. Or, from the Document Menu, choose Document
Options and select Grids and Guides. 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 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:
Grids and Guides
Document Options-Grids and Guides
View Menu

374

Items to Snap to Guide

How to get there

Choose Grid/Guide Options from the View Menu. Or, from the Document Menu, choose Document
Options and select grids and Guides. 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 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:
Grids and Guides
Document Options-Grids and Guides
View Menu

375

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 Finales 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 differentlynotably 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 doesnt adhere

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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 keyin other words, youre 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
modalin 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 theres an F
sharp in the key signaturebut 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 youve specified) will be transposed up or down by the same interval as the measure you
originally clicked. (If you dont select this option, Finale will wipe out any key changes, and will notate
all the specified measures in the key signature youve 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 youll 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 signatures
Key Signature Tool
Utilities Menu

377

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 doesnt 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" (its 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 youre 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 hasnt been constructed according to these rules. The format,
however, wont 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 youve established a quarter-tone key system, for example, youd 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. Youd have
to play the C, E, and G sharp "keys" on your keyboard to notate the C, D, and E on the screen.

378

(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 wont 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) youve created in your scale.

Diatonic Steps. This indicator keeps track of the number of diatonic steps youve 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 youve 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 youve 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

379

Last Recorded Tempo

How to get there

From the View Menu, choose Studio View. Select the HyperScribe Tool
Staff. Record a tempo change and click the score.

and click on the TempoTap

What it does
This dialog box displays the final tempo recorded in a TempoTap session. After recording a tempo
change, the tempo listed in this dialog box is applied to all subsequent measures until the next tempo
change is encountered.

Last Tempo. This is the tempo (number of beats per minute) Finale last recorded in a TempoTap
session. Subsequent masures are assigned this tempo until the next tempo change is encountered.

OK Cancel. Click OK to confirm, or Cancel to discard, your TempoTap recording and return to the
score.

See Also:
TempoTap
HyperScribe Tool

380

Launch Window

How to get there

From the File Menu, choose Launch Window. This window also appears when you first launch Finale.

What it does
Choose this command to open the Launch Window where you can choose from a number of options
related to starting new files and opening existing ones. From here, you can also access reference
material like the QuickStart Videos and User Manual.

Setup Wizard. Choose this option to open the Document Setup which guides you through setting up
your Finale document with a title, instrument staves, and other musical elements.

Default Document. Choose this option to open a new default document. Finales default document,
named "Maestro Font Default.ftm" and located in the Component Files folder, is a single staff
document with 31 measures.

Templates. Select Templates to choose from a collection of new empty documents already setup for
a variety of instruments, ensembles, and educational formats.

Scanning. Choose Scanning to Aquire a document from your scanner using Finales TWAIN
support.

381

Exercise Wizard. The Exercise Wizard guides you through the process of creating your own
customized exercises including scales, intervals, and arpeggios.

Open. Choose Open to locate and open an existing Finale document.

Open Recent File. Click this drop-down list to select a recent file and click Open Recent File to open
it.

Import File. Click this drop-down list to select a file type and click Import File to locate and open a
file of that type.

Program Options. Choose Program Options to open the Program Options dialog box where you
can configure program-wide settings to match your working preferences.

QuickStart Videos. Click this button to launch the QuickStart Video Tips where you can view video
demonstrations of several of Finales features.

User Manual. Click this button to open the User Manual you are reading now. You will see the Table
of Contents.

Tutorial Guide. Click this button to open the electronic version of the Finale Installation and Tutorials
manual.

Creating SmartMusic Files. Choose this command to open SmartMusic topic of the User Manual,
which explains how to create and save SmartMusic Accompaniments. See SmartMusic.

Close. Click Close to exit the Launch Window.

See Also:
File Menu

382

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
youre 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 youve
specified (on a scale from 0 to 127). For examplealthough it doesnt 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
valueso that youll 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

383

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 youre
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
dynamic level by limiting the notes in the region to a maximum MIDI velocity value of,
above an
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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

384

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
youre 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 youre 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 theyre perfectly
"quantized" with their notated values; when you play them back, theyll 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 youve 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

385

Limit - Tempo

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 Tempo from the MIDI Tool Menu. If youre 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 number of beats per minute to within a specified range of values.

Minimum of ____ Maximum of ____. In these text boxes, enter the minimum and maximum
number of beats per minute 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.

OK Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes youve 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

386

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
youre 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 dropdown 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

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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 youre 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
Expression Designer
Expression Tool

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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 youre 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 isnt working, or if you change your mind, click Cancel to return to the
previous dialog box.

See Also:
HyperScribe Tool
MIDI Tool

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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 its 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 youre finished tapping to teach Finale the tempo you want, either click Cancel
(to undo the tempo-setting youve just done) or OK (to confirm it) and return to the Playback and/or
Click dialog box.

See Also:
HyperScribe Tool

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Lowest Fret

How to get there

With the Selection Tool

, drag copy standard notation into a TAB staff.

What it does
Use this dialog box to specify the lowest fret for a region while copying to a TAB staff.

Use Staffs Default Lowest Fret. Select this option to use the Default Lowest Fret specified in the
Tablature Staff Attributes dialog box.

Specify Lowest Fret. Enter a fret number to tell Finale to recalculate the string placement of the fret
numbers to appear no lower than a certain fret.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your transposition selection.
If you click OK, Finale performs the transposition.

See Also:
Guitar notation
Selection Tool

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Manage Parts

How to get there

From the Documents Menu, choose Manage Parts.

What it does
Use this dialog box to add, remove, or customize parts. Here you can generate parts from existing staves
in the score document, rename parts, add or remove staves from parts, and customize the voicing for
multi-voice score staves. The left column lists all parts. The center column lists all staves included in the
selected part (a part may include any number of staves from the score). The right column lists the
instruments and staves available in the score for inclusion in the part. (You can click the + to show
individual staves of multi-staff instruments, such as piano, harp, etc.) Parts can be generated or modified
at any time. In fact, parts could be generated from the score after the score has been completed. A score
includes parts automatically if "Generate Linked Parts" was checked in the Setup Wizard when the score
(or a staff) was created. Parts can also be deleted at or edited at any time. See To create linked parts.

Generate Parts. Click this button to generate a part for each instrument in the score. Finale
recognizes instruments that contain more than one staff, such as Piano, and creates a single part
accordingly.

New Part. Click this button to create a new part. The new part can be comprised of one or more of
the existing score instruments. The new part appears beneath the currently highlighted part.

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Delete Part. Click this button to delete the selected part. When you do this the part definition
disappears, but score staves are untouched.

Part Creation Preferences. Click this button to open the Part Creation Preferences dialog box
where you can control additional part settings. See Part Creation Preferences dialog box.

Edit/Hide Part Definitions. Click this button to expand this dialog box for additional part options.
Click this button again to minimize this dialog box.

Edit Part Name. Click this button to open the Edit Text dialog box where you can edit the name of
the part.
Note that font, size, and style settings do not apply
here. However, tracking, baseline shift, and
superscript settings do. (To edit the size of a part
name, add it as a text Insert, select it and choose
Text > Edit Text. Size/style changes here will apply
to all part names.)

Specify Voicing. Check this box to open the Voicing for Staff in Part dialog box where you can
define the voicing for multiple-voice instrument staves in the score, such as an instrument staff that
contains more than one instrument (e.g. Flute 1 and 2). See Voicing for Staff in Part dialog box.

Add to Part. Click this button to add the selected staff/group from right list (of score staves) to the
part definition. A part can contain any number of instruments from the score, or even a single staff
from a mult-staff instrument (such as piano).

Remove from Part. Click this button to remove the selected staff/group from the part list.

Move Up Move Up. Click Move Up to move the selected staff up in the order of part staves. Click
Move Down to move the selected staff down in the order of part staves.

OK Cancel. Click OK to confirm your part settings and return to the active document. Click cancel
to discard your changes and return to the active document.

See Also:
Linked parts
Document Menu

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Manage VST Plug-ins

How to get there

From the MIDI/Audio Menu, choose Device Setup > Manage VST Plug-ins

What it does
Finale allows you to use any VST plug-in for playback. This dialog box allows you to view, activate, or
deactivate the VST plug-ins installed on your computer.

Make Active Make Inactive. Select a VST plug-in and then use these buttons to activate or
deactivate them. The plug-ins move to the Active/Inactive Plug-ins list accordingly.

Refresh Plug-in Lists. Use this button to load plug-ins from folders added to the folder list since the
beginning of the current Finale session.

Add Remove. Choose Add to open the Browse for Folder dialog box where you can specify the
VST plug-in's folder.

Close. Click close (or press enter) to confirm the changes youve made, if any, and return to the
score.

See Also:
MIDI/Audio/Device Setup submenu

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395

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 theres 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 its 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 pageassigned 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 measures position on the page changes. In this dialog box, you specify a
measure-assigned floating measures precise positioning in relation to the "real" measure to which its
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 its 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 youve made in this dialog box;
you return to the score.

See Also:
Ossia
Ossia Measure Designer
Ossia Tool

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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-tobarline 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 youve specified this information,
you can use the Selection Tool to copy some of this information to other measures (namely, measure
widths and positioning mode).
Youll rarely need to use the Position Notes: options, which govern how the notes in the selected
measure are positionedparticularly if youre in the habit of using the Music Spacing command to neatly
respace the notes in your scores.

Measure Attributes for Measure__(through__). You can enter the number of the measure you
want to edit or use the arrows to select another measure. Or, if more than one measure is selected,
you can specify a range of measures.

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

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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 measures 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. Its much easier, however, to drag the handle on the measures
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 to Width. Select this text box to add the specified amount to each measure in the selected
measure region.

Extra Space at Beginning Extra Space at End. Enter a value after Extra Space at Begin ning to
specify the amount of space before music in the measure (between the left barline and the first note).
Enter a value after Extra Space at End to specify the amount of space after music in the measure
(between the last note and the right barline).

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
doesnt fall at the beginning of a system or a key change. On the other hand, Always Hide means
that the current key signature wont appear, even if it appears at the beginning of a new system or at
a key change. Show if Needed is the usual settingthe 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 wont appear, even if it appears at the beginning of a new system or a meter
change. Show if Needed is the usual settingthe 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 youre 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, youll 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
youve 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.

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 eighth barline to the specified type.

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, youll notice a new small square handle at the bottom of the measures 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 youve

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specified permissible split points in this way, you can force Finale to split a measure using the
Selection Tool in Page View. Click the Selection 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.

Begin a New Staff System. Select this option if you want the measure youre 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 youre editing are empty, theyll 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.)

Break Smart Word Extensions. Check this box to break Smart Word Extensions on the right
barline of a highlighted measure. This option is particularly useful if you want to eliminate a word
extension that extends through the first ending of a repeat.

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.

Include in Measure Numbering. Uncheck this box if you want Finale to disregard a measure or
region of measures for numbering purposes. Selected measures will be skipped, and finale well
resume numbering consecutively at the next measure.

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.

Position Notes Evenly Across Measure. Select this option if the measure youre 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,
youre creating a cadenza whose note values add up to far more than the four beats specified by the
measures 4/4 meter.

OK Cancel. Click OK to confirm, or Cancel to discard, your measure attributes settings and return
to the score.

See Also:
Measures
Measure Tool
Measure Menu

399

Measure Number

How to get there

Click the Measure Tool
Measure Menu.

and select Edit Regions from the Measure Numbers submenu of the

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. Its 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 styles1, 2, 3.a, b, c, and so onwithout
requiring you to type in several settings to define the style; and if you prefer, you can create your own

400

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, youd 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 theyll 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), one of four alpha 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), or Time from the Style popup
menu. If youd rather define your own measure numbering style, choose Other, then set up your own
style in the Measure Number Style dialog box. If you choose Time, Finale displays the Time Style
dialog box where you can specify the format of the time to be displayed in the score. The time is
based on Finales playback taking into account tempo changes applied with the MIDI Tool, Tempo
Tool, and Expressions. (Time markers do not take into account tempo changes applied with Human
Playback.) See Measure Number Style dialog box. For some of the examples above, you may need
to check Double Up in the Measure Number Style dialog box.

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.

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.

Edit Enclosure. Click this button to display the Enclosure Designer dialog box, where you can edit
the settings of the currently selected shape.

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.

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.

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

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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 Exclude Other Staves. 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. Check Exclude Other Staves to show measure numbers on the top and/or bottom staves of
systems only (depending on which of these options is checked).
Tip: Select one of these options if youve 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 Top Staff Always Show on Bottom Staff Exclude Other Staves. 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. Check Exclude Other Staves to show measure numbers on the top and/or bottom staves of
systems only (depending on which of these options is checked).
Tip: Select one of these options if youve 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.

Viewable In: All Views Page View Only Scroll and Studio Views Only (will not Print). Use
these options to specify in which views the selected measure number region will be visible.

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 numbers
Measure Number Style
Enclosure Designer
Position Measure Number
Measure Tool

402

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 youre 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 youre beginning the measure numbers with number 1 (which
is the second character if the Starting Character is 0). If youre using letters instead of numbers, or if
the first measure is a pickup measure that you dont want numbered, make sure this option is not
selected.

No Zeros. Select this option only if youre 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 youre not prevented from selecting
this option when youre 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 youre 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.

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Note: Although youre not prevented from selecting

this option when youre 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 youve made and return to the score.

See Also:
Measure numbers
Measure Number
Measure Tool
Measure Menu

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Mid-Measure Clef

How to get there

Click the Clef Tool
. Ctrl-click the mid-measure clefs handle (or select the handle and press Enter).
Or, highlight the handle of the mid-measure clef and press Enter.

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 measureyou can even drag it back and
forth among the notes of the measure to see which placement would be easiest for the player to sightread. 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.
Note: To convert a mid-measure clef to a standard
clef change (before the barline), click and drag it
across the left barline.

405

Clef Selection. The Clef display identifies which clef you want to appear. (Each Finale document
offers eighteen 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. Its 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 Clefs category of the Document Options dialog box under the Document Menu
(see Document Options-Clefs).
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 Document Options.

Allow Vertical Drag. Select this checkbox to allow the mid-measure clef to be moved vertically as
well as horizontally.

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 clefs 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 its easier to position it simply by
dragging it once its in the score.
Click on the Place Clef After Barline checkbox to display the clef immediately to the right of the
barline when H is set to zero. Note: Horizontal clef positioning can also be governed by the Music
Spacing Options. (To enable or disable automatic clef placement, from the Document Menu,
choose Document Options and then choose Music Spacing. Under Avoid Collision Of, check or
uncheck Clefs.)

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 eighteen 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 Selection Tool to
avoid collision of clef changes.

See Also:
Clefs
Change Clef
Clef Tool

406

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 youre 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 youre 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:
Recording with HyperScribe
Playback and/or Click
Tap Source
HyperScribe Tool

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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.

408

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 signala 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 youre 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
dont know a controllers 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.

409

OK Cancel. Click OK to confirm, or Cancel to discard, the settings youve made in this dialog box
and return to the Transcription window.

See Also:
Transcription
HyperScribe Tool

410

MIDI Setup

How to get there

Choose MIDI Setup from the MIDI/Audio Menu

What it does
In the MIDI Setup dialog box you can edit a number of settings pertaining to your MIDI interface setup.

MIDI System: CoreMIDI None. Use this popup menu to select the MIDI system you plan to use for
communication within your MIDI setup. Choose CoreMIDI to use Apples built-in MIDI System.

Finale Channel: 1-16 17-32 33-48 49-64. There are 64 Finale channels available for MIDI note
entry and playback. They are grouped into four 16-channel banks. Each bank represents one or
more MIDI devices and their 16 available MIDI channels, depending on your MIDI setup. For
example, each bank of Finale channels could be mapped as follows:
Finale channels
MIDI channels on the
connected instrument
1-16

Device One 1-16

17-32

Device Two 1-16

33-48

Device Three 1-16

49-64

Device Four 1-16

65-80

Device Five 1-16

81-96

Device Six 1-16

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97-112

Device Seven 1-16

113-128

Device Eight 1-16

MIDI In Device MIDI Out Device. Use the MIDI In and MIDI Out settings to tell Finale which MIDI
drivers youd like to use. 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
Advanced below). Under MIDI In, select the MIDI In device for your computer (for example,
SoundBlaster MIDI Input). Under MIDI Out, select a device where youd like to hear the music played
back. To use an external MIDI device, choose a driver with MIDI Out or MPU 401 in its name. To
use your computers speakers connected to your soundcard, choose a driver with Synth or
Synthesizer in it. By default, Finale uses SmartMusic SoftSynth, which is Finales own General
MIDI SoundFont (with additional marching percussion sounds). Since this option does not use your
sound cards synthesizer, playback will sound the same on other computers as long as SoftSynth is
selected for the MIDI Out device (and the Synthgms.sf2 file hasnt been replaced by a different
SoundFont in the Finale/Component files folder). Select SoftSynth Settings to fine tune SoundFont
playback. See SoftSynth dialog box.

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 MIDI Sync. 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.

Match On/Off. This check box controls how Finale handles simultaneous MIDI messages of the
same pitch on the same channel. When this box is checked, Finale attempts to match each
simultaneous note on message with a corresponding note off message. For example, in a measure
containing a whole note on middle C and a half note on middle C, the note off message at the
conclusion of the half note applies only to the half note and the whole note continues for the full
duration. If the MIDI output device supports matching on/offs, this option should be checked so that
note off messages do not interrupt playback of the longer of two or more unisons on the same
channel. If the MIDI device does not support matching note on/off messages, this option should be
unchecked.
Tip: To test if your MIDI output device supports matching note on/off messages, open a new default
document. Enter a whole note middle C in the first measure in layer 1. Switch to layer 2, and then
in the same measure, enter a half note on middle C and then a half note on D. Play the measure
back. If the whole note C gets cut off with the half note C (you cant hear the C against the D), the
MIDI device does not support matching, but Finale thinks it does - uncheck Match On/Off. If the
whole note C continues to play over the barline, the MIDI device supports matching, but Finale
thinks it doesnt - check Match On/Off. If you can hear the C against the D, and they both cut off at
the same time, Finale is setup correctly.Advanced. Click the Advanced button to expand the dialog
box for more than one device.

Enable MIDI Sync MTC. These two boxes allow you to synchronize Finale playback with another
MIDI or MTC-compatible device. Check a box under the MIDI Sync column if you want Finale to
transmit MIDI Sync signals any time it plays back your document 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.

Check a box under the MTC column to send MIDI Time Code messages in order to sync with
another device that is capable of receiving MTC.

SoftSynth Settings. Click this button to open the SoftSynth dialog box where you can select the
software synthesizer you want to use for output, and change the volume. Changes in this dialog box
apply to audio files created using the Export to Audio File feature under the File Menu.

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

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responding with a MIDI Buffer Overflow or MIDI Communication Error when receiving such a
command.

MIDI In Latency. Enter a value in this text box to delay Finales translation of MIDI information for
entry in HyperScribe. The MIDI latency value compensates for the short delay it sometimes takes for
MIDI information to travel from an external MIDI device into the computer.

OK Cancel. Click OK to confirm, or Cancel to discard, the changes youve made to the MIDI
settings in this dialog box.
Tip: Refer to the beginning pages of the
Tutorial to assist you in connecting your
MIDI instrument to Finale.

See Also:
MIDI
MIDI/Audio Menu

413

MIDI Thru

How to get there

Choose MIDI Thru from the MIDI/Audio Menu. The MIDI Thru dialog box appears.

What it does
MIDI Thru is the MIDI configuration whereby you play the MIDI notes (or another controller) on a MIDI
device, the MIDI signal travels to your computer, and the computer in turn sends the signal to a second
MIDI output devicethe 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 device.
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 dont 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 youre
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 youre 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 staffs 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
youve 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/Audio Menu. If you selected Off, MIDI Thru will not be checked, indicating
that no MIDI Thru mode is in use.

See Also:
MIDI/Audio Menu

414

415

MIDI Thru Table

How to get there

Choose MIDI Thru from the MIDI/Audio 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 keyboardthe 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.

1128. 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 have made to the dialog box and return to the MIDI Thru dialog box.

See Also:

416

MIDI/Audio Menu

417

MIDI Tool window

How to get there

From the Window Menu, choose Advanced Tools palette. 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 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 windowyou can edit specific notes, even if theyre 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.)
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

418

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 MIDI Tool 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 shiftdrag-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 youve entered music with the Simple or Speedy Entry tools, the velocity of every note is 64. (64
is Finales default note velocity setting, which you can change by clicking the speaker icon in the
Playback Controls, clicking the expand arrow, and entering a new value in the Base Key Velocity
text box.) If youve captured the key velocity (performance) data from a real-time HyperScribe
performance, however, youll 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 Selection 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 notesthe slight deviations from the beat that create swing feel, rolled
chords, and so ondisplayed 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 youve 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, as shown:

419

The notes displayed in the MIDI Tool split-window were entered with one of Finales step-time entry
tools. Therefore, each notes Start Time and Stop Time is zero, as you can see from the fact that
each horizontal line (representing a notes duration) ends flush with one of the dotted vertical lines.
(The vertical lines represent the notated, or quantized, attack and release points of the notes.)
If youve captured the Start and Stop Time (performance) data from a real-time HyperScribe
performance, however, youll see horizontal lines that dont 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
Selection 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 datapedals, wheels, patch changes, and other non-note datafor 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 controllers 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 youve
selected.
To edit the controller setting for a particular region, drag through the region so that its 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 controllers 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 Selection 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 youre 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

420

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 128helps you identify the patch thats selected for each
region, as shown in the figure below.

When youre editing patch changes in the MIDI Tool split-window, the black bars indicate the
current patch at each patch change.
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 doesnt matter whether you select a large region by dragging or only a tiny
vertical sliverall Finale needs to know is where the beginning of the selection falls, because thats
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 Selection 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 aftertouchthe pressure you apply to a key while its 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.

421

To edit the channel pressure value for a particular region, drag through the region so that its
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 Selection Tool to clear Continuous
Data.

Pitch Wheel. From the MIDI Tool Menu, choose Edit Continuous Data, select Pitch Wheel and click
OK 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 wheels value is 0 when its at rest (neither up nor down).
To edit the pitch wheel setting for a particular region, drag through the region so that its 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
Program Options-View (From the Edit Menu,
choose Program Options, then View). 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

422

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 youve already created using either the Mirror Tool or the Selection 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 Selection Tool. Choose Mirror from
the Mass Edit Menu. Select a region of measures; drag the first source measure so that its
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, its 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.

423

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.

Dont Draw:. The next group of checkboxes let you specify elements of the source music you dont
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 youve made

with the Special Tools Tool or the Resize Tool

Articulations and 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 havent
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.

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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 youve created from the main mirror.
When youre 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 those below it, apply only to the selective mirror identified in the text
box. 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 dont select this option, Finale will substitute rests for these
omitted notes.

Show Others as Rests. With this button selected, when you create a selective mirror, Finale
substitutes rests for any notes you didnt select.

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 youve 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:
Mirror Menu
Selection Tool
Mirror Tool
Tilting Mirror

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Mixer

How to get there

From the Window Menu, choose Mixer. Or, from the View Menu, choose Studio View.

What it does
The Mixer contains two parts, a master set of controls and a set of controls for each staff in the score.
The master controls can be used to adjust the volume and reverb of the overall output much like the
master controls on a conventional mixer. The set of controls for each staff can be used to adjust the
volume and pan value relative to other staves in the score much like the volume sliders and panning
wheels for tracks on a conventional mixer. All settings defined in the mixer are post-processed and
applied over the top of MIDI data that already exists in the score score including MIDI Tool data, Human
Playback data and/or expressions and articulations defined for playback. In other words the mixer doesnt
change the contour of the playback, only the overall output or the staff relationship.
Note: Although the mixer displays separate
controls for each staff, only staves of unique
channels can be adjusted independantly. For
example, if your brass quintet contains two trumpet
staves, both set to channel 1, all mixer adjustment
to one trumpet staff will apply to both. If you want
to assign a staff a unique channel you can do so
by defining a "New Instrument" in the Instrument
List. (To do so, in the Instrument List choose View
by Instruments and click New Instrument. Choose
the same instrument sound (patch) for your new
instrument and assign it a different channel).

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Settings applied to staves in the Mixer are dynamically linked to both the Staff Controls and the
Instrument List. For example, an increase to the volume for one staff changes the volume setting in the
Instrument List and Staff Controls uniformely. The same is true for the other settings.

[Pan dial]. Use this dial to control the pan value for each channel. Click and drag this dial clockwise
to pan the channel right or counterclockwise to pan the channel left. Playback volume will be
weighted to the left or right speaker accordingly.

M (Mute). Click this button to indicate you want the channel to be silent when you play the score.

S (Solo). When you click in the Solo button, you instruct Finale to mute all other staves. In other
words, youve 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 Mute button for all other staves).
You can solo more than one staff, if you wishfor example, you can solo two or three staves, and
all the others will be silent. In fact, you can solo all staves, although there wouldnt be much point,
since you may as well solo none of them.

R (Record). Use these buttons to specifiy which staves wyou would like to record into with
HyperScribe.
If youre not multitrack recording (Record into One Staff or Split into Two Staves is selected in the
Record Mode submenu of the HyperScribe Menu), you dont need to use the Mixer 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 Controls Record button (instead of clicking a measure in the score),
then you must use the Mixers (or Instrument Lists) R parameter to indicate the staves in which
you would like to record. (Note you can use the Instrument List to specify individual layers for
recording. See Instrument List).
If you would like to record into two or more staves simultaneously, first, from the HyperScribe
Menu, choose Record Mode, and then Multitrack Record. Then click the R button for all staves you
would like to record into. The buttons turn yellow, indicating that Finale will record into those
staves. Click the Record button in the Playback Controls to begin recording. (Also, when you click
the HyperScribe Tool, the HyperScribe frame appears on the selected staves.)

[Volume Slider]. Use this slider to adjust the volume for this staff (and all other staves set to the
same channel). Note you can enter a specific volume value for each channel in the Instrument List.

PC [Program Change]. This indicator displays the MIDI program number selected for this staff. You
can click this drop-down menu to Visit the SoftSynth dialog box where you can modify Finales
Sound Font output, the Instrument Definition dialog box where you can change the name, channel,
patch, and bank for the instrumnet, or, choose a new GM instrument for this staff.
If youve assigned several staves to the same Instrument, once again remember that theyre 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.

[Channel]. This region displays the MIDI channel assignment for each staff, from 1 to 128. To
change this number, double-click, and type a new channel.
If youve assigned several staves to the same Instrument, by the way, remember that theyre 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.)

Instrument. This is the name of the instrument assigned to the staff (as shown in the Instruemnt
List). You can edit this name (or define a new instrument) in the Instrument Definition dialog box.

Reverb Level. The reverb dial controls the overall amount of decay, or length of time a sound
persists after released. This dial applies to the overall output. Click and drag this dial clockwise to
increase the reverb effect, or counterclockwise to decrease the reverb effect.

Room Size. This setting has the effect of simulating a room size to make your music sound as
though it is being performed in a small room, concert hall, or anything in between. Click and drag the
dial clockwise to increase the size of the room.

Master Mute. Click this button to mute all staves. When you do so, the Mute button is activated in all
Staff Controls and staff Mixer controls. You might use the Master Mute button if you plan to mute
most staves and audition only a select few.

427

Master Solo. Click this button to solo all staves. When you do so, the Solo button is activated in all
Staff Controls and staff Mixer controls.

Master Volume. Click and drag this slider up to increase the volume of the overall output, or down to
decrease the overall volume.

Instrument List. Click this button to open the Instrument List where you can define new instruments,
and make additional volume and pan settings for individual layers and chords. See Instrument List.

See Also:
Playback
Instrument List
Staff Controls

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More Settings

How to get there

Select a region of your document with the Selection Tool. From the Plug-ins Menu, choose Playback, and
then Apply Human Playback. Check Apply Specific Elements, then click Select.

What it does
In this dialog box, you can specify custom Human Playback settings for MIDI data applied with the Apply
Human Playback plug-in. These options are the same as those found in the Human Playback Custom
Style dialog box.

% Reverb. Move this slider right to increase or left to decrease the degree to which reverb is applied
to the performance. Reverb (reverberation) is the persistence of sound after the source has been
stopped, such as the echo effect apparent in a large room or auditorium.

% Mood. Move the Mood slider right to increase, or left to decrease a slight degree of randomness
in the performance. Virtually all items interpreted by HP are effected by the position of the mood
slider.

Swing: Set to None...Dotted 8th, 16th. This control allows you to apply a swing feel to the Human
Playback style. Click on the Swing Values drop-down menu to select from several levels of swing.
Or, choose Current to use the current setting in the Playback Settings dialog box.

Automatic Expression. Check Automatic Expression to allow Human Playback to automatically add
expressions (temporarily) to passages where there are none. For example, in a
and string instruments will be assigned a delicate and realistic attack.

section, wind

Detection of Solo Instrument. Check Detection of Solo Instrument to tell Human Playback to
recognize a solo instrument staff (usually at the top of the score) in order to apply appropriate
settings (Such as Soften Accompaniment). Note that the balance between the solo and others can
be adjusted in the Human Playback Preferences dialog box. (It uses Volume controller for balancing,
and also effects how the solo part is placed in the orchestral space (Automatic Panning).

Automatic Panning. Check Automatic Panning to tell Human Playback to intelligently distribute
instrument channels to simulate a live performance (using Pan MIDI controller 10). For example, this
option can isolate a solo instrument on one speaker and the orchestra on the other. It covers many

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instrumental configurations, from a solo instrument to a symphonic orchestra. Although default

panning always exists, the better the notation, the more accurate the effect.

Baroque Style for Ornaments. Check Baroque Style for Ornaments to perform mordents, trills and
other ornaments in a Baroque style (i.e. trills start on upper note, appoggiaturas are slow, etc.).

Short Syncopations/Off Beats. This option makes jazz music sound more realistic by emphasizing
off beats and short syncopations. The effect is applied with Key Velocity.

Viennese Waltz Feel. Gives a Viennese feel to 3/4 (and also 3/8) based scores. Rubato dependent
and uses Start/Stop times to create the effect. A Viennese Waltz is characteristically performed in a
fast three with an accentuated first beat in the bass.

Play drum rolls exactly. With this checked, tremolo diddles are played precisely (not unmeasured).
Used in Marching Band style.

Adjust Dotted 8th+16th/Triplet Longer Shorter. Check Adjust Dotted 8th+16th/Triplet, and then
choose Longer to increase the duration of the sixteenth note in dotted eighth-sixteenth figures
(relative to a quarter and eighth eighth-note triplet). Choose Shorter to decrease the duration of the
sixteenth note in dotted eighth-sixteenth figures (relative to a quarter and eighth eighth-note triplet).

Soften Accompaniments. Detects and softens accompaniment figures (such as Alberti basses,
arpeggios, etc), to emphasize melodies. Key velocity is used to apply this effect.

Auto Piano Pedaling. Complementary to the Pedal Marking feature, this options creates a pedal
effect automatically (using MIDI controller 64). It analyzes harmonic progressions for changes and
avoids note confusion as much as possible. It is inactive in passages that contain pedal markings
that have been added manually.

Chord Balance. Check Chord Balance to highlight melodies by balancing notes within chords
appropriately by adjusting key velocities. This is especially useful for piano music.

Soften Basses. Check Soften Basses to decrease the volume of the lowest note in chords.

String Harmonics. Creates harmonic effect for strings (violin, etc) and harp, using standard
notation.

Strum Plucked String Chords. Check Strum Plucked String Chords to apply a strummed feel to
entries containing multiple notes on fretted instrument staves (slightly offset the entrance of each
note in a chord from the previous).

Match Harmonic Cadences. Check Match Harmonic Cadences to tell Human Playback to analyze
the harmonic progression of the document and automatically decrease the tempo slightly for perfect
and semi cadences.

OK Cancel. Click Cancel to return to the Apply Human Playback dialog box without making any
changes. Click OK (or press enter) to confirm your settings and return to the Apply Human Playback
dialog box.

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More Quantization Settings

How to get there

Choose Quantization Settings from the MIDI 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 its been transcribed. If
you dont 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,
its used mostly to re-create your dynamics when you play the piece back. Note Durations refers to
Start and Stop Time Datasmall 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, Finales

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playback of your transcription will very closely resemble your original performance (but your
document will be slightly larger when saved).
Tip: 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 theres an inner voice in the music youll 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 youll be needing an inner voice, however, dont select this option.
This will prevent Finale from creating secondary voices where you didnt intend themfor 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 MIDI/Audio Menu to correctly place Voice 1 and Voice Two in the few places you
want them.

Allow Dotted Rests in Simple Meters Allow Dotted Rests in Compound Meters. Usually Finale
writes out all rests instead of notating dotted rests. Check these boxes if you want Finale to notate
dotted rests when copying, transcribing your MIDI file, or during a HyperScribe or Transcription Mode
performance.
Check Allow Dotted Rests in Simple Meters to apply this setting to all portions of your score in a
simple meter (e.g. 2/4, 4/4, 2/2, etc). Check Allow Dotted Rests in Compound Meters to apply this
setting to all portions of your score in a compound meter (e.g. 6/8, 9/8, 5/8, etc). When this option
is selected Finale notates a quarter rest followed by an eighth rest as a dotted quarter rest.
When copying and pasting, if it is necessary to rebar the music (see Rebarring Music), these
settings apply to the target region. For example, if Allow Dotted Rests in Compound Meters is
checked, Finale will combine quarter rest/eighth rest figures into dotted quarter rests when music is
copied into a region with a compound meter and rebar music is applied.

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 factorsthe
time signature and whether or not this option is selectedbut 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 thats 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 thats 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 youve 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 beatin 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, youre
using HyperScribe to transcribe small tuplets (like quintuplets) and you discover that Finale isnt

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notating note values as fine as youd like, or that its 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
Quantization Settings

433

Move Groups dialog box

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, then Update Groups and Brackets. Click Move.

What it does
While managing brackets on optimized systems using the Update Groups and Brackets plug-in, use this
dialog box to move several group names and/or brackets in uniform. This dialog box will make changes
to all systems checked in the Group Scope List of the Update Groups and Brackets dialog box.

H V. Enter a value or use the spinner arrows to specify a horizontal (H) or vertical (V) amount to
move the selected group name(s) and/or bracket(s) (depending on the current selection under the
Item(s) to Move drop-down menu). The units of measurement are whatever youve selected using
the Units drop-down menu at the bottom of this dialog box.

Items to Move; Bracket and Name Bracket Only Name Only Full Name Only Abbreviated
Name Only. From this drop-down menu, select the part of the group style you would like to move.

Units. From this drop-down menu, choose the measurement units you would like to use for moving
group names and/or brackets. See Measurement Units.

Distances are Absolute. With this box checked, the absolute distance specified is used, and any
modifications to the page and system reduction (see Resize Tool) are ignored.

OK Cancel. Click Cancel to return to the Update Groups and Brackets dialog box without moving
group names or brackets. Click OK (or press enter) to confirm your settings and return to the Update
Groups and Brackets plug-in.

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Move/Copy Layers

How to get there

Click the Selection Tool
Menu.

, and select a region of measures. Choose Move/Copy Layers from the Edit

What it does
The Move/Copy Layers command provides a way to move music from one layer to another. You can
even swap the music between layersif, for example, you mistakenly entered several stems-down notes
in Layer 1, which you intended to use only for stems-up (upper) voices. You can also copy layers while
leaving the original notes intact.

Move Copy. Choose Move to convert notes in one layer to another. Choose Copy to convert notes
in one layer to another and leave the original notes in place. When Copy in chosen, notes in the new
layer are superimposed on the original notes.
Tip: To display and work with (mass copy etc.)
layers individually, activate the layer you want to
copy, and then, from the Document Menu, choose
Show Active Layer Only.

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 theres already music in the layer you choose
from the drop-down lists, it will be replaced by the music youre transferring. (Finale will warn you if
youre about to lose music thats 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 layers contents. For example, if you
indicate that you want the contents of Layers 2, 3, and 4 moved into Layer 1, only Layer 4s 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:
Multiple voices

435

Utilities Menu

436

Movie Window

How to get there

From the Window Menu, choose Movie Window.
What it does
Finales integrated Movie Window allows you to view a QuickTime or Windows Media video while working
with your Finale project. This is a convenient alternative to using SMPTE to synchronize Finale with a
separate video device. In this window, you can choose to lock the movie and Finale in sync with each
other, or turn off synchronization to simply watch the movie without playing the Finale file. If you like, you
can associate a movie with any Finale document.

[Play Pause Progress Bar Beginning End]. These controls are the same as those you would
find in a standard media player. Click these button to play, pause, move to the beginning and move
to the end. You can also click and drag the progress bar to navigate to a specific point in the movie.

Select. Click this button to navigate and select a movie file. Finale supports QuickTime and WMV
movie formats.

Sync. Check this box to synchronize Finale playback with movie playback. When Sync is checked,
Finales Playback Controls also apply to movie playback. Similarly, the playback controls in the
Movie Window apply to Finale playback. When Syncronized, Finale and the Movie Window are
linked using MIDI Time Code information.

Size; Actual Half Double Other. Use these controls to adjust the size of the Movie Window
viewer area.

437

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 lefthand 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 theres 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 youve 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 youve 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 youre 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 youve just made.
You exit the dialog box.
Tip: middle C=60=C4.

See Also:
Transcription Menu
HyperScribe Tool

438

439

Multimeasure Rest

How to get there

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 an existing multimeasure rest.
These settings are almost identical to those in Document Options-Multimeasure Rests. You can choose
between using a shape or Finales 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 Document Menu,
then Measurement Units, then select the desired units. To define the appearence of Multimeasure rests
througout your document, see Document Options-Multimeasure Rest.

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 exist-ing rest
shape. If you want to create your own shape, click Create in the Shape Selection dia-log 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 wont 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 shapes
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.

440

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 exist-ing 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 wont 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 val-ues to shift the shapes
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.

See Also:
Multimeasure rests
Measure Menu

441

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 the Playback tab. 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 the Use List check box.
If the expression already appears in the score, double-click its handle, then click the Playback tab,
Execute Shape, Select, Create, and then 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 youve drawn for a rallentando every eighth note, so that the
tempo decreases with each passing eighth note.
If you want Finales 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 didnt put numbers in any of the boxes, Finale doesnt put an X in the Use List checkbox.)

See Also:
Executable Shape Designer
Multiple Pass and Sample List Overview

442

443

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 youre transcribing a standard MIDI sequencer file. In essence, it lets you strip a chordal
passage (from the combined sequencer tracks youve specified) into individual single-line melodies on
separate staves. This is a good technique for separating single musical linesfor string parts, for
exampleinto 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 youre 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

444

New Category

How to get there

From the Document Menu, choose Category Designer. Click Duplicate.

What it does
This dialog box allows you to name the new expression category you are creating.

New Category Name. In this text box, enter a name for the new expression category.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes youve made.
You return to the Category Designer dialog box.

See Also:
Category Designer dialog box
Expressions

445

New Staves

How to get there

Click the Staff Tool
score.

. Choose New Staves from the Staff Menu to add staves to the bottom of your

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. Youll usually want
to enter a negative number, because youre 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 Finales "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

446

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 dont 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" doesnt 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 formatthus you can use the scroll bars to scroll from C to F to B flat, and
so on around the circle of fifths.
Note: This scroll bar is inactive if youve specified
a nonlinear key signature. By definition, a nonlinear key signature is not part of a key system.
Instead, its a key signature unto itself, so theres
no purpose served by the scroll bar.

447

Tone Center: (#) Altered: (#). These indicators identify the tone centerthe 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 amountthe amount of chromatic alterationis 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 its 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 formatin Finale,
its 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, youll find that only the ClefOrd and Attribute icons are operational.
Once youve selected Key Format 2 or higher [which havent 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), its 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 theres no "circle of fifths"; in
fact, theres 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, youll discover that
the scroll bar is inactive if youve 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 youre 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.

448

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 youre 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 youve 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

449

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 and choose Edit.

What it does
The Notehead Settings dialog box allows you 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, and choose Edit.

Positioning: Horizontal Vertical Allow Vertical Positioning. 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 Edit 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 notehead,
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 noteheads.

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 youll see the effects of your notehead changes.
The handle you clicked remains selected to remind you that youve modified it. Click Cancel to return
to the score without changing any noteheads.

See Also:
Special Tools Tool

450

451

Note Shapes

How to get there

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. See also Staff
Styles. 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
, for Whole is , for Half
is , and for Quarter (and smaller values) is . 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 youre specifying; it appears in the system font,
regardless of what it looks like in the music font. For example, even if youve selected an X notehead
in the Maestro music font, youll 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
symbols alphabetic system font equivalent in the text box automatically.

Use Note Shapes. This checkbox, which only appears if youve chosen Note Shapes from
Document Options - Notes and Rests, is the master switch for the settings youve made in this dialog
box. When its selected, the document displays your new notehead shapes; deselect this checkbox
to restore normal noteheads (until you re-select it).

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, any changes in the note
shape scheme youve established and dismiss the dialog box.

See Also:

452

Staff Styles
Staff Attributes

453

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, Score, 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 Finale Notation File (.MUS) to display
"regular" Finale files. 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 Load Library dialog box, choose Library File (.LIB) to display the available Finale libraries (sets of
musical markings such as Articulations and 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.

454

In the Import dialog box, choose Encore, Rhapsody, MIDISCAN, SmartScore, or Score to display the files
of the selected type in the scrolling list.
See Also:
File Menu

455

Optional Octave Region

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Optional Octave from the marker list
on the left and click add. Or, select an existing optional octave marker from the Marker window and click
Edit.

What it does
Use the settings in this dialog box to control the measure assignment for the Optional Octave SmartMusic
Marker you are adding or editing.

Rehearsal Mark Bar Note Repeat. Choose a rehearsal mark, repeat, or specify a bar and note
to add an Optional Octave marker. Use the From and To rows of options to specify the region.

Up Down. Choose Up to recognize a performance that sounds an octave higher than writtern.
Choose down to recognize a performance that sounds an octave lower than written.

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

456

Ossia Measure Designer

How to get there

From the Window Menu, choose Advanced Tools. Click the Ossia Tool
. If youre in Page View,
double-click the location on the page to which you want to attach the "floating measure." If youre in Scroll
View, click the measure to which you want it attached (or click again if theres 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 youre 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 measures 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.

457

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. From this drop-down menu, choose the staff in which the source measure is found.
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 its 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.

Barline. Click the barline icon that you want to be the floating measures right barline. For a more
complete discussion of these options, see Measure Attributes dialog box.

Clef Select Key Signature Time Signature. Click Select to set the floating measures clef
(double-click your selection from the Clef palette that appears). Click the Key Signature or Time
Signature button to set the floating measures key or time signature. (Otherwise, the floating
measure uses the same default key and time settings of the source measure.)

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 dont 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 youve 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 measures handle. A positive number moves the floating measure upward
in relation to its handle; a negative number moves it downward (but its easier to position the
measure by dragging its handle once youve 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 measures 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 youve made in this dialog box and proceed to the next
dialog boxor 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
Ossia Tool

458

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 measures precise positioning in relation to the page
to which its 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 its 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 youve made in this dialog box.
You return to the score.

See Also:
Ossia Measure Designer
Ossia Tool

459

Page Format for Parts

How to get there

From the Page Format submenu of the Document Menu, choose Parts. 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 pages 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 scores orientation. You can also
choose from the page sizes in the drop-down menu, 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.

460

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 youve 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 youve 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
Document Menu

461

Page Format for Score

How to get there

From the Page Format submenu of the Document Menu, choose Parts.

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 pages top margin and the first staff system.
Once youve changed any of the page layout variables, Finale will only apply the changed format to any
new pages it createsnot 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, youll use the Page
Layout Menus 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 scores orientation. You can also
choose from the page sizes in the drop-down menu, which displays your choices from your
pagesizes.txt file.

462

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 youve 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 youve 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:
Document Menu
Page Layout Tool

463

Page Offset

How to get there

Click the Text Tool
the Text Menu.

. Select a page number insert in a text block then select Edit Page Offset from

What it does
The Page Offset dialog box allows you to enter a number to add to Finales 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 Finales 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 (Finales 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

464

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:
Printing
File Menu

465

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 dropdown list or type in the desired Width and Height (custom will be displayed in the drop-down list).
Select Portrait or Landscape as well.

Current Part or Score Selected Parts/Score All Parts All Parts and Score; Select. Choose
Current Part or Score to apply changes to the score or part that is currently active in the document
window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box
where you can choose to apply changes to any combination of the score and/or parts. Choose All
parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all
parts and the score.

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
Page Layout Menu
Page Layout Tool

466

Part Creation Preferences

How to get there

From the Documents Menu, choose Manage Parts. Click Part Creation Preferences.
What it does
Use this dialog box to specify properties of newly generated linked parts including multimeasure rests,
music spacing, and measure layout. These settings only apply to newly created parts or staves added or
removed from an existing part.

Create Mulitmeasure Rests; Multimeasure Rests. Check this box to specify you want to
automatically replace consecutive empty measures (containing only default whole rests) with
multimeasure rests while generating parts. Note: If this box is checked while creating a part from an
empty instrument staff, that instruments part will display as a single multimeasure rest. Click
Multimeasure Rests to open Document Options-Multimeasure Rests to edit multimeasure rest
options.

Apply Beat Spacing Apply Note Spacing Apply Time Signature Spacing Copy Spacing
From Score. Choose one of these options to specify the type of music spacing to use in newly
generated parts. For a description of Beat, Note, and Time Signature spacing. Choose Copy Spacing
From Score to use the same measure widths from the score in new parts. Click Music Spacing
Options to open Document Options-Music Spacing for more music spacing options.

Fit ___ Measures per System Treat Multimeasure Rests as One Measure. The Measures per
System option lets you specify how many measures per line you want for new parts. You may
optionally treat multimeasure rests as one measure (when checked) or count each measure inside
the multi-measure rest individually (when unchecked).

Space Systems Evenly. Check this box to instruct Finale to place systems evenly spaced on the
page vertically, to make maximum use of the page. See Space Systems Evenly dialog box.

Page Format for Parts. Choose this option to open the Page Format for Parts dialog box where you
can establish the default values for the page layout of new parts. See Page Format for Score and
Page Format for Parts dialog boxes.

467

OK Cancel. Click OK to confirm your part settings and return to the active document. Click cancel
to discard your changes and dismiss the dialog box.

468

Paste Multiple

How to get there

Click the Selection Tool
, and select a region of measures. From the Edit Menu, choose Cut or
Copy (or press Ctrl-C or Ctrl-X). Highlight the first measure of the desired destination region, and from the
Edit Menu, choose Paste Multiple (or press Ctrl-Alt-V).

What it does
When you copy music using the Paste Multiple command, 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 Selection Tool to copy it
into the second measure using the Paste Multiple command. This dialog box appears, asking how many
times you want it copied; for example, enter 3 for Paste Horizontally and click OK. Finale will copy the
selected measure into measures 2, 3, and 4.

Paste Horizontally; To the End of the Score. In this text box, enter the number of times you want
the selected music copied horizontally (towards the end of the score). If you enter a number higher
than 1, Finale will place the additional copies after the first copy, on the same set of staves. Choose
To the End of the Score to replicate the source material throughout all subsequent measures in the
score.

Paste Vertically; To the Bottom of the Score. In this text box, enter the number of times you want
the selected music copied vertically (towards the bottom of the score). If you enter a number higher
than 1, Finale will place the additional copies beneath the first copy, on subsequent staves of the
system. Choose To the Bottom of the Score to replicate the source material throughout all
subsequent staves in the score.

OK Cancel. Click OK to proceed with, or Cancel to abort, the copying process. You return to the
score.

See Also:
Copying Music
Selection Tool

469

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 Selection Tool. Select a region containing partial measures. Choose one
of the following Utilities Menu commands, which can only be applied to increments of a full measure:
Check Ties, Convert Mirrors, Explode Music, Implode Music; Music Spacing submenu: Apply Beat
Spacing, Apply Note Spacing, Apply Time Signature Spacing; Fit Measures; Move/Copy Layers.
See Also:
Edit Menu

470

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 youre 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 youre 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 boxs 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 zeroyou
can enter 300%, for example, to make a particular value three times its current value. (The absolute
value of MIDI controllers cant 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 editpedaling, 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 controllers values multiplied for all the selected music. The Percent Alter
command isnt relevant if youve 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

471

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 youre 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 youre 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 boxs 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 zeroyou can enter
300%, for example, to make a particular value three times its current value. (The absolute value of
key velocities cant exceed 127, however.) The number in this text box represents a percentage of
each notes 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

472

Percent Alteration Tempo

How to get there

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
. Select a region of
measures. (If youre 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 Tempo from the MIDI Tool Menu.
If youre 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 boxs function is to change the tempo 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 at half the
number of beats per minute by entering 50 (%) in the text box.

___ percent of current value. In this text box, enter the percentage by which you want the number
of beats per minute to be changed for the selected notes. This value can be any number above
zeroyou can enter 300%, for example, to make a particular value three times its current value.

OK Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

473

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 youre 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 youre 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 boxs 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 zeroyou 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

474

Percussion Map Designer

How to get there

Click the Staff Tool
. Double-click a staff handle. Select Percussion from the Notation Style dropdown list if its 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 youve
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 notes 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.

475

To make it easy for you to set up a percussion staff, weve 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 0127, 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 doesnt use this name in the scoreits 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 youve 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 notes 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.

476

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 youve 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 its "on" then you can see the room and use it; if its "off" then the room is dark and cant use it.
Think of the Percussion Map as characteristics of a car. The MIDI Pitch is like the car frame. Its 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. Its 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. Its 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
Percussion Map Selection
Staff Attributes
Staff Tool

477

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 its
not already selected. Click Select.

What it does
The Percussion Map Selection dialog box displays the percussion maps available in this document.
Finales default percussion maps (which were saved in Finales 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 Load Library

478

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
Finales 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 Shiftclick 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:
Percussion
Selection Overview
Staff Attributes
Staff Tool

479

Pickup Measure

How to get there

From the Document Menu, choose Pickup Measure.

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
document.

[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 Pickup. Click on Clear Pickups to remove a pickup and restore the measure to a normal, nonpickup, measure.

OK Cancel. Click Cancel to dismiss the dialog box without changing any pickup settings. Click OK
to confirm your pickup settings and return to the score.

See Also:
Pickup measures
Document Menu

480

Playback and/or Click

How to get there

Click the HyperScribe Tool
HyperScribe Menu.

. Choose Playback and/or Click from the Beat Source submenu of the

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.

MIDI Input Tempo; Use Playback Tempo Use This Tempo Listen. Select Use Playback Tempo
to record using the same tempo assigned to the playback - including expressions and/or the tempo
setting in the Playback Controls. (See Playback). When you select Use This Tempo, Finale will use
the specified 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.

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.

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 youre recording (and Playback
and/or Click is selected in the Beat Source
submenu), not when youre playing back your
music.

481

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.

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 dont 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

482

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 youve already created a Placeholderand its Placeholder icon is visibleclick 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 its the first measure in your score. See
Pickup Measure)

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 youve
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 youre 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:

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Mirror Tool

484

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-decklike 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 give access to the
Playback Options dialog box, where you can further specify Finales playback behavior.
Playback Controls supports Finales HyperScribe recording and playback functions as well. To start
recording, you can click Record in Playback Controls after selecting R for a staff in the Mixer, Staff
Controls or Instrument List.

. Click this button to enter the number 1 into the Measure text box, which
Rewind to Beginning
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.

. Click this button and hold the button down to make the number in the Measure text
Rewind
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.

Play
Pause. Click Stop to halt playback and reset the Measure text box to its
Stop
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.

. Click Record to start recording when HyperScribe is the selected tool. Be sure that
Record
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 youre tapping to provide the beat (Tap is checked in
HyperScribes 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
HyperScribes 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).

485

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__ Time. This text box has two functions. Before you begin playback, it indicates the first
measure and beat to be played. And while playback is underway, it changes to show you the current
playback location and EDU.
If Current Counter Setting is selected in the Playback Settings dialog box, you can click the up and
down arrows to adjust the measure. To specify a start point within the measure, simply enter the
desired measure, beat, and EDU separated by |s [measure]|[beat]|[EDU]. (See Equivalents for an
explanation of EDUs). Note that when you do this, the beat and EDU may temporarily disappear
from the display.

Playback Settings icon. Most of the time, the controls described above are adequate for controlling
playback. If you want to use some of Finales more powerful options, click the Playback Settings
button. 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 youve set up the
tempo in other waysby recording tempo changes played into the Transcription Mode of
HyperScribe, for example, or by placing tempo markings into the scorethen 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 minutethe actual tempoeither type a new number into the text
box, or click the arrows to increase or decrease the displayed number.

See Also:
Playback
Playback/Record Options
Click and Countoff
HyperScribe Tool

486

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 the Playback tab 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 the Playback tab; 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 datadump 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 youre creating an expression whose function is to send a staffs music over additional MIDI
channels, enter 2 or 3 (depending on whether you want the staffs playback routed to 1 or 2
additional MIDI channels). A staff can play up to three MIDI channels, including the primary MIDI
channel youve established for the staff.

Data. Enter the codes you want Finale to transmit when it plays back the expression youre 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 youre creating an expression that tells Finale to begin sending a staffs 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 staffs 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 youve specified, create another expression whose playback
definition is a Data Dump. But in the Data text box that originally displayed the MIDI channel that
you dont want to change at this point, enter the code $FE. Example: Your first Data Dump
expression added channels 5 and 6 to the staffs 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.

487

Finally, you can "turn off" any additional MIDI channels youve 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 staffs 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 "dont change this channel"
command).

OK Cancel. Click OK to confirm, or Cancel to discard, the settings youve made in this dialog box
and return to the Expression Designer dialog box.

See Also:
Expression Designer
Expression Selection

488

Playback/Record Options

How to get there

From the Document Menu, choose Playback/Record Options. Or, choose Playback Controls from the
Window Menu. Click the Playback Settings button; then click Playback/Record Options.

What it does
In this dialog box, you can define Finales handling of a number of playback variables, for real-time
playback, MIDI files and Audio 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 youre 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
MIDI/Audio Menu, then More Quantization Settings before recording, and check Record Key
Velocities and Record Note Durations.
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, youll hear a playback that precisely duplicates your original
performancecomplete with pedaling, subtle dynamics, ritards and accelerandi, and uneven
rhythmseven if the resulting notated version looks considerably different. If you dont select any

489

of these checkboxes, Finale will sight-read your notated score exactly as it appears on the
screenwhich 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 didnt exist.

Reset Repeats. Select this checkbox if you want Finale to treat any repeat barlines (or text repeats)
it encounters as though its reaching them for the first time. If you dont specify Reset Repeats,
Finale will remember how many times its encountered each repeat sign each time you stop
playback, andwhen you start againit will continue playing your piece as though youd never
stopped. If youre proofreading a score by playing a section at a time, you probably wont want to
select this option; Finale will "remember its place" as you play each section.

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 youve 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 dont 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 youve 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 doesnt 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 youve made in this dialog box. Finale will use the
option settings youve just made whenever it plays back your score. Click Cancel to exit the dialog
box without changing any settings.

See Also:
Playback Controls
Document Menu

490

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 Finales handling of a number of playback variables, for real-time
playback and exported MIDI and Audio 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.

Human Playback Style: From this drop-down list, you can choose a playback style such as
romantic, jazz, blues, or classical. Finale uses the style chosen to emulate a human performance
during playback. Adjustments to the MIDI performance data in tempo, note duration, key velocity,
and other MIDI attributes are applied throughout Finales performance. When any Human Playback
Style is chosen, all other MIDI data deliberately applied to the document ,including data added with
the MIDI and Expression Tool, is ignored in favor of theHuman Playback settings. The Human
Playback performace will include existing expressions, smart shapes,and other markings in its

491

interpretation based on the style chosen. These settings also apply to saved MIDI files (*.MID) and
SmartMusic Accompaniment files (*.SMP). You can turn off human Playback by choosing None from
this list. Choose Custom to open the Human Playback Custom Style dialog box where you can
configure custom Human Playback Settings.

HP Preferences. Click this button to open the Human Playback Preferences dialog box where you
can control how Human Playback deals with existing MIDI data and make additional set tings.

Swing: Swing Values. This control allows you to apply a swing feel to the entire piece. If youve
created an Expression with a Swing effect, the expression will override this control. Click on the
Swing Values drop-down list 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 arent 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 boxor click the arrowsto specify a certain stopping point.

Observe Playback Region when saving to a MIDI or audio file. Check this option to limit the
duration of MIDI and audio files to the region of measures specified in the options above.

Display Time As: Hours:Minutes:Seconds:Milliseconds Frames. Here, choose the desired

format for time to be displayed on the Playabck Controls. Choose Frames when writing to picture in
order to see the MIDI Time Code equivalent, which is the format most likely used in an external
media player synched to Finale.

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/Record Options dialog box where you
can specify how Finale plays back your score. See Playback Options dialog box.

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

492

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 Text dialog box appears.

What it does
Use these dialog boxes to adjust the position of group names in relation to the group of staveseither
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 youre in this dialog box, you see the default group or staff name or custom line text displayed in
the font and style youve 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

493

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.

These staff names are leftaligned (and left-justified).

These staff names are

right aligned (and rightjustified).

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, its 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 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

494

495

Position Groups dialog box

How to get there

From the Plug-ins Menu, choose scoring and arranging, then Update Groups and Brackets. Position.

What it does
While managing brackets on optimized systems using the Update Groups and Brackets plug-in, use this
dialog box to make detailed changes to group positioning. This dialog box will make changes to all
systems checked in the Group Scope List of the Update Groups and Brackets dialog box.
Full/Abbreviated Group Name:

Alignment: Left Right Center. From this drop-down list, choose how you want group names
aligned, relative to the Distance from Staff setting. The group name handle that appears in the
document will be placed to 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.

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Justification: Left Right Center Full Forced Full. This setting generally matches the
Alignment setting (Left, Right or Center) for the group name, however, its provided for multi-line

group names such as trumpet

From this drop-down list, choose how you want multi-line group names justified. The longest line of
text determines the width of the invisible text frame that surrounds the 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 leftjustify 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 menu.
Distance from Staff: H: V:. In these text boxes, you can precisely position where the handle for
the group name should be placed relative to the staff. The top-left corner of the staff is the point
where H: and V: are both zero, so both of the coordinates will almost always be negative numbers.
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.
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.

Bracket:

Distance from Left of Staff. Here specify, as a negative value, the distance from the left edge of the
staff.

Vertical Adjust (Top of Bracket). Here, you can adjust the positioning of the top of the bracket. The
bracket resizes so that the top meets the specified position. The bottom of the bracket remains
stationary. (Measured from the top staff line of the top staff in the group).

Vertical Adjust (Bottom of Bracket). Here, you can adjust the positioning of the bottom of the
bracket. The bracket resizes so that the bottom meets the specified position. The top of the bracket
remains stationary. (Measured from the bottom staff line of the bottom staff in the group).

Units. From this drop-down, choose the measurement units you would like to use for moving group
names and/or brackets. See Measurement Units.

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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 dont 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 youve made in the measure
numbers position. You return to the Measure Number dialog box.

See Also:
Measure Number
Measure Tool

498

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 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 Designer dialog box without selecting a preset
arrowhead.

Select. After clicking the arrowhead you want to use, click Select. You return to the Smart Line
Designer dialog box. Instead of using the Select button, you can simply double-click the desired
arrowhead.

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See Also:
Smart Shape Tool

500

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 printin
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.

[Score/parts list]. Check the box to the left of the parts you want to print. Check Score if you would
like to print the score. Click the number to the right of an option to specify the number of copies for
that part (or the score). See Printing linked parts.

Check All. Click this button to check every item listed in the score/parts list.

Check None. Click this button to uncheck every item in the score/parts list.

Check Current. Click this button to check the selected items in the score/parts list.

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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).

Right & Left Right Only Left Only. Select Left & Right to print both the left and right pages in the
specified page range. Select Left Only or Right Only to print only the left or right pages, respectively,
in the specified page range. For example, to print a document 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!
Tip: 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.

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 document.

Print to File. Select this checkbox to print to a file instead of the printer.

Print Quality. Choose the resolution setting you want from this drop-down list.

1-up 2-up 4-up. Weve 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. Check Fit to Page to
automatically scale the music to fit on the chosen page size. 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. (If you would like to print 2-up in landscape orientation, you must uncheck
Use Finales Page Orientation Instead of the Printers Page Orientation in Program Options-Save.
This setting is checked by default so the orientation in Page Setup will be ignored which is
convenient for normal 1-up printing). Select 4-up to print four pages of music on one page; Finale
automatically scales the music to fit on the printed page.

Fit to Page. Check Fit to Page to automatically scale the music to fit on the chosen page size.

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.

Reverse Order Tile Pages Tile Overlap. Select these options to print the pages in the reverse
orderfrom the last page to the first page, or if you want Finale to print a page of music on more
than one page of paper (to accommodate a large score). 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 and Tiling pages for printing. 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 Edit Menu).

Crop Marks Display Colors Registration Marks Registration Filename. Select Crop Marks or
Registration Marks if you want crop and registration 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. Check Display Colors to print the colors used by Finale to
identify the different score elements (see Program Options-Display Colors). Note that if you do not
have a color printer, this will only print in shades of gray. 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.

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.

Print Cancel. Click Print (or press enter) to print. Click Cancel to dismiss the dialog box without
printing.

See Also:
Page Setup
File Menu

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Program Options dialog box

How to get there

From the Edit Menu, choose Program Options.

What it does
The Program Options dialog box lets you configure Finales program-wide settings. Click a category on
the left to see its corresponding options appear on the right side of this dialog box. For example, click the
Save category to specify whether to save your preferences automatically when you exit Finale, or only
when you explicitly use the Save Preferences command. You can make as many changes as you like
before returning to your score by pressing the Apply button when you have finished changing the settings
for any category. The settings in this dialog box are saved in the Finale.INI file (in your Finale folder).

OK Cancel Apply. Click OK (or press enter) to save the new settings and return to the document.
Click cancel and you will be prompted to save or discard unapplied changes. Click Apply to save the
selected changes in your dialog box and keep the Program Options box open.

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See:
Program Options-New
Program Options-Open
Program Options-Save
Program Options-View
Program Options-Edit
Program Options-Folders
Program Options-Display Colors
Program Options-Palettes and Backgrounds

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Program Options-Display Colors

How to get there

From the Edit Menu, then Program Options and select Display Colors. Or, choose Select Display Colors
from the View Menu.

What it does
The Display Colors options allow you to assign colors to different layers as well as to different elements in
your scor 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. The color display settings are
Program Options that are daved when Finale saves your preferences in the Finale.INI.

Color Unlinked Items. With this box checked, items that have been broken in a linked part change
color (to orange). The item in the score also changes color indicating this item is broken in one or

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more parts. For example, if an expression is repositioned in a linked part, it will change color in the
part indicating future score edits to the positioning will not apply to that item in the part (see Linked
Parts).

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.

Layer Colors Apply to All Layer Items. Select this checkbox if you want Finale to set all items in
layers 14 to the specified colors for each layer, including items such as expressions, chords and
lyrics.

Musical Elements: Layer 1 Layer 2 Layer 3 Layer 4 . . . Expressions. A number of items in

your score can be assigned different colors. Click 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 scoreboth 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 scoreboth 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.

Interface Colors: 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.

See Also:
Print
Staff Styles
Finale 2009 Menu/Program Options

506

Program Options-Edit

How to get there

From the Edit Menu, choose Program Options and select Edit.

What it does
Here, specify undo settings, settings for movable items and font annotation.

Measurement Units: EVPUs Inches Centimeters Points Picas Spaces. In a number of

Finale dialog boxes, youre 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 understandand displayin all of its dialog
boxes.

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Youre already familiar with inches and centimeters. Points and picas are typographical
measurements; there are 72 points per inch, and 12 points in a pica. EVPU stands for ENIGMA
Virtual Page Unit, of which there are 288 per inch.
Select spaces when you want Finale to display spaces as the measurement unit in all the dialog
boxes. Although one space is defined as the distance between staff lines, in Finale one space is
equal to 24 EVPUs (which is Finales default distance between staff lines). Note also that one halfspace equals one step, which is one line or space in a staff.
You can override your global choice on a case-by-case basis, however. Just include the units, or
their abbreviation, when you type any measurement number into Finale. For example, suppose
youve selected Inches as your global unit of measurement. When youre telling Finale how thick
youd like your slurs to be, however, inches may be slightly unwieldy for such a fine adjustment.
Therefore, you might type 2 pt. Finale will automatically convert what youve entered into inches.

Allow Undo. You can undo almost any Finale operation by choosing Undo from the Edit Menu. After
extensive Utility Menu 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 wont require the disk space
necessary to store the scores 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.

Reflow Measures: Do Not Reflow. Selecting this option from the drop-down menu 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 menu 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
popup menu 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 Selection Tool, or when you choose Fit
Measures or Lock Systems from the Utilities 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 dropdown menu 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 doesnt 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, Finale
will update the layout. Checking this option also checks Automatic Update Layout under the Edit
Menu.

Automatic Music Spacing. Select this option to have your music automatically
spaced as you enter itat the end of a Speedy Entry measure, at the end of a
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HyperScribe session, or after each note in Simple Entry. The music spacing applied
is based on the currently loaded spacing width library. See Music Spacing.

Use Fonts and Resolution from: Screen Printer. These options account for the differences
between the screen and printer resolution. Choose Printer to ensure that the computations use
printer fonts and resolution from the currently selected printer.

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 youre 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 its 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.

Chime When Edit Complete. Deselect this checkbox to prevent Finale from notifying you after a
long edit action is complete.

Font Annotation. Click this button to open the Font Annotation dialog box, where you can fine-tune
the selection area for font characters. For more information on annotating fonts, see Font Annotation.
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:
Edit Menu
Font Annotation
Finale 2009 Menu/Program Options

509

Program Options-Folders

How to get there

From the Edit Menu, choose Program Options and select Folders.

What it does
In this category, you can specify different folders to store your files in.

Folders: Music Backup Auto Save Templates Libraries Plug-ins User Manual
Component Files Font Annotations Temporary Files ; 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.

See Also:

510

File Menu-Save
File Menu-Open
Finale 2009 Menu/Program Options

511

Program Options-New

How to get there

From the Edit Menu, chose Program Options and select New.

What it does
Choose New to make settings related to opening new documents. Change the default file name, select
the type of document to open when launching Finale and specify how to view any new document when it
first opens.

Default Document 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.

Default New Operation Setup Wizard Default Document. Select one of these options to set the
keyboard shortcut for New (ctrl-N) to the default document or Setup Wizard.

512

Startup Action: Finale Launch Window 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.

Display Setup Wizard When Opening a Template. Check this box to indicate that you would like to
open the "Score Information" and "Score Settings" pages of the Setup Wizard to customize
templates prior to opening them. These pages appear after choosing the File Menu > New >
Document From Template and opening a template file. Uncheck this box to indicate that you would
like Finale to open templates without prompting you with these pages of the Setup Wizard.
SeeSetup Wizard.

View Percent. Select the View percentage new documents should display when opened.

View: Scroll View Page View Page View Style Studio View. Select which view, Scroll View or
Page View, new documents should display when opened. From the Page View Style drop-down
menu, choose the desired Page View Style. See View/ Page View Style.

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.

See Also:
File Menu-New
Edit Menu/Program Options
Finale 2009 Menu/Program Options

513

Program Options-Open

How to get there

From the Edit Menu, choose Program Options and select Open.

What it does
Use the Open category to specify how Finale treats various types of files while opening them.

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.

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

514

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!

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!

Playback: Set Human playback for Finale Notation Files Created Prior to Finale 2004. Choose
this option to automatically enable Human Playback while opening files created in earlier Finale
versions (pre-Finale 2004). See Playback Settings dialog box.

Automatically Convert Text In Files From Other Operating Systems Show Dialog On
Automatic Conversion. Check to Automatically Convert to translate upper-ASCII characters (such
as , and hard spaces) into the appropriate character on the current system. If Finale was unable
to translate the character, it will display the problem character as a question mark. Finale will only
check text fonts, as defined in the MacSymbolFonts.txt file, not music or symbol fonts. See
Configuring Macsymbolfonts.txt. Check "Show Dialog on Automatic Conversion" to display
a list of text items checked, items converted and other information about the conversion process.

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.

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.

See Also:
File Menu-Open
Edit Menu/Program Options
Finale 2009 Menu/Program Options

515

Program Options-Palettes and

Backgrounds

How to get there

From the Edit Menu, choose Program Options and select Palettes and Backgrounds

What it does
This category allows you to customize the appearance of all of Finales palettes as well as customize the
background color. You can change the size and style of all the tool palettes and menu bars, as well as
when you want them to appear based on the tool selected.

Size: Large Medium Small. You may want to change the size of your palettes from the default
size to better fit within the area of your screen. You may also want to specify larger tool icons for
higher quality graphics. Choose large for the highest quality graphics, which will display tool icons at
32x32 pixels. Choose medium for medium quality tool graphics, which will display at 26x26 pixels.
Choose Small to specify the smallest tool size with minimal graphic quality. The small palette size

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will display the tool icons as they appeared in versions of Finale prior to Finale 2003. You must
restart Finale before these new settings take effect.

Note: After changing palette size and restarting

Finale, you may notice the palette configuration
has reset on your screen. You will need to
reconfigure the palettes so they fit optimally on
your screen after resizing them in the Program
Options.
Style. Click this drop-down arrow to choose from a variety of styles for your tool palettes. The
number of options available in this drop-down list depends on the tool palette size selected. For
example, the Traditional palette style is only available in the Small size.

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.

Document Window Background: Graphic File; Select Default Tile Stretch Solid Color;
Select. Click the Select button for Graphic File to choose one of Finale's backgrounds to place
behind the score, or to choose your own background graphic. Choose Tile to tile the background
graphic. Choose Stretch to automatically stretch the graphic to fit the background area. Click the
Select button for Solid Color to choose a solid color for your background.

Manuscript Texture: Graphic File; Select Default Tile Stretch Solid Color; Select. Click the
Select button for Graphic File to choose one of Finales manuscript backgrounds to place behind the
music, or to choose your own manuscript graphic. Click Default to use Finales default manuscript
background. Choose Tile to tile the manuscript graphic. Choose Stretch to automatically stretch the
graphic to fit the page area. Click the Select button for Solid Color to choose a solid color for your
background.

See Also:
Finale 2009 Menu/Program Options

517

Program Options-Save

How to get there

From the Edit Menu, choose Program Options and select Save

What it does
In this category, set Finale to save automatically at regular intervals, make backups while saving
or save preferences while quitting Finale.

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), Finales Auto Save command is a good safety
net. When this feature is on, Finale will update a second copy (not the one youre working on) at
regular intervals. This second copy of your file is stored in the folder specified in the Folders page of
the Document Options dialog box. 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.)

518

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.

Save Preferences When Exiting Finale. 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 thats the
case, Finale will only save your preferences when you choose the Save Preferences command from
the File Menu.

See Also:
File Menu-Save
Finale 2009 Menu/Program Options

519

Program Options-View

How to get there

From the Edit Menu, choose Program Options and select View

What it does
Make settings regarding appearance of certain items program wide.

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.

Show All Messages. Select this option to re-enable all messages that have a "Dont Show This
Again" checkbox.

Save Window States When Exiting Finale. 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

520

next time you use Finale, click this item to select it, and make sure that Save Window States When
Exiting Finale is selected.

Load Window States When Starting Finale. If this item is selected, Finale will load the last saved
position of the palettes and windows when you start Finale.

Custom Zoom 1 Custom Zoom 2 Custom Zoom 3. Enter custom zoom

percentages as you wish them to appear in the Zoom submenu of the View Menu.
See View Menu.

Pitch Representation: MIDI Note Number Pitch. Choose how you want Finale to represent MIDI
notes throughout the applicationby 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
youre entering a MIDI note number. Otherwise its assumed that youve 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 Windows
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 Finales actual measure numbers when "defined"
measure numbers are displayed, type #, the number sign (shift-3), followed by the "actual" measure
number. When entering Finales "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.

Hidden Object Shading. In this text box, enter the shade percent age for hidden expressions (100%
= hidden completely, 0% = no shading).

Smooth Staff Lines Smooth Barlines. Finales display includes font smoothing technology which
enhanced the on-screen display for most items. However, smoothing produces what many report to
be an undesireable fuzzy effect for staff lines and barlines. Therefore, smoothing for staff lines and
barlines has been turned off by default. Use these check boxes to enable smoothing for staff lines
and/or barlines.

See Also:
View Menu
Finale 2009 Menu/Program Options

521

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 youre recording a real-time performance in the Transcription window and make a mistake, you dont
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.
Youll 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 dont 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
Transcription Menu
HyperScribe Tool

522

Quantization Settings

How to get there

Choose Quantization Settings from the MIDI 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/Record 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) unless you

523

selected Save Preferences When Exiting Finale in

Program Options-Save. See Program OptionsSave.

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. Youre telling Finale to assume that all small rhythmic values are sixteenth notes, 32nd
notes, and so onbut 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,
theyll 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 noteswhich
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:
Quantization
MIDI/Audio Menu
HyperScribe Tool

524

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 youre 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 isnt available if youve 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. Youll 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 youve specified. You
return to the MIDI Tool split-window (or the score).
Tip: Enter values between 5-20 to achieve a more
"human" feel.

See Also:
MIDI Tool Menu
MIDI Tool

525

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 youre 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 isnt available if youve 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). Youre 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

526

Rebar Options

How to get there

Click the Selection Tool
Rebar Options.

; select a region. From the Rebar submenu of the Utilities Menu, choose

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
rebarringall 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 arent 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, Finales rebarring process wont 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 youve 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 didnt select any of the checkboxes,
Finale will rebar your score all the way to the end
of the piece whenever its asked to rebar (when
you change the time signature, insert a partial
measure, use the Rebar command, and so on).

See Also:
Rebarring music

527

Time Signature

528

Rebeam to Lyrics

How to get there

Click the Selection Tool
, and select a region of measures. From the Rebeam submenu of the
Utilities 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 dont 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 youve 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

529

Rebeam to Time Signature

How to get there

Click the Selection Tool
, and select a region of measures. From the Rebeam submenu of the
Utilities 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 youve 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 groupings3+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
Utilities Menu

530

Record Continuous Data

How to get there

Click the HyperScribe Tool. From the HyperScribe Menu, choose Record Continuous Data.

What it does
With this dialog box, you can choose to Record continuous data during HyperScribe sessions, and
specify the type of continuous data you want to record. To hear results of recorded continuous data, you
must first set Human Playback to None in the Playback Controls.

Record Continuous Data in HyperScribe. Check this box to record the continuous data specified
in this dialog box during your HyperScribe recording sessions.

Channel Pressure. Check this box to record channel pressure (also called Monophonic Aftertouch)
during HyperScribe sessions.

Controllers All Only. Choose All to record all MIDI controller continuous data. Choose Only to
specify up to four types of continuous data you want to record.

Patch Changes. Check this box to record patch changes during HyperScribe sessions.

Pitch Bends. Check this box to record pitch bends during HyperScribe sessions. See Pitch Wheel.

Listen. Click Listen, and then play up to four types of continuous data (sustain pedal, modulation
wheel, etc.) to instruct Finale to only record those types of continuous data with HyperScribe. If you
specify more than four types of continuous data, Finale will record all continuous data. In addition to
the four types, pitch wheel, channel pressure, and patch changes can be triggered here.

Cancel OK. Click OK (or press enter) to confirm, or Cancel to discard, the changes youve made in
this dialog box; you return to the score.

531

See Also:
Recording with HyperScribe
HyperScribe Menu
Listen

532

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

533

Redefine Selected Pages

How to get there

Click the Page Layout Tool
Page Layout Menu.

. Choose Selected Pages from the Redefine Pages submenu in the

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.

Redefine: Current Part or Score Selected Parts/Score All Parts All Parts and Score;
Select. Choose Current Part or Score to redefine the score or part that is currently active in the
document window. Choose Selected Parts/Score and click Select to open the Select Parts/Score
dialog box where you can choose to redefine any combination of the score and/or parts. Choose All
parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all
parts and the score.

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

534

Rehearsal Mark

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Rehearsal Mark from the marker list
on the left and click Add. Or, select an existing rehearsal mark marker from the Marker window and click
Edit.

What it does
Use the settings in this dialog box to control the measure assignment for the Rehearsal Mark SmartMusic
Marker you are adding or editing

Rehearsal Mark Bar. Choose a rehearsal mark or specify the bar you want to add a repeat marker.

Repeat Type. From this drop-down menu, select the type of repeat marker you want to add.

Repeat Number. Specify the (chronological) number of the repeat. For example, if this is the second
repeated section in the document (regardless of the repeat marker you are adding), enter 2 here.

Repeat Iteration. Enter the pass you want this repeat marker to apply. For example, if this is the
second time through, and you are defining the To Coda sign for a D.S. al Coda, enter 2 here.

Active on Pass. Here, you can enter the pass on which this repeat marker should apply. This setting
refers to the absolute number of passes, and only differs from the Repeat Iteration setting if there are
nested repeats in the document (repeats within repeats).

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

535

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

536

Repeat Designer

How to get there

Click the Repeat Tool
, and click a measure. (If theres already a graphic repeat sign or text repeat
in the measure, double-click the measure.) When the Repeat Selection dialog box appears, click Create.
If youve 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 can create a text repeat which will 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 used the Document Setup Wizard, one of the included templates, or a
new Default Document to start your score, repeats are already available for you. If youve started a
document that does not already include text repeats, 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 Text Repeat Assignment dialog box (see Text Repeat Assignment dialg
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 youve chosen.

Set Font. Click this button to display the Font, dialog box in which you can set the font for your text
repeat.

Replace # with: Number of Times Played Text Repeat ID in Target Measure Number in
Target. When you type #, (or shift-3) in the Repeat Text text box, the # sign is a stand-in for the
number of times played, text repeat ID in target, or measure number in target which are all specified
in the Text Repeat Assignment dialog box. When the text repeat appears in the score, Finale will
display the selected value instead of the # symbol. 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 youve indicated in the Play Section_Times text box of the
Text Repeat Assignment dialog box).

537

Use This Font. If you select this option, the entire text repeat youre designing will appear in the font
youve selected (by clicking the Set Font button). If you dont select this option, however, the Markdefined text repeat youre incorporating into this text repeat will appear in its own font, regardless of
the font youve set for the text repeat youre designing.

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..

Justification: Left Right Centered. Click the radio button corresponding to your choice of the
text repeats alignment in the measure: flush with the left barline, flush with the right barline, or
centered between the barlines.

OK Cancel. Click OK (or press enter) 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:
Repeats (barlines and text indications)
Repeat Assignment
Repeat Selection
Repeat Tool

538

Repeat Endings

How to get there

From the Document Menu, choose Document Options and select Repeats. Then click Repeat Endings.

What it does
The Repeat options increase 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 the current 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 brackets 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 brackets 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 brackets 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 texts
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

539

the Vertical text box to set the texts 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, or click OK to save
new settings and return to the Document Options dialog box.

See Also:
Repeats (barlines and text indications)
Document Options-Repeats

540

Repeat Marker

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Repeats from the marker list on the
left and click add. Or, select an existing repeat marker from the Marker window and click Edit.
It is recommended that you scan the document to define all repeat markers automatically by selecting
Create/Update Repeat Markers in the Add SmartMusic Markers dialog box. Then, edit these parameters
if necessary.

What it does
Use the settings in this dialog box to control the type and measure assignment for the Repeat Marker you
are adding or editing.

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 its 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 youve made in this dialog box;
you return to the score.

See Also:
Repeats (barlines and text indications)

541

Repeat Selection

How to get there

Click the Repeat Tool
it again.)

, and click a measure in the score. (If the measure already has a repeat, click

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; thats
because you specify both the beginning and ending measures of the repeated section when you
create the ending barline.

542

The second icon, the Backward Repeat, can have a playback effect assigned to it: in other words, it
can operate in the way youd expectby directing the playback flow back to an earlier measure.
Note, however, that like any of Finales repeats, it doesnt 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 measureonce
again, making this repeat bracket appropriate for the first measure of a first ending thats 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 youve
created in (or loaded into) your document. (To load a predefined Text Repeats Library into your
document, see Load 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
dont 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 youre creating a text repeat, see
Repeat Designer dialog box. For details on defining the playback of a text repeat youve 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 cant 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:
Repeats (barlines and text indications)
Repeat Assignment
Repeat Designer
Repeat Tool

543

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:
Document Options-Grids and Guides
View Menu

544

Reset Measure Marker

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Reset Meas. Counter from the
marker list on the left and click Add. Or, select an existing Reset Measure marker from the Marker
window and click Edit.

What it does
Use the settings in this dialog box to control the measure assignment for the Reset Measure Counter
marker you are adding.

Rehearsal Mark Bar Beat. Choose a rehearsal mark or specify a bar and beat to add a Reset
Measure Counter marker.

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

545

Reset Tempo Marker

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Reset Tempo from the marker list
on the left and click Add. Or, select an existing Reset Tempo marker from the Marker window and click
Edit.

What it does
Use the settings in this dialog box to control the measure assignment for the Reset Tempo marker you
are adding or editing. The Reset Tempo marker eliminates slowing/speeding effects due to the intelligent
accompaniment.

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 its 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 youve made in this dialog box;
you return to the score.

546

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 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

547

Resize Note

How to get there

Click the Resize Tool
beamed group.

. Click on a note stem. For beamed notes, click on the first note of the

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.
Tip: 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

548

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.
Tip: 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

549

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 wont 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 youre 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.

Current Part or Score Selected Parts/Score All Parts All Parts and Score; Select. Choose
Current Part or Score to apply changes to the score or part that is currently active in the document
window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box
where you can choose to apply changes to any combination of the score and/or parts. Choose All
parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all
parts and the score.

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 (Document 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.)

550

Tip: Numbers greater than 100 enlarge it, and

numbers less than 100 reduce it.
See Also:
Resize Tool
Page Layout Menu

551

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.
Tip: Numbers greater than 100 enlarge it, and
numbers less than 100 reduce it.

See Also:
Resize Tool

552

Resize Staff System

How to get there

Click the Resize Tool
part of the same system.

. In Page View, click directly to the left of, and between, two staves that are

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 Resulting System Scaling 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 proportionallyin 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 youre 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 doesnt
change (right).

553

Resize Vertical Space. This item lets you proportionally resize the space between the system youre
changing and the next system. If you didnt select this option before reducing a system, you may
discover that theres too much space between the reduced system and the next; and if youve
enlarged a system, you might find that theres too little space between the enlarged system and the
next.

Current Part or Score Selected Parts/Score All Parts All Parts and Score; Select. Choose
Current Part or Score to apply changes to the score or part that is currently active in the document
window. Choose Selected Parts/Score and click Select to open the Select Parts/Score dialog box
where you can choose to apply changes to any combination of the score and/or parts. Choose All
parts to apply changes to all parts and All Parts and Score to apply changes to the full project - all
parts and the score.

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 (Document 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.
Tip: Numbers greater than 100 enlarge it, and
numbers less than 100 reduce it.

See Also:
Resize Tool
Page Layout Menu

554

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, orif your staves arent evenly spaced to begin withit can preserve the gaps between
staves, but make all gaps proportionally larger or smaller.

Respace Staves In: Choose Current Part or Score to apply changes to the score or part that is
currently active in the document window. Choose Selected Parts/Score and click Select to open the
Select Parts/Score dialog box where you can choose to apply changes to any combination of the
score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply
changes to the full project - all parts and the score.

Top Staff Position: Keep Current Position. Leave this option selected if you dont 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 staffs 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, youd enter 200 (%) in the text box. Youd usually use this option only if youre 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 dont 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 youve 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 spacebut
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),

555

use Scale to a percentage to maintain those

unique distances.
See Also:
Staff Tool

556

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 youre manipulating. The grid doesnt appear in printouts, and lines you
draw dont "snap to" it; its 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 youre designing an Executable Shape, the imaginary horizontal gridlines dont 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 youve made to the ruler and grid
setup, and return to the Shape Designer window.

See Also:
Shape Designer

557

Save As Audio File

How to get there

From the File Menu, choose Save Special, then Export to Audio File.

What it does
In this dialog box you can specify what kind of audio file you want to create (Standard or Compressed),
and which folder the computer should put it in.

Save In. From this drop-down list select the folder in which you want to save your file.

File Name. In this text box, enter a name for a new file. If theres already a file with the same name
in this folder, Finale will ask you if you want to replace it with the new file. If you do not provide an
extension after the name, Finale automatically adds one to correspond to the selected File Type.

Save as Type: Audio File. From this drop-down menu, choose Audio files to show only audio files in
the window above. Choose All files to show all file sin the current folder. To specify the type of audio
file you want to save, choose one of the radio buttons below or click Advanced.

Standard Audio File Compressed Wave File. Choose Standard Audio File to save as an
uncompressed audio file. Standard Audio files are large in file size and generally used for burning
audio CDs. Choose Compressed MP3 File to save a compressed Audio file in MP3 format.
Compressed Wave files are a fraction of the size of Standard Wave files and are the preferred format
for storing on a computer, or transferring over the Internet. Compressed audio files are not supported
while recording with VST as the playback device.

Save Cancel. Click Save (or press enter) to create a new file of the title and type youve specified
in this dialog box. Click Cancel to return to the score without creating a new file.

See Also:
Audio
File Menu

558

Save Library

How to get there

Choose Save Library from the File Menu. Or, from the Document Menu, choose Document Options and
click the Save Library button.

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 elements 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 youve created or edited with the Chord Tool, including
chords youve "taught" Finale to recognize. This library also saves any custom fretboards youve
created. Finale will check for duplicate suffixes and only load new unique chord suffixes.

Clefs: Eighteen 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 Document Options-Fonts
(from the Document Menu, choose Document Options, then Fonts).

Document Options: Finale settings having to do with the active document, including almost every
setting in the Document Menu (such as clefs, music characters, PostScript settings, line widths,
and so on).

Executable Shapes: Any Executable Shapes youve 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.

559

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 Document Options-Music Spacing dialog box.

Page Format: Saves settings from the Page Format for Score and Page Format for Parts dialog
boxes.

Percussion Maps: Maps youve created with the Staff Tool in the Percussion Map Designer.

Shapes: Anything youve 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: Expressions consisting of a shape drawn in the Expression Designer (and a
related playback definition).

Smart Lines: Custom Smart Shapes defined in the Smart Line Style dialog box.

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: Expressions consisting of text (and a related playback definition): "Allegro,"
"ritard," and so on in the Expression Designer.

Text Repeats: Text repeats, such as "To Coda," created with the Repeat Tool.

OK Cancel. Once youve 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 youre working on a piece that requires
the contents of that library, you can simply load it using the Load Library command. Click Cancel if
you decide not to create a new library. You return to the score.

See Also:
File Menu

560

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
cant 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 minute8% faster10% 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
dont want to retain tempo information with your transcription. You return to the Transcription
window.

See Also:
Transcription
HyperScribe Tool

561

562

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 youre 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 boxs 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 youve 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
wheels 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 youve 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:

563

MIDI Tool Menu

MIDI Tool

564

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 youre 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 boxs 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 youve
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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

565

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 youre 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 boxs 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 anothereither 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
youre 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. 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 theyre being struck more and more before the beat, until theyre an entire eighth
note (512 EDUs) early. If you scale the Stop Times from, say, 1024 to zero, the notes will sound as
though theyre 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

566

Scale - Tempo

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 Tempo from the MIDI Tool Menu. If
youre 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 boxs function is to let you scale the tempo gradually from one value to another. For example,
you can create a smooth accellerando by scaling the tempo from 40 beats per minute to 60 beats per
minute.

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 the
number of beats per minute.

In Increments of ___. This text box only appears if youre editing Continuous Data or Tempo, and it
has no effect unless youve selected Absolute (see above). It lets you specify the increments by
which you want Finale to scale the specified data type (Continuous Data) or number of beats per
minute (Tempo).

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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

567

568

Scale Fonts

How to get there

Choose Scale Fonts from the Data Check submenu of the Document Menu.

What it does
This dialog box tells Finale to inspect the font of every musical element in your piecearticulations,
expression marks, chord symbols, the music itselfand 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 (Finales standard music font) and scale it down to 20 point, for example. If you happen
to have some charactersfor example, a component of a chord symbol suffixthat you defined as
Maestro 22 point, it will be resized too, in proportion to the primary resizing youve 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 youve 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 textsuch as text expressions, lyrics, staff and group names, text
blocksfor 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 its finished scaling the fonts, you return to the document.
Click Cancel to dismiss the dialog box 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

569

Score Merger

How to get there

From the File Menu, choose Score Merger.

What it does
Finale's Score Merger allows you to combine several files into one. This can be done horizontally, with
files appended after each other, such as different movements of a symphony or a collection of songs. Or,
it can be done vertically, consolidating individual parts into a full conductors score.

Add Files Remove File Move Up Move Down. Click Add Files to open the "Select the files to
merge" dialog box where you can navigate and select the files you would like to merge. Click
Remove File to remove the selected file. Click Move up to nudge the selected file up in the list. Click
Move down to nudge the selected file down in the list.

Merge These Files Into One File Append to Current Document Insert at Current Selection.
Choose this option if you would like to merge scores horizontally, one file after another as you would
in movements of a score. Check Append to Current Document to add the selected files, one after
another, to the end of the active document. Check Insert at Current Selection to add the selected
files starting at the region selected in the active document. The selected region must include a full
measure.

570

Treat as Independent Movements Insert Blank Pages to Maintain Left/Right Layout. Check
this box to tell Finale you would like to treat each merged file as a separate movement. Finale will
adjust the page breaks and final bars for you automatically. Check Insert Blank Pages to Maintain
Left/Right Layout to automatically insert blank pages where necessary to correct situations where
pagination doesn't match at connecting files. (If this option is not checked, Score Merger will adapt
left/right page layout depending on context).

Keep Each Files Measure Numbering. Choose this option to use the measure numbering
specified in the merged files rather than consecutively from the beginning of the merged score.

Edit Instrument Junction between Files. If checked, the Instrument Junction dialog box appears
for each file, which allows you to edit the proposed instrument linkage. See Instrument Junction
dialog box.

Merge These Parts Into One Score. Check this box to merge scores vertically in order to, for
example, combine a collection of part documents into a full conductor's score.

Adjust Systems to Fit Page. Check this box to tell Score Merger to automatically adjust systems to
fit page after merging vertically.

Optimize MIDI Channels. This adjusts for duplicates in the GM MIDI channel and instrument setup,
for both vertical and horizontal merges.

Generate Report View Last Report. Check this box to tell Score Merger to log any errors that
occur while merging files. Click View Last Report to view Score Merger's most recently generated
report.

See Also:
File Menu
To combine files with Score Merger

571

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 dragenclosing 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-andrhythm 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 youre searching for a
motif that begins on C in the key of C, one that begins on C in the key of F wont 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 youve selected a C-D-E pattern whose rhythm is quarter half quarter, Finale
wont locate a C-D-E pattern whose rhythm is quarter quarter eighthonly 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

572

573

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 (or choose
the Simple 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.

574

16th 32nd 64th 4096th. These checkboxes identify the beams you want broken, as shown
above.
Note: 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 Utilities Menu. See Edit
Frame dialog box or Change Note Durations dialog
box..

OK Reset Cancel. Click OK to return to the score, where youll see the effects of your beam
breaking. The handle you clicked remains selected to remind you that youve 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

575

Select Region

How to get there

Choose Select Region from the Edit Menu. (Used with the Selection Tool, Staff Tool, Measure Tool, Clef
Tool, Time Signature Tool, Key Signature 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 youre 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 youre 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
cant 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 measures number and staff name in these boxes automatically. Thats useful to
remember if the first measure of the desired region is visible on the screenthen, 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.

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 measures number and staff name (or number) in these boxes
automatically. Thats useful to remember if the last measure of the desired region is visible on the

576

screenthen, 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.

OK Cancel. Click OK to return to the document, where Finale selects (highlights) the measures in
the region you specified. Click Cancel dismiss the dialog box without selecting any measures.

See Also:
Selection Tool
Edit Menu

577

Select Staff Systems

How to get there

Click the Page Layout Tool
System Range.

. From the Page Layout Menu, choose Systems, then Select Staff

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

578

Selection Overview
The following dialog boxes are very similar. Click a dialog box name for specific information.
Articulation Selection
Chord Suffix Selection
Copy Fretboards from Suffix
Custom Arrowhead Selection
Executable Shape Selection
Expression Selection
Fretboard Selection
Fretboard Shape Selection
Percussion Map Selection
Preset Arrowhead Selection
Smart Line Selection
Shape Selection
Stem Connections
Symbol Selection

579

Selective Mirror

How to get there

Click the Mirror Tool
. After creating a mirror with the Mirror Tool: From the Window Menu, choose
Advanced Tools. 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 dont select.
Click Prev and Next to scroll through other mirror measures. When youre 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 youre
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 youve 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 mirrors number in the text box.
Click Cancel to return to the previous dialog box without creating (or editing) a selective mirror.

580

Prev Next. If youve created more than one selective mirror, click Prev and Next to scroll through
them.

See Also:
Mirror Tool

581

Send MIDI Value

How to get there

Choose Send MIDI Value from the MIDI/Audio 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 commandsee MIDI Menu); you might use it to change the patch setting of one of
your keyboards; or you could reset a MIDI keyboards sustain pedal or pitch wheel thats 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 dropdown 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 youve entered in the first text

582

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 youve 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 youve specified in the text box.

Other. If youre very familiar with the MIDI protocol, you can use this button and set of text boxes to
transmit other kinds of MIDI datasystem 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 youve specified. Click Done to exit the dialog box.

See Also:
MIDI/Audio Menu

583

Set Distances

How to get there

Choose Open from the File Menu, and Select MIDI 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 Trackto-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 youre 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 its 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

584

Set Duration

How to get there

This graphic palette of rhythmic values appears any time youre 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:
Document Options-Music Spacing

585

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 youre 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 boxs 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool

586

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.

See Also:
Mirror Tool

587

Set Swing Ratio

How to get there

From the Window Menu, choose Advanced Tools. Click the Tempo Tool
click Set Swing.

. Click a measure, then

What it does
The Tempo Tool offers a method for creating a swing playback feel in your music. Youll 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 youll also hear erratic results when Finale attempts to
apply Tempo to a triplet. For these reasons, youll 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-andsixteenth pair.

Duration. The number in this text box specifies the durational value of the notes to which youre
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 youve 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.

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Tip: An easier method to add swing can be found

in the Playback Controls or the Expression Tool.
Tip: The higher the number, the later the second
note in a swing pair and the heavier the swing.
See Also:
MIDI Tool
Tempo Tool

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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
youre 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 boxs 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 youve 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 doesnt matter whether you select a large region by dragging
or only a tiny vertical sliverall Finale needs to know is where the beginning of the selection falls,
because thats 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 pedals 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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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 youre
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 boxs 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 youve 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 youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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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 youre 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 boxs 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 youve 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.
In this case, then, youre 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
theyre perfectly "quantized" with their notated values; when you play them back, theyll 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 notes time beyond its notated value.

OK Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Set To - Tempo

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 Tempo from the MIDI Tool Menu. If youre 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 boxs wording changes to reflect your MIDI data type selection (key velocities, note durations,
continuous data, or tempo). Its function is to allow you to set the values of the selected MIDI data type to
a specified value. For example, if youve 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 Tempo to ____. The number in these text boxes represent the number of beats per minute
(main beat as specified by the time signature).

OK Cancel. Click OK to confirm, or Cancel to discard, the MIDI data changes youve specified. You
return to the MIDI Tool split-window (or the score).

See Also:
MIDI Tool Menu
MIDI Tool

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Setup Wizard

How to get there

From the File Menu, choose New, then Document with Setup Wizard. Or, in the Launch Window, select
Setup Wizard.

What it does
The Setup Wizard will help you to setup a Finale project with your own custom instrumentation, a title,
composer, and other file information. It also offers a selection of document styles that allow you to
automatically begin with libraries of musical elements suited to a specific type of score.

Select an Ensemble List Box. If you would like to begin using a pre-set ensemble, choose one
from this list. Note that if you choose one of these ensembles you will be able to edit the
instrumentation later in this wizard. If you would like to begin with a either a single staff or
define a custom ensemble from scratch, select None.

Select a Document Style List Box. From this list select the desired Document Style. A Document
Style includes elements such as articulations, expressions, chord symbols and other musical
elements pertaining to a particular style of music. For example, the Jazz Band Document Style
includes shakes and other jazz articulations you might see in a jazz band score. Document styles
also include the default music font (e.g. Maestro or Jazz) and page size. An asterisk (*) next to a
Document Style indicates the style is the default for the selected ensemble. You can click Always
Use This Document Style with the Selected Ensemble to set the selected ensemble to the selected
Document Style. When you select an ensemble, the default Document Style is selected
automatically. See Document Styles.

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Always Use This Document Style with the Selected Ensemble. Click this button to assign the
currently selected document style as the default for the currently selected ensemble. The default
Document Style for the selected ensemble is adorned with an asterisk (*). When an ensemble is
chosen in the Ensemble List Box, its default Document Style is automatically selected. If you move
or delete a Document Style the association is lost and an error message warns you accordingly
when selecting the ensemble. The associations can be changed at any time.

Score Page Size Part Page Size; Portrait Landscape. Use the Select Score Page Size dropdown menu to choose the page size you want to use for the score; use the subsequent radio buttons
to specify whether the score will be in portrait or landscape orientation. Use the identical Part Page
Size controls to specify these settings for linked parts (see Linked Parts). The page size information
is stored in the text file pagesizes.txt and can be edited to your specifications. See Configuring
Pagesizes.txt in the Appendix.

Cancel Next. Click Cancel to exit out of the Setup Wizard and return to Finale without creating a
new document. Click Next to continue on to the next dialog box in the Setup Wizard.

Instrument Set. From this drop-down menu, choose an instrument set optimized for playback using
one of the sound libraries. For example, if you select Garritan Instruments for Finale 2009, choices in
the lists below update to instrument staves designed for playback using Finales built-in GPO
sounds. If you choose Tapspace Instruments for Finale 2009, Finale displays the Tapspace drumline
instruments. To assign VST instruments, use the VST Instruments dialog box. See VST Instruments
dialog box.

Families Parts: Add Remove. Select a certain instrumental family, and add the part selected
from the Parts column. The parts that are selected will be displayed in the list on the right. Parts will
be added in Score order. If you want to Remove a part from the list on the right, highlight the part
and click remove. The family and part information is stored in the text file Instrument.txt and can be
edited to your specifications. See Configuring Instrument.txt in the Appendix.

Add Vertical Space. Click this option to insert extra vertical space between instruments (above the
currently selected instrument). A dashed line appears indicating extra space. These extra space

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indicators can be moved up and down using the Score Order arrows just like regular instruments.
The amount of extra space is specified in Document Options-Staves.

Score Order [Arrows]. You can choose to have your parts listed in Orchestral order or other
standard order. If you prefer to have the parts in your score listed in a different order, use the arrows
to move the highlighted part up or down in the list on the right. The Score Order information is stored
in the text file Instrument.txt and can be edited to your specifications. See Configuring Instrument.txt
in the Appendix.

Use a separate channel for each staff. Check this box to automatically assign each instrument to
its own unique channel. Instruments will be assigned to channels ascending from the top staff down
starting with channel 1. This allows each staff to be set to a different MIDI patch or GPO instrument
sound.

Generate Parts. Check this box to automatically create a linked part for each instrument chosen
here. If your score does not require parts, uncheck this box to minimize file size. See Linked Parts.

Save Current Ensemble Save As New Ensemble. Click Save Current Ensemble to redefine the
current ensemble to include the instrumentation selected. Click Save As New Ensemble to open the
Save Ensemble dialog box where you can choose a name for the new ensemble. The Save
Ensemble dialog box appears where you can enter a name for the new ensemble based on the
current instrumentation. (Ensembles are recorded in the ensembles.txt file located in the
Finale/Component Files folder. See Configuring Ensembles.txt.)

Cancel Back Next. Click Cancel to exit out of the Setup Wizard without creating a new document.
Click Back to return to the first page of the Setup Wizard. Click Next to continue to the next page of
the Setup Wizard.

Title Subtitle Composer Arranger Lyricist Copyright. Enter the Title, Subtitle, Composer,
Arranger, Lyricist and Copyright information for your piece here and Finale will automatically enter
them into the document for you. Finale is using text inserts to accomplish this (a copyright symbol is
added for you automatically). If you want to change any of this later, the information is kept in the File

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Info dialog box. See File Info dialog box for more information. Note that all of these text inserts allow
line breaks except the Title insert.

Cancel Back Next. Click Cancel to exit out of the Setup Wizard without creating a new document.
Click Back to return to the second page of the Setup Wizard. Click Next to continue to the last page
of the Setup Wizard.

Select a Time Signature. Select a time signature from several common time signatures. Click on
the ?/? button to create more unusual time signatures.

Select a Concert Key Signature. Use the scroll bar to select a key. Click the up arrow to add
sharps or subtract flats; click the down arrow to add flats or subtract sharps. Use the drop down
menu to specify major or minor.

Specify Initial Tempo Marking. Check this box to have Finale place a tempo marking on the first
measure. Type any tempo indication in the text field, such as Allegro, Vivace, etc. This
Expression will affect the playback tempo. Click the quarter note to change the main beat duration
and type a number in the text box to specify the number of beats per minute. To edit the tempo
marking later, see Expressions.

Specify Pickup Measures. Check this box to have Finale create a pickup measure before measure
1. Click on the note corresponding to the sum of the pickup note or notes.

Number of Measures. Here, specify the number of measures for the new score. You can specify up
to 1000 measures here (not including pickup measures). New measures can be added or deleted at
any time (See Edit Menu).

Cancel Back Finish. Click Cancel to exit out of the Setup Wizard without creating a new
document. Click Back to return to the third page of the Wizard. Click Finish and Finale will create
your document based on your choices and the default file.

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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 youre 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 Finales 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 youre creating text
blocks, block rests to serve as multimeasure rests in extracted parts, and special shapes for use as
custom stems.
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 Font for text objects; see Shape Designer Menu.

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To reshape an object, click it using the Selection Tool, so that its handles appear. Drag these handles to
resize the objector, if its 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. Heres 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 Finales main tool palette; it
lets you adjust the drawings 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 Font 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 doesnt 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 lines thickness, shading, and dashed quality using the
Shape Designer Menu, before creating it or when its 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
rectangles thickness, shading, and dashed quality using the Shape Designer Menu, before creating
it or when its 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 its selected.

Curve Tool. Drag in a straight line to create a shallow Bzier, 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 curves thickness and dashed quality
using the Shape Designer Menu, before creating it or when its 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.

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Slur Tool. Drag in a straight line to create a shallow solid or dashed Bzier (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 Menus line settings dont affect a slur. Using the
Selection Tool, click a slur to see its bounding handles, which you can drag to resize the curve; dragselect a bounding handle (by, for example, clicking to the upper left of the slur and dragging to the
lower right) 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 shapes thickness and dashed quality using the Shape Designer Menu,
before creating it or when its 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 shapes thickness, shading, and dashed quality using the
Shape Designer Menu, before creating it or when its 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. Drag-select (by, for example,
clicking to the upper left of the bracket and dragging to the lower right) 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 Finales 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 handles coordinateswhich 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 youre 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
Expression Designer

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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 youre 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 youre 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 isnt in place, and you havent 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.

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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 cant delete any shape thats 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.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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

602

Shift Lyrics

How to get there

Click the Lyrics Tool

. Choose Shift Lyrics from the Lyrics Menu.

What it does
When youre 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
theyre 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 Finales 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 youve 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 leftbut without changing which
notes have lyrics.

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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 wont shift any lyrics if you click the staff.

See Also:
Lyrics
Lyrics Tool

604

Simple Entry Options

How to get there

Click the Simple Entry Tool

. Then, from the Simple Menu, choose Simple Entry Options.

What it does
This dialog box controls the behavior of Simple entry.

Check for 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.

Create New Measures. When this item is checked, Finale automatically creates a new blank
measure at the end the piece if you advance the caret beyond the last existing measure. In other
words, if you fill the last measure of the document using the Simple Entry Caret, Finale adds a new
one.

Fill With Rests at End of Measure. When this item is selected, Finale will add rests to complete the
measure whenever you finish working in a measure.

Playback Notes on Entry. When this item is selected, every time you enter or change the pitch of 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.

Use Simple Entry Caret. Select this item to display the Simple Entry Caret, which indicates the beat
to which the next note entered will appear.

Select Notes on Mouse Entry. This option is available when Use Simple Entry Caret is unchecked.
When this item is selected, you can immediately use keyboard shortcuts to modify the note that was
just entered. Note that selection is cleared after leaving the Simple Entry Tool.

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Note: While using the Simple Entry Caret, you can

always immediately use keyboard shortcuts to
modify the note that was just entered.

Select Tab Notes on Mouse Entry. This option is available when Use Simple Entry Caret is
unchecked. When this item is selected, you can immediately use keyboard shortcuts to modify the
last fret number added to a tablature staff. Note that selection is cleared after leaving the Simple
Entry Tool.
Note: While using the Simple Entry Caret, you can
always immediately use keyboard shortcuts to
modify the note that was just entered.

Edit Keyboard Shortcuts. Click this button to open the Keyboard Shortcuts dialog box where you
can edit the keystrokes used for simple entry commands.

OK Cancel. Click OK to confirm, or Cancel to discard, the changes youve made to these settings.
You return to the score.

See Also:
Simple Entry
Simple Menu
Simple Entry Tool
Edit Keyboard Shortcuts

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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 groupingthe 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 Document OptionsTuplets where you can specify these parameters. (See Document Options-Tuplets 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 youve created. You
return to the score.

See Also:
Simple Entry Tool

607

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

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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 theyre created. Slurs already in the score arent 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

Finales 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

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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 slurs 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 slurs 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 Edit 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
manually edited slurs already in the score.

See Also:
Slurs
Smart Shape Tool

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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.

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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 Ems (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 youve made to the custom
Smart Shapes. You return to the score.

See Also:
Smart Shape Tool
Smart Shape Menu

Smart Line Selection

612

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 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 Designer 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 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.

613

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.

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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

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 wayfor
example, decreasing the opening of every crescendo markyou can define a default opening width for
the crescendo/decrescendo shape using this dialog box. Then, your Smart Shapes will have the
appearance you specified. (You can always adjust them after theyre 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

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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: Most changes you make to the Smart Shape Options settings affect all existing Smart Shapes in
the score, except manually edited shapes. Changes made to the Make Horizontal checkbox affect only
future crescendos or decrescendos.

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
Maestros 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 Lines: Glissando Tab Slide Custom Line Guitar Bend; 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 youve 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 Selection dialog box will appear. See Smart Line Selection dialog box.

Line Thickness. This text box lets you specify how thick you want Smart Shape straight lines to
bethe 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 youve 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 Designer
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 and other Smart Shapes.

615

OK Cancel. Click OK to confirm, or Cancel to discard, the changes youve made to the Smart
Shapes. You return to the score.

See Also:
Smart Shape Tool
Slurs

616

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 as illustrated below.

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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 havent been manually adjusted in
existing Smart Shapes. However, end points that
youve manually adjusted are never affected by
Smart Shape Placement settings.

Slur Tab Slide Glissando Guitar Bend. 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 bends 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 youve
manually adjusted the end points of a particular
slur or bend; Finale wont 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 flip stems utility, Special
Tools or Speedy Entry tools.

618

The list box slur models (contexts) are shown below, with an explanation of how each slur connects
to its start and end notes (Remember that since bends are just a special case of a slur, they are
affected by these settings as well):

Starting Connection

Context

Ending Connection

Over notehead.

Over notehead.

Applies to a downstem note at the

beginning of a
down-stem or mixed
stem context.

Applies to a down-stem
note at the end of a downstem or mixed stem context.
Down-Stem Notes

Under notehead.

Under notehead.

Applies to a note at
the beginning of an
up-stem context.

Applies to a note at the end

of an upstem context.

Up-Stem Notes

Over stem.

Over stem.

Applies to an upstem note at the

beginning of a
mixed stem context.

Applies to an up-stem note

at the end of a mixed-stem
context.
Mixed Stem Notes

Over stem.

Over stem.

Applies to a note at
the beginning of an
up-stem layer
context.

Applies to a note at the end

of an up-stem layer context.

Up-Stem Layer
Under stem.

Under stem.

Applies to a note at
the beginning of a
down-stem layer
context.

Applies to a note at the end

of a down-stem layer
context.

Down-Stem Layer

619

Over flagged stem.

Cant be set for this style.

Applies to a flagged
stem at the
beginning of a
mixed-stem context.

(Uses the connection from

the over mixed-stem notes
context.)
Mixed-Stem Notes With Flag

Over flagged stem.

Cant be set for this style.

Applies to a flagged
stem at the
beginning of an upstem layer context.

(Uses the connection from

the up-stem layer context.)

Up-Stem Layer With Flag

Cant be set for this style.

Under flagged
stem.
Applies to a flagged
stem at the
beginning of a
down-stem layer
context.

(Uses the connection from

the down-stem layer
context.)

Down-Stem Layer With Flag

Over stem.

Over stem.

Applies to an upstem note in a

beamed group,
unless its the last
note in the group (so
its treated as a
stemmed note).
Context may be
mixed-stems or an
up-stem layer

Applies to an up-stem note

in a beamed group, unless
its the first note in the
group. Context may be
mixed-stem or an up-stem
layer.

Over Beams

Under stem.

Under stem.

Applies to a downstem note in a

beamed group,
unless its the last
note in the group (so
its treated as a
stemmed note).
Context is a downstem layer.

Applies to a down-stem
note in a beamed group,
unless its the first note in
the group. Context is a
down-stem layer.
Under Beams

620

Under notehead.
Applies to an upstem grace note that
precedes a downstem principal note.

Under stem side of

notehead.

Mixed-Stem Grace Note (down-stem

principal)

Applies to a down-stem
principal note that follows
an up-stem grace note.

Over stem.

Over stem.

Applies to a grace
note in an up-stem
layer.

Applies to a principal note in

an up-stem layer.

Grace Note in Up-Stem Layer

Under stem.

Under stem.

Applies to a grace
note in a down-stem
layer.

Applies to a principal note in

a down-stem layer.

Grace Note in Down-Stem Layer

Over fret number.

Over fret number.

Applies to fret
numbers in a TAB
staff.

Applies to fret numbers in a

TAB staff.

Fret numbers in a TAB staff

Under fret numbers with
stems.

Under fret
numbers with
stems.

Applies to fret numbers with

stems in a TAB staff.

Applies to fret
numbers with stems
in a TAB staff.

Fret numbers in a TAB staff with stems

As youd expect, there are exceptions to these rules, and these exceptions allow you more
flexibility. If you freeze note stems (for example, when youre working with two layers or voices or
using the Selection Tool, Finale may automatically flip the slur. You can also override individual slur
or bend directions by using the Direction submenu in the Smart Shape Menu. Collision avoidance
in Engraver slurs can also override Smart Slur 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 slidess 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.

621

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 Slide Placement settings
affect all the existing and yet-to-be-entered slides
in your score, unless youve manually adjusted the
end points of a particular slide; Finale wont
change any slide you've deliberately edited. The
slide list box models are shown below, with an
explanation of how each slide connects to its start
and end notes:

Starting
Connection

Context

Ending Connection

Notehead on line.

Notehead on line.

Applies to a note on
a line where the
pitch is increasing to
the next note on a
different staff line.

Applies to a note on a line

where the pitch is
increasing from the
previous note on a different
staff line.

Different V, Lines, Increasing Pitch

Notehead on
space.
Applies to a note on
a space where the
pitch is increasing to
the next note on a
different staff space.

Notehead on space.

Different V, Spaces, Increasing Pitch

Applies to a note on a
space where the pitch is
increasing from the
previous note on a different
staff space.

Notehead on line.

Notehead on line.

Applies to a note on
a line where the
pitch is decreasing
to the next note on a
different staff line.

Applies to a note on a line

where the pitch is
decreasing from the
previous note on a different
staff line.

Different V, Lines, Decreasing Pitch

Notehead on space.

Notehead on
space.
Applies to a note on
a space where the
pitch is decreasing
to the next note on a
different staff space.

Different V, Spaces, Decreasing Pitch

Applies to a note on a
space where the pitch is
decreasing from the
previous note on a different
staff space.

622

Notehead on line.

Notehead on line.

Applies to a note on
a line where the
pitch is increasing to
the next note on the
same staff line.

Applies to a note on a line

where the pitch is
increasing from the
previous note on the same
staff line.

Same V, Lines, Increasing Pitch

Notehead on
space.
Applies to a note on
a space where the
pitch is increasing to
the next note on the
same staff space.

Notehead on space.

Same V, Spaces, Increasing Pitch

Applies to a note on a
space where the pitch is
increasing from the
previous note on the same
staff space.

Notehead on line.

Notehead on line.

Applies to a note on
a line where the
pitch is decreasing
to the next note on
the same staff line.

Applies to a note on a line

where the pitch is
decreasing from the
previous note on the same
staff line.

Same V, Lines, Decreasing Pitch

Notehead on
space.
Applies to a note on
a space where the
pitch is decreasing
to the next note on
the same staff
space.

Notehead on space.

Same V, Spaces, Decreasing Pitch

Applies to a note on a
space where the pitch is
decreasing from the
previous note on the same
staff space.

Notehead on a
space or line.

Notehead on a space or
line.

Applies to a note on
a space or line
where the pitch is
the same to the next
note on the same
staff space or line.

Applies to a note on a
space or line where the
pitch is the same from the
previous note on the same
staff space or line.

Same V, Same Pitch

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 youve manually
adjusted the end points of a particular glissando;
Finale wont change any glissando you've
deliberately edited.

623

Active display area. Use the Active display area to alter the Smart Shape model selected in the list
box. Simply drag the Smart Shapes end points to adjust where theyre 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 Shapes end points will apply to all Smart Shapes of this type that
you create. These changes will also apply to end points that havent been manually adjusted in all
similar Smart Shapes in the score.

Starting
Connection

Context

Ending Connection

Notehead.

Notehead.

Applies to all notes

that begin a
glissando.

Applies to all notes at the

termination of a glissando.

Different V, Lines, Increasing Pitch

Guitar Bend List box. There are three figures Finale defaults to while creating Guitar Bend Smart
Shapes, Bend (top option), Release, (second option) and Quarter Bend (third option). Choose the
figure you want to edit from the list on the left. Then, use the preview window to make desired edits
to its default appearance. Important: These changes are global. In other words, changes to the
Guitar Bend Placement settings affect all the existing and yet-to-be-entered guitar bends in your
score, unless youve manually adjusted the end points of a particular guitar bend; Finale wont
change any guitar bend you've deliberately edited.

Starting
Connection

Context

Ending Connection

Bend.

Arrowhead.

Applies to a fret
number on any line
but the top.

Applies to the default

arrowhead placement.
Further discreet
adjustments can be made
to each guitar bend
arrowhead in the score.

Different V, Lines, Increasing Pitch

Release.

Arrowhead.

Applies to a fret
number on any line
but the top one on a
TAB staff.

Applies to the default

arrowhead placement.
Further discreet
adjustments can be made
to each guitar bend
arrowhead in the score.

Different V, Spaces, Increasing Pitch

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Quarter Bend.

Arrowhead.

Applies to a fret
number on any line
but the top one on a
TAB staff.

Applies to the default

arrowhead placement.
Further discreet
adjustments can be made
to each guitar bend
arrowhead in the score.

Different V, Lines, Decreasing Pitch

Bend on top line.

Arrowhead.

Applies to a fret
number on the top
line of a TAB staff.

Applies to the default

arrowhead placement.
Further discreet
adjustments can be made
to each guitar bend
arrowhead in the score.

Different V, Spaces, Decreasing Pitch

Release on top line.

Arrowhead.

Applies to a fret
number on the top
line of a TAB staff.

Applies to the default

arrowhead placement.
Further discreet
adjustments can be made
to each guitar bend
arrowhead in the score.

Same V, Lines, Increasing Pitch

Quarter Bend on top

line.

Arrowhead.

Applies to a fret
number on the top
line of a TAB staff.
Same V, Spaces, Increasing Pitch

Applies to the default

arrowhead placement.
Further discreet
adjustments can be made
to each guitar bend
arrowhead 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 Shapes 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 Shapes 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.

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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 Edit 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
Slurs

626

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: Most changes you make to the Smart Slur
Options settings affect existing Smart Slurs in the
score, except slurs that have been manually

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edited. Slur thickness and tip width changes affect

all slurs.

Use Engraver Slurs. Check this box to have slurs avoid collisions with other items, such as stems,
beams and noteheads. If this box is checked, Finale will use the settings below to deter-mine how
Engraver Slurs should reshape to avoid collisions. Any manual edit to an Engraver slur will make it
immune to Engraver slur settings. It will still be marked as an Engraver slur in the contextual menu,
but will be frozen. When frozen, Engraver slurs will no longer reshape to changes in the notes.
Remove Manual Adjustments in the contextual menu or the Selection Tool Utilities will revert the slur
to behaving like an Engraver slur or unfreeze the slur.
Note: Engraver slurs make extensive use of font
annotation, to determine the size of other musical
items in collision avoidance. If you are using a
music font not supplied by Coda, we strongly
recommend you annotate the font for improved
performance in Engraver slurs.

Maximum Slur Angle In Degrees. Enter a value between 0 and 90 to restrict the angle of a slur.
Note: settings made in the Slur Contour dialog box will be ignored if this value is small.

Slur Symmetry Percentage. Enter a percent value (between 0 and 100) to influence slur symmetry.
This slur symmetry value controls the tendency toward symmetry for the slur, although other factors
may override it. For example, on a flat baseline with 100% symmetry, the slur will tend to be
symmetrical. However, if the slurs baseline is not horizontally flat with 100% symmetry, the slur will
reflect the skewed baseline symmetrically.

Space Around Objects. Enter a value for how much space Engraver slurs should leave to avoid
collisions with other objects.

Avoid Accidentals. Check this box to have Engraver slurs take accidentals into account for collision
avoidance.

Space Around Accidentals. Enter a value for how much space Engraver slurs should leave to
avoid collisions with accidentals.

Initial Adjustment: Stretch. Choose this options to tell Finale to stretch the curve of engraver slurs
vertically and leave the endpoints anchored.

Initial Adjustment:Maximum Stretch, As Percentage of Slur Length Fixed Amount. Enter a

percentage or fixed amount to control the maximum amount of vertical stretch allowed for engraver
slurs.

Initial Adjustment: 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 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.

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.

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Tip: Slur Tip Width for Shape Designer Slurs is set

in Document Options-Lines and Curves.

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.

Reset. Click Reset to restore the settings to the defaults.

OK Cancel. Click OK to confirm, or Cancel to discard, the changes youve made to the default
Smart Slurs. You return to the score.

See Also:
Smart Shape Tool
Font Annotation
Smart Shape Placement
Document Options-Lines and Curves
Slurs

629

SmartScore Lite dialog box

How to get there

From the File menu, choose Scanning: SmartScore Scanning Lite, and then TIFF Import.

What it does
From this dialog box, you can open and transcribe a scanned TIFF file.

Add Files to List Remove Files from List. Click Add Files to List to bring a scanned file into the
file list for translation. Click Remove from List to remove the highlighted file from the file list.

630

Move Up Move Down. Click Move Up to move the highlighted file name up one in the file list. Click
Move Down to move the highlighted file name down one in the file list.

Save As. Click Save As. to save the untranslated TIFF file.

About SmartScore Lite. Click this button to view additional information about SmartScore Lite and
other scanning products developed by Musitek.

Auto Preview. Check this box to display a preview of the highlighted file in the window on the left
side of this box.

Begin Recognition. Click this button to begin translating the TIFF files into a Finale document.

Join Offset Voices: Never...Within 3/4 of a notehead. Often you will see notes belonging to
different voices appear horizontally offset, even though they sound at the same time. It is necessary
for the SmartScore Lite to decide which notes to join and which notes not to join to a "vertical event.
When notes and/or rests of different voices are aligned vertically, they are grouped into what is
referred to as a vertically-aligned event. Normally, offset notes belonging to different voices have
no more than 1/4 of a noteheads space between them.
If your music has offset voices which regularly exceed this distance, choose another distance.
Distance is determined by the white space between noteheads.
If your music has dense polyphonic texture, like that found in solo guitar music or tightly-spaced
orchestral passages, it may be necessary to tighten up the allowable distance between offset
voices. In these case, choose a distance less than 1/4 of a notehead.

Endings. Check this box to the SmartScore Lite to recognize repeat endings from the original
scanned document.

Cancel. Click Cancel to dismiss the dialog box without transcribing a scanned file.

See also:
Scanning

631

SmartFind and Paint

How to get there

Select a region with the Selection Tool
. From the Edit Menu, choose SmartFind and Paint > Set
SmartFind Source Region. Then, from the Edit Menu, choose SmartFind and Paint > 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 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 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 youre done. You return to the score.

See Also:

632

Edit Menu

633

SmartMusic Accompaniment File

Compatibility

How to get there

From the File Menu, choose Export to SmartMusic. After completing the export procedure, if the file
contains notation elements incompatible with SmartMusic, this dialog box will appear.

What it does
Some aspects of notation that can be created in Finale are not fully compatible with SmartMusic. Some of
these detract from assessment accuracy, others cause problems with navigation in SmartMusic, others
are not supported by SmartMusic altogether. If, while exporting a SmartMusic accompaniment, your file
includes any item not fully compatible with SmartMusic, this dialog box appears identifying the conflicts.
You can resolve the incompatible items while viewing this dialog box.

[Conflict window]. All incompatible elements are listed in this window. You can click an item to
show a more detailed description of the conflict to the right. The severe items are listed in red.
Finale allows you to save the SmartMusic
Accompaniment without resolving all conflicts.
Review the SmartMusic Compatibility Guideline or

634

the description on the right side of this dialog box

for details regarding the effects of each conflict.

Edit Continue Cancel. Click Edit to restore focus to the document window where you can resolve
the conflicts listed. Click Continue to save the SmartMusic file without resolving all conflicts. Click
Cancel to return to the score without making changes.

Check Again Done. Click Check Again to update the list of conflicts based on the current state of
the document. Click Done to return to the score, then from the File Menu, choose Export to
SmartMusic again to save as a SmartMusic Accompaniment.

See Also:
SmartMusic

635

SoftSynth Settings

How to get there

From the MIDI/Audio Menu, choose MIDI Setup, and then select SoftSynth Settings.

What it does
Here, select the software synthesizer you want to use for output and adjust the volume controls and
output level. Changes in this dialog box apply to standard playback as well as audio files created using
the Export to Audio File feature under the File Menu.

Output Level. Adjust this slider to control the output volume. This setting also changes the output
volume for Wave in your systemss volume controls.

Output Source. This drop-down list displays each device available for Sound Font playback.
Choose the sound driver you want to use for Sound Font playback. Your selection here applies to
standard playback, as well as audio files generated with Export to Audio File feature.

Microsoft Volume Controls: Output Input. These buttons open the Volume Controls of your
Windows operating system.

Current Sound Font: Select. Click select to choose a SoundFont to use for playback. Then, in the
MIDI Setup dialog box, choose SmartMusic SoftSynth to use the selected SoundFont. The name of
the currently selected SoundFont is listed in this dialog box.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your settings and return to
the score.

See Also:
MIDI/Audio Menu
MIDI Setup dialog box

636

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: Current Part or Score Selected Parts/Score All Parts All Parts
and Score; Select. Choose Current Part or Score to apply changes to the score or part that is
currently active in the document window. Choose Selected Parts/Score and click Select to open the
Select Parts/Score dialog box where you can choose to apply changes to any combination of the
score and/or parts. Choose All parts to apply changes to all parts and All Parts and Score to apply
changes to the full project - all parts and the score.

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.

Place_Systems on Each Page. Enter the number of systems you want Finale to place on each
page.

Place Maximum Number of Systems on Each Page. Choose this option to tell Finale to
automatically adjust systems from page to page in order to fit each page with the maximum number
of systems while spacing them evenly.

637

Do Not Change the Number of Systems on Each Page. Choose this option to leave the same
number of systems on each page and space them evenly.

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
dont end up with two systems and a vast white space between them.

OK Cancel. Click OK (or press enter) 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

638

Spacing Widths

How to get there

From the Document Menu, choose Document Options, then select Music Spacing. Click Spacing Widths.

What it does
In this dialog box, enter width durations and scaling for music spacing, either using a Width Table or
entering specific values.

Use Spacing Width Table; Widths. Select Use Spacing Width Table to use the spacing set-ting 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.

Use These Values: Reference Duration; Duration Reference Width Scaling Factor. 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. 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.

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 doesnt have a predetermined width valuea 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 valuesa sixteenth note and a 32nd note, in the quintuplet
exampleand 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.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes youve made in
this dialog box. You return to the Document Options dialog box.

See Also:

639

Music Spacing
Document Options-Music Spacing

640

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
Finales 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. Theres 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 youve 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.)

641

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 youve specified
a quarter-tone scale, tell Finale that the Key Unit is 2there 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 youve 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, youd 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 youve made in this dialog box.
You return to the Nonstandard Key Signature dialog box.

See Also:
Nonstandard Key Signatures
Key Signature Tool

642

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 Finales three lyric types: Verse, Chorus, and Section.
Theres no technical distinction between these three typesthe lyrics you enter as a Verse can be used
in the chorus of your song, and vice versa. Theyre 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 in Document Options-Fonts).
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 thats currently
selected.

OK Cancel. Click OK to return to the score. Now youre 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

643

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 Speedy 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.

644

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 list 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

645

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 staffmeasure 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.

646

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. Its 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 Finales eighteen
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 youre 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 youve 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 Document 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 barlinesboth normal
and repeat barlinesnot to continue through to the next staff above this one. (If this staff isnt part of
a staff group, you wont 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 doesnt 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 dont 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.

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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 youve 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 youve 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: Augmentation Dots Barlines Clefs Endings and Text Repeats Key
Signatures Expressions Measure Numbers Repeat Bars Rests Staff These checkboxes
specify which musical elements will appear in this staff. For example, you probably wouldnt want
measure numbers to appear in both staves of a piano part; to omit them from the bass-clef staff,
youd deselect the Measure Name in Score Staff Name in Part Stems;Select Time
Signatures.Numbers checkbox. Click the Select button to the right of the Stem check box to
customize your stem settings. See Staff Stem Settings.
Tip: If you dont want barlines to appear in a
particular measure in all the staves in your piece,
select the "Invisible" barline in the Measure Tool.
Or, if you dont want barlines to appear in your
entire score, deselect Display All Barlines in
Document Options-Barlines.
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 for detailed information about setting up a percussion staff. Refer to Document OptionsNotes and Rests and Tablature Staff Attributes if you selected either of those options.

Color Noteheads Define. Check this box to use color noteheads in the staff. Finale's colored
noteheads were designed for use with Boomwhacker methods. Click Define to open Document
Options-Notes and Rests where you can customize the color of each pitch.

OK Cancel. Click OK to confirm, or Cancel to discard, the settings youve made in this dialog box
and return to the score.

See Also:
Staff Tool
Staff Setup
Percussion Map Selection
Percussion Map Designer
Note Shapes
Tablature

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Staff Controls

How to get there

From the View Menu, choose Studio View. The Staff Controls appear to the left of the score containing
separate controls for each staff.

What it does
In Studio View, a Staff Control module appears to the left of each staff. Flowing down the left side of the
screen, and spaced adjacent to its corresponding staff, each set of controls is basically a miniature mixer,
and one method you can use to view and adjust Finales Mixer settings. They include the standard
volume, pan, program change, and Solo/Mute/Record buttons. These controls are dynamically linked to
the Mixer and Instrument List, so changes to any setting apply to all uniformely. As such, Staff Control

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settings can be adjusted in real-time during playback and apply to saved MIDI files, audio files, and .SMP
(SmartMusic Public Accompaniment) files.
These staff/channel-specific controls are mirrored in the mixer. For a detailed description of each
parameter, see Mixer.
See Also:
Instrument List
View/Studio View

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Staff List

How to get there

From the Document Menu, choose Category Designer. Choose a category that supports Staff Lists, such
as Tempo Markings, Tempo Alterations, or Rehearsal Marks and click Edit.
Or, 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, or right -click its handle and select Edit Repeat Bar Assignment. From the Staff
List drop-down list, select New Staff List, or select an existing Staff List then click Edit. The Staff List
dialog box that appears for repeats looks a bit different (see below), but the functionality is basically the
same.

What it does
The Staff List dialog box provides control over creating and editing Staff Lists, which are used for showing
a marking on more than one staff.
Expressions:

[Staff List]. From this list, choose the Expression category Staff List you would like to edit.

Score Part Staves. The name of each staff in the score appears in the Staves column. Checks in
the Score and Parts columns for each staff indicate whether expressions for the staff should appear.
Click in the Score or Parts column to set the Score and Parts entries for a staff. Choose Bottom staff
to display the expression on the lowest staff visible in the score. Click Check All Staves to indicate
you want to display the expression on all staves.

OK Cancel. Click Cancel to return to the Category Designer dialog box without choosing any Staff
List for the expression youre adding or editing. Click OK to confirm your selection of a Staff List for
the expression youre adding or editing.

If an expression is assigned to display on a staff that is hidden due to optimization, Finale will place the
expression on the next highest staff listed in the Staff List dialog box that is visible.

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Expressions assigned to staff lists can be moved independently, or uniformly. See To move expressions
assigned to staff lists.
Repeats:

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 youre 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 youve 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 repeat endings 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 repeat text for the staff (the column
is blank), show repeat text (an "X" appears in the column), or force repeat text to always appear (an
"F" appears in the column). When an "F" appears, the repeat text will always appear in that staff,
even if youve elected to hide repeat endings 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.

OK Cancel. Click Cancel to return to the Repeat Assignment dialog box without choosing any Staff
List for the repeat indication youre adding or editing. Click OK to confirm your selection of a Staff List
for the repeat indication youre adding or editing.

See Also:

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Expressions
Expression Assignment
Expression Selection
Expression Tool
Backward Repeat Bar Assignment

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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 Finales 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 Finales 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

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barline). If you specify a single-line staff with full barline, Finale draws the barline the length of a fiveline staff and centers it on the selected line.

Line Spacing. Here, enter the space between each staff line. The value you enter will automatically
round to an even number of EVPUs (or equivalent).

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.

Units. Click the drop-down list to select the measurement unit you want Finale to understand and
display in the Settings section of this dialog box.

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 Finales
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.

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 5line staff as the point to use for flipping stems.

See Also:
Staff Tool
Percussion Map Designer

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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.

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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 Selection 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 list 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.
Tip: 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, check Copyable.

See Also:
Staff styles
Apply Staff Style
Staff Tool

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Staff Stem Settings

How to get there

Click the Staff Tool

, and double-click any staff. Click the Stem Settings button in the Items

to Display subsection.

What it does
In this dialog box, specify the direction, staff offset and beam offset for stems in a staff. These settings
are particularly useful for TAB notation.

Stem Direction: Default Direction Always Up Always Down. Choose Default Direction to use
the documents default stem direction as defined in Layer options (see Document Options-Layers).
Choose Always Up to freeze all steps in the staff up. Choose Always down to freeze all stems in the
staff down.

Horizontal Stem Offsets: Up Stem Down Stem. Enter a value in the Up Stem or Down Stem text
box to specify the horizontal gap between the notehead (or fret number) and the up and/or down
stems in a staff.

Use Vertical Offset For NoteHead End of Stems Offset from Notehead(s) Offset from Staff
Up Stem Down Stem. With Offset from Notehead selected, specify a value in the Up Stem or
Down Stem text box to define a specific vertical gap between the notehead (or fret number) and the

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start (notehead end) of up and/or down stems in a staff. With Offset from Staff selected, specify a
value in the Up Stem or Down Stem text box to define the absolute vertical position of the notehead
end of up and/or down stems relative to the staff.

Use Vertical Offset for Beam End Of Stems (Offset From Staff) Up Stem Down Stem. Check
this box, and enter a value in the Up Stem and/or Down Stem text box to define an absolute vertical
position, relative to the staff, for the stem endpoints (beam end of the stem).

Units: EVPUs Inches Centimeters Points Picas Spaces. When you enter the Staff Stem
Settings dialog box, Units defaults to the current measurement unit selected in the Measurement
Units submenu of the Document Menu. If you prefer, choose a different measure-ment unit for
beaming from the drop-down list.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your stem settings and
return to the Staff Attributes dialog box.

See Also:
Stems
Staff Attributes
Document Options-Stems
Document Options-Layers

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System Space Before/After Music

How to get there

Click the Page Layout Tool. Right-click a staff system and choose System Space Before/After Music. Or,
select a system or region of systems, and then from the Page Layout Menu, choose Systems > System
Space Before/After Music.

What it does
Use this dialog box to specify additional space and the beginning or end of a staff system or region of
systems. Enter values in the unit of measurement specified in the Measurement Units submenu of the
Edit Menu.

System___Through___. Enter the system numbers that define the range of systems you want to
change.

Extra Space At Beginning of System. The value entered here controls the distance between the
end of the measure header (the left barline, clef, key, or time signatures) and the first note or rest for
the first (leftmost) measure of selected systems. (in the measurement unit specified in the
Measurement Units submenu of the Edit Menu).

Extra Space At End of System. This value controls the distance between the last note or rest and
the end (right edge) of the system or region of systems.

Before Barline. Check this box to place the extra space before the barline when adding space to the
end of a system. (In other words, the extra space will be added to the end of the last measure in the
system.) If this box is not checked, space will be added after the rightmost bar line in the system.

OK Cancel. Click OK (or press enter return ) to execute the selected changes. Click Cancel to
return to the score without any changes.

See Also:
Page Layout Tool

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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, its 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; anddepending on your settingsit removes empty staves from the staff
systems.
Using this dialog box, you can specify the systems you want optimizedall of them, for example. Finale
redraws your score (in Page View), omitting blank staves from the specified systems; youll 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, youll 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.
With groups, you can also tell Finale to optimize staves together for instruments that require more than
one staff, such as piano and harp.
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 wont reappear. If you want to edit, reformat, enlarge, or reduce your music, remove

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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, its 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 restone youve entered with the Simple Entry or Speedy Entry Toolis
not considered empty. If you notice that an apparently empty staff wont 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 dont want
removedthe treble-clef staff of a piano part, for example; simply enter a "real" whole rest in one of the
empty measures, and it wont be removed from the system (and hence it wont 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 wont appear in the affected systems. If you optimize a completely empty staff system,
Finale will still display the top staff, even though its 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 theyre 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 systemeven 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 youve added music in a previously empty
measure, such that some of your music now doesnt appear (because it falls on an optimized staff).
Once youve made such staves reappear with this command, reoptimize the score to ensure that
only truly empty staves are omitted.

All Systems of Current Part/Score System(s) __ Through __. Click on All Systems of Current
Part/Score 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

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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 youre 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 youve 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.

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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 instruments 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, youd 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

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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 dont
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 Document 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

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Staff Usage List

How to get there

Click the Staff Tool

k. 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 wont change its position in Scroll
View. Dragging a staff in Scroll View will affect the staffs position in Scroll View, but wont 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 Document 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 Finales internal number for the current staff (Finale
numbers staves in the order that theyre 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 staffs 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 youve 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.

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Tip: 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 staffs position. Click OK to
confirm your changes and return to the score.

See Also:
Staff Tool

667

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 youll 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 rightdepending on its horizontal
alignmentas 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 downdepending on its vertical alignmentas 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 blocks 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 dont show the border or shape.

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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

669

Stem Connection Editor

How to get there

From the Document Menu, choose Document Options and select Stems. Click the Stem Connections
button. Then, 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

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notehead. The Font dialog box appears; make your selection and click OK. The notehead symbol in
the font that youve 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 stems 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 Connections

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Stem Connections

How to get there

From the Document Menu, choose Document Options and select Stems. Then, click the Stem
Connections button.

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.

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.

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[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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

673

Staff Stem Settings

How to get there

Click the Staff Tool

, and double-click any staff. Click the Stem Settings button in the Items

to Display subsection.

What it does
In this dialog box, specify the direction, staff offset and beam offset for stems in a staff. These settings
are particularly useful for TAB notation.

Stem Direction: Default Direction Always Up Always Down. Choose Default Direction to use
the documents default stem direction as defined in Layer options (see Document Options-Layers).
Choose Always Up to freeze all steps in the staff up. Choose Always down to freeze all stems in the
staff down.

Horizontal Stem Offsets: Up Stem Down Stem. Enter a value in the Up Stem or Down Stem text
box to specify the horizontal gap between the notehead (or fret number) and the up and/or down
stems in a staff.

Use Vertical Offset For NoteHead End of Stems Offset from Notehead(s) Offset from Staff
Up Stem Down Stem. With Offset from Notehead selected, specify a value in the Up Stem or
Down Stem text box to define a specific vertical gap between the notehead (or fret number) and the

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start (notehead end) of up and/or down stems in a staff. With Offset from Staff selected, specify a
value in the Up Stem or Down Stem text box to define the absolute vertical position of the notehead
end of up and/or down stems relative to the staff.

Use Vertical Offset for Beam End Of Stems (Offset From Staff) Up Stem Down Stem. Check
this box, and enter a value in the Up Stem and/or Down Stem text box to define an absolute vertical
position, relative to the staff, for the stem endpoints (beam end of the stem).

Units: EVPUs Inches Centimeters Points Picas Spaces. When you enter the Staff Stem
Settings dialog box, Units defaults to the current measurement unit selected in the Measurement
Units submenu of the Document Menu. If you prefer, choose a different measure-ment unit for
beaming from the drop-down list.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your stem settings and
return to the Staff Attributes dialog box.

See Also:
Stems
Staff Attributes
Document Options-Stems
Document Options-Layers

675

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, ormore efficientlyclick 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 thats 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 youre creating are measured from the root, a
given suffix will always play back correctly, no matter what the root of the chordin 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 youre using one of its automatic-chord input features). Technically, you could edit Finales
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, youll find Finales
learned chords feature to be a far more convenient method. See Chord Symbols.

<< >>. 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 chords 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 rootso, 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 suffixs playback definition.
Tip: 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

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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

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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

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Swap One Font For Another

How to get there

Choose Swap One Font for Another from the Data Check submenu of the Document Menu.

What it does
This dialog box tells Finale to inspect the font of every musical element in your piecearticulations,
expression marks, chord symbols, the music itselfin search of the font youve 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.

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.

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 textsuch as text expressions, lyrics, staff and group names, text
blocksfor font changes. Finale does not change the fonts for any font characters embedded in
shapes.

OK Cancel. When you click OK, when its finished swapping the fonts, you return to the document.
Click Cancel to dismiss the dialog box 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

679

Sweep For Channels Present In A

Track

How to get there

Choose Open from the File Menu, and Select MIDI 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 Trackto-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 youre 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; its strictly an indicator to help you identify the track youre 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

680

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 youre creating a quarter-tone
scale, youll 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 youre
defining here.

List Element (#). This indicator identifies, by number, the currently displayed pairing of an accidental
(as identified by the Alter Amount, belowsharp, 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
youre 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 theres 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 youve chosen in
the previous dialog box. For example, youll see a lower-case b in this text box if youre using the
Maestro music font and specifying a flat symbol.
Note that you can use more than one character to represent a particular accidentalup to eight, in
fact. In the quarter-tone scale, for example, you might want to use a pair of symbolssuch 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 youve created an accidental/symbol pairing, click this button to store it and add it to the
Symbol List. Even though it may appear that youve replaced a set of existing pairing data (by typing
over them), Finale saves both the old and new information.

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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
youve 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 Signature
Key Signature Tool

Symbol Selection

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How to get there

You can access this dialog box by clicking a Symbol button anywhere it appears in the program, such as
the, Chord Suffix Editor, Clef Designer, Note Shape Assignment, and Stem Connection dialog boxes.
You can also access this dialog box by clicking on the Main and Flipped buttons in the Symbols section
of the Articulation Definition dialog box.

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

[Magnifying glass icons]. Use the magnifying glass icons to zoom in and out. Click and drag the
lower right corner of the dialog box and drag to resize it.

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

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684

Sync and Video Options

How to get there

From the Document Menu, choose Sync and Video Options.
What it does
Use settings in this dialog box to control how Finale handles MIDI Sync and SMPTE MTC
synchronization with other devices and the movie window. This dialog box allows you to, for example,
adjust the base time and MTC frame rate.

Internal Sync. Choose Internal Sync to specify you want Finale to be the sync master. Choose this
option when you intend to configure another device to recieve Finales MTC timing for
synchronization.

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. Finale wont 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 youve 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, theres 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 youve 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).

685

SMPTE Frame Rate. The Frame Rate is the number of frames per second. When writing to picture,
this setting much match the Frame Rate of the movie, whether played within the internal movie
window or in a piece of external software/hardware.

SMPTE Start Frame. This is the MTC time Finale sends at the beginning of measure 1 while playing
back the Finale file. This feature is useful if your Finale score begins anywhere but the beginning of
the accompanying video, or if the external hardware/software begins at hour 1 rather than 0.

Movie Window; Video Starts at _ in Score Video Starts at_ in Video. These settings only apply
to Finales integrated Movie Window. Enter a time for Video Starts at _ in Score to tell Finale to leave
the Movie Window blank until reaching that time during playback of the document. Enter a time for
Video Starts at _ in Video to the Video will start at this time at the beginning of the score.

OK Cancel. Click OK (or press enter) to confirm the settings youve made in this dialog box. Finale
will use the option settings youve just made whenever it plays back in this document. Click Cancel to
leave the dialog box without changing any settings.

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Tablature MIDI Channels

How to get there

From the MIDI/Audio Menu, choose Tablature MIDI Channels.

What it does
While using a MIDI guitar for entry, each string will use an independent MIDI channel for transcription
into the score. This allows Finale to transcribe the correct fret number while recording into a tablature
staff with HyperScribe.

Map MIDI Channels To Tablature Staff Strings. Check this box to use independent channels for
each string in a Tablature Staff.

Listen for String #. Click in the text box under the channel column of the string you want to assign.
Then, click the Listen For String button. Play the string on the MIDI guitar to send Finale the MIDI
channel information. To configure the channels sent the your MIDI guitar, refer to the instructions
that came with the guitar to MIDI interface.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your settings and return to
the score.

See Also:
MIDI/Audio Menu

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Tablature Staff Attributes

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
Use this dialog box to make custom settings for a TAB staff including string tuning. 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.

Instrument: Standard Guitar Lute; Edit Instrument. Select the type of tablature staff you want to
create from this drop-down list. Click the Edit Instrument button to define a dif-ferent fretboard
instrument. See Fretboard Instrument Definition.

Default Lowest Fret. Type in this text box to indicate the lowest fret to use in the staff by default.

Capo Position. Type a fret number in this text box to indicate the location of a capo.

Show Tuplets. Check this box to display tuplet definitions in the TAB staff.

Show Clef Only On First Measure. Check this box to display the TAB clef on the first mea-sure
only, and not at the beginning of subsequent systems.

Vertical Offset. Use this field to specify the vertical offset for the positioning of fret numbers on the
strings of the staff. Click the drop-down list to specify a different measurement unit.

Font; Set Font. Indicates the current fret number font. To change the font, size and style, click the
Set Font button. The Font dialog box appears. See Font Dialog box for more infor-mation.

688

Use Letters. Check this box to use fret letters in the TAB staff instead of numbers.

Break Tablature Lines At Numbers. Select this option to have space between the tablature lines
and the tablature numbers.

On "OK", Reset Staffs Attributes To Tablature Defaults. Check this box to revert to Finales
default TAB staff settings.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, your tablature set-tings. 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:
Tablature
Staff Attributes
Staff Tool

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Tap Source

How to get there

Click the HyperScribe Tool
Menu.

, and choose Tap from the Beat Source submenu of the HyperScribe

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 youre 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 youll be tapping to provide a tempo
reference as you play.

Standard Sustain Pedal Nonstandard Sustain Pedal MIDI Note: Channel: Listen. If youll
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 youll 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 automaticallyclick Listen,
whereupon Finale will prompt you to play a key. Finale will enter the correct information. (If Finale
doesnt respond when you play a key or pedal, then your MIDI system may not be connected
properly.) See Listen dialog box.

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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.

Beat 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 theres 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

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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" youre 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 youve 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 dont start tapping a different key or pedalyou continue
to use the same tap device. Just tap the desired Tap States trigger once to tell Finale youre
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 cant
switch back to the "main" duration/division setup
while youre playing.

OK Cancel. Click OK to confirm, or Cancel to discard, the Tap State settings youve made and
return to the Tap Source dialog box.

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See Also:
HyperScribe Menu
HyperScribe Tool

693

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.
Youll 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 youve 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.

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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

695

Expression Designer-Main

How to get there

Click the Expression Tool
and then click Edit.

, and double-click a note or measure. Click Create, or click an expression

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 youve
created in the Shape Designer. Either can be defined for playback.
In this dialog box, you can create a new Expression or edit an existing one. This dialog box is separated
into three tabs, each responsible for different attributes of the expression. Use options under the Main tab
to edit the spelling, font, or description, options under the Playback tab to edit how the expression affects
playback, such as volume or tempo, and options under the Positioning tab to specify precise positioning
of the expression relative to its corresponding note or measure.

Description. You can use this text box to label each expression for reference later. The description
entered here displays near the bottom of the expression in the Expression Selection dialog box. The
description can be particularly helpful if you have a number of expressions that do not contain any
text, such as expressions defined only to modify the playback.

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Text Shape. Choose the Text radio button to define or edit a Text Expression and the Shape radio
button to define or edit a Shape Expression.
Important note: Slurs, phrase markings, and hairpin crescendos should be entered with the Smart
Shape Tool.

[Text box]. This text box is where you type the expression text itself.

Use _ Category Fonts. Check this box to use the font, size, and style defined for this category.
Fonts for each category can be defined in the Category Designer dialog box. Uncheck this box to
display additional font, size, and style options that allow you to define these settings for this specific
expression only (see Expression Designer-Positioning).

Font. Use this drop-down menu to switch between entering text and musical symbols. The text and
music font can be defined for each category of expressions. The text and/or music font for a category
can be changed in the Category Designer dialog box. Uncheck Use Category Fonts to display
additional font options that you can use to apply to this particular expression (independent from the
category).

Hidden. Select this checkbox to prevent the expression from printing. Hidden expressions will
continue to display on-screen at the Hidden Object Shading percentage specified in Program
Options-View.

Enclosure: Shape Edit. If you want your expression framed by a geometric enclosure, click this
drop-down menu to choose the desired shape. Click Edit to open the Enclosure Designer dialog box,
where you can specify the shape, size, and line thickness of the enclosure. (See Enclosure
Designerfor more information.) You might use this feature, for example, when creating rehearsal
lettersyou can enclose each letter in a neat rectangle.

Edit Create Select. Click Edit or Create to open the Shape Designer where you can edit the
selected shape expression or create a new one. Click Select to choose an existing Shape
Expression.

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 youll want any Shape Expressions to stretch along with the measures in
which they occur. In such cases, select this item. Deselect this checkbox if you dont want to permit a
shape to be stretched horizontallyfor example, you might prefer that a harp pedaling diagram
retain its original dimensions.

Hidden. Select this checkbox to prevent the shape expression from printing. Hidden expressions will
continue to display on-screen at the Hidden Object Shading percentage specified in Program
Options-View.
Tip: Set an opaque enclosure to have the Text
Expression cut away other items underneath it in
the score.

To apply playback settings to the expression, click the Playback tab. See Expression Designer-Playback.
To set the default positioning, click the Positioning tab. See Expression Designer-Positioning.
See Also:
Expression Selection
General MIDI Patch Numbers & Names
Enclosure Designer
Playback Data Dump
Expression Tool

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Text Repeat Assignment

How to get there

Click the Repeat Tool
, and double-click a measure. 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, type the repeat text; click OK, then double-click the new text repeat.) If youve placed a text
repeat in the score, you can also double-click its handle (or right-click its handle and choose Edit Repeat
Assignment) to enter this dialog box.

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 Load Library from the File Menu.
Once youve selected a text repeat by double-clicking it, this dialog box appears, where you can define its
playback effect and positioning. 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.

Text Repeat ID: (#). This indicator identifies the text repeat by number.

Never Jump. Choose this radio button to specify that this repeat indication does not direct playback
anywhere.

Always Jump. Choose this radio button to always jump to the target on every pass. A Jumper
directs playback to another measure or to another repeat defined as a Markfor example, to the
coda.

Jump on Passes. Choose this radio button to specify the pass(es) you want playback to jump to the
defined target. To indicate multiple passes, separate the pass numbers with commas, or indicate a
range with a hyphen (e.g. "2-4").

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Play Section_Times. Choose this radio button and in the text box to the right, enter the number of
times you want the defined repeated section to play.

Reset on Repeat Action. Once Finale has played the music the number of times specified in the
Jump on Pass(es) or Play Section _Times text boxesand thus performed the Repeat Actionit
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 youre creating nested repeats, and want an inner
repeat to be fully executed with each pass of the larger repeated region.

Stop on Pass_. Choose this radio button, and enter a number to indicate the pass you want Finale
to stop playback.

Jump if Ignoring Repeats. Select this option if you want a text repeat to jump to its target even if
"Ignore Repeats" is checked in the Playback/Record Options dialog box. (To tell Finale to ignore
repeats, from the Document Menu, choose Playback/Record Options, and then check Ignore
Repeats.)

Target. The number in this text box is used to direct the flow of playback to another measure, a
Mark-defined text repeat, forward a number of measures, or backward a number of measures,
depending on what is selected under the drop-down list. Each text repeat in the repeat selection
dialog box is assigned an ID number. If you want a text repeat to jump to another text repeat, select
Text Repeat ID from the drop-down list and indicate the ID number of the text repeat to which you
want playback to jump. When Measure # is selected, this text box indicates the measure number to
which the text repeat should direct playback. When Backward is selected, Finale directs playback
backward the number of measures entered. When Forward is selected, Finale directs playback
forward the specified number of measures.

Auto Update Target. If this option is checked, the target will update to accommodate measures in
the repeated section that have been added, deleted, or inserted.

Allow Individual Edits Per Staff. Finale usually places a text repeat in the same place in every
staff. Check Allow Individual Edits Per Staff to allow each staffs text repeat to be independently
movable.

Horizontal Offset Vertical Offset. In these text boxes, specify the horizontal and vertical
positioning from the top staff line, left barline of the measure. If you are creating a new Text Repeat,
these values indicate where you originally clicked.

Show On: All Staves This Staff Only. Select All Staves to show the text repeat on every staff in
the score and parts. All Staves is selected by default. Select This Staff Only to assign the text repeat
to the current staff only. Use the This Staff Only option if you want a text repeat 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 text repeats. 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 text repeat should appear in.

OK Cancel. Click OK (or press enter) to confirm the settings youve 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:
Repeats (barlines and text indications)
Repeat Designer
Repeat Selection
Repeat Tool

699

Text Search and Replace dialog box

How to get there

From the Edit Menu, choose Text Search and Replace.

What it does
With this plug-in, search and replace text in the form of Text Expressions, Lyrics, Text Blocks, Repeat
Text, File Info, Smart Shapes, Staff/Group Names, and Style Names.

Search this text. Enter existing text you want to search for in this text box.

Replace with this text. Enter the new text in this text box.

Use Style. Click Use Style to open the Font dialog box where you can change the font, size, and
style for existing, or replaced text.

Replace All. Click Replace All to search for every occurrence of the text entered in the Search this
text box, and replace it with the text entered in the Replace with this text box.

[Expansion arrow]. Click the expansion arrow in the lower left to display the following options.

Search Everywhere. Check Search Everywhere to search all text in the document.

More Options:

Search in: Text Expressions File Info Staff Names Staff style names Group Names
Articulations Smart Shapes Lyrics Text Blocks Repeat texts. Check these boxes to specify
the type of text to search. Note that Search and Replace for Articulations supports single characters
only or a style-only search (with nothing specified in the'Search for' and 'Replace with' text boxes).
Note: All Text Search and Replace features are
also available in FinaleScript.

Match Case. Check Match Case to only find a match for text that matches the case of the word
entered in the Search for this text box.

Whole Words Only. Check Whole Words Only to only search for the precise word entered in the
Search this text box, and ignore longer words containing the same text.

All Open Documents. Check to search and replace text in all open documents.

Text Search and Replace Syntax

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The following syntax may be used in 'Search for' and 'Replace with' for specific matches:

^l = line feed

^t = tab

^ = copyright symbol insert

^c = copyright text

^C = composer insert

^T = title insert

^d = file description

^# (or ^s) = sharp insert

^b = flat insert

^n = natural insert

^S = double sharp insert

^B = double flat insert

^^ = caret character

<65> ASCII character

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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 doesnt appear immediately, youve
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 youve put too many beats into a measure, and asks how you want to
handle the extra beats. If youre 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 theres 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 dont 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. (Youd 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

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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 boxand the Speedy editing frameand process the extra beats as
you specified.

See Also:
Speedy Entry Tool

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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
Document Options-Ties and Tie Contour dialog boxes. To edit all the ties in your document on a global
basis, from the Document Menu, choose Document Options and select Ties. See Document Options-Ties
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 ties 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 ties 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 ties
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 ties 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.

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Enter a value (in measurement units) into the End V: text box for the vertical distance of the ties
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 ties 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
Document Options-Ties. 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 Document OptionsTies. 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 Document OptionsTies. 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:
Ties
Document Menu
Special Tools Tool
Document Options-Ties

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Tie Contour

How to get there

From the Document Menu, choose Document Options and select Ties. Click the Tie Contour button.

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 spansshort, 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 ties actual height, but the height of
the ties 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 ties overall shape. Inset controls the amount of "hook"
at ties 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 tiessee 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.

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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 ties 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 Edit 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 without making any changes. Click OK to save your changes and return to the Tie
options.

See Also:
Tie Alterations
Edit Menu
Document Options-Ties

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708

Time Style

How to get there

and select Edit Regions from the Measure Numbers submenu of the
Click the Measure Tool
Measure Menu. Or, shift-double-click on the Measure Tool. Then, from the Style drop-down menu,
choose Time.
What it does
Use these settings to control the appearence of measure number time indicators added to the score.

Include Hours. Check this box to display hours in time indicator measure numbers.

Display as; Whole Seconds Tenths of a Second Hundredths of a Second Thousandths of

a Second Frames. From this drop-down menu, choose the desired granularity of time to be
displayed for the time indicator measure numbers in this measure region. Frames refers to the
SMPTE frame rate.

OK Cancel. Click Cancel to discard any changes you made to the settings. Click OK to confirm the
settings youve made and return to the Measure Number dialog box.

See Also:
Measure Number
Measure Menu

709

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 youre viewing the measure you originally clicked
(which, youll 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
barthe dotted vertical linesuntil the cut bars enclose the notes you want included in your composite
mirror. Click Prev, Next, Insert, or OK; Finale asks you if youre sure you want to add the selected
noteshereafter called a mirror fragmentto the composite mirror.

Prev Next. Click these buttons to scroll among the mirror fragments youve already assembled in
the measure. If the music displayed between the two dotted-line cut bars is a fragment you havent
yet selected for inclusion in this composite mirror, click Prev or Next to select it.

Delete. Click Delete to remove the fragment youre viewing from this mirrored measure.

Insert. Click Insert if you want to place a new mirror fragment just before the one youre 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
youre 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, youll see the contents of each measure you

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view, adjusted for the mirror measures 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 youve 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 havent yet selected for inclusion in this
composite mirror, Finale asks if you want to save changes.) If youve 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

711

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
signaturethe number of beats in each measure. Use the lower scroll bar to specify the lower
number of the time signaturethe 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.

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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. Heres 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 Document Options-Time Signatures.

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 dont 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 ( ) 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 (

or

) each time a cut or common time

and 4/4 (or

and 2/2) in
signature appears in your music. This capability lets you easily mix
one piece. You use a simple option, the Abbreviate checkbox in the expanded Time Signature
dialog box.
Heres 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 Document Options-Time Signatures for more information.
See Also:
Time signatures
Time Signature Tool
Composite Time Signature

713

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 doesnt 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,
theres no particular relationship between one and another; each nonlinear key signature is a special
situation.)
Youll 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 havent 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 youre changing the relative tone center. In
the standard key system, if the Unit is 3 (signifying the appearance of the third sharp), youd 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 centerthe key youre inthat
corresponds to the appearance of the accidental identified by the Unit (above). Its 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 appearB flat (in the
key of F, as it happens). For the key identified by the appearance of the B flat, youd 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.

714

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 youve 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

715

Track/Channel Mapping

How to get there

Choose Open from the File Menu, and Select MIDI 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 Trackto-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 tracksto 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 registerthe highest notes into one staff, and
so on.

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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
youre 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 youre about to create.
To create a single staff from a single track, enter the tracks number and the MIDI channel from
which it was recorded in one pair of the Track/Channel boxes. Note: You normally dont 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 channels 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, youll 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 blankor enter
zeroif each track was only recorded from a single channel, or if its 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 selectedor, 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 youve 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 youve
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 dont 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 linesfor string parts, for example
into individual staves.
This dialog box works in much the same way as the Explode Music command in the Utilities 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 youve 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 pointprovided theres
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 youre 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).

717

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 staffs starting clef. Finale offers eighteen
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 youre
defining and the top of the Finale window (in Scroll View). Its a negative number, because this staff
appears below the top of the window. Note that if you want all your staves evenly spaced, you dont
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 youve
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 youve

created. You return to the Track/Channel Mapping to Staves dialog box.

See Also:
Fixed Split
Multiple Splits
Hand Width Split
Filter Channels
Import MIDI File Options
Track/Channel Mapping to Staves

718

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 Dont 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. Youll 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 onoptions that arent 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 youve 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,

719

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 Utilities Menu). See Track/Channel Mapping dialog
box for more information.

Load Save. Once youve created a mapping setup, you neednt 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 fileor a similarly configured oneclick Load. Double-click the TrackMap
Files 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

720

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 ems, that Finale should
leave between characters for the selected text.

Amount. Enter the amount (in ems) of horizontal space, in ems, that Finale should leave between
characters for the selected text. One em is equivalent to 1/1000 of the point size. Ems 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

721

Transcription

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723

How to get there

Click the HyperScribe Tool
measure.

, and select Transcription Mode from the HyperScribe Menu. Click a

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 onscreen piano keyboard. You can edit these notes graphically, changing their durations, inserting new
notes, or deleting notes from selected areas. See Keyboard, below.
Once youve 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 screenthe Time Tag display areamarked 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.

724

Because the File Menus New, Open, and Save As commandswhen youre in the Transcription
windowonly apply to performances youve 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. Theyre 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 youre
about to record (or listen to).
For example, to record Time Tags, youd want the Play radio button selected in the Keyboard section,
because youll want to hear your performance playing back so you can tap along with it. Youd 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 its 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, youve just indicated to Finale
that youll 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 notes 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 shorterjust 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 value20, for exampleto 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 longwhich 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 youve already recorded, if any. (If theres 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 its 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 its 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, youve just indicated to
Finale that youll 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
cant insert Measure or Beat Tags until after youve entered standard Time Tags.) To move a Time

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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 noteheadbut 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 oncechange a
4/4 piece to 2/4 time, for example, or vice versabecause youre effectively telling Finale that
every quarter note is now an eighth note (in this example). If you try this, however, dont 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 value20, for exampleto 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 Tagand what its rhythmic value isby
choosing the appropriate commands from the Time Tag Menu. (See Time Tag Menu for a complete
description of the commands.)
Youll 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 simultaneouslyif you want to tap the pedal as you play
(as in HyperScribe), for example; or if youre 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 youve
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 exampledoes Finale begin to record or play, according to your radio
button selections. Note that the first MIDI signal you produce isnt merely a trigger; its 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

726

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 clickingclick 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 youve 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 Finales 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 dont 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/Record
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 Finales
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 youve created a playback file (consisting of the tracks youve 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 its prepared to do so, it displays an X in the
Background File checkbox. If you dont 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 youve 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 youve recorded a
new track, you dont have to reenter Time Tags manuallyyou 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 youre 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 wont 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.

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Because you usually click a measure to enter the Transcription window, you need to ctrl-click a
measure to do so if youre 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, youre 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 youve 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
youve 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

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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 youve just played a multichannel sequence into the Transcription window (from an external
sequencer), for example, youll 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 registerfor example,
you want to transcribe only the notes above middle Cyou 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, youve 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 200unless 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 dont 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 notesthe lowest,
then the highest; Finale enters their key numbers in the text boxes automatically.

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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

730

Transposition

How to get there

Click the Selection Tool
, and select a region of measures. Choose Transpose from the Utilities
Menu. Or, with any tool that supports measure selection selected (see Selecting music), hold down the
Ctrl and Shift key and press 6, 7, 8, or 9 to open this dialog box (to program a transposition metatool).
Note: Use the following metatool key commands to
quickly transpose a selected region of music:
-6 = Down M2,

-7 = Up M2,

-8 =

Down octave,
-9 = Up Octave. These are
Finale's default settings, but can be changed by
reassigning the metatool definition.

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 wanta 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 youve 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
youve 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, youre doubling the notes in your score. When this
option is not selected, Finale transposes the existing line of notes without keeping the original line.

731

OK Cancel. Click OK to confirm, or Cancel to discard, your transposition selection. If you click OK,
Finale performs the transposition.

See Also:
Utilities Menu

732

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 groupingthe number
of eighth notes that are to be played in the time of a quarter note, for exampleand 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 Document Options-Tuplets, where you can specify these parameters. (See
Document Options-Tuplets for a more complete discussionalthough 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 boxin a tuplet
Metatool, so that you can instantly transform non-tuplet notes into tuplet notes (having the tuplet

733

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
youre 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 Stem/Beam Side Note Side Above Below. When Manual is selected in this
dropdown list, Finale uses the settings from the Document Options-Tuplets 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 Document Options-Tuplets settings. You can then drag to adjust
the tuplet in your score. Choose Above to place the tuplet above the staff by default. Choose Below
to place the tuplet below the staff by default.

Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver Tuplets automatically
reposition to account for raised or lowered notes in the staff. They also update to avoid rests and
staff lines. Bracket placement and slope for Engraver Tuplets is determined by the stem direction of
the majority of stems in the tuplet (rather than the first stem in the tuplet as is the case when this box
is not checked).

Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or
below the bottom line of the staff.

Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in
the score. If this box is not checked, tuplets can only be adjusted vertically in the 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.

Appearance:

Number: Nothing Number X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale
should place a number, a ratio, or no mark on a tuplet. If you choose, for example X:Y, Finale will
display "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale will display
"3?:2?". Finale does not display X or Y values of 1. If durations are different (i.e. 3 quarter in the
space of one half) X:Yq will display as Xq:Yq.

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).

Break Slur or Bracket. If youve 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.

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Always Use Specified Shape Bracket Unbeamed Notes Only Never Bracket Beamed Notes
on Beam Side. Choose Always Use Specified Shape to place a bracket (of the shape defined
above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets on
unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct
Finale to place brackets on tuplets defined to appear on the note side of the staff (for example, if the
beam appears above notes tuplets will only contain brackets if placed below the staff).
Position:

Number: Horizontal Vertical. Enter values (in measurement units) to adjust the horizontal and
vertical position of the tuplet number displayed in the score.

Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic
center of the tuplet (rather than equidistant from the first and last note/rest of the tuplet).

Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in
your tuplets, select this option if you dont want it to apply to this tuplet.

Shape: Horizontal Vertical. Enter values here to specify 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:.

Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets.

Bracket full duration. Check this option to extend the right edge of the bracket to enclose the full
duration of the tuplet.

Match Length of Hooks. Check this box to always use same length for left and right hooks. If the
values for Hook Length are different, Finale uses the smallest value for both hooks.

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 leftmost 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 its 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.

Manual Slope adjustment. Enter a positive value to specify the maximum angle of brackets or slurs
when the right side is higher than the left. Enter a negative value to specify the maximum angle when
the right side of the tuplet lower than the left.

OK Cancel Set Default Reset. Click OK (or press enter) to confirm, or Cancel to discard, the
tuplet appearance youve created. Click Set Default to lock the current settings for all new tuplets you
create (existing tuplets will not change). Choose Reset to rever to this sessions original settings.
Tip: Enter a smaller value for Horizontal of the
Shape to change the position of the entire shape in
relation to the notes. Enter a smaller Vertical 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:
Tuplets
Tuplet Tool
Document Options-Tuplets
Change Tuplets

735

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 dismiss the dialog box without
making changes.

See Also:
Edit Menu

736

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 hasnt been loaded into, or created in, this piece.

What it does
When Finale encounters a chord it doesnt 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 pieceor if you have the Maestro Font Default file in place, which already has a Chord
Suffix Library loaded.)

Ill 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 doesnt usually understand (such as a major sixth chord or a "V11"
chord like F/G), clicking the Ill Do It button also means "Ill teach it to you." Once youve created the
chord symbol, Finale will recognize this chord in any inversion and register (but only if its 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 correctlybut it doesnt 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

737

Unknown Font

How to get there

From the File Menu, choose Load Library. Double-click the name of a library that was created with a font
thats no longer installed on your System.

What it does
Youll 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 elses 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 doesnt actually install a font in your system when you click Add. Instead, it adds the missing
fonts 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 thats
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

738

Update Available

How to get there

From the Help Menu, choose Check for Finale Updates in a version of Finale not current with the latest
maintenance update.
What it does
This dialog box allows you to update your version of Finale.

Update Now. Click this button to download and install the latest maintenance update.

Update Later. Click this button to dismiss the dialog box and return to the score.

Settings. Click this button to open the Automatic Check for Updates dialog box where you can set
the frequency for automatic update checks.

See Also:
Help Menu

739

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 Edit 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

Modulation wheel or
lever

64

Sustain pedal

Breath Controller

65

Portamento

Foot Controller

66

Sostenuto

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, youll be able to edit the specified data type. For instructions on editing these
data types, see MIDI Tool window.

Listen. If youre 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

740

741

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 areafor
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 secondthat 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, youve 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

742

Voicing for Staff in Part

How to get there

From the Documents Menu, choose Manage Parts. Click Edit Part Definition to expand the dialog box. In
the middle column, choose the staff that you would like to change and click Edit Voicing.
What it does
This dialog box allows you to display select notes on individual instrument staves. For score staves that
contain multiple parts (e.g. "Flutes 1 &2"), Flute 1 could be assigned to its own part, containing only the
Flute 1 notes; likewise for the Flute 2 part. Layers or individual notes from chords (of the same layer) can
be assigned to a part while other notes are hidden. To divide a multi-part score staff into two or more
parts, first add the staff to different parts. Once the multi-part staff appears in two (or more) parts, use this
dialog box to specify which notes to show for each part.

All notes in Layer _ only. Choose this option and select a layer to display the selected layer only for
this staff.

Selected notes from one or more layer(s). Choose this option to use the settings below to identify
which notes within chords of the same layer should be displayed in the selected staff.

In All Measures Containing a Single Layer, Use: All notes Top Note Bottom Note Selected
Note(s); 1st Note 2nd Note 3rd Note 4th Note 5th Note. Use these options to specify which
notes should be displayed in chords of the same layer. Choose All Notes to show every note in
measures containing a single layer. Choose Top Note to hide all but the top note in entries

743

containing multiple notes (chords). Choose Bottom Note to hide all but the bottom note in entries
containing multiple notes. Choose Selected Notes, and then the desired check box below to specify
which note to use in the case of chords.

Count Notes: From the Top From the Bottom. These options are available when the Selected
Note(s) option is chosen and control the direction Finale counts from when choosing the part voicing.
For example, with "2nd Note" and "From the Top" selected, Finale hides all but the second note from
the top of chords in the same layer.

Include Single Note Passages. Check this box to also include monophonic passages in the voice
you are defining.

In Measures Containing Multiple Layers, Display Layer _. If the score contains multiple layers in
one or more sections, from this drop-down menu, choose the layer you want to show.

See Also:
Document Menu

744

VST Instruments

How to get there

From the MIDI/Audio Menu, choose Instrument Setup > VST Instruments.

What it does
With this dialog box, choose a desired VST Instrument for use with Finale. Finale includes the Aria Player
which is designed to use Finale as its host sequencer and includes an accompanying library of Garritan
Personal Orchestra sounds. See Aria Player and Garritan Instruments. The Aria Player can also load
other sample libraries compatible with the Aria Player. .

Finale Channel VST Instrument Edit. Each one of these drop-down menus displays all sound
libraries installed on your computer. The Aria Player is included with Finale. Choose Instruments for
Finale 2009 to load the Garritan instruments included with Finale 2009.

Ambience Reverb; Edit. Check Ambience Reverb to apply a reverb effect to playback of VST
sounds. To adjust reverb settings, click the Edit button.

745

Close. Click Close to apply your settings.

See Also:
MIDI/Audio Menu

746

Wait for End of Note

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Wait for End of Note from the
marker list on the left and click Add. Or, select an existing Wait for End of Note marker from the Marker
window and click Edit.

What it does
Use the settings in this dialog box to control the type and measure assignment for the Wait for End of
Note marker you are adding or editing. Place this marker on a held note in the solo line to instruct
SmartMusic to listen for the end of the soloists note (e.g. a fermata). A Resume marker is added
automatically just before the accompaniment begins.

Rehearsal Mark Bar Note Repeat. Choose a rehearsal mark, repeat, or specify a bar and note
to add a Wait for End of Note marker.

Reset Tempo on Resume. Check this box to add a Reset Tempo marker after the Resume marker.
This resets the tempo to the previous value.

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

747

Measure Assignment for Ossia

Measure

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Wait for Foot Pedal from the marker
list on the left and click add. Or, select an existing Wait for Foot Pedal marker from the Marker window
and click Edit.

What it does
Use the settings in this dialog box to control the type and measure assignment for the Wait for Foot Pedal
marker you are adding or editing. For Start Waiting At, specify the point you want SmartMusic to pause
the accompaniment. For Resume At, specify the note point at which the accompaniment should resume
(upon pressing the foot pedal).

Start Waiting At: Rehearsal Mark Bar Note Repeat. Choose a rehearsal mark, repeat, or
specify a bar and note to add a Wait for Foot Pedal marker.

Resume At: Rehearsal Mark Bar Beat Repeat. Choose a rehearsal mark, repeat, or specify a
bar and note to add a Resume marker.

Reset Tempo on Resume. Check this box to add a Reset Tempo marker after the Resume marker.
This resets the tempo to the previous value.

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

748

Wait for Note

How to get there

From the Document Menu, choose Add SmartMusic Markers. Select Wait for Note On from the marker
list on the left and click Add. Or, select an existing Wait for Note marker from the Marker window and click
Edit.

What it does
Use the settings in this dialog box to control the type and measure assignment for the Wait for Note
marker you are adding or editing. Using the Rehearsal Mark or Bar and Note setting, specify the
placement of this marker. Use this dialog to place the marker on the note you want to resume the
accompaniment. SmartMusic will resume its performance upon hearing this note. (A resume marker is
added for you automatically. See SmartMusic Performance Markers for more information).
Note: If your note falls in a repeated section,
repeat options appear in the repeat field. You can
select the note the first time through a repeat,
second time, and so on. Choose the repeat option
you want to use from the Repeat drop-down menu.
You will have to place a marker twice if you want
the pause to occur both times through a repeated
section (unless Every Time is selected under the
Repeat drop-down menu).

Rehearsal Mark Bar Beat Repeat. Choose a rehearsal mark, repeat, or specify a bar and note
to add a Wait for Note marker.

Reset Tempo on Resume. Check this box to add a Reset Tempo marker after the Resume marker.
This resets the tempo to the previous value.

OK Cancel. Click OK to apply these settings to the SmartMusic Marker you are adding/editing and
return to the Add SmartMusic Markers dialog box. Click Cancel to return to the Add SmartMusic
Markers dialog box without making changes.

749

Word Extensions

How to get there

From the Document Menu, choose Document Options, and then select Lyrics. Click Word Extensions.

What it does
In this dialog box, you can adjust the behavior of Smart Word Extensions, and well as their visual
appearance.

Use Smart Word Extensions. Check this box to enable Smart Word Extensions. Smart Word
Extensions appear automatically as lyrics are entered in the score, and can me modified using the
options in this dialog box. With this box unchecked, word extensions act as they did in Finale version
2003 and earlier.

Create Automatically When Notes Follow Without Lyrics. Choose this option to tell Finale to
create word extensions automatically when appropriate as lyrics are being entered. While using Type
Into Score, word extensions appear after switching out of Type Into Score mode, or after changing
tools. To define word extensions on certain lyrics only, uncheck this option, and then enter an
underscore (_) after typing a syllable to specify a word extension on that syllable.

Minimum Length. In this text box, you can specify the minimum length for word extensions. Finale
will not create a word extension automatically in the score if there is not enough space between
lyrics to accommodate the length entered here.

System Break Alignment: System Start System End. Enter a value for System Start to adjust
the alignment of the start of a word extension that extends over a system with the start of the system.
Enter a value for System End to adjust the alignment of the end of a word extension that extends
over a system with the end of the system.

Align to Notehead: Plain Notehead Dotted Notehead. Enter a value for Plain Notehead to
specify the distance between a non-dotted note and the word extensions end point. Enter avalue for
Dotted Notehead to specify the distance between a dotted note and the word extensions end point.

750

Stretch to Note Duration Offset. Choose this option to extend word extensions for the duration of
the note. Enter a value for Offset to adjust the extensions endpoint relative to the endpoint of the
note duration.

Lyric Allignment: Vertical Offset from Baseline Horizontal Offset from Syllable. Enter a value
for Vertical Offset from Baseline to adjust the vertical distance between the baseline of the lyrics and
the word extension. Enter a value for Horizontal Offset from Syllable to adjust the horizontal space
between the end of the syllable and the beginning of the word extension.

Line Thickness. This option sets the line thickness for word extensions in your score. Enter a value
for the line thickness.

OK Cancel. Click OK (or press enter) to confirm the settings youve made in this dialog box and
return to Document Options - Lyrics. Click Cancel to tell Finale to ignore any changes you made in
this dialog box and return to Document Options-Lyrics.

See Also:
Document Options-Lyrics
Lyrics Menu

751

Zoom

How to get there

From the Zoom 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 sizein 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
specifiedor Cancel to return to the score without changing the display size.
Tip: 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

752

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.
To learn about how articulations are handled in linked parts, see Articulations in linked parts. See also
Articulations.

Special mouse clicks

Click on, above, or below a note or rest to display the Articulation Selection dialog box, from which
you can select an articulation marking you want to insert. (If you are using voices, click above the
staff for Voice 1 and below for Voice 2.)

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

Click and drag to select multiple handles.

Press ctrl-A to select all the handles.

Drag a selected handle to move all selected articulations.

Press delete, or right-click the handle and select Delete from the contextual menu to remove
an articulation (or all selected articulations).

Double-click an articulation handle (or select the handle and press enter), or right-controlclick the handle and select Edit Articulation Definition from the contextual menu 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.

Drag-enclose a series of notes to bring up the Apply Articulation dialog box. Hold down delete and
drag-enclose note to remove the articulations.

Alt-click and hold a handle of an articulation to highlight the note to which it is assigned.

Metatools
You can create Articulation Metatoolsone-key equivalents for articulation markingsthat can save you
time if you need to insert many expression markings into your score (because you bypass the Articulation
Selection dialog box).

To program an Articulation Metatool

Click the Articulation Tool. Press shift and a letter or number key. Finale displays the Articulation
Selection dialog box; double-click the marking you want to correspond to the letter or number you
pressed (or, click the desired articulation and then click Select).

To use an Articulation Metatool

Click the Articulation Tool. While pressing the number or letter key to which the desired marking was
programmed, click on, above, or below a note or rest. The marking appears at the place you clicked.
You can also press a metatool key and drag-enclose the desired notes to apply the articulation to those
notes.
To enter an articulation while entering notes in Simple Entry, see Adding Articulations in the Simple Entry
chapter.

753

Contextual Menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.
Articulation handles
Menu item

What it does

Edit Articulation Definition

Display the Articulation Designer dialog box

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected articulations

See Also:
Main Tool Palette
Articulation Designer
Articulation Selection

754

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. See
Chord symbols for full instructions.
You can type chords directly into the score using the Type Into Score chord entry command in the Chord
Menu. With Manual Input selected, you can also type into the Chord Definition dialog box to create or edit
an existing chord in the score. Enter chords according to the Standard chord style. When Finale updates
the score, the chords appear in the display style selected in the Chord Style submenu.
For information regarding chords and fretboards in scores with linked parts, see Chords, fretboards, and
lyrics in linked parts.

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, 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, double-click a chord symbol handle, or
right-click the handle and select Edit Chord Definition from the contextual menu 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. Press a single note below Middle C to move to the previous 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.

Metatools
You can create Chord Metatoolsone-keystroke equivalents for complete chord symbolsthat can save
you time if you need to insert complex chord symbols into your score.

To program a Chord Metatool

Click the Chord Tool. Press shift and a letter or number key. Finale displays the Chord Definition dialog
box; create the chord symbol you want to correspond to the letter or number you pressed (see Chord
Definition dialog box). Click OK.

755

To use a Chord Metatool

Click the Chord Tool. While pressing the letter or number key corresponding to the Metatool you
programmed, click a note or rest. The chord symbol appears immediately, transposed according to the
key signature if necessary.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.

Menu item

What it does

Edit Chord Definition

Display the Chord Definition dialog box

Edit Fretboard

Display the Fretboard Editor dialog box

Delete

Removes selected chord symbols

Show Chord

Shows (or hides) individual chord symbols

Show Fretboard

Shows (or hides) individual fretboards

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Display the Resize Notehead dialog box

For further information, see the Chord Definition dialog box.

See Also:
Document Options-Chords
Main Tool Palette
Chord Menu

756

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

Double-click a measure 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 left, or right to adjust the clefs position. The notes before and
after it are renotated accordingly after you drag it.

Drag a mid-measure clef handle across the left barline to convert it to a regular clef change
(where the clef appears to the left of the barline).

Click a mid-measure clef handle to select it; press delete, or right-click the handle and select
Delete from the contextual menu to remove it. You can also shift-click to select additional midmeasure 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 (from a bass clef to a treble clef, for example).
As you drag the clef horizontally, it cycles through its eighteen available clefs.

Ctrl-click a mid-measure clef handle, or right-click the handle and select Edit Clef Definition
from the contextual menu 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 cant be moved).

Double-click a highlighted region of measures to open the Clef Selection dialog box where you
can change the clef for all measures in the region.

Metatools
You can create Clef Metatoolsone-keystroke equivalents for a particular clefwhich can be especially
useful if you apply the same clef in multiple places in your document. Clef Metatools can be programmed
to any letter or number.

To program a Clef Metatool

Click the Clef Tool
. Press shift and a number key or a letter. Finale displays the Clef Selection
dialog box; choose the clef you want to correspond to the number or letter you pressed. Click OK (or
press enter).

To use a Clef Metatool

Click the Clef Tool. Highlight a region of measures and press the desired clef metatool to apply the new
clef to the highlighted region.
Or, while pressing the desired clef metatool key:

Click before the first note of a piece to change the first clef displayed.

757

Click before the first note of a measure to change the first clef for that measure and the remainder
of the piece.

Click between notes in a measure to set a mid-measure clef for the remainder of the measure and
the remainder of the piece.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A
contextual menu will be displayed where you can select various items.
Menu item

What it does

Edit Clef Definition

Display the Mid-Measure Clef dialog box

Delete

Delete selected mid-measure clef

For further information, see the Change Clef dialog box.

See Also:
Document Options-Clefs
Main Tool Palette

758

Expression Tool
Expressions are markings that tell the performer how to interpret (or express) a musical passage. In
Finale, expressions are generally symbols or text placed above or below the staff (see Expressions).
Dynamic markings, tempo indications, expressive text, technique text, and rehearsal letters are all
generally added as expressions. Expressions have the ability to adjust according to spacing changes in
the music. For example, when you apply music spacing changes, expressions will move to the
appropriate position in the measure. Like chords and lyrics, all expressions can be set to snap to a
baseline so they are aligned at the same distance above or below the staff.
Expressions can be added to the score quickly using metatools. For information on creating and using
expression Metatools, see Metatools.

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.

Click and drag a box around multiple staves to add an expression to those staves. The
Expression Selection dialog box appears where you can choose the desired expression. Hold down
a Metatool key and drag a box around multiple staves to quickly apply the expression to those
staves.

Click or shift-click expression handles to select one expression. Shift-click to add an expression
to your selection. Or, drag-enclose to select multiple expressions.

Drag a selected handle to move all selected expressions; press delete, or right-click the
handle and select Delete from the contextual menu to remove them.

Double-click the handle of a Shape Expression to show its eight bounding handles, or its
reshaping handles (for curves and single lines) use these to drag or stretch the shape. If you doubleclick one of these handles, or right-click the expression handle and select Edit Shape Expression
Graphically from the contextual menu, the shapes control handles appear (for single, ungrouped
shapes), which you can drag to reshape the marking itself.

Press Ctrl-A to select all expressions on the page.

Double-click an expression handle (or select the handle and press enter) to open the
Expression Selection dialog box where you can edit the expression or choose a new one. In the
Expression Selection dialog box, to assign a metatool, select an expression and press Shift-(number
or letter). See To use an expression metatool.

-click an expression handle, or right-click the handle and select Edit Expression Definition
from the contextual menu to display the Expression Definition dialog box where you can edit the
spelling, playback definition, font, and positioning of an Expression.

Shiftdouble-click an expression handle, right-click the handle and select Edit Expression
Assignment from the contextual menu, or select a handle and press Shift-enter to display the
Expression Assignment dialog box, where you can specify several positioning parameters for the
expression whose handle you clicked.

Select an expression handle and press Backspace to clear manual positioning changes.

Select an expression (or multiple expressions) and double-press a metatool key to change the
expressions definition to the expression assigned to the key pressed. This is called "QuickChange."

Alt-click and drag or nudge an expression to move it without changing its attachment point.

Hold down ` (tilde) and drag/nudge a master expression to move it without moving the
subsequent expressions in other score staves or in the corresponding parts. The master staff list
expression

759

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items. They will also state whether the expression is attached to
a note or a measure.
Text expression handles
Menu item

What it does

Edit Expression Assignment

Display the Expression Assignment dialog box

Edit Text Expression Definition

Display the Text Expression Designer dialog box

Remove Manual Adjustments

Moves expression to default positioning

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected expression

Shape expression handles

Menu item

What it does

Edit Expression Assignment

Display the Expression Assignment dialog box

Edit Shape Expression Definition

Display the Shape Expression Designer dialog

box

Edit Shape Expression Graphically

Displays bounding box handles for graphically

editing the shape expression

Remove Manual Adjustments

Moves expression to default positioning

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected expression

See Also:
Main Tool Palette
Expression Menu

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761

Graphics Tool
Use this tool to exchange PostScript and bitmapped graphics between programs. You can place
Encapsulated PostScript (EPS) files, 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 display area to place a graphic in the Shape Designer. The Place
Graphic dialog box appears displaying the available EPS, PICT and TIFF graphics.

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 Add a graphic to the selection. If a graphic is already selected, remove the
graphic from the selection.

Double-click a graphic to edit the graphics attributes. The Graphic Attributes dialog box appears.

Double-click in the score to place a graphic in the score. The Place Graphic dialog box appears
displaying the available EPS, PICT and TIFF graphics.

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

Press delete for one or more selected graphics to delete the selected graphics.

Drag a selected graphic to adjust the graphics position in the score.

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

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

See Also:
Advanced Tools Palette

762

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 youre sliding the score page across your desk. In most cases,
its 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:
Main Tool Palette

763

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.

Special mouse clicks

Drag-enclose an area to select a region of music for Metatools, or for the Key Signature dialog box
to affect.

Metatools
You can create Key Signature Metatoolsone-keystroke equivalents for key changeswhich can be
especially useful if you need to insert many key changes in your music (or if youve created complex
nonstandard key signatures).

To program a Key Signature Metatool

Click the Key Signature Tool

Press Shift and a number key or a letter. Finale displays the Key Signature dialog box; choose the
key signature you want to correspond to the number or letter you pressed.

Click OK (or press enter).

To use a Key Signature Metatool

Click the Key Signature Tool

Select a region.

While pressing the number or letter corresponding to the Metatool you programmed, doubleclick a measure or drag-select and double-click measures. Finale changes the key signature
over the range of measures you selected.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object or a selected region of
measures. A contextual menu will be displayed where you can select a key signature. Right-click a
selected region of measures and choose an option from the context menu that appears to change the
key signature for that region.

Menu item

What it does

C Major

Sets the key signature to C Major

G Major

Sets the key signature to G Major

D Major

Sets the key signature to D Major

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A Major

Sets the key signature to A Major

E Major

Sets the key signature to E Major

F Major

Sets the key signature to F Major

Bb Major

Sets the key signature to Bb Major

Eb Major

Sets the key signature to Eb Major

Ab Major

Sets the key signature to Ab Major

A minor

Sets the key signature to A minor

E minor

Sets the key signature to E minor

B minor

Sets the key signature to B minor

F# minor

Sets the key signature to F# minor

C# minor

Sets the key signature to C# minor

D minor

Sets the key signature to D minor

G minor

Sets the key signature to G minor

C minor

Sets the key signature to C minor

F minor

Sets the key signature to F minor

Other

Opens the Key Signature dialog box where you

can define a key signature

For further information, see the Key Signature dialog box.

See Also:
Document Options-Key Signature
Main Tool Palette

765

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. See Lyrics for more information.

Special mouse clicks

Click a staff to tell Finale the staff to which you want lyrics attached.

In Type Into Score, use the up and down arrows to move to the previous or next verse, chorus or
section.

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 youre inserting.
For a full discussion of these triangles and their functions, see Lyrics.

In Type Into Score mode, click near 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 near a note to select (highlight) the syllable attached to it. Anything
you now type replaces the highlighted syllable.

In Click Assignment mode, click near 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 near 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 pressed Layer push button in the lower-left corner of
the window.)

In Edit Word Extensions mode, click near 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 near 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 lower 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 verticallyaligned handles (by shift-clicking, drag-enclosing or using ctrl-A) and choose alignment and
justification options from the Alignment and Justification submenus. See Lyrics Menu.

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 its superimposed on
the first target measure to copy the lyrics from the selected measures to the target measures.

In Shift Lyrics mode, click near the first syllable you want shifted to shift that syllable and
subsequent syllables one note to the right or left (automatically skipping rests and tied notes).

Contextual menus
With Adjust Syllables selected in the Lyrics menu, right-click the handle closest to a syllable. A contextual
menu will be displayed where you can select various items.

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Lyric handles
Menu item

What it does

Align Default

Changes the alignment of the syllables back to

Finales global setting

Align Center

Changes the alignment of the syllables to

centered under the note

Align Left

Changes the alignment of the syllables to the left

under the note

Align Right

Changes the alignment of the syllables to the

right under the note

Justify Default

Changes the justification of the syllables back to

Finales global setting

Justify Center

Changes the justification of the syllables to

centered relative to each other

Justify Left

Changes the justification of the syllables to the

left relative to each other

Justify Right

Changes the justification of the syllables to the

right relative to each other

See Also:
Lyrics Menu
Main Tool Palette
Lyrics Tool

767

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.
If you plan to use a MIDI Guitar for input, see To use a MIDI guitar for entry.

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

768

Measure Tool
This tool allows you to define and edit measure numbering and edit measure spacing. (Add or delete
measures with the Edit Menu).
Using this tool, you can create different regions of measure numbering in your score. Each region can
have a different numbering or lettering scheme; for example, you might letter the introductory measures
A, B, C, and D, and then number subsequent measures beginning with 1, 2, 3, and so on. When you
select Edit Measure Number Regions, the Measure Number dialog box appears, where you can define
various parameters for the measure numbering in a region such as the font, positioning, enclosure shape
(if any), and incidence of the measure numbers (how often they appear). See Measure numbers for full
instructions.
You can also use the Easy Measure Numbers plug-in to create measure numbers quickly.
When you click this tool, a handle appears on every barline; drag a barlines handle (or drag within the
measure) to make the measure wider or narrower. You can also double-click a measure to display the
Measure Attributes dialog box, where you can specify a number of measure-specific parameters: the
barline type, whether or not you want the key or time signature to appear, and so on. (See Measure
Attributes dialog box for more information.)
If youve used the Music Spacing command on a measure, it displays two handles on the barline. If you
click the second one, Finale displays a beat chart above the measurea set of handles you can drag to
change the horizontal positions of the beats in all staves at once. See Beat positions for full details.
Finally, if youve selected Allow Horizontal Split Points in the Measure Attributes dialog box for a
measure, it displays three handles on the right barline. If you click the bottom handle, a special rectangle
appears, in which you can designate permissible split points for the measureplaces where Finale may
break the measure over a system break if its too long to fit on the line; see Measures.

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.

Ctrl-click the measure handle to display all measure numbers defined for a measure (even if no
numbers are currently showing in the measure).
Note: Measure numbers will only appear in a staff
when Measure Numbers is selected as one of the
Items to Display in the Staff Attributes dialog box.

Click a measure numbers 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 numbers handle and press delete, or right-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 numbers handle, then press backspace, or right-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-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 shapes height, width, center, and line thickness. If you no

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longer want an enclosure to appear on a measure number, choose None from the Shape drop-down
list. Finale shows any changes you make to the measure number for that measure in that staff only
(not for every measure above or below it).
When you double-click a measure number handle,
the Enclosure Designer dialog box appears
displaying an additional button labeled Use Default
Enclosure. When you first display this dialog box,
the default enclosure set in the Measure Number
dialog box for the region appears selected in the
Enclosure drop-down list. Changing the shape or
editing any other settings, means that the default
enclosure is no longer used for the measure
number. Click Use Default Enclosure to reset the
enclosure and return to the document where the
default enclosure, as defined in the Measure
Number dialog box for this region, appears on the
measure number.

Double-click a measure, or right-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
measures handle or select a handle and press enter.)

Drag the top barline handle right or left to make the measure wider or narrower. If youre 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- 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 cant 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 beats 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.

With Show Measure Spacing Handles checked in the Measure Menu, click and drag a measure
spacing handle (on the bottom staff line) to add or remove space from the beginning or end
of a measure.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items. The Measure Tool contextual menu is identical to the
Selection Tool context menu wen clicking measure regions.
Menu item

What it does

Add One Measure

Adds one measure to the score

Edit Measure Number Region

Displays Measure Number dialog box

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Menu item

What it does

Edit Enclosure

Displays the Enclosure Designer dialog box

Restore Defaults

Restores the default position and show/hide state

of the selected measure number

Always Show Number

Choose this command to always show a number

regardless of the settings for a numbers region
in the Measure Numbers dialog box

Always Hide Number

Choose this command to always hide a number

regardless of the settings for a numbers region
in the Measure Numbers dialog box

Show/Hide Based on Region

Choose this command to show or hide a number

based on the settings for its region in the
Measure Numbers dialog box

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected measure numbers

Menu item

What it does

Edit Measure Attributes

Displays Measure Attributes dialog box

Insert Measure

Displays the Insert Measures dialog box dialog

box

Delete

Removes the selected measures

Create Multimeasure Rest

Change selected measures into a multimeasure

rest

Edit Multimeasure rest

Opens the Multimeasure Rest dialog box where

you can edit the selected multimeasure rest

Remove Multimeasure Rest

Removes the selected multimeasure rest

Edit Time Signature

Displays the Time Signature dialog box

Edit Key Signature

Displays the Key Signature dialog box

Normal Barline

Change right barline for selected measure to

Normal barline

Double Barline

Change right barline for selected measure to

Double barline

Final Barline

Change right barline for selected measure to

Final barline

Solid Barline

Change right barline for selected measure to

Solid barline

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Dashed Barline

Change right barline for selected measure to

Dashed barline

Invisible Barline

Change right barline for selected measure to

Invisible barline

Tick Barline

Change right barline for selected measure to Tick

barline

Custom Barline

Change right barline for selected measure to

Custom barline

Menu item

What it does

Edit Beat Chart

Display Beat Chart handles

Menu item

What it does

Edit Split Points

Display Split Point handles

See Also:
Main Tool Palette
Measure Menu

772

MIDI Tool
This tool lets you edit the actual MIDI data that Finale stores with your musickey velocities (how hard
each note was struck), Start and Stop Times (rhythmic information), channel pressure (pressure applied
to a key after its 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 Tool 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 Tool 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 window, where you can
view a graphic representation of the MIDI values youre editing. Using this technique, you can edit MIDI
data on a note-by-note basisfor example, you can increase the key velocity of only certain notes in a
chordal passage.
To enter bank and program change data from the MIDI Tool, follow the procedure for entering patch
changes. Remember, a patch is a combination of bank and program information. See Patches.
To send bank and program changes immediately, choose Send MIDI Value from the MIDI/Audio Menu,
and then enter the program change and bank select values into the modified 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 7:Volume from the Controller drop-down list.
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. See Send MIDI Value dialog box, Pitch wheel,
Crescendo/Decrescendo, Swing, and Playback.
Note that Finales Human Playback feature can automatically assign playback effects throughout a Finale
document. To hear any playback effects assigned deliberately with the MIDI Tool, you first need to
disable Finales Human Playback feature. To do this, from the Windows Menu, choose Playback Controls
and then click on the Playback Settings button on the Playback Controls. Click the drop-down menu for
Human Playback Style and choose None. For more information, see Playback Settings dialog box.
IMPORTANT: In order to hear effects applied with
the MIDI Tool during playback, you must set
Human Playback to None in the Playback Controls.

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.

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See Also:
Advanced Tools Palette
MIDI Tool Menu

774

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 if the passage you want to copy is a full measure long (or
longer). You can also 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.

Double-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).

Double-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-double-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:
Mirroring
Mirror Menu
Advanced Tools Palette

775

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 (or the Transcription Mode), 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. For full instructions, see Crossstaff notes, Recording with HyperScribe, and Transcribing a sequence. The target (destination) measure
must be within 128 measures of the source (original) measure.
The Note Mover Tool also gives you access to Finales 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.
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 for a complete description.

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.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.
NoteMover Handles
Menu item

What it does

Delete

Deletes selected notes

See Also:
Advanced Tools Palette

776

Ossia Tool
Use this tool to create floating measuresone-bar alternative passages that you can place anywhere in
the score. Such a measure might provide an explanation of a trill, propose a cadenza, or suggest an
easier alternative to the real measure.
Such a measure can be dragged freely around the page. These ossia measures dont play back; theyre
purely graphic.
A measure-assigned ossia measure remains attached to its measure in the score, even if that measures
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.
For information regarding page-attached ossia measures in linked parts, see Page-attached Ossia
measures in linked parts.
Note: Positioning values are always in the unit of
measurement chosen under the Edit Menu. To
choose a measurement unit, from the Edit Menu,
choose Measurement Units.
See Ossia for full instructions.

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, double-click an ossia handle, or right-click an
ossia handle and select Edit Ossia Definition from the contextual menu 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 to which an ossia measure has been attached to display its handle.
Double-click or right-click the handle and select Edit Ossia Definition from the contextual menu 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.

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 measures handle to select it; drag it to move the measure; press
delete, or right-click the handle and select Delete from the contextual menu to
remove the measure.

Shift-double-click a floating measures handle, or right-click the handle and select

Edit Ossia Assignment from the contextual menu to display the Page or Measure
Assignment for Ossia Measure dialog box, where you can specify positioning
coordinates for the floating measure.

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Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.

Menu item

What it does

Edit Ossia Assignment

Display the Page Assignment for Ossia dialog

box or the Measure Assignment for Ossia dialog
(depending on the Ossia Measure)

Edit Ossia Definition

Display the Ossia Measure Designer dialog box

Delete

Removes selected ossia measure

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

For further information, see the Ossia Measure Designer dialog box.
See Also
Advanced Tools Palette

778

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.
For full instructions, see Page layout, Page size, Systems, Margins, and so on.
For information specific to page layout in linked parts, see Page layout in linked parts.

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.

Click and drag to enclose and select system handles; shift-click to add handle selection.

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.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object or within a system. A
contextual menu will be displayed where you can select various items.

Menu item

What it does

Select Staff System Range

Displays Select Staff Systems dialog box

Insert System

Displays Insert Staff Systems dialog box

Delete System

Deletes the selected systems

Insert Page Break

Forces system to top of next page

Delete Page Break

Clears an existing page break on the selected

system

Allow Individual Staff Spacing

Allows the system to be spaced independently of

other systems with the Staff Tool. Applies
Optimization without removing empty staves

Optimize Staff Systems

Displays the Staff System Optimization dialog

box

Edit Margins

Displays the Edit System Margins dialog box

779

System Space Before/After Music

Displays the System Space Before/After Music

dialog box

Page margin handles

Menu item

What it does

Adjust Current Page Only

Adjustments only affect the current page margins

Adjust All Pages

Adjustments affect page margins on all pages

Adjust Left or Right Pages

Adjustments affect page margins for left or right

pages, whichever is selected

Adjust Page Range

Displays the Adjust Page Range dialog box

Edit Margins

Displays the Edit Page Margins dialog box

See Also:
Page Layout
Main Tool Palette
Page Layout Menu

780

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

Double-click a measure 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 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 Text Repeat Assignment 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 Designer dialog box, where you can
change the playback effects of the text repeat.

Metatools
You can create Repeat Metatoolsone-key equivalents for repeat signsthat can save you time if you
need to insert many repeat signs into your score.

To program a Repeat Metatool

Click the Repeat Tool. Press shift and a letter or number key. Finale displays the Repeat Selection dialog
box; double-click the repeat barline or the text repeat you want to correspond to the letter or number you
pressed (or, if the text repeat you want doesnt appear in the list, click Create and design it at this point).
Click Select.
To use a Repeat Metatool
Click the Repeat Tool. While pressing the letter or number key corresponding to the Metatool you
programmed, click a measure. If the Metatool was programmed to insert a repeat barline, Finale displays
the Backward Repeat Bar Assignment dialog box, where you can specify the playback effects of the
barline (unless it was the purely graphic Forward Repeat barline). If the Metatool was programmed to
insert a text repeat, Finale displays the Text Repeat Assignment dialog box, where you can specify the
playback effects of the text repeat.

781

Contextual menus
Contextual menus are reached by right-clicking on a measure or the handle of an object. A contextual
menu will be displayed where you can select various items. Some context commands, such as Create
Simple Repeat requires a measure selection. See Selecting music.
Measure selection contextual menu for repeats
Menu item

What it does

Create Simple Repeat

Encloses selected measures with repeat barlines

Create First and Second Ending

Adds a first ending on selected measure(s) and a

second ending on the measure following the
selection

Create Ending

Opens the Create Ending dialog box where you

can define a repeat ending on the highlighted
measures

Create Forward Repeat Bar

Creates a forward repeat bar

Create Backward Repeat Bar

Creates a backward repeat bar

Align Brackets

Aligns brackets for all endings in selected region

vertically

Reset Bracket Position

Resets ending brackets to default positioning for

endings in the selected region

Delete

Deletes all repeat barlines, endings, and text

repeats in selected region

Backward repeat barline handles

Menu item

What it does

Edit Repeat Assignment

Displays the Backward Repeat Assignment

dialog box or the Ending Repeat Bar Assignment
dialog box

Allow Individual Edits per Staff

Allows you to adjust the positioning of ending

brackets on each staff of the system individually.

Align Brackets

Aligns the first and second (and other selected)

ending brackets vertically

Reset Bracket Position

Resets ending brackets to default positioning.

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected repeat

782

Text Repeat handles

Menu item

What it does

Edit Repeat Assignment

Display the Text Repeat Assignment dialog box

Edit Ending (available when context-clicking an

ending bracket)

Displays the Edit Ending dialog box where the

ending number and playback effects can be
edited

Edit Repeat Definition

Display the Repeat Designer dialog box

Allow Individual Edits per Staff

Allows you to adjust the positioning of text

repeats individually (for text repeats assigned to
more than one staff).

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected repeat

For further information, see the Repeat Selection dialog box.

See Also:
Repeats (barlines and text indications)
Document Options-Repeats
Main Tool Palette

783

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. However, youll probably use this tool most often to reduce the overall size of the
music. Its important that you choose Update Layout from the Edit Menu after you reduce or enlarge 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 boxwhere you can specify the amount of
reduction or enlargementany time you click a musical element (see Special mouse clicks, below). See
Reducing/Enlarging for further instructions.

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.

Contextual menus
Contextual menus are reached by right-clicking on an object. A contextual menu will be displayed where
you can select various items.

Menu item

What it does

Resize Page

Display the Resize Page dialog box

Resize System

Display the Resize Staff System dialog box

Resize Staff

Display the Resize Staff dialog box

Resize Note or Rest

Display the Resize Note dialog box

Resize Notehead

Display the Resize Notehead dialog box

See Also:
Main Tool Palette

784

Selection Tool
The Selection Tool is Finale's universal editing tool. It can be used to select, move, delete, copy, paste,
or otherwise edit any region of measures and virtually any individual item in the score.
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/Edit Menu/Utilities Menu), Notes & Rests (Simple Entry), Smart
Shapes, Expressions, Articulations, Repeats, Lyrics, Chords & Fretboards, Text Blocks, Graphics,
Brackets, Measure Numbers, Tuplets, Key and Time Signatures, Clefs, Ossias, Staff and Group Names.
This tool is also used to select regions of your score (from a single note to the entire score) in order to
edit all the selected music at once. For example, you can change any selected measures 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.
You can use this tool to copy music from one place to anothereven from one Finale document to
another. You can also use this tool for erasing selected musical elements from a regionsuch as
articulations, chord symbols, lyrics, expressions, MIDI controller data, and so onwithout disturbing the
other existing elements of the music in that region. See Erasing and Copying music.

Special mouse clicks

For special mouse clicks and keyboard shortcuts related to selecting regions of measures, see Selecting
music.

Press Ctrl-shift-A or the Esc key to switch to the Selection Tool.

Click an item to select it. If two items overlap, click again 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-click the handle and select Delete from the contextual menu to
remove an item.

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

Keyboard Shortcuts
To use a Selection Tool keyboard shortcut, select a region of measures and use the appropriate
keystroke on your computer keyboard.

Metatool

Predefined effects

I (letter)

Drag-Implode Music for multiple staves

Explode Music for multiple staves

(displays the Explode Music dialog box)

Apply Beat Spacing command which

respaces notes, lyrics, and accidentals
using the settings in Document OptionsMusic Spacing

(or Ctrl-5 with any tool that

allows measure selection.)

785

Apply Note Spacing command which

respaces notes, lyrics, and accidentals
using the settings in Document OptionsMusic Spacing

(or Ctrl-4
with any tool that allows
measure selection.)
6-9

(Ctrl-)6 for Down a Second

(or Ctrl 6-9 with any tool

other than the Selection
Tool that supports measure
selection)

(Ctrl-)7 for Up a Second

(Ctrl-)8 for Down an Octave
(Ctrl-)9 for Up an Octave

To program a Transposition Metatool

Finale's default transposition key commands are listed in the table above.
To change the transpositions of these shortcuts,
1.

Click the Selection Tool.

2.

Press Ctrl-Shift and a number key (6-9). Finale displays the Transposition dialog box;

3.

Set the transposition and click OK.

Contextual menus
Contextual menus are reached by right-clicking on an object. A contextual menu will be displayed where
you can select various items.
Measures
Edit Measure Attributes

Opens the Measure Attributes dialog box where

you can edit measures.

Barline submenu

Opens the barline submenu where you can

select a new barline style.

Multimeasure Rest submenu

Opens the Multimeasure rest submenu where

you can create, remove, or editmultimeasure
rests.

Cut

Places the selected music on the Clipboard and

simultaneously removes it from the document.
See Edit/Cut.

Copy

Places a duplicate of the selected music on the

Clipboard. See Edit/Copy.

Insert

Inserts whatever music you've cut or copied to

the Clipboard between two existing beats or
measures. See Edit/Insert.

Paste

Pastes whatever music you've cut or copied to

the Clipboard to paste over (replace) the
selected music in the target file. See Edit/Paste.

Paste Multiple

Opens the Paste Multiple dialog box where you

can choose how many times you want to paste
the source material.

Use Filter

Check Use Filter to use the settings in the Edit

Filter dialog box while pasting.

Edit Filter

Opens the Edit Filter dialog box where you can

select elements to include while pasting.

786

Move/Copy Layers

Opens the Move/Copy Layers dialog box where

you can move and/or copy layers.

Clear All Items

Clears all items in the selected region.

Clear Selected Items

Clears all items in the region selected in the Edit

Filter dialog box.

Transpose

Opens the Transpose dialog box where you can

choose an interval to transpose the selected
region.

Add Measures

Opens the Add Measures dialog box where you

can choose the number of measures to add.

Insert Measure Stack

Opens the How Many Measures dialog box

where you can choose the number of measures
to insert.

Delete Measure Stack

Deletes the measure stack.

Key Signature

From this submenu, choose a key signature for

the selected measure(s).

Time Signature

From this submenu, choose a time signature for

the selected measure(s).

Clef

Opens the Change Clef dialog box where you

can select a clef

Staff Style

From this submenu, add, edit, or define a staff

style.

Repeats

With this submenu, create, edit, or remove

repeats.

Edit Split Point

Displays a Split Point bar, which allows you to

adjust the point at which the measure can be
split across a system break.

Edit Beat Chart

Displays the Beat Chart, which allows you to edit

the spacing.

Articulations
Menu item

What it does

Edit Articulation Definition

Display the Articulation Designer dialog box

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected articulations

787

Brackets
Menu item

What it does

Edit Group Attributes

Display Group Attributes dialog box

Delete Bracket

Deletes selected bracket

Delete Group

Deletes the group and bracket

Chord Symbols
Menu item

What it does

Edit Chord Definition

Display the Chord Definition dialog box

Edit Fretboard

Display the Fretboard Editor dialog box

Delete

Removes selected chord symbols

Show Chord

Shows (or hides) individual chord symbols

Show Fretboard

Shows (or hides) individual fretboards

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Clefs
Menu item

What it does

Edit Clef Definition (when invoked on

midmeasure clef)

Display the Midmeasure Clef dialog box

Select Clef (when invoked on highlighted

measure(s))

Display the Clef Selection dialog box

Delete

Removes midmeasure clef

Text Expressions
Menu item

What it does

Edit Expression Assignment

Display the Expression Assignment dialog box

Edit Note/Measure Text Expression Definition

Display the Text Expression Designer dialog box

Remove Manual Adjustments

Removes manual adjustments made in the score

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

788

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected expressions

Shape Expressions
Menu item

What it does

Edit Expression Assignment

Display the Expression Assignment dialog box

Edit Note/Measure Shape Expression Definition

Display the Shape Expression Designer dialog

box

Edit Note/Measure Shape Expression

Graphically

Displays bounding box handles for graphically

editing the shape expression

Remove Manual Adjustments

Removes manual adjustments made in the score

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected expressions

Key Signatures
Menu item

What it does

C Major

Sets the key signature to C Major

G Major

Sets the key signature to G Major

D Major

Sets the key signature to D Major

A Major

Sets the key signature to A Major

E Major

Sets the key signature to E Major

F Major

Sets the key signature to F Major

Bb Major

Sets the key signature to Bb Major

Eb Major

Sets the key signature to Eb Major

Ab Major

Sets the key signature to Ab Major

A minor

Sets the key signature to A minor

E minor

Sets the key signature to E minor

789

B minor

Sets the key signature to B minor

F# minor

Sets the key signature to F# minor

C# minor

Sets the key signature to C# minor

D minor

Sets the key signature to D minor

G minor

Sets the key signature to G minor

C minor

Sets the key signature to C minor

F minor

Sets the key signature to F minor

Other

Opens the Key Signature dialog box where you

can define a key signature

Lyrics
Menu item

What it does

Align Default

Changes the alignment of the syllables back to

Finales global setting

Align Center

Changes the alignment of the syllables to

centered under the note

Align Left

Changes the alignment of the syllables to the left

under the note

Align Right

Changes the alignment of the syllables to the

right under the note

Justify Default

Changes the justification of the syllables back to

Finales global setting

Justify Center

Changes the justification of the syllables to

centered relative to each other

Justify Left

Changes the justification of the syllables to the

left relative to each other

Justify Right

Changes the justification of the syllables to the

right relative to each other

Ossias
Menu item

What it does

Edit Ossia Assignment

Display the Assignment for Ossia Measure dialog

box

Edit Ossia Definition

Display the Ossia Measure Designer dialog box

Delete

Removes selected ossia

Show

Check this option to show, or uncheck to hide (on

the printed page)

790

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Repeats
Menu item

What it does

Edit Repeat Assignment

Display the Repeat Assignment dialog box

Allow Individual Edits Per Staff

Allows you to edit each occurrence of a repeat

marking independently

Align Brackets

Align repeat ending brackets vertically

Reset Bracket Position

Reset ending brackets to default positioning

Edit Repeat Definition (text repeats only)

Display the Repeat Designer dialog box

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Removes selected repeat

SmartShapes
Menu item

What it does

Edit

Displays editing handles on selected smart

shape

Delete

Removes selected smart shape

Show

Check this option to show, or uncheck to hide (on

the printed page)

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Note: You can undo any Selection Tool operation

by choosing Undo from the Edit Menu (Ctrl-Z)
immediately afterward.
See Also:
Main Tool Palette

791

792

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) and other tools for adding grace notes, sharps,
tuplets and so on. (If the Simple Entry Palette doesnt 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, typing
in notes with your computer keyboard, or with aid from a MIDI keyboard. Each tool in the Simple Entry
palette corresponds to a keyboard shortcut, which allows you to easily change tools in preparation for
entering, and then additional keyboard shortcuts can be used to edit the note you just entered. You can
use these keystrokes in tandem with the Simple Entry Caret, which works much like the cursor in a word
processing program, to enter all of your music with your computer keyboard. In addition, you can use
special keyboard shortcuts to add articulations and expressions, as well as clef, key, and time signature
changes on the fly. The Simple Entry keyboard commands are summarized in the diagram that appears
on your Quick Reference Card.
For hands-on Simple Entry training, open EntryExercise.MUS (also located in the Finale 2009/Tutorials
folder). See also Simple Entry QuickStart Video.

Special mouse clicks and keystrokes

The numeric keypad located on the right side of most desktop computer keyboards is used for many
Simple Entry keyboard commands. To specify a keystroke is to be pressed on the numeric keypad, well
use the terminology numpad-keystroke (e.g. press numpad-5 to choose the Quarter Note Tool).
Keystrokes that are not preceded by numpad are to be struck on the letter and number keys on the left
side of a standard desktop keyboard (also known as the QWERTY keyboard).

Alternative Simple Entry key commands for laptop users

If you are using a laptop computer, there may not be a numeric keypad available on your keyboard. If this
is the case, you may find the default keyboard commands difficult to use. In response to this, we have
provided an alternative set of Simple Entry keystrokes optimized for laptop computers, do the following.
To use the key commands optimized for a laptop computer:
1.

Click the Simple Entry Tool, then from the Simple Menu, choose Simple Entry Options. The
Simple Entry Options dialog box appears.

2.

Click Edit Keyboard Shortcuts. The Keyboard Shortcuts dialog box appears.

3.

In the Keyboard Shortcut Set section, click the Name drop-down menu and select Laptop Shortcut
Table. Note the new key mappings in the window above.

4.

Click OK. Your new keystrokes are available. To reference a keystroke, click the Simple Menu and
then Simple Edit Commands (and then the category). These lists of keystrokes have been updated
to reflect the Laptop Shortcut Table.

Entering Notes or Rests

Press numpad 1-8 (or Ctrl-Alt-Shift 1-8), then click on the staff to enter a 64th note through
double whole note. Select the duration and then press . (period) to specify a dotted note.

Press 9 and then numpad 1-8 (or Ctrl-Alt-ShiftCommand-Option-Shift 1-8), and then click on
the staff to enter a tuplet based on the duration.

Press T, then numpad 1-8 (or Ctrl-Alt-Shift 1-8), and then click on the staff to enter a tied note.

793

Click the Eraser Tool

With a note selected, press Enter to activate the Simple Entry Caret.

Press the the up arrow key to move the caret up diatonically, or the down arrow key to move the
caret down diatonically.

Hold down Shift and press the up arrow key to move the caret up an octave, or the down arrow
key to move the caret down an octave.

With the caret active, press numpad 1-8 (or Ctrl-Alt-Shift 1-8) to select a duration, 64th note
through double-whole note, for the next note entered. Select the duration and then press . (period) to
specify a dotted note.

With the caret active, press Enter Enter to enter a note at the pitch specified on the staff of the
rhythmic duration chosen in the Simple Entry Palette. (Notes entered with the caret are selected
automatically.)

With the caret active, press a letter key A-G to enter a note of that pitch. Finale enters the note
within the range of a fourth higher or lower than the pitch specified on the caret.

With the caret active, press 0 to enter a rest on the staff of the rhythmic duration chosen in the
Simple Entry Palette.

With a note selected, hold down Shift and press a letter key A-G to add a note of that pitch to
the selected note. Finale adds the note within the range of a fourth higher or lower than the pitch
specified on the caret. The added note is selected.

After entering a note with the caret, hold down Ctrl and press Enter to add a note to the
previous entry at the pitch specified by the caret.

Press a number key 1-8 (on the QWERTY keyboard) to add a note of that interval (unison through
octave) above the selected note. The added note is selected.

Hold down Shift and Ctrl and press 9 on the QWERTY keyboard to add a ninth above the
selected note. The added note is selected.

Hold down Shift and press a number key 1-9 on the QWERTY keyboard to add a note of that
interval (unison through ninth) below the selected note. The added note is selected.

With the caret active, play a note or chord on a MIDI keyboard to enter pitch(es) of the chosen
duration.

Press the Escape key to hide the Simple Entry Caret.

then click a note, rest, accidental, tuplet, tie or dot to erase it.

Selection

Ctrl-click the note or rest to select a note or rest.

Ctrl-shift-click a notehead to add it to the current selection within a chord.

Press the left arrow key when a note is selected to move the selection one note or rest to the left.
If no note is selected, Finale will select the last edited note.

Press the right arrow key when a note is selected to move the selection one note or rest to the
right. If there is no note or rest to the right, the caret appears.

Press Ctrl-left arrow when a note is selected to move the selection one measure to the left.

Press Ctrl-right arrow when a note is selected to move the selection one measure to the right.

Press Ctrl-up arrow when a note is selected to move the selection up a note in a chord. If there is
only one note in the staff, or the top note in the chord is selected, selection moves to the staff above.

Press Ctrl-down arrow when a note is selected to move the selection down a note. Selection can
be moved to the staff below. If there is only one note in the staff, or the bottom note in the chord is
selected, selection moves to the staff below.

Press Ctrl-A when a note is selected in a chord to select all notes in the chord.

Press Escape or Backspace to clear the selection.

Note: Notes just entered with the caret are
selected automatically.

794

Accidentals

Press = when a note is selected to make the selected note sharp. With no selection, press = to
select the Sharp Tool.

Press - when a note is selected to make the selected note flat. With no selection, press - to select
the Flat Tool.

Press N when a note is selected to make the selected note natural. With no selection, press N to
select the Natural Tool.

Press Shift - (minus) when a note is selected to make the selected note double-flat.

Press Shift = when a note is selected to make the selected note double-sharp.

Press numpad -(minus) when a note is selected to lower the selected note by a half step. With no
selection, press numpad - to select the Half Step Down Tool.

Press numpad +(plus) when a note is selected to raise the selected note by a half step. With no
selection, press numpad + to select the Half Step Up Tool.

Press Ctrl-Shift-(minus) when a note is selected to show or hide a cautionary accidental on the
selected note.

Press P when a note is selected to add a parenthesized accidental. Press this keystroke again to
toggle between parenthesized and non-parenthesized accidental.

Modify Notes and Rests

Select a note (without the caret active) and press the up arrow key to move the note up
diatonically, or the down arrow key to move the note down diatonically.

After entering a note with the caret press Alt up arrow to move the note just entered and the
caret up diatonically or Alt down arrow to move the note just entered and the caret down
diatonically.

After entering a note with the caret press Shift-Alt up arrow to move the note just entered up an
octave or Shift-Alt down arrow to move the note just entered down an octave.

Select a note then press Alt 1-8 on the QWERTY keyboard to change the note or rest value (64th
through double whole note).

Select a note and press . (period) to add a dot to the note.

Select a note and press 9 to begin a tuplet.

Select a note then press R to change a note into a rest. Press R again to change it back to a note.

Select a note and press T to add a tie to the next note. Press Shift-T to tie to the previous note.

Select a note with a tie and press Ctrl-F to flip a tie.

Select a note then press Alt-G to toggle the note between grace note, slashed grace note (for
flagged grace notes), and full note.

Select a note or rest then press H to hide the selected note or rest.

Select a note then press \ (backslash) to change the enharmonic spelling of the note.

Select a note and press Delete to erase it. Without a note selected, press Delete and then click on
a note, accidental, tie, dot or tuplet to erase it.

Beams, Stems and Ties

Select a note then press T to tie the selected note to the next note. Press Shift-T to tie the
selected note to the previous note.

Select a note then press / to break or join the beam on the selected note. Press Shift-/ to restore
default beaming.

Select a beamed note then press Alt-/ to create a flat beam.

795

Select a note then press L to flip the stem of the selected note. Press Shift-L to restore the default
stem direction.

Adding Articulations

Select a note and press numpad * or Alt-A and press an articulation metatool key to add an
articulation to the note. For example, A for an accent, S for staccato, etc. Click Select (or press
Enter) to open the Articulation Selection dialog box where you can choose from a list of articulations.
(Note the metatool assignment appears in the upper right corner of each articulation in the
Articulation Selection dialog box.)

Press Ctrl-numpad * or Ctrl-Alt-Shift-A and then press an articulation metatool key (or click
select or press Enter to choose an articulation) to add a sticky articulation to the caret and mouse
cursor. Now, the chosen articulation will appear on all notes entered until the sticky articulation is
removed. Press Ctrl-numpad * or Ctrl-Alt-Shift-A again to remove the articulation from the caret
and mouse cursor.

Adding Expressions

Select a note and press X. Then press an expression metatool key (see Metatools) to add an
expression to the note. Click Select (or press Enter) to open the Expression Selection dialog box
where you can choose from a list of expressions. (Note the metatool assignment appears in the
upper right corner of each expression in the Expression Selection dialog box.)

Changing the key, time and clef

Select a note, press Alt-K and press a key signature metatool key to change the key signature
or click Select to open the Key Signature dialog box where you can specify the new key. See Key
Signature Tool for information on creating a key signature metatool. The key change appears at the
current measure.

Select a note, press Alt-T and press a time signature metatool key to change the time signature
or click Select ore press Enter to open the Time Signature dialog box where you can specify the new
meter. See Time Signature Tool for information on creating a time signature metatool. The key
change appears at the current measure.

Select a note, press Alt-C and press a clef metatool key to change the clef or click Select or
press Enter to open the Change Clef dialog box dialog box where you can specify the placement and
clef type for the clef change. See Clef Tool for information on assigning a clef metatool.

Contextual menus
The Simple Entry Contextual Menu is reached by right-clicking on a note or rest. A contextual menu will
appear where you can select from various options to edit the note or rest you clicked. The item chosen
from this menu applies to all selected notes.

Menu item

What it does

Delete

Deletes the note(s)

Show/Hide

Hides non-hidden note(s) or rest(s). Shows

hidden note(s) or rest(s)

Toggle Note/Rest

Change note(s) to rest(s) or rest(s) to note(s)

Add Articulation

Shows Waiting for input dialog box. Type an

articulation metatool to add articulation or press
Enter to choose the articulation to be added

Add Expression

Shows Waiting for input dialog box. Type an

expression metatool to add expression or press

796

Enter to choose the expression to be added

Change Clef

Shows Waiting for input dialog box. Type clef

metatool to add a clef change or press Enter to
choose the desired clef

Change Key Signature

Shows Waiting for input dialog box. Type key

signature metatool to add a key change or press
Enter to choose the desired key

Change Time Signature

Shows Waiting for input dialog box. Type time

signature metatool to add a time signature
change or press Enter to choose the desired time
signature

Metatools
While the Simple Entry Tools preprogrammed keyboard equivalents arent technically Metatools, theyre
similar in that theyre one-keystroke commands. To define custom Simple Entry keyboard shortcuts, from
the Simple Menu choose Simple Entry Options, and then select Keyboard Shortcuts. See Edit Keyboard
Shortcuts dialog box.
The default Simple Entry keyboard commands are summarized in the diagram that appears on your
Quick Reference Guide.

See Also:
Simple Entry
Main Tool Palette
Simple Entry Palette
Simple Entry Options

797

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 youre placing a note-attached marking, the cursor will appear as a tiny note; just
position the cursor over the note. If youre placing a notehead-attached marking, the cursor will appear as
a tiny notehead. Now double-clickbut 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.
For information regarding tuplets in scores with linked parts, see Smart Shapes in linked parts.
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 primary square handle of a Smart Shape in the score to select it and display the editing
handles. With these editing handles, you can move, stretch, or reshape the selected Smart Shape.

Press the Tab key to select the next secondary handle when a shape is being modified. Hit Esc to
stop modifying the shape. Press the Tab key to select the next Smart Shape.

Press Ctrl-A to select all Smart Shapes on the page. Drag-select Smart Shape handles to select
multiple Smart Shapes. Shift-click to add a Smart Shape to the selection.

Click and drag (or use the arrow keys to nudge) a diamond editing handle on the tip of the
slur to move the slurs endpoint and attach the slur to a different note.

Click and drag (or use the arrow keys to nudge) a center curve diamond editing handle to
change the slurs arc height. Shift-click and drag the arc handle to change the arc height and the
angle of the arc.

Drag or nudge an outer curve diamond editing handle to make asymmetrical changes to the
slurs arc and inset. These two handles control the Bezier curve control points.

Hold down Alt and drag an outer curve diamond editing handle for symmetrical changes to the
slurs arc and inset.

Hold down Shift while creating or editing a Smart Shape to constrain dragging.

Press Alt and then double-click and drag a bracket Smart Shape to create an inverted bracket
with the hook pointing away from the staff instead of toward the staff. It will also change the text for
ottavas below or above the staff.

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

Metatools
798

The Smart Shape Tool has a set of predefined Metatoolsone-key equivalents for each toolthat can
save you time if you want to temporarily switch to another tool.

To use a Smart Shape Metatool

To use a Smart Shape Metatool, hold down the appropriate key on your computer keyboard. With the key
down, double-click and drag to create the desired shape. For slurs, glissandi, bends and tab slides,
double-click and drag from note to note. The Smart Shape Metatools are defined as follows:

Artificial harmonic

Guitar bend

Dashed Line

Trill
Extension/Vibrato

Glissando without
text

Glissando with text

Hammer-on (H)

Pull-off (P)

Release (R)

Bend (B)

Hammer-on (H) above slur or tie

Pull-off (P) - above

slur or tie

Release (R) - above

slur or tie

Bend (B) - above slur

or tie

Solid line

Palm mute (P.M.)

Natural harmonic
(N.H.)

Slur

Trill

Dashed slur

TAB slide

Single hooked
dashed line

Double hooked
dashed line

15ma/mb

Bend hat

8va/vb

Line

Single hooked line

799

Double hooked line

<

Crescendo

>

Decrescendo

To Program a Smart Shape metatool

You can assign a number or letter to any Smart Shape that exists in the Smart Line Selection dialog box.
In addition, you can assign of these Smart Shapes to be measure or note-attached.
1.

If you want to create a measure-attached Smart Shape metatool, first click the Custom Line
Tool in the Smart Shape Palette. If you want to create a note-attached Smart Shape metatool, first
click the Glissando Tool in the Smart Shape Palette. You will probably want to create a noteattached metatool for markings such as hammer-ons, pull-offs, glissandos, and other markings that
extend from one note to the next, or items that need to be positioned relative to the note. Create a
measure-attached metatool for items that extend over more than one note, or need to be positioned
relative to the measure.

2.

Hold down the Shift key and press a number or letter on the QWERTY keyboard. The Smart
Line Selection dialog box appears.

3.

Double-click to choose one of the available markings. The Smart Shape Metatool dialog box
appears asking if you want to save the metatool.

4.

Click Yes to save the metatool. Click No to dismiss the dialog box without creating the metatool.
Note that all newly defined metatools are saved with the document.

5.

If you assigned a note-attached Smart Shape, double-click the first of two notes or fret
numbers to extend it to the next. If you assigned a measure-attached Smart Shape, double-click
and drag to extend the marking manually.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.

Menu item

What it does

Edit

Displays editing handles on selected smart

shape

Delete

Removes selected smart shape

Align Horizontally

(Available for measure- attached Smart Shapes,

such as Hairpins, Dash, Solid, & Custom Lines,
Trills, 8vas, 15mas, Brackets) Aligns selected
shapes along a horizontal line; for multiple
staves, aligns selected shapes along a horizontal
line at the same distance from the staff

Align Vertically

(Available for measure- attached Smart Shapes,

such as Hairpins, Dash, Solid, & Custom Lines,
Trills, 8vas, 15mas, Brackets) Aligns selected
shapes end points along vertical lines by
resizing the shapes

Make Horizontal Over System Break

(Slurs, Hairpins, Guitar Bends, Brackets, Dash,

Solid, & Custom Lines, Glissandos, Bends and
TAB Slides) Smart Shapes over system breaks
will be horizontal

Maintain Angle Over System Break

(Slurs, Hairpins, Guitar Bends, Brackets, Dash,

Solid, & Custom Lines, Glissandos, Bends and
TAB Slides) Smart Shapes over system breaks

800

will maintain angle (not horizontal)

Make Horizontal

(Hairpins, Dashed, Solid, & Custom Lines, and

Brackets) Snaps shape into straight horizontal
placement This menu item mirrors by default the
Horizontal setting in the Smart Line Designer
dialog box.

Remove Manual Slur Adjustments

(Slurs only) Slur will return to default values for

placement and shape. Frozen engraver slurs will
revert to engraver slur behavior.

Engraver Slur

(Slurs only) Choose from Automatic, On or Off.

Automatic sets the slur to use whatever choice is
selected is the Smart Slur Options dialog box. On
sets the slur to always use an Engraver Slur. Off
sets the slur to never use an Engraver Slur.

Avoid Accidentals

(Slurs only) Choose from Automatic, On or Off.

Automatic sets the slur to use whatever choice is
selected in the Smart Slur Options dialog box.
On sets the slur to always Avoid Accidentals
when Engraver Slurs are used. Off sets the slur
to never Avoid Accidentals.

Direction

(Slurs and Bends) Choose from Flip, Automatic,

Over and Under. Determines the direction of the
slur. See SmartShape Menu.

See Also:
Main Tool Palette
Smart Shape Palette
SmartShape Menu
Slurs

801

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. You can select more than
one element (of the same type) at once, make exact adjustments using the nudge keys, view the relative
position of some selected elements in the message bar, perform on-screen dragging of dots or ties to
alter their position, and change the vertical positioning of ties.
See Stems, Beaming across barlines, Note positioning, Dotted notes, Ties, and related topics.
For detailed information, see the Special Tools Palette.

Special mouse clicks

Click the Special Tool that you want to use, then click the measure. Click, shift-click or dragenclose the handles of the elements you want to edit. At certain times youll want to change
several occurrences of an element at once (for example, when you change the appearance of
noteheads). You can save time by drag-enclosing several handles at once. First, position the cursor
at the first elements handle, then drag-enclose the handles of the elements to be selected. Release
the button when youve reached the last element. Alternately, you can select more than one handle
by holding down shift and clicking any handle in the measure.

Click on the Special Tool that you plan to work with. Click the measure you want to change,
then choose Select All from the Edit Menu. Select All is available to the following Special Tools:
Note Position, Notehead Position, Note Shape, Accidental Mover, Stem Length, Custom Stem,
Beam Angle, Beam Extension, Secondary Beam Angle, Tie, Dot, Beam Width and Beam Stem
Adjust Tools. To select the elements, first Finale will select all the elements of the same type in the
measure (such as all the notes for the Note Position Tool) that the current tool affects. Changes you
make to any of the elements you selected will apply to all the selected elements for that Special Tool.

Press delete or backspace or shift-delete after moving or changing a stem or note to reset the
item to its original position or appearance. This shortcut works for the Note Mover, Notehead Mover,
Change Notehead, Accidental, Stem Length, Custom Stem, Beam Adjustment, Beam Extension,
Secondary Beam Adjustment, Tie, Dot, Beam Thickness and Beam Stem Adjust Tools.

Press the nudge keys to adjust the position of almost any element whose handle is selected. If you
need to move elements very slightly (such as ties, for example) when youre working with Special
Tools, you can use the nudge keysthe four directional arrows on your keyboard.
You can make the nudge amount as small as one pixel, or as large as you like, using the Movable
Items dialog box found in Program Options-Edit (under the Document Menu). This setting is saved
in your Finale.INI file. To make even more precise adjustments, choose a higher Scale View To
setting in the View Menu. For example, doubling the view percentage to zoom in will offer twice the
nudging precision.
Note: The nudge amount in the Movable Items
dialog box only applies when youre working with
Special Tools. When you use the nudge keys at
other times, the element is adjusted by one pixel
each time you press the keys.

802

Contextual menus
Contextual menus are reached by right -clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.

Menu item

What it does

Edit

Display the Notehead Settings or Accidental

Settings dialog box

Clear

Restores default settings

Allow Vertical Positioning

Permits dragging an accidental or notehead up

or down

See Also:
Advanced Tools Palette
Special Tools Tool

803

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

Ctrl-click any measure containing entriesto display the Edit Frame dialog box, which contains
dozens of very technical parameters for each note in the measure.

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.

Press caps lock and the QWERTY keys with Use MIDI Device for Input turned off to enter pitches
without a MIDI keyboard.

Enharmonics
When cycling through the enharmonic spelling of entries, Finale directly cycles through all the
possibilities.

When the cursor is on a notehead, press 9 or ctrl-9 to change the note or all notes in the
measure to their enharmonic spellings. The cursor moves with each entry you change, so you can
change the notes back to their enharmonic spelling.

When the cursor is not on a notehead, press 9 to change a single note on an entry at a time.

When the cursor is not on a notehead, press ctrl-9 to change all the notes of an entry
enharmonically.
Arrow keys

Press ctrl left arrow to move the insertion point to the first note or rest in the Speedy editing frame.

Press ctrl right arrow to move the insertion point just beyond the last entry in the Speedy editing
frame.

Press left arrow when the insertion point is at the beginning of the editing frame to move the
insertion point just beyond the last entry of the previous measure.

Press right arrow when the insertion point is on the last entry in the editing frameto move the
insertion point just beyond the last entry in the editing frame.

Press right arrow when the insertion point is just beyond the last entry in the editing frame to
move the insertion point to the first entry of the next measure.

Metatools

804

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 for details.
See Also:
Main Tool Palette
Speedy Menu

805

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 staffrelated 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 or right-click a staff handle and choose Edit Staff
Attributes 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.

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 (or right-click the handle
and select Add Group and Bracket from the contextual menu) to create a new group for the
selected staves.

Press shift-delete for selected staves, or right-click the handle and select Delete Staves from
the contextual menu to delete the selected staves without repositioning the remaining staves.
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.

Press delete for selected staves, or right-click the handle and select Delete Staves and
Reposition from the contextual menu to delete the selected staves and reposition the remaining
staves.
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.

806

Select the bottom staff handle or handles in Page View and press Shift-delete for selected
staves, or right-click the handle and select Delete Staves from the contextual menu to delete
the selected staves for that system only without repositioning the remaining staves.
Note: This will remove the optimized staff from the
system regardless of whether it contains music.

Select the bottom staff handle or handles in Page View and press shift-delete for selected
staves, or right-click the handle and select Delete Staves and Reposition from the contextual
menu to delete the selected staves for that system only and reposition the remaining staves.
Note: This will remove the optimized staff from the
system regardless of whether it contains music.

Drag a staff handle in Scroll View (when Special Part Extraction is not selected in the
Document Menu) to adjust the staffs position in Scroll View and every staff system in Page View.

Drag a staff handle in Scroll View (when Special Part Extraction is selected in the Document
Menu) to adjust the staffs position in Scroll View only. The placement of staves remains
unchanged in Page View. (When you choose Special Part Extraction from the Document Menu,
Finale removes the checkmark by the command, and displays the full score using the new
positioning in Scroll View.)

Drag a staff handle in Page View (when Special Part Extraction is not selected in the
Document Menu) to adjust the staffs 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 handle in Page View (when Special Part Extraction is selected in the Document
Menu) to adjust the staffs position in every staff system in Page View; leave the position of the staff
unchanged in Scroll View. Finale adjusts the distance between staves, as well as staff systems.
Note: If two handles appear on a staff, drag the top
handle

Drag the bottom staff handle in Page View to Adjust the staffs 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 on 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 Styles 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).

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

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

Double-click a group handle, or right-click the handle and select Edit Group Attributes from
the contextual menu to edit the groups attributes. The Group Attributes dialog box appears.

Ctrl-click a group handle, or right-click the handle and select Edit Full Group Name or Edit
Abbreviated Group Name from the contextual menu to edit a group name. The Edit Text window
appears.

Ctrl-shift-click a group handle, or right-click the handle and select Position Full Group Name
or Position Abbreviated Group Name from the contextual menu to position a group name. The
Position Full Group Name or Position Abbreviated Group Name dialog box appears.

Press backspace for selected groups to revert the position of the group names to their default
position.

807

Press delete for selected groups, or right-click the handle and select Delete Group from the
contextual menu 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, or right-click the handle and select Edit
Staff Attributes from the contextual menu to edit the staffs attributes. The Staff Attributes dialog
box appears.

Ctrl-double-click a full or abbreviated staff name handle, or right-click the handle and select
Edit Full Staff Name or Edit Abbreviated Staff Name from the contextual menu to edit a full or
abbreviated staff name. The Edit Text window appears for the selected name.

Ctrl-shift-click a full or abbreviated staff name handle, or right-click the handle and select
Position Full Staff Name or Position Abbreviated Staff Name from the contextual menu to
Position the selected staff name. The Position Full Staff Name or Position Abbreviated Staff Name
dialog box appears.

Press backspace for a selected staff name handle to revert the position of the 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).

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, or right-click the handle and select Edit Group Attributes from
the contextual menu to edit a group. The Group Attributes dialog box appears.

Press delete for selected brackets, or right-click the handle and select Delete Bracket from
the contextual menu to remove the selected brackets of the selected group definition.

Press backspace for selected brackets 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
Staff Menu

808

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

Finales Human Playback feature, which interprets the score for playback and simulates a human
performance, overrides tempo settings created with the Tempo Tool. To hear any playback effects
assigned deliberately with the Tempo Tool, you first need to disable Finales Human Playback feature. To
do this, from the Windows Menu, choose Playback Controls and then click on the Playback Settings
button on the Playback Controls. Click the drop-down menu for Human Playback Style and choose None.
For more information, see Playback Settings dialog box.
IMPORTANT: In order to hear effects applied with
the Tempo Tool during playback, you must set
Human Playback to None in the Playback Controls.

Special mouse clicks

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

For further information, see the Tempo Adjustment dialog box.

See Also:
Advanced Tools Palette

809

Text Tool
The Text Tool is used to enter blocks of textnot only the title of your piece, but also any headers,
footers, page numbers, copyright notices, performance notes, and similar text that appears on one or
more pagesdirectly into the score; adjust, align, and position text blocks; and set fonts and styles for
the text directly on-screen.
Click the Text Tool to display a menu for editing text, the Text Menu. Use the Text Menu to specify fonts
and styles for the text in a text block, to align a text block, apply special effects or shapes around the text
block, assign a text block to a measure or to a page, and specify what page or range of pages you want
text blocks to appear on.
The menus will display checkmarks for settings of the selected text blocks (such as 10 pt. and bold). If
you have more than one setting such as mixed fonts or multiple text blocks selected with different
settings, no selection in the menus will be displayed. Select a new setting to change the setting. From the
Edit Menu, choose Undo.
When no text block handles are selected, the menus show the default text block settings. These default
settings can also be changed by selecting a new setting from the menu. You can undo the change by
selecting Undo from the Edit Menu.
You can select more than one text block handle and apply settings to multiple text blocks as well as undo
the changes you just made.
Editing inside text blocks can also be undone by selecting Undo from the Edit Menu. Changes made
while in the Edit Text dialog box can be undone individually while in the dialog box. Once you have exited
the dialog box, selecting Undo will revert the document to the state before entering the Edit Text dialog
box.
For information regarding the relationship of text between the score and linked parts, see Page-attached
text in linked parts and Measure-attached text in linked parts.
When you click the Text Tool the Text Menu appears. Handles appear on each text block in the score.

Special mouse clicks

Click the Text Tool to display the Text Menu. A handle appears on each text block in the score.

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, remove the text block from the selection.

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

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

Double-click a text block handle, or right-click the handle and select Edit Text from the
contextual menu to edit the text block. The frame surrounding the text appears. A cursor appears in
the text block.

Shift-double-click a text block handle, or right-click the handle and select Edit Frame
Attributes from the contextual menu to edit the text blocks attributes. The Frame Attributes dialog
box appears.

Press delete for one or more selected text blocks, or right-click the handle and select Delete
from the contextual menu to delete the selected text blocks.

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

Contextual menus

810

Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.

Menu item

What it does

Edit Frame Attributes

Display the Time Signature dialog box

Edit Text

Change the time signature to 2/2 until the next

time change

Show

Change the time signature to 2/2 beamed as 4/4

Relink to Score (parts only)

Change the time signature to cut time beamed as

4/4

Unlink In All Parts (score only)

Change the time signature to 2/4 until the next

time change

Relink In All Parts (score only)

Change the time signature to 3/4 until the next

time change

Delete

Change the time signature to 4/4 until the next

time change

See Also:
Text Menu
Document Options-Text
Main Tool Palette

811

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.

Special mouse clicks

Drag-enclose an area to select a region of music for Metatools, or for the Time Signature dialog box
to affect.

Metatools
You can create Time Signature Metatoolsone-key equivalents for meter changesthat can save you
time if you need to insert many meter changes into your music.

To program a Time Signature Metatool

Click the Time Signature Tool. Press shift and a number key or a letter key. Finale displays the Time
Signature dialog box; create the time signature you want to correspond to the number or letter you
pressed. Click OK (or press enter).

To use a Time Signature Metatool

Click the Time Signature Tool. Select a region of music. While pressing the number or letter
corresponding to the Metatool you programmed, double-click a measure. Finale changes the meter over
the region you have selected.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.

Menu item

What it does

Edit Time Signature

Display the Time Signature dialog box

2/2

Change the time signature to 2/2 until the next

time change

2/2 (Beamed as 4/4)

Change the time signature to 2/2 beamed as 4/4

Cut Time (Beamed as 4/4)

Change the time signature to cut time beamed as

4/4

2/4

Change the time signature to 2/4 until the next

time change

3/4

Change the time signature to 3/4 until the next

time change

4/4

Change the time signature to 4/4 until the next

time change

812

5/4

Change the time signature to 5/4

3/8

Change the time signature to 3/8 until the next

time change

5/8 (Beamed as 2+3)

Change the time signature to 5/8 beamed as 2+3

5/8 (Beamed as 3+2)

Change the time signature to 5/8 beamed as 3+2

6/8

Change the time signature to 6/8 until the next

time change

7/8 (Beamed as 2+2+3)

Change the time signature to 7/8 beamed as

2+2+3

7/8 (Beamed as 3+2+2)

Change the time signature to 7/8 beamed as

3+2+2

9/8

Change the time signature to 9/8 until the next

time change

12/8

Change the time signature to 12/8 until the next

time change

For further information, see the Time Signature dialog box.

See Also:
Document Options-Time Signatures
Main Tool Palette

813

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).
For information regarding tuplets in scores with linked parts, see Tuplets in linked parts.
You can predefine the default appearance of tuplets when you first create them (with the Simple Entry,
Speedy Entry or HyperScribe Tools) 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 Tuplet Definition dialog box,
where you can specify how you want new tuplets to look.
the measure). To do so, use the Simple Entry Tuplet Tool. See Tuplets (Simple Entry). For pre-define
more advanced tuplets, see To enter a duplet, septuplet or other tuplet.
Tip: Change Tuplet settings over a selected region
with the Selection Tool. Choose Tuplets from the
Change Submenu of the Utilities Menu.

Special mouse clicks

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

There are six positioning handles. Two control the horizontal and vertical length of the bracket. One
controls number position. Another controls the position of the entire bracket and number. Two
others control the angle of the bracket and the position of the bracket without moving the number.

Drag a positioning handle to adjust the height and position of the tuplets visual elements (bracket,
slur, number, and so on). See Tuplets for details on how these handles control the bracket and
number.

Double-click a positioning handle, or right-click the handle and select Edit Tuplet Definition
from the contextual menu to display the Tuplet options, where you can change the temporal or
visual definition of the tuplet.

Click the first of a series of notes you want to turn into a tuplet grouping to display the Tuplet
options, where you can specify a temporal and visual definition to create a tuplet. (If this first note is
in Voice 2, shift-click below the staff.) You can even click a note thats part of an existing tuplet
grouping if you want to create an inner (nested) tuplet.

Ctrl-click the Tuplet Tool, or right-click the handle and select Edit Default Tuplet Visual
Definition from the contextual menu to display the Tuplet Definition dialog box, in which you can
specify the default appearance of new tuplets you create with the HyperScribe and Speedy Entry
Tools. You can also display these options in the Document Options dialog box. From the Document
Menu, choose Document Options and select Tuplets. See Document Options-Tuplets for complete
details.

Select a tuplet handle and press delete, or right-click the handle and select Delete from the
contextual menu to delete the tuplet.

Press Backspace to reset a selected tuplet to the default settings.

Metatools
814

You can create Tuplet Metatoolsone-key equivalents for tuplet definitionsthat can save you time if
you need to create many tuplets from non-tuplet notes in your score (because you avoid having to access
a dialog box).

To program a Tuplet Metatool

Click the Tuplet Tool. Press shift and a number key or a letter key. Finale displays the Tuplet options;
create the tuplet you want to correspond to the number or letter key you pressed. Click OK.

To use a Tuplet Metatool

Click the Tuplet Tool. While pressing the number or letter corresponding to the Metatool you
programmed, click a note (or, if the note is in Voice 2, click below the staff). Finale automatically
transforms the note you clicked and subsequent notes into the tuplet grouping you predefined, complete
with a bracket or slur (if you specified one) with the positioning you specified.

Contextual menus
Contextual menus are reached by right-clicking on the handle of an object or right mouse-clicking on the
Main Tool Palette tool. A contextual menu will be displayed where you can select various items.
Tuplet Tool
Menu item

What it does

Edit Default Tuplet Visual Definition

Displays Document Options-Tuplets

Tuplet Handles
Menu item

What it does

Edit Tuplet Definition

Displays the Tuplet Definition dialog box

Shape Type: Nothing Slur Bracket

Change the bracket style for this tuplet

Placement: Manual Stem/Beam Side Note

Side Above Below

Change tuplet placement for this tuplet

Always Flat

Flatten the tuplet bracket

Avoid Staff

Place the tuplet above the top or below the

bottom staff line

Bracket Full Duration

Extend tuplet bracket to enclose the full rhythmic

duration

Center Number Using Duration

Center the tuplet number based on the rhythmic

center

Flip

Flip the tuplet to the other side of the staff

Reset

Reset tuplet to settings specified in Document

Options-Tuplets

Show

Check this option to show, or uncheck to hide (on

the printed page)

815

Relink to Score (parts only)

Restore the link to its corresponding score item

Unlink In All Parts (score only)

Break the link between the score and this item in

all parts

Relink In All Parts (score only)

Restore the link to all corresponding items in

parts

Delete

Delete selected tuplet

For further information, see the Tuplet Definition dialog box.

See Also:
Document Options-Tuplets
Main Tool Palette

816

Zoom Tool
Use this tool to magnify or reduce the music as its displayed on the screen. Youre not actually enlarging
or reducing the printed size of the music only "zooming in" or "zooming out" while youre 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 or press Ctrl-+ to zoom in incrementally.

Ctrl-click the music or press Ctrl--(minus) to zoom out incrementally.

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-rightclick the screen to zoom in, even though the Zoom
Tool isnt selected. Ctrlshiftrightclick to zoom out.

See Also:
Main Tool Palette

817

Chord Menu
How to get there
Click the Chord Tool

to make the Chord Menu appear.

What it does
Finale can add chord symbols automatically to your piece, if you
like. In the Chord Menu, you can choose from three automatic
chord analysis methods, in addition to the manual method.
Type Into Score allows you to add chords directly to the score.
Use the Substitute Symbols command to enter alterations (sharps
or flats) and diminished symbols. Select a command in the Chord
Style submenu to change the display style for all your chord
symbols. You can choose Standard, German, European, Roman,
Nashville, Scandinavian or Solfeggio spelling styles.
All of the analysis methods work best if youve already loaded a
Chords & Fretboards Library (by choosing Load Library from the
File Menu). If your Maestro Font Default file is in place in the
Finale folder, you dont have to load this library, since the most
common chord suffixes and fretboards have been loaded already.
If youre entering chord symbols using any of the automatic
methods and Finale doesnt recognize a chord, it will display the
Unknown Chord SuffixFinale cannot find a match dialog box. If
you click Let Finale Do It, Finale will attempt to create the proper
chord suffix and place the chord symbol in the score. For most
chord qualities (M, m, Maj7, m7, dim, m7f5, aug, sus4, and so on), Finale will arrive at the right solution.
For the few chords Finale doesnt identify correctly, you can teach them to Finale as new chords. When
you see the Unknown Chord SuffixFinale cannot find a match dialog box, click Ill Do It to access the
Chord Suffix Editor 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
and any voicing), Finale will know what chord symbol to display. (This custom teaching feature is rootspecific, 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.)
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 Load 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

818

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.
Manual Input
Type Into Score
MIDI Input
One-Staff Analysis
Two-Staff Analysis
All-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
======================
Enable Chord Playback
See Also:
Menus
Chord Tool

819

Document Menu
How to get there
The Document Menu is one of Finales
unchanging menus.

What it does
This menu contains the keys to Finales
notational flexibility. Whatever notational
conventions you subscribe to, no matter
what publishing specs you prefer,
chances are good that a Document 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
documentits layout and positioning
variables, the fonts, musical symbols, and
clefs it uses, for example.
Edit Score
Edit Part
=================
Manage Parts
Page Format
=================
Special Part Extraction
=================
Data Check
=================
Display in Concert Pitch
Show Expressions and Repeats for Parts
Show Active Layer Only
=================
Playback/Record Options
Sync and Video Options
=================
Category Designer
Edit Measure Number Regions
Pickup Measure
Set Default Music Font
=================
Document Options

820

See Also:
Menus

821

Edit Menu
How to get there
The Edit Menu is one of Finales unchanging menus.

What it does
You can find an assortment of editing commands in
the Edit Menu. Use the Edit Menu to cut, copy and
paste music and other items when youre editing the
document. Select a region with any tool that supports
measure selection and these commands are
available.
Additional options can be accessed by pressing the
Ctrl or Shift keys before displaying the menu. For
example, hold down Ctrlto copy files into the
clipboard. The Cut, Copy, Insert and Paste
commands change to reflect the action that will occur
(e.g. Cut changes to Cut to Clip File).
You can filter specific items for copying using the Edit
Filter dialog box.
Note that some of these commands 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.

Undo
Redo
Undo/Redo Lists
=====================
Select All
Select Region
=====================
Cut
Copy
Insert
Paste
Paste Multiple
Use Filter
Edit Filter
=====================
Move/Copy Layers
=====================
Clear All Items

822

Clear Selected Items

=====================
SmartFind and Paint
Text Search and Replace
=====================
Add Measures
Insert Measure Stack
Delete Measure Stack
=====================
Multimeasure Rests
Edit Measure Attributes
=====================
Enharmonic Spelling
Measurement Units
Program Options

Edit Menu commands:

No

Ctrl

modifier
Cut

Cut to Clip File

Copy

Copy to Clip File

Insert

Insert from Clip File

Paste

Paste

See Also:
Menus

823

Expression Menu
How to get there
Click the Expression Tool

What it does
The Expression Menu allows you to adjust the baseline for expressions.
Adjust Above Staff Baseline
Adjust Below Staff Baseline
See Also:
Expression Tool
Menus

824

File Menu
How to get there
The File Menu is the first of Finales unchanging menus.

What it does
As in many computer programs, Finales File Menu
contains various commands for opening, closing, saving,
and printing documents. 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 document). Finally, the File Menu contains the
Exit command used to exit the program.
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.
Launch Window
New
Open
Close
Close All
Save
Save As
Save All
Extract Parts
Export to SmartMusic
Export to Audio File
Post at Finale Showcase
Revert
======================
ScoreMerger
Import
MusicXML
Scanning: SmartScore Lite
======================
Load Library
Save Library
======================

825

File Info
======================
Page Setup
Print
Compile Postscript Listing
Save Preferences
======================
Exit
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 folders in the open
dialog box to find your file. You can also use the File Menu Toolbar icon to access and open a file from
this list.
See Also:
Menus

826

Graphics Menu
How to get there
From the Window Menu, choose Advanced Tools.
Click the Graphics Tool

What it does
Use the Graphics Menu to export a selected region of
a page, or to export one or more pages, and save
them as either EPS (PostScript) or TIFF files. Export
full pages or portions of pages as EPS or TIFF files.
Place EPS, TIFF or TIFF 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 youve 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

827

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
QuickStart Videos
=================
Finale Website
Authorize Finale
Check for Finale Updates
================
About Finale
See Also:
Menus

828

HyperScribe Menu
How to get there
Click the HyperScribe Tool

. The HyperScribe Menu appears.

What it does
Before you transcribe a real-time performance, there are a few
things Finale needs to know about the music youre about to play. For example, you need to tell Finale
what rhythmic value youll be using for your key or foot taps as you play, and the value to which you want
your performance quantized. This menu lets you make these settings, which have a great deal to do with
the quality of the resulting transcription. Be sure to see also Recording with HyperScribe, and Installation
& Tutorials.
Use HyperScribes Playback and/or Click command in the Beat Source submenu to control what you
hear when you use HyperScribe to enter your music. Listen to just a metronome click, or listen to an
instant playback of the staves that youve selected in the Instrument List. If you prefer, you can also play
back staves while an accompanying metronome click provides a beat reference. The Playback and/or
Click command supports the click and countoff options for HyperScribe playback and recording.
The Record Mode submenu has commands for transcribing a performance into a single staff or two
staves, and the multitrack recording command that lets you record simultaneous input from multiple
channels into multiple staves or multiple layers of staves.
Beat Source
Record Mode
==================
HyperScribe Options
Record Continuous Data
Transcription Mode
See Also:
Quantization Settings
Click and Countoff
Menus
HyperScribe Tool

829

Lyrics Menu
How to get there
Click the Lyrics Tool

What it does
The Lyrics Menu contains all the commands youll 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 wantup to 512 of each of
Finales three lyric types: Verse, Chorus, and Section. Theres no
technical distinction between these three typesthe lyrics you enter as
a Verse can be used in the chorus of your song, and vice versa.
Theyre 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 Document Options from the Document Menu and selecting Fonts).
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

830

Measure Menu
How to get there
Click the Measure Tool

What it does
This menu includes options for working with measure
numbers, measure number regions, and measure spacing. For
information regarding adding, moving, copying, inserting, or
deleting measures, see Edit Menu.
Edit Measure Number Regions
Add Measure Number Enclosures
================
Show Measure Numbers
Hide Measure Numbers
Restore Measure Number Defaults
================
Show Measure Spacing Handles
See Also:
Menus
Lyrics Tool

831

MIDI/Audio Menu
How to get there
The MIDI/Audio Menu is one of Finales unchanging
menus.

What it does
This menu contains items specific to your MIDI setup
and usage.
Play Finale Through VST
Play Finale Through MIDI
=====================
Instrument Setup
Audio Track
Human Playback
=====================
Device Setup
=====================
Start Playback
Stop Playback
All Notes Off
=====================
MIDI File Options
MIDI Clipboard
=====================
Send MIDI Value
Reload MIDI Driver
=====================
Reset Panning
Retranscribe
=====================
Click and Countoff
Quantization Settings

See Also:
Menus

832

MIDI Tool Menu

How to get there
From the Window Menu, choose Advanced
Tools. Click the MIDI Tool

What it does
When you record a real-time performance,
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 document. For full
instructions, see Record Continuous Data
dialog box and Transcribing a sequence.
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 youve transcribed your performance
into standard notation, you can listen to it play back in one of three ways. You can listen to Finales
Human Playback interpretation, play it exactly as it appears in the scoreexpressionless 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. (See Playback for full instructions on specifying the method of
playback you want to use.)
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 Edit MIDI data with the MIDI Tool. Click the MIDI Tool. If the region is large, select
the measures exactly as you would with the Selection 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 document. 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 datathe key velocity, for exampleof individual notes, even if theyre buried within chords, by
selecting their handles; see MIDI Tool split-window
Once youve 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 youd use the Selection Tool to copy music. Be sure the MIDI data
type you want to manipulate is selected in the MIDI Tool 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 onscreen, drag the first selected measure so that its superimposed on the first target measure. If the target
measures are offscreen, scroll so that you can see the first one; then, while pressing ctrl and shift, click
the first target measure. In either case, the Finale copies the MIDI data from the source measures to the
target measures.

833

To erase the captured MIDI data from a region, be sure the MIDI data type you want to manipulate is
selected in the MIDI Tool 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
===================
Dragging Copies Music
Dragging Copies MIDI Data
See Also:
Menus
MIDI Tool

834

Mirror Menu
How to get there
Choose the Mirror Tool

. The Mirror Menu appear in the menu bar at the top of the screen.

What it does
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. To guarantee the measures stay identical, you are
unable to edit or copy anything into a measure which has a mirror applied to it. When you no longer want
the measures to be mirrored, choose Dragging Copies Music from the Mirror Menu. See also Convert
Mirrors.
The process is exactly the same as any copying action: Select a source region of complete measures.
Drag the first selected measure so that its superimposed on the first target measure (or, if the target
measure is offscreen, ctrl-shift-click it). 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 you cant
deselect Copy Everything in the Edit Menu if youre creating a mirror; everything in the source measures
will be copied to the target measures.
The result is a copy thats 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 as follows: click the Mirror Tool, then shift-click any mirror (identified by a
mirror icon). Note, too, that you can copy a mirrored measure in the usual way; if youve selected
Dragging Mirrors Measures from the Mirror Menu, the target measures will themselves be a mirror (of the
mirror). If youve selected Dragging Copies Music, however, the mirror youre copying will be turned into
normal non-mirrored music.
Dragging Copies Music
Dragging Mirrors Measures
See Also:
Mirroring
Menus

835

Note Mover Menu

How to get there
From the Window Menu, choose Advanced
Tools. Click the Note Mover Tool

What it does
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

836

Note Mover Tool

837

Page Layout Menu

How to get there
Click the Page Layout Tool

What it does
This menu includes reformatting options for the left
and right page formats which affect the Page Format
for Score dialog box. In Finale, left pages are
Finales even-numbered pages, and right pages are
actually Finales odd-numbered pages.
Inserting or Deleting Blank Pages, Redefine Pages,
Optimize Staff Systems, Space Systems Evenly and
Fit Music in this menu are reformatting options that
can apply to the entire document at once, or to a
smaller selection of pages.
You can use the commands in this menu to insert or
clear Page Breaks and Insert or Delete Staff
Systems in the music.
Insert Blank Pages
Delete Page Break
Insert Staff Systems
Delete Staff Systems
================
Redefine Pages
Optimize Staff Systems
Fit Measures
Space Systems Evenly
================
Avoid Margin Collisions
Update Page Format For Score
================
Systems
Page Margins
================
Page Size
Resize Pages
Resize Staff Systems
See Also:
Page Layout
Menus
Page Layout Tool

838

839

Plug-ins Menu
How to get there
The Plug-ins Menu will display if you have Finale plug-ins
available to your system. Finale ships with a number of plug-ins
that are installed for you when you install Finale. Unless you have
done a custom install, or removed or changed the name of the
Plug-ins folder in your Finale folder, you should see the Plug-ins
Menu.

What it does
Finale Plug-ins are small mini-programs that you can use to
extend Finales abilities. We have provided a number of Plug-ins
along with Finale for you to use. Plug-ins are placed together in
the folder C:\Finale\Plug-ins. A different path can be specified in
the Folders section of the Program Options dialog box, reached from the Edit Menu. All Plug-ins are
accessed from the Plug-ins Menu. Finale will look in the specified folder for your Plug-ins and list them in
the Plug-ins Menu.
Plug-ins operate on the entire document or on a specified region. You can select this region with the
Selection Tool or with any other tool that supports region selection (such as the Key or Time Signature
Tools). Plug-ins that require a selection will notify you if a selection has not been made.
If you are interested in writing your own Plug-ins, visit our website (www.finalemusic.com) for more
information on how to write a program to work with Finale. Note: You must be familiar with both
programming and Finale, or work with someone who is, to be able to write Plug-ins successfully.
Note: Plug-ins are not accessible in linked parts.
To apply a plug-in to a part, you might consider
extracting the part first. See Extract Parts dialog
box.

Configurability
The Plug-ins Menu can be configured easily into submenus by placing the plug-ins you would like to have
grouped together in a folder included in the plug-ins folder. The Plug-ins Menu then will use the name of
the subfolder as the name of the submenu. Weve added an empty folder named My Favorite Plug-ins, as
well as grouped some of the plug-ins into other folders to provide examples. For a list of Plug-in
filenames, see Plug-in filenames in the Appendix.

My Favorite Plug-ins
Most of the plug-ins that appear under Finales Plug-ins Menu are categorized into submenus such as
Expressions, Lyrics, Measures, and others. Each one of these submenus correspond to a folder in the
Finale 2008\Plug-ins folder located on your hard drive.
You can customize Finales Plug-ins Menu by navigating to this folder and dragging the plug-in files to the
My Favorite Plug-ins folder for easy access to frequently used plug-ins. Or, create new folders for
additional categories. You can find a list of each plug-ins filename in the Appendix of the User Manual.

Expressions

Auto-Dynamic Placement. This plug-in allows you to place dynamics automatically based on the
MIDI key velocities associated with each dynamic. See Auto-Dynamic Placement Plug-in under the
Expression Tool.

840

Create Tempo Marking. This plug-in allows you to easily create tempo markings as expressions
and set their playback features for the selected measures. See Create Tempo Marking Plug-in under
Expressions Tool.

FinaleScript

FinaleScript Palette. Choose this option to open the FinaleScript Palette, which allows you to
choose, edit, or manage scripts. See FinaleScript Plug-in.

Options. Choose this option to open the FinaleScript Options dialog box.

Help. Choose this option to open the FinaleScript plug-in topic of the Finale User Manual.

[Script List]. You can add scripts to this menu for easy access by checking Show In Menu in the
Script Editor dialog box.

Lyrics

Auto Slur Melismas. This plug-in scans a document for lyric syllables that carry over two or more
pitches and adds slurs accordingly. See Auto Slur Melismas Plug-in.

Clear Lyric Positioning. This plug-in allows you to clear any individual positioning of lyrics for the
selected lyrics. See Clear Lyric Positioning Plug-in under Lyric Tool.

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

Measures

Automatic Barlines. This plug-in will automatically add double-barlines before every key change
and a final barline at the end of the piece. See Automatic Barlines Plug-in under Measure Tool.

Clear Measure # Positioning. This plug-in allows you to clear all individual positioning of measure
numbers in the selected region. See Clear Measure # Positioning Plug-in under Measure Tool.

Create Coda System. This plug-in allows you to automatically add a gap between measures in
order to create an independent coda system on the same line. See Create Coda System Plug-in.

Easy Measure Numbers. This plug-in allows you to easily place measure numbers over a region of
the document. See Easy Measure Numbers Plug-in under Measure Tool.

Merge Measures. Combine two measures into a single measure automatically. Measure numbering
and time signature are updated accordingly. See Merge Measures Plug-in.

Mid-measure Repeats. This plug-in is capable of automatically enclosing a region including partial
measures with repeat barlines. See Mid-Measure Repeats Plug-in.

Number Repeated Measures. This plug-in places small measure attached expression numbers
over any repeated measures in the selected region. See Number Repeated Measures Plug-in.

Split Measure. This plug-in automates the process of dividing a measure over a system break.
Measure numbering is also updated correctly when splitting measures with this plug-in. See Split
Measure Plug-in.

Miscellaneous

Change Fonts. This plug-in allows you to globally change the font for Text Blocks, Staff Names,
Group Names, and Lyrics all at once, and separately for verse, chorus and section. See Change
Fonts Plug-in.

Command Line. This plug-in allows note entry from a command line. See Command Line.

Count Items. This plug-in displays a count of various items in your document such as measures,
notes and articulations. See Count Items Plug-in under File Menu.

New Plug-ins for Finale 2008

Latin Percussion. Use this plug-in to automatically create authentic Latin Percussion rhythm section
notation, with a variety of styles to choose from. See Latin Percussion plug-in.

Update Groups and Brackets. Groups and brackets can now be edited en mass after a document
has been optimized. See Update Groups and Brackets plug-in.

841

Vertical Collision Remover. Automatically reformat the vertical positioning of staves, systems, and
instrument groups to avoid collision of notes, articulations, smart shapes and other items. See
Vertical Collision Remover plug-in.

Note, Beam and Rest Editing

Patterson Plug-ins Lite. These plug-ins are a sample of the Patterson Plug-in Collection. They
include Patterson Beams, which adjusts both stem length and beam angles based on the staff
positions of the notes and the number of notes in the beam, and Beam Over Barlines, which allows
for easy beaming across barlines. See Patterson Beams Plug-in, and Beaming across barlines.

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

Change Noteheads. This plug-in allows you to change the notehead for the notes in the selected
region. See Change Noteheads.

Change to Default Whole Rests. This plug-in allows you to change all the whole rests in the
selected region to Default whole rests. See Change to Default Whole Rests.

Change to Real Whole Rests. This plug-in allows you to change all the Default whole rests in the
selected region to Real whole rests. See Change to Real Whole Rests.

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

Classic Eighth Beams. This plug-in allows you to beam eighth notes in the selected region in
groups of 4 when in Common Time. See Classic Eighth Beams.

Flat Beams. This plug-in allows you to flatten all the beams in the selected region. See Flat Beams.

Flat Beams (Remove). This plug-in allows you to restore all beams flattened with Speedy Entry in
the selected region. See Flat Beams (remove).

Ledger Lines (Hide). This plug-in allows you to hide all the ledger lines in the selected region. See
Ledger Lines (Hide).

Ledger Lines (Show). This plug-in allows you to restore any hidden ledger lines in the selected
region. See Ledger Lines (Show).

Midline Stem Direction. This plug-in allows you to change the direction of stem for the note on the
center line of the staff to match the stem direction of the previous note. See Midline Stem Direction.

Move Rests. This plug-in allows you to move rests in the selected region to a specified location. See
Move Rests.

Notes and Rests (Hide). This plug-in allows you to hide all the notes and rests in the selected
region. See Notes and Rests (Hide).

Notes and Rests (Show). This plug-in allows you to show all hidden entries in the selected region.
See Notes and Rests (Show).

Resize Noteheads. This plug-in can resize specified voices in the selected layer of a multi-voice
staff. See Resize Noteheads Plug-in.

Rhythmic Subdivisions. This plug-in will subdivide the notes in the selected region by the specified
amount, either by a division (such as in half) or to a selected subdivision of the beat such as eighth
notes. See Rhythmic Subdivisions.

Single Pitch. This plug-in changes all the notes in the selected region to the specified pitch. See
Single Pitch.

Slash Flagged Grace Notes. This plug-in allows you to slash all the flagged grace notes in the
selected region. See Slash Flagged Grace Notes under the Speedy Entry Tool.

Slash Flagged Grace Notes (Remove). This plug-in allows you to remove the slashes of all the
flagged grace notes slashed in the selected region. See Slash Flagged Grace Notes (Remove).

Voice 2 to Layer. This plug-in allows you to move notes and rests in Voice 2 to the selected layer.
See Voice 2 to Layer.

Playback
842

Apply Human Playback. Use this plug-in to apply a Human Playback style, or specific
elements of Human Playback to a region of your document. See Apply Human Playback plug-in.

Scoring and Arranging

Composers Assistant. These plug-ins from OpenMusic provide compositional manipulation of

chords and melodies. See Composers Assistant plug-ins.

Chord Morphing. This plug-in generates a variety of smooth between-chord transitions. Part of the
Composers Assistant Plug-ins. See Chord Morphing.

Chord Realization. This plug-in generates four-part realizations of a triad based on the major key
and scale degree specified. Part of the Composers Assistant Plug-ins. See Chord Realization.

Chord Reordering. This plug-in finds new placement options for chords. Part of the Composers
Assistant Plug-ins. See Chord Reordering.

Chord Splitting. This plug-in creates subsets of the original chord. Part of the Composers Assistant
Plug-ins. See Chord Splitting.

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. Part of the Composers Assistant Plug-ins. See
Common Tone Transposition.

Frequency Modulation Chord Generator. This plug-in generates a series of chords with increasing
complexity and texture. Part of the Composers Assistant plug-ins. See Frequency Modulation Chord
Generator.

Melodic Morphing. This plug-in creates a melodic transition from one melody to another. Part of the
Composers Assistant plug-ins. See Melodic Morphing.

Rhythm Generator. This plug-in creates up to six staves of percussion to accompany your
document. Part of the Composers Assistant Plug-ins. See Rhythm Generator.

Tie Common Notes. This plug-in inserts a tie between any two successive notes if the notes have
the same pitch. Part of the Composers Assistant plug-ins. See Tie Common Notes.

Virtual Fundamental Generator.This plug-in gives you the appropriate root for any selected group
of chords. Part of the Composers Assistant plug-ins. See Virtual Fundamental Generator.

Add Cue Notes. This plug-in allows you to easily place cue notes in any number of staves See Add
Cue Notes.

Band-in-a-Box Auto-Harmonizing. This plug-in takes a selected melody line with chord symbols
and outputs a harmonized melody in dozens of musical styles. See Band-in-a-Box AutoHarmonizing.

Canonic Utilities. This plug-in transforms the selected region using inversion, retrograde,
transpositions, or a combination of the above. You can also use this plug-in to apply accidentals to
all the notes in a selected region, remove accidentals in the selected region, or remove ties in the
selected region. See Canonic Utilities.

Check Range. This plug-in allows you to verify that the staff you have selected is within the range of
a specified instrument or voice. There are different ranges for beginning, intermediate and advanced.
See Check Range.

Chord Analysis. This plug-in generates chord symbols by analyzing existing notation. This plug-in
works much like the One-Staff Analysis and Two-Staff Analysis options under the chord menu, but
for any region of measures selected with the Selection Tool. See Chord Analysis Plug-in.

Drum Groove. With this plug-in, easily compose unique rhythms and percussion parts. See Drum
Groove plug-in.

Find Parallel Motion. This plug-in analyzes the selection for parallel fourths, fifths and octaves
between voices, layers and staves and offers you the choice to fix them or leave them alone.
SeeFind Parallel Motion.

Find Range. This-plug-in reports the highest and lowest notes in the selected region. See Find
Range.

843

Global Staff Attributes. This plug-in allows you to change the Staff Attributes and Group Attributes
for a number of staves or groups at a time, including changing the font for selected Staff and Group
names. See Global Staff Attributes Plug-in under the Staff Tool.

Piano Reduction. This plug-in condenses the selected staves into a piano grand staff at the bottom
of the staff system. See Piano Reduction.

Score System Divider. This plug-in automatically adds system separation marks between systems
in a score. See Score System Divider plug-in.

Rhythm Section Generator. Use this plug-in to generate a jazz accompaniment (piano, bass and
drum set parts) for an existing melody with chord symbols. See MiBAC Jazz Rhythm Section
Generator.

Smart Cue Notes. With this plug-in, search for cue note opportunities throughout a document, and
add them automatically. See Smart Cue Notes plug-in.

Smart Page Turns. Tell Finale to intelligently edit the pagination of an entire part to avoid awkward
page turns. See Smart Page Turns.

Split Point. This plug-in allows you to change the split point between the two staves of a piano
grand staff over the selected region. See Split Point.

TG Tools

TGTools. These plug-ins are a sample of the TGTools plug-in collection. They include:
Align/Move DynamicsModify Rests Plug-in, Process Extracted Parts plug-in, and Smart Playback
Plug-in. ,Menu Shortcuts Plug-in ,Easy Tremolos Plug-in ,Easy Harmonics Plug-in ,Cross
StaffCreate Handbell Used Chart, ,

See Also:
Menus

844

Repeat Menu
How to get there
Click the Repeat Tool

. The Repeat Menu appears.

What it does
The repeat menu allows you to easily add repeat markings to a
selected region of your score and edit existing repeats.
Create Simple Repeat
Create First and Second Ending
Create Ending
Create Forward Repeat Bar
Create Backward Repeat Bar
=====================
Align Brackets
Reset Brackets to Default
=====================
Delete
=====================
Check Repeats
=====================
Repeat Options
See Also:
Repeats (barlines and text indications)
Menus

845

Simple Menu
How to get there
Click the Simple Entry Tool

What it does
This menu controls the behavior of Simple entry, and also
displays the available Simple Entry keyboard shortcuts for
navigation and editing.
Simple Entry Options
Use MIDI Device for Input
==================
Simple Edit Commands
Simple Navigation Commands
==================
Tab Specific Commands
See Also:
Simple Entry
Menus
Simple Entry Tool

846

Shape Designer Menu

How to get there
Click the Expression Tool
, and double-click a note or measure. Or, with
the Text Tool highlight the handle of a text block and select custom frame from
the Text Menu. Click Shape; Create; Select; Create. You arrive in the Shape
Designer, and this menu appears at the top of the dialog box.

What it does
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 drawingfor 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

847

Smart Shape Menu

How to get there
Click the Smart Shape Tool

What it does
The Smart Shape Menu gives you control over the appearance and
placement of slurs and smart shape lines, as well as control over
how elements will appear in the score (such as

).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. For a detailed description of how to manipulate each
smart shape element see Slur Contour dialog box, Smart Shape Placement dialog box, Smart Shape
Options dialog box, Smart Slur Options dialog box, and Guitar Bend Options dialog box.
Slur Contour
Smart Shape Placement
Smart Shape Options
Smart Slur Options
Guitar Bend Options
==================
Attach to Measures
Attach to Notes
Attach to Noteheads
Slur Direction
See Also:
Menus
Smart Shape Tool
Slurs

848

Special Tools Menu

How to get there
From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
Tools Menu appear.

to make the Special

What it does
Options in this menu control whether Finale will display or hide the handles of elements in the selected
measures, how Finale draws an element when you adjust it, and whether or not Finale shows crosshairs
in Special Tools.
Show Handles
Update
Show Crosshairs
================
Tie Direction
See Also:
Menus

849

Speedy Menu
How to get there
Click the Speedy Entry Tool

What it does
This menu contains settings that govern the music-entry
operation of the Speedy Entry Tool.
Speedy Options
================
Use MIDI Device 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

850

Staff Menu
How to get there
Click the Staff Tool

What it does
Use the Staff Menu to add or insert blank staves,
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, and set the spacing
between staves. You can also create groups 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 Staves (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
Reset Staff Styles to Score
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

851

See Also:
Menus
Staff Tool

852

Text Menu
How to get there
The Text 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. An abbreviated text menu is also available in
the Edit Lyrics, Edit Staff Name, and Text Expression
Designer dialog boxes.
,
To create or edit text a block, click the Text Tool
and then double-click in the score, or on the handle of
an existing text block.
, click a
To edit a staff name, click the Staff Tool
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, ctrlclick a staff name handle on-screen.) The Edit Text
window appears.
To edit a group name, click the Staff Tool, click a group
handle, and 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.) The Edit Text
window appears.
, and then
To edit Lyrics, choose the Lyrics Tool
from the Lyrics Menu, choose Edit Lyrics. (You can also use the Edit Lyrics dialog box to enter new lyrics
See Lyrics.
. Then, double-click in the score to
To create or edit Text Expressions, choose the Expression Tool
create an expression. Right-click an existing expression and choose Edit Measure/Note Text Expression
Definition to edit it. See Expressions.

What it does
The Text Menu contains options for editing text fonts, sizes, styles, justification and so on, displaying the
text as it will appear on the screen and on your printed music.
You can 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

853

================
Inserts
Edit Page Offset
================
Standard Frame
Custom Frame
================
Justification
Alignment
================
Frame Attributes
Line Spacing
Word Wrap
================
Edit Text
================
Assign to Measure
Assign to Page
See Also:
Menus
Text Tool
Document Options-Text

854

Utilities Menu
How to get there
The Utilities Menu is one of Finale's
unchanging menus.

What it does
The Utilities Menu is one of the most
versatile menus in Finale. Its commands
transform your music in many powerful
ways. Its 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 or full-measure selections, except
as noted otherwise. Select a region with
any tool that supports measure selection
and these commands are available.
Note that commands in the Utilities Menu
that affect a selected region of music
(such as Music Spacing) can be
interrupted. Simply press Escape to stop
processing the command.
Transpose
Respell Notes
=====================
Fit Measures
Lock Systems
Unlock Systems
=====================
Music Spacing
Update Layout
Update Smart Word Extensions and Hyphens
=====================
Rebar
Rebeam
=====================
Explode Music
Implode Music
=====================
SmartMusic Markers
=====================
Apply Articulation
Check Notation
Stem Direction

855

=====================
Change
See Also:
Menus

856

View Menu
How to get there
The View Menu is one of Finales unchanging menus.

What it does
This menu contains commands pertaining to your view of
the document. You can never change the document itself
with the commands in this menuonly modify the way you
see it on the screen
For example, you can change the size of the displayed
music, hide staves, or alternate between one of Finale's
three main views (Page, Scroll, and Studio View).
Page view offers several Page View Styles, which allow
you to arrange the pages in a horizontal row, a column, or
display a single page at a time.
If you press ctrl while choosing the View Menu, the Select
Staff Set submenu changes to Program Staff Set, indicating
that youre ready to program a new staff or tool set.
Scroll View
Page View
Page View Style
Studio View
=====================
Zoom
Bookmarks
Select Staff Set
=====================
Select Layer
Redraw Screen
=====================
Grid/Guide
Show
=====================
Select Display Colors
See Also:
Menus

857

Window Menu
How to get there
The Window Menu is one of Finales unchanging menus.

What it does
The Window Menu controls (and 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
layout.
Instrument List
Mixer
Movie Window
Playback Controls
===================
Main Tool Palette
Advanced Tools Palette
Navigational Tools Palette
Simple Entry Palette
Simple Entry Rests Palette
Smart Shape Palette
Special Tools Palette
Customize Palettes
===================
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.
Tip: To switch the active document window, press
Ctrl-Tab.

858

See Also:
Menus

859

Keyboard Shortcuts and Special

Mouse Clicks
Commands that are new or have changed in Finale 2009 are marked by a bullet ().
File Menu

Graphics Tool

Page Layout Tool

Special Tools Tool

Edit Menu

Hand Grabber Tool

Playback

Staff Tool

Window Menu

HyperScribe Tool

Repeat Tool

Text Tool

View Menu

Transcription Mode

Resize Tool

Tuplet Tool

Utilities Menu

Lyrics Tool

Selection Tool

Zoom Tool

Articulation Tool

Measure Tool

Simple Entry Tool

General

Chord Tool

Mirror Tool

Simple Entry Laptop

Clef Tool

Note mover Tool

Smart Shape Tool

Expression Tool

Ossia Tool

Speedy Entry Tool

File Menu
Command

Keyboard Shortcut or Mouse Click

Launch Window

Ctrl-Shift-N

New (default new action)

Ctrl-N

Open

Ctrl-O

Close

Ctrl-W

Close All

Option-Command-W

Save

Ctrl-S

Save All

Option-Command-S

Print Score

Ctrl-P

Quit

Alt-F4-Q
Edit Menu

Command

Keyboard Shortcut or Mouse Click

Undo

CtrlZ

860

Redo

CtrlY

Undo/Redo List

Ctrl-shiftZ

Cut

CtrlX

Cut to Clip File

Press Ctrl when choosing Cut

Copy (to the Clipboard)

CtrlC

Copy to Clip File

Press Ctrl when choosing Copy-C

Insert From Clip File

Press Ctrl when choosing Insert

Insert and Filter

Ctrl-Shift-I

Insert and Filter from Clip File

Press Ctrl-Shift while choosing Insert

Paste

Ctrl-V

Paste Multiple (from the clipboard)

Ctrl-Alt-V

Paste (paste from a Clip file)

Press Ctrl when choosing Paste

Paste Multiple using the one-click

method

Highlight the source measures. Press Alt-Ctrl and click the

destination measure. The Paste Multiple dialog box appears.

Paste and Filter

Shift-Ctrl-V. The Edit Filter dialog box appears where you can
choose which items you would like to paste.

Paste and Filter from Clip Files

Press Shift-Ctrl while choosing Paste. The Edit Filter dialog

box appears where you can choose which items you would
like to paste.

Delete Measure Stack

Delete (with a stack selected)

Select All

Ctrl-A

Update Layout and remove measure

groupings

Ctrl-Shift-U

Clear All Items

Backspace (Laptops Fn-6)

Set SmartFind Source Region

Ctrl-F

Deselect SmartFind Source Region

Ctrl-F
Utilities Menu

Command

Keyboard Shortcut or Mouse Click

Update Layout

Ctrl-U

Transpose

Ctrl-6 through 9

Program a Transposition

Shift-Ctrl-6 through 9

Lock Systems

Ctrl-Shift-L (Or, with the Selection Tool selected, press L to

861

lock Systems).
Unlock Systems

Ctrlco-Shift- U (Or, with the Selection Tool selected, press U

to unlock Systems).

Apply Note Spacing

Ctrl-4 (Or, with the Selection Tool selected, press 4)

Apply Beat Spacing

Ctrl-5 (Or, with the Selection Tool selected, press 5)

Implode Music

1 (With Selection Tool selected)

Explode Music

2 (With Selection Tool selected)

Check Elapsed Time

3 (With Selection Tool selected)

Window Menu
Command

Keyboard Shortcut or Mouse Click

Show/Hide Main Tool Palette

CommandT

Switch between open windows

Ctrl-Tab

Open/Close Mixer

Ctrl-Shift-M
View Menu

Command

Keyboard Shortcut or Mouse Click

Page View

Ctrl-E (see also Page View)

Scroll View

Ctrl-E

Studio View

Ctrl-Shift-E

End Position

End key

Redraw Screen

CtrlD

Zoom In

Ctrl+ or hold down Ctrl-Shift and right-click

Zoom Out

Ctrl- (minus) or hold down Ctrl-Shift and right-click

Custom Zoom 2

Ctrl2

Custom Zoom 1

Ctrl1

Custom Zoom 3

Ctrl3

View At X %

Ctrl0

862

View At Last Size

Double-right-click on the score

Define a Staff Set

Press Ctrl when choosing Staff Set (in Scroll View or Studio
View)

Show/Hide Rulers

Ctrl-R

Change layers

Alt-Shift-layer number (1-4)

General Keyboard Shortcuts

Command

Keyboard Shortcut or Mouse Click

OK all open dialog boxes

Ctrl-click the OK button

Cancel all open dialog boxes

Ctrl-click the Cancel button

Apply a Metatool

Press a number or letter and click the score

Program a Metatool

Press shift-number or shift-letter

Program a keyboard equivalent for a tool

Press shift-Function key (F2-F12)

Switch to a tool youve programmed

Press Function key (F2-F12)

Select Yes or No in dialog boxes

Type N for No and Y for Yes

Move up a full screen (page view)

PageUp

Move down a full screen (page view)

PageDown

Move to previous page (page view)

Ctrl-PageUp

Move to next page (page view)

Ctrl-PageDown

Advance one increment up vertically

Alt-PageUp

Advance on increment down vertically

Alt-PageDown

Move left one screen (page view)

Home

Move right one screen (page view)

End

Move to beginning (page view)

Ctrl-Home

Move to end (page view)

Ctrl-End

Move to the top/left of the leftmost viewable

page

Shift-Home

Move to the bottom/right of the rightmost

viewable page

Shift-End

Advance one increment right horizontally

(page view)

Alt-Home

Advance one increment left horizontally

(page view)

Alt-End

Move forward screenfull of measures (scroll

view)

Ctrl-PageUp

Move backward screenfull of measures

(scroll view)

Ctrl-PageDown

863

Move to beginning of score (scroll view)

Home

Move to end of score (scroll view)

End

Change layers

Alt-Shift-layer number
Articulation Tool

Command

Keyboard Shortcut or Mouse Click

Display the Articulation Selection dialog box

Click on, above, or below a note or rest that doesnt have an

articulation attached, or click on a note whose articulation
handles are visible, OR drag-enclose a group of notes with or
without articulations.

Select an articulation

Click, or shift-click the handle.

Delete an articulation

Select the handle and press delete, or right-click the handle

and select Delete from the contextual menu. Drag-enclose a
group of notes while holding delete to delete articulations on
all the notes.

Display the Articulation Designer dialog box

Double-click an articulation handle, or right-click the handle

and select Edit Articulation Definition from the contextual
menu.

Highlight the note to which the articulation is

assigned

Alt-click and hold a handle of an articulation.

Chord Tool
Command

Keyboard Shortcut or Mouse Click

Display positioning triangles

Click the staff (but not on a note or rest)

Display the Chord Definition dialog box

Click a note with no chord symbol attached (With Manual

Input selected in the Chord Menu), or double-click a chord
symbol handle, or right-click the handle and select Edit Chord
Definition from the contextual menu.

Delete a chord symbol

Select the handle and press delete, or right-click the handle

and select Delete from the contextual menu

Input chord symbols using MIDI keyboard

With MIDI Input selected click a note and play chord on the
MIDI keyboard

Analyze chord in one or two staves

With One- or Two-Staff Analysis selected in the Chord Menu,

click on a note in the chord.

Select a Suffix (type into score mode)

Type root followed by :0

Clef Tool

Command

Keyboard Shortcut or Mouse Click

Display the Change Clef dialog box

Double-click in a measure)

To change the clef for a region

Select the region (if you want a mid-measure clef, select a

part of a measure) and then double click the highlighted

864

region.
To change the clef from a measure to the next
clef change

Double-click an unselected measure or a fully selected

measure.

Adjust the mid-measure clef position

Drag the handle of the mid-measure clef

Delete a mid-measure clef

Select the handle and press delete, or right-click the handle

and select Delete from the contextual menu.

Change a mid-measure clef to another clef

Double-click the mid-measure clefs handle and drag left or

right, or right-click the handle and select Edit Clef Definition.
Expression Tool

Command

Keyboard Shortcut or Mouse Click

Display the Expression Selection dialog box

Double-click on, above, or below a measure or note.

Select an expression handle

Click, or shift-click to select multiple handles or press Ctrl-A

to select all available handles.

Move selected expression and attachment

point

Drag the selected handles

Move the expression without changing the

attachment point

Alt-drag the selected handles

Delete selected expressions

Press delete, or right-click the handle and select Delete

from the contextual menu.

Resize a shape expression

Double-click an expression handle, or right-click the handle

and select Edit Score Shape Expression Graphically from
the contextual menu.

Display the Expression Designer dialog box

Double-click an expression handle (text expression), or

right-click the handle and select Edit Expression Definition
from the contextual menu.

Display the Shape Expression Designer

dialog box

Ctrl-double-click an expression handle (shape expression),

or right-click the handle and select Edit Shape Expression
Definition from the contextual menu.

Display the Expression Assignment dialog

box

Shift-double-click an expression handle, or right-controlclick the handle and select Edit Expression Assignment
from the contextual menu.

Highlight the note/measure to which the

expression is attached

Hold down Alt and click the expressions handle.

To quickly change one expression to another

using metatool shortcuts

Highlight the Expression handle and double-press the

metatool key corresponding to the expression you want to
switch to

865

Graphics Tool

Command

Keyboard Shortcut or Mouse Click

Align Left

Ctrl-Shift- [ (left square bracket)

Center Horizontally

Ctrl-Shift- ' (apostrophe)

Align Right

Ctrl-Shift- ] (right square bracket)

Align Top

Ctrl- - (minus)

Center Vertically

Ctrl-Shift- = (equals)

Align Bottom

Ctrl-Shift- - (minus)

Place a graphic in the Shape Designer

Click in the Shape Designer display area, the Place

Graphics dialog box appears

Select a graphic or graphics

Click a graphic or drag-enclose graphics, shift-click a

graphic

Display the Graphic Attributes dialog box

Ctrl-Shift- T or dDouble-click a graphic

Place a graphic in the score

Double-click in the score, the Place Graphics dialog box

appears

Select a region containing the musical

example to export

Double-click and drag to enclose a region in Page View

Delete the selected graphics

Press delete for one or more selected graphics

Adjust the graphics position in the score

Drag a selected graphic

Resize the graphic horizontally or vertically

Drag a graphics bounding handle

Hand Grabber Tool

Command

Keyboard Shortcut or Mouse Click

Temporarily switch to Hand Grabber Tool

Press the right-button (and drag in the score)

HyperScribe Tool

866

Command

Keyboard Shortcut or Mouse Click

Indicate where to begin transcription

Click a measure

End HyperScribe in the middle of a measure

Ctrl-click anywhere on the score

Transcription Mode

Command

Keyboard Shortcut or Mouse Click

Display the Transcription window

Click a measure or Ctrl-click a measure if you had

Transcribe in Measures selected while transcribing

Transcribe a measure at a time

Click a measure with Transcribe in Measures selected

Lyrics Tool

Command

Keyboard Shortcut or Mouse Click

Click Assign lyrics one syllable at a time

Click within the staff lines at the position of the note

Click Assign lyrics all at once

Ctrl-click within the staff lines at the position of the first note

Display a Word Extension handle

Click within the staff lines at the position of the sustained

syllable with Edit Word Extension selected from the Lyric
Menu

Move Syllables

Click within the staff lines at the position of the syllable with
Adjust Syllables selected from the Lyric Menu

Move to the previous or next verse, chorus or

section.

up arrow or down arrow using Type into Score

Left Justify syllable

Ctrl- [ (left square bracket) (with Adjust Syllables Selected)

Right Justify syllable

Ctrl- ] (right square bracket) (with Adjust Syllables

Selected)

Center Justify syllable

Ctrl- ' (apostrophe) (with Adjust Syllables Selected)

Align syllable block to the Left

Ctrl-Shift- [ (left square bracket)

Center syllable block Horizontally

Ctrl-Shift- ' (apostrophe)

Align syllable block to the Right

Ctrl-Shift- ] (right square bracket)

867

Measure Tool

Command

Keyboard Shortcut or Mouse Click

Display the Add Measures dialog box

Ctrl-click the Measure Tool, or right-click the Measure Tool

and select Add Measures from the context menu

Add single blank measure to the score

Double-click the Measure Tool, or right-click the Measure

Tool and select Add One Measure from the context menu

Display the Measure Attributes dialog box

Double-click the top barline handle or measure, or rightclick a handle (or upper handle) and select Edit Measure
Attributes from the contextual menu.

Make the Measure wider or narrower

Drag the top barline handle right or left

Display a beat chart

Click the second barline (or middle if there are three)

handle, or right-click the handle and select Edit Beat Chart
from the contextual menu.

Display a split-point bar

Click the third (bottom) barline handle, or right-click the

handle and select Edit Split Points from the contextual
menu.

Move a beat horizontally in all staves

Drag one of the lower handles in the beat chart

Move a beat and all subsequent beats

horizontally in all staves

Shift-drag one of the lower handles in the beat chart

Add another pair of beat positioning handles

Double-click between two upper handles of a beat chart

Display the Beat Chart Element dialog box

Double-click an upper handle in the beat chart

Delete a beat chart pair from the beat chart

Click on an upper handle to select it and press delete

Change a barline

Right-click the handle and select Barlines, then the desired

barline type (Normal, Double, Final, Solid, Dashed,
Invisible, Tick) from the contextual menu.

Display a handle on every measure number

Click the Measure Tool

Display the Measure Number dialog box

Shift-double-click on the Measure Tool.

Reset measure number positioning

Press backspace, or right-click the handle and select

Restore Default Position from the contextual menu.

Delete a measure number

Press delete, or right-click the handle and select Delete

from the contextual menu.

868

Move a measure number

Drag the measure numbers handle

Display the Enclosure Designer dialog box

Double-click a measure numbers handle, or right-click the

handle and select Edit Enclosure from the contextual
menu.

Force a measure number to appear

Ctrl-click a measure without a measure number

Force measure numbers on a measure in all

staves of a staff system

Ctrl-shift-click on a measure

Remove a multimeasure rest

right-click the handle and select remove a multimeasure

rest from the contextual menu.

Mirror Tool

Command

Keyboard Shortcut or Mouse Click

Display Mirror and Placeholder icons

Click the Mirror Tool

Display the Placeholder dialog box

Highlight a measure with notes or with a Placeholder icon

Display the Tilting Mirror dialog box

Double-click an empty measure or a measure with a Mirror

icon

Display the Mirror Attributes dialog box

Shift-double-click a measure with a Mirror icon

Note Mover Tool

Command

Keyboard Shortcut or Mouse Click

Display a handle on every notehead in the

measure

Click a measure

Select a handle or handles

Click, shift-click, drag-enclose or shift-drag-enclose the

handles

Delete selected notes (still in their original

measure)

Press delete, or right-click the handle and select Delete

from the contextual menu.

Move or Copy notes to another measure

Drag a note or a group of notes to the end of the measure

and the selected action in the Note Mover Menu will take
place

Copy notes to the beginning of a measure

Drag a note or a group of notes to the beginning of the

measure (if the measure isnt rhythmically full)

869

Ossia Tool

Command

Keyboard Shortcut or Mouse Click

Display handles on every ossia

measure

Click the Ossia Tool in Page View

Display a handle on a measureassigned ossia measure

Click the Ossia Tool in Scroll View and click the measure to which
the Ossia measure is attached

Display the Ossia Measure

Designer dialog box

In Page View, double-click anywhere on the document; In Scroll

View click a measure with no ossia measure attached, or doubleclick a measure with an ossia measure attached; Double-click a
floating measures handle, or right-click the handle and select Edit
Ossia Definition from the contextual menu.

Select an ossia measure

Click the ossia measures handle

Move a selected ossia measure

Drag the handle

Delete a selected ossia measure

Press delete, or right-click the handle and select Delete from the
contextual menu.

Display the Page Assignment for

Ossia Measure dialog box

Shift-double-click a page-assigned floating measures handle, or

right-click the handle and select Edit Ossia Assignment from the
contextual menu (in Page View).

Display the Measure Assignment for

Ossia Measure dialog box

Shift-double-click a measure-assigned floating measures handle, or

right-click the handle and select Edit Ossia Assignment from the
contextual menu.

Page Layout Tool

Command

Keyboard Shortcut or Mouse Click

Display Page and System margins

Click the Page Layout Tool

Resize page, margins or system

Drag a handle in Page View

Move a system

Drag the system in Page View

Move a system without moving other systems

Hold down Ctrl and drag the center of a staff system

Select handles

Drag-enclose to select handles

Select all system handles

Ctrl-A

Repeat Tool

870

Command

Keyboard Shortcut or Mouse Click

Display the Repeat Menu

Click the Repeat Tool

Display the Repeat Selection dialog box

Double-click a selected repeat

Delete a text repeat, repeat barline

Click on the handle and press delete, or right-click the

handle and select Delete from the contextual menu.

Move a text repeat

Select the handle and drag.

Change the size of a repeat barlines bracket

Drag the repeat bracket handle up or down, left or right

Display the Repeat Designer dialog box

Double-click a text repeat handle, or right-click the handle

and select Edit Repeat Definition from the contextual
menu.

Display the Backward Repeat Bar

Assignment dialog box

Double-click a repeat barline handle, or right-click the

handle and select Edit Repeat Assignment from the
contextual menu.

Display the Ending Repeat Bar Assignment

dialog box

Double-click a repeat ending number handle, or right-click

the handle and select Edit Repeat Assignment from the
contextual menu.

Display the Repeat Assignment dialog box

Shift-double-click a text repeat handle, or right-click the

handle and select Edit Repeat Assignment from the
contextual menu.

Resize Tool

Command

Keyboard Shortcut or Mouse Click

Reduce or enlarge a notehead

Click on the notehead or right-click and select Resize

Notehead from the contextual menu.

Reduce or enlarge an entire note or beam

group

Click on the note stem or right-click and select Resize Note

or Rest from the contextual menu.

Reduce or enlarge a staff

In Page View, click to the left of the staff or right-click and

select Resize Staff from the contextual menu.

Reduce or enlarge a system

In Page View, click between any two staves in the system

or right-click and select Resize System from the contextual
menu.

Reduce or enlarge a page, or a range of

pages

In Page View, click the upper-left corner of the page or

right-click and select Resize Page from the contextual
menu.

871

Selection Tool
Command

Keyboard Shortcut or Mouse Click

Switch to Selection Tool

Esc or Ctrl-shift-A.

Select an item

Click on the item

Select the appropriate tool to edit item

With item selected, double-click or press enter

Select between overlapping items

Click on the item then press plus or minus to cycle through

overlapping items. Or, just clicking the mouse again cycles
through the overlapping items.

Display the Fit Measures dialog box

Ctrl- M (Page View only)

Lock currently selected systems

L (or, L with the Selection Tool selected)

Unlock currently selected systems

U (or, U with the Selection Tool selected)

Select a measure or measures

Click to select a full measure. Drag-enclose to select a region

including partial measures. To contrain to full measures, hold
down Shift while drag-enclosing.

Extend a partial measure selection to include

only full measures.

Double-click the selected region.

Extend a selection of measures vertically

Extend a selection of measure horizontally

Select a staff or staves

Press Shift-up arrow to extend selection up or Shift-down

arrow to extend selection down.

Double-click a selected measure to include the entire

vertical measure stack (that measure in all staves); The
first double-click selects a single full measure, and the
second double-click selects the measure stack; Shift-click
on a staff above or below a selected region to extend
selection to that staff.

Hold down shift and press Page Up to select all staves to

the top staff of the system.

Hold down shift and press Page Down to select all staves
to the bottom staff of the system.

While holding down Shift, press right arrow or left arrow

to extend selection to the next or previous note.

Press Shift-Ctrl and press the right arrow or left arrow to

extend the selection by full measures. (Choose to adjust
the beginning of the selected region by first pressing Shift
left arrow. Choose to adjust the end of the selected
region by first pressing Shift right arrow.) If there are no
notes in the measure, Finale selects the entire measure.

Hold down Shift and press the End key to select all
measures to the end of the score.

Hold down Shift and press the Home key to select all
measures to the beginning of the score.

Click to the left of a staff; Shift-click to the left of a staff to

extend the selection

872

Move or copy and paste a selected section of

music

Drag the region so it is superimposed on the beginning of

another region, which elements to be copied are selected in
the Edit Menu before you drag (See Edit Filter dialog box).
The target region can include a portion of the source region.
Or,
Ctrl-click the place where the selected elements should be
copied or moved to.

Move or copy and insert a selected section of

music

Hold down the Alt key and drag the region so a red (or green)
Insertion Cursor appears at the beginning of another region.
Which elements to be inserted are selected in the Edit Menu
before you drag (See Edit Filter dialog box). The target region
can include a portion of the source region. Inserting pushed
subsequent notes in the staff to the right the duration of the
inserted material.

Move or copy and paste specific items from a

selected section of music

Drag the region so it is superimposed on the beginning of

another region, which elements and whether you are moving
or copying are selected in the Edit Menu before you drag
(See Edit Filter dialog box). The target region can include a
portion of the source region.
Ctrl-Shift-click the place where the selected elements should
be copied or moved to. Choose the items you want to copy
and click OK.

Move or copy and paste a selected section of

music multiple times

Highlight the source region and press Ctrl-C to copy. Highlight

the target and press Alt-Ctrl-V. Enter the number of copies in
the Paste Multiple dialog box and click OK.

Select all (measure stack in all measures)

Ctrl-A

Display the Clip dialog box

Press Ctrl or shift while choosing Cut or Copy from the Edit
Menu

Display the Paste dialog box

Press Ctrl while choosing Paste in the Edit Menu

Clear selected music

Select a region of music and press backspace

Delete selected measures

Select a measure stack (double-click) and press backspace

Move selected measures to the previous or next

staff system

Up arrow or down arrow

Cancel an operation

Press esc

Implode Music (displays the Implode Music

dialog box)

Select the measures you want to affect, then press 1 on your

computer keyboard.

Drag-Implode Music for multiple staves (displays

the Implode Music dialog box)

Press I while dragging selected measures to their destination.

Drag-Explode Music for multiple staves (displays

the Explode Music dialog box)

Hold down E while drag copying to the target region.

Respace notes, lyrics, and accidentals (Apply

Beat Spacing command) using the settings in
Document Options-Music Spacing

With the Selection Tool, select the measures you want to

affect, then press 5 on your computer keyboard. In all tools
that allow regional selection, press Ctrl-5.

Respace notes, lyrics, and accidentals (Apply

Note Spacing command) using the settings in
Document Options-Music Spacing

With the Selection Tool, select the measures you want to

affect, then press 4 on your computer keyboard. In all tools
that allow regional selection, press Ctrl-4.

873

 Show elapsed time based on current tempo

(displays the Elapsed Time dialog box)

Select the measures you want to affect, then press 3 on your

computer keyboard.

Transpose (programmable)

With the Selection Tool, select the measures you want to

affect, then press any number between 6 and 9 on your
computer keyboard. (Ctrl-6 through 9 without the Selection
Tool selected.

Program Transpositions

Shift-Ctrl-6 through 9

Select or deselect the SmartFind Source Region

Ctrl-F

Display the Apply SmartFind and Paint dialog

box

Ctrl-Shift-F

Simple Entry Tool

Command

Keyboard Shortcut or Mouse Click

Accidental: Double Flat

Shift- - (minus)

Accidental: Double Sharp

Shift- =

Accidental: Flat

Accidental: Sharp

Accidental: Half Step Up

Numpad +

Accidental: Half Step Down

Numpad -

Accidental: Natural

Accidental: Show/Hide courtesy accidental

Ctrl-Shift- - (minus)

Add Interval: Unison through octave above

1 through 8

Add Interval: Ninth above

Ctrl-Shift 9

Add Interval: Second through ninth below

Shift-2 through 9

Add Pitch: A-G

Shift-A through G

Add Pitch: At caret pitch

Ctrl-Enter

Add/Change Items: Articulation

Alt-A or Numpad * (and then the articulation metatool or

press the keystroke again to choose articulation)

Add/Change Items: Articulation-Sticky

Ctrl-Alt-Shift-A or Ctrl-Numpad *

874

Add/Change Items: Clef

Alt-C

Add/Change Items: Key Signature

Alt-K

Add/Change Items: Time Signature

Alt-T

Add/Change Items: Expression

X or Alt-X

Change Pitch (caret or selected note): Step

Down Diatonically

Down arrow

Change Pitch (caret or selected note): Step

Up Diatonically

Up arrow

Change Pitch: Octave Down Diatonically

Alt-Shift-down arrow

Change Pitch: Octave Up Diatonically

Alt-Shift-up arrow

Duration: 12864th through Double Whole

Alt-Numpad 10-8 or Alt 10-8

Duration: 128th note

Option-Shift or Option-0 (zero)

Duration: Augmentation Dot

. (Decimal point in Numpad) or . (Period)

Duration: Tuplet - Create Default

9 or Numpad 9

Duration: Tuplet - Create User-Defined

Alt-Numpad 9 or Alt-9 (or Shift-click in a measure with the

Simple Tuplet Tool chosen)

Enter Note: At Caret Pitch

Enter or Return (with Simple Entry Caret active)

Enter Note: A-G

A-G

Enter Rest

Numpad 0, 0, Alt-Enter, Shift-Enter or Tab

Modify: Beam - Break

Modify: Beam - Flat

Alt-/

Modify: Beam - Use Default

Shift-/

Modify: Change Pitch Enharmonically

Alt-E

Modify: Delete

Delete or Shift-Backspace

Modify: Grace Note

Alt-G

Modify: Show/Hide

875

Modify: Stem - Flip

Modify: Stem - Use Default

Shift-L

Modify: Tie to Next Note

T or Numpad /

Modify: Tie to Previous Note

Shift-T or Ctrl-Numpad /

Modify: Flip Tie

Ctrl-F

Modify: Move note just entered with caret up

diatonically

Alt-up arrow

Modify: Move note just entered with caret

down diatonically

Alt-down arrow

Toggle note to rest (selected note or note just

entered with caret)

Navigation: Caret/Selection - Clear

Backspace or Escape

Navigation: Caret - Step Down

Down arrow

Navigation: Caret - Step Up

Up arrow

Navigation: Caret - Octave Down

Shift-Down arrow

Navigation: Caret - Octave Up

Shift-Up arrow

Navigation: Selection - Down

Ctrl-Down arrow

Navigation: Selection - Up

Ctrl-Up arrow

Navigation: Selection - One Entry Left

Left arrow

Navigation: Selection - One Entry Right

Right arrow

Navigation: Selection - One Measure Left

Ctrl-Left arrow

Navigation: Selection: One Measure Right

Ctrl-Right arrow

Navigation: Selection: Select All

Ctrl-A

Navigation: Switch Tool (and clear other

selections)

Double-click tool or quickly repeat tool selection keyboard

shortcut

Selection: Select a note within a chord

without clearing previous selection (in entry)

Ctrl-shift-click the note or rest

876

Tool: Accidental - Flat

Alt- - (Minus)

Tool: Accidental - Natural

Alt- N[

Tool: Accidental - Sharp

Alt- =

Tool: Augmentation Dot

Ctrl- Numpad . (decimal point) or Shift-. (Period)

Tool: Eraser

Alt-Backspace or Alt-Delete

Tool: Grace Note

Ctr-G

Tool: 64th Note through Double Whole Note

Numpad 1-8 (or Ctrl-Alt-Shift 1-8)

Tool: 128th Note

Ctrl-Alt-Shift 0

Tool: 64th Rest through Double Whole Rest

Ctrl-Numpad 1-8

Tool: Repitch

Shift- (Accent) or Ctrl-R

Tool: Toggle Note/Rest

Alt-R

Tool: Tuplet

Ctrl-9 or Ctrl-Numpad 9

Tool: Tie

Alt-Numpad / or Ctrl-Shift-T

TAB-Add Note on String 1-9

Alt 1-9

TAB-Add Note on String: At Caret Pitch

Ctrl-Enter

TAB-Add Note at Caret String

Enter

TAB-Change Pitch: Increment Fret Number

= or Numpad +

TAB-Change Pitch: Decrement Fret Number

- or Numpad -

TAB-Change String: Down One

Alt-down arrow

TAB-Change String: Up One

Alt-up arrow

TAB-Change to Fret Number: 0-9

Ctrl-Shift 0-9 or Alt-Numpad 0-9 (type two numbers quickly

for two digit numbers)

TAB-Duration: 64th through Double Whole

Ctrl-Alt 1-8

TAB-Duration: 128th Note

Ctrl-Alt (Accent)

TAB-Duration: Augmentation Dot

. (period) or Numpad . (decimal point)

877

TAB-Duration:Tuplet - Create Default

Alt-0 or Ctrl-Alt 9 or Ctrl-Alt-Numpad 9

TAB-Duration:Tuplet - Create User Defined

Shift-0

TAB-Enter Note on Fret 0-9 or A-K

Numpad 0-9 or A-K

TAB-Enter Note on Fret 10-19 or L-U

Ctrl-numpad 0-9 or L-Q

TAB-Enter Rest

Tab or Shift-Enter or Alt-Enter

TAB-Modify: Delete

Delete or Shift-Backspace

TAB-Modify: Grace Note

Alt-G

TAB-Modify:Show/Hide

Ctrl-H

TAB-Modify: Tie to Next Note

T or Numpad /

TAB-Modify: Tie to Previous Note

Shift-T or Ctrl-Numpad /

TAB-Modify: Toggle Note/Rest

R or Shift-Spacebar

TAB-Navigation: Caret/Selection - Clear

Backspace

TAB-Navigation: Move caret to string 1-9

1-9

TAB-Navigation: String Up

Up arrow

TAB-Navigation: String Down

Down arrow

TAB-Tool: Augmentation Dot

Ctrl-Numpad . (decimal) or Shift-. (period)

TAB-Tool: Eraser

Alt-Backspace or Alt-Delete

TAB-Tool: Grace Note

Ctrl-G

TAB-Tool: Note - 64th through Double Whole

Ctrl-Alt-Shift 1-8 or Ctrl-Alt-Numpad 1-8

TAB-Tool: Repitch

Ctrl-R or Shift- (Accent)

TAB-Tool: Tie

Ctrl-Shift-T or Alt-Numpad /

TAB-Tool: Toggle Note/Rest

Alt-R

TAB-Tool: Tuplet

0 or Ctrl-Alt-Numpad 0

878

Simple Entry Laptop Set

Laptop users: To use this set, from the Simple Menu, choose Simple Entry Options and then click Edit Keyboard
Shortcuts. In the Edit Keyboard Shortcuts dialog box, from the Name drop-down menu, choose Laptop Shortcut
Table.

Command

Keyboard Shortcut or Mouse Click

Accidental: Half Step Up

Accidental: Half Step Down

Accidental: Natural

Accidental: Show/Hide courtesy accidental

Ctrl-Shift--(minus)

Add Interval: 2nd through octave above

F2 through F8

Add Interval: Ninth above

Ctrl-Shift-F9

Add Interval: Second through ninth below

Shift-F2 through F9

Add Interval: Ninth below

Shift-F9

Add Pitch: A-G

Shift-A through G

Add Pitch: At caret pitch

Ctrl-Enter

Add/Change Items: Articulation

(accent)

Add/Change Items: Articulation-Sticky

Alt-Shift- (accent)

Add/Change Items: Clef

Alt-C

Add/Change Items: Key Signature

Alt-K

Add/Change Items: Time Signature

Alt-T

Add/Change Items: Expression

Alt-X (or X)

Change Pitch (caret or selected note): Step

Down Diatonically

Alt-Down Arrow

Change Pitch (caret or selected note): Step

Up Diatonically

Alt-Up Arrow

Change Pitch: Octave Down Diatonically

Alt-Shift-Down arrow

Change Pitch: Octave Up Diatonically

Alt-Shift-Up Arrow

879

Duration: 128th through Double Whole

AltOption-0 through 8

Duration: Augmentation Dot

. (period)

Duration: Tuplet - Create Default

Duration: Tuplet - Create User-Defined

Alt-9

Enter Note: At Caret Pitch

Enter

Enter Note: A-G

A through G

Enter Rest

Alt-Enter (or Shift-Enter or Tab)

Modify: Beam - Break

Modify: Beam - Flat

Alt-/

Modify: Beam - Use Default

Shift-/

Modify: Change Pitch Enharmonically

Alt-E

Modify: Delete

Delete

Modify: Grace Note

Alt-G

Modify: Show/Hide

Modify: Stem - Flip

Modify: Stem - Use Default

Shift-L

Modify: Tie to Next Note

Modify: Tie to Previous Note

Shift-T

Modify: Flip Tie

Ctrl-Shift-F

Toggle note to rest (selected note or note just

entered with caret)

Navigation: Caret/Selection - Clear

Backspace

Navigation: Caret - Step Down

Down Arrow

Navigation: Caret - Step Up

Up Arrow

Navigation: Caret - Octave Down

Shift-Down Arrow

880

Navigation: Caret - Octave Up

Shift-Up Arrow

Navigation: Selection - Down

Ctrl-Down Arrow

Navigation: Selection - Up

Ctrl-Up Arrow

Navigation: Selection - One Entry Left

Left Arrow

Navigation: Selection - One Entry Right

Right Arrow

Navigation: Selection: Select All

Ctrl-A

Navigation: Switch Tool (and clear other

selections)

Double-click tool or quickly repeat tool selection keyboard

shortcut

Selection: Select a note within a chord

without clearing previous selection (in entry)

Ctrl-shift-click the note or rest

Tool: Accidental - Flat

Alt-- (minus)

Tool: Accidental - Natural

Alt-N

Tool: Accidental - Sharp

Alt-=

Tool: Augmentation Dot

Shift-.

Tool: Eraser

Alt-Backspace

Tool: Grace Note

Ctrl-G

Tool: 128th Note through Double Whole Note

Ctrl-Alt-Shift 0 through 8 (or with no selection, 0 through 8)

Tool: Repitch

Ctrl-R or Shift- (accent)

Tool: Toggle Note/Rest

Alt-R

Tool: Tie

Ctrl-Shift-T

Smart Shape Tool

Command

Keyboard Shortcut or Mouse Click

Flip a selected Slur or Bend

Flip a selected Slur or Bend (reverse linking

behavior)

Ctrl-F

881

Change a selected Slur or Bend back to

Automatic

Alt-Shift- F

Display handles on all smart shapes

Click the Smart Shape Tool

Edit or Delete a Smart Shape

Click the handle of the Smart Shape

Select all Smart Shapes on the page

Ctrl-A

Change the slurs ending or starting note

Drag or nudge an endpoint handle

Change the slurs arc height

Drag or nudge a center curve handle

Move from any secondary (diamond) handle

to another

Tab

Hide secondary handles

Esc

Move between primary SmartShape handles

Tab

Change the slurs arc height and angle

Shift-drag a center curve handle

Change the slurs arc and inset

asymmetrically

Drag or nudge an inner curve handle

Change the slurs arc and inset symmetrically

Ctrl-drag an inner curve handle

Create an inverted bracket with the hook

pointing away from the staff instead of toward
the staff. It will also change the text for an 8va
or 15ma below the staff or 8vb or 15mb
above the staff

Ctrl-double-click and drag

Display the Smart Line Selection dialog box

Ctrl-click the Custom Line Tool

Add an artificial harmonic (A.H.)

A (Hold down A, then double-click and drag)

Add a bend curve

B (Hold down B, then double-click and drag)

Add a dashed line

D (Hold down D, then double-click and drag)

Add a trill extension

E (Hold down E, then double-click and drag)

Add glissando without text

F (Hold down F, then double-click and drag)

Add a glissando with text

G (Hold down G, then double-click and drag)

Add a Hammer-on (H)

H (Hold down H, then double-click and drag)

882

Add a Pull-off (P)

3 (Hold down 3, then double-click and drag)

Add a release (R)

R (Hold down R, then double-click and drag)

Add a Bend (B)

U (Hold down U, then double-click and drag)

Add a Hammer-on above slur or tie

2 (Hold down 2, then double-click and drag)

Add a solid line

L (Hold down L, then double-click and drag)

Add a Palm Mute (P.M.)

M (Hold down M, then double-click and drag)

Add a Natural Harmonic (N.H.)

N (Hold down N, then double-click and drag)

Add a slur

S (Hold down S, then double-click and drag)

Add a trill

T (Hold down T, then double-click and drag)

Add a dashed slur

V (Hold down V, then double-click and drag)

Add a TAB slide

X (Hold down X, then double-click and drag)

Add a single-hooked dashed line

Y (Hold down Y, then double-click and drag)

Add a double hooked dashed line

Z (Hold down Z, then double-click and drag)

Add a 15ma or 15mb marking

1 (Hold down 1, then double-click and drag)

Add a bend hat

6 (Hold down 6, then double-click and drag)

Add an 8va or 8vb marking

8 (Hold down 8, then double-click and drag)

Add a single hooked line

K (Hold down K, then double-click and drag)

Add a double-hooked line

O (Hold down (letter) O, then double-click and drag)

Add a crescendo

< (Hold down <, then double-click and drag)

Add a pedal down/pedal up marking

P (Hold down P, then double-click and drag)

Add a custom line (as defined)

C (Hold down C, then double-click and drag)

Add a decrescendo

> (Hold down >, then double-click and drag)

Speedy Entry Tool

883

Command

Keyboard Shortcut or Mouse Click

Display the Edit Frame dialog box

Ctrl-click any measure that contains music

Remove note, rest or chord

delete

Hide/show note or rest

letter O or H

Add or remove accidental parentheses

Jump to previous measure

[ (left square bracket) or shift-left arrow

Jump to next measure

] (right square bracket) or shift-right arrow

Flip stem in opposite direction

Restore stem direction to floating status

Ctrl-L

Change to/from a grace note

; (semicolon) or G

Change to/from a slashed flagged grace note

` (accent) or ; (semicolon) or G

Voice 1/2

' (apostrophe)

Switch to next layer

shift

Switch layers downward (from 1 to 4)

shift-down arrow

Move editing frame down a staff

shift-down arrow

Move editing frame up a staff

shift-up arrow

Add or change note (64thdouble whole note)

18

Add or change 128th note

Ctrl-0 (zero)

Insert 64th notewhole note

shift-1 through shift-7 (on keyboard only) (with MIDI, while

playing note)

Insert double whole note (without MIDI)

shift8 (on numeric keypad only)

Insert 128th note (without MIDI)

Ctrl-shift-0 (zero) (in insert mode only)

Add 64th restwhole rest (with MIDI)

shift-1 through shift-7 without pressing note

Add rest (with or without MIDI)

Ctrl-shiftoption-1-7 (on keyboard only)

884

Add double whole rest (with MIDI)

shift-8 (on numeric keypad only)

Add 128th rest (with MIDI)

Ctrlshift-0 (zero)

Add a rest (with Hands-Free MIDI)

play any three note cluster

Toggle Insert mode

insert (or shift-0 (zero) Num Pad only)

Constrain dragging a note (horizontal/vertical)

shift-drag

Begin a tuplet (dupletoctuplet)

Ctrl-2 through Ctrl-8

Define a tuplet

Ctrl-1

Raise by a half step

+ (plus) or shift-S

Lower by a half step

(minus) or shift-F

Raise by a half step (for entire measure)

Ctrl- + (plus)

Lower by a half step (for entire measure)

Ctrl- (minus)

Flat note

Sharp note

Natural note

Double-sharp

Double-flat

Previous note

Left arrow

Next note

Right arrow

Move to first note or rest in measure

Ctrl-left arrow

Move just beyond last note or rest in measure

Ctrl-right arrow

Down a step

Down arrow

Up a step

Up arrow

Remove note from chord

backspace or shift-delete

Change single note to rest

backspace or shift-delete or R

885

Tie/untie to next note

= (equals) or T

Tie/untie to previous note

Ctrl = (equals) or shift-T

Flip a tie

Ctrl-F

Restore tie direction to automatic

Ctrl-shift-F

Break/join beam from previous note

/ (backslash) or B

Restore default beaming

Shift-B

Flatten a beam

\ (forward slash) or M

Show/hide any accidental

* (asterisk)

Show/hide a courtesy accidental

Restore courtesy accidental to optional status

Ctrl-* (asterisk)

Return a rest to its default position

* (asterisk)

Exit measure and redraw/re-enter measure

0 (zero)

Flip a note to its enharmonic equivalent

Flip enharmonic throughout measure

Ctrl-9 (cursor on first note in measure)

Add a dot

. (period)

Add a note to a chord

enter

Change a rest to a note

enter

Specify a pitch, high CB (without MIDI)

Q-W-E-R-T-Y-U (with Caps Lock)

Specify a pitch, middle CB (without MIDI)

A-S-D-F-G-H-J (with Caps Lock)

Specify a pitch, low CB (without MIDI)

Z-X-C-V-B-N-M (with Caps Lock)

Raise all pitch keys an octave

, (comma) (with Caps Lock)

Lower all pitch keys an octave

I (letter I) (with Caps Lock)

Restore all pitch keys to normal register

K (with Caps Lock)

Special Tools Tool

886

Command

Keyboard Shortcut or Mouse Click

Display handles in the measure

Click the Special Tool you want to use and click on the
measure

Select a handle or handles

Click, shift-click or drag-enclose, or Ctrl-A

Reset the note to its original state

Press delete, or backspaceor shift-delete

Move selected items very slightly (nudge)

Use the arrow keys

Flip a selected tie

Ctrl-F

Restore tie direction to automatic

Ctrl-shift-F

Staff Tool

Command

Keyboard Shortcut or Mouse Click

Display the Staff Menu and handles

Click the Staff Tool

Select a staff (or staves).

Click a staff or a staff handle, or drag-enclose staff handles

Add the staff to the selection. If a staff is

already selected, remove the staff from the
selection.

Shift-click a staff or a staff handle

Display the Staff Attributes dialog box.

Double-click a staff or a staff handle, or double-click a full

or abbreviated staff name handle, or right-click the handle
and select Edit Staff Attributes from the contextual menu.

Add a staff without repositioning the lower

staves to make room for the new staff.

Double-click in the score (in Scroll View)

Insert a staff between staves, repositioning

the lower staves to make room for the new
staff.

Shift-double-click below a staff in the score (in Scroll View)

Add a staff to the bottom of the score

Double-click the Staff Tool

Display the Group Attributes dialog box.

Double-click a group handle, or double-click a bracket

handle, or right-control-click the group or bracket handle
and select Edit Group Attributes from the contextual menu.
right-click the staff handle and select Add Group and
Bracket from the contextual menu.

Delete the selected staves without

repositioning the remaining staves.

Select the staff handle and press shift-delete for selected

staves, or right-click the handle and select Delete Staves

887

and Reposition from the contextual menu.

Delete the selected staves and reposition the

remaining staves.

Press delete for selected staves, or right-click the handle

and select Delete Staves from the contextual menu.

Adjust the staffs 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).

Drag the staffs lower handle 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.

Select a group (or groups).

Click a group handle, or drag-enclose group handles

Add the group to the selection. If a group is

already selected, remove the group from the
selection.

Shift-click a group handle

Edit a full or abbreviated group name using

the Edit Text window.

Ctrl-click a group handle, or right-click the handle and

select Edit Full Group Name or Edit Abbreviated Group
Name from the contextual menu.

Position a group name using the Position Full

Group Name or Position Abbreviated Group
Name dialog box.

Ctrl-shift-click a group handle, or right-click the handle and

select Position Full Group Name or Position Abbreviated
Group Name from the contextual menu.

Revert the position of the group names to

their default position.

Press backspace for selected groups

Remove the selected group definitions.

Press delete for selected groups, or right-click the handle

and select Delete Group from the contextual menu.

Adjust the position of a group name.

Drag a group handle

Select a staff name (or names).

Click a staff name handle, or drag-enclose staff name

handles

Add the staff name to the selection. If a staff

name is already selected, remove the staff
name from the selection.

Shift-click a full or abbreviated staff name handle

Edit a full or abbreviated staff name using the

Edit Text window.

Ctrl-double-click a full or abbreviated staff name handle, or

right-click the handle and select Edit Full Staff Name or Edit
Abbreviated Staff Name from the contextual menu

Position the selected staff name using the

Position Full Staff Name or Position
Abbreviated Staff Name dialog box.

Ctrl-shift-click a full or abbreviated staff name handle, or

right-control-click the handle and select Position Full Staff
Name or Position Abbreviated Staff Name from the
contextual menu.

Revert the position of the full or abbreviated

staff name to its default position.

Press backspace for a selected staff name handle

888

Adjust the position of the selected staff name.

Drag a full or abbreviated staff name handle

Select a bracket (or brackets).

Click a bracket handle, or drag-enclose several bracket

handles

Add the bracket to the selection. If a bracket

is already selected, remove the bracket from
the selection.

Shift-click a bracket handle

Remove the selected brackets.

Press delete for selected brackets, or right-click the handle

and select Delete from the contextual menu.

Revert the selected brackets to their default

length.

Press backspace for selected brackets

Make a bracket taller or shorter.

Drag a bracket handle vertically

Move a bracket closer to or away from

bracketed staves.

Drag a bracket handle horizontally

Select a clef for the staff.

right-click the staff handle and select Select Clef from the
contextual menu.

Remove Staff Styles from selected region.

Click the Staff Style bar and press Delete. Or, Select the
measures, right click and choose Clear Staff Styles.

Text Tool

Command

Keyboard Shortcut or Mouse Click

Left Justify text in a text block

Ctrl- [ (left square bracket)

Right Justify text in a text block

Ctrl- ] (right square bracket)

Center Justify text in a text block

Ctrl- ' (apostrophe)

Full Justify text in a text block

Ctrl- ; (semicolon)

Forced Full Justify text in a text block

Ctrl-Shift- ; (semicolon)

Bold

Ctrl-Shift- B

Italic

Ctrl-Shift- I

Underline

Ctrl-Shift- U

Increase Point Size by one

Ctrl-Shift- . (period)

889

Decrease Point Size by one

Ctrl-Shift- , (comma)

Page Number Text Insert

Ctrl-Shift- P

Sharp sign Text Insert

Ctrl-Shift- S

Flat sign Text Insert

Ctrl-Shift- F

Natural sign Text Insert

Ctrl-Shift- N

Display Character Settings dialog box

Ctrl-T

Display Line Spacing dialog box

Ctrl-Shift-L

Align Text block to the Left

Ctrl-Shift- [ (left square bracket)

Center Text block Horizontally

Ctrl-Shift- ' (apostrophe)

Align Text block to the Right

Ctrl-Shift- ] (right square bracket)

Align Text block to the Top

Ctrl- - (minus)

Center Text block Vertically

Ctrl-Shift- = (equals)

Align Text block to the Bottom

Ctrl-Shift - (minus)

Display the Standard Frame dialog box

Ctrl- M

Display the Custom Frame dialog box

Ctrl-Shift- M

Display the Frame Attributes dialog box

Ctrl-Shift- T or shift-double-click a text block handle, or

right-click the handle and select Edit Frame Attributes from
the contextual menu.

Display the Text Menu

Click the Text Tool

Display handles on text blocks

Click the Text Tool

Select a text block or text blocks

Click a text block handle or drag-enclose text block

handles, shift-click a text block handle

Create an unbounded frame that expands as

you enter text

Double-click in the score

Create a bounded, fixed-size frame for text

Double-click and drag in the score

Edit the text block

Double-click a text block handle, or right-click the handle

and select Edit Text from the contextual menu.

890

Delete the selected text blocks

Press delete for one or more selected text blocks, or rightclick the handle and select Delete from the contextual
menu.

Adjust the text blocks position in the score

Drag a selected text block handle

Tuplet Tool

Command

Keyboard Shortcut or Mouse Click

Display positioning handles

Click the first note of a tuplet

Position tuplet

Drag a positioning handle

Delete tuplet

Press delete for selected tuplet, or right-click the handle

and select Delete from the contextual menu.

Display the Tuplet Definition dialog box

Double-click a positioning handle or the first note in a

group that you want to define as tuplets, or right-click the
handle and select Edit Tuplet Definition from the contextual
menu.

Display the Default Tuplet Visual Definition

dialog box

Ctrl-Double-click the Tuplet Tool, or right-click the Tuplet

Tool and select Edit Tuplet Definition from the context
menu

Zoom Tool

Command

Keyboard Shortcut or Mouse Click

Zoom in

Click the score or press Ctrl- +

Zoom out

Ctrl-click the score or press Ctrl- -(minus)

Temporary switch to Zoom Tool: zoom in

Shift-click the right-button

Temporary switch to Zoom Tool: zoom out

Ctrl-Shift-click the right-button

Fill the screen with the selected area

Drag-enclose an area

Playback

Command

Keyboard Shortcut or Mouse Click

Begin/stop playing

Alt-D-P or Alt-D-O

891

Begin playing (Playback Controls closed)

from the measure clicked

Spacebarclick in staff

Begin playing from the clicked measure in the

clicked staff only

Shift-spacebarclick in staff

Begin playing from measure one in all staves

Spacebarclick to the left of a staff system

Begin playing from measure 1 for the clicked

staff

Spacebar-shift-click to the left of staff

Scrub onscreen music - all staves

Ctrl-spacebar (and drag across music)

Scrub onscreen music - clicked staff only

Ctrl-Shift-spacebar (and drag across music)

Shape Designer

Command

Keyboard Shortcut or Mouse Click

Send to Back

Command-B

Send to Front

Command-F

Group

Command-G

Ungroup

Command-U

892

Add Cue Notes Plug-in

How to get there

Select a region with the Selection Tool that you would like to use as a cue. From the Plug-ins Menu,
choose Scoring and Arranging, and then Add Cue Notes.

What it does
The Add Cue Notes plug-in allows you to easily place cue notes of the selected region in any staff.

[List of Staves]. Select the staves in which you wish to place the selected region as cues.
Click to select one, shift click to select several at a time, even if they are not sequential. Press ctrl to
select non-consecutive staves.

Read the cue from Layer. Select from the drop-down list a layer for the source of the cue notes.

Write the cue in:. From the drop-down menu, select the layer in which you would like the place the
cue.

Reduce cue noteheads. Type in the percentage reduction for the cue noteheads in this text box.

Name the cue. If you would like the cue identified by an instrument name or other text, type the text
in this text box. The plug-in will use the staff name as a default. Text is inserted as a note attached
expression attached to the first note of the cue.

Include: Articulations Expressions Smart Shapes Clefs Lyrics Chords. Check items to
include in the destination staves in addition to the cue notes.

OK Cancel. Click OK to place a cue note with the selected options. Click Cancel to dismiss the
dialog box without making any changes.

893

Align/Move Dynamics Plug-in

How to get there

Select a region with the Selection Tool. From the Plug-ins Menu, choose TGTools, then Align/Move
Dynamics.

What it does
The Align/Move Dynamics plug-in allows you to easily align various elements, such as hairpin crescendos
and f expressions, of the selected region in any staff. Collisions with staff lines are avoided. Items from below the staff are never moved
above the staff and vice versa. Because of this collision avoidance, the final position may not be the one specified in the dialog box.

Align: To Nearest Element To Farthest Element To Average Distance Set To Value. Choose
Nearest Element to align the expressions or hairpins to the element closest to the staff. Choose
Farthest Element to align the expression or hairpins to the element farthest from the staff. Choose
Average Distance to align the elements at an average distance from the staff. Check Set To Value to
move all of the selected dynamics to the distance specified in Move vertically from the bottom staff
line. When Set To Value is unchecked, the specified value will be added to the distance. Repeatedly
clicking Apply can be used to nudge dynamic markings.

Text expressions Hairpins Shape expressions. Select Text expressions to align dynamic
markings, such as cresc. or F. Select Hairpins to align Smart Shape crescendos or decrescendos. If
selected for alignment, hairpins will be straightened. Select Shape expression to align shape
expressions, such as crescendos or decrescendos created with the Expression Tool.

Move vertically __ (units). Enter the value you would like to move the expressions or hairpins
vertically. The measurement unit will be determined by the settings chosen for Measurement Units in
the Edit Menu. Negative for lower and positive for higher. A very high value is required for items
above the staff, such as 200 EVPUs or .7 inches. If the value entered would cause a collision with a
staff line or move the marking to the other side of the staff, the final position may be different from
the specified value.When Set To Value is chosen, the dynamics are moved to the specified
distance from the bottom staff line.

Apply Close. Click Apply to apply the current commands and leave the dialog box available for the
next set of commands. Click Close to dismiss the dialog box without making any changes.

894

Apply Human Playback plug-in

How to get there

From the Plug-ins Menu, choose Playback, and then Apply Human Playback.

What it does
This plug-in allows you to apply a Human Playback style, or specific elements of Human Playback to
regions of your document. For example, if a latin section appears in the middle of your jazz score, use
this plug-in to apply the Jazz style for most of the piece, and the Latin style for just the latin section. In
addition to applying one of the preset styles, you can use the additional settings to fine tune playback in
many ways using all of the same options available for Human Playback available in the Playback Settings
Dialog box.
When you have customized the settings to your preferences, click Apply and this plug-in adds the MIDI
data to the region you have selected (as if you had played back this region with Human Playback on and
recorded the MIDI data). Note that existing MIDI data in the selected region is overwritten when you apply
this plug-in. Global (program-wide) settings can be made for all regions you edit with this plug-in in the
Apply Human Playback Preferences dialog box. This plug-in cannot be applied to partial measures.

Apply a Defined Style. Select this radio button, and then a style from the drop-down menu to apply
a preset Human Playback style to the selected region.

Apply Specific Elements Select. Select this radio button, and then choose the items you want
Human Playback to interpret. Click Select to view additional settings. See More Settings dialog box.

Clear MIDI Data. Select this radio button and specify the MIDI data you want to remove by checking
the appropriate box(es). You might, for example, clear All Continuous Data if you want to use
Human Playbacks interpretation of a section of music based on expressions, hairpins, and other

895

markings youve added in the document, and have chosen to incorporate your own MIDI data with
Human Playbacks interpretation in the Apply Human Playback Preferences dialog box. (Note the
Apply Human Playback Preferences dialog box contains the same options as the Human Playback
Preferences dialog box, but only applies to Human Playback assigned with the plug-in).

Restore To Default. Click this button to reset all parameters in this dialog box to their original
settings.

Preferences. Click this button to open the Apply Human Playback Preferences dialog box where you
can control Human Playbacks interpretation of the document, and how it deals with existing MIDI
data. The settings you make in this dialog box are program-wide, but only affect regions to which
Human Playback has been applied using the Apply Human Playback plug-in. See Apply Human
Playback Preferences dialog box.

Apply Close. Click Apply to apply the current settings and leave the dialog box available. Click
Close to dismiss the dialog box without making any changes.

896

Auto-Dynamic Placement Plug-in

How to get there

From the Plug-ins, choose Expressions, and then Auto-Dynamic Placement. If you prefer to apply AutoDynamic Placement to a specific region, select the region using the Selection Tool before selecting the
plug-in from the Plug-ins Menu. See Plug-ins Menu for more information on plug-ins.

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

Min. Velocity Change Between Dynamics. Change the number in this text box to vary the amount
of velocity change required to place the next dynamic marking.

Place By Entry Place By Beat Place By Measure. Select the one of these placement options to
determine where dynamics should be placed. Place By Entry will place dynamics at every entry if
there is a great enough change in Key Velocity (specified in Minimum Velocity Delta between
Dynamics). Place By Beat will place dynamics at every beat where the change in key velocity is
greater than the specific minimum. Place By Measure will place dynamics by measure where the
average of the key velocities over that measure indicates a change in dynamic level.

Avoid Accents. Deselect this checkbox to have the plug-in place dynamics on accented notes as
well as unaccented notes.

Dynamic Marking: pppp ppp pp p mp mf f ff fff ffff. Select the dynamic from the dropdown list to change the minimum key velocity assigned to that dynamic level.

Minimum Velocity. Enter the minimum key velocity for the selected expression in this text box. It is
not influenced by the current text expression library. The key velocity range is 0-127.

Expression. Click on Expression to select the a different expression not available from the Dynamic
drop-down list.

897

Placement: Layer 1 Layer 2 Layer 3 Layer 4. With this drop-down list, specify the layer to
which the placement settings below will apply. Auto-dynamic placement scans each layer and will
create overlapping expressions if the same dynamic marking is needed for multiple layers on the
same beat. You can offset each layers expression by adjusting the placement settings for each layer
here.

Placement: Voice 1 Voice 2. Select which voice to place the dynamics into with this drop-down
list.

Place Above Staff. Choose Place Above to place generated expressions above the staff.

Distance from Staff. The number in this text box represents the distance from the staff the dynamic
will be placed. The larger the number the farther away from the staff the dynamic will be placed, the
smaller the number, the closer to the staff. This is measured from the top or bottom line of the staff
depending on whether the Place Above Staff checkbox is selected or not.

Minimum Distance From Entry. Place the desired minimum amount of distance between entries
and dynamics in this text box. Even though you have set a specific distance from the staff,
sometimes notes and rests above and below the staff may collide with dynamics unless you have
specified that the dynamics must be placed some distance away (either above or below) the entries.

OK Cancel. Click OK to place dynamics using the specified settings. Click Cancel to return to the
document without placing any dynamics.

898

Auto Slur Melismas Plug-in

How to get there
Select a region of your document containing lyrics with the Selection Tool. From the Plug-ins Menu,
choose Lyrics, and then Auto Slur Melismas

What it does
The Auto Slur Melismas plug-in scans a document for lyric syllables that carry over two or more pitches
and adds slurs accordingly. This is a standard practice for notating melismas.
After running this plug-in, melismas appear wherever there are word extensions or hyphenated syllables
under note changes. After running the plug-in a message appears indicating the number of slurs that
were added.
Dashed slurs are added for any melisma that applies to subsequent verses (and not the first verse). Solid
slurs are always used for the first verse.
Before

After

899

Automatic Barlines Plug-in

How to get there
Select a region using the Measure Tool (or any other tool with regional selection). From the Plug-ins
Menu, choose Measures, and then Automatic Barlines. If there is no music selected when you invoke the
Automatic Barlines command, it will ask you if you want to process the entire document. See Plug-ins
Menu for more information on plug-ins.

What it does
The Automatic Barlines plug-in allows you to automatically set up barlines, matching the key changes in
your document.
In a high variety of music it is conventional to use a double barline when the key changes. The Automatic
Barlines plug-in supports this convention by: (1) setting all barlines between measures in the same key to
a single (normal) barline and (2) setting all barlines between measures where a key change is initiated to
a double barline. Additionally, if the last measure of the selection is the last measure in the document, a
final barline is placed in this measure. (Repeat barlines are not affected by this plug-in.)
If there is no music selected when you invoke the Automatic Barlines command, it will ask you if you want
to process the entire document.

Using the Automatic Barlines Plug-in

Use the Measure Tool to select a region (or any other tool with regional selection) in which you wish to
have the barlines match key changes, then choose the Automatic Barlines command from the Plug-ins
Menu. The plug-in will go through the selected region, measure by measure, and compare consecutive
pairs of measures. If a pair of measures is in the same key, the plug-in will set the measure attributes of
the first measure to use a single (normal) barline. If there is a change of key, the plug-in will set the
measure attributes of the first measure to use a double barline. If the last measure in the document is
included in the selection, the measure will be set to use a final barline (double barline with a thick second
line).

Notes

The Automatic Barlines plug-in recognizes that relative Major and Minor keys (for instance: C Major
and A Minor) have the same key signature (in this case, no sharps or flats). In cases such as these
the plug-in sets a single barline since it recognizes that the key signatures are identical, even though,
technically speaking, the key has changed. However, the plug-in cannot analyze the key signatures
of Non-Linear Key Signatures, nor of Linear Key Signatures beyond the conventional Major and
Minor modes. If your music uses non-standard signatures and two adjacent measures use different
keys with identical key signatures, the plug-in will think a key change has taken place. In this case,
a double barline will be set between the two measures in question.

900

Band-in-a-Box Auto-Harmonizing
Plug-in

How to get there

Select a region containing at least one note with the Selection Tool (for best results, the region should
contain at least one Chord Symbol). The notes selected can be of any duration and rhythm. From the
Plug-ins Menu, choose Scoring and Arranging, and then Band-in-a-Box Auto Harmonizing.

What it does
The Band-in-a-Box Auto Harmonizing plug-in will add a number of new voices to an existing melody,
based on chord symbols (or based on the key signature of the piece if no chord symbols exist in the
selected region). The plug-ins harmonies are based on those found in the PG Music software Band-in-aBox. The resulting music is generally homophonic, meaning all harmonies will be the same rhythm as the
melody. Exceptions, such as piano/guitar presets, will be detailed below.

Number of Voices. Use this drop-down list to determine how many voices (including the input
melody) your harmonized music will include. Youll also notice that changing this selection affects the
available harmonizations. After choosing the desired number of voices, select a type of
harmonization from the list below the menu.

Style. Select a preset style of harmony. For a list of all available presets, see Harmony Presets in
the Appendix.
Here are the naming conventions used in the Generic presets:
Drop Two- Transposes the first harmony note below the melody down an octave
Drop Three- Transposes the second harmony note below the melody down an octave
One Above, Two Above, Two Below, etc.- The number (One, Two) represents how many
(non-octave) harmony voices are placed above or below the melody
3rds Above- Typically adds a note a third above the melody
3rds Below- Typically adds a note a third below the melody
6ths Above, 6ths Below- Typically adds a note a sixth above or below the melody
3rds & 6ths- Harmony typically uses a mixture of thirds and sixths
Alt- Provides an alternative harmonization including sevenths and ninths
8va- Double the melody an octave above.

901

8vb- Double the melody an octave below.

8va & 8vb- Double the melody both an octave above and below.
#1, #2, #3- Some harmony stacks have alternate permutations. For instance, in a dense
harmony preset, Variation #1 might play a third interval, while Variation #2 plays a sixth,
and Variation #3 plays alt tones.
Examples:
1.

Three Part, 3rds & 6ths Below 8vb

2.

The first harmony voice is a mixture of 3rds and 6ths below the melody. The second harmony voice
is the melody transposed down one octave.

3.

Four Part, 6th Above 8va #2

4.

The first harmony voice is a sixth interval above the melody. The second harmony voice is below the
melody. The third harmony voice is the melody transposed up one octave. This preset is the second
variation of this harmony stack.

5.

Six Part, 3rd Above 8va & 8vb

The first harmony voice is a third interval above the melody. Two harmony voices are below the
melody. The remaining two harmony voices double the melody an octave above and an octave
below.
Instrument Preset Names, such as Guitar or Super Brass, create harmony stacks typical for the
instrument. These presets may also be useful on other instruments.
Guitar and Piano presets will harmonize long notes without harmonizing short notes. This emulates
performance techniques when it is artistically undesirable (and difficult on the fingers) to harmonize
all notes in a melody. The following presets are Guitar/Piano harmonizations: Two Part: Guitar 3rds
and 6ths; Three Part: Guitar; Four Part: Jazz Piano, Guitar Drop 2, Swing Guitar; Five Part: Jazz
Piano; Six Part: Guitar. Remember to place the notes into the appropriate number of staves.
Some Instrument presets limit the low and high note range of harmonies. For instance, if a Drop
Two harmony note extends below an instruments range, this low harmony note might be
transposed up to fit in the instrument range.
Most of the Generic Presets harmonize all melody notes, and the harmony high-low note ranges
are not restricted.

Place New Voices Into: Selected Staff (all Voices) Staves Added to Bottom of Score
Existing Staves Starting with Staff. The Band-in-a-Box Auto Harmonizing gives you the option to
place the new harmony voices into any of three places. Choosing Selected Staff (all Voices) will
place the harmony voices into the same staff as the melody staff. This option is required for
Piano/Guitar harmonizations. Staves Added to Bottom of Score will create one staff for each
harmony voice. The number of staves is one less than the Number of Voices because the Auto
Harmonize plug-in is only interested in placing the new voices, and will leave the melody (considered
one of the voices) alone. Note that these added staves will need to be subsequently defined in the
Instrument List for optimal playback. Existing Staves Starting With Staff allows you to choose
consecutive staves already in your document. For instance, if you are working on an arrangement for
Jazz Ensemble, and already have your score set up, you can enter a melody and chord symbols in
your Trumpet 1 staff, then automatically harmonize to your Trumpets 2-4 staves.
Tip: Note that the plug-in relies on the Set Play
values assigned to chord suffixes. If your file
contains chord suffixes that have been created
without a Set Play value defined, the associated
chords will not have any impact on the harmony.
See Chord symbols and Suffix Keynumber Offsets
dialog box.

More Info Cancel OK. Click More Info for a brief summary of what the plug-in does. Click Cancel
to dismiss the dialog box without making any changes, or Click OK to make the selected changes.

902

Beam Over Barlines Plug-in

How to get there

From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then Beam
Over Barlines.

What it does
This plug-in allows you to automatically extend beams over a barline as shown in the figure below.
To use this plug-in to beam over a barline, do the following.

Choose the Selection Tool.

Select the region including the notes you want to beam over the barline.

From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and
then Beam Over Barlines. Notes on either side of the barline are beamed together. To remove
beams created with this plug-in, choose the Beam Over Barlines/Remove plug-in which is also
located in the Patterson Plug-ins Lite submenu.
Note that hidden tuplets created while generating
beaming over barlines may corrupt the Human
Playback performance in regions where the Beam
Over Barlines plug-in has been applied. See
Playback Settings dialog box for more information
regarding Human Playback.

903

Canonic Utilities Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Canonic Utilities.

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

No Inversion Diatonic Mirror Inversion Chromatic Mirror Inversion Chord Inversion Up

Chord Inversion Down. Select No Inversion from the drop-down list to have no inversions applied
to the select region. If you would like to change the setting for Mirror Inversions, click the Mirror
Inversion Options button and the Mirror Inversion Options dialog box appears. See Mirror Inversion
Options (below).
Select Diatonic Mirror Inversion from the drop-down list to invert the selected region of music based
on a pivot note selected in the Mirror Inversion Options dialog box. When Diatonic Mirror Inversion
is selected the notes will change to their diatonic inversion. For example, if you have the note B in
the key of C, and pivot around the note C the B will be inverted to D (rather than a Df as in
Chromatic Mirror Inversion). Please note that if you select a non-diatonic note as your pivot point
with the Diatonic Mirror Inversion selected, the pivot note used will be the nearest diatonic note
instead of the selected non-diatonic note. Select the Apply button to apply your inversion settings to
the selected region.
Select Chromatic Mirror Inversion from the drop-down list to invert the selected region of music
based on a pivot note selected in the Mirror Inversion Options dialog box. When Chromatic Mirror
Inversion is selected you are free to select any note to act as the pivot note. The selected region of
music will then be inverted based on the chromatic (major or minor) interval between the pivot note
and the note to be inverted. Select the checkbox the Apply button to apply your inversion settings
to the selected region.
Select Chord Inversion Up or Chord Inversion Down to invert chords up or down in the selected
region. In selecting Chord Inversion Up, the bottom note of the chord is moved to the top of the
chord, creating the next inversion. If you select Chord Inversion Down, the top note of the chord is
moved to the bottom of the chord, again creating a new inversion.

No Transposition Transpose Diatonic Transpose Chromatic Transpose Semitones. Select

No Transposition from the drop-down list to have no inversions applied to the select region. If you
would like to change the setting for Transpositions, click the Transposition Options button and the
Transposition Options dialog box appears. See Transcription Options.

904

Select Transpose Diatonic from the drop-down list to transpose the selected region up or down
the selected number of lines and spaces ignoring whole and half steps in the key signature.
Select Transpose Chromatic from the drop-down list to transpose the selected region up or down
the selected interval taking into account half and whole steps.
Select Transpose Semitones from the drop-down list to transpose the selected region with the
specified numeric interval (0-11) selected in Transposition Options.

Retrograde. Select this checkbox then the Apply button to apply retrograde to the selected region.
This will notate the selected passage backwards. If you would like to change the retrograde settings
click the Retrograde Options button. The Retrograde Options dialog box appears. See Retrograde
Options.

Leave Accidentals Alone Default Accidentals Show All Accidentals Hide All Accidentals
Clear Frozen Accidentals Remove All Accidentals. Select Leave Accidentals Alone to prevent
the plug-in from making any changes in frozen accidentals. Select Default Accidentals to show
only default accidentals and ignore any forced accidentals. Select Show or Hide All Accidentals to
show or hide all the accidentals in the selected region, even the naturals. Select Clear Frozen
Accidentals to remove all the frozen accidentals in the selected region. Select Remove All
Accidentals to remove every accidental in the selected region.

Remove Ties. Select this checkbox to remove all the ties in the selected region.

Verify Retrograde. Click on this button to see if your selections for retrograde can be accomplished
on the selected region. If the selected region contains slurs attached to notes, mirrored measures or
voice 2, the dialog box will display a message indicating that these cannot be accounted for in the
Retrograde operation.

Remove Items Close. Click Remove Items to delete note-attached slurs, notes in voice 2, or
mirrored measures in the selected region. Click Close to return to the Canonic Utilities dialog box.

Apply Play Close. Click Apply to make the selected changes in your dialog box and keep the
Canonic Utilities dialog box open. Click Play to playback the selected region using the current
settings in the Playback Controls. Click Close to exit the dialog box without making any changes to
your document.

Mirror Inversion Options

905

Pivot Note Octave Listen. Select the note and octave around which you would like the mirror
inversion to pivot. If you prefer you can click on the Listen button and play the note on your MIDI
keyboard. The note and correct octave will be selected for you.

Simplify Spellings. Click Simplify Spellings to prevent the plug-in from creating double-sharps and
flats when inverting the selected region.

OK Cancel. Click OK to change the settings and return to the Canonic Utilities dialog box. Click
Cancel to return to the Canonic Utilities dialog box without changing any settings.

Transposition Options

No Transposition Transpose Diatonic Transpose Chromatic Transpose Semitones. This is

the same drop-down list as in the main dialog box.

Transpose Diatonic: Unison Second Third Fourth Fifth Sixth Seventh Octave Other.
Select the interval you desire from the drop-down list or choose Other and type in the interval you
prefer.

Transpose Chromatic: Perfect Unison Augmented Unison... Other. Select the interval you
desire from the drop-down list or choose Other and type in the interval and alteration you prefer.

Transpose Semitones: 0 - 11. Select the interval you desire from the drop-down list. This serial
music option is similar to Chromatic Transposition in that each semitone is a half step, but there is no
diatonic implications of the intervals. It refers only to the total number of half steps.

Up Down. Select whether to transpose up or down from the drop-down list.

Favor Sharps Favor Flats (Transpose Semitones only). Select which option you prefer for your
transposition. This is only available when Transpose Semitones is selected.

Plus _ Octaves. Type the number of octaves over which to transpose the selected region.

OK Cancel. Click OK to change the settsings and return to the Canonic Utilities dialog box. Click
Cancel to return to the Canonic Utilities dialog box without changing any settings.

Retrograde Options

Key Changes Time Changes. Deselect these options to prevent the plug-in from including key and
time changes when you apply the retrograde to your selected region.

OK Cancel. Click OK to change the settings and return to the Canonic Utilities dialog box. Click
Cancel to return to the Canonic Utilities dialog box without changing any settings.

906

Cautionary Accidentals Plug-in

How to get there

Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Cautionary Accidentals.

What it does
The Cautionary Accidentals plug-in allows you to add cautionary accidentals in various forms to your
document. Click all the options (with or without parentheses) to have accidentals display on all notes. The
plug-in works only on standard major and minor keys.

Courtesy Accidentals Parenthesize. Select this checkbox to force courtesy accidentals to display
on notes after an accidental within a measure and in following measures. Checking Parenthesize will
cause the courtesy accidentals to have parentheses.

Courtesy Naturals Parenthesize. Select this checkbox to force the courtesy cancellation of an
accidental from the previous measure. Checking parenthesize will cause courtesy naturals to have
parentheses.

Key Cancellations Parenthesize. Select this checkbox to force courtesy accidentals on notes after
a key change. Checking parenthesize will cause key cancellation courtesy accidentals to have
parentheses.

Diatonic Accidentals Parenthesize. Select this checkbox to force diatonic accidentals (such as
B in F major) to display. Checking parenthesize will cause diatonic accidentals to have
parentheses.

Naturals Parenthesize. Clicking this button will force naturals to display. Checking parenthesize
will cause naturals to have parentheses.

907

Reset After ___ Measures. Type in the number of measures Finale should continue looking for
cautionary accidentals. For example, Reset After 1 Measures will only show cautionary accidentals
in the next measure, not any measures after that. Reset After 2 Measures will only show cautionary
accidentals in the next 2 measures, and so on. This setting only affects courtesy accidentals and
courtesy naturals.

Cautionary Accidentals on Tied Notes: Never Only Across Barlines Always. Select how you
want accidentals displayed on tied notes.

Layers to Check: Layer1 Layer 2 Layer 3 Layer 4. These four checkboxes allow you to specify
which layers to apply the options you have selected. This will allow you to have a layer hidden for
playback without affecting your displayed notation.

Auto-Freeze Accidentals. Checking this option will make Finale freeze the changes made by the
plug-in. (This option is identical to Auto-Freeze in the Speedy Menu.)

No Cautionaries On Repeated Notes. Check this box to tell Finale only place cautionary
accidentals on the first occurrence of a pitch affected measures.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

908

Change Fonts Plug-in

How to get there

From the Plug-ins Menu, choose Miscellaneous, and then Change Fonts. See Plug-ins Menu for more
information on plug-ins.

What it does
The Change Fonts plug-in allows you to change the font globally for specific items in your score such as
Lyrics (verses, choruses, and sections), Text Blocks, and Staff or Groups Names.

Change. Click on the button next to the item for which you would like to change the font. The Font
dialog box appears where you can set the Font, Size, and Style. See Font dialog box for more
information. The current font selection is displayed in the dialog box next to the item.

Individually Change Lyrics. Select this checkbox if you would like to change the font individually on
sections, verses or choruses.

OK Cancel. Click OK to change the font on the selected items. Click Cancel to dismiss the dialog
box without making any changes.

909

Change Noteheads Plug-in

How to get there

Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Change Noteheads.

What it does
The Change Noteheads plug-in allows you to change the noteheads of all the notes in the selected
region.

Small slash (rhythmic notation) Large slash (slash notation) X notehead Filled (quarter
note) Open (half note) Custom: Select custom symbol Standard music notehead. Select
one of these options to change your noteheads to in the currently selected region. The slot number
of the currently selected notehead is shown in parenthesis. For custom symbols, see Document
Options-Stems.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

910

Change to Default Whole Rests

Plug-in
How to get there
Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Change to Default Whole Rests.

What it does
The Change to Default Whole Rests plug-in allows you to change all the whole measure rests in the
selected region to default rests. See also Change to Real Whole Rests and Whole rests.

911

Change to Real Whole Rests Plug-in

How to get there
Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Change to real Whole Rests.

What it does
The Change to Real Whole Rests plug-in allows you to change all the whole measure rests in the
selected region to real whole measure rests (as opposed to default measure rests, see above). See also
Change to Default Whole Rests and Whole rests.

912

Check Range Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Check Range. If you prefer to apply
Check Range to a specific region, select the region using the Selection Tool before choosing the plug-in
from the Plug-ins Menu.

What it does
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. It will operate on the current selection, or the entire document if there is no
region selected (using the staff name attribute to identify an instrument). In either case, the plug-in will go
through the document (or selected region) on a staff by staff basis, comparing the notes to check if they
are within the range of the instrument specified for each particular staff. For every note that is outside the
specified range, you may either change the note, erase it, or simply leave it alone.
There are three pre-defined ranges for each instrument the Check Range plug-in knows about: Beginner,
Intermediate, and Advanced. If the pre-defined ranges do not suit your needs you may specify other
values for the highest and lowest pitches of the range the Check Range plug-in will use.
The Check Range plug-in will suggest an instrument based on the Full Staff Name attribute of the staff
currently under examination. If there is no Full Staff Name, the plug-in will try the Abbreviated Staff Name
attribute of the staff, then the Full Group Name and Abbreviated Group Name attributes of the group to
which the staff belongs. If, for some reason, the suggestion does not suit your needs, you can choose
another instrument from the list of available instruments.

Staff Name. Check Range suggests an instrument and range based on the Full Staff Name attribute
of the staff under examination. (If the Full Staff Name attribute is not set, the plug-in will try to find an
instrument name by examining the staffs Abbreviated Staff Name attribute, then the Full Group
Name and Abbreviated Group Name attributes of the group to which the staff belongs.) If the
instrument suggested does not suit your needs, you can select another instrument from the list.

Range Class. You can specify one of three pre-defined ranges for the selected instrument by
choosing an item in the Range Class drop-down list.

High Note Low Note. You can also modify the extent of the instrument range by editing the values
in the High Note and Low Note fields directly. Use the arrows next to the text fields to change the
values a half-step at a time, or click on the Listen buttons to enter pitches from a MIDI instrument.

913

Display at Concert Pitch. If the current staff is a transposing staff, the Display at Concert Pitch
Checkbox under the Low Note field is active and you can use it to alternate between displaying
pitches at concert pitch or at the staffs transposition.

Skip Staff. If you decide you want to skip the current staff and have the Check Range plug-in
continue its operation with the next staff, click on the Skip Staff Button.

Check Cancel. Click Cancel to cancel the Check Range operation immediately. Click Check to
check notes on the current staff against the range you have specified.

Out of Range Note. If a note is found that is too high or too low for the range specified, Finale will
scroll to the measure and staff where the offending note was found and you will be presented with a
dialog in which you can modify the pitch. (In this example, the Beginners range for Flute was
selected, so the B natural below middle C was out of range; the Advanced Range for Flute includes
the B natural.)

Change To Listen. The dialog suggests a pitch within the specified range as an alternative to what
is written in the document. You can override this suggestion by typing in a different value in the
Change To text field. You can also use the arrows next to the text field to change the value a halfstep at a time, or click on the Listen button to specify a pitch from a MIDI instrument.

Display at Concert Pitch. If the current staff is a transposing staff, the Display at Concert Pitch
Checkbox under the Low Note field is active and you can use it to alternate between displaying
pitches at concert pitch or at the staffs transposition.

Change Note Erase Note. Click Change Note to change the pitch to the value youve specified.
Click Erase Note to delete the note. In most cases, the entry will consist of a single note, erasing it
will replace it with a rest. If the entry was a chord, the note will simply be deleted.

Next. Click Next to leave the offending note unchanged, the Check Range plug-in will then continue
checking the staff at the next note. The plug-in will continue looking for out of range notes until it
reaches the end of the current staff. Then the Check Range dialog will be displayed for the following
staff and you can continue the range checking operation.

Stop. Click the Stop Button to stop the range checking process immediately.

Notes:

The Check Range dialogs always use the notational conventions you specified in the Pitch
Representation section of Program Options-View (under the Edit Menu).

The Check Range dialog uses some simple methods to guess the name of the instrument you want
even if the Full Staff Name is slightly different. Most plural forms are recognized correctly, as are
numbers before or after the instrument name (Violin II is matched to the violin and 2 Flutes is
matched to the flute). If the Check Range dialog does not match the instrument you intended, simply
select the instrument you want.

The list of instruments recognized in the Check Range dialog is quite extensive, and should cover
most needs. But, if an instrument you need is not found in the list, try an instrument with a similar
range; you can always adjust the values of the range to suit your needs.

914

Check Region for Durations Plug-in

How to get there

From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Check Region for Durations. If
you prefer to apply Check Region for Durations to a specific region, select the region using the Selection
Tool before choosing the plug-in from the Plug-ins Menu.

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

[Message text]. Look at this text for direction on how to proceed and the results of your actions.

Do you want to: Leave the measure alone Delete the extra notes Move the extra notes to
the next measure Edit Directly Fill with Rests Keep moving the extra notes. Click on the
option which corresponds to the action you would like to take when you have too few or too many
notes in a measure.

Measure Detected: Staff Measure Layer. These text boxes display where the measure with too
few or too many notes is located.

Check. Click this option to start or continue your search for measures with too many or too few
beats.

Done. Click Done to stop looking for measures with too many or too few beats.

915

Chord Analysis Plug-in

How to get there

Select a region of your score containing stacked notes in one or two staves with the Selection Tool. From
the Plug-ins Menu, choose Scoring and Arranging, and then Chord Analysis.

What it does
The Chord Analysis plug-in generates chord symbols by analyzing existing notation. This plug-in works
much like the One-Staff Analysis and Two-Staff Analysis options under the chord menu, but for any
region of your score selected with the Selection Tool.

Add chord symbol to: First note in each measure All down beats All notes. Use these
options to specify the frequency of automatically generated chord symbols. Choose First note in
each measure to analyze only the first beat in each measure and disregard entries on subsequent
beats. Choose All down beats to analyze only emphasized beats. This setting includes beats 1 and 3
in common time and beats 1 and 2 for simple 6/8 (1 and 4 for compound 6/8 etc.). Choose all notes
to analyze all note in the selected region.
Note: As indicated in this dialog box, chord
symbols are only added to notes and not rests.

Show unknown chord suffix as. If Finale is unable to interpret a chord, the text displayed in this
box will appear in the score. To add the chord symbol manually use Type Into Score, Manual Input,
or MIDI Input. See Chord symbols.

Allow repeated chord symbols. If this option is unchecked chord symbols are only added when the
harmonic progression changes, also accounting for boundaries set under Add chord symbol to. If
this option is checked chord symbols are placed on all chords, again, accounting for the boundaries
specified under Add chord symbol to.

Repeat chord symbol at beginning of next system. Check this box to instruct Finale to disregard
an unchecked Allow repeated chord symbols setting for repeated chords on the first beat of a
system. In other words, with this option checked, a chord symbol always appears at the beginning of
each system.

916

Chord Morphing Plug-in

How to get there

Select a sequence of chords in one staff with the Selection Tool l. Each chord must contain at least two
notes of a quarter note duration in layer 1. From the Plug-ins Menu, choose Scoring and Arranging,
Composers Assistant, and then Chord Morphing.

What it does
The Chord Morphing plug-in creates a new staff with a sequence of chords, each of a whole note
duration. An asterisk will mark the division between sequences. The sequences will consist of the original
input chords plus a number of new intermediary chords inserted between them. This plug-in was
designed to be a compositional tool capable of automatically generating a variety of smooth betweenchord transitions from which the user could pick and choose.

Morphing Type: A B C. Select a morphing type. The plug-in uses three methods to create the
intermediary chords: removing notes from the source chord that dont appear in the target chord,
adding notes from the target chord, and mutating (changing) notes in the source chord to notes
found in the target chord without removing notes. The morphing type determines the order in which
the plug-in manipulates the chords. In Morphing Type A, all mutations occur first, then removals,
then additions. In Morphing Type B, all removals occur first, then mutations, then additions. In
Morphing Type C, all removals occur first, then additions, then mutations.

Note Mutation Threshold (in semi tones). Use Note Mutation Threshold to define how close the
notes must be in order for mutation to occur. Mutation occurs only when notes in the source are
close to notes in the target.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

917

Chord Realization Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, Composers Assistant, then Chord Realization.

What it does
The Chord Realization plug-in generates four-part realizations of a triad based on the major key and
scale degree specified. The plug-in attempts to sort them based on classical textbook rules with best
solutions first.

Tonality. Select the major key that you wish to see chords in.

Degree. Select the scale degree that will constitute the root of the chord.

Specify Range: Soprano Alto Tenor Bass. Specify the range for each voice. Middle C, or C4 is
represented as MIDI note 60.

Inversions: Root Position First Inversion Second Inversion. Choose the inversion(s) that will
be realized.

Display Result on: Two Staves Four Staves. Specify whether you want a choral score of four
staves or a piano score of two staves.

Limit Each Category to __ Chords. Check this box to have the plug-in create the specified number
of chords or less for each inversion.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

918

Chord Reordering Plug-in

How to get there

Select a sequence of chords in one staff with the Selection Tool l. All chords must be in layer 1, voice 1.
From the Plug-ins Menu, choose Scoring and Arranging, Composers Assistant, and then Chord
Reordering.

What it does
The Chord Reordering plug-in creates a new staff below the selected staff. The new staff will display the
chords in the selected region, but in a different order.

Find Best Solution Find Random Solution Find Best Solution Beginning with Chord
Number ___. Choosing Find Best Solution will compute the solution that contains the largest
possible number of common notes between each pair of adjacent chords. Choosing Find Random
Solution simply reorders the chords in a random fashion. FindBest Solution Beginning with
Chord Number ___ will begin the sequence with the specified chord, and then reorder the remaining
chords in the way that contains the largest possible number of common notes between each pair of
adjacent chords.

Find Random Solution. Choosing this option will begin the sequence with the specified chord, and
then reorder chords randomly.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

919

Chord Splitting Plug-in

How to get there

Select a chord in one staff with the Mass Edit Tool l. The chord must contain at least two notes and be in
layer 1. From the Plug-ins Menu, choose Scoring and Arranging, Composers Assistant, and then Chord
Splitting.

What it does
The Chord Splitting plug-in creates a new staff or staves containing subsets of the original chord, each a
whole note in duration. These subsets are based on harmonic targets that were implicitly contained inside
the original chord. This plug-in was designed to be a composition/orchestration utility capable of
automatically generating several simplified subsets of a more complex chord.

Find the __ first splits. The Chord Splitting plug-in has the capacity to split the chord several times
at once. The results will display the split containing the smallest number of subsets first, and then a
new staff for each succeeding subset.

Add the Virtual Fundamental. Check this option to add a staff containing the virtual fundamental
beneath each staff of subsets. For a definition of the Virtual Fundamental, see Virtual Fundamental
Generator plug-in.

Virtual Fundamental Parameters. Use this section to modify the parameters of the virtual
fundamental. This functions the same as the Virtual Fundamental Generator plug-in.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

920

Classic Eighth Beams Plug-in

How to get there
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Classic Eighth Beams. If there
is no selection when you invoke the Classic Eighth Beams command, it will ask you if you want to
process the entire document.

What it does
The Classic Eighth Beams plug-in modifies the beaming of eighth notes in
beamed as if the Time Signature were

time. Eighth notes will be

In most music, it is conventional in

time to beam eighth notes in groups of four, while beaming
smaller note values to the quarter note. Previous versions of Finale only supported beaming to the beat,
with the result that sixteenth notes would be properly beamed (in groups of four) but eighth notes would
be grouped in pairs.
The Beam Eighth Notes in Groups of Four in Common Time option solves this problem. (See Document
Options-Beams for new documents.) It automatically beams eighths in groups of four while beaming
smaller note values to the quarter note. However, it does not modify the beaming in documents created
without the option. The Classic Eighth Beams plug-in was designed to fill this need by modifying the
beaming of eighth notes in

time.

Using the Classic Eighth Beams Plug-in

Use the Selection Tool to select a region in which you wish to modify the beaming of eighth notes.

After invoking the Classic Eighth Beams plug-in, eighth notes in all 4/4 measures will be beamed in
groups of four. Other note combinations remain unmodified. In the example, the eighth note groups in
measure one and the second half of measure two are beamed in groups of four. The eighth-sixteenthsixteenth rhythm in measure 2 are unchanged, in accordance with common practice. The groups of
eighth notes and rests in measure 3 are beamed together.

Notes:
The Classic Beams plug-in functions similarly to the Selection Tool Rebeam command when
Classic Eighth Beams has been selected in Document Options-Beams (under the Document
Menu). The plug-in, however, will only modify the beaming of groups of four eighth notes, any

921

custom beaming of other rhythmic groups remains unchanged. the Selection Tool Rebeam
command will reset all beaming to the values determined by the time signature and document
options. Note also that the plug-ins behavior is independent of the option setting; the Classic
Eighth Beams option may be turned off and you can still use the Classic Eighth Beams plug-in.
Voice 2 eighth note Entries will be beamed in groups of four only if the all four Voice 2 entries are
launched from a single Voice 1 Entry. This is a general principle of Voice 2 beaming (only Voice 2
Entries launched from a single Voice 1 Entry can be beamed together).

922

Clear Lyric Positioning Plug-in

How to get there
From the Plug-ins menu, choose Lyrics, and then select the Clear Lyric Positioning.

What it does
The Clear Lyric Positioning plug-in allows you to clear any individual positioning of lyrics for the selected
lyrics.

Choose the lyric section(s) to reset [list box]. Select the lyric sections to be reset here.

Horizontal Vertical. Select the checkboxes to reset only vertical changes, horizontal changes or
both.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

923

Clear Measure # Positioning Plug-in

How to get there
Select a region with the Measure Tool (or any other tool with regional selection). From the Plug-ins Menu,
choose Measures, and then Clear Measure # Positioning.

What it does
The Clear Measure # Positioning plug-in allows you to clear any individual positioning applied to measure
numbers in the selected region.

924

Command Line Plug-in

How to get there

From the Plug-ins Menu, choose Miscellaneous, and then Command Line.

What it does
The Command Line plug-in allows for quick note entry by typing in specific commands.

Commands. Type in the string of commands for the plug-in to perform.

Commands

Duration

Note Type

Double-Whole note

Whole Note

Half Note

Quarter Note

Eighth Note

Sixteenth Note

32nd Note

64th Note

Augmentation Dot

925

() around accidentals

TP

Tuplet

C4

Middle C

Rest

# or S

Sharp

## or SS

Double sharp

Flat

bb

Double flat

Natural

Note delimiter (between

the notes in chords)

Chord, Beat delimiter

Q,NQ

Grace Note Entry

T,NT

Treble Clef Entry

Multiplier

Syntax:
[T/NT][Q/NQ][Tuplet]DurationPlacement[P][;[Duration]Placement[P]...][Multiplier]
[,[T/NT][Q/NQ][Tuplet][Duration]Placement[P][;[Duration]Placement[P]...][Multiplier]]
Tuplet = TP[# of Tuplet][Duration of Tuplet] e.g. TP34 = eight note triplet
Duration = Number from 1-8 where 1= 64th note and 8 = breve.
Placement =
R for rest,
Pitchname[Alteration][Octave] (Octave only needs to be used the first time in each string or to change
from the current octave),
+ or - to add the previous note an octave lower or higher.
Multiplier = e.g. 4x, 2x
Examples:

926

Above is an example that places 5 chords into the staff. Notice that the duration or octave is not required
unless it is changing. The semicolon designates different notes in the chord, and the comma designates
the next beat.

Above is an example of using the - sign to add a note one octave lower.

Above is an example of using the multiplier function.

Above is an example of using the period to indicate a dotted note. Notice that to enter a tie you can use
the appropriate duration of the note across a time signature beat.

Above is an example using the Treble Clef entry mode which allows you to enter notes in any clef as if
they were in Treble Clef.

Above is an example of entering an eighth note triplet. The first number after the TP indicates the type of
tuplet and the second number indicates the duration of the notes.

927

Above is an example of entering grace notes. Be sure to use NQ to return to entering normal notes.

Staff Layer Measure. Select which staff, layer and starting measure your notes will be entered.

Accidental is Implied. Deselect this option to place courtesy accidentals. With this option selected,
only alterations outside the key signature need to be indicated.

Apply OK Cancel. Click Apply to apply the current commands and leave the dialog box available
for the next set of commands. Click OK to make the selected changes. Click Cancel to dismiss the
dialog box without making any changes.

928

Common Tone Transposition Plugin

How to get there

Select a single chord in layer one and voice one with the Selection Tool l. From the Plug-ins Menu,
choose Composing and Arranging, Composers Assistant, and then Common Tone Transposition.

What it does
The Common Tone Transposition plug-in creates a series of chords that share at least one common tone
with the original chord.

Specify Range: Lowest Highest. Use these spin controls to restrict output to a specified range.
Middle C, or C4 is represented as MIDI note 60.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

929

Composers Assistant Plug-ins

How to get there
From the Plug-ins Menu, choose Scoring and Arranging, and then Composers Assistant.

What it does
These plug-ins provide a starting point for composition. The Composers Assistant plug-ins are as
follows: Chord Morphing, Chord Realization, Chord Reordering, Chord Splitting, Common Tone
Transposition, Frequency Modulation Chord Generator, Melodic Morphing, Rhythm Generator, Tie
Common Notes and Virtual Fundamental Generator. You can also use the Import From OpenMusic. and
Export to OpenMusic plug-ins to transfer data between Finale and OpenMusic.
As an experiment, generate a sequence of chords via the Common Tone Transposition plug in, run it
through the Chord Reordering plug-in, run it through the Tie Common Notes plug-in, and play it back at a
slow tempo on a string patch.

930

Count Items Plug-in

How to get there

From the Plug-ins Menu, choose Miscellaneous, and then Count Items. If you prefer to apply Count Items
to a specific region, select the region using the Selection Tool before choosing the plug-in from the Plugins Menu. See Plug-ins Menu for more information on plug-ins. See also File Statistics dialog box.

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

Measures Notes Grace Notes Rests Tuplets Expressions Articulations Lyrics

Measure Text Staff Systems Page Text Key Changes Time Sig. Changes Clef Changes
Repeats Text Repeats Measure Numbers Chord Symbols Measure Graphics Page
Graphics Smart Shapes. These are the various items counted in the selected region and the
result of that count.

Done. Click Done when you have finished to dismiss the dialog box.

931

Create Coda System Plug-in

How to get there

Select the first measure of the desired coda region with the Selection Tool. From the Plug-ins Menu,
choose Measures, and then Create Coda System.

What it does
This plug-in allows you to automatically define a coda, including a gap between measures in order to
create an independent coda system on the same line. You are also given the option to add a Coda
marking or symbol as well as the text repeat markings D.C. al Coda or D.S. al Coda. You can also add
) and To Coda marking, and specify the appropriate measure for these items. Finale
a Segno (
defines playback automatically based on your settings. A double barline is added to the end of the
measure prior to the new coda system automatically.

Horizontal Space Between Systems. Here, enter the space desired between the first measure
of the coda system and the previous measure. The default space is .5 inches. The value is
represented in the measurement unit selected in the Measurement Units submenu of the Edit
Menu.

Coda Symbol Coda Text Create To Coda in Measure _. Check Coda Symbol to place the
standard coda symbol at the beginning of your coda system. Check Coda text to place the text
Coda at the beginning of your coda system. Both of these options are checked by default. Check
Create To Coda in measure and enter a measure number to add a To Coda marking.

D.C. al Coda D.S. al Coda None Create Segno in Measure_. Check D.C. al Coda to place this
marking at the end of the system prior to the coda system. Check D.S. al Coda to place this marking
at the end of the system prior to the coda system. Choose none to place no text at the end of the
system prior to the coda system. Check Create Segno in Measure and specify a measure number to

932

add a segno marking. These markings are added to the document as Text Repeats which can be
edited with the Repeat Tool. They are automatically defined to apply to playback. In the case of a
D.S. al Coda, playback will return to the Segno (

) marking added in a previous measure.

OK Cancel. Click OK to apply your settings. Click cancel to dismiss the dialog box without
adding a coda system.

933

Create Handbells Used Chart Plug-in

How to get there

Choose the Selection Tool and select the region of the document containing notes you want to include in
a handbell used chart (or Press Ctrl-A to select all). From the Plug-ins Menu, choose TGTools, and then
Create Handbells Used Chart.

What it does
This plug-in creates a handbells used chart automatically based on all pitches discovered in a region
selected with the Selection Tool. The chart can be a single treble clef staff or grand staff.
The chart can be added to the beginning of the document as is standard practice for handbell scores.

Insert measures for chart at beginning of document. Check this option to instruct Finale to create
a new measure at the beginning of the document to be used as the Hand Used chart.

Create chart beginning in measure number__. Enter the measure you wish to insert the hand
used chart. If the measure specified is not empty you will be prompted to choose to overwrite the
measure. This text box is only available if the above option Insert measures for chart at beginning of
document is unchecked.

Display on Grand Staff. Check this option to display the chart on both staves of a grand staff. If this
option is not checked the chart will always appear on a single staff in treble clef. When the chart is
displayed on a grand staff the default split point is Db5 (notes of Db5 or above appear on the treble
clef staff).

Set split point. To specify an alternative split point, enter it here (C5 = Middle C). This is the lowest
note that will display in the treble clef staff.

934

Staff Size Percentage. Here, enter the size (as a percentage of the regular staves) you would like to
display staves in the handbells used chart.

Display number of octaves and bells. Check this option to automatically add a text expression
above the chart that displays the number of octaves and bells used.

Display enharmonic versions of same pitch separately. Check this option to display both
spellings of the same pitch in the chart. For example, if an F sharp and G flat are both notated in the
document and in the selected region, both of these spellings will appear in the chart.

Display each special notehead separately. Check this option to display special noteheads, such
as diamond handchime noteheads, in a separate sequence. If this option is not checked, special
noteheads are represented as regular noteheads in the bells used chart.

Use separate measure for each special notehead. Check this option to place the sequence of
special noteheads in its own measure. The special notehead sequence will appear in a separate
measure after the regular bells used chart with the exception of diamond noteheads (open/closed)
which will appear in the same chart regardless of this setting.

Display pitches in octaves. Check this option to group multiple notes vertically if they are an octave
apart. Pitches are only displayed in octaves on the treble clef staff.

Start octaves with pitch. Here you can specify the lowest pitch you wish to display bells used in
octaves.

Go Cancel Defaults About. Click Go to generate the bells used chart based on your settings.
Click Cancel to dismiss the dialog box without making any changes. Click Defaults to restore this
dialog box to the default settings. Click About for more information on the TGTools collection of plugins.

935

Create Tempo Marking Plug-in

How to get there

Select a measure with the Selection Tool. From the Plug-ins Menu, choose Expressions, and then . See
Plug-ins Menu for more information.

What it does
The plug-in allows you to easily create a tempo marking as an expression and set the playback features
for the selected measure.

Display Tempo Text. Check this box and enter the desired text in the field below (e.g. Allegro).
This text will appear before the metronome marking if Display Metronome Marking is
checked.

Display Metronome Marking. Check this box to display the metronome marking defined in the note
value selection palette and tempo text box (

=100).

Define Expression for Playback. Select this checkbox for the tempo marking to speed up or slow
down the playback of the score.

[Note value selection palette]. Select the note value you want to use in your tempo marking.

936

[Tempo text box]. Type the tempo in this text box.

Show On: All Staves This Staff Only. Select All Staves to show the tempo marking on every staff
in the score and parts. All Staves is selected by default. Select Top Staff Only to assign the tempo
marking to the top staff only.

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 tempo markings. 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 tempo marking
should appear in. See Staff List dialog box.

OK Cancel. Click OK to create a tempo marking. Click Cancel to return to the document without
making any changes.

937

Cross Staff plug-in

How to get there

From the Plug-ins Menu, choose TGTools, and then Cross Staff.

What it does
A cross-staff note is one that belongs to one staff, but that, for notational efficiency (for example, to
eliminate the need for ledger lines) is written in another staff, often with a different clefits stem is
stretched from the original staff to the target staff. See Cross-staff notes. You can use the Cross-staff
plug-in to automatically move notes from one staff to another where appropriate.

Fill empty destination measures with invisible whole rests. Check this box to fill measures
notes have been moved to with a hidden whole rest. If this box is not checked, a default
whole rest will accompany the cross-staff notes.

Remove existing cross-staff data. Check this box to remove cross staff data applied with the
NoteMover Tool. See Cross-staff notes.

Single Notes. If Single Notes is checked, single notes within the applicable range of the selected
region move according to the settings in this dialog box. If Single Notes is unchecked, single notes
remain stationary.

Octaves. If Octaves is checked, both notes in an octave pair will move together if one of the notes is
within the applicable range of the selected region. If Octaves is unchecked, all notes in the octave
pair remain stationary.

Chords. If Chords is checked, all notes in a chord move together if any note in the chord is within the
applicable range (above/below the split point) of the selected region. If Chords is unchecked, chords
remain stationary.

Apply to one entry out of. Enter a number here to apply these settings to every other note, every
third note and so on. For example, enter 2 to specify every other note, or three to specify every third
note.

Start with which entry number of selection. Here, specify the first note in the selected region to
which these settings will be applied.

938

Split Point. Enter the split point, or the point at which you want to separate notes to be moved to
another staff. Notes below or above the pitch entered here can be moved to the next or previous
staff independently.

Pitches: All Below Above. Choose All to move all pitches in the selected region. Choose Below
to move notes below the pitch specified for Split Point. Choose Above to move notes above the pitch
specified for Split Point.

Cross Notes To Which Staff Previous Next. Choose previous to move designated notes in the
selected region to the previous staff (above). Choose Next to move designated notes in the selected
region to the next staff (below).

Apply Close. Click Apply to apply the current commands and leave the dialog box available for the
next set of commands. Click Close to dismiss the dialog box without making any changes.

939

Drum Groove plug-in

How to get there

Select a region of the document. See Selecting music. From the Plug-ins Menu, choose Scoring and
Arranging, and then Drum Groove.

What it does
The Drum Groove plug-in allows you to add a percussion part to the document containing one of many
available rhythms, or Drum Grooves. These drum grooves include percussion notation along with a
corresponding percussion map.

Style. From this list, choose the drum groove style you would like to add to the document. The drum
groove you choose should correspond to the tempo and time signature of the piece. For example,
Jazz Waltz should be applied section of music in triple meter. If the region selected in the document
exceeds the duration of the drum groove, the drum groove will repeat until the end of the selected
region. Each style in this list corresponds to a MIDI file in the Finale 2009/Component Files/Drum
Groove folder. As noted in the dialog box, you can add supplement this list by adding any MIDI file
with a percussion track (on channel 10) to the Drum Groove folder. The MIDI files name appears in
this list. Then, when the new style is chosen, Finale uses the MIDI data on channel 10 as the drum
groove.
The Drum Groove plug-in does not read MIDI data on any channel other than channel 10. If a MIDI
file contains percussion notation in a channel other than 10, open the file in Finale (or another
program that supports MIDI editing) and change the staff (or track) containing the percussion
notation to channel 10.

New Staff at Bottom of Score Existing Staff. Choose New Staff at Bottom of Score to add the
drum groove into a new percussion staff added automatically to the bottom of the score. Choose
Existing Staff, and then select a staff from the drop-down menu to add the drum groove into any
existing staff.

Generate: Notation with Percussion Map Normal Notation Slashes. Choose Notation with
Percussion Map to add drum notation in addition to a percussion map which assigns each
percussion instrument to a specific notehead and staff line or space. See Percussion for more

940

information. Choose Normal Notation to add the drum groove as normal notation. If you choose this
option, notation appears on the staff based on MIDI Note numbers instead of a percussion map.
Choose Slashes to display the drum groove as slash notation in the document. If you choose
Slashes, the entire staff containing the drum groove will use the Slash Notation staff attribute. See
Alternate Notation dialog box. To apply slash notation (or normal notation) to a portion of a staff, use
Staff styles.

OK Cancel. Click OK to add the drum groove to the document based on the setting chosen. Click
cancel to dismiss the dialog box without adding a drum groove.

941

Easy Harmonics Plug-in

How to get there
Select a region with the Selection Tool. From the Plug-ins Menu, choose TGTools, then Easy Harmonics.

What it does
The Easy Harmonics plug-in allows you to easily create string harmonics. This plug-in searches the
selected region for intervals of two notes. The selected region can include partially selected measures.
When the selected interval is found, the upper note is turned into a diamond.
Before:

After:

Apply to: thirds fourths. Select an interval to turn into harmonics. These intervals need to be
entered as normal notes before running the plug-in.

Go Close About. Click Go to create the harmonics and leave the dialog box available for further
commands. Click Close to dismiss the dialog box without making any changes. Click About for more
information about the complete TGTools plug-in collection.

942

Easy Measure Numbers Plug-in

How to get there

Select the region using the Measure Tool (or any other tool with regional selection). From the Plug-ins
Menu, choose Measures, and then Easy Measure Numbers. See Plug-ins Menu for more information on
plug-ins.

What it does
The Easy Measure Numbers plug-in allows you to easily place measure numbers over a region of the
score. If you already have a measure number map in that region, you will be notified. You may have more
than one measure number map for a region of measures. Click OK to continue creating another measure
number map, or cancel to dismiss the dialog box without creating a measure number map.

Number the measures in the selected region starting with:. Enter the first number of the
measure number range you want to create.

OK Cancel. Click OK to create a measure number map starting with the specified number. Click
Cancel to dismiss the dialog box with making any changes.

943

Easy Tremolos Plug-in

How to get there

Select a region with the Selection Tool. From the Plug-ins Menu, choose TGTools, then Easy Tremolos.

What it does
The Easy Tremolos plug-in allows you to easily create tremolos for display and playback. First enter the
notes so they fit into the measure without the tremolo. The Easy Tremolos plug-in converts any two
consecutive identical pitches into a tremolo. The tremolos note durations are doubled:
Before:

After:

Some options enable fine-tuning tremolo notation (such as the number of beams). The plug-in can be reapplied to change the options on an existing tremolo: for example, to change the number of beams or
add playback notes. The plug-in wont revert tremolos back to normal notes.
If you want to convert a specific pair of notes or chords within a measure, use Partial Measure Selection.

Total Number of Beams. Enter the number of tremolo beams between the two pitches.

Avoid accidentals on notes with stems. Check this box to have the tremolo beams avoid any
accidentals.

Create playback notes. Check this box to have the tremolo written out for playback in hidden notes
in layer 4. (The hidden notes will obscure the layer 1 notes. If you want to hide layer 4 completely,
from the Document Menu, choose Document Options and select Layers. Then, in the Settings For
drop-down menu, choose Layer 4 and check Hide Layer When Inactive).

944

Override Human Playback. Check this option to apply the settings in this dialog box if Human
Playback is turned on in the Playback Settings dialog box.

Go Close Defaults About. Click Go to create or modify tremolos based on your options and
leave the dialog box available for the next command. Click Close to dismiss the dialog box without
making any changes. Click Defaults to restore the original settings. Click About for more information
about the complete TGTools plug-in collection.

945

Extract Lyrics Plug-in

How to get there

From the Plug-ins Menu, choose Lyrics, then select Extract Lyrics.

What it does
The Extract Lyrics plug-in allows you to save the lyrics in your file to a text file. These lyrics could then be
imported into a word processor for spell-checking or sent to a lyricist for collaborations. You may choose
to extract all lyrics, all lyrics of a specified type, or any single lyric of a specified type.

All Lyrics Verse/Chorus/Section Number All Verses/Choruses/Sections. Choose which lyric

or lyrics to extract from the current score. When Verse Number, Chorus Number or Section Number
is chosen, the text box and arrow items become enabled. Use the up or down arrow keys to change
the selected number or type directly into the box.

Remove Hyphens and Underscores. When this checkbox is selected, the extraction process will
strip normal hyphens and underscores out of the text before saving it to the text file.

Include Labels. When this checkbox is selected, the plug-in will add a label for each lyric of each
type to be extracted. The label will appear on a line by itself in the following form:
Verse_Lyric: 1
The digit indicates the number of the lyric which has been extracted.

Linebreaks After Sentence End. When checked, this feature will add linebreaks after punctuation
marks, such as periods, question marks, and semi-colons. If you have already formatted your lyrics
in the Edit Lyrics dialog box, you may wish to leave this option unchecked.

Info Extract Close. Click Info for more information about the author of this plug-in. Click Extract to
extract the lyrics to a text file. Finale will prompt for a name and folder to save the resulting text file.
Click Close to dismiss the dialog box without making any changes.

946

FinaleScript plug-in

How to get there

From the Plug-ins Menu, choose Miscellaneous, and then FinaleScript Palette.

What it does
The FinaleScript Plug-in, created by Robert Pichaud, is Finale's integrated scripting utility, which allows
you to specify and execute a series of commands in order to automate repetitive tasks. For example,
instead of opening, changing the spacing, transposing, and adjusting the layout manually, this plug-in
allows you to run all of these commands in succession, accomplishing simple or complicated procedures
instantly.
Use FinaleScript to automate repetitive tasks, create customized pseudo-plug-ins, and even apply
changes to several documents at once using the commands listed in this section. This powerful utility
essentially opens up a new world of editing capability. The potential of this plug-in is only limited by the
available commands and your own imagination. Every Finale menu and virtually all dialog box settings
are accessible through FinaleScript.
The instructions in this section guide you through creating a new script and a list of the available
commands follows. Commands can either be written into a script or entered directly into the "Type a
Command" text box. Press the play button to run the script or command. Alternatively, you can choose
scripts from the Finale Script submenu, or run it using a keyboard shortcut you have assigned to it.
Choose a Script and click the View Current Script button to see examples. To familiarize yourself with this
utility, you will find pre-defined scripts in the FinaleScript Palette a helpful reference. You can also refer to
the Command Reminder script that lists all of the commands.
Here is a description of the FinaleScript Palette's interface:

Script List. This list displays the all the scripts available. All scripts you have saved appear in this
list. Scripts are saved with the program, and are available in all documents and after closing and
reopening Finale. You can organize scripts into folders and subfolders using the "Create a New
Folder" icon above. To change the order of scripts or folders, simply click and drag them into place.

947

Play

. Click this button to play the script selected in the Script List.

Stop

. Click this button to interrupt a script process at any time.

New Script
. Click this button to open the Script Editor dialog box where you can create and
save a new script.

View Current Script

. Click this button to open the Script Editor dialog box where you can edit
the script selected in the Script List. See Script Editor dialog box.

Duplicate Current Script

Delete Script

. Click this button to create a new folder in the script list. Context-click and
Create a New Folder
choose Rename to rename the folder. Simply drag and drop to add scripts to the folder.

. Click this button to display a script report if one exists. This report (or log file) displays
Report
information regarding the success or failure of commands from the most recently run script. You will
also see the folders and subfolders that were processed.

. Click this button to open the FinaleScript Options dialog box where you
FinaleScript Options
can change many aspects of FinaleScript's behavior.

Type a command [Text box]. In this text box, you can apply any FinaleScript command to the main
open document. Separate each attribute with a space. For example Fit Measures 3.

Active Document. Displays the name of the active document while running a script.

Current Process. Displays each command as it is applied to the active document.

Help. Click this button to access the FinaleScript help topic.

. Click this button to duplicate the currently selected script.

. Click this button to delete the script selected in the Script List.

Contextual menus
Contextual menus are reached by right-clicking a script in the FinaleScript 2.0 palette. A contextual menu
will be displayed where you can select various items.

Menu item

What it does

Edit

Opens the script in the FinaleScript - Editor

dialog box

Edit keyboard shortcut

Opens the FinaleScript - Shortcut Editor dialog

box where you can assign the script to a different
keyboard shortcut

Run

Runs the selected script

Rename

Opens the FinaleScript - Rename dialog box

where you can rename the script

Duplicate

Duplicates the selected script

Insert new script

Inserts a new "Untitled" script to the script list

Insert new folder

Adds a new folder to the script list

Delete

Deletes the script

948

Help

Opens the FinaleScript Help Topic of the Finale

User Manual

To Create a New Script

1.

From the Plug-ins Menu, choose Miscellaneous, and the FinaleScript Palette. The FinaleScript
Palette appears.

2.

Click the New Script button

, then click the

. Or, select and existing script and click the duplicate button

button. The FinaleScript Editor dialog box appears.

3.

Enter the script's name in the Script Name text box at the top.

4.

Enter script commands in the order you want to run them. Use the syntax and commands
described later in this section. As you type, FinaleScript automatically colors the text to indicate its
function (see Script Syntax Coloring). Right-click text to display a context menu to insert a path or
choose from a list of suggested keywords (see FinaleScript context menu).

5.

Check Show in Menu if you want to display this script in the FinaleScript submenu of the
Plug-ins menu.

6.

Check Use Shortcut and then click Select to open the FinaleScript Shortcut Editor where you
can define a keyboard shortcut for this script.

7.

Click Run script to test the script without leaving the FinaleScript Editor dialog box.

8.

Click Save and Close. Your script appears in the FinaleScript Palette.

9.

. After the script processes the document(s), click

To run the script, click the Play button
the blinking report button to view a report of the commands applied. Alternatively, you can choose
this script from the Plug-ins > FinaleScript submenu or press the keyboard shortcut you defined.

FinaleScript Commands
FinaleScript allows you to call any menu item and virtually any dialog box command. Commands can be
entered into the either the text box at the bottom of the FinaleScript dialog box, or within the FinaleScript
Editor dialog box.
Invoking a menu item, dialog command, or plug-in is completely independent from case, punctuation,
dash, line feed, carriage return, etc.
Script examples are indicated by yellow highlighting
Command explanations are indicated with green highlighting
"//" can always be used to indicate a comment, which will be ignored by FinaleScript.
//FinaleScript will ignore this text
As you enter, you will notice the script language you enter is colored automatically based on its function.
See Script Syntax Coloring for details.

Menu Scripting commands

You can call any menu item using the full hierarchical specification...
menu item "File/New/Exercise Wizard"
But, the full specification is not required. Alternatively, you could type:
menu item "exercise wizard" //or
plug-in "apply human playback"

949

Also, you can activate or deactivate menu settings...

check/uncheck menu item "display in concert pitch"
As a shortcut, you can use the truncation character * or % for long menu item names. For example:
menu item "compile*" //instead of "compile postscript listing"
plugin "band in a box*" //instead of "band in a box autoharmonizing"

Dialog Box Scripting Commands

Buttons:
Buttons in dialog boxes can be invoked using the following FinaleScript commands:
button "ok" //preferred
press "ok" //preferred
hit "ok" //same
hit ok //same
strike "ok" //fine
click "ok" //not recommended (potential ambiguity with other
controls with same name)
hit "cancel" //same
hit cancel //same
The most common types of buttons do not require quotes, including ok, cancel, save, delete, set font, and
select. The other buttons do require quotes.
Note that only text-based buttons are scriptable,
unless a tab/click workaround is used (see mouse
clicks below).
When several buttons with same text are displayed in a dialog box, you must specify the desired button
by adding a neighborhood specifier' to the command. For example, in the Edit Staff Attributes dialog box,
there are 5 different Select buttons. Use the following neighborhood specifiers to indicate which one you
want to call...
staff tool //to select the Staff Tool
menu item "edit staff attributes" //to open the Staff Attributes
button "select" //press the first button found of this name
button "select" near "notation style" //more specific
button "select" near "alternate not*" //another one
button "select" near "transposition cl*" //another one
button "select" near "notehead font" //another one

Check Boxes and Radio Buttons

The commands "check," "uncheck," and "click," are used for these types of items:
check "allow undo"//check it (no action if already checked)
uncheck "use score colors" //uncheck it (no action if already
unchecked
click "automatic music spacing"//set if unset, unset if set
(toggle)

950

click radio "update manually" //radio buttons

select radio "update manually"//same
click "update manually" //will work, but less specific (not
recommended)
click "measure" near "through end of piece" //near specifier
click "measure" near "to next time change" //near specifier
As notes, if several checkboxes or radio buttons have the same name (rare), you must use a near
specifier.
The "Expect" Command
You can combine any of the previous commands with the word expect to indicate that FinaleScript
should wait until the desired item is available. Note that when in expect mode, blocking dialog boxes are
not bypassed.
query source folder //choose source batch folder
query destination folder //choose source batch folder
menu item "file maintenance"
uncheck "test file integrity"
hit ok //launch the file maintenance
expect to hit ok //wait until 'ok' is available
save append "_checked"
close

Typing Text and Numbers

The command "type" simulates typing strings and numbers with the keyboard...
type 15.7 //fill the current text box (if on focus) with this
value
type "15.7" //same thing type "Hi" //fill with this string
type 15.7 near "outer tip" //value in a text box with label Outer
Tip
type "15.7" near "minimum measure width" //same thing type "Hi"
near "name" //string in a text with label Name

Here is an example:
select meas 1 plugin "create tempo marking"
check "display tempo text"
type "Allegro non troppo" near "display tempo text"
type 96 near "="
press "OK"
In the Create Tempo Marking plug-in, notice the
Display Tempo Text check box controls the state
(enable/disable) of the text box that is just below.
So, FinaleScript makes the visual connection
between the two as we do based on proximity.
Some more examples:

951

This is a common situation: the static text label is to the left of the text box.
type 1800 near "maximum measure width"

Here is a static label with multiple lines, which makes special difference.
type 48 near "minimum distance between notes%"

Here the text box is between two labels, so you can use either:
type 96 near "change every" //or
type 1 near "measures"

Here, because these values are visually embedded in a 2X2 array, which FinaleScript can't understand
directly, you must use the tab command:
menu item "document options"
list "ties"
check "time"
type 8 near "time"
tab
type 9
check "key"
type 7 near "key"
tab
type 6

952

press "ok"

Also, there are some Macintosh lists that are inaccessible from FinaleScript. A typical example is the font
list. In the Font dialog box, you may select a font either with the mouse, or type directly its name "P-E-TR-U-C-C-I" to make it work. For this type of specification, use the raw attribute:
menu item "set default music font"
type raw "petrucci"
type "22" near size
hit ok

Selecting an Item from a Drop-down list

dropdown "layer 4" //
select "layer 4" //may work but not recommended
dropdown "nothing" near "number" //with near specifier
dropdown "first upstem*" near "music char*" //another near
specifier

Selecting an item from a List

FinaleScript supports selecting from simple text-only lists. Simple lists can be found in the Measure
Number Regions dialog box, Program Options dialog box, or Document Options dialog box.
Note that most of Finale lists are not supported
directly by FinaleScript, including the following
dialog boxes:Expression Selection, Percussion
Map Selection, Articulation Selection,
andInstrument List.
The following commands are equivalent:
select list "display colors"
list "display colors"

Selecting a Tab from a Tabbed dialog box

Several dialog boxes, such as the Expression Designer dialog box, use tabs. Use the following
commands to specify a tab.
select tab "playback"
click tab "playback" //same
hit tab "playback" //same
click "playback" //generally works, but less specific

Here is an example of script which combines tabs, popup menus, text boxes, and buttons. To apply this
script to an expression, you would click the expression's handle and call the script.
//modify expression definition:
hit return //display the Expression Designer for this expression
click "positioning" //select this tab

953

popup "left"
popup "start of music"
type 12 near "additional horiz%"
popup "staff reference line"
type 24 near "additional base%"
button "ok"

Note that only standard upper tabs are supported

by FinaleScript (left, right, and bottom tabs are not
supported).

Selecting Windows
If several modeless (floating) windows are visible on you screen simultaneously, use the "select window"
to select a window before scripting the desired actions:
select window "align move*"
click "to nearest element"
button "go"

Simulating Keytrokes
Instead of typing actual text or numbers, you can use special keystrokes (e.g. for navigating dialog
boxes):
tab //moves the focus
shift tab //moves the focus backward
tab 2 //moves the focus twice
shift tab 4 //moves the focus 4 times backward //
press enter //as if the Enter key were pressed
enter key //same
enter //same
ctrl return // power return
shift return //
left arrow
right arrow
up arrow 2 //twice
down arrow 5 //5 times
space bar
spacebar //same
press del
press delete //same
delete key //same
del key //same
shift ctrl return //in combination with modifiers
alt cmnd spacebar //other combination
ctrl apple return //apple key=cmnd key

954

home key
end key
page up key
page down key

The Tab, Enter, Return, left/right/up/down arrows, Spacebar, Home, End, Page Up, Page Down, and
Delete keys can all be used in combination with Shift, Alt and Ctrl modifiers.
Moreover, simple keystrokes such as Shift+1 can be scripted:
strike shift 1 //the number must be simple digit {09}
press shift 1 //same
press shift "1" //same
press shift "A" //with alphabetic key

Here is a example of such keytrokes used to program a transposition metatool:

//program a transposition metatool:
selection tool
press ctrl shift 6
click "up"
click "chromatically"
dropdown "minor third"
type 1 near "plus"
check "preserve*"
button "ok"

Sliders
Sliders are supported by FinaleScript:
menu item "audio setup"
move slider "mic level" 110
check "enable micnotator"
hit ok

Simulating Mouse Clicks

You can emulate single and double-clicks (and double-clicks in combination with Ctrl/Shift/Alt) from the
current position of the mouse. This is useful when calling a script with a keyboard shortcut (e.g. to
process an action on a handle).
control click
shift click
double click
shift double click
control shift double click

955

Assigning a Keyboard Shortcut to a Script

Any script can be added to the FinaleScript submenu and/or be equipped with a keyboard shortcut. To do
so:
1.

Open the FinaleScript Palette (Plug-ins > FinaleScript > FinaleScript Palette).

2.

Double-click a script to open it in the FinaleScript Editor dialog box.

3.

Check Show In Menu. The script is now assigned to display in the FinaleScript submenu.

4.

Check Use Shortcut and click the adjacent Select button. The FinaleScript Shortcut Editor appears
as shown below.

5.

Press the desired keystroke. If it is taken, FinaleScript will notify you there is a conflict (and list the
associated conflicting command). Click Find One! to ask FinaleScript to suggest an available
keyboard shortcut.

6.

Click OK. You can now use the keyboard shortcut you defined to run the script.

Note that the combination of FinaleScript keyboard shortcuts and the command "execute menu item"
allows virtually any keyboard remapping. Script menu items themselves cannot be called with
FinaleScript plug-in or menu item commands.

The "Hide Palette" Command

In the FinaleScript Options dialog box, you can choose to display the palette when a script is invoked with
a keyboard shortcut (see the Dont Show FinaleScript Palette option). If this option is unchecked, you can
override it for a given a script with the command hide palette:
hide palette
control click
type raw "engr"
arrow right
arrow down 2
type enter

Source and Destination Folders

In FinaleScript, you can select the source (load) and destination folder for batch processing through the
FinaleScript Options dialog box. But these options are global for all scripts. If you want to override the
locations the following script commands can be used, which override the global settings:
source batch folder "c:\scores\source"
load folder "c:\music\scores"
save folder "c:\scores\converted"

956

Note that on the Mac, both POSIX, HFS and Windows path styles can be used and are detected by
FinaleScript automatically.
Important: The source and destination batch
folders only apply to the FinaleScript Save
command (with possible parameters). These
settings do not apply to saving documents in the
normal way (or while exporting graphics, MIDI files,
etc.).

Stop and Pause

The keyboard shorcut to pause a script is the same as the Palette itself (default = Ctrl+Alt+F). Pressing
the shortcut pauses it. You may then decide to either continue (by pressing the flashing play/pause
button) or press the stop button.

Report Font
The command "report fonts" writes the full document font list into a report. Missing fonts are specified.
That this command works only within a script, not in the command line.

TGTools
FinaleScript includes a direct command to TGTools:

957

tgtool "harmonics" //calls full TGTool item

tgtools "harmonics" //same
tgtool "easy harmonics" //calls lite TGtool item

FinaleScript Helpers
Developing scripts quickly and easily requires access to all FinaleScript's extensive library of commands.
Because of this, FinaleScript includes instant access to all commands in its dictionary through a context
menu available in the FinaleScript Editor. If you are unsure of the exact language of a command, type
your best guess, and then right-click to display all commands that resemble the abbreviated text. Choose
the desired command to enter it into the FinaleScript Editor (see below).

Similarly, FinaleScript allows easy access to source and destination folders through the same context
menu. Simply choose "Insert Patch, navigate to the desired folder, and click Open to insert the path (see
below).

You can also use the context menu to easily comment/uncomment lines of text in the FinaleScript
Editor. Simply highlight the desired text, right-click, and choose Comment/uncomment (see
below). :

958

General FinaleScript Commands

Note: You can also see a list of FinaleScript
commands by opening the script "Commands
Reminder" in the FinaleScript window.
process all open (Without it, only the current document will be
processed.)
dont process active doc (Will process the other open docs.)
batch process folder
process subfolders
switch to main document
Switch to previous/active/next doc (following Window Menu order)
stop, end

Document Options Handling

FinaleScript gives direct access to numerous Document Options, equivalent to check boxes, drop-down
menus or text boxes. In a script, these commands are written as they appear in the Document Options
dialog box. Options that are value can be followed by the unit (evpus, space, inches, centimeters,
millimeters...), otherwise the current measurement unit is used.
Examples:
staff line thickness = 2.7 evpus
check Use Straight Flags
select Flatten All Beams
uncheck Allow Rest To Float //Options that are checkboxes can be
combined with 'no' or 'don't' (ex: 'dont use smart hyphens').
(don't) use engraver slurs
(don't) use cross-layer accidentals
(don't) use smart hyphens
(don't) use smart extensions

959

The following is a list of document options that can be accessed directly in FinaleScript.
space between accidental and note //accidentals
space between dot and note //augmentation dots
close barline at the end of each system //barlines
heavy line thickness //barlines
thin line thickness //barlines
base slop on end notes only //beams
flatten beams based on standard notes //beams
flatten beams based on extreme notes //beams
flatten all beams //beams
allow primary beam within a space //beams
allow rest to float //beams
extend beams over rests //beams
extend secondary beams over rests //beams
beam thickness //beams
broken beam length //beams
maximum slope //beams
maximum distance from middle staff line //beams
display clef only on first staff system //clefs
spacing before clef //clefs
spacing after clef //clefs
clef change reduction //clefs
clef change offset //clefs
use standard/straight flags //flags
flag spacing //flags
secondary group adjust //flags
music font = font name //fonts
grace notes size/spacing //grace notes
always slash fagged grace notes //grace notes
display key signatures only on first staff system //key signatures
cancel outgoing key signature //key signatures
display courtesy key signature at end of staff system //key
signatures
space before key signature //key signatures
space after key signature //key signatures
space after canceled key //key signatures
space between key signature accidentals //key signatures
staff line thickness //lines & curves
start number at 5 measures //multimeasure rests
minimum/maximum measure width //music spacing
minimum distance between items //music spacing
minimum distance between notes with ties //music spacing
spacing before/after music //notes and rests
scale manual positioning of notes //notes and rests

960

heavy/thin repeat line thickness //repeats

normal stem length //stems
shortened stem length //stems
stem line thickness //stems
use outer placement //ties
space before/after time signature //time signatures
display courtesy time signature //time signatures
use engraver slurs

Copy/paste Document Options Between Documents

The following commands can be used to copy document options from one document to another, or many
other documents.
For example, if you like the Music Spacing and Beaming Options in one document, you can use the file
as a template and apply these settings (or all document options) to hundreds of files, to match a house
style for instance. To do this, open the template file. In FinaleScript vocabulary, this file is the "Main
Document". In the FinaleScript dialog box, choose the folder that you want to batch process. (If you want
to transfer Document Options to other documents, you can also open them and then return focus to the
main document before running the script instead of batch processing a folder). Open the FinaleScript
plug-in, and write the script.
Example:
batch process the folder
import music spacing options from main document
import beaming options from main document
respace
update layout

The same way, if you have created piano braces that you want to "paste" to the other files, you could
write:
batch process the folder
import piano braces from main document
update layout

The final step is to launch the script with the main document open (the main document is the active
document when you launch the script). Options that can be copied and pasted using the above
procedure are:
import doc options (or) import house style //All document options
import accidental options through import tuplet options
page format for score
page format for parts
import extract parts options
import human playback options
slur contour
smartshape placement
smartshape options (including regular options, Smart Slur Options
and Guitar Bend Options.)

961

Selecting and Deleting Measures

Use the following commands to select and delete measures:
select meas 3
select first meas
select last meas
select meas 1 to 5
select meas 6 to the end
select first meas to 6
//
delete meas 3
delete first meas
delete last meas
delete meas 1 to 5
delete meas 6 to the end
delete first meas to 6

Tool Commands
selection tool
page layout tool
pge layout
layout //Select any tool by typing its name. Note that the Special
Tools cannot be selected in this fashion. For tools in the Special
Tools palette, use Finale's Tools menu instead.)

View Commands
unit evpu(s)
inches (i, inch)
centimeters (cent, c)
millimeters (mill, mm)
spaces (s, sp, spce)
picas

show all layers

all layers
show active layer only
active layer only
hide others
zoom (50, 75, 100, 200, 400)
fit in window
home
go to page 5, page 5, pge 1
go to measure 124, meas 124

Page Layout Commands

962

FinaleScript has several powerful commands devoted to the page layout. Note that these commands are
generally applied to the entire document. Like many Selection Tool operations, many Page Layout
commands can be typed on the fly without changing tool.
(dont) display in concert pitch
resize pages to 75%
resize systems to 80%
staff height = 0.3 inch
resize staff to 65% (applied to selection)
page format A4 (or A4)
page format Letter landscape
page format portrait (or Portrait)
page format 21x29 cm
reverse page margins, reverse margins
apply page format (for score)
fit 4 measures (per system)
update layout, updt layt
reorganize Layout, reorganize, reorg (Update Layout with maximum
options)
redraw, refresh

Clef Tool Commands

first clef/default clef
treble // (or g)
bass //(or f)
tenor //(or treble + 8)
alto //(or c- this is the C clef on the third line). This
command applies to the whole staff and clears other clef
changes.

Utilities Menu Commands and Miscellaneous

Most of the following commands require a selection. If there is no selection, FinaleScript assumes that
the operation is for the entire document. Note that it is not necessary to invoke the Selection Tool before
any operation, it is all automatic

note spacing //or respace

beat spacing
time signature spacing
rebar
rebeam
check accidentals
check ties
convert mirrors
fill with rests
move layer 1 to 2 //This deletes the source layer afterwards
freeze stems down/up
remove manual slur adjustments
963

remove stem changes

respell notes
retranscribe
lock/unlock systems
transpose to G major/minor (+ attributes)
Fit Measures 4 meas //per system
chord style Nashville A //or any other available style
show/hide fretboards
resize fretboards to 80%
update hyphens
update word extensions //or update extensions
execute plug-in "flat beams" (or run plug-in "xxx", plugin
"yyy", pi "zzz")
"..." after the plug-ins name to open dialog box.)
delete lyrics
delete chords
swap layers x and y

Edit Menu Commands

The following are examples of commands you can use to select, delete, copy, or paste.

undo
redo
[select] layer 3, layer 3, l 3
work on layer 3 (select layer 3 + show active layer only +
show layer 3)
select measure 1 to 15
select staves flute to saxophone (no case checking)
select piano (group name)
select instrument 2 to 5 (score visual order)
select clarinet to bottom
select staves flute to 5 (mix name and #)
select top to horns
select pages 2 to 5
select systems 1 to 10
select/deselect all
delete staff (= the currently selected staff(ves))
delete measures (the selection)
clear measures (notes and smartshapes only)
copy, cp, cpy
paste, replace entries, replace
insert, ins
(disable) automatic music spacing, auto spacing

964

(disable) automatic update layout, auto update

File Menu Commands

quit, q
close,c
new, n (default document)
open, o, open midi, open mus, open etf, open ftm, open all
open ? (to call Finale's Open dialog box from within a
script)
save, sv, save and append, new, save as midi, save as
print, p (print alone prints the entire doc with the
current Page Setup settings)
Print attributes: 2-up, 4-up, even, odd, page 3 to 18, to
page 20, (you can also specify a "print string", such as "2,
4, 6-9).
print booklet //Prints 16-page booklets automatically, both
sides. You can specify the number of pages per booklet. If
your printer can't print both sides, you might precise
'recto', and then 'verso' after reversing the pages in the
printer to get the booklet right.

Other Commands
transpose instrument to Bb //instrument transposition
run plug-in "flat beams" //no need to specify a subfolder you can specify any plug-in
display in concert pitch
uncheck display in concert pitch
create/break multimeasure rest
Add/insert Staves. Ex: add 1 staff, append piano staves
"Piano", add 3 staves bass clef, insert 1 staff "Clarinet in
B^b"
apply staff style
clear staff style
show/hide measure numbers
title
composer
copyright
description
staff name
left/right/top/bottom page/system margin

Text Search and Replace

FinaleScript includes Text Search and Replace. From a script, calls to Search and Replace can be as
follows:

search Music Sales replace with Neverland Publishing

search Violin replace Violon, match case
965

search Clarinet in A replace Trumpet in B^b (note the

use the caret)
search [Times] and replace [Chicago]
search font Times and replace Chicago (equivalent)
search Cl. [Palatino] 12 italic bold replace with Fl.
[Times] 13 non bold, in staff names
For the above items, you can also add the following attributes:

(non) italic
(non) bold
(non) plain
(non) fixed size
(non) underline
(non) hidden
[font name] (always in brackets)
size: 48 (number only)
match case
whole words
expressions
staff names
text blocks
file info
Note: All these Text Search and Replace features
are also available from within the Text Search and
Replace dialog box(Edit Menu).

Smart Shapes
(No attribute means all text items.)
Use the caret for specific matches

^l = line feed
^t = tab
^ = copyright symbol insert
^c = copyright text
^C = composer insert
^T = title insert
^d = file description
^# (or ^s) = sharp insert
^b = flat insert
^n = natural insert
^S = double sharp insert
^B = double flat insert
966

^^ = caret character
<65> ASCII character

Font Commands
(No attribute means all text items.)
Use the caret for specific matches

Music Font [maestro wide] //The font name can also be

written between quotes. Attrbutes: size and 'bold'.)
Swap Font [times] with [JazzText] //Font names can be
between quotes. No attributes, this is global for the
document.)

Playback
FinaleScript has several playback-oriented commands, among them is Human Playback.
Use the caret for specific matches

playback, play, listen (performs a non-scrolling playback.

If there is a selection, will perform the selected staves
only.)
wait 3 seconds (a timer that can creates pause between file
performances)
wait for a key
internal speaker playback
uncheck internal speaker playback
human playback style Romantic/none, standard, classical,
romantic, jazz, rock, etc.
import human playback custom style from main document

967

Find Parallel Motion Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Find Parallel Motion. If there is no
selection when you invoke the Find Parallel Motion command, it will process the entire document.

What it does
The Find Parallel Motion plug-in is used to find the parallel fifths and octaves in a region of selected
music. The plug-in compares notes found in different voices, layers and staves.
After invoking the Find Parallel plug-in, a dialog will be displayed. After clicking Find Next, the dialog will
also indicate the staff, measure, and beat in which parallel occurred. The plug-in will also scroll the
document so that at least one of these notes will be visible (it scrolls to the note that occurs first). The
Find Parallel plug-in always uses MIDI note number, regardless of the Display Pitch setting in the View
section of the Program Options. See Program Options-View.

Find Next. Click Find Next to have Finale search for the next occurrence of parallel motion.

Cancel. Click Cancel. to dismiss the dialog box.

968

Find Range Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Find Range. If there is no music
selected, when you invoke the Find Range command, Finale will process the entire document.

What it does
The Find Range plug-in is used to find the highest and lowest notes in a region of selected music. Typical
use of the Find Range plug-in would be to select one staff to find the highest and lowest notes played by
an instrument or voice in a Finale document. This is particularly useful with vocal music, when you want
to check just how high or low a particular part goes.
After invoking the Find Range plug-in, a dialog will be displayed listing the highest and lowest notes
found in the selection. The dialog will also indicate the staff and measure in which these notes first
occurred. The plug-in will also scroll the document so that at least one of these notes will be visible (it
scrolls to the note that occurs first). The Find Range plug-in always uses MIDI note number, regardless of
the Display Pitch setting in the View portion of the Program Options dialog box. See Program OptionsView.

OK. Click OK to dismiss the dialog box.

969

Flat Beams Plug-in, Flat Beams

(Remove) Plug-in
How to get there
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Flat Beams or Flat Beams
(Remove).

What it does
Use the Selection Tool to select a region in which to make all the beams flat (or return to the default
angle).
This plug-in is equivalent to pressing \ in Speedy Entry to make a specific beam flat.
Note that this feature works best when the global and staff settings for flat beams are not selected. See
Document Options-Beams and Staff Attributes dialog box.

970

Frequency Modulation Chord

Generator Plug-in

How to get there

Select two successive, single notes in one staff with the Selection Tool l. The notes can be of any
duration, but must be in layer 1, voice 1. From the Plug-ins Menu, choose Scoring and Arranging,
Composers Assistant, and then Frequency Modulation Chord Generator.

What it does
The Frequency Modulation Chord Generator plug-in creates a new staff with a sequence of chords, each
of a whole note duration. A process called Frequency Modulation determines the notes that make up the
generated chords. This plug-in was designed to be a compositional tool capable of automatically
generating a series of chords with increasing complexity and texture.
Frequency Modulation, in terms of keyboard synthesizers, begins with a simple oscillator called the
Carrier (frequency A). The Carrier is then altered in frequency by another oscillator called the Modulator
(frequency B). A sound results, with a complex spectrum. This spectrum has energy at certain
frequencies:
A - 3B, A - 2B, A - B, A, A + B, A + 2B, A + 3B
In this series, frequencies may become negative. In these cases, the absolute (positive) value of the
frequency is taken.
The Modulation Index indicates which frequencies from the energy spectrum will be kept.
Index = 1: A
Index = 2: A - B, A, A+B
Index = 3: A 2B, A - B, A, A+B, A + 2B
Index = 4: A 3B, A 2B, A - B, A, A+B, A + 2B, A + 3B
Etc.
The Frequency Modulation Chord Generator Plug-in converts the two input notes into frequency, based
on an equal temperament pitch table (pitches from one octave to the next have a 1:2 ratio, such that any
notes frequency is twice the frequency of the note one octave below; e.g. A4=440Hz and A3=220Hz):

971

MIDI Note
Number

Pitch

60

C4

261.626

61

C#4/Db4

277.183

62

D4

293.665

63

D#4/Eb4

311.127

64

E4

329.628

65

F4

349.228

66

F#4/Gb4

369.994

67

G4

391.995

68

G#4/Ab4

415.305

69

A4

440

70

A#4/Bb4

466.164

71

B4

493.883

(where middle C equals

C4)

Frequency
(Hz)

The frequency of the first input note becomes the Carrier, and the frequency of the second input note
becomes the Modulator. These frequencies are entered into the index synthesis algorithm and returned
again as MIDI notes. It is these MIDI notes that make up the chords generated.

Specify Range. Because of the multiplications in the synthesis algorithm, the notes of the generated
chords could extend far beyond any useful range. Use the Specify Range settings to avoid such
extreme pitches.

Modulation Index. The values chosen for the Modulation Index will determine how many chords are
generated, as well as how many notes appear in each chord. The number of chords generated is
equal to one more than the Highest Modulation Index minus the Lower Modulation Index (if lowest
index is 3 and highest index is 7, then the number of chords generated is 7-3+1 or 5). The number of
notes in each chord will generally be one less than twice the modulation index (a chord at Modulation
Index 5 will have 5x2-1 or 9 notes). However, due to the nature of frequency modulation calculations,
some notes may be duplicated within one chord.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

972

Global Staff Attributes plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Global Staff Attributes. See Plug-ins
Menu for more information on plug-ins.

What it does
The Global Staff Attributes plug-in will modify Staff Attribute settings for more than one staff at a time.
The plug-in allows the user to select the staves, Items to Display, Staff Attribute Options, set the Font,
Style and Size of Staff Names and Group Names, as well as set Group Attribute Options.

[List of Staves] [List of Groups]. Select the staves or groups you wish to be affected by any
settings you make. Click to select one, shift click to select several at a time, ctrl-click to select nonsequential staves.

Select Font. Click one of these buttons to display the Font dialog box and set the Font, Size or Style
for Staff Names or Group Names for the selected staves. See Font dialog box for more information.

Options Items to Display Show Bracket if Group Contains only one Staff Show Group
Name. See the Staff Attributes dialog box and Group Attributes dialog box for descriptions of these
items.

973

OK Cancel Apply. Click Apply to change the settings on the selected staves and continue to
select other staves and settings. Click OK to apply your settings to the selected staves. Click Cancel
to dismiss the dialog box without making any changes.

974

Group Style Definition dialog box

How to get there
From the Plug-ins Menu, choose Scoring and Arranging, then Update Groups and Brackets. Click Create,
Duplicate, or Edit.

What it does
This dialog box allows you to define a new group definition, and provides functionality similar to the
Group Attributes dialog box. This dialog box is part of the Update Groups and Brackets plug-in, and as
such, can only be used to create or edit group style definitions for optimized systems.

Group Name; Font Abbr. Group Name; Font. Enter the full and/or abbreviated names for the
group here. Click the Font button to display Font dialog box where you can change the font, size or
style.

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 to specify the starting and ending
staves in a group. A group always includes the staves in between the specified staves.

Show Group Name. This checkbox controls whether group names that you enter will appear in the
document. When selected, the full and abbreviated group names appear in your document. 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 document.

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.

Use Alternate Group Barline: Select. 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. Click Select to open the Shape Selection dialog box where you
can choose from a library of shapes or create your own. See Shape Selection 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. For more information, see
Barlines.

Bracket Options. Click to select the bracket style you want to use for the current group, or click
None if you dont want a bracket to enclose the group. If you want more than one bracket to appear
for a group, create additional group styles for the staves, then choose a different bracket style for
each group. For details, seeBrackets: StavesTo create additional (nested) brackets.

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 Document Menu.

OK Cancel. Click Cancel to dismiss the dialog box without changing group settings. Click OK (or
press enter) to confirm your settings and return to the Update Groups and Brackets plug-in.

975

976

Latin Percussion plug-in

How to get there

To apply Latin percussion to a region, select the region with the Selection Tool l. From the Plug-ins Menu,
choose New Plug-ins for Finale 2007, then Latin Percussion.

What it does
The Latin Percussion plug-in automatically generates authentic notation and playback of Latin
Percussion rhythms designed by Professor Jose Cortijo. This plug-in uses a highly specialized variety of
noteheads for performance indications. Authentic Latin percussion sounds are included with Finales
SmartMusic Softsynth SoundFont, and applied to staves automatically when you use this plug-in. (This
plug-in assumes SmartMusic SoftSynth is chosen as your MIDI output device in the MIDI Setup dialog
box). (For a list of Latin Percussion sounds, and how to use them in other documents, see Latin
Percussion Map Table in the Appendix).
Note: All latin percussion styles, except AfroCuban 6-8, can be used with the following time
signatures: 2/4, 4/8, 2/2 (cut), 4/4 (common), 8/8,
4/2, or 8/4. Afro-Cuban 6-8 is designed for use with
3/8, 6/16, 6/8, 12/16, or 12/8. time.

[Select a Style] [Instruments Available] [Chosen Instruments]. The Select Style column
displays a list of styles to choose from. Prior to choosing a style, be sure your document is set to the
appropriate time signature for the style. (See Latin Percussion Styles and Instruments in the
Appendix for details). When you choose a style, instruments characteristic of that style appear under
the Instruments Available column. When you select a different style, the instruments here change to
those included in the selected style. Select the instruments you would like to add (Ctrl-click to add to
your selection), and click the Add button. When you click Add, the selected instruments appear in the
Chosen Instruments column - ready for inclusion in the document.

977

Add Remove Add All. Click Add to place the selected instruments for the style under the Chosen
Instruments column. Click Remove to clear selected instruments from the Chosen Instruments
column. Click Add All to place all instruments for the style into the Chosen Instruments column.

Place Music into: New Staff or Staves at Bottom of Score Existing Staves Starting with.
Select New Staff or Staves at Bottom of Score if you want Finale to create a new staff for each
instrument below the existing staves. Select Existing Staves Starting with _ to fill existing staves with
Latin rhythms starting with the staff selected in the drop-down list (replacing whatever music is
currently on them).

OK Cancel. Click OK to add the Latin percussion rhythms to the selected region based on the style
and instruments you have chosen. Click Cancel to dismiss the dialog box without adding rhythms.

978

Ledger Lines (Hide) Plug-in, Ledger

Lines (Show) Plug-in
How to get there
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Ledger Lines (Hide) or Ledger Lines
(Show). If there is no music selected when you invoke Ledger Lines (Hide) or Ledger Lines (Show), it will
ask you if you want to process the entire document.

What it does
Use the Selection Tool to select a region from which you wish to hide ledger lines from all entries, then
choose the Ledger Lines (Hide) command from the Plug-ins Menu. The plug-in will go through all entries
in the selected region and hide the ledger lines.
Use the Selection Tool to select a region from in which you want hidden ledger lines to be made visible,
then choose the Ledger Lines (Show) command from the from the Plug-ins Menu. This would typically be
a section where you had previously hidden ledger lines with the Ledger Lines (Hide) command. The plugin will go through all entries in the selected region and make the ledger lines visible. (This is analogous to
using the Undo command after the Ledger Lines (Hide) command, with the difference that you can use
the Ledger Lines (Show) command any time after hiding the ledger lines; the undo command would
everything after hiding the ledger lines.)

Notes
If you hide ledger lines from a note on the staff, then later modify the note such that it is above or
below the staff, it will be drawn without ledger lines. Analogously, if you apply the Ledger Lines
(Show) command to a note on the staff, and then later move the note above or below the staff, it
will be drawn with ledger lines.
If there are no entries in the selected region, or if ledger lines have already been removed from the
entries, an Alert is posted to explain that the Ledger Lines (Hide) command had nothing to modify.
Similarly, if you apply the Ledger Lines (Show) command to a region where all entries are already
set to have visible ledger lines, an Alert will explain that no modifications were made.

979

Melodic Morphing Plug-in

How to get there

Select two adjacent staves, each containing a monophonic melody in layer 1 and voice 1, with the
Selection Tool l. From the Plug-ins Menu, choose Scoring and Arranging, Composers Assistant, and
then Melodic Morphing.

What it does
The Melodic Morphing plug-in creates an additional staff with a single melody made up of three sections.
The first section is the source melody, the second section is the morphing result and the third is the target
melody. The rhythm of the source and target is ignored. The Plug-in only generates sixteenth notes.

Number of Morphing Steps. Specify how many mutations should be generated between the source
melody and the target melody. Enter a low number to make the transition dramatic.
Notes: The plug-in examines the melodies in a 2-D
space, where y-axis is pitch, and x-axis is time.
Curves are stretched so the first point and the last
point of each curve have the same x-coordinate.
Then the first curve is continuously warped through
a number of steps (entered as Number of
Morphing Steps in the dialog box) until it matches
the second curve.
Each curve resulting from a warping step is sampled in order to give a melodic fragment. The
number of notes extracted from the curve is interpolated between the number of notes in the
source melody and the target melody. Pitches generated are closest to those already present in the
two melodies not the exact pitches from the curve generated.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

980

Merge Measures Plug-in

How to get there
Choose the Selection Tool and select two measures you would like to merge. From the Plug-ins Menu,
choose Measures, and then Merge Measures.

What it does
This plug-in can be used to merge two measures created by the Split Measure plug-in, or it can be used
to merge any two adjacent measures. It combines two measures selected with the Selection Tool into a
single measure. Finale changes the time signature to represent the full value of the new measure. For
example, if the first measure has a time signature of 3/4 and the second has a time signature of 5/8, the
resulting merged measure will have a time signature of 11/8. Finale also updates the Measure Number
dialog box accordingly.

981

MiBAC Jazz Rhythm Section

Generator Plug-in

How to get there

Select a melody with chord symbols with the Selection Tool l. From the Plug-ins Menu, choose Scoring
and Arranging, and then MiBAC Jazz Rhythm Section Generator.

What it does
The MiBAC Jazz Rhythm Section Generator analyzes a staff and creates piano, bass and drum set parts
based on the melody and chord symbols. You can specify a style for the accompaniment and make
adjustments to the resulting notation.

Style Ballad Swing Bebop Bossa Nova. Click this drop-down menu to choose the style of the
accompaniment. This will affect the notation of the output, but not the swing setting or tempo of the
playback. You can specify swing or tempo for playback in the in the Playback Settings dialog box. To
create a tempo marking expression and define it for playback, use the Create Tempo Marking Plugin.

Piano Bass Drum Set; Notation Notation w/Chord Symbols Slashes w/Chord Symbols
None. Click the drop-down menus for Piano, Bass and Drum set to choose the notation as it will
appear in the generated parts.

New Staves at Bottom of Score. Choose this option to create new staves for each generated part
and add them to the bottom of the score. The new staves added to the score will use the General
MIDI patches (sounds) for piano, bass and drum set. The drum set staff will be set to channel 10 (the
standard General MIDI percussion channel). If you are using an external MIDI device, or any nonGeneral MIDI synthesizer for playback, you may want to change the playback instrument for the
generated staves in the Instrument List. See Instrument List window for details.
Note: For the MiBAC plug-in to assign instruments
to generated staves, Create Instruments From
Initial Patches must be checked in the Import MIDI
File Options dialog box under the MIDI menu.

Existing Staves as Specified; Piano Bass Drum Set. Choose Existing Staves as Specified to
apply the accompaniment to existing staves in your score. Click the drop-down menus for Piano,
Bass and Drum Set to specify the staff for each part.

982

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.
Note: There are twenty-eight chords the MiBAC
plug-in uses to generate jazz accompaniments.
These chords are mapped to existing possibilities
for chord entry corresponding to Finales default
chord suffix library. If you create a new chord
suffix, or use any suffix outside the ones predefined in the Chord Suffix Selection window, you
will first need to map the suffix to one of the
twenty-eight MiBAC chords in the Chordmap.txt
file, located in the Component Files folder (Finale
2003/Component Files).

To do this, double click the Chordmap.txt file to open it in a text editor. Enter a new line at the bottom of
the existing list with the new chord suffix. Type it, with C as the root, just as you would in the Chord
Definition dialog box. Then type an = (equals sign) followed by one of the twenty-eight MiBAC chord
possibilities. Here is a list of the MiBAC Jazz Chords:

Minor

Dominant

Major

Cm

C7

Cm6

C7s

C6

Cm7s

C7b9

CM7

Cm7b5

C7#9

CM7#11

Cm7+

C7#11

Cm7/7

C7b9b13

Cm7/b7

C7#9b13

Cm7/6

C7b5

C7d

C7b5#9

CmM7

C7b5b9
C7+
C7+b9
C7+#9

983

In this table, you will see some of the same text conventions for musical symbols used by Finale while
entering chords (see Chord Tool). Exceptions are d (diminished), s (sustained) and + (augmented).
When you have finished editing the Chordmap.txt file, save it, and then return to Finale. The Jazz
Accompaniment Generator will now use the chord you specified for your new suffix while creating the
accompaniment parts.

984

Menu Shortcuts Plug-in

How to get there
From the Plug-ins Menu, choose TGTools, then Menu Shortcuts.

What it does
The Menu Shortcuts plug-in allows you to assign special key combinations to any of Finales menu items.

Enable Keyboard Shortcuts. Check this box to use the keyboard shortcuts.

Add Edit Remove. Click Add to choose the keystroke from the Key Assignment dialog box. Select
an entry and click Edit to edit an existing keyboard shortcut in the Key Assignment dialog box. See
Key Assignment dialog box below. Select an entry and click Remove to delete an existing keyboard
shortcut.

OK Close About. Click OK to apply the current commands. Click Close to dismiss the dialog box
without making any changes.
Note: Keyboard shortcuts defined with the Menu
Shortcuts plug-in take precedence over existing
keyboard functionality in Finale, as well as any
keyboard shortcuts defined using Simple Entrys
Edit Keyboard Shortcuts. For example, if you use
the Menu Shortcuts plug-in to assign Shift-1 to
Select Display Colors under the View Menu, the
Shift-1 keystroke will no longer be available for
assigning metatools in any of the Main Tools, nor
will this keystroke switch to the 64th Rest Tool
while using Simple Entry.

Key Assignment
How to get there
From the Plug-ins Menu, choose TGTools, then Menu Shortcuts. Click Add or select a shortcut and click
Edit.

What it does
The Key Assignment dialog box allows you to assign a shortcut to a key stroke.

Key to remap: Key Shift Ctrl Alt Listen. Enter the main letter or number into the text box or
choose a keystroke from the drop-down menu. Check Shift or Alt or Ctl to add the modifier to the
keystroke. Click the Listen button to record the next key you press as the shortcut key. Note that
modifiers such as Shift, Ctl or Alt must be checked separated.

Select Menu Command. Choose the menu item by working your way through the multiple levels of
the drop-down selection lists. In order to assign a shortcut, the menu item must be visible. For
example, to assign a shortcut to the Chord Menu, you must first select the Chord Tool and then run
the Menu Shortcut plug-in.
If you wish to assign shortcuts to the tools, make the Tools Menu visible. From the Edit Menu,
choose Program Options and select View. Check the Show Tools Menu box.

OK Cancel. Click OK to accept the shortcut command and return to the Menu Shortcuts dialog box.
Click Cancel to return to the Menu Shortcuts dialog box without making any changes.

985

Mid-Measure Repeats Plug-in

How to get there
Choose the Selection Tool
. Select the region of the score (including at least one partial measure)
that you want to enclose in repeat barlines. From the Plug-ins Menu, choose Measures, then MidMeasure Repeats.

What it does
This plug-in automatically encloses a region including partial measures with repeat barlines. This plug-in
is identical to the Create Simple Repeat option under the Repeat Menu, with the exception of its added
capability to enclose partial measures.
Before:

After:

986

Midline Stem Direction Plug-in

How to get there
Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Midline Stem Direction.

What it does
The Midline Stem Direction plug-in allows you to change the direction of stem for the note on the center
line of the staff to match the stem direction of the previous note.

987

Modify Rests Plug-in

How to get there

Select a region with the Selection Tool. From the Plug-ins Menu, choose TGTools, and then Modify
Rests.

What it does
The Modify Rests plug-in allows you to perform a variety of changes to the duration and appearance of
rests for a region of your document.

Split. Choose one of these options to split rests in order to create classical rests for music in the
time signatures listed.

Simplify. Use these options to remove rests by expanding the duration of notes prior to rests.

Split Notes. Use these options to split note values in halves and insert the needed rests.

Shift Rests. Use these options to center rests in the measure.

Apply Close. Click Apply to apply the current commands and leave the dialog box available for the
next set of commands. Click Close to dismiss the dialog box without making any changes.

988

Move Rests Plug-in

How to get there
Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Move Rests.

What it does
The Move Rests plug-in will move rests in the selected region to the specified position.

Move Rests in Layer: All Layers 1 2 3 4. From this drop-down list, specify the layer of the
rests you want to move. Choose All Layers to move rests in every layer.

Action: Move rests ___ steps. Select this option to move rests the indicated number of steps. Type
the number of steps to move into the text box. Positive numbers move the rests up, negative
numbers move the rests down.

Create Moveable (Real) Rests in Empty Measures. Check this box to convert default rests to real
rests in empty measures, and move them the specified number of steps along with the other rests.

Clear Manual Positioning. Select this option to clear any manual positioning of rests in the selected
region.

Erase Shifted Real Whole Rests Entirely. This check box is active when Clear manual positioning
is selected. Check this box to turn real whole rests back to default whole rests.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

989

Notes and Rests (Hide) Plug-in,

Notes and Rests (Show) Plug-in
How to get there
From the Plug-ins Menu, choose Note, Beam, and rest Editing, and then Notes and Rests (Hide) or
Notes and Rests (Show).

What it does
Use the Selection Tool to select a region from which you wish to hide or show notes from all entries, then
choose the Notes and Rests (Hide) or Notes and Rests (Show) command from the Plug-ins Menu. The
plug-in allows you to hide all notes and rests in the current selection. You can also use it to make all
hidden entries visible again.
This plug-in is equivalent to pressing O in Speedy Entry to hide a note or a rest.
Hidden entries are not printed and do not play back, but they can be used to influence the positioning of
other musical items. A typical usage is to hide rests in contrapuntal keyboard music.

990

Number Repeated Measures Plug-in

How to get there
From the Plug-ins Menu, choose Measures, and then Number Repeated Measures. If there is no music
selected, when you invoke the Number Repeated Measures plug-in, it will ask you if you want to process
the entire document. See Plug-ins Menu for more information on plug-ins.

What it does
The Number Repeated Measures plug-in looks for runs of repeating measures in the current selected
region. When it finds a run of three or more measures, it places repetition count numbers over the
measures as a performance aid. This is done by creating expressions and placing them over the relevant
measures.

Using the Number Repeats Plug-in

Normally you will use the Number Repeated Measures plug-in after music has been entered and
formatted. It is important to note that to position repeat numbers accurately, this plug-in needs formatting
information from the Page View. You will have the most satisfactory results if you switch to Page View
(and have Finale recalculate any changes to layout that are pending) before invoking the plug-in. See the
Notes section for more information.
Use the Selection Tool to select the measures that should be numbered. The plug-in will look for runs of
at least three repeating measures and number them automatically, placing repeat count numbers over
the middle of every measure in a run.

As you can see in the above example, Number Repeats also recognizes all appropriate Alternate
Notation when looking for runs of repeating measures.

Notes
IMPORTANT: The Number Repeated Measures
plug-in needs information from the Page View of
the current Staff Set to accurately calculate the
correct position of the repeat count numbers. This
information is not calculated by Finale until the first
time you switch to Page View. If you have never
viewed the current Staff Set in Page View when
you invoke the Number Repeated Measures plugin, the plug-in recognizes this condition and posts
an Alert suggesting that you switch to Page View
first. Once Finale has calculated the Page Layout
information, you are free to switch back to Scroll

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View if you prefer. You do not need to be in Page

View when you use the plug-in. However, you
should be aware that some editing changes can
invalidate Finales Page Layout information (in
particular, changing Alternate Notation). For most
accurate results, it is a good idea to switch to Page
View (even if you immediately switch back to Scroll
View) before invoking Number Repeated
Measures.
When looking for runs of repeating measures, Number Repeated Measures compares measures and
their entries, but ignores other attributes such as expressions, Articulations, or MIDI Performance
information. Entries must be rhythmically identical and contain the same notes in order for the measure to
count as a repetition. Also, measures must have the same Key and Time Signatures to qualify as a
repetition.
The Number Repeated Measures plug-in recognizes Alternate Notation (Slash Notation, Rhythmic
Notation, and Single-Measure Repeat Notation) when looking for runs of repeating measures. In fact, use
of Slash Notation and Single-Measure Repeat Notation overrides the normal rules used when testing for
repetition. If a measure uses either of these two styles of Alternate Notation, it will always qualify as a
repetition. Measures using Rhythmic Notation must match on an entry-by-entry basis for rhythmic value,
but the notes in the entries are ignored in the comparison. In short, Number Repeated Measures treats a
measure as a repetition based on its appearance, not on playback.
Number Repeated Measures positions the repetition count expressions one space (24 EVPUs) above the
highest note or stem in the measure. The expressions are placed over the middle beat of the measure.
Number Repeated Measures uses Text Expressions for the repetition count numbers. It is economical in
generating Text Expressions: it will not create a new Text Expression if an appropriate Expression is
already available.
Since the Number Repeated Measures plug-in will never put repetition count numbers over a run of only
two measures, the command is disabled if the selected region is shorter than three full measures.
Similarly, if your document only contains one or two measures, the Number Repeated Measures plug-in
is disabled in the Plug-ins Menu.

992

Patterson Beams Plug-in

How to get there

From the Plug-ins Menu, choose Note, Beam, and Rest Editing, Patterson Plug-ins Lite, and then
Patterson Beams.

What it does
The Patterson Beams plug-in edits beams and stems. The beam function adjusts both stem lengths and
beam angles based on the staff positions of the notes and the number of notes in the beam. Wedges,
white triangular space between the beam and a staff line, are also removed.
The stem function of Patterson Beams affects only stand-alone stems that receive shortened stems.
These are stems pointing in the wrong direction, normally because they have been frozen, are attached
to a chord, or are part of a multi-voice texture. Finale arbitrarily shortens stems to the short-stem length,
creating an ugly transition between normal and shortened stems. Furthermore, only unflagged stems are
shortened. The stem function of Patterson Beams smooths out the transition between normal and
shortened settings and also includes flagged stems. (Stems with more than 2 flags are appropriately
lengthened.)
The beam function works in conjunction with the Document Options-Beams (under the Document Menu).
The plug-in always works from Finales default positioning, which is different depending on the beam
settings. The modal differences in behavior are most noticeable when the note closest to the beam is not
an endpoint. Ultimately, you will probably still have to manually adjust some beams, but the goal of the
plug-in is to automatically position the beam for a large majority of cases. If you use the beam functions
of the plug-in, we recommend the following settings in Document Options-Beams: Allow Primary Beam
within Space checked, Extend Beam over Edge Rests unchecked and Max Slope a multiple of 6. See
Document Options-Beams.

993

Unsupported Options
Certain options are not supported by Patterson Beams. If the plug-in recognizes a stem or beam
employing an unsupported option, it skips the beam or stem without making any modifications to it. For
beams, these options are unsupported only on the endpoint notes.

Grace Notes

Note Percent Reductions

Cross Staff Notes

Notes With Reversed Stems

Custom Stems

Rest At Beam Endpoints

Split Stem Duplicate Beams

The plug-in has only limited support for beam extensions, especially when used to create tremolos. A
beam is skipped unless the primary beam is connected to the stem of at least one endpoint. Even then,
processing is somewhat limited.

French Beams: Create Remove. With French beaming, interior stems only extend to the first
beam, instead of all the way to the eighth beam. Check French Beams, and then Create or Remove
to apply or clear French Beams in the selected region upon clicking OK.

Ignore If Manually Edited Beams/Stems. Check this box to skip over beams or stems that have
been edited by the Special Tools Tool, either directly or through a plug-in.

Beautify Beams. Check this box to enable the beam functions and modify the beams.

Beams Should Never Cross Spaces. Check this box to make the slants of all beams narrow
enough that they never cross a staff space. This option performs the same function as Allow
Primary Beam Within Space in the Beams portion of the Document Options dialog box (under the
Document Menu). See Document Options-Beams.

Max. Slope Angle (Degrees/Units). If the checkbox is checked, the plug-in may steepen the beam
angle up to the specified angle (up or down). If the checkbox is unchecked, the plug-in will use the
Max. Slop setting in the Beams portion of the Document Options dialog box (under the Document
Menu). See Document Options-Beams.
The plug-in always avoids wedges, so it uses a shallower slope when the max would cause a
wedge. The plug-in determines the maximum slope amount based on the actual angle entered in
the degrees text box between the beginning and ending stem tips. This choice is spacing-sensitive,
so the vertical distance will be greater if the notes are widely spaced and less if they are narrowly
spaced. If you specify Degrees, then the plug-in determines the maximum slope amount based on
the actual angle in degrees between the beginning and ending stem tips. You can also change the
amount based on a fixed distance in your current measurement units.

Preserve Flatness. Checking this option assures that any beams that are flat in their default state
remain flat after the plug-in has processed them.

Beams On Thirds Can Slant A Full Space. Check this box to allow a beamed third to have a slant
of a full space, which is equal to the slant of the note interval. Normally, the slant of a beam must be
at least 1/4 space less than the slant of the note interval. Note: Other settings, such as Max Slope
and Beams Should Never Cross Spaces, may override this setting.

Increase Beam Thickness to Compensate for Beam Angle. Check this option to instruct
patterson beams to increase beam thickness if necessary for beam angle alterations.

3-Beam Groups In Staff Can Slant Fractional Space Only If Slant Should Be Less Than A
Space. Check this box to allow the plug-in to apply beam slants as small as 1/4 space for 3-beam
groups where appropriate. With default beam separation of 18 EVPU, such small slants lead to
wedges, but other options either in Finale or the Patterson Beams plug-in can mitigate the wedges.
Checking Only If Slant Should Be Less Than A Space tells Patterson Beams to use beam slants
of whole-space increments for 3-beam groups in the staff that would have a beam slant of at least
one space anyway. It is meaningless if Beams Should Never Cross Spaces is checked, since with
this option, no in-staff 3-beam slant can be more than 1/4 space. You might choose this option if

994

you are using Additional Separation to avoid 3-beam wedges and want to limit the times you get
the additional separation this causes where it is absolutely required to avoid a flat beam.
Tip: To ensure beams will sit, straddle or hang on
staff lines, a traditional engraving practice is to
increase the space between beams if the slant
should be less than a space. These settings
address this issue.

Additional Beam Separation For 3-Beam Groups. Checking this option brings up the 3-Beam
Groups dialog box. Unchecking it causes Patterson Beams not to apply additional separation for 3beam groups, but it preserves your settings if you want to re-enable them later.

Additional Beam Separation For 4-Or-More-Beam Groups. Checking this option brings up the 4Or-More-Beam Groups dialog box. Unchecking it causes Patterson Beams not to apply additional
separation for 4-or-more-beam groups, but it preserves your settings if you want to re-enable them
later.

Beautify Stems. Checking this option to enable the stem function. Leaving the option unchecked
causes a sudden shift from normal stem length to short stem length. The stem length values are
specified in the Stems category of the Document Options (under the Document Menu). If you check
this option, then the plug-in adjusts the stem lengths by 1/4-space increments to create a smooth
transition from long to short stem lengths.

Stem-Rev. Offsets: Upstem Downstem. These values tell the plug-in where to begin transitioning
to short stems, for stand-alone stems. The value is given in staff steps. Furthermore, you can control
upstem and downstem notes separately.
Tip: You might set the downstem offset to 0 or
even +1 if you had text underlay that pushed up
close to the staff. In treble clef, this would result in
shorter stems on downstem b1's or even c2's.

Use Different Short Stem Length for 16ths (and Smaller) Short Stem Length For 16th. Check
this option to specify a different short stem length for notes with 2 or more flags. Depending on your
music font or the style of flags used, your short stem length for unflagged and single-flag notes may
be too short for notes with 2 or more flags. You can use this option even if Beautify Stems is
unchecked. When you do, all flagged stems get short stem-lengths, just as Finale gives to unflagged
stems, but no transition between short and long occurs.
Enter a value for the minimum stem length for notes with 2 flags. Notes with more than 2 flags add
24 EVPUs (1 space) to this length for each additional flag.

Use This Value For Flagged 8ths Also Only If Downstem. Check this box to apply the alternative
short stem length to flagged 8ths as well as 16ths and smaller values. You might choose this option
if the flag character on your music font does not permit shortening these stems as much as for
unflagged notes. Check Only If Downstem to avoid changes to upstem flagged 8ths.

OK Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the changes youve made.

995

Piano Reduction Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Piano Reduction.

What it does
The Piano Reduction plug-in helps you to easily condense a number of staves into a piano grand staff.
The piano grand staff will be added to the bottom of the staff system.

[Staves]. Select the staves in your document to be included from this list. Ctrl-click to select multiple
staves.

Split Point. Set the split point for the piano staff.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

996

Process Extracted Parts plug-in

How to get there

From the Plug-ins Menu, choose TGTools, and then Process Extracted Parts.

What it does
When applied to a part with multiple voices (e.g. Trombone 1 & 2), the Process Extracted Parts plug-in
identifies and isolates notes from one voice and removes notes in other voices. This processor has to be
run separately on each part (and is not compatible with linked parts, only extracted parts).
Standard:

Extract voice line number. Enter the voice you want to extract. The voice is counted from the
bottom or top depending on your setting for Counted From (below).

Counted From: Top; Bottom. Choose Top to count voices from top to bottom (i.e. 1 = highest
notes). Choose Bottom to count voices from bottom to top (i.e. 1 = lowest notes).

Keep Single Notes. Choose this option to include single notes. (Notes that have no others directly
above or below on the same beat).

Custom:

Keep Single Notes. Choose this option to include single notes. (Notes that have no others directly
above or below on the same beat).

From 2 notes, extract note no. (0=none, 1=top): In these boxes, you can specify what note you
want extracted (always counted from the top) in sonorities made up of 2 to 8 notes. Enter 0 to ignore
the sonority (entering a rest), 1 to include the top note of that sonority, 2 to include the second note
from the top, etc.

More:

Secondary layers inherit articulations, slurs, etc.: Check this box to copy articulations and slurs
from layer 1 when processing secondary layers.

Ignore Layers: Enter the layers (separated by commas) you want this plug-in to ignore when
extracting parts. Use this option, for example, if you want to ignore grace notes.

Examples:
Score

Part 1

Part 2

997

Using two layers

Using piano (chord)

notation

Using Voice 2 (note that

the inconsistency in the
score has no negative
effect on the parts)

Using multiple layers or voices

In the case of multiple layers or voices, it is possible that articulations, slurs, staff expressions and the like
will not appear in the second part. The option "Secondary parts inherit" will create 2nd parts with all of
these items copied from the first layer or voice. See www.tgtools.de for more details.

To temporarily view a part using Special Part Extraction

1.

From the View Menu, choose Scroll View.

2.

. Click the part you want to view as an extracted part. If youre

Click the Staff Tool
extracting a piano part, you can highlight both staves handles by shift-clicking the staves, or by dragenclosing their handles. Note that you need to select the staff handle on the staff lines, not the staff
name handle.

3.

Choose Special Part Extraction from the Document Menu.Document Options-Multimeasure

Rests appears.

4.

Set the position for the multimeasure rest number. Set the position of this number by entering a
value in the H: and V: text boxes. The units are whatever you specified using the Measurement Units
command, located in the Edit Menu.

5.

Click OK (or press enter).

6.

Choose Page View from the View Menu. Page View now contains only the extracted part(s), which
you can edit as desired. Its useful to note that this extracted part is still part of the full score; correct
a note in one view, and you correct it in the other.
If you later change your mind about any of the settings you madethe rest shape or the position
of the number, or you want to see your whole scorechoose Special Part Extraction again from
the Document Menu to turn it off. The whole score will then reappear in Page View.
Note: Items are not updated in page view if they
are added to measures containing a multimeasure
rest. If you add notes to an empty measure in
Scroll View, Finale wont break up an existing

998

multimeasure rest in Page View to update the

multimeasure rest. If you want your part updated,
deselect Special part extraction from the Document
Menu, and go through these steps again. See also,
Measure Attributes dialog box for information on
breaking a multimeasure rest.
On the other hand, keep in mind changes you make to the layout for the extracted part will also
affect the full score.
7.

Choose Print from the File Menu, and print as usual.

To add cue notes

Finale offers an easy way to add cue notes. Before extracting parts, run the Smart Cue Notes plug-in. For
details, see Smart Cue Notes Plug-in.

To adjust the pagination of a part to avoid awkward page turns

In extracted parts, you can use the Smart Page Turns plug-in to automatically update the pagination to
optimize the music for reading. Smart Page Turns looks for measures of rests, and other criteria, so that
the performer has time to turn the page during the performance. See Smart Page Turns for details. (Plugins are not accessible in linked parts).

999

Resize Noteheads Plug-in

How to get there

Choose the Selection Tool and select the region of the document containing notes you want to resize.
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Resize Noteheads.

What it does
This plug-in can resize specified voices of a multi-voice staff. This plug-in works for all visible layers.

Standard Noteheads All Special Noteheads One Custom Notehead; Select. Choose Standard
noteheads to resize only standard noteheads ( and ). Choose All Special Noteheads to resize all
noteheads changed with the Note Shape Special Tool (See Note Shapes). Choose One Custom
Notehead and click Select to open the Symbol Selection dialog box where you can choose the
notehead character you would like to resize (in the default music font specified under the Document
Menu).
Alternative noteheads resulting from a Staff Style are not recognized by the Resize Noteheads
Plug-in.

Resize Noteheads: From Top of Chord From Bottom of Chord. Here, specify the direction
Finale should count each stack of notes.

Enter the numbers of the noteheads to be resized, separated by commas or hyphens. Here,
specify the noteheads to be resized. Your entries here depend on the setting above. For example, if
the From Top of Chord radio button is selected and you type 1,2 here, the top two notes in all
chords of the selected region will resize.

Resize Noteheads to ___%. This text box specifies how much you want to resize the specified
noteheads expressed as a percentage of the original full size.

1000

OK Cancel. Click OK (or press enter) to proceed with, or Cancel to abort, the notehead resize.

1001

Rhythm Generator Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, Composers Assistant, and then Rhythm
Generator.

What it does
The Rhythm Generator plug-in creates up to 6 single voice staves containing rhythmical patterns. These
staves are added to an existing file starting at measure 1.
Each pattern is build by combining up to 3 sieves, or filters, that are applied to a steady signal of
sixteenth note pulses. For example, a sieve value of 2 will place a sixteenth note every other pulse
starting with the first, and a value of three will place a sixteenth note every third pulse. All other pulses will
become sixteenth rests.
The plug-in consists of 6 sets of controls, one for each staff that can be created, and 2 controls affect all
the staves that are created.

Staff. This check box must be checked in order for a staff to be created.

Sieve (1,2,3). The value in these spin-controls indicate how often a sixteenth note pulse will appear
in the created staff. Possible values are 1 through 16.
For example, a 2 in any single Sieve will create a note every other sixteenth pulse starting on the
first pulse. This would yield a sixteenth note on pulses 1, 3, 5, 7, 9, 11, 13, and 15.
If 3 is selected for the Sieve value, then a note would be created every three pulse, yielding a note
on pulses 1, 4, 7, 10, 13, and 16.
If you choose 2 for one Sieve and 3 of another Sieve, then you would get a combination of the just
mentioned pulses. So, in the first measure a note would be created at pulses 1, 3, 4, 5, 7, 9, 10, 11,
13, 15, and 16.

Offset. This value controls the first pulse that will receive the first note created by a Sieve.
As an example, if you choose 2 for a Sieve value and enter 2 for the Sieve Offset, then the first
sixteenth note will appear on the third pulse. In the first measure this would yield notes on pulses 3,
5, 7, 9, 11, 13, and 15.

1002

Invert. Checking this check box will invert the results produced by a Sieve. This will cause notes to
appear in place of rests, and rests in place of notes.
For example, if the Invert check box is checked and a value of 2 is chosen for any single Sieve a
note will be created every other sixteenth pulse starting on the second pulse. This would yield a
sixteenth note on pulses 2, 4, 6, 8, 10, 12, 14, and 16.

Random. Values entered in this field will cause notes to be created in a random fashion. As the
entered value increases, the number of notes created goes down.

Instrument. The General Midi name chosen from this drop down list will be used for the name of the
created staff. This choice will also determine the pitch of the created notes, which will be the General
Midi defined pitch for that instrument. Note that the Midi patch and channel needed to play these
staves must be set in the Instrument List found on the Window Menu.

Number of Measures. The value entered here will determine the length of the generated staves.

Group Resulting Staves. Checking this check box will cause the created staves to be grouped with
shared barlines. The default name of the group will be

More Info Reset Cancel OK. Click More Info for a reminder of what input this plug-in requires
and a brief summary of what the plug-in does. Click Reset to set the plug-in to minimum default
values. Click Cancel to dismiss the dialog box without making any changes, or Click OK to make the
selected changes.

1003

Rhythmic Subdivisions Plug-in

How to get there
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Rhythmic Subdivisions.

What it does
The Rhythmic Subdivisions plug-in provides a method of easily entering measures of repeated notes.
The Rhythmic Subdivisions plug-in will go through all the note entries in the selected region, subdividing
those entries into a smaller rhythmic value. The result will be a number of repeating note entries replacing
the original entry. If you wish, you may specify that only entries with a certain range of rhythmic durations
should be effected by the Rhythmic Subdivisions command.

All Selected Entries Entries Within Range of Durations From Through EDUs. In the top
half of the dialog you can specify whether the command should be applied to all note entries within
the selected region, or if you would prefer only entries within a range of rhythmic values to be
effected by the command. You can specify the rhythmic values by clicking on the durations in the
palettes, or you can specify any arbitrary number of EDUs by typing a value into the text fields.

Equal Values Rhythmic Duration. In the bottom half of the dialog you can specify how you wish to
subdivide the note entries in the current selection. If you select the Equal Values Radio Button, each
note entry effected by the command will be divided into entries of shorter value. If you select the
Rhythmic Duration Radio Button, each note entry effected by the command will be divided into
entries of the duration you specify. Note that in the second case, if any entries in the current
selection are already of the duration you specify (or shorter), they will not be subdivided.

OK Cancel. Click OK to subdivide the selection with the specified settings. Click Cancel to dismiss
the dialog box with making any changes.
The two following examples show how the Rhythmic Subdivisions plug-in works. Starting with a
selection as follows:

The Equal Durations option, set as follows:

would produce:

The Rhythmic Duration option, with the settings in the following example:

would result in:

Notes:

1004

The Rhythmic Subdivisions plug-in beams the entries it creates according to the time
signature in each measure effected by the command.

Rests are never subdivided. Accidentals are not repeated. Articulation markings and other
note details are not copied.

When using the Equal Values option the smallest subdivision you may enter is 2; the
largest is 32. You may enter any whole number in this range. The plug-in will generate
tuplets if necessary. The plug-in will also generate nested tuplets properly if the selection
contained tuplets before the plug-in was executed and the subdivision value is not 2, 4, 8,
16, or 32.

When using the Rhythmic Duration option, you can generate tuplets by entering the
appropriate number of EDUs into the text field (for instance, 341 EDUs will generate
eighth-note triplets). Care must be taken in using this option if the selection contains
tuplets before execution, since tuplet markings already present in the document will not be
removed. Instead, the Rhythmic Subdivisions plug-in will generate a nested tuplet with an
effective duration close to the value you specified.

Tuplet markings generated by the Rhythmic Subdivisions plug-in are always rhythmically
correct. However, in cases where multiple interpretations are possible (for instance,
subdividing a whole note into twelve equal values), you may need to adjust the tuplet
markings manually according to your needs.

When using the Rhythmic Duration option, it is possible that some entries in the selection
are shorter than the subdivision duration you specified. Simply ignore any other entries
shorter than the chosen subdivision duration.

1005

Score System Divider Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then System Divider.

What it does
Automatically inserts or removes system separation marks between staff systems on the same page in a
completed score as shown below. This plug-in should be run after the score layout has been finalized.
Also, lock systems (see Utilities/Lock Systems) to ensure measures are not redistributed among the
pages. The system separation marks are added as page attached text blocks. The symbol used is
character 187 in Finales EngraverFontSet font.
Note: Make sure that your score is fully updated
before running this plug-in. Otherwise, you may
experience undesirable placement of the divider
symbols. After running this plug-in, if you are not
satisfied with the results, from the Edit Menu,
choose Undo to remove them.

1006

Page Range: All Current Selected. Here, select the pages to which you would like to add system
separation marks. Choose All for all pages, Current for the page currently visible in the Finale
window or Selected to specify a page range using the drop-down menus below.

Vertical: Between last/first staff lines Between staff system boundaries Adjustment. These
settings control the vertical placement of system separation marks. Choose Between last/first staff
lines to instruct Finale to add system separation marks at the midpoint between the bottom staff line
in one system and the top staff line in the next. Choose Between staff system boundaries to add
system separation marks at the midpoint between the bottom system margin of one system and the
top system margin of the next (as displayed when the Page Layout Tool is selected). To offset the
system separation marks from this placement setting vertically specify a positive or negative value in
the Adjustment field to move the marks up or down respectively. The units of measurement are
whatever youve selected using the Measurement Units command under the Edit Menu.

Horizontal: Left Side Right Side Adjustment. These settings control the appearance and
horizontal placement of system separation marks. Check Left side to include separation marks on
the left side of the page. Check Right side to include separation marks on the right side of the page.
Specify a positive or negative value in the Adjustment field beneath these options to move the marks
left or right respectively. The units of measurement are whatever youve selected using the
Measurement Units command under the Edit Menu.

Font size. Choose an option from this menu to specify the font size for the system separation marks.

Remove. Click remove to delete system separation marks you have added with this plug-in. Note
that you will not be able to automatically remove system separation marks that have been edited
manually. Therefore it is recommended that you do not edit the system separation marks added with
this plug-in manually. Remember, if you have just run this plug-in, and are not satisfied with the
results, you can choose Undo from the Edit Menu (or press Ctrl-Z) to remove them.

1007

OK Cancel Info. Click OK to add system separation marks. Click Cancel to dismiss the dialog box
without making any changes. Click Info for more information regarding the JW collection of plug-ins.

1008

Single Pitch Plug-in

How to get there
Select a region with the Selection Tool or any other tool that supports regional selection. From the Plugins Menu, choose Note, Beam, and Rest Editing, and then Single Pitch.

What it does
The Single Pitch plug-in allows you to change all the notes in the selected region to the same specified
pitch.

Pitch. Enter the new pitch using the MIDI Pitch.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

1009

Slash Flagged Grace Notes Plug-in,

Slash Flagged Grace Notes
(Remove) Plug-in
How to get there
From the Plug-ins Menu, choose Note, Beam, and Rest Editing, and then Slash Flagged Grace Notes or
Slash Flagged Grace Notes (Remove).

What it does
Use the Selection Tool to select a region from which you wish to place slashes on all flagged grace notes
(or remove slashes placed in Speedy Entry).
This plug-in is equivalent to pressing` (accent) in Speedy Entry to slash or unslash a flagged grace note.
Note: This feature works best when the global
setting for grace notes does not use slashes. See
Document Options-Grace Notes.

1010

Smart Cue Notes Plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Smart Cue Notes.

What it does
The Smart Cue Notes plug-in can search for possible cue note locations and mark these locations in the
score. Then, cue notes can be added to these locations automatically.
Tip: For optimal performance, we recommend
moving to Scroll View (View Menu > Scroll View)
before running this plug-in.

Mark Proposed Cue Note Locations In Score. Choose this option to add text blocks that flag
possible locations where cue notes would be appropriate. The text blocks include the number
of seconds of rest for the staff/part.

Add Cue Notes Interactive Mode. Choose Add Cue Notes to place cue notes into the document
where appropriate as defined by settings in this box. Check Interactive Mode to first search for cue

1011

notes, and then create them for specific staves, using additional options if desired. If interactive
Mode is not checked, clicking OK adds all cue notes without pausing to set additional options.

Cue Notes Needed When Rest Is _ Seconds Measures. In this text box, enter the number of
Measures or Seconds required for Smart Cue Notes to mark and/or add cue notes. (With Seconds
chosen, timing adjusts to meter changes).

Max Cue Length Desired _ Allowed _. Cue notes are generally added to the phrase prior to the
entrance. For Desired, enter the desired number of measures or seconds to scan prior to an
entrance for the beginning of a phrase. If Smart Cue Notes does not find a phrase within the Desired
number of measures or seconds, it will add cue notes with as many measures or seconds entered in
the Allowed text box.

Use Proposed Cue. Choose this option to copy the cue notes proposed by Smart Cue Notes plug-in
to the staff or staves chosen in the list below.

Use Selected Measure Range As Cue. Choose this option to copy the notes within a region
selected with the Selection Tool as cue notes to the staff or staves chosen in the list below.

Add This Cue To These Staves. In this list, choose the staff or staves you would like to add the cue
notes to.

Read Cue From. From this drop-down menu, specify the layer containing the source material.

Write Cue To. From this drop-down menu, specify the layer to write the cue notes to.

Reduce Cue To _ %.In this text box, enter the notehead percentage reduction (relative to the default
notehead size) for the generated cue notes.

Cue Name. In this text box, specify a name for the generated cue notes. This text, which appears as
the source staff name by default, will appear as an expression above each section of cue notes
added to the document.

Include: Articulations Expressions Smart Shapes Clefs Lyrics Chords. Check any of
these items to include them on cue notes copied from the source staff.

OK Start Search. The OK button is available when Interactive Mode is unchecked. Click OK to
scan the document for possible cue note locations and add them automatically. The Start Search
button is available when Interactive Mode is checked. Click Start Search to scan the document for
possible cue note locations. The Smart Cue Notes plug-in will then pause to allow for specifying
staves and setting other options.

Create Cue Notes. Available after choosing Start Search (with Interactive Mode checked). Click this
button to add cue notes to the staff and measure(s) specified in the Cue Options section.

Continue Search. Available after choosing Start Search (with Interactive Mode checked). Click this
button to advance to the next proposed cue note location.

Cancel. Available while processing measures. Click to interrupt a search for cue note locations and
return to the Smart Cue Notes dialog box.

Done Close. If you have not completed searching through all proposed locations, click Done to
reset the dialog box in preparation for a new search. After searching through all proposed locations,
click Done to finish. Click Close to dismiss the dialog box.

1012

Smart Page Turns plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, and then Smart page Turns.

What it does
The Smart Page Turns plug-in adjusts the measures and page breaks in a document to avoid page turns
during active portions of the music. This plug-in is especially useful for instrumental parts.

Timing Settings: Ideal Page Break Minimum Page Break Measures Seconds. Here, enter
the Ideal and Minimum number of measures or seconds required for a page turn.

Maximum Calculation Time _ Seconds. Here, enter the maximum calculation time allowed for
calculating the page turns.

Search _ Systems at End of Page _ Systems on Next page. Use these text boxes to tell Smart
Page Turns which systems on each page to scan for appropriate page turns.

Rests In One Staff are Sufficient. Check this box to indicate rests in a single staff is sufficient for a
page turn. This feature is particularly useful for keyboard music, where one hand can turn the page
while the other continues with the music.

Treat Notes Smaller than 80% as Cue notes. Check this box to indicate notes in the document
reduced to less than 80% should be treated as cue notes. Cue notes created with the Add Cue
Notes and Smart Cue Notes plug-ins are reduced to 75% by default.

1013

Breaks are Possible Before These Measures. Enter measure numbers here (separated by
commas) to specify points in the document Smart Page Turns is allowed to begin a new page. If the
plug-in cannot find ideal page turns, you may be asked to specify measure numbers here to give the
Smart Page Turns enough information to most accurately process the document.

Place Rests Before After Page Break Both (Split Evenly). Choose Before to tell Smart Page
Turns to place rests before a page break (at the end of the page). Choose After Page Break to tell
Smart Page Turns to place rests after the page break (beginning of the next page). Choose Both
(Split Evenly) to tell Smart Page Turns to place half of the rests before and half after the page turn.

Page Settings: First Page Left Right. Here, choose left if the first page in the document is a left
page. Choose right if the first page in the document is a right page. You can adjust the page
numbering (to accommodate a title page for example) using the settings below under Adjust Page
Numbers.

Allow Exceptions. With this box checked Smart Page Turns allows exceptions to the left and right
page specifications defined in this section if a page turn solution is not found for the setting specified.

No Turn After Page 1. Available when Right is chosen for First Page. Choose this setting to tell
Finale not to generate a page turn between page 1 and 2.

Adjust Page Numbers. Check Adjust Page Numbers to update the page numbering based on the
settings for left and right pages.

First Page is No _ If Left _ If Right. Here, enter the desired first page number depending on
whether the first page is a left or right page. By default, Smart page Turns numbers the first page 2
if it is a left page and 1 if it is a right page.

Handle Left/Right Page Margins. If left and right page margins are not equal, and the plug-in
swaps left/right pages, with this box checked, left and right page margins will swap as well.

Allow Blank Pages. Check this box to allow Smart Page Turns to add blank pages if needed to
provide the best possible page turn solution.

Add Text Font. Check this box, and then specify the desired text that will appear as a text block in
the middle of all blank pages added. Click Font to open the Font dialog box where you can specify a
font, size and style for the text block. See Font dialog box.

Space Systems Evenly if at Least _ Systems. Check this box to automatically space systems
evenly if the number of systems on a page equals or is greater than the number entered in the
provided text box.

Warnings: Turn Immediately Font Always Add This if No Rest on Next Page. Check Turn
Immediately, and then enter desired text to tell Smart Page Turns to indicate text for sudden page
turns. Click Font to open the Font dialog box where you can specify a font, size and style for the text
block. See Font dialog box. If you want to add this text any time there is no rest at the beginning of
the next page, check Always Add This if There is No Rest on Next Page. Note that if the time is more
than .3 seconds less than the ideal turn time specified in the Timing Settings section, Smart Page
Turns will add this text automatically regardless of this setting.

Time Always Font. Check Time and enter desired text to add indicators in the document notifying
the performer that there is time to turn the page. A % sign will convert to the number of measures
rest the performer has before music begins. Check Always to place this indicator at every page turn
if there is no rest at the top of the next page. Click Font to open the Font dialog box where you can
specify a font, size and style for the text block. See Font dialog box.

Defaults OK Cancel. Click Defaults to reset this dialog box to the original settings. Click OK to
process the document and generate a layout that accommodates improved page turns based on
these settings. Click Cancel to dismiss the dialog box without making any changes.

1014

Smart Playback Plug-in

How to get there
Select a region with the Selection Tool
Playback.

. From the Plug-ins Menu, choose TGTools, then Smart

What it does
The Smart Playback plug-in adds a playback effect to selected musical elements, such as glissandi,
hairpins and trills. The plug-in must be run after the items have been added to the score. When any of
these items change, you must run the plug-in again. Also, when notes are changed, all playback effects,
except hairpins, need to be renewed by running the plug-in again.
The Smart Playback plug-in creates playback for the following items:
Musical Element

Method of Creating Playback Effect

SmartShape Glissandi

Continuous Data Pitch Bend (maximum of one

octave)

SmartShape Hairpin
Crescendos/Decrescendos

Continuous Data Volume changes

SmartShape Trill

Hidden notes added to layer 4

Articulation Trill

Hidden notes added to layer 4

Note that the Smart Playback plug-in will not create playback effects for tremolos created by adjusting
beam extensions, such as the Easy Tremolos plug-in.
Note: Human Playback interprets and performs
Smart Shapes and other markings during playback
automatically. See Human Playback. To hear
changes to the MIDI playback definition (such as
those applies with this plug-in), you must first set
Human Playback to None in the Playback Settings
dialog box or check the Override Human Playback
option at the top of the Smart Playback plug-in.
Glissandi:

Make glissandi play back. Check this box to define SmartShape glissandi markings for playback.
The plug-in adds pitch bends as continuous data. See Pitch wheel under the MIDI Tool. For the
glissandi to playback correctly, the bender range is set to 12. The maximum range of each glissando
is one octave.

Number of steps per quarter note. A glissando defined for playback consists of many pitches
ascending or descending rapidly via continuous data. Enter a value in this box for the number of
ascending or descending pitches for each quarter note of time.

Hairpins:

Make hairpins play back. Check this box to make SmartShape Crescendos or Decrescendos
playback through MIDI volume changes. This is a parameter that is completely independent from the
key velocities that are used to play back dynamic markings or accents. When the file is played, both

1015

these parameters work together to form the actual loudness of a tone. The plug-in adds gradual
volume changes as Continuous Data. See Volume under the MIDI Tool.

Volume changes per quarter note. Enter the amount of volume to change here. This feature will
edit the continuous data of the region. It can be adjusted from 1 to 127 (1=softest, 127=loudest).

Set Volume to 64 at beginning of piece. Check this option to set the continuous data for volume to
64 at the beginning of the piece. Note: this will not change continuous data for volume already
applied with the MIDI Tool or plug-ins.

Trills etc.:

Trills/tremolos/diddles. Check this box to define trills, tremolos or diddles for playback. Trills
) or a
require Smart Shape trill symbols above the notes (
are written out in layer 4 then hidden. See also Document Options-Layers.

articulation. Trills

Three slashes = unmeasured tremolo. Check this box to treat the three slash subdivision
articulation as an unmeasured tremolo. The Tremolo speed value entered below determines the
playback of this trill.

Trill/unmeasured tremolo speed (per quarter note). Enter the number of repetitions of the pitch
per quarter note for unmeasured tremolos or trills.

Start trill after what percentage of duration. Enter a percentage of the note value to delay before
starting the trill for unmeasured tremolos or trills. Set this value to zero to start the trill immediately.

Trill interval: Diatonic Semi-tone Whole Tone. Select Diatonic to trill between the entered pitch
and the pitch up a diatonic second. Select Semi-tone to trill between the entered pitch and a
semitone higher. Select Whole Tone to trill between the entered pitch and a whole tone higher.

Play. Click Play to hear the selection.

Remove these effects from selection. Click Remove to clear the playback effects from the
selection.

More:

Override Human Playback. Check this option to apply the settings in this dialog box even if Human
Playback is turned on in the Playback Settings dialog box.

Go Close Defaults More Play. Click Go to apply the current commands and leave the dialog
box available for the next commands. Click Close to dismiss the dialog box without making any
changes. Click Defaults to restore this dialog box to its original settings. Click More for more
information on the complete TGTools plug-in collection. Click Play to accept changes, close the
Smart Playback dialog box and play the score.

1016

Smart Split Point plug-in

How to get there

Select a region with the Selection Tool. From the Plug-ins Menu, choose TGTools, and then Smart Split
Point.

What it does
This plug-in is designed for use with piano music. After recording a HyperScribe session, for example,
you can use this plug-in to correct for split point errors (sections you want to move notes to the other
staff). It identifies notes which need to be moved automatically. To obtain the best result, you can help
the plug-in identify these notes by setting some options, such as the highest or lowest note that can occur
in the bottom or top staff, etc.

Main

Lowest note for top staff (C4=middle C): This is one of the most important settings. Find the
lowest note in the top staff and enter its pitch here. The default, G3, is the G below the second ledger
line below a treble clef staff.

Highest note for bottom staff: This is an equally important setting as the previous one. The default,
A4, is the A above the third ledger line above an bass clef staff.

Try to put at least how many notes in bottom staff: This option can really improve the output. If
the music always has at least one note in the bottom staff, such as a bass line, then you should enter
a 1 here. Occasional exceptions may not even matter.

Simplify rhythm: This option can be useful for combining rests or tied notes, but you should use it
only if needed.

Intervals

Max. simultaneous interval in upper staff (8=octave): This option should be set according to the
music being processed. Specifying the maximum interval that can be found in the correctly notated
music will produce better results.

Max. simultaneous interval in lower staff: Same as previous option, but for the lower staff.

Max. leap in upper/lower staff: This information can also help the plug-in to make the correct
educated guesses in terms of which notes should be moved.

1017

Minimize simultaneous intervals per staff: This option will move notes even though the maximum
interval in a staff is not exceeded. You can uncheck it if it produces incorrect results.

Note Durations

Note durations may be shortened to make space for new ones Try to remove resulting rests
by expanding the preceding note values Allow moved notes replacing rests to be longer
than before Allow notes added to chords to be longer than before. These options will help
making the output of the plug-in clearer. Uncheck any one of them if they produce incorrect results.

Apply Close. Click Apply to apply the current commands and leave the dialog box available for the
next set of commands. Click Close to dismiss the dialog box without making any changes.

Here is an example:

1018

Split Measure Plug-in

How to get there
Select the Selection Tool and select the full measure you wish to split. From the Plug-ins Menu, choose
Measures, and then Split Measure.

What it does
This plug-in automates process of dividing a measure into two sections and editing the measure number
map accordingly. You can use this plug-in to create, for example, a dashed barline within an existing
measure or split part of the measure over a system break.
Example - Splitting a measure across a system break:

Example - Creating a dashed barline:

Split measure after beat. Specify the beat prior to the measure split here. For example, if you
would like to split a measure in common time in half, enter 2 here. This value must be in the range
of one to one less than the total "Number of Beats" setting (as displayed in the Time Signature dialog
box) for the selected measure. For example, in 2/4 or cut time the only valid entry is 1.

1019

Instead of specifying a beat, you can enter a fractional value, such as .25, .50, or .75. This value
must be numeric and be in the range of .25 to .25 less than the numerator of the time signature of
the measure. For example, the valid entries for 2/4 time are .25, .5, .75, 1, 1.25, 1.5, and 1.75.
The following table illustrates some time signatures that will result from the use of this plug-in.
Rows 1-9 represent the time signature of the selected measure. Columns A - D represent the first
half of the split measure that would result from each valid entry for the parameter "Split Measure
After Beat:"

Number of Beats

.25

.50

.7
5

Time Signature

1/16

1/6
4

1/3
2

3/
64

--

3/32

1/1
28

1/6
4

3/
12
8

1/
3
2

1/8

1/3
2

1/1
6

3/
32

--

3/16

1/6
4

1/3
2

3/
64

1/
1
6

1/4

1/1
6

1/8

3/
16

--

3/8

1/3
2

1/1
6

3/
32

1/
8

1/2

1/8

1/4

3/
8

--

3/4

1/1
6

1/8

3/
16

1/
4

1/1

1/4

2/4

3/
4

--

In example A5, a 1/4 time signature and an entry of 0.25 would generate one bar of 1/16 time and
one bar of 3/16 time.
In example B8, a 3/4 time signature and an entry of 0.5 would generate one bar of 1/8 time and
one bar of 5/8 time.

Barline Style: Invisible Dashed. Choose the type of barline you would like to add at the split
point. It is common to choose Invisible for a measure you would like to split across a system
break.

1020

Move second part of measure to next system. Choose this option to move the second part of the
split measure to the next system.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

1021

Split Point Plug-in

How to get there

Select a region with the Selection Tool that includes two adjacent staves. From the Plug-ins Menu,
choose Scoring and Arranging, and then Split Point.

What it does
The Split Point plug-in allows you to change the transition point between the notes on two staves. For
example, if you had set your split point for HyperScribe for middle C, you can easily change measures
where it makes more sense for the split point to be B below middle C.

MIDI note number Pitch. Enter the new split point using either the MIDI note number or the MIDI
Pitch.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

1022

Tie Common Notes Plug-in

How to get there

With the Selection Tool
, select a measure or group of measures that contain the common notes to
be tied. From the Plug-ins Menu, choose Scoring and Arranging, Composers Assistant, and then Tie
Common Tones.

What it does
The Tie Common Tones plug-in adds a tie between adjacent notes of like pitches that are in the same
Layer within the selected measures.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in
requires and a brief summary of what the plug-in does. Click Cancel to dismiss the
dialog box without making any changes, or Click OK to make the selected changes.

1023

Update Groups and Brackets plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, then Update Groups and Brackets.

What it does
This plug-in allows you to easily reposition, edit, and otherwise manage group brackets after systems
have been optimized (see Optimizing systems). Since brackets on optimized systems are traditionally
independent, this plug-in is the preferable way to work with multiple groups and brackets postoptimization. This plug-in does not affect non-optimized systems in any way. You can use the Undo
command under the Edit Menu to undo individual changes made in this plug-in.

Create. Click this button to open the Group Style Definition dialog box where you can define a new
group style. When you create a new group style, you have the option to add it to all matching
systems. If you do not add it to all matching systems, the style appears in italics in the Group Scope
List, indicating it exists, but has not yet been set to the system. See Group Style Definition dialog
box.

Duplicate. Click this button to open the Group Style Definition dialog box, already filled with the
group style you have selected in the Update Groups and Brackets dialog box. When you duplicate
and edit a group style, you have the option to add it to all matching systems. If you do not add it to all
matching systems, the style appears in italics in the Group Scope List, indicating it exists, but has not
yet been set to the system.

Edit. Click this button to open the Group Style Definition dialog box where you can edit an existing
group style definition.

Delete. Click Delete to delete the selected group style and all occurrences of the style in the
document.

[Group Style List] Bracket Usage Name From To Span Abbr. Name Show Name
Draw Barline Alternate Barline Barline Single Staff Bracket. This list displays the available

1024

group styles. Use the horizontal scroll bar above this list to view all twelve group style properties.
Double-click a group style to open the Group Style Definition where you can edit it. Click a group
style, and all optimized systems to which the group style has been applied appear in the Group
Scope List.

[Group Scope List]. This list displays all optimized systems containing at least one staff of the
group style currently selected in the Group Style List. Use this list to add or remove group styles
to/from systems. This list only contains systems suitable for an individual bracket to be placed (which
excludes non-optimized systems and systems that do not include staves within the selected group
styles span). Italics indicate the group style has not been applied to that system.
Double-click an unchecked check box to check it and uncheck all other boxes. Double-click a
checked box to uncheck it and check all other boxes.

Set Move Position. Click Set to apply the selected group style to all systems checked in the
Group Scope List. Changes are instantly applied. Click Move to open the Move Groups dialog box
where you can reposition group brackets and names for the currently checked systems. See Move
Groups dialog box. Click Position to open the Position Groups dialog box where additional
positioning, text justification, alignment, and other details can be set for the currently checked
systems. See Position Groups dialog box.

Auto-display System in Document. Check this box to automatically display the Group Scope Lists
currently selected system in the document window. When this box is checked, any new selection in
the Group Scope List will cause the selected system to snap into view. (Click to the right of a check
box in the Group Scope List to select a system). This setting is session-specific, and is checked by
default in each new Finale session. This functionality is only available in Page View.

Close. Click this button to close the Update Groups and Brackets dialog box without making
changes.

1025

Vertical Collision Remover plug-in

How to get there

From the Plug-ins Menu, choose Scoring and Arranging, then Vertical Collision Remover. This plug-in will
process the entire document unless a region is selected with the Selection Tool, in which case changes
will be applied to all systems in the selected region (including partially selected systems).

What it does
This plug-in allows you to automatically reformat the vertical positioning of staves, systems, and
instrument groups to avoid collision of notes, articulations, smart shapes and other items. This plug-in
can also be used to manually adjust the vertical spacing of systems, instrument groups, and staves both
in conjunction with the automatic collision remover options, or independently. This plug-in is particularly
useful after switching to Page View after creating a document in Scroll or Studio View - where it is difficult
to predict where these vertical collisions will occur.
Note: For files with only one system per page, this
plug-in will not expand the system beyond the
bottom page margin. If the desired collision
removal and spacing between staves cannot be
achieved, you may need to change your system
scaling or increase your page size.

1026

The speed of this plug-in depends on the size and complexity of the score as many calculations are
processed to account for the position of every score element.
Main Options:

Process Entire Document Process Systems _ Through _. Choose Process Entire Document to
apply changes to all pages in the document. Choose Process Systems _ Through _, and in the text
boxes, enter the first and last system number for the region you would like to change. (Hint: To
display system numbers to the left of each system, choose the Page layout Tool ).

Remove Vertical Collisions. Check this box to find collisions of notes, articulations, Smart Shapes,
Expressions, lyrics, chords, fretboards, and repeat brackets between staves, and adjust the vertical
staff and system formatting so that the items no longer collide. (This command can be used in
conjunction with the Balance White Space command so that the white space created by this function
is more evenly distributed on the page.)

Minimum Space Between Closest Items on Adjacent Staves__ [Tighter/Looser slider]. Use
these controls to specify the minnimum amount of space to introduce between colliding items. In the
text box, you can provide the specific amount of vertical space required between elements. Or, click
and drag the slider to specify this value. The units of measurement are whatever youve selected
using the Measurement Units submenu under the Edit Menu.

Balance White Space; Overall Space Between Systems__ Instrument Groups__ Other
Staves__ [Tighter/Looser sliders] Do Not Change. Check this box to specify the (minimum)
amount of space between systems, groups and/or other staves. Systems/groups/staves will be
spaced to the values specified here unless extra space is required due to the value specified for
Minimum Space Between Closest Items on Adjacent Staves above. Balance here refers to the use
of these commands in conjunction with the Remove Vertical Collisions command, which can yield
inconsistent spacing if, for example, there are severe collisions between some systems on a page
and not others. Use these controls to regulate inconsistent spacing by choosing a value closer to the
greatest amount of space required by the Minimum Space Between Closest Items on Adjacent
Staves setting.
In the text boxes, provide the specific amount of vertical space required between systems,
instrument groups, or staves. Or, click and drag the slider to specify these values. The units of
measurement are whatever youve selected using the Measurement Units submenu under the Edit
Menu. Check Do Not Change to maintain existing spacing for systems, instrument groups, or other
staves (controls for that item will be grayed out). If the active document contains only one staff per
system, only the Systems controls will be available. If the active document contains two or more
staves per system, but no instrument groups, the Instrument Groups controls will not be available.

More:

Total System Height; Minimize Try To Keep Existing Change As

Needed. Use these controls to specify the degree to which you want this
plug-in to adjust the total system height (from the top staff in the system to
the bottom staff). Select Minimize to move adjacent staves in a system so
that the two closest items are set to the minimum distance specified in the
Remove Vertical Collisions field, even if there are no collisions between
staves. Select Try to Keep Existing to move some staves in a system
farther apart to remove collisions - it will compensate by moving other
staves closer together to maintain the same overall system height. Select
Change to move staves as required to meet the specifications in Remove
Vertical Collisions and Balance White Space. This is the default setting.

Can Be Decreased Can Be Increased. Uncheck one of these boxes to prevent the plugin from increasing or decreasing system height, even if that is required to meet the spacing
specified in Remove Vertical Collisions and Balance White Space.

Keep Number of Systems on Each Page. If the new spacing changes the layout such
that fewer systems can fit on a page, this plug-in will move systems to the next page as
needed. Similarly, if the new spacing allows more systems to fit on a page, it will move
1027

systems to the previous page. If Keep Number of Systems On Each Page is checked, it
will not move systems, even if this means allowing collisions to remain. If space does not
allow removing collisions with keeping the same number of systems on the page, you may
need to change your system scaling or increase your page size.

1028

Virtual Fundamental Generator Plugin

How to get there

Select a sequence of chords in one staff with the Selection Tool l. All chords must be in layer 1, voice 1.
From the Plug-ins Menu, choose Scoring and Arranging, Composers Assistant, and then Virtual
Fundamental Generator.

What it does
The Virtual Fundamental Generator plug-in creates a new staff below the selected staff. Below each
chord of the selection, it displays one bass note, which is the virtual fundamental.
The virtual fundamental algorithm is a psycho-acoustical algorithm that finds a bass note (a fundamental)
for which all the note of the chords may appear as harmonic partials. When adding this bass note to the
chord, it makes it sound better, less tense and more homogeneous. The virtual fundamental may be
thought of as a root for the chord.

Specify Lowest Pitch Listen. The number in the Specify Lowest Pitch field represents the lowest
MIDI note that will be created by the plug-in. You can either use the spin controls to change the
value, or click the Listen button followed by playing a note on your MIDI device to specify the pitch.
Middle C, or C4 is represented as MIDI note 60.

Allow Octave Displacement. Checking Allow Octave Displacement means that if the virtual
fundamental is below the lowest pitch threshold given in the dialog, the plug-in will compute the
closest octave of the fundamental that is above the threshold. Without checking this, any virtual
fundamental that is lower than the specified lowest pitch will be ignored.

More Info Cancel OK. Click More Info for a reminder of what input this plug-in requires and a brief
summary of what the plug-in does. Click Cancel to dismiss the dialog box without making any
changes, or Click OK to make the selected changes.

1029

Voice 2 to Layer Plug-in

How to get there

Select a region with the Selection Tool. From the Plug-ins Menu, choose Note, Beam, and Rest Editing,
and then Voice 2 to Layer.

What it does
The Voice 2 to Layer plug-in allows you to convert any voice 2 notes and rests to the selected layer.

From layer To layer. Select the layer with the voice 2 notes and rests to convert in the From layer
drop-down list menu. Select the layer to place the converted voice 2 notes and rests into in the To
layer drop-down list menu.

OK Cancel. Click OK to make the selected changes. Click Cancel to dismiss the dialog box without
making any changes.

Notes:
1.

All notes in the layer being written to are replaced by the new notes.

2.

Hidden rests are added as needed to keep the moved notes in the same position.

3.

The stem direction of the new notes is frozen down unless the new layer has a preferred stem
direction or the stem is already frozen up.

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).

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.

Background File
An alternate name for a Finale Playback file which can be played back while recording a new track in the
Transcription window.

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.

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).

1030

Adjusting the handle for one note or beat will move the notes in all staves at once, keeping them
rhythmically aligned.

Bookmark
A particular position on the Page (Page View), or a measure (Scroll View) that can be saved and
recalled.

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).

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.

Context-Click
To context-click, simply right-click the item you would like to edit. A context menu appears with one or
more options. Most items can be context-clicked with the
Selection Tool.

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.

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

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.

ETF
Enigma Transportable File. A file once used to transfer files between Windows and Macintosh for Finale
files. ETF files could be saved in Finale versions 2006 and earlier.

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

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.

1031

FTM
A file format that behaves like a piece of stationary or template in Finale.

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.

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.

Icons
A visual representation of a file type or tool that can be selected to perform a particular function.

Jazz Font
A font that looks like handwritten notation typically seen in Jazz and Studio music.

Key Velocity
The volume of a MIDI note.

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.

Landscape Orientation
A positioning of the printed page so that it is that is wider than it is tall.

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.

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.

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.

Maestro
One of Finale's music character fonts.
Both TrueType and PostScript versions are supported.

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, Selection, Repeats, and Tuplets.

MIDI - Musical Instrument Digital Interface

MIDI is a standardized protocol by which music applications, computers and MIDI instruments talk to
each other.

1032

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.

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.

Mirror(s)
Intelligent copies of musical source regions that are dynamically linked: when the source measure is
changed, the mirror also changes.

Mus
MUS or .mus. A standard Coda notation or music file.

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.

Note On - Note Off

MIDI signals that instruct MIDI instruments to play or stop a note, "turn on" and "turn off," respectively.

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.

Patch
Particular instrument sounds within a MIDI channel. Consists of a simple program change or a
combination of bank and program changes.

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_Pitch Wheel
As you move the pitch wheel up or down (on MIDI keyboards so equipped), the pitch of the entire
keyboard shifts up or down by an amount you program on the MIDI keyboard itself. Finale records and
plays back pitch bends (the smoothly graduated, continuous shift of pitch that occurs when you use the
pitch wheel).

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

Portrait Orientation
A positioning of the printed page so that it is taller than it is wide.

PostScript
A page-description language that computers and high-resolution printers use to communicate with each
other.

1033

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.

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.

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.

Shape Expression
A graphic expression mark, such as a vertical bracket, grand pause, or hairpin, added to the score with
the Expression tools.

Simple Entry Caret

The simple entry caret is a vertical line in the score that indicates where the next note entered will
appear. The next note entered could be the pitch displayed on the caret (which can be moved using the
up and down arrows) initiated by pressing the Enter/Return key, a note letter typed on the computer
keyboard, or a pitch or pitches played on a MIDI device (with Use MIDI Device for Input checked under
the Simple Menu). To activate the Simple Entry Caret, from the Simple. Menu, choose Simple Entry
Options, check Use Simple Entry Caret, and click OK.

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.

Staff List
A listing of all staves in a score that lets you determine in which staves an Expression or Text Repeat will
appear.

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.

Tamburo
One of Finale's percussion and shape note fonts. Both TrueType and Type 1 PostScript versions are
supported

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.

Text Expression
A text marking, such as dynamics or tempo markings, added to the score with the Expression tool.

TIFF
Tagged Image File Formatformat for storing bitmapped images/graphics. This format is supported on
both Macintosh and Windows (.tif extension) and does not require a PostScript printer.

1034

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.

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.

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.

True Type Fonts

Scalable fonts used to display and print your Finale documents. These fonts do not require a PostScript
printer.

Tuplets
The irregular division of notes into a given beat (i.e. 3 into 2). Includes triplets, quintuplets, septuplets,
etc.

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.

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.

Word Extension
An underline that is used to indicate that a syllable is being sustained through more than one note.

1035

Terms and Symbols Contents

Symbols
Terms-A
Terms-B
Terms-C
Terms-D
Terms-E
Terms-F
Terms-G
Terms-H
Terms-I
Terms-J
Terms-K
Terms-L
Terms-M
Terms-N
Terms-O
Terms-P
Terms-Q
Terms-R
Terms-S
Terms-T
Terms-U
Terms-V
Terms-W
Terms-Z

1036

Symbols
Accents
Emphasize the note, so that it is louder than surrounding notes.
See Articulation Tool.

Brackets
The brackets indicate the editor's suggestion to perform the music with the enclosed markings, as in [rit.].
See Expression Tool.

Breath mark
Breathe here, generally without disturbing the tempo.
See Articulation Tool.

Cesura
(Italian) A pause indicated by a dividing line placed between two melodic and rhythmic phrases.
See Articulation Tool.

Coda
(Italian) Literally "tail." A passage that serves as a formal closing of a movement.
See Repeat Tool.

Crescendo
(Italian) Becoming gradually louder; increasing in loudness.
See Smart Shape Tool.

Decrescendo
(Italian) Becoming gradually softer, decreasing in loudness.
See Smart Shape Tool.

1037

Fermata
(Italian) Pause; hold the note longer than its normal duration.
See Articulation Tool.

Forte
(Italian) With Force. Loud.
See Expression Tool.

Forte fortissimo
(Italian) With Extreme Force. Extremely loud; as loud as possible.
See Expression Tool.

Forte piano
(Italian) Begin the note loudly, instantly diminishing to a much softer volume.
See Expression Tool.

Fortissimo
(Italian) Very loud.
See Expression Tool.

Fortissimo piano
(Italian) Begin the note very loudly, instantly diminishing to a much softer volume.
See Expression Tool.

Forzando
(Italian) Begin the note loudly with a very strong accent.
See Expression Tool.

Forzandissimo (or Sforzandissimo)

(Italian) Begin the note very loudly with a very strong accent.
See Expression Tool.

1038

Forzandissimo (or Sforzandissimo)

(Italian) Begin the note extremely loudly with a very strong accent.
See Expression Tool.

Grace note
An ornament consisting of a note which embellishes the following note. Played just before the beat or
directly on the beat.
See Simple Entry Tool or Speedy Entry Tool.

Harmonic
A note that is an overtone of a fundamental note of a musical instrument.
See Note Shape Tool in the Special Tools Tool. Or, try the Easy Harmonics plug-in (Plug-ins > TGTools >
Easy Harmonics).

Measure repeat
The measure repeat sign indicates to repeat the previous measure exactly as written.
See Apply Staff Style dialog box.

Mezzo forte
(Italian) Moderately loud.
See Expression Tool.

Mezzo forte piano

(Italian) Begin the note moderately loudly, instantly diminishing to a much softer volume.
See Expression Tool.

Mezzo piano
(Italian) Moderately soft.
See Expression Tool.

Mordent
(German) An ornament consisting of a single, rapid alternation of the principal note with the auxiliary note
a minor second below.
See Articulation Tool.

1039

Pianissimo
(Italian) Very soft.
See Expression Tool.

Piano
(Italian) Soft.
See Expression Tool.

Piano pianissimo
(Italian) Extremely soft; as soft as possible.
See Expression Tool.

Phrase mark
A curved mark over a musical "phrase." A phrase is a group of notes related musically, as in one lyric
passage in a verse.
See Articulation Tool.

Repeat
Indicates the beginning or ending of a section that is to be repeated.
See Repeat Tool.

Segno
(Italian) A sign that indicates the beginning or ending of a repeated section; used in terms such as D.S.
(Dal Segno), meaning "from the sign."
See Repeat Tool.

Sforzando
(Italian) Begin the note loudly, with a marked and sudden emphasis.
See Expression Tool.

Sforzando
(Italian) Begin the note very loudly, with a marked and sudden emphasis.
See Expression Tool.

1040

Forzandissimo (or Sforzandissimo)

(Italian) Begin the note extremely loudly, with a marked and sudden emphasis.
See Expression Tool.

Sforzando piano
(Italian) Begin the note loudly, with a marked and sudden emphasis, instantly diminishing to a much
softer volume.
See Expression Tool.

Slur
A curved line connecting two or more notes. This symbol indicates that the notes within the slur are to be
smoothly connected together, with no articulation between the individual tones.
See Smart Shape Tool.

Staccato
(Italian) Articulate the notes with separation between them, not connecting them to one another.
See Articulation Tool.

Stop
Alter the tone by partially closing the bell (brass instruments), or by using a false fingering (woodwinds).
See Articulation Tool.

Tenuto
(Italian) Literally "held." Stress the note by holding it to its full value.
See Articulation Tool.

Tenuto staccato
(Italian) Hold a note for almost its full value, but do not connect it to the succeeding note.
See Articulation Tool.

Tremolo
(Italian) Literally "quivering, fluttering." An ornament consisting of a rapid alternation of tones; or, on a
stringed instrument, rapid alternation of up-bows and down-bows.
See Articulation Tool.

1041

Trill
The rapid alternation of a principal note with its auxiliary note a minor or major second higher.
See Smart Shape Tool.

Turn
An ornamental device consisting of the principal note and an upper and lower auxiliary note.
See Articulation Tool.

Vibrato
(Italian) A slight pitch fluctuation used to enrich or add expression to the sound.
See Smart Shape Tool.

Wedge
An especially short and detached note.
See Articulation Tool.
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Terms and Symbols Contents

1042

Terms-A
8VA
(Italian) Abbreviation for "ottava." Perform one octave higher.
8VA BASSA
(Italian) Abbreviation for "ottava bassa." Perform one octave lower.
8VA BASSO
(Italian) Abbreviation for "ottava basso." Perform the notes in the bass one octave lower.
A2
(Italian) Both instruments performed together on the same line.
A L'AISE
(French) Perform with ease.
A PIACERE
(Italian) At the pleasure of the performer, particularly with regard to tempo.

A SUONI PIENI
(Italian) With a full sound.
A TEMPO
(Italian) Return to the original tempo.
A VOCE PIENA
(Italian) With a full voice.
A VOLONT
(French) The interpretation of this passage is left to the performer's discretion and taste.
AB
(German) Off.
ABER
(German) But.
ABLOSEN
(German) To separate one note from another; detached.

1043

ABNEHMEND
(German) Becoming gradually softer; diminishing in loudness; same as the Italian term 'diminuendo'.
ABRIESSEN
(German) Cut off.
ACCELERANDO
(Italian) Abbreviated "accel." Accelerating; becoming gradually faster.
ACCELERANDO A TEMPO
(Italian) Becoming gradually faster until the speed established at 'tempo I' (or the beginning of the piece
or movement) is reached.
ACCELEREZ
(French) Accelerate; becoming gradually faster.
AD LIBITUM
(Latin) Abbreviated "ad lib." Interpret freely within the context of the music.
ADAGIO
(Italian) A slow, leisurely tempo.
ADAGISSIMO
(Italian) Extremely slow.
AFFETTUOSO
(Italian) With passion; very expressively.
AFFRETTANDO
(Italian) Hurry the tempo along.
AGILE
(French) With agility and sprightliness.
AGITATO
(Italian) Hurried and restless; agitated.
AL FINE
(Italian) Until the end.
ALLA BREVE
(Italian) Two beats per measure, the half note getting the beat; implies a quicker tempo than if performed
in 4/4 meter.
ALLA MARCIA

1044

(Italian) In the style of a march.

ALLA SICILIANO CANTABILE
(Italian) In a melodious, singing style with a slow and graceful character.
ALLARGANDO
(Italian) Abbreviated "allarg." Becoming slower.
ALLE
(German) All.
ALLEGRETTO
(Italian) A little slower than 'allegro'; light and cheerful.
ALLEGRO
(Italian) Fast and lively.
ALLMHLICH
(German) Gradually.
ALS
(German) Like.
AM
(German) At the.
AMABILE
(Italian) Sweetly; gently.
AMOROSO
(Italian) Lovingly; fondly.
ANDANTE
(Italian) At a leisurely pace.
ANDERE
(German) Other.
ANFANG
(German) Beginning.
ANIMANDO
(Italian) Becoming more animated; growing livelier.
ANIMATO

1045

(Italian) Animated and lively.

ANIM
(French) Animated and lively.
ANIME ET EN SERRANT LE MOUVT. JUSQU'A LA FIN
(French) Animated and accelerating to the end.
ANIMEZ ET AUGMENTEZ
(French) Livelier and louder.
ANMUTIG
(German) With grace and charm.
ANWACHSEND
(German) Swelling.
APERTO
(Italian) Broadly.
APPASSIONATO
(Italian) Abbreviated "appass." With great passion and ardor.
APPENA RITARDANDO
(Italian) With almost no or very slight slowing of the tempo.
APPOGGIATURA
(Italian) An added note, occurring on a strong (accented) beat, it takes the accent and part of the time
value of the following principal note. If it occurs on a weak (unaccented) beat, it takes its value from the
preceding note.
APPUY
(French) Accent or lengthen the note. Or, on a strong beat, add an upper auxiliary to the principal note.
ARPEGGIATED
To sound the notes of a chord successively, instead of simultaneously.
ARPEGGIERT
(German) Arpeggiated.
ASSAI
(Italian) Very; for example, 'allegro assai', very fast.
ASSEZ
(French) Rather.

1046

ASSEZ DOUX, D'UNE SONORIT LARGE

(French) Rather gently, but with a broad sonority.
ASSEZ LENT
(French) Rather slowly.
ATTACCA
(Italian) Continue to the next section or movement immediately, without a pause.
AU MOUVEMENT
(French) Abbreviated "au mouvt." Back to the original speed; same as the Italian term 'a tempo'.
AU MUT(H)IG FLIESSEND
(German) With graceful flow.
AUF
(German) Up.
AUFHALTEN
(German) To slow down; same as the Italian term 'ritardando'.
AUGMENTANT
(French) Increasing.
AUGMENTEZ
(French) Increase; raise; augment.
AUSDRUCK
(German) Expression.
AUSDRUCKSVOLL
(German) Expressively.
USSERST LANGSAM
(German) As slow as possible.
AUSSPRECHEN
(German) Articulate.
AUSWAHL
(German) Selection.
AVEC
(French) With.

1047

AVEC AMPLEUR
(French) With loudness, forcefulness.
AVEC BEAUCOUP DE LAISSER ALLER DANS LA MESURE
(French) A rubato tempo (very flexible tempo)
AVEC CHARME
(French) With charm.
AVEC LGANCE
(French) With elegance.
AVEC SOURDINE
(French) Attach or use a mute.
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Terms and Symbols Contents

1048

Terms-B
BATTEMENT
(French) A trill, or in contemporary music, the acoustic effect produced from two very close notes (micro
intervals).
BEGINNEND
(German) Beginning.
BEIDE
(German) Both.
BEINAHE
(German) Almost.
BELEBTER
(German) Briskly.
BEN
(Italian) Well; quite.
BENE
(Italian) Well; quite.
BESCHLEUNIGEND
(German) Accelerate; hurry.
BESCHLUSS
(German) With decisiveness and resolve.
BETONUNG
(German) Emphasis.
BEWEGTER
(German) Proceed with motion and some rapidity; same as the Italian term 'piu mosso'.
BIS ZUM
(German) Until the.
BISBIGLIANDO
(Italian) Harp technique: a soft and frequent chord tremolo.

1049

BOUCH
(French) Stopped tones, for brass instruments. Open or close the instrument with hand or mute.
Sometimes used to indicate a change in pitch.
BRAVURA
(Italian) Bold; dashing.
BREIT
(German) Broad.
BREITER
(German) Broadly.
BRILLANTE
(Italian) Brilliant; sparkling.
BRIOSO
(Italian) Lustily; with spirit.
BRUSCAMENTE
(Italian) Sharply; roughly.
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Terms and Symbols Contents

1050

Terms-C
CADENCE
(French) A melodic or harmonic sequence used to create a sense of resolution, usually found at the end
of phrases.
CADENZA
(Italian) Abbreviated "cad." An ornamental passage introduced near the close of a movement designed to
allow soloists to highlight their technical skill.
CALANDO
(Italian) Growing softer and usually slower.
CALMATO
(Italian) Perform with calmness and tranquillity.
CALME
(French) Calm and peaceful.
CALME, MAIS BIEN EXPRESSIF
(French) Perform calmly and tranquilly but with expression and feeling.
CALOROSO
(Italian) Passionately; with great feeling.
CANON/CANONE
(French/Italian) A strict form of imitation in which succeeding entrances take up the theme note for note.
CANTABILE
(Italian) In a singing, vocal style.
CANTANDO
(Italian) In a singing, flowing style.
CARESSANT
(French) Caressing; comforting.
CARILLON
(French) A carillon is a group of bells that can be rung using a special keyboard.
CEDENDO
(Italian) Growing slower.

1051

CDER/CDEZ
(French) Slow down.
CHANT
(French) Singing.
CODA
(Italian) A short passage ending a movement.
COME PRIMA
(Italian) Resume the previous tempo.
COMME AU DBUT
(French) Perform the tempo and style as marked at the beginning of the piece.
CON
(Italian) With.
CON ALCUNA LICENZA
(Italian) Perform with a certain freedom or license in regard to tempo.
CON AMORE
(Italian) With love.
CON ANIMA
(Italian) With animation and vivaciousness.
CON BRAVURA
(Italian) With boldness, dash and brilliance.
CON BRIO
(Italian) With brilliance and brightness.
CON DOLCEZZA
(Italian) With sweetness and softness.
CON DOLORE
(Italian) With grief or pain.
CON DUOLO
(Italian) With grief or great sadness.
CON ENFASI
(Italian) With emphasis and resolution.

1052

CON ESPRESSIONE
(Italian) Abbreviated "con espr." or "con espress." With expression and feeling.
CON FORZA
(Italian) With force.
CON FUOCO
(Italian) With fire.
CON GRAZIA
(Italian) With grace.
CON MOTO
(Italian) With motion; movement.
CON PASSIONE
(Italian) With passion and ardor.
CON SLANCIO
(Italian) With dash and impetuosity.
CON SPIRITO
(Italian) With spirit.
CON TUTTA FORZA
(Italian) With all available forcefulness.
COUL
(French) An ornament in which the primary note is held, followed by notes that fill in, scale-like, to the
next written note.
COURT
(French) Short and brief.
CRESCENDO
(Italian) Abbreviated "cresc." Becoming gradually louder.
CUIVR
(French) With a brassy tone, particularly on the French horn.
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Terms and Symbols Contents

1053

Terms-D
D. C.
(Italian) Abbreviation for "da capo." Go back to the beginning of the piece or movement.
D. C. AL CODA
(Italian) Go back to the beginning of the piece or movement and continue to the sign, then skip to the
'coda' (ending passage).
D. C. AL FINE
(Italian) Go back to the beginning of the piece or movement and stop at the 'fine' (end).
D. C. SCHERZO AL FINE
(Italian) Go back to the beginning of the 'scherzo' and stop at the 'fine' (end).
D. S.
(Italian) Abbreviation for "dal segno." Perform the section from the sign again.
D. S. AL CODA
(Italian) Go back to the sign and perform the section again until the Coda sign is reached, then skip to the
'coda'.
D. S. AL FERMATA
(Italian) Go back to the sign and perform the section again until the 'fermata' (hold) is reached.
D. S. AL FERMATA E TRIO
(Italian) Go back to the sign and perform the section again until the fermata in the 'trio' is reached.
D. S. AL FINE
(Italian) Go back to the sign and perform the section again until the 'fine' (end) is reached.
D. S. AL SEGNO AL CODA
(Italian) Abbreviation for "dal segno al segno al coda." Repeat this section beginning at the sign. When
the next sign is reached, skip to the 'coda'.
DA CAPO
(Italian) Abbreviated "D. C." Go back to the beginning.
DAL SEGNO
(Italian) Abbreviated "D. S." Perform the section from the sign again.
DMPFER
(German) Mutes.

1054

DCID
(French) Decisive; with assurance.
DECISO
(Italian) With determination.
DECRESCENDO
(Italian) Abbreviated "decresc." Becoming gradually softer; decreasing in loudness.
DEHNEN
(German) To prolong; lengthen.
DLICATAMENTE E CON ESPRESSIONE
(Italian) Perform delicately and with expressiveness.
DELICATEMENT
(French) With delicacy; gentleness.
DELICATO
(Italian) With delicacy; gentleness.
DES
(German) Of the.
DESCANT
(Latin) The highest pitch or part in the music.
DEUTLICH
(German) Distinctly.
DIESELBEN
(German) The same.
DIMINUEZ
(French) Reduce; diminish; lessen.
DIMINUENDO
(Italian) Abbreviated "dim." or "dimin." Becoming gradually softer; diminishing in loudness.
DISCRTEMENT
(French) Discreetly.
DIVISI

1055

(Italian) Indicates that two (or more) notes written together on the same part or line should be performed
by two (or more) people.
DOLCE
(Italian) Sweetly.
DOLCE CON DELICATEZZA
(Italian) With sweetness and great delicacy.
DOLCE CON GUSTO
(Italian) Sweetly and tastefully.
DOLCEZZA
(Italian) Sweetly.
DOLCISSIMO
(Italian) Abbreviated "dolciss." Very sweetly and softly.
DOLENT(E)
(French, Italian) Sad; plaintive.
DOPPELT BESETZ
(German) Doubled.
DOUBLE CADENCE
(French) A four or five note turn that begins on the beat and revolves around the principal note.
DOUBLE CADENCE COUPE
(French) A baroque ornament that begins with a trill, ends on the principal note and fills to the next note.
DOUCEMENT MONOTONE
(French) Soft and unchanging.
DOUCEUR
(French) Sweetness; gentleness.
DOUX
(French) Sweetly.
DRNGEND
(German) Pressing; quicker.
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1056

Terms-E
EGUALE
(Italian) The notes are to be equal and even.
EILEN
(German) Accelerate; go faster.
EILIG
(German) Rapid; swift.
EIN
(German) A; one.
EIN WENIG FLIESSENDER
(German) A little flowing and smooth.
EIN WENIG RUHIGER
(German) A little quieter and calmer.
EINFACH
(German) Simply and directly without pretension.
EINLEITEN
(German) To introduce.
LARGIR
(French) Broad and sweeping.
ELARGISSEZ
(French) Broad and sweeping.
ELEGANTE
(Italian) With elegance and refinement.
EN
(French) In; into; to; at.
EN ACCLRANT
(French) Becoming gradually faster and faster.
EN ALLANT SE PERDANT

1057

(French) Dying away.

EN ANIMANT
(French) With animation; excitement.
EN AUGMENTANT UN PEU
(French) Slightly faster; same as the Italian term 'poco piu mosso'.
EN LARGISSANT
(French) Broadly and slowly.
EN PRESSANT
(French) Pressing forward; with forward motion; moving ahead.
EN RETENANT
(French) Holding back; slowing the pace.
EN SERRANT
(French) Become quicker.
ENCORE
(French) To perform again.
ENERGICO
(Italian) Energetically.
ENVIRON
(French) In the vicinity of the metronome marking designated.
ERHABEN
(German) Lofty; noble.
ERSTREBEN
(German) Aspire to.
ESPRESSIVO
(Italian) Abbreviated "espr." or "espress." Expressively; with feeling.
TUDE
( French) A study usually with a special technical difficulty or challenge.
ETWAS
(German) Somewhat.
EXPRESSIF

1058

(French) Expressively; with great feeling.

EXPRESSIF ET GRACIEUX
(French) Expressively and gracefully.
EXPRESSIF ET LI
(French) Expressively; with feeling; very smooth and connected.
EXTRMEMENT DOUX
(French) Extremely sweet.
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1059

Terms-F
FEIERLICH
(German) Ceremonially, solemn.
FESTIVO
(Italian) In a festive, celebrated manner.
FINALE
(Italian) The last movement or section of a piece.
FINE
(Italian) Indicates the close or end of a repeat or the end of a whole piece.
FLEBILE
(Italian) Sadly; tearfully.
FLIESSEND
(German) Flowing and smooth.
FLOTT
(German) Lively.
FLCHTIG
(German) Rapidly.
FLSTERN
(German) Whisper.
FORTE
(Italian) Abbreviated "f." Loud.
FORTE FORTISSIMO
(Italian) Abbreviated "fff." Extremely loud; as loud as possible.
FORTE PIANO
(Italian) Abbreviated "fp." Perform the note strongly, instantly diminishing to a much softer
volume.
FORTE TRS EN DEHORS
(French) Perform loudly and bring out the melody.

1060

FORTISSIMO
(Italian) Abbreviated "ff" or "fff." Very loud.
FORTISSIMO PIANO
(Italian) Abbreviated "ffp." Perform the note very loud, instantly diminishing to a much softer
volume.
FORTISSIMO POSSIBLE
(Italian) Perform as loudly as possible.
FORZANDO
(Italian) Abbreviated "fz," "ffz," "fffz." Perform the note loudly and with a very strong accent.
FRISCH
(German) Fresh; brisk; vigorous in style.
FROHLICH
(German) Joyfully; with gaiety and gladness.
FRUHER
(German) Earlier.
FUNEBRE
(Italian) Funeral.
FURIOSO
(Italian) Furiously; wildly.
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1061

Terms-G
GAI
(French) Brisk; lively.
GAIEMENT
(French) Briskly; lively.
GANZ
(German) Quite; very.
GEDAMPFT
(German) Muffled; muted.
GEDEHNT
(German) Stately; slow and sustained.
GEFLUSTER
(German) Whisper.
GEHALTEN
(German) Held; sustained.
GEHEIMNISVOLL
(German) Mysterious; secretive.
GEHEND
(German) At a moderate, leisurely walking pace; same as the Italian term 'andante'.
GEMACHLICH
(German) Easy; comfortable.
GEMASSIGTER
(German) More moderate.
GEMESSEN
(German) At a moderate rate of speed; not too fast, not too slow; same as the Italian term
'moderato'.
GEMTLICH
(German) Cheerful; with no cares.

1062

G. P.
Abbreviation for "Grand Pause." A rest for all performers.
GESCHWINDT
(German) Swiftly and rapidly.
GESTEIGERT
(German) Intensified; louder.
GESTEIGERTERM AUSDRUCK
(German) With more feeling and expression.
GESTOPFT
(German) Abbreviated "gest." Stopped.
GETRAGEN
(German) Sustained; continue the tone for the full value of each note; same as the Italian term
'sostenuto'.
GEWICHTE
(German) Weight.
GEWICHTIG
(German) Weighty.
GEZOGEN
(German) Drawn out.
GIOCOSO
(Italian) Playful and sprightly.
GIUSTO
(Italian) In character; well suited.
GLEICH
(German) Same.
GLISSANDO
(Italian) Abbreviated "gliss." A flowing, unaccented execution of a passage; sliding between each note.
GLHEND
(German) Glowing; full of ardor.
GRAN
(Italian) Grand.

1063

GRANDIOSO
(Italian) In a grand and majestic style.
GRAVE
(Italian/French) Heavy; slow and ponderous in tempo and movement.
GRAZIOSO
(Italian) Gracefully; elegantly.
GUT
(German) Well; quite.
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1064

Terms-H
HLFTE
(German) Half.
HASTIG
(German) Hurried.
HEFTIG
(German) Spontaneous; passionate; impetuous.
HEIMLICH
(German) Mysteriously; as if a secret.
HEITER BEWEGT
(German) With bright, cheerful movement.
HESITANT
(French) In a hesitant, faltering manner.
HINGEBEND
(German) To give up; give away.
HCH
(German) High; very.
HOHE
(German) High; very.
HYMNENARTIG
(German) Hymn-like.
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1065

Terms-I
IM
(German) In the.
IM HAUPTZEITMASS
(German) In the tempo of the first section.
IM ZEITMASS
(German) In tempo.
IMMER
(German) Always; steadily.
INBRUNST
(German) Ardor.
INCALZANDO
(Italian) Becoming more vehement in style and rapid in tempo.
INNIG
(German) With inward feeling and emotion; heartfelt.
INTIMEMENT
(French) Intimately.
INTRODUZIONE
(Italian) A phrase or section of music preliminary to and preparatory to the main body of the composition.
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1066

Terms-J
JEDER
(German) Each.
JOYEUX
(French) Happy; joyful; cheerful.
JUBELN
(German) Celebrate; rejoice; be jubilant.
JUSQU' LA FIN
(French) Go up to the end.
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1067

Terms-K
KECKER
(German) Bolder.
KEIN
(German) No.
KLAGEND
(German) Plaintively.
KLAVIER
(German) Piano, the instrument.
KLEINES
(German) Little.
KODA
(German) An alternate spelling of "coda," an Italian term meaning the tail or concluding section of a
piece.
KRFTIG
(German) Strong.
KURZ
(German) Short; brief.
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1068

Terms-L
L'ISTESSO TEMPO
(Italian) Maintain the same tempo regardless of meter change.
LACRIMOSO
(Italian) In a sad, heartfelt manner.
LAGRIMOSO/LAMENTOSO
(Italian) In a sad, heartfelt manner.
LANGE
(German) Long.
LANGSAM
(German) Slowly.
LA NOIRE UN PEU MOINS LENTE QUE LA NOIRE POINTE PRCDENTE
(French) The quarter note will be slightly faster than the dotted quarter note of the preceding section.
LARGAMENTE
(Italian) Abbreviated "larg." In a large, broad style with vigorous and sustained tone. It does not imply a
change in tempo.
LARGEMENT
(French) Abbreviated "larg." In a large, broad style with vigorous and sustained tone. It does not imply a
change in tempo.
LARGHETTO
(Italian) Diminutive of 'largo'; slightly quicker than 'largo' but not as fast as 'andantino'.
LARGO
(Italian) Slow and broad, the slowest tempo marking. This marking usually implies a slow and stately
style, with great breadth.
LAS
(French) Weary.
LEBHAFT
(German) Lively and animated.
LEGATO
(Italian) Smoothly connected and slurred together.

1069

LGER
(French) Light and nimble.
LGREMENT
(French) Light and nimble.
LEGEREMENT RETENU
(French) Light and nimble, but held back in tempo; slowing the pace.
LEGEREMENT RUBATO
(French) Light and nimble and with rhythmic freedom.
LEGGIERO
(Italian) Abbreviated "legg." Light and airy.
LEICHT
(German) Light; easy; brisk.
LEICHT BEWEGT
(German) Lightly and with forward motion.
LEIDENSCHAFTLICH
(German) Passionately.
LEISE
(German) Softly; same as the Italian term 'piano'.
LENT
(French) A slow tempo between 'largo' (the slowest tempo marking) and 'andante' (a moderate,
leisurely pace).
LENT ET TRISTE
(French) Slowly and sadly.
LENTAMENTE
(Italian) Slowly.
LENTO
(Italian) A slow pace between 'largo' (the slowest tempo marking) and 'andante' (a moderate, leisurely
pace).
LES TRIOLETS SANS RIGUEUR
(French) Perform the triplets without rigor or stiffness.

1070

LETZTEN
(German) Last; previous.
LIBREMENT
(French) Liberated; free.
LOCO
(Italian) Perform as written, in its original location.
LOINTAIN
(French) Distant sounding.
LUGUBRE
(Italian) In a mournful, ponderous style.
LUNGA
(Italian) Prolong or sustain a note, 'fermata' (hold), or rest well beyond its original value.
LUSINGANDO
(Italian) In a flattering, coaxing style.
LUSTIG
(German) Merrily; lustily; gaily.
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1071

Terms-M
MA DOLCE
(Italian) With sweetness.
MA VIVO
(Italian) With spirit; briskly.
MCHTIG
(German) Powerful; intense.
MAESTOSO
(Italian) Majestic; dignified.
MAGGIORE
(Italian) In the major key.
MALINCONICO
(Italian) Melancholic.
MARCATISSIMO
(Italian) With marked emphasis.
MARCATO
(Italian) Abbreviated "marc." With emphasis; distinctly.
MARSCH TEMPO
(German) In the tempo of a march.
MARZIALE
(Italian) In a martial or war-like style.
MSSIG
(German) Steady; measured; same as the Italian term 'moderato'.
MASSIG BEWEGT
(German) At a moderate tempo.
MASSIGER
(German) Moderate.
MEHR

1072

(German) More.
MEHRFACH BESETZT
(German) Several to a part.
MLANCOLIQUE
(French) With melancholy, sadness.
MEME
(French) Same.
MME MOUVEMENT
(French) Abbreviated "meme mouvt." At the same tempo.
MENO
(Italian) Less; not so much.
MENO MOSSO
(Italian) Slower than before; relax the tempo slightly.
MESTO
(Italian) Sadly and pensively.
MESURE
(French) In exact time; take no liberties with the rhythm.
MEZZA VOCE
(Italian) Half the loudness, probably at 'mezzo forte' (medium loud) or quieter.
MEZZO
(Italian) Moderately.
MEZZO FORTE
(Italian) Abbreviated "mf." Moderately loud.
MEZZO FORTE PIANO
(Italian) Abbreviated "mfp." Attack the note moderately loud, quickly returning to a soft volume level.
MEZZO PIANO
(Italian) Abbreviated "mp." Moderately soft.
MINORE
(Italian) In the minor key.
MINUETTO PRIMO DA CAPO

1073

(Italian) Go back to the first "Minuet" and perform it again.

MISTERIOSO
(Italian) Mysteriously; suggestive of hidden meanings and undercurrents.
MISURATO
(Italian) In exact time; take no liberties with rhythm or tempo.
MIT
(German) With.
MIT ANSTAND
(German) With grace; decency.
MIT EMPFINDUNG
(German) With feeling; full of emotion.
MIT FREIEM VORTRAG
(German) The interpretation of the music is at the performer's discretion.
MIT KRAFT
(German) With strength; forcefulness.
MODERATO
(Italian) At a moderate rate of speed; not too fast, not too slow.
MODR/MODRMENT
(French) At a moderate pace; same as the Italian term 'moderato'.
MOINS
(French) Less.
MOLL
(German) Minor.
MOLTO
(Italian) Much; very.
MONOTONE
Performed with unchanged tone.
MORENDO
(Italian) Abbreviated "morend." Gradually dying away, usually in both tempo and volume.
MOSSO

1074

(Italian) Proceed with motion and some rapidity.

MOUVEMENT
(French) Abbreviated "mouvt." Tempo.
MOUVEMENT DU DBUT
(French) Abbreviated "mouvt. du debut." Perform the same tempo as the beginning.
MOUVEMENT MARCHE MODR
(French) Abbreviated "mouvt. du debut." Perform in a moderate, march-like tempo.
MOUVEMENT MODR
(French) Abbreviated "mouvt. modere." Perform in a moderate tempo.
MUNTER
(German) Lively; merry.
MURMURE
(French) Murmur.
MUTIG
(German) Brave; courageous.
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1075

Terms-N
NACHLASSEND
(German) Subside; die down; lessen.
NEUES
(German) New.
NICHT
(German) Not; do not.
NICHT SCHLEPPEN
(German) Do not drag or lag behind.
NICHT SCHNELL
(German) Not fast.
NIENTE
(Italian) Nothing.
NOBILE
(Italian) In a lofty, noble style.
NOCH
(German) Yet; still; more.
NOCH EIN WENIG RUHIGER
(German) A little more calmly and peacefully.
NOCH ETWAS BREITER
(German) Yet a little broader.
NON
(Italian) Not.
NON LEGATO
(Italian) Abbreviated "non leg." Not smoothly connected or slurred.
NON TANTO
(Italian) Not too much.
NON TROPPO

1076

(Italian) Not too much.

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1077

Terms-O
OBBLIGATO
(Italian) Literally, "necessary." Generally, a required, independent melodic part in a composition, usually
soloistic, and secondary to the main melody of the work.
OFFEN
(German) Open.
OHNE
(German) Without.
OKTAVE
(German) Octave.
OSSIA
(Italian) Indicates an alternate part or fingering of a passage.
OUVERT
(French) Open; free.
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1078

Terms-P
PAISIBLEMENT
(French) Peacefully; tranquilly.
PARLANDO
(Italian) In a clear, distinct manner; not smooth and connected.
PASSIONATO
(Italian) With passion and great feeling.
PASSIONN
(French) With passion and great feeling.
PATETICO
(Italian) With great emotion; pathos.
PNTRANT
(French) Penetrating.
PERDENDOSI
(Italian) Dying away with a slight, gradual slowing of the tempo.
PEU
(French) A little.
PEU A PEU
(French) Little by little.
PESANTE
(Italian) Heavy; ponderous; with emphasis.
PETITE REPRISE
(French) Marks the return of a fragment of the original theme or the beginning of the piece.
PIACEVOLE
(Italian) In a pleasant, agreeable manner with a smooth delivery; free from any strong accents.
PIANISSIMO
(Italian) Abbreviated "pp." Very softly.
PIANO PIANISSIMO

1079

(Italian) Abbreviated "ppp." As soft as possible.

PIANO
(Italian) Abbreviated "p." Softly.
PIANOFORTE
(Italian) Abbreviated "Pf." or "Pfte." Piano, the musical instrument.
PI
(Italian) With.
PLTZLICH
(German) Sudden.
PLUS
(French) More
PLUS ANIM
(French) More animated.
PLUS RETENU
(French) Hold back; slow down the tempo even more.
PLUS VITE
(French) Very fast in tempo.
POCO
(Italian) A little.
POCO A POCO
(Italian) Little by little.
POCO MENO
(Italian) A little slower than before.
POCO MENO MOSSO
(Italian) A little slower than before; with a little less motion.
POCO MOSSO
(Italian) Somewhat faster in tempo than before.
POMPOSO
(Italian) Perform with majesty and pomp; loftily.
PORT DE VOIX

1080

(French) A baroque ornament performed on the beat taking its time value from the following note.
PORT DE VOIX DOUBLE
(French) A baroque ornament performed on the beat, taking its time value from the following note
and ending with a slide or fill to the next note.
PORTAMENTO
(Italian) Glide smoothly from one tone to the next.
PRALLTRILLER
(German) Also called a 'schneller', it is an 18th century ornament that begins on the principal note and
not on the upper auxiliary, as a trill usually does. It begins on the beat and on the principal note and
rapidly alternates with the note above.
PREMIER MOUVEMENT
(French) Return to the tempo of the beginning.
PRESSER
(French) Hurry forward; accelerate.
PRESQUE
(French) Nearly; almost.
PRESTISSIMO
(Italian) Very fast and rapid.
PRESTO
(Italian) Fast and rapid; faster than 'allegro' (fast and lively).
PRIMO
(Italian) First; beginning.
PRIMO TEMPO
(Italian) Return to the tempo at the beginning.
PROGRESSIVEMENT
(French) Progressively.
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1081

Terms-Q
QUASI
(Italian) Almost; nearly.
QUASI CADENZA
(Italian) Performed in a very unstructured style.
QUASI RECITATIVO
(Italian) Performed almost as if it were a recitative.
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1082

Terms-R
RALLENTANDO
(Italian) Abbreviated "rall." or "rallent." Becoming slower.
RAPIDE
(French) Rapid; quick.
RAPIDO
(Italian, Spanish) Rapid; quick.
RAUH
(German) Harsh; rough.
RAUSCHEND
(German) Thunderously; noisily rustling.
RAVVIVANDO POCO A POCO AL TEMPO PRIMO
(Italian) Accelerate, little by little, to the tempo at the beginning.
RECITANDO
(Italian) A crisp delivery of the melody in a recitative-like style.
RECITATIVE
(Italian) A style that imitates the natural inflection, rhythm and accent of speech.
RECITATIVO
(Italian) A style that imitates the natural inflection, rhythm and accent of speech.
RELIGIOSO
(Italian) With devotion, religiously.
REPRENEZ LE MOUVEMENT
(French) Return to the previous speed; same as the Italian term 'a tempo'.
RETENEZ BEAUCOUP
(French) Becoming gradually much slower.
RETENU
(French) Hold back; slow the pace.
REVENEZ

1083

(French) Return to the previous style or tempo.

RVEUSEMENT LENT
(French) In a dreamy, slow manner.
RHYTHME
(French) Rhythm.
RIGUEUR
(French) Strictness; structured.
RIMETTENDOSI
(Italian) Return to the tempo set before the ritardando or accelerando.
RINFORZATO
(Italian) Abbreviated "rinf." With a special increase in emphasis; to bring out; reinforce. Usually indicated
for a specific passage or section.
RIPIENO
(Italian) The full ensemble performs this passage.
RISOLUTO
(Italian) In a decided, resolute, vigorous style.
RITARDANDO
(Italian) Abbreviated "rit." or "ritard." Becoming gradually slower.
RITENUTO
(Italian) Abbreviated "riten." Hold back the tempo a bit; at a slightly slower rate of speed.
RITMICO
(Italian) Rhythmically.
RUBATO
(Italian) With rhythmic freedom, hastening unimportant notes and dwelling on melodically important
notes. Ideally, the overall tempo should not be changed.
RUDE
(French) Rough; harsh and rude sounding.
RUHIG
(German) Calm; quiet; peaceful.
RUHIG BEWEGT
(German) Very calmly and tranquilly.

1084

RUHIGER
(German) Calm; quiet; peaceful.
RUHIGER WERDEN
(German) Becoming more calm and tranquil.
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1085

Terms-S
SANFT
(German) Softly.
SANS
(French) Without.
SANS HTE
(French) Proceed without haste or feeling of hurry.
SANS PRESSER
(French) Without going faster or accelerating the pace.
SANS RAIDEUR
(French) Proceed without rigor, rigidity and stiffness.
SANS RIGUEUR
(French) Proceed without precision or strictness.
SANS TROP DE RIGUEUR DANS LA MESURE
(French) Proceed without too much rigor or strictness in the tempo.
SCHARF
(German) Sharp; penetrating.
SCHERZANDO
(Italian) Abbreviated "scherz." Playful; jesting; with no seriousness.
SCHLAGEN
(German) Beat.
SCHLEPPEND
(German) Dragging; lagging behind.
SCHLUSS
(German) End.
SCHMEICHELND
(German) Wheedling; caressing.
SCHMETTERND

1086

(German) Blaring.
SCHNELL
(German) Fast; quick.
SCHON
(German) Already, yet.
SCHWACHSTES
(German) Weakest; softest.
SCHWEBEND
(German) Ethereally.
SCHWER
(German) Weighty; awkward.
SCHWERMUTHIG
(German) Unhappiness; melancholy.
SECONDA VOLTA
(Italian) The second time only.
SEGNO
(Italian) Indicates where the performer repeats back to; used in terms such as 'dal segno' or 'D.
S.' (from the sign).
SEHR
(German) Very.
SEHR LANGSAM
(German) Very slowly.
SEHR LEBHAFT
(German) Very lively and animated.
SEHR RUHIG
(German) Very peaceful and calm.
SELBE
(German) Same.
SEMPLICE
(Italian) Simple and unaffected.

1087

SEMPRE
(Italian) Always.
SENTITA LA MELODIA
(Italian) Bring out the melody; perform the melody louder.
SENZA
(Italian) Without.
SENZA SORDINO
(Italian) Without mute.
SERREZ
(French) Press ahead; go faster.
SFORZANDO
(Italian) Abbreviated "sffz." Perform the note very loudly, with a marked and sudden emphasis.
SFORZANDO PIANO
(Italian) Abbreviated "sfp." Perform the note loudly, with a marked and sudden emphasis, then
immediately become soft in volume.
SICH ZEIT LASSEN
(German) Allow time.
SIMILE
(Italian) Abbreviated "sim." Continue on in a like or similar manner. Usually indicates that articulation or
dynamic markings are to continue although they no longer appear on the notes.
SLENTANDO
(Italian) Becoming slower.
SMORZANDO
(Italian) Abbreviated "smorz." Dying away in volume and usually becoming much slower.
SO
(German) As.
SOGNANDO
(Italian) Dreamily.
SOLI
(Italian) Indicates that the section is performed by more than one soloist.
SOLO

1088

(Italian) Indicates that during this passage, this part predominates and takes the leading role.
SOMBRE
(French) Sullen; dark; clouded; somber.
SOMMEILLANTE
(French) As if in sleep.
SONORE
(Italian) Resonantly; ringingly; sonorously.
SORDAMENTE
(Italian) With a veiled, muffled tone.
SOSTENUTO
(Italian) Abbreviated "sost." Sustained; continue the tone for the full value of each note.
SOTTO
(Italian) Remain in the background.
SOTTO VOCE
(Italian) As if in an undertone or under the breath.
SOUTENU
(French) Sustained and connected.
SPIRITOSO
(Italian) Spirited; animated and energetic.
STACCATO
(Italian) Perform the notes detached and disconnected from one another.
STARK
(German) Strong.
STEIGERN
(German) Intensify; increase.
STETIG
(German) Steadily.
STIMME
(German) Voice.
STOP

1089

Alter the tone by a partially closing the bell (brass instruments).

STRENG
(German) Strictly.
STRETTO
(Italian) Hurry the notes along.
STRICTEMENT EN MESURE
(French) Strictly in time; take no liberties with rhythm.
STRICTEMENT EN MESURE SANS RALENTIR
(French) Strictly in time without any slowing.
STRINGENDO
(Italian) Abbreviated "string." Suddenly accelerate and hasten the movement of the music.
STRISCIANDO
(Italian) Smooth and gliding motion.
STRMISCH
(German) Stormy; passionate.
SUBITO
(Italian) Abbreviated "sub." Suddenly; abruptly.
SUIVEZ
(French) Indicates to continue; go on.
SURTOUT SANS PRESSER
(French) Above all, do not increase tempo; do not accelerate or rush.
SURTOUT SANS RALENTIR
(French) Above all, without slowing or dragging of the pace.
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Next
Terms and Symbols Contents

1090

Terms-T
TAKTE
(German) Measure; bar.
TEIL
(German) Part.
TEMPO
The time or speed at which a piece should be performed.
TEMPO BRILLANTE
(Italian) At a brilliant, showy rate or pace.
TEMPO COMODO
(Italian) Pace of the piece is at the soloist's convenience and accommodation.
TEMPO GIUSTO
(Italian) A favorite term during the Baroque era (1600-1750). It means that the tempo should feel right
and be governed by the style of the piece.
TEMPO PRESTO PRIMO
(Italian) Return to a fast, rapid pace as at the beginning.
TEMPO PRIMO
(Italian) Return to the first tempo.
TEMPO RUBATO
(Italian) Literally "to rob." The tempo is governed by the melodic importance of the notes; hastening
unimportant notes and dwelling on notes that emphasize the expressiveness of the
phrase.
TENDRE
(French) Tender; stretch; strain.
TENDREMENT
(French) Tenderly; gently.
TENERAMENTE
(Italian) With tender emotion; softly.
TENERO
(Italian) Tender.

1091

TENUTO
(Italian) Abbreviated "ten." Stress the note by holding it to its full value.
TIEFE
(German) Deep.
TOUJOURS
(French) Always.
TRANQUILLO
(Italian) In a tranquil, peaceful style.
TRAUERMUSIK
(German) Funeral music.
TREMOLANDO
(Italian) With a quivering, fluttering of the tone.
TREMOLO
(Italian) A rapid alternation of tones; or on a stringed instrument, rapid alternation of up-bows and downbows.
TRS
(French) Very.
TRILL
The rapid alternation of a principal note with its auxiliary a minor or major second higher.
TRISTAMENTE
(Italian) Sadly.
TRISTE
(French) Sadly.
TRIUMPHANT
(Italian) Triumphant; majestic.
TUTTI
(Italian) Indicates that the entire ensemble joins in, usually indicated after a solo passage.
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Terms and Symbols Contents

1092

Terms-U
BERGEHEN
(German) Changing.
BRIG
(German) Other.
UN, UNA, UNE, UNO
(French, Italian, Spanish) One.
UN PEU
(French) A little.
UN PEU VOLONT
(French) A little freely; at will.
UN PEU LENT
(French) A little slower.
UN PEU MOUVEMENTE
(French) With a little movement.
UN POCO
(Italian) A little more.
UND
(German) And.
UNGEBROCHEN
(German) Unarpeggiated.
UNGEFHR
(German) Approximately.
UNMARKLICH
(German) Imperceptibly.
UNTER
(German) Lower.
Previous

1093

Next
Terms and Symbols Contents

1094

Terms-V
VERBREITERN
(German) Broaden; widen.
VERDOPPLUNG
(German) Doubling.
VEREINIGT
(German) Combined.
VERHALLEND
(German) Dying away; fading.
VERHALTENEM
(German) Restrained.
VERKLINGEND
(German) Dying away.
VERLOSCHEN
(German) Expiring; disappearing.
VIEL
(German) Much; a lot of.
VIF
(French) Lively; quick and brisk.
VIF A UN TEMPS
(French) Lively; quick and brisk, but do not rush; remain in time.
VIGOROSO
(Italian) With energy and vigor.
VITE
(French) Fast.
VIVACE
(Italian) A lively, animated tempo; usually faster than 'allegro' (fast and lively).
VIVO

1095

(Italian) In a lively, brisk style.

VOIX
(French) Voice.
VOLANTE
(Italian) Swiftly and rapidly executed.
V. S.
(Italian) Abbreviation for "volti subito." Turn the page quickly.
VON
(German) Of.
VORANGEHEN
(German) Go faster.
VORHER
(German) Previously.
VORIG
(German) Previous; as before.
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Terms and Symbols Contents

1096

Terms-W
WEITER
(German) Still.
WERDEN
(German) Becoming.
WIE
(German) As; like.
WIE AM ANFANG
(German) Perform as at the beginning.
WIE VORHER
(German) As before.
WIE ZUERST
(German) Perform as at first.
WIEDER
(German) Again.
WIEDER BERUHIGEN
(German) Perform calmly and tranquilly again.
WIEDER LEBHAFT
(German) Perform lively again.
WIEDER ZURCK INS HAUPTZEIT MASS
(German) Return to the tempo at the beginning.
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1097

Terms-Z
ZART
(German) Delicate.
ZART UND MIT AUSDRUCK
(German) Tenderly and expressively.
ZEITMASS
(German) Tempo.
ZIEMLICH
(German) Quite; rather; somewhat.
ZGERN
(German) Hesitate, linger or delay; same as the Italian term 'ritardando'.
ZU
(German) To; in.
ZUNEHMEND
(German) Hastening.
ZUM
(German) To the.
ZURCK/ZURCKHALTEND
(German) Back. Held back; restrained.

Previous
Terms and Symbols Contents

1098

About the FINMIDI.INI file

The FINMIDI.INI file is created when you confirm your MIDI Setup (MIDI/Audio Menu). All settings except
the playback interrupt value (MMESpeed) are controlled in Finale's MIDI Setup dialog box.
[FINMIDI]
MMESpeed=4
Optional. Defaults to 4. This value seldom needs to be edited. It controls the amount of milliseconds
between playback interrupts. If you have a slower computer, you may want to increase this value to
improve the playback performance. Note that the difference is very minimal. If you have a faster machine,
you probably won't hear a difference at all.
[MMEDRVR]
MidiOutReset=0
SyncMaster=0
Set in Finale. These settings correspond to the checkboxes in the MIDI Setup dialog box.
InName1=
InBase1=
...
OutName1=
OutBase1=
OutMatch1=
...
Do not edit. Controlled in the MIDI Setup dialog box. The only values you may need to edit are the
OutMatch settings. They default to 1, which means that each note on is matched up to a note off, even
if it's the same pitch. You may need to edit this if your MIDI device cuts off all identical notes when the
first note off is received. The Gravis Ultrasound exhibits this behavior; there may be other devices that
behave similarly. Normally each note off is matched by a note on.

1099

Alternative music fonts

The following is a list of some of the fonts which are available to the Finale user in addition to
Maestro, Maestro Percussion and Maestro Wide (which are included with the purchase of Finale)
Finales default music font was developed for MakeMusic by Blake Hodgetts (see also Toccata and
Fughetta). This is an elegant font, yet more robust than Petrucci, more accurately representing the look of
engraved music. Maestro Wide is identical with the exception of wider noteheads.
Petrucci (included with the purchase of Finale)
This music font is called Petrucci, named for Ottaviano Petrucci, the sixteenth-century Italian who first
used movable type for printing polyphonic music. It was the default music font for Finale products for
years, but is now shipped for compatibility.
Tamburo (included with the purchase of Finale)
Tamburo, an Italian term for drum, is a font primarily comprised of noteheads. It contains a variety of
symbols particularly useful for percussion notation, including instrument noteheads and several
articulation marks. Tamburo also contains a full set of symbols for use in hymnal shape note music,
where each note of the scale is displayed with a unique notehead. Moreover, Tamburo expands your
choice of accidentals for quarter-tone music.
Finale Engraver Font (included with the purchase of Finale)
The Finale Engravers font set was developed by Bruce Nelson to meet the Music Publisher Association's
music font design specifications. It includes a larger notehead with a different notehead angle. It also
includes Let Ring noteheads, Double-stopped unison noteheads, Trill to noteheads, Tone-cluster
noteheads, variations on dynamics and articulations, tempo markings, and harp pedaling symbols. (See
Engraver Font)
The Jazz Font (included with the purchase of Finale, Finale Allegro, or Finale PrintMusic!)
The Jazz Font, the premiere hand written music font, comes with handwritten text, percussion and guitar
symbol fonts as well.
November by Robert Pichaud ($70)
November is a rich set made up of more than 330 symbols, from basic shapes such as note heads, clefs
and rests, up to rarer characters like microtonal accidentals, plain-song clefs or baroque ornaments.
Based on the fractal concept, in which details are as important as the whole, even for very small symbols
such as music characters, November has been crafted with total attention to details and a new
coherence. November is inspired by the spirit of traditional music engraving art... but with a revolutionary
graphic idea!
http://www.klemm-music.de/november
Klemm Music Technology
Waldstieg 2
D-37133 Friedland, Germany
Neuma and Neuma Symbol (part of the Medieval plug-in package) by Robert Pichaud ($200)
The Medieval plug-in offers you the possibility to produce professional transcriptions of early music
easily, from Gregorian square notation to Italian mixed notation, with a beautiful rendering. Medieval
gives you a wide choice of tools such as automatic recognition of neumes (more than 80!) up to 7 notes,

1100

liquescences, automatic placing of the direct, stemmed note groupings, and numerous special symbols:
quilisma, rests, plicas, large ligatures, black-void notation, etc.
With Medieval you will get:
1.

A Finale plug-in (installed into the Finale plug-in Folder) consisting of a new palette with 12 graphicoriented tools;

2.

2 new fonts, Neuma and Neuma Symbol, for PostScript and TrueType printers;

3.

2 new default files;

4.

Samples such as Gregorian, Franconian, Machauts Mass, etc.;

5.

A real handbook with a complete english tutorial

http://www.klemm-music.de/medieval
Klemm Music Technology
Waldstieg 2
D-37133 Friedland, Germany
Toccata and Fughetta fonts by Blake Hodgetts (Shareware: $30 for both)
Hundreds of additional musical symbols; available for Macintosh and Windows. The full package includes
TrueType and PostScript fonts, custom Finale libraries, character charts, stem connection settings and
full documentation. Additional information and downloadable TrueType versions available at the following
locations:
ftp://ftp.shsu.edu/pub/finale/
TocFug.zip [Windows]
TocFug.sit.hqx [Macintosh]
TocFugRead.txt [Information text file]
http://www.efn.org/~bch/AboutFonts.html
Contact the author at bhodgetts@symantec.com, or write:
Blake Hodgetts
4495 Thunderbird Dr.
Eugene, OR 97404
GraceNotes & Crescendo ($40 + $7.50 UPS ground)
These music fonts give another look to basic notational symbols (quarter note head, Treble clef, etc.) and
provide a greater selection of percussion symbols, symbols for Gregorian Chant, Harp Pedal markings
and much more.
Available for Macintosh and Windows.
Casady & Greene
22734 Portola Drive
Salinas, CA 93908-1119
Phone 800-359-4920
or
408-484-9228
Fax 408-484-9218
Sonata ($29.95 + your choice of $6 or $9 shipping)
The first music font, and a favorite among computer copyists. This font has fewer symbols than most
other fonts but remains popular because of its classic look. Available for Macintosh and Windows.

1101

Adobe Systems Incorporated

PO Box 6458
Salinas, CA 93912-6458
General Phone: (800) 833-6687
Image Club (to order fonts on floppy) (800) 661-9410
Also, you can preview all of Adobe's fonts on their Type On Call CD-ROM for $49. If you then choose to
purchase the code to unlock a specific font from the CD, there is an additional charge. For Sonata, this
fee is $25.
Metronome & MetTimes ($24.95 + $3 shipping)
A music font that works like a text font. A collection of number sets, text characters and built-in music
characters lets you mix text with markings and music symbols without changing fonts. MetTimes includes
the largest collection of dynamics in any music font. Available for Macintosh and Windows.
DVMarticulations is included free of charge.
DVM Publications
104 Woodside Rd.
Suite A-202
Haverford, PA 19041
Phone/Fax: (610) 896-0996
E-Mail: SPLsm@aol.com
Kidnotes ($39.00 + $3 shipping)
Offers noteheads with letters embedded in them. Intended for music for beginning music students, this
font can be used to display note names on noteheads. Available for Macintosh and Windows.
DVMarticulations is included free of charge.
DVM Publications
104 Woodside Rd.
Suite A-202
Haverford, PA 19041
Phone/Fax: (610) 896-0996
E-Mail: SPLsm@aol.com
Golden Age ($65 includes US postage)
GoldenAge is a full-featured package of four typefaces inspired by the clear, highly legible look of
professionally hand-copied sheet music. Available for either Windows or Macintosh, the package includes
PostScript and TrueType versions, full documentation on their use, sample text/chord suffix libraries and
a Default file template.GoldenAge has a highly readable, informal design appropriate for use in big band
charts, jingles, record dates, or anywhere a commercially hand-copied look is desirable. Session players
prefer the look of GoldenAge because of its familiarity and readability.The set of 4 fonts (2 music/2 text) is
available for $65.00 US (postpaid) from:
Donald Rice Music Preparation
P.O. Box 110838
Brooklyn, NY 11211 U.S.A.
phone: 718-486-7307
email: MelRoc@aol.com

1102

*Please specify* Macintosh or Windows platform.

Sample of GoldenAge are available for viewing on the GoldenAge web page at
http://members.aol.com/melroc/GA.html
Susato ($149 US only plus shipping; others please call or Fax)
The Susato PostScript Type 1 and TrueType character sets take the aesthetics of traditional note
engraving into account and thus greatly enhance the printouts made with Finale. The standard character
set is complemented by an accordion register font, a guitar tablature font, and a notehead font. Available
for Mac and Windows.
Contact: Werner Eickhoff
MusicFontLab
Schauinslandstrasse 99
D-79100 Freiburg im Brsg.
Germany
Phone +49-761-29970
Fax +49-761-29970
The Figured Bass font greatly simplifies the creation and entry of figured bass symbols. Its features
include:
1. Direct entry (e.g. as lyrics in Finale) of numbers, special symbols and accidentals without changing
font or size within the same verse.
2. Direct entry of the characters mentioned beside or below each other within only one syllable.
3. Enter the numbers 2,4,5,6,7,9 with accidental or as struck-through characters. The numbers 5+ and
7+ are even available in two different versions.
4. Easy-to-remember keyboard layout. A similar font exists in a version for German users, called
FinalGeneralBass. The very important difference is only the keyboard-layout for German system.
5. Great flexibility because of many available characters and several different entry methods.
The full version costs $50 (or DM 45.-) and can be ordered from
Ansgar Krause
Erftweg 29
47807 Krefeld
Germany
INTERNET: AnsgarKrause@t-online.de
Be sure to include the following information: Version for Windows or Macintosh, US-Version or German,
and via e-mail or disk ($5 extra).
The Really Loud Font Company offers a variety of music related fonts. Visit their web site at
http://members.aol.com/LoudFonts/Home.htm for current pricing and product information. Basic Set: $90,
Supplementary Sets: $40 each -- all three sets for $90, or all of the items lists below for $150
TempiFont Family: A set of 4 fonts which facilitates Tempo Markings, Metric Modulations, Swing Time
Notations, etc.
ThesisFont: Provides Parenthetic Dynamics, Microtonal Accidentals, Harp and Organ Pedallings,
Brackets, Stimmen and miscellaneous articulations.

1103

MetricFont: Notates any type of time signature whether compound additive, irregular, irrational, etc.
Basic Allotment Library -- re-space music (especially cross rhythms) cleanly and evenly in a minimum
of horizontal space.
(Supplementary Sets)
TallMetricFonts and MultiMaster MetricFonts -- Notate large size (conductors style) time signatures as
in Metric Font. MultiMaster fonts enhance precision and control for Mac OS users.
FiguredBass Fonts --- Notate, figures, progressions and basic Schenkerian notations. Both within
FINALE and also in text files.
Custom Allotment Libraries -- re-space music (especially cross rhythms) cleanly and evenly in 14
different proportional spacings.
Mail orders to: Konanur Inc., 155 East 23rd Street, Suite 302, New York, NY 10010-3700 or call
212.475.3351 and leave your address if you desire a catalog.
E-Mail (questions, comments and requests for information) to: LoudFonts@aol.com
BlueNotz by Thomas Williams ($60)
BlueNotz fonts for the Macintosh, and soon for Windows, has been designed to replace the stiff, formal
look of engraver based fonts with the look and feel of handwritten music copy.
There are three components of the font bundle. BlueNotz is the main symbol font and is used for
generating many of characters and symbols used for written music. BlueText is used for titles, score
expressions, and any other text applications and come with the added feature of being able to create prebuilt text highlighters such as over and underscores. BlueChords, the newest addition to the family, is
used for chords and chord suffixes and includes many commonly used pre-built chord suffixes.
Musink
22103 Stocklmeir Court
Cupertino, Ca 95014

1104

Bank Select - Bank Change Table

The following table provides a list of MIDI instruments and the bank select method used for them. When
defining the type of patch you'll send from Finale, choose the appropriate method from the Patch dropdown list. For example for the Roland D-20, choose Bank Select 0, Bank Select 32, Program Change
from the drop-down list. For the Yamaha TG300, choose Bank Select 0, Program Change from the
drop-down list.

Instrument

Bank Select
Method

Patch drop-down list menu selection

Alesis QS6

Controller 0 Only

Bank Select 0, Program Change

Alesis Quadra Synth Plus

Controller 0 Only

Bank Select 0, Program Change

Casio CT-470

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Creative Labs, Sound Blaster

AWE-32

Controller 0 Only

Bank Select 0, Program Change

E-MU Classic Keys

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

E-MU Proteus FX

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Ensoniq KS-32

Patch 100..127

Program Change, Program Change

Ensoniq SQ1

Patch 100..127

Program Change, Program Change

Ensoniq TS-10

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Ensoniq VFX

Patch 100..127

Program Change, Program Change

GeneralMusic, S MusicProcessor

Controller 0 Only

Bank Select 0, Program Change

GeneralMusic, WX/SX Series

Controller 0 Only

Bank Select 0, Program Change

Kawai K-11

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Korg 01/W

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

1105

Korg 03R/W

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Korg 05R/W

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Korg i3

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Korg T3

Patch 100..127

Program Change, Program Change

Korg Wavestation

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Korg X3

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Korg X5DR

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Kurzweil 1000PX A/B

Patch 100..127

Program Change, Program Change

Kurzweil K1000

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Kurzweil K2000

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Kurzweil K2500

Controller 32
Only

Bank Select 32, Program Change

Kurzweil MASS

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Kurzweil PC-88mx

Controller 32
Only

Bank Select 32, Program Change

Oberheim 1000

Controller 32
Only

Bank Select 32, Program Change

Peavey Spectrum Bass

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland D-20

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland D-70

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland GR-1

Controller 0 Only

Bank Select 0, Program Change

Roland GS

Controller 0 Only

Bank Select 0, Program Change

1106

Roland GS mkII

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland GS SC-55

Controller 0 Only

Bank Select 0, Program Change

Roland GS SC-88

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland JD-990

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland JV-1080

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland JV-880

Controller 0 Only

Bank Select 0, Program Change

Roland JV-90

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland Super JV-1080

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland U-220

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Roland XP-50

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Technics KN1000

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Technics PR307

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Yamaha SY-35

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Yamaha SY-77

Patch 100..127

Program Change, Program Change

Yamaha SY-85

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Yamaha SY-99

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Yamaha TG-100

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Yamaha TG-300

Controller 0 Only

Bank Select 0, Program Change

Yamaha TG-33

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

1107

Yamaha TG-500

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Yamaha TX-7

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

Yamaha W5/7

Controller 0 Only

Bank Select 0, Program Change

Yamaha XG

Controller 0 and
32

Bank Select 0, Bank Select 32, Program

Change

1108

Configuring Ensembles.txt
Ensembles saved in the Document Setup Wizard are stored in this text file. Also, the Exercise Wizard
uses the Ensembles.txt file to determine what make up an ensemble and what ranges to use. You can
access all of these options within the Exercise Wizard.
[Ensemble Name]
This section contains the name of the ensemble.
InstNames= List of instruments in the ensemble
InstrCopies= Number of copies of each instrument. Corresponds to list of instruments above it,
separated by commas
Range= Lists skill level to use for ensemble (1=Advanced, 2=Intermediate, 3=Basic)
DocStyle= <file subfolder\filename>

1109

Configuring Instrument.txt
The Setup and Exercise Wizards use the instrument.txt file to determine what instruments to offer, what
order from top to bottom to place the instruments and more.
To include musical characters from the default font, use ^flat() for a flat, ^sharp() for a sharp and
^natural() for a natural. For example, to get a B flat Clarinet, youd type B^flat() Clarinet.
Finale 2009 allows the Patch value to go to different banks by adding 128 for each bank starting with
bank 0, then adding the program change number. For example, Bank 1 Program Change 2 would equal
258 for the Patch Setting: 128 (Bank 0) + 128 (Bank 1) + 2 (Program Change 2).
[INS:Intrument]
These sections contain the detailed information for the particular instrument such as [INS:Flute].
DisplayName = Name as it appears on Page 2 of the Setup Wizard
Name = Staff Name
Abbr = Abbreviated Staff Name
useKeySigs = Use Key Signature for staff and staff transposition (1= Use, 0= Dont Use)
Transposition = Set the transposition with the number of half steps up or down
(Examples: 12=octave up, 0 = none, -12 octave down)
TransClef = Type of clef for transposing instrument
(treble, bass, alto, treble8vb, percussion, tenor, baritone, bass8vb, frenchviolin, cbaritone,
mezzosoprano, soprano, altpercussion, treble8va, bass8va, tab1, tab2, blank)
StaffType = Type of Staff (standard, percussion, single, grand, organ)
Clef = Type of Clef
(treble, bass, alto, treble8vb, percussion, tenor, baritone, bass8vb, frenchviolin, cbaritone,
mezzosoprano, soprano, altpercussion, treble8va, bass8va, tab1, tab2, blank)
ShowStems = 0=No stems (stems unchecked in Staff Attributes), 1=Show stems above
staff. Used primarily for TAB staves.
FretInst = Name of fretboard instrument. Used for TAB staves.
Patch = Patch Number for General MIDI based from 0-127.
PercMap = Percussion Map Name or single General MIDI note number.
Use quotes to enter the name of a percussion map, if it contains a number.
ExWizDisp = 1=Instrument will appear in the Exercise Wizard, 0=Instrument does not appear in the
Exercise Wizard, but does appear in the Setup Wizard
RangeLow = Lowest note allowed in the Exercise Wizard in various skill levels: Basic, Intermediate,
Advanced. (Values expressed as MIDI note numbers)
RangeHigh = Highest note allowed in the Exercise Wizard in various skill levels: Basic, Intermediate,
Advanced. (Values expressed as MIDI note numbers)
[GRP:Group]
These sections define the group or family names. These items will be grouped together using a
bracket.
Name = Group Name
Abbr = Abbreviated Group Name
Instrument = x Instrument name (x = include in list, no x does not include in list)

1110

ExWizDisp = 1=Group will appear in the Exercise Wizard, 0=Group does not appear in the Exercise
Wizard, but does appear in the Setup Wizard
[ORD:Order]
This list contains the default order of the instruments in the wizard. As in the Group section, x means
include the instrument; no x means do not include the instrument. If an instrument is not listed in the
Order, it will be added to the bottom of the list.

1111

Configuring MacSymbolFonts.txt
If you are sharing files between a Macintosh and a Windows machine, Finale uses this file on the
Macintosh to determine which fonts, such as music symbol fonts, should not be converted. If you are
using custom music or symbol fonts, you will need to add these fonts to the list. To edit the SymbolFonts
text file, you should quit Finale, then open the SymbolFonts file in a text editor such as WordPad or
SimpleText.
List each font name as it appears in the font list within Finale, followed by a carriage return.
Example:
EngraverFontExtras
EngraverFontSet

1112

Configuring Pagesizes.txt
The Setup Wizard, the Page Layout Tool and other parts of Finale use the pagesizes.txt file to determine
the page size and margins of the score. You can edit this file to get a custom page size and margin.
Make sure you save the file as text only.
[Page Sizes]
This section contains the page size name, Width and Height (followed by a semicolon), Top Margin,
Bottom Margin, Left Margin, Right Margin, and a Left Margin for single-instrument documents. The Top
and Bottom margins are assumed to be negative; there is no need to put in the minus sign.
Ex. Letter = 8.5, 11; .5, .5, 1, .5, .75

1113

Customized Speedy Keymap

This section describes how to install a customized Speedy keymap for German and Swiss-German
keyboards for Finale for Windows. The techniques can also be used for other international keyboards.
Installing the customized keymap requires editing your Finale.INI file directly. Please use caution when
editing Finale.INI. Follow the warnings and instructions below.
The Finale.INI file can be edited with a text editor such as Notepad. If you use a word processor (such as
Word), be sure to save the file as text only with line breaks. Do not edit the Finale.INI file while Finale is
running.

If you choose to edit the Finale.INI file, be sure to make a backup of

it first.
If you make an accidental change, you can either restore the backup copy of the Finale.INI file, or delete
the edited Finale.INI file. When you launch Finale again, Finale will re-generate a new Finale.INI. If Finale
creates a new Finale.INI file, any custom settings and Finale Preferences you had saved in your previous
INI file will be lost.
If you have any doubts about how to edit Finale.INI, don't do it! Mistakes can cause you to lose your
Finale settings, and perhaps cause Finale to run improperly. This is why a backup copy of the file is so
important.

The German Keymap

You will need to replace the entire [SpeedyKeys] section of Finale.INI, including the line [SpeedyKeys]
as well as all subsequent lines beginning with SK. Replace the [SpeedyKeys] section with the new
[SpeedyKeys] section below. If the [SpeedyKeys] section does not exist in your Finale.INI, simply add the
new section below.
This keymap adopts the standard Speedy Entry commands for German and Swiss-German keyboard
layouts. In addition, Swiss-German users can now use the '$' key to change layers (instead of the '#'
key).
[SpeedyKeys]
SK000=59 0 -1 -1 -1 -1 5
SK001=65549 0 0 -1 -1 -1 34
SK002=65582 0 -1 -1 -1 -1 23
SK003=65544 0 0 -1 -1 -1 24
SK004=65574 0 0 -1 -1 -1 15
SK005=65574 0 1 -1 -1 -1 11
SK006=65576 0 0 -1 -1 -1 16
SK007=65576 0 1 -1 -1 -1 12
SK008=65573 0 0 -1 -1 -1 13
SK009=65573 0 1 -1 -1 -1 9
SK010=65573 1 0 -1 -1 -1 17
SK011=65575 0 0 -1 -1 -1 14
SK012=65575 0 1 -1 -1 -1 10
SK013=65575 1 0 -1 -1 -1 18

1114

SK014=91 0 -1 -1 -1 -1 9
SK015=93 0 -1 -1 -1 -1 10
SK016=65563 0 0 -1 -1 -1 82
SK017=39 0 -1 -1 -1 -1 6
SK018=35 0 -1 -1 -1 -1 8
SK019=65725 0 1 -1 -1 -1 25
SK020=65725 1 1 -1 -1 -1 26
SK021=65723 0 0 -1 -1 -1 19
SK022=65723 1 0 -1 -1 -1 21
SK023=65725 0 0 -1 -1 -1 20
SK024=65725 1 0 -1 -1 -1 22
SK025=65643 0 -1 -1 -1 -1 19
SK026=65643 1 -1 -1 -1 -1 21
SK027=65645 0 -1 -1 -1 -1 20
SK028=65645 1 -1 -1 -1 -1 22
SK029=65642 0 -1 -1 -1 -1 28
SK030=65642 1 -1 -1 -1 -1 29
SK031=47 0 -1 -1 -1 -1 27
SK032=46 0 -1 -1 -1 -1 33
SK033=65723 0 1 -1 -1 -1 28
SK034=65723 1 1 -1 -1 -1 29
SK035=65615 0 -1 -1 -1 -1 1
SK036=65616 0 -1 -1 -1 -1 2
SK037=65612 0 -1 -1 -1 -1 3
SK038=65612 1 -1 -1 -1 -1 4
SK039=65584 0 0 -1 -1 -1 81
SK040=65584 1 0 -1 -1 -1 39
SK041=65584 0 1 -1 -1 -1 48
SK042=65584 1 1 -1 -1 -1 104
SK043=65585 0 0 -1 -1 -1 40
SK044=65585 0 1 -1 -1 -1 49
SK045=65585 1 1 -1 -1 -1 105
SK046=65585 1 0 -1 -1 -1 83
SK047=65586 0 0 -1 -1 -1 41
SK048=65586 0 1 -1 -1 -1 50
SK049=65586 1 1 -1 -1 -1 106
SK050=65586 1 0 -1 -1 -1 84
SK051=65587 0 0 -1 -1 -1 42
SK052=65587 0 1 -1 -1 -1 51
SK053=65587 1 1 -1 -1 -1 107
SK054=65587 1 0 -1 -1 -1 85
SK055=65588 0 0 -1 -1 -1 43
SK056=65588 0 1 -1 -1 -1 52
SK057=65588 1 1 -1 -1 -1 108
SK058=65588 1 0 -1 -1 -1 86

1115

SK059=65589 0 0 -1 -1 -1 44
SK060=65589 0 1 -1 -1 -1 53
SK061=65589 1 1 -1 -1 -1 109
SK062=65589 1 0 -1 -1 -1 87
SK063=65590 0 0 -1 -1 -1 45
SK064=65590 0 1 -1 -1 -1 54
SK065=65590 1 1 -1 -1 -1 110
SK066=65590 1 0 -1 -1 -1 88
SK067=65591 0 0 -1 -1 -1 46
SK068=65591 0 1 -1 -1 -1 55
SK069=65591 1 1 -1 -1 -1 111
SK070=65591 1 0 -1 -1 -1 89
SK071=65592 0 0 -1 -1 -1 47
SK072=65592 0 1 -1 -1 -1 56
SK073=65592 1 1 -1 -1 -1 112
SK074=65592 1 0 -1 -1 -1 90
SK075=65593 1 0 -1 -1 -1 32
SK076=65593 0 0 -1 -1 -1 31
SK077=65632 0 -1 -1 -1 -1 81
SK078=65632 1 0 -1 -1 -1 39
SK079=65633 0 -1 -1 -1 -1 40
SK080=65633 1 -1 -1 -1 -1 83
SK081=65634 0 -1 -1 -1 -1 41
SK082=65634 1 -1 -1 -1 -1 84
SK083=65635 0 -1 -1 -1 -1 42
SK084=65635 1 -1 -1 -1 -1 85
SK085=65636 0 -1 -1 -1 -1 43
SK086=65636 1 -1 -1 -1 -1 86
SK087=65637 0 -1 -1 -1 -1 44
SK088=65637 1 -1 -1 -1 -1 87
SK089=65638 0 -1 -1 -1 -1 45
SK090=65638 1 -1 -1 -1 -1 88
SK091=65639 0 -1 -1 -1 -1 46
SK092=65639 1 -1 -1 -1 -1 89
SK093=65640 0 -1 -1 -1 -1 47
SK094=65640 1 -1 -1 -1 -1 90
SK095=65641 0 -1 -1 -1 -1 31
SK096=65641 1 -1 -1 -1 -1 32
SK097=65609 0 -1 1 -1 0 57
SK098=65611 0 -1 1 -1 0 58
SK099=65724 0 0 1 -1 0 59
SK100=65625 0 -1 1 -1 0 60
SK101=65624 0 -1 1 -1 0 61
SK102=65603 0 -1 1 -1 0 62
SK103=65622 0 -1 1 -1 0 63

1116

SK104=65602 0 -1 1 -1 0 64
SK105=65614 0 -1 1 -1 0 65
SK106=65613 0 -1 1 -1 0 66
SK107=65601 0 -1 1 -1 0 67
SK108=65619 0 -1 1 -1 0 68
SK109=65604 0 -1 1 -1 0 69
SK110=65606 0 -1 1 -1 0 70
SK111=65607 0 -1 1 -1 0 71
SK112=65608 0 -1 1 -1 0 72
SK113=65610 0 -1 1 -1 0 73
SK114=65617 0 -1 1 -1 0 74
SK115=65623 0 -1 1 -1 0 75
SK116=65605 0 -1 1 -1 0 76
SK117=65618 0 -1 1 -1 0 77
SK118=65620 0 -1 1 -1 0 78
SK119=65626 0 -1 1 -1 0 79
SK120=65621 0 -1 1 -1 0 80
SK121=65646 0 0 -1 -1 -1 33
SK122=65759 0 0 -1 -1 -1 8
SK123=246 -1 -1 -1 -1 -1 100
SK124=214 -1 -1 -1 -1 -1 100
SK125=228 -1 -1 -1 -1 -1 101
SK126=196 -1 -1 -1 -1 -1 101
SK127=65556 0 0 0 -1 -1 102
SK128=65619 0 0 1 -1 1 122
SK129=65619 0 0 0 -1 -1 122
SK130=65619 0 1 1 -1 1 19
SK131=65619 0 1 0 -1 -1 19
SK132=65606 0 0 1 -1 1 123
SK133=65606 0 0 0 -1 -1 123
SK134=65606 0 1 1 -1 1 20
SK135=65606 0 1 0 -1 -1 20
SK136=65614 0 -1 1 -1 1 124
SK137=65614 0 -1 0 -1 -1 124
SK138=65624 0 -1 1 -1 1 125
SK139=65624 0 -1 0 -1 -1 125
SK140=65622 0 -1 1 -1 1 126
SK141=65622 0 -1 0 -1 -1 126
SK142=65602 0 0 1 -1 1 27
SK143=65602 0 0 0 -1 -1 27
SK144=65602 0 1 1 -1 1 128
SK145=65602 0 1 0 -1 -1 128
SK146=65613 0 -1 1 -1 1 100
SK147=65613 0 -1 0 -1 -1 100
SK148=65601 0 -1 1 -1 1 129

1117

SK149=65601 0 -1 0 -1 -1 129
SK150=65607 0 -1 1 -1 1 5
SK151=65607 0 -1 0 -1 -1 5
SK152=65608 0 -1 1 -1 1 1
SK153=65608 0 -1 0 -1 -1 1
SK154=65618 0 -1 1 -1 1 127
SK155=65618 0 -1 0 -1 -1 127
SK156=65620 0 0 1 -1 1 25
SK157=65620 0 0 0 -1 -1 25
SK158=65620 0 1 1 -1 1 26
SK159=65620 0 1 0 -1 -1 26

1118

Document Styles
Finale allows you to reuse all document settings from any existing document by designating it as it as a
Document Style. A Document Style is basically a model document whose settings can be duplicated
while designing a new score in the Setup Wizard. When you designate a file as a Document Style, you
are telling Finale you would like to use its articulations, expressions, fonts, staff lists, staff styles, page
layout and all other document options and libraries along side the instrumentation and other settings you
specify in the Setup Wizard. For a list of all document-specific settings, see Document Settings and
Program Settings.

To use Document Styles

1.

From the File Menu, choose New, then Document with Setup Wizard. The first page of the Setup
Wizard appears.

2.

If you would like to begin with a preset ensemble, select it in the left list box. Choose None to
design the instrumentation from scratch when you advance to the next page. The next page of the
Setup Wizard also allows you to edit the ensemble chosen here, as well as save new custom
ensembles.

3.

Choose the desired Document Style from the list box on the right. Note that an * (asterisk)
appears next to the Document Style assigned to the ensemble you have selected. You can change
an ensemble's default Document Style by selecting a different Document Style and clicking the
"Always Use This Document Style with This Ensemble" button. The Document Styles listed here
include all files that appear in the Finale/Document Styles folder on your hard drive. Finale already
includes a variety of Document Styles to choose from. To create a customized Document Style, see
"To create a Document Style" below.

4.

Complete the Setup Wizard. The new document opens based on your settings.

To create a Document Style

1.

Open a document that most closely matches the desired document settings. For example, you
may use the Setup Wizard to begin with an existing Document Style or one provided with Finale. To
begin with an empty document, choose File > New > Document Without Libraries. Save a file in the
Finale/Document Styles folder to use it as a Document Style. The next time you open the Setup
Wizard, the file will be listed as a document style.

2.

Load libraries and change any document-specific settings as desired. See Finale Libraries and
Document Settings and Program Settings.

3.

Save the file in the Finale/Document Syles folder. You can save as a regular .MUS file or .FTM.
Next time you open the Document Setup Wizard, the file name of this document will appear in the list
of Document Styles.

Once opened, a description of each document style included with Finale can be found in the File Info
dialog box. Here, you can reference the Document Style's libraries, text inserts, staff spacing, cover
pages, and other distinctive settings. When you edit one of Finale's Document Styles you can log your
changes here for future reference.
If a file with music is used as a Document Style, the Setup Wizard strips out all of the musical information
including staves and entries before generating the new document. Page-attached text and graphics,
however, are retained as part of the Document Style.
See also:
Setup Wizard

1119

Document Settings and Program

Settings
The following document settings are saved with the document. This means that opening this document
on another computer would not change these settings. Program Settings are specific to a particular
installation of Finale.

Document Settings

Program Settings

View Menu/Snap to Grid

Edit Menu/Automatic Update Layout

View Menu/Snap to Guide

Automatic Music Spacing

View Menu/Scroll or Page View

Palette ConfigurationTool Set

View Menu/View Percentage

View Menu/Show Margins

View Menu/Staff Sets

View Menu/Show System Locks

View Menu/Grid Guide Options

Edit Menu/Enharmonic Spelling

View Menu/Show Grid

Special Tools Menu/Show Crosshairs

View Menu/Show Guides

Movable Items dialog box

View Menu/Show Rulers

Program Options dialog box

View Menu/Show Message Bar

Edit Menu/Measurement Unit

View Menu/Layer Selection

Special Tools Menu/Tie Direction

View Menu/Show Multiple Pages

Quantization Settings dialog box

Document Menu/Show Active Layer Only

MIDI Setup dialog box

Document Menu/Display in Concert Pitch

MIDI Thru dialog box

Document Options-Accidentals

Special Tools Menu/Tie Direction

Document Options-Alternate Notation

MIDI Thru Table dialog box

1120

Document Options-Augmentation Dots

Import MIDI File Options dialog box

Document Options-Barlines

Export MIDI File Options dialog box

Document Options-Beams

Window Menu/Main Tool Palette

Document Options-Chords

Window Menu/Simple Entry Palette

Document Options-Clefs

Window Menu/Simple Entry Rests Palette

Clef Designer dialog box

Window Menu/Smart Shape Palette

Document Options-Flags

Window Menu/Special Tools Palette

Document Options-Fonts

Window Menu/Instrument List

Document Options-Grace Notes

Window Menu/Playback Controls

Document Options-Key Signatures

Staff Menu/Show Staff Styles

Document Options-Layers

Staff Menu/Show Default Staff Names

Document Options-Lines and Curves

Staff Menu/Show Default Group Names

Document Options-Lyrics

Staff Menu/Auto Sort Staves

Document Options-Multimeasure Rests

Measure Menu/Dragging Selects Measure

Handles

Document Options-Music Spacing

Measure Menu/Dragging Selects Number

Handles

Document Options-Notes and Rests

Simple Entry Options dialog box

Document Options-Piano Braces

Speedy Entry Options dialog box

Document Options-Repeats

Speedy Menu/Use MIDI keyboard

Repeat Bars dialog box

Speedy Menu/Playback During Drag

Document Options-Stems

Speedy Menu/Jump to Next Measure

Document Options-Staves

Speedy Menu/Create New Measures

1121

Stem Connections dialog box

Speedy Menu/Check Beaming

Document Options-Text

Speedy Menu/Check Accidentals

Document Options-Ties

Speedy Menu/Check for Extra Notes

Tie Contour dialog box

Speedy Menu/Use Five Line Staff

Document Options-Time Signatures

Speedy Menu/Auto Freeze Accidentals

Document Options-Tuplets

Speedy Menu/Edit Tab

Playback/Record Options dialog box

Speedy Menu/Insert Notes

Page Format for Score dialog box

HyperScribe Menu/Beat Source

Page Format for Parts dialog box

HyperScribe/Record Mode

Page Setup dialog box

Tap dialog box

Edit Staff Attributes dialog box

MIDI Event dialog box

Select Clef dialog box

Tap States dialog box

Edit Full Staff Name dialog box

Playback and/or Click dialog box

Position Full Staff Name dialog box

HyperScribe Options dialog box

Edit Abbreviated Staff Name dialog box

Fixed Split Point dialog box

Position Abbreviated Staff Name dialog box

Moving Split Point dialog box

Staff Transposition dialog box

MIDI Input Filter dialog box

Alternate Notation dialog box

Transcription Filter dialog box

Staff Setup dialog box

Punch-in Pre-Roll dialog box

Percussion Map Selection dialog box

Click Input dialog box

Percussion Map Designer dialog box

Click Output dialog box

Symbol Selection dialog box

Expression Menu/Show All Handles

1122

Extract Parts dialog box

Expression Menu/Metatool Attachment

Tablature dialog box

Chord Menu/Input Method

Define Staff Styles dialog box

Chord Menu/Substitute Symbols

Apply Staff Styles dialog box

Chord Menu/Show All Handles

Group Attributes dialog box

Chord Menu/Italicize Capo Chords

Respace Staves dialog box

Fretboards (View)

Staff Usage dialog box

Fretboard Editor dialog box

Staff Menu/Set Default Names/Full Staff Names

Note Mover Function

Staff Menu/Set Default Names/Abbreviated Staff

Names

Rebar Options dialog box

Staff Menu/Set Default Names/Full Group Names

Special Tools Menu/Show Handles

Staff Menu/Set Default Names/Abbreviated

Group Names

Special Tools Menu/Update

Position Full Staff Names dialog box

Position Abbreviated Staff Names dialog box
Position Full Group Names dialog box
Position Abbreviated Group Names dialog box
Key Signature dialog box
Non Standard Key Signature dialog box
Key Step Map dialog box
Accidental Order and Amount dialog box
Tone Center(s) dialog box
Accidental Octave Placement dialog box

1123

Special Key Signature Attributes dialog box

Symbol List dialog box
Time Signature dialog box
Composite Time Signature dialog box
Measure Menu/Measure Numbers Show/Hide
Measure Number dialog box
Enclosure Designer dialog box
Position Measure Number dialog box
Measure Attributes dialog box
Edit Frame dialog box
Default Tuplet Visual Definition dialog box
Smart Shape Menu/Direction
Slur Contour dialog box
Smart Shape Placement dialog box
Smart Shape Options dialog box
Articulation Selection dialog box
Expression Selection dialog box
Executable Shape Selection dialog box
Shape Selection dialog box
Rulers and Grid dialog box
Repeat Selection dialog box
Chord Menu/Chord Style

1124

Chord Menu/Left Align Chords

Chord Menu/Show Guitar Fretboards
Chord Menu/Simplify Spelling
Chord Suffix Selection dialog box
Resize Fretboards dialog box
Fretboard Instrument Definition dialog box
Fretboard Styles dialog box
Fretboard Style Fonts and Shapes dialog box
Fretboard Barre Shape Selection dialog box
Fretboard Fingered String Shape Selection dialog
box
Fretboard Open String Shape Selection dialog
box
Fretboard Muted String Shape Selection dialog
box
Fretboard Custom Shape Selection dialog box
Adjust Baselines dialog box
Instrument List dialog box
Text Menu/Size
Text Menu/Style
Text Menu/Justification
Text Menu/Word Wrap
Text Menu/Attach to Measure/Page
Text Menu/Show Only On Screen

1125

Font dialog box

Size dialog box
Baseline Shift dialog box
Superscript dialog box
Tracking dialog box
Character Settings dialog box
Page Offset dialog box
Line Spacing dialog box
Page Layout Menu/Avoid Margin Collision
Page Layout Menu/Update Page Format for
Score
Edit System Margins dialog box
Adjust Staff System Range dialog box
Edit Page Margins dialog box
Adjust Page Range dialog box
Page Size dialog box
Tilting Mirror dialog box
Mirror Attributes dialog box
Transposition dialog box
Selective Mirror dialog box
Beaming Chart dialog box
Placeholder dialog box
Set Placeholder dialog box

1126

Ossia Measure Designer dialog box

Ossia Measure Assignment dialog box
Ossia Page Assignment dialog box
Tempo Adjustment dialog box
Set Swing dialog box
Duration dialog box
Document Menu/Special Part Extraction
File Info dialog box
Click and Countoff dialog box

1127

Encore Conversion
Finale can convert Encore 3.0 through 4.2.1 files and Rhapsody 1.0 files regardless of which platform
they were created on. 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. More information on the items Finale will not convert, or modifies
upon conversion is given in this section.

Spacing
Finale will maintain the system and page placement of your Encore document, but will respace the
measures in each system according to Finales Music Spacing. Music Spacing accounts for accidentals,
clefs, seconds in different layers and spaces the notes according to engraving standards. Spacing will
differ depending whether you are viewing your music in Scroll View or Page View, however, Page View
represents the spacing Finale will use when printing your document. See Document Options-Music
Spacing for more information.

Stem Direction
Finale will not maintain Encores stem direction. Finale files will be easier to edit without freezing stems in
a specific direction. Instead, Finale places stems according to music engraving standards. To change the
stem direction individually use the Speedy Entry Tool (see To flip a stem). To globally change the stem
direction of a layer see Document Options-Layers.
Rests
Rests are not controlled by a global Hide and Show command, but can be hidden individually. Hidden
rests are converted from Encore. To show a hidden rest, or hide a note or rest, press H when in the
Speedy Entry frame. See Rests (Speedy Entry).To globally change the position of rests in a layer see
Document Options-Layers.

MIDI Conversion
Emphasis has been placed on converting display information over MIDI information. MIDI pitch, key
velocity and duration are converted, but some MIDI specific items such as MIDI patch indicators are not.

Eight Layers
Finale supports 4 layers and 2 voices for each layer. Finale will manually convert the first four layers with
notes. If you have used more than 4 layers, you must insert the additional notes using voices.
Alternatively, if you do not have a large number of marks or text, you could import a MIDI file of the
Encore document into Finale.

Chord Symbols
Finale places chords close to the note they are attached to. To globally change the baseline of all chord
symbols, choose the Chord tool and confirm that Manual Input is checked under the Chord Menu. Four
arrows will appear to the left of the staff system (if you do not see the arrows, choose the Hand Grabber
tool and drag the page to the right).
Click and drag the left most arrow up. To individually change the position of a chord, choose the Chord
tool and confirm that Manual Input is checked under the Chord Menu. Click on the note to which the
chord is attached to display the handle, then click and drag the handle of the chord to position as desired.

Reversed Dal Segno mark

Finale does not convert a reversed Dal Segno mark. However, Encore users can create a repeat using
the Repeat Designer. See Repeat Designer dialog box.

Rounded rectangle graphical marks

Finale does not support a rounded rectangle graphic. These graphics will be imported as normal
rectangles.

1128

Parenthesis from Tools palette

Parenthesis are available to place around expressions, notes and accidentals using the Expression Tool
for expressions, the Articulation Tool for notes, and Speedy Entry for accidentals.

Additional pedal indicators

Finale does not convert either type of pedal bracket marks. These marks can be created with the Smart
Shape Tool.

Bend Tools
Finale does not convert bend tools. However, you can use the Smart Shape Tool to create note-attached
bends.

Slurs
Slurs converted from Encore will be measure-attached slurs. Finales standard note-attached slurs are
much easier to place, move with the notes even across systems, and allow you to easily flip slurs over
and under the notes. See Slurs for more details.
Finale will convert Encores 3-point slurs into Finales Smart Shape slurs. These slurs are symmetrical. If
you want your slurs to be asymmetrical see To move, reshape, or delete Smart Shape slurs.

Large wavy line

Finale has one style of wavy line or trill. This is used in conversion regardless of the size of wavy line
specified in Encore. Finale does offer a user-defined Smart Shape. See Smart Shape Palette.

Beaming over barlines

Finale does not automatically convert beam that extend over barlines. To beam over barlines, use the
Beam Over Barlines Plug-in.You can also manually beam over barlines using the Special Tools Tool. See
Beaming across barlines.

Cross-staff beaming
Finale will not convert cross-staff beaming. To easily create cross-staff notation, use the Cross Staff plugin. Or, you can use the NoteMover and Special Tools Tool manually create cross-staff notation. See
Cross-staff notes for more information.

1129

Engraver Font
Engraver Character Set
Engraver Extras Character Set
Engraver Text Character Set
Engraver_Time_Character_Set
See Also:
Engraver Font: The Alternate Notehead Sets

Engraver Character Set

1130

1131

1132

1133

1134

1135

1136

1137

Engraver Extras Character Set

1138

1139

1140

1141

1142

1143

1144

Engraver Text Character Set

EngraverTextT is shown below. The Engraver Text fonts correspond to the standard fonts used for
the text portions of the font: T for Times, H for Helvetica and NCS for New Century Schoolbook.

1145

1146

1147

1148

Engraver Time Character Set

1149

1150

Engraver font set

Engraver Character Set
Engraver Extras Character Set
Engraver Text Character Set
Engraver_Time_Character_Set

Engraver Character Set

1151

1152

1153

1154

1155

1156

1157

1158

Engraver Extras Character Set

1159

1160

1161

1162

1163

1164

1165

Engraver Text Character Set

EngraverTextT is shown below. The Engraver Text fonts correspond to the standard fonts used for
the text portions of the font: T for Times, H for Helvetica and NCS for New Century Schoolbook.

1166

1167

1168

1169

Engraver Time Character Set

1170

1171

Ethnic Percussion Map Table

The Ethnic Percussion Map included with Finale was designed for use with the Garritan Ethnic
Percussion instrument sounds. See Garritan Personal Orchestra Finale Edition. The Ethnic Percussion
sounds are loaded automatically when you add an Ethnic Percussion staff in the Setup Wizard (using the
Garritan Instruments for Finale instrument set).
Tip: To see the relationship between MIDI Note
numbers and pitches on a piano keyboard see the
MIDI Note to Pitch Table.

MIDI
Note
Numb
er

Name

MIDI
Note
Numb
er

Name

36

Bata Macho Low

66

Super Tumba Muff

37

Bata Macho Muff

67

Super Tumba Slap

38

Bata Macho Slap

68

Surdu Open

39

Bata Itotele Low

69

Surdu Muff

40

Bata Itotele Muff

70

Lo Timbales Open

41

Bata Itotele Slap

71

Hi Timbales Open

42

Bata Onkokolo Low

72

Lo Timbales Stick Rim

43

Bata Onkokolo Muff

73

Tumba Low

44

Bata Onkokolo Slap

74

Tumba Muff

45

Low Bongo Open

75

Tumba Open

46

Low Bongo Muff

76

Tumba Slap

47

Low Bongo Slap

77

Udu Low

48

Hi Bongo Open

78

Udu High

1172

49

Hi Bongo Muff

79

Cabassa Shake 1

50

Hi Bongo Slap

80

Cabassa Multi Shake

51

Cajone Low

81

Cabassa Shake 2

52

Cajone Slap

82

Maraccas Low Shake

53

Cajone Hit

83

Maraccas Low Multi

Shake

54

Conga Center Tone

84

Maraccas Hi Shake

55

Conga Open

85

Maraccas Hi Multi Shake

56

Conga Muff

86

Shaker 1

57

Conga Slap

87

Shaker 2

58

Djembe Low

88

Egg Shaker 1

59

Djembe Muff

89

Egg Shaker 2

60

Djembe Slap

90

Egg Shaker Multi Shake

61

Quinto Low

91

Shekere Low

62

Quinto Muff

92

Shekere Hi

63

Quinto Slap

93

Shekere Low Shake

64

Super Tumba Center

Tone

94

Shekere Hi Skake

65

Super Tumba Open

1173

Equivalents
This table gives equivalents for EVPUs, spaces, inches centimeters, millimeters, points, and picas.
(There are 288 EVPUs - ENIGMA Virtual Page Units - per inch. A space is the music engravers unit of
measurement - the distance between two staff lines.)

EVP
Us

Spac
es

Inc
hes

CM

M
M

Poi
nts

Pic
as

24

.083

.212

2.1
2

.66
7

.042

.003
5

.009

.09

.25

.04
2

288

12

2.54

25.
4

72

113

4.70
8

.392

1
(.997
)

10

28.
25

2.3
622

11

.458

.038

.1
(.097
)

2.7
5

.23
62

.167

.014

.035

.35

.08
3

48

.167

.423

4.2
3

12

Finale also uses its own units of rhythmic, or durational, measurement: EDUs, or ENIGMA Durational
Units. There are 1024 EDUs per quarter note. The following table provides EDU equivalents for use on
those occasions when you need to perform conversions of rhythmic value into EDUs in Finale.

Rhythmic
value

EDU
s

Rhythmic
value

EDU
s

Rhythmic
value

EDU
s

double whole

8192

quarter

1024

dotted 32nd

192

dotted whole

6144

dotted eigth

768

triplet sixteenth

171

whole

4096

triplet quarter

683

32nd

128

dotted half

3072

eighth

512

dotted 64th

96

1174

half

2048

dotted
sixteenth

384

64th

64

dotted quarter

1536

triplet eighth

341

dotted 128th

48

half note
triplet

1365

sixteenth

256

128th

32

1175

Exercise numbers in the Exercise

Wizard
Scales (1-1999)

Twisters (5000-5999)

Exercise
Family

Exercise
numbers

Exercise
Family

Exercise
numbers

Major

1-99

Major Triad

5000-5199

Natural
Minor

100-199

Natural Minor

54200-5399

Harmonic
Minor

200-299

Harmonic
Minor

5400-5599

Melodic
Minor

300-399

Melodic Minor

5600-5799

Chromatic

400-499

Whole Tone

500-599

Pentatonic

600-699

Diminished

700-799

Intervals (2000-3999)

Rhythms (6100-6999)

Exercise
Family

Exercise
numbers

Exercise
Family

Exercise
numbers

Seconds

2000-2199

Simple Time
1

6100-6199

Thirds

2200-2399

Simple Time
2

6200-6299

Fourths

2400-2599

Simple Time
3

6300-6399

Fifths

2600-2799

Compound
Time 1

6400-6499

Sixths

2800-2999

Compound
Time 2

6500-6599

1176

Sevenths

3000-3199

Octaves

3200-3399

Mixed

3600-3799

Arpeggios (4000-4999)
Exercise
Family

Exercise
numbers

Major Triad

4000-4099

Minor Triad

4100-4199

Diminished
Triad

4200-4299

Augmented
Triad

4300-4399

Major
Seventh

4400-4499

Minor
Seventh

4500-4599

Dominant
Seventh

4600-4699

1177

Finale Exercise Wizard Ranges

w

Piccolo - Written (Sounds 8va)

&w

Intermediate

Basic

&

Advanced

Intermediate

Basic

bw

&w

Intermediate

Basic

bw

bw

Intermediate

Basic

bw

Intermediate

Basic

&

Advanced

Basic

Advanced

Bb Clarinet - Written (Sounds M2 lower)

&

Advanced

Alto Recorder - Written (Sounds as written)

Intermediate

bw

Advanced

English Horn - Written (Sounds P5 lower)

Advanced

Bassoon - Written (Sounds as written)

Intermediate

Basic

Advanced

Oboe - Written (Sounds as written)

bw

Soprano Recorder - Written (Sounds 8va)

Flute - Written (Sounds as written)

Intermediate

Basic

Advanced

Eb Clarinet - Written (Sounds m3 higher)

&

Intermediate

Basic

Advanced

A Clarinet - Written (Sounds m3 lower)

Basic

Intermediate

Advanced

Eb Alto Clarinet - Written (Sounds M6 lower)

Bb Bass Clarinet - Written (Sounds M9 lower)

Basic

bw

Intermediate

bw

Advanced

Basic

bw

Intermediate

bw

Advanced
1178

b
B Soprano
Saxophone - Written (Sounds M2 lower) Eb Alto Saxophone - Written (Sounds M6 lower)

&w

Basic

Intermediate

bw

Advanced

Basic

Intermediate

bw

F Horn - Written (Sounds P5 lower)

&

Basic

Intermediate

&

#w

nw

Intermediate

Basic

#w

Basic

Intermediate

nw

Advanced

bw

Intermediate

Advanced

bw

Advanced

#w

&

Intermediate

Basic

Baritone TC - Written (Sounds M9 lower)

Basic

#w

Intermediate

#w

Tuba - Written (Sounds as written)

Intermediate

Basic

Intermediate

Advanced

Basic

Intermediate

bw

Advanced

Advanced

Basic

bw

Advanced

Xylophone - Written (Sounds 8va)

Advanced

Bells - Written (Sounds two octaves higher)

Trombone - Written (Sounds as written)

Baritone BC - Written (Sounds as written)

Basic

&

#w

Intermediate

Basic

bw

bw

Intermediate

Advanced
Bass Trombone - Written (Sounds as written)

Advanced

Bb Trumpet - Written (Sounds M2 lower)

Advanced

C Trumpet - Written (Sounds as written)

Basic

bw

Eb Baritone Saxophone - Written

(Sounds octave and M6 lower)

Advanced

Intermediate

Basic

b
B Tenor
Saxophone - Written (Sounds M9 lower)

&w

Advanced
1179

&

Marimba - Written (Sounds as written)

Basic

Intermediate

Basic

Intermediate

Basic

Intermediate

Vw

Intermediate

Basic

Intermediate

Basic

Basic

Intermediate

Advanced

Cello - Written (Sounds as written)

Advanced

Intermediate

Basic

Intermediate

Intermediate

Basic

w
Basic

Intermediate

Intermediate

Basic

Basic

Intermediate

Advanced

Advanced

Contrabass - Written (Sounds 8vb)

Advanced

Viola - Written (Sounds as written)

Advanced

ounds as written)
Bass - Written (S

Advanced

Alto - Written (Sounds as written)

Advanced

Violin - Written (Sounds as written)

&

Advanced

Tenor - Written (Sounds 8vb)

Electric Bass - Written (Sounds 8vb)

Advanced

Soprano - Written (Sounds as written)

&w

Basic

Advanced

Guitar - Written (Sounds 8vb)

&

Vibraphone - Written (Sounds as written)

Advanced

1180

Finale 2009 Interface Changes

Finale 2009 includes some interface changes that provide a more intuitive workflow environment,
particularly in areas related to expression entry and management.

Measure Expressions and Staff Lists

(If you are not familiar with measure expressions and staff lists in Finale 2008 and earlier, disregard this
information and refer to Expressions and Staff Lists.)
The definition of the Finale term "expression" has changed in Finale 2009 to facilitate organization,
editing flexibility, and ease of entry.
In Finale 2008 and earlier, "measure expressions" were assigned and positioned relative to a measure.
They always applied to all staves, and could be "turned off" in some staves using a staff list (or by
selecting a radio button in the former Measure Expression Assignment dialog box). For example, the
measure expression could have been set to "this staff only," or "all staves," or (in the Staff List dialog box)
"top staff only," and so on. Each measure expression essentially included its own staff list and positioning
settings, and only one expression's settings could be changed at a time (e.g. the option to change the
font of all dynamics was not an option). Furthermore, when the expression was copied across
documents, its staff list would be copied with it, which could result in a multitude of staff lists assigned in a
document.
In Finale 2008 and earlier, "note expressions" were assigned and positioned relative to a single note.
They had a completely different set of positioning options that could be used to change the positioning of
the expression relative to the note. Like measure expressions, each note expression also included its
own positioning settings, and only one could be changed at a time.
In Finale 2009, "note expressions" and "measure expressions" have been merged, and any expression
can have properties of either. The major distinction between expression types is now based on their
score function. Specifically, expressions have been separated into six categories, each with its own font,
positioning, and staff list settings (see Expressions). Changes to these settings can be applied to all
expressions in that category (both in the library and in the score). (These settings can also be assigned
individually, independent from the category when required - see Expression Designer). Staff list
definitions are now defined for categories rather than individual expressions, and are only available in
categories that benefit from their usage.
To understand the benefits of this new model, it is important to recognize that all expressions are
classified in one of two ways:

Expressions that apply to the entire score (all staves). These include tempo markings, tempo
alterations, and rehearsal letters. These expressions will generally appear on all parts, but only once,
or a few times, in the score.

Expressions that apply to a single staff. These include dynamics, expressive text, style
markings,and technique text. Although more than one staff/part may require the same expression at
the same measure, each of these types of expressions apply to their respective staff only.

The first type includes all expressions that can possibly benefit from staff lists because it is standard
practice in scorewriting to assign certain types of markings (e.g. tempo marks) in a consistent fashion
throughout the duration of the score (e.g. above the top staff of each instrumental section). Therefore, the
need for many staff list definitions was replaced with four (Staff List 1, Staff List 2, etc.). You can make
changes to these staff lists in the Staff List dialog box. Changes to a category's positioning, font, or staff
lists can be made in the Category Designer dialog box.
When you begin a new score with the Setup Wizard, Finale automatically assigns expressions to the
Staff List 1, which places expressions above the top staff and above the top staff in each instrumental
section.
If, in previous Finale versions, you used measure expressions and staff lists to add dynamic markings
(and expressive/technique text), you may miss the ability to apply many dynamics at once. If this is the
case, use metatools and "drag-apply" to enter dynamic expressions onto multiple staves quickly and
easily. See To add an expression.

Expression Editing Changes

1181

An attachment indicator line displays each expression's attachment point. As you drag horizontally
the attachment point adjusts by beat or measure.

Hold down Alt to drag an expression without adjusting the attachment point.

Drag an expression over a staff to snap the attachment point to that staff.

Double-clicking an expression (or selecting its handle and pressing Enter) now opens the Expression
Selection dialog box, where you can double-click to easily swap it for another expression, edit the
expression, or move it to a different category.

A single Expression Assignment dialog box replaces the Note Expression Assignment and Measure
Expression Assignment dialog boxes. This dialog box does not appear automatically after entering
an expression (as in Finale 2008). To access it, Shift-double-click an expression's handle. In addition
to positioning and playback, you can use this dialog box to assign expressions to individual layers or
only the score, only the parts, or both score and parts (for files converted from previous versions).

An expression that is assigned to a staff list requires a stack selection to be copied.

Copying and pasting expressions across documents

When you copy a region of music including expressions of a category that does not exist in the target
document, or if the same category contains different settings, Finale will create the new category in the
target document automatically and insert the new expression into that category.

Finale 2009 Menu Reference Chart

Use the following key to identify any commands that have moved or changed names. (Commands that do
not appear in this list have not changed since Finale 2008.) New commands, menus, and submenus are
marked with an asterisk (*). "" means the menu item's name has not changed.

Finale 2008 Menu

Command Name
Save as SmartMusic
Accompaniment
Save as Audio File
Save Preferences
VST Setup

Finale 2008 Menu Finale 2009 Menu

File/Save Special

File

File/Save Special
File/Save Special
MIDI/Audio

Instrument List

Window (only)

File
File
View
Document
MIDI/Audio/Instrument
Setup
MIDI/Audio/Instrument
Setup

MIDI/Audio

Audio Setup
MIDI Setup
MIDI Thru
Tablature MIDI Channels
Send MIDI Sync
Send MTC
-

MIDI/Audio
MIDI/Audio
MIDI/Audio
MIDI/Audio
MIDI/Audio
MIDI/Audio

Import MIDI File Options

MIDI/Audio

MIDI/Audio
MIDI/Audio/Device Setup
MIDI/Audio/Device Setup
MIDI/Audio/Device Setup
MIDI/Audio/Device Setup
MIDI/Audio/Device Setup
MIDI/Audio/Device Setup
MIDI/Audio/Device Setup
MIDI/Audio/MIDI File
Options
MIDI/Audio/MIDI File

Finale 2009 Menu

Command Name
Export to SmartMusic
Export to Audio File
""
Page View Submenu
Category Designer*
VST Instruments
"" (now duplicated
under the MIDI/Audio
Menu)
Human Playback
submenu
Device Setup submenu
""
Manage VST Plug-ins*
""
""
""
""
""
MIDI File Options
submenu*
""
1182

Export MIDI File Options MIDI/Audio

-

Import MIDI from

MIDI/Audio
Clipboard
Export MIDI to Clipboard MIDI/Audio
Internal Speaker
Playback
Off

QuickTime Playback

SmartMusic SoftSynth
Playback

MIDI/Audio
MIDI/Audio/Interna
l Speaker
Playback
MIDI/Audio/Interna
l Speaker
Playback
MIDI/Audio/Interna
l Speaker
Playback

Options
MIDI/Audio/MIDI File
Options
MIDI/Audio/MIDI
Clipboard
MIDI/Audio/MIDI
Clipboard
MIDI/Audio/MIDI
Clipboard
MIDI/Audio/Device Setup
MIDI Setup dialog box
(choose MIDI System)
MIDI Setup dialog box
(choose QuickTime
Playback)
MIDI Setup dialog box
(choose SmartMusic
SoftSynth)

""
MIDI Clipboard
submenu*
""
""
MIDI/Internal Speaker
Playback
-

Commands and Dialog Boxed Removed in Finale 2009

Measure Expression Assignment (replaced with Expression Assignment)

Note Expression Assignbment (replaced with Expression Assignment)

Finale 2008 Interface Changes

Finale 2008 included several interface changes that provide a more intuitive and streamlined workflow
environment. These changes included the consolidation of functions into fewer tools and menus, and as
a result, some commands were moved, added, renamed, and/or moved to different locations. If you have
upgraded from Finale 2007, use the information here to reference the new location of these commands.

The New Selection Tool

The Selection Tool has inherited all functions previously encompassed by the Mass Edit Tool. Select
regions of measures, copy, and edit music, apply plug-ins and make other changes to score regions (or
the full score)with the Selection Tool. Most commands previously under the Mass Edit Menu have been
moved to the Edit Menu and the new Utilities Menu. Others now also appear in the MIDI Menu (now
called the MIDI/Audio Menu) and Mirror Menu. See the Finale 2008 Menu Reference Chart below for
details.
There are some notable changes regarding selection, copying, and filtering:

The Select Partial Measures command has been removed

Finale always allows you to select full or partial measures without requiring a menu selection. See
Selecting Music for more details.

Double-click to expand a selection including partial measures to include full measures. Or, double
click full measures or unselected measures to select a full measure stack (full measures, all staves).

Hold down Shift and use the left and right arrow keys to expand or retract the selection note-by-note
(or measure-by-measure for empty measures). Or, hold down Shift and click to expand/retract the
selected region.

1183

Hold down Shift and press the End, Home, PageUp, or Page Down keys to expand selection to the
end, beginning, top staff, or bottom staff of the score (respectfully).

Copy, paste, or insert measure settings by selecting a "stack"

In Finale 2007 and earlier a measure could be selected in, for example, four horn parts of an orchestral
score. Inserting this music elsewhere would add the measure in all staves, filling only the target selection
with the source horn music (the inserted measure in all other staves would be empty). Now, to insert full
measures, the source and target must include full measures, and all staves, called stacks.
In a stack selection, highlighting extends between all staves (vertically) of a selected region. Double-click
full measures to select the measure stack. For details, see Copying Music.

Stacks can include extra measure information such as key signatures, measure widths, and
barline styles. For a list of items that can only be copied with a stack selection, see Edit Filter
dialog box.

A stack selection is required to delete a full measure and all their attributes in all staves.
Without a stack selected, the Delete key always clears music from the region.

A stack selection is required to insert a full measure in all staves.

A stack can only be inserted or pasted to another region that qualifies as a stack. Pasting
always replaces existing music.

Eligible regions to paste or insert a stack are indicated with a green border or insertion bar
respectfully when drag-copying or drag-inserting.

Copy and Insert/Copy and Replace

In Finale 2007 and earlier, drag-copying either inserted or replaced entries depending on a setting under
the Mass Edit Menu. Now, selected regions can be easily inserted or pasted (replacing entries) by
dragging or using the clipboard (see Copying Music). All musical elements in a region, including
measure-attached items, can be copied, pasted, and inserted with all methods of copying - within the
same document or across documents.

Clipboard-copying and pasting (e.g. Ctrl-C/Ctrl-V), clipboard inserting (Ctrl-I), drag-copying,

and drag-inserting now always yield identical results.

Clipboard-copying and pasting (e.g. Ctrl-C/Ctrl-V) now always yields identical results to dragcopying and pasting. Press Ctrl-I to insert material copied to the clipboard.

Finale now always uses the "Copy and Replace" behavior (now called "Paste") when dragcopying unless the Insert modifier (Alt) is used.

Filtering
In Finale 2007, musical elements were excluded from target regions while pasting using the Items to
Copy dialog box. Finale 2008's equivalent is the Edit Filter dialog box. The Measure Settings can be
either inserted or pasted, but only if the source is a stack selection. Using the clipboard to copy, paste,
and insert now always includes the same elements whether drag-copying, drag-pasting, and draginserting. In other words, the same mechanism is now used for clipboard-copying as drag-copying.

Modeless Editing Commands

The following changes mean less switching tools and more universal controls.

New Utilities Menu

The Utilities Menu is Finale 2008's new

unchanging menu and includes many
commands that previously existed under Finale
2007's Mass Edit Menu and submenus. Commands that apply to the entire document, such as Update
Layout, are always available. Editing commands that require a regional selection are available whenever

1184

any measure region is selected (with the Selection Tool or any other tool that supports regional
selection). See Utilities Menu.

Copy and edit with any tool that allows regional selection
Right-click a measure region with the Selection Tool or Measure Tool selected to access a new
expanded context menu. Now, to insert full measures, the source and target must include full measures,
and all staves, called stacks.
Cut, copy, paste, insert, and apply any command under the Edit and Utilities Menus whenever a region is
selected. The following tools allow regional selection:

Selection Tool

Staff Tool

Measure Tool

Key Signature Tool

Time Signature Tool

MIDI Tool

Clef Tool

Repeat Tool

Mirror Tool

The Backspace and Delete keys now clears or deletes measures in the above tools.
Staff Tool:

To Clear Staff Styles, use the context menu (right-click) or the main menu, or click the Staff
Style Bar and press Delete.

To Delete Staves, the Staff handles must be selected and there must be no measure
highlighting.

Repeat Tool:

To Clear Repeats, highlight the handles only and press Delete or use the Repeat context
menu.

MIDI Tool:

With a measure region selected, use the "Clear" item in the MIDI Tool to delete the MIDI Data
checked in the MIDI Tool menu.

Some commands are accessible in many tools

The following commands can be applied with any tool that allows regional measure selection. A singlekey alternative is available for some of these commands if the Selection Tool is chosen. (These are
similar to previous Mass Edit keyboard shortcuts).

Ctrl-4 = Apply Note Spacing (Selection tool = 4)

Ctrl-5 = Apply Beat Spacing (Selection Tool = 5)

Ctrl-6 thru 9 = applying transposition (Selection Tool = 6-9)

Ctrl-Shift-6 thru 9 = redefining transpositions (was previously Shift+ 6-9)

Ctrl-1,2 and 3 = Custom Zoom percentages (instead of fixed view percentages)

Keystrokes for fixed view percentages (Ctrl-4 for 400%, Ctrl-5 for 50%, Ctrl-7 for 75%) have
been removed (except for Ctrl-0 for "Other") in favor of user definable Custom Zoom Keystrokes:
Ctrl-1, Ctrl-2 and Ctrl-3.

Keystroke for Check Elapsed Time (5) has been removed.

Ctrl-L to lock measures. Selection Tool = L)

Ctrl-U to unlock measures. (Selection Tool = U)

Edit Menu > Add Measures (previously required Measure Tool selection).

1185

Utilities Menu > Music Spacing > Apply Music Spacing (previously required Mass Edit Tool
selection)

Utilities Menu > Fit Measures (previously required Mass Edit Tool/Page Layout Tool selection)

Edit Menu > Multimeasure Rests > Create for Parts/Score (previously required Measure Tool
selection)

Document Menu > Measure Numbers > Edit Regions (previously required Measure Tool
selection)

Tool-specific changes

The "Create a Movable Mid-Measure Clef" command has been removed from the Change Clef
dialog box. The clef tool now accepts partial measure highlighting. To add a mid-measure clef, start
the highlighting where you want the clef to appear in the measure. Double-click to open the Change
Clef dialog where you can select the new clef.

You can now call dialogs by pressing Enter in addition to double clicking. For example in the
Staff Tool, highlight a measure and press Enter to open the Staff Attributes dialog box.

Double clicking the Staff Tool now adds a blank staff to the bottom of the score.

Finale 2007 vs. 2009 Menu Reference Chart

Use the following key to identify any commands that have moved or changed names since Finale 2007.
(Commands that do not appear in this list have not changed since Finale 2007 or are listed in the Finale
2009 Menu Reference Chart.) New commands, menus, and submenus (as of FInale 2008) are marked
with an asterisk (*).

Finale 2007 Menu Command

Name

Finale 2007 Menu

Finale 2009 Menu

Finale 2008 Menu Command

Name

Edit

*Paste Multiple

Edit

*Copy All Items

*Utilities

Edit

*(SmartFind and Paint

(submenu)

Add

Measure

Edit

Add Measures

Add Enclosures

Measure/Measure Numbers

Measure

Add Measure Number

Enclosures

Apply Articulation

Mass Edit

Utilities

""

Apply Beat Spacing to Current

Part/Score

Mass Edit/Music Spacing

Utilities/Music Spacing

""

1186

Apply Note Spacing to Current

Part/Score

Mass Edit/Music Spacing

Utilities/Music Spacing

""

Apply SmartFind and Paint

Mass Edit

Edit/SmartFind and Paint

""

Apply Time Signature Spacing to

Current Part/Score

Mass Edit/Music Spacing

Utilities/Music Spacing

""

Articulation Assignments

Mass Edit/Change

Utilities/Change

Articulations

Automatic Music Spacing

Edit

Program Options-Edit

""

Automatic Update Layout

Edit

Program Options-Edit

""

Break

Measure/Multimeasure Rest

Edit/Multimeasure Rest
""

Change (submenu)

Mass Edit

Utilities

""

Change Lowest Fret

Mass Edit/Utilities

Utilities/Change

Lowest Fret

Check Accidentals

Mass Edit/Utilities

Utilities/Check Notation

""

Check Elapsed Time

Mass Edit/Utilities

Utilities/Check Notation

""

Check Ties

Mass Edit/Utilities

Utilities/Check Notation

""

Chord Assignments

Mass Edit/Change

Utilities/Change

Chords

Clear Entries and Smart Shapes

Mass Edit

Edit

Clear All Items

Clear Items

Mass Edit

Edit

Clear Selected Items

Convert Mirrors

Mass Edit/Utilities

Utilities/Check Notation

""

Create

Measure/Multimeasure Rest

Edit/Multimeasure Rest

1187

""

Create for Parts/Score

Measure/Multimeasure Rest

Edit/Multimeasure Rest
""

Customize Palettes

View

Window

Delete

Measure

Edit

Delete Measure Stack

Deselect SmartFind Source

Region

Mass Edit

Edit/SmartFind and Paint

""

Edit

Measure/Multimeasure Rest

Edit/Multimeasure Rest

""

Edit Measure Attributes

Measure

Edit

""

Edit Measure Number Regions

Measure/Measure Numbers

Document and Measure

""

Explode Music

Mass Edit/Utilities

Utilities

""

Fill With Rests

Mass Edit/Utilities

Utilities/Check Notation

""

Fit Music

Mass Edit

Utilities

Fit Measures

Freeze Stems Down

Mass Edit/Utilities

Utilities/Check Notation/Stem
Direction

Down

Freeze Stems Up

Mass Edit/Utilities

Utilities/Check Notation/Stem
Direction

Up

Hide Numbers

Measure/Measure Numbers

Measure

Hide Measure Numbers

Implode Music

Mass Edit/Utilities

Utilities

""

Import MIDI from Clipboard

Edit Menu

MIDI/Audio/MIDI Clipboard

""

1188

Insert

Measure

Edit

Insert Measure Stack

Items to Copy

Mass Edit

Edit

Edit Filter

Lock Systems

Mass Edit

Utilities

""

Measure Numbers

Measure (submenu)

Measure

(Items loose in menu)

Mirror

Mass Edit

*Mirror

Dragging Copies Music

Dragging Mirrors Music

Move/Copy Layers

Mass Edit

Edit

""

Multimeasure Rest (submenu)

Measure

Edit

""

Music Spacing (submenu)

Mass Edit

Utilities

""

Note Durations

Mass Edit/Change

Utilities/Change

""

Note Expression Assignments

Mass Edit/Change

Utilities/Change

Note Expressions

Note Size

Mass Edit/Change

Utilities/Change

""

Noteheads

Mass Edit/Change

Utilities/Change

""

Rebar (submenu)

Mass Edit

Utilities

""

Rebeam (submenu)

Mass Edit

Utilities

""

Remove Manual Slur

Adjustments

Mass Edit/Utilities

Utilities/Check Notation

""

Remove Stem Changes

Mass Edit/Utilities

Utilities/Check Notation/Stem
Direction

Use Default Direction

1189

Respell Notes

Mass Edit/Utilities

Utilities

""

Restore Defaults

Measure/Measure Numbers

Measure

Restore Measure Number

Defaults

Retranscribe

Mass Edit

MIDI/Audio

""

Scale View To

View

View

Zoom

Set SmartFind Source Region

Mass Edit

Edit/SmartFind and Paint

""

Show Numbers

Measure/Measure Numbers

Measure

Show Measure Numbers

Special Part Extraction

Edit

Document

""

Ties

Mass Edit/Change

Utilities/Change

""

Toolbars

View/Customize Palettes

Window/Toolbars

Customize Toolbars

Transpose

Mass Edit

Utilities

""

Tuplets

Mass Edit/Change

Utilities/Change

""

Unlock Systems

Mass Edit

Utilities

""

Update Layout

Edit

Utilities

""

Update Smart Word Extensions

and Hyphens

Edit

Utilities

""

Commands Removed from Finale

Edit/Select Partial Measures. Finale now offers partial measure selection at all times. See
Selecting music.

Mass Edit/Copy and Replace. Finale now always uses the "Copy and Replace" behavior (now
called Paste) when drag-copying unless the Insert modifier (Alt) is used. This is identical to copying
and pasting using the clipboard.

1190

Mass Edit/Copy and Insert. Finale now always uses the "Copy and Replace" behavior (now called
Paste) when drag-copying unless the Insert modifier (Alt) is used. This is identical to copying and
inserting using the clipboard.

Home Position. The Home Position menu item has been removed. To easily navigate to the Home
Position, press the Home key.

Redraw Options. The Redraw Options menu command and Redraw Options dialog box have been
removed. Recent technology and performance improvements have replaced a need for these
options

1191

Finale and Explorer

Finale supports standard usage of Explorer in Windows 2000/XP. In particular, drag and drop and
command-line switches are supported.

Drag and drop

Drag and drop is supported for opening files. Start Finale and Explorer. In Explorer, select the Finale files
you wish to open. Drag them to Finale's window and release the mouse button. The selected files will be
opened in Finale. Finale also supports printing from Explorer: see your Windows documentation for
details.

Project icons
You can create Finale icons in the Program Manager for different projects. This feature can be used to
specify groups of files such as a score, and all extracted parts of a score. Use icons in conjunction with
the command-line switches below, specifying different sets of files and perhaps an alternate Finale.INI
file, to customize your Finale working environment.

Command line
Finale supports multiple filespecs and wildcards in the command line of a Program Manager icon. For
example, specifying *.mus on the command line will open all the music files in the current folder. Finale
also supports the following command-line switches. These switches can appear in any order, anywhere
in the command line. They are not case sensitive, and can be combined. Either - or / acts as a switch
trigger. Some command switches can be accessed more easily from the Program Options dialog box,
such as whether to open a document on startup.
-q Instead of launching Finale and displaying an Untitled document, it displays the Open dialog
box and prompts for the file you want to open. The Open dialog box appears once for each q
switch in the command line.
-n Launches Finale without loading the MIDI drivers. This can be useful if you are running other
MIDI software, or if there is some other MIDI-related problem on your system.
-x Launches Finale without opening any documents, not even a default Untitled document.
-z Launches Finale without any Plug-ins. The Plug-in Menu will not appear.
-i Lets you specify an alternate Finale.INI file. Enter the file name of the INI file you want Finale to
draw its settings from. This can be very useful if you share your computer with someone else, or if
you have different projects that require different global settings.
-p Prints the first file on the command line.
Examples:
Finale -qn
Starts Finale without MIDI and prompts for a file name.
Finale pr1\*.mus -i Finale.pr1
Opens all the files in the PR1 folder, and uses the settings in Finale.PR1 instead of Finale.INI.

About the Finale.INI file

The Finale.INI file contains custom settings and Finale Preferences that you set within the Finale
program. Finale Preferences include dialog boxes and menu settings that affect your Finale working
environment. They do not include settings that differ from document to document. Most of the options in
the Finale.INI can and should be set within the Finale program itself. Other settings can only be changed
in the Finale.INI file. For example, you may need to change the font used for Finale's Message Bar,
depending on the fonts installed in your system.

1192

The Finale.INI file can be edited with a text editor such as NotePad. In general, you will not need to edit
this file directly. Do not edit the Finale.INI file while Finale is running.

If you choose to edit the Finale.INI file, be sure to make a backup of

it first!
If you make an accidental change, you can either restore the backup copy of the Finale.INI file, or delete
the edited Finale.INI file. When you launch Finale again, Finale will re-generate a new Finale.INI. If Finale
creates a new Finale.INI file, any custom settings and Finale Preferences you had saved in your previous
INI file will be lost.
The Finale.INI file is divided into sections, which are separated by headers that appear in square
brackets. The Finale.INI consists of the following sections:
[Settings]
[MIDI]
[Extensions]
[Program Options]
[Colors]
[Chromatic Spelling Tables]
[Palettes]
[Speedy Keys]
[Directories]
The following paragraphs contain general descriptions of each Finale.INI section, as well as an
explanation of the settings within the section. Each setting contains a more detailed explanation, and is
marked either Set in Finale, Optional, or Do not edit. The default values are also listed for each setting. If
a key is not found in the Finale.INI file, then the default value will be assumed. Settings that are marked
Do not edit should ordinarily be left alone. Edit such settings only if you are having a particular problem
and you know exactly what you are doing!
[Settings]
This section includes general settings that can enhance your Finale working environment.
Init=(0, 1)
Do not edit. The default is 0, which indicates that Finale has never been run on this system. Finale sets
the Init value to 1 the first time it launches, and allows you to personalize your copy of Finale by entering
your name and serial number.
MusicFontName=Maestro
MusicFontSize=24
Set in Finale. Reflects the default music font and size that you specify in the Document Options-Fonts.
HandleSizeX=0
HandleSizeY=0
Optional. When set to 0, Finale displays handles on editable music elements using a default size. You
may want to change these values (which are measured in pixels) if the handles are either too large or too
small. For example, if you set your monitor to a high resolution, the handles that Finale displays may be
too large in relation to the elements in your score. In this instance, the handles may completely obscure
an element such as a staccato marking.
IncludeFonts=(0, 1, 2)
Set in Finale. Use the Include Fonts checkbox in the Compile PostScript dialog box to turn this setting on
(1) and off (0). If you're having problems with this value set to 1, try changing it to 2.

1193

When set to the default value of 1, Finale includes fonts when compiling PostScript listings. If Finale
cannot find the soft font listing in the WIN.INI file, it asks the PostScript driver for fonts. When set to 2,
Finale includes only the soft fonts listing from the WIN.INI file when compiling PostScript listings. If Finale
cannot find the soft font listing, it will not ask the PostScript driver for fonts. If the resultant PostScript files
are too large, you can change this setting to 0. When set to 0, the fonts will not be included in the
PostScript listing. This results in much smaller files, but requires you to manually download the fonts prior
to printing the files.
MaxPSFontsPerPage=15
Do not edit. This setting controls the number of fonts that will fit into your printer's virtual memory.
Although a higher number may result in faster printing, it may also increase the risk of PostScript errors.
PSXResolution=
PSYResolution=
Do not edit. Finale gathers its default settings from the printer driver. These settings control the resolution
of coordinates in PostScript files and printing.
MsgBarHeight=0
Optional. Defaults to 0. If set to 0, the height is automatically calculated from the MsgBarFontHeight and
MsgBarBorder settings. Otherwise, Finale uses the height (in pixels) you specify.
MsgBarBorder=3
Optional. Defaults to 3 pixels. The border is contained within the MsgBarHeight.
MsgBarFontHeight=0
Optional. Defaults to 0. If set to 0, the Message Bar font will be 10 pixels high. If you need to change the
size of the message bar font, enter the value in pixels. For example, if you enter 12, the font will be 12
pixels high, and the Message Bar height adjusts to the specified size. Hint: Sizes between 8-12 work
best.
MsgBarFont=
Optional. Defaults to no specific font, so that Finale displays a sans serif font provided by Windows. Enter
the exact font name (as it appears in the Fonts control panel) that you want Finale to use for the Message
Bar display. Example: MsgBarFont=Arial.
MsgBarTop=(0,1)
Optional. Defaults to 0, so the Message Bar appears at the bottom of Finale's main window. If you want
the Message Bar to appear at the top of Finale's main window, change this to 1.
MsgBarShow=(0,1)
Set in Finale. Choose Message Bar from the Windows Menu. Defaults to 1 so that the Message Bar
appears in Finale. If this is set to 0, Finale's Message Bar will not appear.
ShowRulers= (0,1)
Set in Finale. Choose Show Rulers from the View Menu. Defaults to 1 so that the rulers appear onscreen in Finale. If this is set to 0, the rulers will not appear.
MaxFileAlert=10
Optional. Defaults to 10. This determines the maximum number of files that can be opened before a
warning appears. You can open more than one file at a time, by using the command line, or by using the
drag and drop feature in the File Manager. When the warning appears, you can choose to continue to
open the files, but you may run into memory limitations. This guards against accidentally opening dozens
or hundreds of files.
LoadWinPos=0
SaveWinPos=0
Set these options in Finale. Use the View portion of the Program Options dialog box to determine what
will be saved. They refer to the following settings: Load Window States at Startup, Save Window States
at Exit.
MaximizeWin=0
WinPos=(left) (top) (right) (bottom)
Do not edit. These settings are controlled by the LoadWinPos and SaveWinPos. MaximizeWin
determines the state of the window: 0 = normal, 1 = maximized, 2 = minimized. WinPos determines the

1194

position of the main window. If you want to alter the positioning of your windows, position the windows in
Finale, and use the View portion of the Program Options dialog box to Save or Load the window
positioning.
SerifFont=
SansSerifFont=
Optional. Default serif font is Times New Roman. The default sans serif font is Arial. These fonts are
used for any text elements that you can't set the default fonts for within Finale. The default fonts for the
majority of text elements in Finale are controlled in the Document Options-Fonts (Document Menu). If the
specified font is not available, Windows provides an alternative font.
OPoolSize=1560
DPoolSize=1489
EPoolSize=511
Optional. These settings control the size of Finale's internal data caches. They replace Finale 3.0's
OtherPoolSize, DetailPoolSize and EntryPoolSize settings. If you adjusted these settings for Finale 3.0,
you may wish to modify them for Finale 3.5, especially if you have a slower machine. However, the
recommended values are considerably higher than the old values.
NewWinMax=(0,1)
Set this option in Finale. Use the New portion of the Program Options dialog box to select whether new
windows will be maximized or not.
IndependentPSPages=(0,1)
Optional. Defaults to 1. The standard setting of 1 is compatible with print spoolers, but results in larger
PostScript files. We recommend setting it to 0 to reduce the size of the PostScript file, and to reduce the
number of times a font is downloaded. If 0, printer memory will not be reset after each page in compiled
PostScript files. The resulting file will not be Adobe conforming, meaning that it might confuse some
spoolers, but will download more rapidly. (This setting is equivalent to the Advanced Option, Clear
Memory Per Page in the Windows PostScript driver setup dialog box.)
FontScaleMode=(0,1,2)
Optional. Defaults to 0. This setting determines how bitmap fonts are rendered when an exact match
cannot be found. If 0, Finale will try to scale the bitmaps. If 1, Windows will scale the bitmaps. If set to 2,
Windows will substitute the closest TrueType font. Setting this option to 1 or 2 will avoid potentially long
printing times to non-PostScript printers.
NewWinPerc=100
Set this option in Finale. Use the New portion of the Program Options dialog box to select what view
percentage will be used in new windows.
NewWinScroll=1
Set this option in Finale. Use the New portion of the Program Options dialog box to select whether new
windows will be opened in Scroll View or Page View.
Use3D=1
Optional. Defaults to 1. If 0, CTL3DV2, which displays three-dimensional buttons, is disabled. This is
ordinarily set automatically by Finale if it detects an incompatibility or failure of CTL3DV2, but can be set
to 0 by the user if required.
OpenOlderDocsAsUntitled=
OpenTemplatesAsUntitled=
Set these options in Finale. Use the Open portion Program Options dialog box to select whether older
documents and Templates will be opened as untitled documents.
ConfirmConversion=
Set this option in Finale. Use the Open portion of the Program Options dialog box to select whether
Finale will ask about converting ties to PostScript or screen representation in when opening older files.
UndoPastSave=
Set this option in Finale. Use the Edit portion of the Program Options dialog box to select whether Undo
will take effect past the Save operation.
TaskDoneChime=

1195

Set this option in Finale. Use the Edit portion of the Program Options dialog box to select whether a
chime will sound when a long task is completed.
DMCS=2
Set this option to force two-byte (1) or single-byte (0) font support. The default it 2, which will auto-detect
which to support based on your system font.
OwnPS=3
Optional. Set this option to zero to have Windows generate the Postscript for the text and Finale generate
the Postscript for the graphics. This setting works better for some situations, such as printing imported
EPS graphics, but requires an Optimize for Portability setting on your printer driver. Set this option to 3 to
have Windows generate the Postscript for both the text and the graphics. Default settings is 3.
[MIDI]
MIDIRoot=FINMIDI
Do not edit. This entry stores the name of Finale's own MIDI driver. It should never be changed.
MIDIEcho=0
MIDISendSync=0
MIDIEcho0=0 1 2 3 4 5 6 7 8 9
MIDIEcho10=10 11 12 13 14 15 16 17 18 19
MIDIEcho20=20 21 22 23 24 25 26 27 28 29
MIDIFixedEchoChannel=0
All of these settings are set within Finale by choosing MIDI Sync and MIDI Thru from the MIDI/Audio
Menu.
[Extensions]
This section contains optional settings that control the extensions Finale uses for its files. You should only
make changes if you have a conflict with another application. Note that the extensions do not include a
period. The Backup extension supports the standard DOS wildcards * and ?. For example,
Backup=??_ will save backup files with the first two characters of the original extension followed by an
underscore. If you choose to set a backup folder (see BackupDir below), you may want to have backup
files retain their original extensions. In this case you would use Backup=*.
Music=MUS
Template=FTM
ETF=ETF
MIDI=MID
Playback=PLY
Transcription=NOT
Postscript=PS
Library=LIB
Clip=CLP
Backup=BAK
Encapsulated PostScript=EPS
TIFF=TIF
Windows Metafile=WMF
Track=TRK
AutoSave=ASV
PlugIn=FXT
[Program Options]

1196

This section contains performance settings that are controlled in, or related to the Program Options dialog
box.
Purge=(0,1)
Optional. Defaults to 0. Finale does not clean out Temp files when you close files. Although this helps
Finale to run faster, if you open or close a lot of files, you could potentially run out of disk space. If you
have limited disk space you may want to set this to 1 so that Finale cleans out the Temp files when you
close a file. You will notice that Finale takes longer to close files. Turning Undo on and off will also purge
unneeded temporary files.
DottedRests=(0,1)
Set in Finale. Defaults to 0, which means that dotted rests are not allowed during transcription. If you set
it to 1, dotted rests are allowed during transcription.
DefaultFile=Maestro Font Default.FTM
Set this option in Finale. Use the New portion of the Program Options dialog box to change the default file
name from Maestro Font Default to another name.
g0=0 0 0 0 0 0 0 0 0 0
g10=0 0 0 0 0 0 0 0 0 0
Do not edit. These settings are controlled by the Program Options dialog box.
MaxProgOpts=266
Do not edit. This setting is controlled by the Program Options dialog box.
SavePrefs=1
Set in the Save portion of the Program Options. Defaults to 1, which means that preferences are saved
when exiting Finale.
ToolMenu=0
Set in View portion of the Program Options. Defaults to 0, which means that the Tool Menu is not
displayed.
[Colors]
UseColor=1
UseLayerColor=0
c1=
...
cc16=
Set these options within Finale by choosing Select Display Colors from the View Menu.
[Chromatic Spelling Tables]
ChromCount=36
ChromMode=0
g0=0 1 0 1 0 0 0 0 1 0
g10=1 0 0 1 0 0 0 0 0 0
g20=0 0 0 0 0 0 0 0 0 0
g30=0 0 0 0 0 0 0 0 0 0
Set these options within Finale by using the commands in the Edit Menu's Enharmonic Spelling
submenu.
[Palettes]
This section contains positioning and tool arrangement for the palettes in Finale. Most of these settings
are saved when Save Window States at Exit is selected in the View portion of the Program Options
dialog box.

1197

AutoClosePalettes=(0,1)
Set in Finale. Defaults to 1, so Finale closes the sub-palettes when you select another tool on the Main
Tool Palette. When set to 0, the palettes remain on the screen when you select another tool on the Main
Tool Palette.
MainPalette=(on) (current tool idx) (anchor) (left) (top) (width) (height)
SimplePalette=(on) (current tool idx) (anchor) (left) (top) (width) (height)
SmartPalette=(on) (current tool idx) (anchor) (left) (top) (width) (height)
SpecialPalette=(on) (current tool idx) (anchor) (left) (top) (width) (height)
Do not edit. These settings store the position and configuration of the tool palettes. The one value that
can be edited within Finale is (anchor), which defaults to 0. This value governs where the palette is
positioned relative to, according to the following chart:

When
anchor
is

Palette is positioned relative to

top left of application window

top right of application window

bottom left of application

window

bottom right of application

window

top left of screen

top right of screen

bottom left of screen

bottom right of screen

TS1.0=(list of space -- delimited tool IDs -- for tool set 1)

TS1.1=(continued)
TS2.0=(list of space -- delimited tool IDs -- for tool set 2)
TS2.1=(continued)
TS3.0=(list of space -- delimited tool IDs -- for tool set 3)
TS3.1=(continued)
Do not edit. These settings store the configuration for Finale's tool sets.
[Directories]
This section includes settings that are controlled in the Folders portion of the Program Options dialog
box.
MusicDir=
LibDir=

1198

BackupDir=
AutoSaveDir=
ExtensionDir=
TemplateDir=
DocuDir=
TempFileDir=
Set in Finale. Use the folders portion of the Program Options dialog box to specify the folders.

1199

Finale File Extensions

Finale creates a number of different types of files; each has its own extension. In the table below, youll
find a description of each kind of file you may encounter while working with Finale.

File
Extension

Description

How to Make One

How to Open One

This is the Finale program

itself

Theres only one of

these

Double-click to start
Finale.

This is a standard Finale

(notation) document file.

Choose Save As from

the File Menu.

Double-click.

Choose Save Library

from the File Menu.

From the File Menu,

choose Load Library.

Finale library

A Finale library may contain

a set of symbols (such as
Chords or Articulations),
markings (such as Text
Expressions), or settings
(such as Document settings
or Spacing Widths

.LSN

This file contains a grouping

of exercises and an
ensemble of instruments.

From the File Menu,

choose New, Exercise
Wizard.

From the File Menu,

choose Open; Select
Lesson File and
double-click the one
you want to open.

This is a standard MIDI

sequencer file. It can be read
by most sequencer
programs.

Choose Save As from

the File Menu select the
File Type MIDI File.
Name the file and click
OK.

From the File Menu,

choose Open; Select
MIDI File and doubleclick the one you want
to open.

Finale.EXE
Finale
application
(program)

.MUS
Finale file

.LIB

Lesson file

.MID
MIDI file

1200

.SMP

This is a SmartMusic Public

Accompaniment file.

When you are ready to

save a SmartMusic
Accompaniment, from
the File Menu, choose
Export to SmartMusic.

In SmartMusic, from the

File Menu, choose
Open SmartMusic
Accompaniment.
Choose Finale Family
Generated Files.
Navigate to the .SMP
file and double-click.

This file contains sequencer

track/channel-to-Finale staff
information for use when you
open a MIDI sequencer file
with Finale.

Choose Open from the

File Menu; select the
File Type MIDI File.",
and double-click the one
you want to open. Click
Track-to- Staff List;
create a track/staff
configuration and click
Save. See
Track/Channel Mapping
to Staves dialog box.

From the File Menu,

choose Open; select
the File Type MIDI
File." , and double-click
the one you want to
open. Click Track-toStaff List and click
Load. Double-click the
one you want to open.

This file contains the MIDI

information youve recorded
in the Transcription window.

Click the HyperScribe

Tool, select
Transcription Mode and
click a measure. Click
Wait Till and perform
your piece. Choose
Save As from the file
Menu. Name the file and
click OK.

Click the HyperScribe

Tool, select
Transcription Mode and
click a measure.
Choose Open from the
File Menu. Double-click
the Note file you want
to open.

This file contains a motif,

passage, or section of music
youve copied from a Finale
document.

Click the Selection Tool;

select a region of
measures. While
pressing ctrl, choose Cut
or Copy from the Edit
Menu. Name the file and
click OK. See Copying
music

Click the Selection

Tool; select a region of
measures. While
pressing ctrl, choose
Insert or Replace
Entries from the Edit
Menu. Double-click the
Clip file you want to
open.

This special text file contains

the complete PostScript
description of your
document; by downloading it
to a PostScript printer, you
can print without using the
Finale program itself.

Choose Compile
PostScript Listing from
the File Menu and click
OK; name the file and
click OK.

You cant open these

files. You need a
special downloading
program to send this
file to the printer. See
PostScript

SmartMusic
Public
Accompanime
nt file

.TRK
Track/Staff
Mapping file

.NOT
Note file

.CLP
Clip File

.PS
PostScript file

1201

.EPS
Encapsulated
PostScript file

PICT file

.TIF
TIFF file

Finale.INI
Preferences
file

.FXT
Plug-in
applications

This special text file contains

the Encapsulated PostScript
description of one page of
your document. This file can
be used in Finale or in other
programs that import
graphics.

Choose Compile
PostScript Listing from
the File Menu or Export
Page from the Graphics
Menu or double-click to
select an area and
choose Export Selection
from the Graphics Menu.
Enter a page number in
the EPS file of page:
text box if needed, and
click OK; name the file
and click OK.

Select Place Graphic

from the Graphics
Menu or start another
page layout or graphics
program and use its
Open or Place
command. Double-click
the name of the EPS
file. Click in the score to
place the EPS file.

This graphic file contains a

PICT graphic which can be
used in Finale or in other
programs that import
graphics. In OS X, this icon
may appear as a thumbnail
of the image.

Double-click to select an
area to export in the
Graphics Tool and select
Export Selection from
the Graphics Menu, or
just select Export Pages
from the Graphics Menu.
Select PICT from the
Type popup menu. Click
Save

Select Place Graphic

from the Graphics
Menu or start another
page layout or graphics
program and use its
Open or Place
command. Double-click
the name of the PICT
file. Click in the score to
place the PICT file.

This graphic file contains a

TIFF graphic which can be
used in Finale or in other
programs that import
graphics.

Double-click to select an
area to export in the
Graphics Tool and select
Export Selection from
the Graphics Menu, or
just select Export Pages
from the Graphics Menu.
Select TIFF from the
Type drop-down list.
Click OK.

Select Place Graphic

from the Graphics
Menu or start another
page layout or graphics
program and use its
Open or Place
command. Double-click
the name of the TIFF
file. Click in the score to
place the TIFF file.

This is the Finale

Preferences file, which
contains settings such as
those made in the Program
Options dialog box and the
Windows Menu.

Finale creates this file

automatically and places
it in your Finale folder.

Finale uses this file

each time the program
is started.

This a plug-in, which is a

small program that runs only
in Finale to allow you to
enhance Finales abilities.

Finale comes with a

number of plug-ins
already installed in your
Finale folder. If you are
interested in making
your own Plug-in
programs please visit
our website for details.

You cant open these

files. Finale loads all
the plug-ins available
each time the program
is started.

1202

This is one of Finales

temporary files; under normal
circumstances, you never
see them.

The temporary file exists

only while your working
in Finale (or after the
computer is turned off
without quitting Finale
properly).

You cant open these

files.

.BAK

This is a backup of a
standard notation document
file.

These files are created

when Make Backups
When Saving Files is
selected in the Program
Options dialog box.

In Finale, choose File,

then Open. Select Files
of Type, All Files.
Double-click on the file.

.ASV

This is an automatically
saved backup of a standard
notation document file.

These files are created

when Auto Save Files
Every X Minutes is
selected in the Program
Options dialog box.

In Finale, choose File,

then Open. Select Files
of Type, All Files.
Double-click on the file.

.TMP
Finale
Temporary file

1203

Finale Libraries
Finales libraries contain reusable sets of musical elements: expression markings, for example, or chordsymbol suffixes. A basic set came with your Finale package; theyre in a folder called Libraries within your
Finale folder.
You add a librarys contents to the active document by choosing Load Library from the File Menu, or by
clicking Load Library in the Document options dialog box. Feel free to modify these libraries, or to create
new libraries containing your own sets of symbols. For more information on libraries, consult the
appropriate entries, such as Expressions, Document Options-Music Spacing, Chord symbols, and so on.
See also the Save Library dialog box for an explanation of the different types of libraries. You can include
any combination of the available score elements in the same library file.

Articulation Shapes. This library contains shapes to be used for articulations. You can create
shapes to be used as articulations using the Shape Designer.

Articulations (Maestro). This library contains a selection of single-character articulation marks that
describe how a single note is to be played. You place them into the score with the Articulation Tool.
More
Finales Articulation Designer dialog box lets you add intelligence to the markings you design. You
can train them to jump into place on a note, a specific distance from the notehead. You can also
designate a secondary, upside-down symbol (called the Flipped Symbol) for Finale to substitute if
the notes stem direction changes.

M
a
i
n
S
y
m
b
o
l

Heres a listing of Finales default articulations, and how their automatic positioning and playback
features have been set up:

Flip
ped
Sy
mb
ol

Defa
ult
Vert.
Pos.

Handle
Pos.
M(H,V)/F(H,

Playback
Effect

Auto-Positioning Options

Metat
ool

V)

16

0,4/0,0

Duration
40%

Center, Note side, Avoid staff lines,

Inside Slurs

16

0,-8/0, -32

Duration
30%

Center, Note side, Outside Staff

1204

14

0,4/0,23

Velocity
125%

Center, Note side, Outside Staff

19

0,0/0,35

None

Center, Note side, Outside Staff

16

0,8/0,32

None

Center, Above Note, Outside Staff

16

0,8/0,34

None

Center, Above Note, Outside Staff

14

0,0/0,-16

Duration
105%

Center, Note side, Avoid staff lines,

Inside Slurs

16

0,2/0,21

Duration
75%

Center, Note side, Avoid staff lines,

Inside Slurs

None

0,0/0,-30

Duration
125%

Center, Note side, Outside Staff

23

None

None

Center, Note side, Outside Staff

1205

36

None

None

Above, Outside Staff

24

None

None

Above, Outside Staff

24

None

None

Above, Outside Staff

24

None

None

Above, Outside Staff

1206

None

None

None

Copy(H), Manually, Outside Staff

36

0,-13/0,-13

None

Center, Note side, Outside Staff

36

0,-13/0,-13

None

Center, Note side, Outside Staff

48

0,10/0,0

None

Center, Above Note, Outside Staff

12

None

None

Center, Above Note, Outside Staff

12

None

None

Center, Above Note, Outside Staff

14

None

None

Center, Note side, Avoid staff lines

23

None

None

Center, Note side, Avoid staff lines

1207

23

None

None

Center, Note side, Avoid staff lines

16

0,-4/0/0

None

Center, Above note, Avoid staff

lines

16

0,-4/0/0

None

Center, Above note, Avoid staff

lines

16

0,-4/0/0

None

Center, Above note, Avoid staff

lines

16

0,-4/0/0

None

Center, Above note, Avoid staff

lines

16

0,-4/0/0

None

Center, Above note, Avoid staff

lines

60

0,48/0,0

None

Center, Below Note, Outside Staff

60

0,-48/0,0

None

Center, Below Note, Outside Staff

None

None

Attack (0/
256)

Copy Vertically, Manually

48

12,12/
12,16

None

Center, Stem side

48

12,12/
12,16

None

Center, Stem side

1208

NA
(For
TAB
)

48

12,12/
12,16

None

Center, Stem side

12

36,36/0,0

None

Above, Outside Staff

36

24,8/0,0

Duration
50%

Above note, Outside Staff

None

None

None

Manually

None

-26,-21/0,0

None

Center, Note side

None

26,-21/0,0

None

Center, Note side

0
(zero)

None

None

None

Center, Stem side

None

None

Duration
40%

Center, Above Note, Outside Staff

1209

NA
(For
TAB
)

24

None

None

Center, Above Note, Outside Staff

NA
(For
TAB
)

24

None

None

Center, Above Note, Outside Staff

NA
(For
TAB
)

None

None

Velocity
125%

Center, Above Note, Outside Staff

1210

24

0,4/0,4

None

Center, Above Note, Aviod Staff

Lines, Outside Staff

24

4,4/0,0

None

Center, Above Note, Aviod Staff

Lines, Outside Staff

16

8,0/8,0

None

Center, Above Note, Outside Staff

16

8,0/8,0

None

Center, Above Note, Outside Staff

16

8,0/8,0

None

Center, Above Note, Outside Staff

1211

18

20,10/20,10

None

Center, Note Side, Outside Staff

18

18,0/10,18

None

Center, Note Side, Outside Staff

24

18,0/10,24

None

Center, Note Side, Outside Staff

12

10,0/10,-2

None

Center, Note Side, Outside Staff

14

8,4/8,-4

None

Center, Note Side, Outside Staff

1212

14

8,4/8,-4

None

Center, Note Side, Outside Staff

2,0/2,0

None

Center, Note Side, Outside Staff

6,0/6,0

None

Center, Note Side, Outside Staff

10

-15,0/-15,0

None

Center, Note Side, Outside Staff

24

4,6/4,-24

None

Center, Note Side, Outside Staff

1213

24

4,6/4,-24

None

Center, Note Side, Outside Staff

24

4,6/4,-24

None

Center, Note Side, Outside Staff

24

4,6/4,-24

None

Center, Note Side, Outside Staff

See Staccato marks, and Rolled chords for more complete discussions of these markings and
their playback definitions.

Chords & Fretboards: Chord Suffix (Arial).LIB, Chord Suffix (Times).LIB, Chord Suffix
Expanded (Arial).LIB, Chord Suffix Expanded (Times).LIB, Chord Suffix (Jazz Text), Chord
Suffix Expanded (Jazz Text), Chord Suffix (JazzCord), Figured Bass, Fretboard Styles, Slash
Chords (Arial).LIB, Slash Chords (Times).LIB, Slash Chords (Jazz Text), Slash Chords (Jazz
Cord). These sets of predefined chord symbols are used by the Chord Tool. Finale understands
each chord symbol in a musical way, and plays the chord back intelligently. The Chord Suffix &
Fretboard libraries consist of a set of libraries: one containing the most commonly used chord
suffixes and fretboards; the second containing an expanded library with more suffixes and more
fretboards per suffix; and a third library containing common slash chords. Each of these sets are
duplicated three times, once for each of the following fonts: Arial, Times, and JazzText. The fourth
set is a JazzCord font library which contains commonly used jazz suffixes accompanied by
fretboards created with Jazz Font characters. MoreLibraries of like font type and design can be
loaded together to expand the number of available suffixes and fretboards. So, if youre working in a

1214

file based on the Maestro Font Default (which contains the first type of library in Arial font) and you
find you need more suffixes or fretboards, loading the Chord Suffix Expanded (Arial) library will
provide you with more options in the same style and font.When you load a new chord suffix library,
Finale compares the suffixes. If the suffixes are identical in position and font, Finale wont duplicate
the suffix, but will load the new fretboard.
Adding the Slash Chord libraries works similarly, with the exception that these libraries only add
fretboards when loaded into libraries of like font type (they dont add additional suffixes). After
loading this library, youll find slash chord fretboards added to existing Maj, m, min, 7, m7, and
min7 suffixes.
The list below identifies the chord symbols in these libraries. Remember that you can modify
any of these symbols (for example, to change min7 to m7), and that you can add as many
new ones as you want.

Slot

Suff
ix

Slot

Maj

22

min6

43

m11

64

min

23

44

m13

65

45

m(maj7
)

66

Nu
mbe
r

Suffix

Nu
mbe
r

Slot

Suffix

Nu
mbe
r

Slot

Suffix

Nu
mbe
r

aug

24

6
min 9

dim

25

46

m9(maj
7)

67

26

M7

47

m7(add
4)

68

min
7

27

m7

48

m7(add
11)

69

sus
4

28

M6

49

7sus4

70

Maj
6

29

m6

50

71

13

1215

9
10

aug
7

30

(add9)

51

72

31

(add2)

52

73

7sus2

74

13sus

11

32

53

12

33

54

9sus4

75

13

Maj
7

34

55

76

14

35

56

77

15

13

36

57

13sus4

78

16

37

M13

58

79

17

38

M13(
5)

59

80

18

39

60

81

61

82

19

11

40

m(add
2)

1216

20

21

dim
7

41

m(add
9)

62

42

m9

63

M9

Each library also stores a few additional learned chords that include an alternate bass note. In
other words, Finale will correctly identify these chords, but they dont necessarily appear in the
Chord Suffix Selection dialog box. In the key of C, these learned chords are F/G, Dmin/G, and
Dmin7/G; of course, Finale will recognize these chords regardless of the key youre in, as long
as theyre built on the same scale tones as these original learned chords.

Clefs. This library contains eighteen standard clefs.

Choral Dynamics. This library contains dynamic expressions set to Above Staff instead of Below
Staff.

Default Fonts. This library contains the default font settings, as found in Document Options-Fonts.

Document Options. This library holds all the settings that are saved in with your document such as
the settings in the Document Options dialog box and a number of other settings in the Document
Settings submenu, and other settings as well, such as the Playback Controls settings.

Engraver Articulations. This library, similar to the Maestro Articulation Library, has a number of
Engraver symbols to be used for articulations. They are already adjusted to take advantage of
Finales positioning settings.

Engraver Text Expressions. This library contains text expressions using the Engraver Font.
Expressions such as dynamics and tempo indications are included.

Executable Shapes. This library contains six predefined Executable Shapes, which can serve as
the playback definitions for expressions. Each affects the specified playback parameter by 26 units.
That is, if you construct an accel. marking based on one of these Executable Shapes, the marking
will produce a tempo increase of 26 beats per minute. For full instructions, see To define an
expression for playback. MoreIf you look at these shapes in the Executable Shape Selection dialog
box, youll see three pairs of sloping lines. In each pair, the first shape produces an increase in the
specified playback variable, and the second produces a corresponding decrease. The only difference
between the three pairs is the amount of music affected by each: the change produced by the three
pairs lasts for eight, four, and sixteen eighth notes, respectively.

Figured Bass. This library provides a simple starting place for entering figured bass into your
document.

Fretboard Styles. This library contains four fretboard styles, which define how Finale draws custom
fretboard elements. The first three fretboard styles are the classic (4, 5 & 6 frets) style; the last was
created with Jazz Font characters for a hand-produced look.

Harp Diagram. This is a Shape Expression Library containing the two parts of a harp pedal
diagramthe skeleton and the pedalsdescribed in Harp pedal diagrams. See that entry for full
instructions for placing and using this diagram.

Instrument Libraries. The General MIDI library is designed to work with most synthesizers built-in
sounds.

Jazz Articulations. This is the articulation library to be used with the Jazz Font. It contains items
such as staccatos, accents, house tops, falls and glissandos.

Jazz Chords & Fretboards. Jazz Chords Suffixes and Fretboards.

Jazz Clefs.This library contains eighteen jazz clefs.

Jazz Default Fonts. This library contains the default font settings for the Jazz font, as found in the
Document Options-Fonts.

1217

Jazz Document Settings. This library changes items in your Document Settings that are
appropriate for use in the Jazz font, especially the alignment of notes with their stems and flags.

Jazz Dynamics. This is a library containing text expressions (dynamic markings etc.) for the Jazz
Font.

Jazz Measure Rests. This is a shape expression library which contains a multi-measure rest shape.

Jazz Page Format. This library contains default settings for the Page Format for Score and Page
Format for Parts dialog boxes.

Jazz Rehearsal Letters. This library contains rehearsal letters from A-Z, all of which are enclosed in
a box. This is also a text expression library.

Jazz Spacing. This library contains spacing widths for use with the Jazz Font.

Jazz Staff Styles. This library contains a basic selection of Jazz Staff Styles for use with the Staff
Tool. See Staff styles for more information.

Jazz Stem Connections. This library contains stem connection definitions for use with the Jazz font.
See Stem Connections dialog box for more information.

Jazz Tempos. This library contains tempo indications in the Jazz font. This is also a text expression
library.

Jazz Text Repeats. This is a text repeat library for the Jazz Font. It contains items such as D.S. al
Coda, etc. These expressions also come with brackets.

Measure Rest. This library contains the default Multimeasure Rest symbol.

Page Format. This library contains default settings for the Page Format for Score and Page Format
for Parts.

Percussion Maps. This library contains all of the percussion maps that you have created as well as
default percussion maps for General MIDI. See General MIDI Percussion Map Table, Marching
Percussion Map Table, and General MIDI Orchestral Percussion Map Table for a listing of
instrument names which correspond to the MIDI Notes. More
Notes Used in Percussion Maps (Chan 10 patch 1)
Percussion Map Name

MIDI Notes Used

General MIDI

35-81

Cymbals

42, 46, 49, 51-53, 55, 57,

59

Guiro

73-74

Wood Blocks

76-77

Agogo Bells

67-68

Triangle

80-81

Cuica

78-79

Whistle

71-72

Drum Set

35-38, 41-53, 55-57, 59

1218

Bongos

60-61

Timbales

65-66

Congas

62-64

Snare Drum

37-38

Quad Toms

41, 45, 47, 50

Quint Toms

41, 43, 47, 48, 50

Tom Toms

41, 43, 45, 47, 48, 50

Bass Drum (5-line)

36, 41, 43, 45

Treble Clef Entry

62, 64, 65, 67, 69, 72-79,

81, 83

Treble Clef Entry, General MIDI

playback

62, 64, 65, 72-79, 81, 83

Bass Clef Entry, General MIDI

playback

43, 45, 47, 48, 52-57, 59,

60, 62

The following chart shows some common instruments, and their default staff positions.
You can use this chart as a guide while clicking percussion into the score with Simple
Entry, or while using Speedy Entry with your computer keyboard. This chart applies to a
new Percussion, or Drum Set document created with the Setup Wizard. Some
instruments require a sharp or flat while entering. After clicking on the displayed staff
position, if you do not hear the desired sound, or see the desired notehead, you can
select the note in Simple Entry and press the + key in the number keypad to cycle
through all the instruments defined for that staff position.

1219

Pitch Bend. This is a single Text Expression in a library by itself. It consists of the words
pitch bend, and has been defined to produce a single pitch bend. This pitch bend lasts for
one whole note. It moves the pitch wheel from its at rest position all the way to the top of its
range of movement, then back down to its at rest position. For a full description of pitch
wheel usage in Finaleincluding instructions for the creation of this particular pitch bend
expressionsee Pitch wheel.

Quarter Tone. This Key Signature library contains a single key signature namely, the key
signature for a quarter-tone key system, where there are three chromatic steps between two
diatonic steps (instead of the usual one). If you set your piece in this key signature, bear in
mind that one key on your MIDI keyboard corresponds to one chromatic step in the music. In
other words, you wont be able to play normally and still get an accurate transcription of your
playing, becausefor examplethe C# key on your MIDI keyboard will correspond to a Cquarter sharp on the screen. See Nonstandard key signatures for more information.

Shape Expressions. This library contains a selection of Shape Expressions for use with the
Expression Tool. While it does contain several phrase markings and hairpins (crescendo
markings), remember that its far easier to create phrase markings and hairpins using the
Smart Shape tools. The sole advantage to using these crescendo hairpins is that they have
been defined for playback; they produce a volume change of 26 MIDI key velocity units in the
time of a whole note. This library also contains a glissando line and tremolo marking, as
described in Glissandos and Tremolos, respectively.

Smart Lines. This library contains Smart Shapes available in the Smart Line Selection dialog
box including glissandos, pedal indications, trills extensions, guitar markings, and other linetype markings that can be adjusted in the score.

SMS Markers. This library contains a collection of Text Expressions that are pre-defined for
SmartMusic Markers that can be added to the score to specify repeats, rehearsal marks,
pauses, and other indications while creating a file intended to be saved as a SmartMusic
Accompaniment. See SmartMusic for details.

Staff Styles. This library contains a basic selection of Staff Styles for use with the Staff Tool.
See Staff styles for more information. The following metatools appear in the Maestro Font
Default file. More
Staff Style

Slash Notation

Metatool
Assignment
S

1220

Rhythmic Notation

Blank Notation: Layer 1

Blank Notation: Layer 4

Blank Notation: All Layers

Normal Notation

One-Bar Repeat

Two-Bar Repeat

Standard 5-line staff

1-line Staff: Full Barline

1-line Staff: Short Barline

Hide Staff

Percussion: 1-line Staff

Percussion: 5-line Staff

Note Shapes

Flute Transposition

Bb Clarinet Transposition

Eb Alto Saxophone

Transposition
Bb Tenor Saxophone

Transposition

Spacing Widths libraries: Fibonacci Spacing Fibonacci with Edited Dots Tight Spacing
Medium Spacing Loose Spacing. These libraries contain spacing width tables used for the
spacing of notes and lyrics. Fibonacci Spacing is the default which spaces your music using
a ratio of about 1 to 1.6. So a quarter note will take up 1.6 times the space of an eighth note.
To find out how you use these libraries, see Document Options-Music Spacing. The library

1221

titles indicate the relative spacing of the entries in a measure; music thats been spaced
using the medium library will be more compact than music spaced with the loose library.

Text Expressions (Maestro). This library, for use with the Expression Tool, includes a number of
expression and dynamic markings, many of which have been defined for playback. Each has also
been defined for positioning. see Expression Designer dialog box. The dynamics always appear in
Maestro music font, and the other expression markings appear in the Times New Roman italic font;
feel free to change these fonts to suit your system. (For the non-dynamic expressions, choose a
PostScript font if you plan to print on a PostScript printer or a True Type font if you plan to print on a
non-PostScript printer.) MoreThis library also contains some sample rehearsal letters. The playbackdefined expressions in this library are as follows:

Expression

Playback
effect

Value

Key velocity

10

Key velocity

23

Key velocity

36

Key velocity

49

Key velocity

62

Key velocity

75

Key velocity

88

Key velocity

101

Key velocity

114

1222

Key velocity

127

Adagio

Tempo

40

Moderato

Tempo

80

Allegro

Tempo

120

Transposition

12

Transposition

12

accel.

Tempo

Increases 26 beats
per minute over
four beats

rit.

Tempo

Decreases 26 beats
per minute over
four beats

Text Repeats (Maestro). This library contains a selection of text repeatstextual repeat indications,
such as D.S. al Coda, that are fully functional for playback. You create and edit repeats using the
Repeat Tool. (See Repeats (barlines and text indications)) for a more complete discussion.)
MoreThe text repeats in this library are as follows:

D.C. al Fine

To Coda #

D.C. al Coda

Fine

D.S. al Fine

D.S. al Coda

D.S. al #

Go to Measure
#

The number sign (#), when it appears in a text repeat, represents a temporary stand-in for
some variable. For example, if you place the To Coda # or the D.S. al # marking in the
score, Finale will automatically substitute the text of the target (Mark type) text repeat for the
.) And if you place the Go to
number sign. (The result might be, for example, To Coda

1223

Measure # marking into the score, Finale will replace the number sign with the measure
number to which you direct this markings playback. (The result might be, for example, Go to
Measure 44.)

1224

Finale Notational Defaults

Finale adheres to the standards of music engraving practice that follow. There are many more rules or
standards that govern music notation, and indeed, the standards themselves may vary from publisher to
publisher. The ones listed here are automatically supported by Finale.

Placement of Text
Staff names are centered vertically on each staff. Both full and abbreviated staff names are right-aligned.
Chord symbols are placed 1/2 inch above the top line of the staff. If Guitar Fretboards also appear, the
Chord Symbol appears one inch above the top line of the staff, and the top of the fretboard appears 1/2
inch above the top lines of the staff.
Lyrics appear 1/2 inch below the bottom line of the staff.

Notes, Stems and Beams (Ligatures)

Single notes with single stems are stemmed down when the note is positioned on the middle line of the
staff or higher. Down stems are positioned on the left side of the note. Single notes with single stems are
stemmed up when the note is positioned on the second space of the staff or lower. Up stems are
positioned on the right side of the note.
Single stems are exactly one octave in length. If there is more than one note on a stem, the stem length
is calculated from the note closest to the end of the stem.
Stems of notes on ledger lines which would not normally reach the middle line of the staff are extended to
reach the middle line of the staff.
A beam is the thickness of half a space. The normal stem length will accommodate two beams. For each
additional beam the stem length is extended one space. The angle up or down of any beam does not
exceed one space, and the direction of the slant is determined by the general direction of the movement
of the notes.

Placement of Note Heads

In an interval of a second on a single stem the lower note is placed on the left of the stem, the upper note
on the right. In this configuration the note head on the wrong side of the stem is called a displaced note.
Chords with opposite stems or on separate staves are aligned according to the properly placed note
heads, not the displaced note heads.

Accidentals in a chord
When accidentals cannot be aligned, the highest accidental is placed in the normal position and the next
lower accidental is placed to the left of it. Accidentals continue to be placed to the left until an accidental
can align with the top one, in which case the procedure is repeated until all the accidentals have been
placed.

Accidentals across barlines

1225

When a note with an accidental is tied across a barline, the accidental is not repeated on the first note of
the next measure. However, if the note appears later in the measure, the accidental is repeated.

Modifying Symbols
Articulations are placed on the notehead side, opposite the stem. Bowing marks are placed above the
staff, regardless of the stem direction.

Music Spacing (Time Spacing)

There are no absolute rules governing time spacing, but Finale follows the general principle of spacing
notes according to their duration. Longer notes are followed by larger spaces than shorter notes.
Barlines have no rhythmic significance and do not affect the time spacing. Neither do accidentals, except
in those situations when the normal time spacing may not allow enough room for the accidental, in which
case additional space is allotted for the accidental.
Rests are treated the same as notes, except for the whole measure rest which is centered in the
measure.

Grace Notes
The stem direction is up for grace notes. Slashes appear on flagged grace notes (unless Slash Flagged
Grace Notes is deselected in the Document Options dialog box).

Tuplets
Tuplets can appear as a number placed within a bracket, or, on the beam side, just a number. The beam
of a rhythmic group is extended over any rests within the group. The bracket slope adjusts to the
notation, following the slope of beams and stems.

Multimeasure Rest (Block Rest)

A Multimeasure or block rest is built into Finale. The rest appears centered on the middle staff line. The
thick horizontal line in 3 pts. (1 space) thick (the same thickness as beams), and the thin vertical lines,
which extend from the second to the fourth staff line, are 1/2 point thick.
The multimeasure rest number appears just above the staff. The width of the measure is 1 1/4 inches to
contain the multimeasure rest symbol.

Line Thickness
Beam thickness is three points (half a space). Barline, ledger line, staff line, and stem line thickness are
half a point. Other lines (such as tuplet and repeat brackets) are also half a point thick.

Spacing of Basic Elements

A certain amount of space appears before and after basic musical elements. One space appears before
clefs, key and time signatures, and before the first note or rest in a measure. An additional half space
appears after key and time signatures.

1226

Maestro Font Default file

The Maestro Font Default file is what appears when you choose the File Menu > New > Default
Document. It consists of one treble staff with 31 measures, in common time. Measure numbers appear at
the start of each line, above the clef. It contains libraries for music spacing, chord symbols, musical text
and shape expressions, articulations, and so on. See Finale Libraries for more information.
The page size is 8.5 by 11 inches with 1/2 inch page margins all around except for the left margin which
is 3/4 inch. The first system is indented (from the page margin) 1/2 inch, and is dropped 1 1/2 inches to
allow for a title, and other text. A place holder for a title appears centered 1/2 inch below the top margin,
and page numbers appear beginning on page 2 in the form -2-. Music appears and prints at 100%.

1227

Finale Score Templates

In your Finale folder, youll find a folder called Templates. In this folder youll find nearly fifty blank Finale
documents, each with staves in a particular instrumental configuration. These templates can save you
timejust open a copy of a score setup you need, and start entering the music. To open a template,
choose File, New, then Document from Template.
When you open a template, Finale prompts you to customize your new document with the last two pages
of the Setup Wizard (if Display Setup Wizard When Opening a Template is checked in Program OptionsNew).
These templates have the .FTM extension, which means that they will appear as untitled files when
you open them. Choose New from Template from the File Menu. Any template files in the current folder
will appear in the list. Double-click the template you want to use.
To open a template and create an untitled copy of one of these templates (thus preserving the blank
template itself for later use), choose File, New, then Document from Template. Double-click the name of
the desired template; Finale will open an untitled copy.
Each of these templates, like the Maestro Font Default file, has a selection of libraries already loaded.
These include the Chord Suffix, Articulations, Shape Expressions, Text Expressions, Text Repeats,
Allotments (medium), Quarter Tone, and Executable Shapes libraries. Each has also been defined to
have sequential measure numbers, page numbers, and a sample title. Staves for the transposing
instruments (e.g., clarinets, horns) have been set up to transpose automatically (see Transposing
instruments). The templates are titled as follows:

General Templates
Template title

System setup

Lead Sheet.FTM

One staff

Lead Sheet (Jazz Font).FTM

One staff, uses Jazz Font

Lyrics and Chords.FTM

Single one-line staff with rests. Lyrics and

chords Staff Style

Piano Grand Staff.FTM

Two staves (piano staff)

Big Note Bells.FTM

One staff (enlarged), landscape orientation

Instrumental Solo.FTM

Three staves (piano and a reduced-size solo

staff)

Rhythm Section Generator

One Staff, 100 measures, slash notation

Band Templates
1228

Template title

System setup

Small Concert Band.FTM

Nine staves

Full Concert Band.FTM

26 staves

Wind Ensemble.FTM

25 staves

Marching Band.FTM

21 staves, landscape orientation

Jazz Band.FTM

18 staves, landscape orientation

Jazz Band (Jazz Font).FTM

18 staves, landscape orientation, uses Jazz font

Woodwind Trio.FTM

Three staves (Flute, Oboe, Bassoon)

Woodwind Quintet.FTM

Five staves (standard woodwind quintet)

Woodwind Choir.FTM

12 staves

Saxophone Quartet.FTM

4 staves

Brass Trio.FTM

Three staves (Trumpet, Trombone, French

Horn)

Brass Quintet.FTM

Five staves (standard brass quintet formation)

Brass Choir.FTM

12 staves

Brass Band.FTM

19 staves (British brass band)

Drum Corps.FTM

7 staves

Orchestral Templates
Template title

System setup

String Trio.FTM

Three staves (standard string trio)

String Quartet.FTM

Four staves (standard string quartet)

String Orchestra.FTM

Five staves

String Orchestra with

Piano.FTM

Seven staves

Chamber Orchestra.FTM

20 staves

Full Orchestra.FTM

27 staves

1229

Choral Templates
Template title

System setup

Barbershop Female.FTM

Two staves (Sopr, Lead, Alto, Alto)

Barbershop Male.FTM

Two staves (Tenor, Lead, Bari, Bass)

Vocal Solo with Piano.FTM

Three staves (piano and vocal)

Two Part with Piano.FTM

Four staves

SSA with Piano.FTM

Five staves (SSA plus Piano)

SAB with Piano.FTM

Five staves (SAB plus Piano)

SATB (Four Staff) with

Piano.FTM

Six staves (SATB plus Piano)

SATB w Piano, Bass &

Perc.FTM

Eight Staves (SATB + 4)

TTBB w Piano.FTM

Six staves (TTBB plus Piano)

SATB (Two Staff) with

Piano.FTM

Four staves (SA on Treble, TB on Bass, plus

Piano)

Church Templates
Template title

System setup

Church Orchestra.FTM

19 staves

Handbells.FTM

One staff

Hymnal.FTM

Two staves

Piano & Organ.FTM

Five staves (2 + 3)

Shape Note Hymnal.FTM

Two staves with note shapes

Education Templates
Template title

System setup

1230

2-Measure Examples.FTM

Two staves, five systems moved to right side of

page - Space for questions on left

4-Measure Examples.FTM

Two Staves, four systems

Boomwhackers-R Tubes
Grand Staff.FTM

Grand Staff with colored noteheads for

Boomwhackers Percussion Tubes / ChromaNotes Instruments

Boomwhackers-R Tubes
Treble Staff.FTM

Treble clef staff with colored noteheads for

Boomwhackers Percussion Tubes / ChromaNotes Instruments

Full System, No Barlines.FTM

Eight systems - One measure per system, no

barlines

Blank Manuscript.FTM

Eight systems - One measure per system, no

barlines or clefs

Auto-Stick Notation.FTM

One staff for Stick notation

Kodly 1.FTM

Two staves - One for solfge, one for Stick

notation

Kodly 2.FTM

One Staff for Stick and/or solfge notation

Worksheet Example.MUS

Examples and procedures for creating

worksheets

Guitar Templates
Template title

System setup

House Style 1.FTM

Single TAB Staff w/time signature

House Style 2.FTM

Standard 5-line staff over TAB (large TAB clef)

House Style 3.FTM

Standard 5-line staff over TAB (small TAB clef)

Lute - French-English.FTM

Single TAB staff, lute tuning with letters

1231

1232

General MIDI Orchestral Percussion

Map Table
This listing contains all the General MIDI percussion sounds on channel 10, patch 49, which is the
channel (and patch) reserved for orchestral percussion. These sounds are available when SmartMusic
SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. You must also ensure the
orchestral percussion staff is set to channel 10 and program 49 in the Instrument List window. (Or,
choose an orchestral percussion staff from the Setup Wizard). Use a pre-designed Percussion map to
easily enter orchestral percussion sounds and appropriate noteheads.

Note
Numb
er

Name

Note
Numb
er

Name

27

Closed Hi Hat

44

Timpani Gs

28

Pedal Hi Hat

45

Timpani A

29

Open Hi Hat

46

Timpani As

30

Ride Cymbal

47

Timpani B

35

Jazz Kick

48

Timpani C

36

Concert Bass
Drum

49

Timpani Cs

38

Concert Snare
drum

50

Timpani D

39

Castenets

51

Timpani Ds

40

Concert Snare
Drum

52

Timpani E

41

Timpani F

53

Timpani F

42

Timpani Fs

57

Concert Cymbal 2

43

Timpani G

59

Concert Cymbal 1

1233

1234

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

1235

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 you can also set the patch to 2 (in the Instrument List) to use marching percussion
sounds or patch 49 to use orchestral percussion sounds).
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

1236

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

1237

General MIDI Table

This list contains all the General MIDI Patch Numbers and Patch Names.
Finales SmartMusic SoftSynth is a General MIDI SoundFont containing these patches. In addition, note
that the SmartMusic SoftSynth contains two additional alternative patches, one piano (bank 1, patch 0)
and one violin (bank 1, patch.

Patc
h
Num
ber

Name

Patc
h
Num
ber

Name

Patc
h
Num
ber

Name

Acoustic Grand
Piano

16

Dulcimer

31

Distortion Guitar

Bright Acoustic
Piano

17

Drawbar Organ

32

Guitar Harmonics

Electric Grand
Piano

18

Percussive Organ

33

Acoustic Bass

Honky-tonk Piano

19

Rock Organ

34

Electric Bass
(finger)

Electric Piano 1

20

Church Organ

35

Electric Bass (pick)

Electric Piano 2

21

Reed Organ

36

Fretless Bass

Harpsichord

22

Accordion

37

Slap Bass 1

Clavi

23

Harmonica

38

Slap Bass 2

Celesta

24

Tango Accordion

39

Synth Bass 1

10

Glockenspiel

25

Guitar (nylon)

40

Synth Bass 2

11

Music Box

26

Acoustic Guitar
(steel)

41

Violin

12

Vibraphone

27

Electric Guitar
(jazz)

42

Viola

13

Marimba

28

Electric Guitar
(clean)

43

Cello

14

Xylophone

29

Electric Guitar
(muted)

44

Contrabass

1238

15

Tubular Bells

30

Overdriven Guitar

45

Tremolo Strings

46

Pizzicato Strings

74

Flute

102

FX 6 (goblins)

47

Orchestral Harp

75

Recorder

103

FX 7 (echoes)

48

Timpani

76

Pan Flute

104

FX 8 (sci-fi)

49

String Ensemble
1

77

Blown Bottle

105

Sitar

50

String Ensemble
2

78

Shakuhachi

106

Banjo

51

SynthStrings 1

79

Whistle

107

Shamisen

52

SynthStrings 2

80

Ocarina

108

Koto

53

Choir Aahs

81

Lead 1(square)

109

Kalimba

54

Voice Oohs

82

Lead 2 (sawtooth)

110

Bag Pipe

55

Synth Voice

83

Lead 3 (calliope)

111

Fiddle

56

Orchestra Hit

84

Lead 4 (chiff)

112

Shanai

57

Trumpet

85

Lead 5 (charang)

113

Tinkle Bell

58

Trombone

86

Lead 6 (voice)

114

Agogo

59

Tuba

87

Lead 7 (fifths)

115

Steel Drums

60

Muted Trumpet

88

Lead 8
(bass+lead)

116

Woodblock

61

French Horn

89

Pad 1 (new age)

117

Taiko Drum

62

Brass Section

90

Pad 2 (warm)

118

Melodic Tom

63

SynthBrass 1

91

Pad 3 (polysynth)

119

Synth Drum

64

SynthBrass 2

92

Pad 4 (choir)

120

Reverse Cymbal

65

Soprano Sax

93

Pad 5 (bowed)

121

Guitar Fret Noise

1239

66

Alto Sax

94

Pad 6 (metallic)

122

Breath Noise

67

Tenor Sax

95

Pad 7 (halo)

123

Seashore

68

Baritone Sax

96

Pad 8 (sweep)

124

Bird Tweet

69

Oboe

97

FX 1 (rain)

125

Telephone Ring

70

English Horn

98

FX 2 (soundtrack)

126

Helicopter

71

Bassoon

99

FX 3 (crystal)

127

Applause

72

Clarinet

100

FX 4
(atmosphere)

128

Gunshot

73

Piccolo

101

FX 5 (brightness)

1240

Garritan Finale Edition Instrument

Details
Instrument Ranges
The following table lists ranges for each GPO instrument included with Finale. Pitches notated outside of
an instruments range will not sound if GPO is selected as the Playback device. Ranges are stated as
they appear in the Kontakt Player (MIDI Note 60=C3 instead of the standard C4).

GPO Instrument

Range

Flute Solo

B2-D6

Flute Plr1

B2-D6

Flute Plr2

B2-D6

Flute Plr3

B2-D6

Piccolo Solo

D4-C7

Oboe Solo

A#2-G5

Oboe Plr1

A#2-G5

Oboe Plr2

A#2-G5

Oboe Plr3

A#2-G5

English Horn Solo

E2-C5

Bb Clarinet Solo

D2-G5

Bb Clarinet Plr1

D2-G5

Bb Clarinet Plr2

D2-G5

Bb Clarinet Plr3

D2-G5

1241

Bass Clarinet Solo

B0-F4

Bassoon Solo

A#0-E4

Bassoon Plr1

A#0-E4

Bassoon Plr2

A#0-E4

Bassoon Plr3

A#0-E4

Contrabassoon Solo

A#-1-G#2

French Horn Solo

D1-F4

French Horn Plr1

D1-F4

French Horn Plr2

D1-F4

French Horn Plr3

D1-F4

Trumpet Solo

F#2-F5

Trumpet Plr1

F#2-F5

Trumpet Plr2

F#2-F5

Trumpet Plr3

F#2-F5

Trombone Solo

E1-F4

Trombone Plr1

E1-F4

Trombone Plr2

E1-F4

Trombone Plr3

E1-F4

Tuba Solo

E0-G3

Glockenspiel

G4-C7

Marimba

G#1-C6

Xylophone

F3-C7

1242

Harp KS - Range (pluck):

C0-G6

Harp KS - Range (harmonics):

C2-C6

Steinway Piano

A1-C7

Harpsichord (8'stop)

F0-E5

Hauptwerk All Stops

C1-G5

Violin Solo

G2-D6

Violin Plr1

G2-D6

Violin Plr2

G2-D6

Violin Plr3

G2-D6

Violin Solo KS 1

G2-D6

Violin Solo KS 2

G2-D6

Viola Solo

C2-C6

Viola Plr1

C2-C6

Viola Plr2

C2-C6

Viola Plr3

C2-C6

Viola Solo KS

C2-C6

Cello Solo

C1-C5

Cello Plr1

C1-C5

Cello Plr2

C1-C5

Cello Plr3

C1-C5

Cello Solo KS

C1-C5

Dbl Bass Solo

C0-E3

1243

Dbl Bass Plr1

C0-E3

Dbl Bass Plr2

C0-E3

Dbl Bass Plr3

C0-E3

Dbl Bass Solo KS

C0-E3

Violins Arco

G2-D6

Violins Pizzicato

G2-D6

Violins Tremolo

G2-D6

Violins KS

G2-D6

Violas Arco

C2-C5

Violas Pizzicato

C2-C5

Violas Tremolo

C2-C5

Violas KS

C2-C5

Cellos Arco

C1-C5

Cellos Pizzicato

C1-C5

Cellos Tremolo

C1-C5

Cellos KS

C1-C5

Basses Arco

C0-E3

Basses Pizzicato

C0-E3

Basses Tremolo

C0-E3

Basses KS

C0-E3

Full Strings Arco

C0-D6

Full Strings Pizzicato

C0-D6

1244

Full Strings Tremolo

C0-D6

Full Strings KS

C0-D6

Instrument Controllers
If youa re using the Kontakt Player, it should be set for sustain pedal mode 1 (standard sustain operation)
for all instruments to function properly.

General controllers for all wind instruments

Volume/timbre:

cc#1 (continuous 0-127; default=0)

Tongue/slur:

cc#68 (switched - tongue=0; slur=127;

default=0)

Attack strength:

velocity

Portamento:

cc#20 (continuous 0-127; default=0)

only functions during slurs - cc68=127;
default=0

Length:

cc#21 (continuous 0-127; default=64)

Random intonation variability:

cc#22 (continuous 0-127; default=0)

Random timbre variability:

cc#23 (continuous 0-127; default=0)

Pitchbend range:

+/-12 semitones (default=0)

Trombones have an extra controller as

a suppliment to cc#20 portamento
control to help with the slide simulation.
This controller is only active for tongued
notes.

cc#19 (pitchbend on=0; pitchbend

off=127)

Switchable pitchbend:

General controllers for all strings

Volume/timbre:

cc#1 (continuous 0-127; default=0)

1245

Standard arco/legato:

cc#68 (switched - standard=0;

legato=127; default=0)

Attack strength:

velocity

Switchable pitchbend:

cc#19 (pitchbend on=0; pitchbend

off=127) only functions during standard
arco - cc68=0; default=0

Portamento:

cc#20 (continuous 0-127; default=0)

only functions during legato - cc68=127;
default=0

Length:

cc#21 (continuous 0-127; default=64)

Random intonation variability:

cc#22 (continuous 0-127; default=0)

applies only to pizzicato in section
strings

Random timbre variability:

cc#23 (continuous 0-127; default=0)

Applies only to pizzicato in section
strings

Pitchbend range:

+/-12 semitones (default=0)

General controllers for Percussion

Standard sustain pedal response. (for
Glockenspiel, Marimba, and Xylophone)

cc#64

Volume/timbre:

Velocity (except where noted)

Random intonation variability

cc#22 (continuous 0-127; default=0)

Random timbre variability:

cc#23 (continuous 0-127; default=0)

Bass drum hit volume

Velocity

Bass drum hit brightness

cc#16 (continuous 0-127; default 0)

Bass drum hit fundamental strength

cc#20 (continuous 0-127; default 10)

Controllers for Pipe Organ:

(The pipe organ features these controllers for creating custom timbre variations)

1246

Filter level:

cc#22 (continuous 0-127; default=0)

Filter center frequency:

cc#23 (continuous 0-127; default=0)

Fundamental strength:

cc#20 (continuous 0-127; default=0)

Keyswitches and Instrument Mapping

Keyswitches consistently reside in the lowest octave for all instruments. All keyswitched instruments are
designated with a "KS" in their name. The following pitches are represented in MIDI Note numbers. The
following MIDI notes are well below the range of the instrument, and will not sound, only apply the patch
change. See MIDI Note to Pitch Table for equivalents. (Also note that MIDI Note 60=C3 when displayed
in the Kontakt Player for Finale, instead of the standard C4).

Keyswitches for Strings

0

Arco

Pizzicato

Tremolo

Keyswitches for Harp

0

Open Pluck

Hand stopped
pluck

Open harmonics

Hand stopped
harmonics

Keyswitches for Timpani

0

Full ring

Hand damped

1247

Orchestral Percussion Instrument Mapping

35

Bass drum hit left hand

36

Bass drum hit right hand

37

Bass drum roll (cc#1 controls

volume)

56

Side drum hit left hand

57

Side drum hit right hand

58

Side drum roll (cc#1 controls

volume)

59

Snare drum left hand

60

Snare drum right hand

61

Snare drum roll (cc#1 controls

volume)

80

Large gong

81

Medium gong 1

82

Tam tam

83

Medium bong 2

84

Piatti cymbal 1

85

Piatti cymbal 2

86

Piatti cymbal 3

87

Crash cymbal

88

Choke cymbal

89

Cymbal hit (ping)

90

Cymbal hit (ping)

1248

91

Cymbal hit (ping) choke

92

Cymbal hit (ping) choke

93

Cymbal roll with release (cc#1

controls volume)

94

Cymbal roll crescendo and decay

95

Triangle damped

96

Triangle open

GPO Keyswitch Triggers in Human Playback

Any instrument with "KS" in its name (as shown in the Setup Wizard or Aria Player) includes alternate
sounds relating to a special type of performance technique for that instrument. For example, all "KS"
string instruments can play in an arco (bowed), pizzicato (plucked), or tremolo (in rapid succession) style.
To invoke a keyswitch conventionally, a note can be added outside the range of the instrument as
described above under Keyswitches and Instrument Mapping. Alternatively, when using Human
Playback, text expressions or Smart Shape text can be added to "trigger" keyswitches as part of HPs
interpretation. The following are a list of triggers that can be used to change the playback sound of any
GPO instrument that supports keyswitches.
Note: An expression intended for use with HP
should not include a playback definition - HP looks
for the text only. Make sure Type is set to None
under the Playback tab of the Expression Designer
dialog box. Also, Note-Attached expressions are
recommended for keyswitch expressions.

HP Keyswitch Triggers - GPO Finale Edition

Instrumen
t Name

Timpani

Keyswitch

l.v.

Hand-dampened

MI
DI
#
0
2

Trigger Text

Unmarked note

Expression or Smart
Shape line w/text:
"damped", "damp.",
"dampen", "touff",
"touffs", "touffes",
"touffz", "dmpfen",
"velare", "coprire"

1249

Harp

Open pluck
(ordinaro)

Hand-stopped
pluck

Unmarked note

Expression or Smart
Shape line w/text:
"damped", "damp",
"dampen", "stopped",
"touff", "touffs",
"sons touffs",
"touffz", "dmpfen",
"velare", "coprire", "sec",
,
"secco",
articulation:

Open harmonic

Hand-stopped
harmonic

Articulation; ,

"dampen" etc. plus

harmonic articulation

Expression: "arco",
"ord.", "ordin.", "natural",
"nat.", "normal",
"normale", "collarco",
"con larco", "col arco",
Bog.", "Bogen"

Expression: "pizz.",
"pizzicato", "pizzicati"

Articulation:

3
0

All "KS
Solo
Strings and
Section
Strings

Arco

Pizzicato

Tremolo

1250

Guitar markings
Enter the following guitar markings with the Smart Shape Tool. To enter a Guitar Bend, TAB Slide, Trill
(vibrato), or Bend Hat, first click the corresponding tool in the Smart Shape Palette. The remaining
markings are available in the Smart Line Selection dialog box. For information on how to enter these
markings, see To enter hammer-ons, pull-offs and other guitar-specific markings. For information on how
to program your own metatools for all of these markings, see Smart Shape Tool.

Marking

Description

Predefined Metatool

Bend Arrows

TAB Slide

Vibrato

Bend Hat

Hammer-on

Hammer-on for use above

a slur or tie

Pull-off

1251

Pull-off for use above a

slur or tie

Bend

Bend for use above a slur

or tie

Release

Release for use above a

slur or tie

Artificial Harmonic
(A.H./A.H)

Artificial Harmonic/A.H.

--

Natural Harmonic
(N.H/N.H.)

Natural Harmonic/N.H.

--

1252

Pick Harmonic (P.H./P.H.)

--

Pick Harmonic/P.H.

--

Palm Mute (P.M./P.M.)

Palm Mute/P.M.

--

Let Ring

--

Hold Bend

--

Up Pick

--

Down pick

--

See also:
Guitar notation

1253

1254

Harmony Presets
These harmony presets are used in the Band-in-a-Box Harmonizing plug-in. For more information, see
Band-in-a-Box Auto-Harmonizing Plug-in.

Two Part

Three Part

Four Part

Five Part

Six Part

Guitar 3rds &

6ths

Guitar

Jazz Piano

Jazz Piano

Guitar

3rds & 6ths

Below

Drop 2

Guitar Drop 2

Drop Two
(SuperSax)

Big Band Brass

3rd Below

Drop 2 - 8vb

Swing Guitar

Swing Woodwinds

Male Choir

6th Below

6ths Above &

Below

Super Brass

Close Vocal

Country Vocal

3rds & 6ths

Above

Two Below #1

Strings

Female Choir

Three Below 8va &

8vb

3rd Above

Two Below #2

Strings 8va

Male Choir

3rd Above 8va & 8vb

6th Above

Two Below #3

Strings 8vb

Four Below

6th Above 8va & 8vb

Octave Below

One Above #1

Barbershop
Close

3rd Above 8vb

Alt Above 8va & 8vb

Octave Below
(Long Notes)

One Above #2

Barbershop
Open

6th Above 8vb

Two Above 8va &

8vb #1

Two Octaves
Below

One Above #3

Drop 2

Alt Above 8vb

Two Above 8va &

8vb #2

Octave Above

Two Above #1

Drop 3

Two Above 8vb #1

Two Above 8va &

8vb #3

Two Above #2

Three Below #1

Two Above 8vb #2

Two Above 8va &

8vb #4

Two Above #3

One Above #1

Two Above 8vb #3

Three Above 8va &

8vb

3rds & 6ths

Below 8vb

One Above #2

Three Above 8vb

Four Above 8va

3rd Below 8vb

Two Above #1

Three Below 8va

6th Below 8vb

Two Above #2

6th Above 8va

1255

3rd Above
8vb

Three Above

Alt Above 8va

6th Above 8vb

3rd Above 8vb

#1

Two Above 8va #1

3rds & 6ths

Above 8va

3rd Above 8vb

#2

Two Above 8va #2

3rd Above
8va

6th Above 8vb

#1

Three Above 8va #1

6th Above 8va

6th Above 8vb

#2

Three Above 8va #2

3rd Below 8va

Alt Above 8vb #1

Three Above 8va #3

6th Below 8va

Alt Above 8vb #2

Two Below 8va &

8vb #1

Octaves 8va
& 8vb

Two Above 8vb

#1

Two Below 8va &

8vb #2

Two Above 8vb

#2

Two Below 8va &

8vb #3

Two Above 8vb

#3

3rd Above 8va & 8vb

Two Above 8va

#1

6th Above 8va & 8vb

Two Above 8va

#2

Alt Above 8va & 8vb

6th Above 8va

#1

Two Above 8va &

8vb #1

6th Above 8va

#2

Two Above 8va &

8vb #2

3rd Above 8va

#1

Two Above 8va &

8vb #3

3rd Above 8va

#2
Alt Above 8va #1
Alt Above 8va #2
Two Below 8va
#1
Two Below 8va
#2

1256

Two Below 8va

#3
3rd Below 8va &
8vb
6th Below 8va &
8vb
3rd Above 8va &
8vb
6th Above 8va &
8vb

1257

Human Playback Dictionary

When you begin a document with the Setup Wizard, a template, or new default document, all of the
existing expressions defined for playback are performed by Human Playback (though their playback
definitions are substituted with Human Playbacks interpretation based on the style chosen). Human
playback recognizes articulation and all other standard performance markings in your score (see Human
Playback). In addition, Human Playback looks for any expression or Smart Shapes that contains common
words used for tempo and dynamic changes such as "rit." and "cresc.". These expressions, which can be
typed into a new expression, are also interpreted during the performance. The following list includes the
words Human Playback will recognize and perform. Note that any dots, extra spaces, parenthesis or
brakets are ignored as Human Playback looks for these words in the score. For details on adding
expressions, see Expressions. To add text as a Smart Shape, use the "Left Start"option to add text in the
Smart Line Selection dialog box. If defining or editing a Human Playback style, ensure the appropriate
item is checked under Interpret in the Human Playback Custom Style dialog box.

Tempo
("rall", "acc.")

Dynamics

acc, accel, accelerando, accelerato, affretando,

incalzando, ristringendo, stringendo, string,
stretto, en pressant, pressez, en acclrant,
faster, beschleunigend, eilend, drngend, belebend,
rall, rallentando, calando, rit, ri, ritar, riten,
ritenuto, ritenente, ritardando, slargando,
morendo, ritardo, allargando, allarg, retenu,
rallentir, en retenant, en cdant, cdez,
zurckhaltend, breiterwerdend, breiter, a tempo,
tempo, on time, au mouvement, zeitmass, zeitma

cresc, crescendo, en augmentant, augmentez,

erhebend, aufschlagend, dim, dimin, diminuendo,
decrescendo, decresc, decr, perdendosi, smorzando,
smorz, en diminuant, en sloignant, en attnuant,
abnehmend, nachlassend, nachgebend, fz, sf, sfz,
sffz, rf, rfz, fp, fp, sfp, ffp, fpp, ffpp, ffpp,
sfpp

All of the above can be combined with the following, which can be used to modify the playback effect:

poco a poco, peu peu, nach und nach, little by little, sempre,
toujours, always, immer, molto, moltissimo, moltiss, trs,
beaucoup, much, un poco, poco, pochissimo, poch, un peu,
lgrement, etwas, a little
1258

Human Playback also interprets the following:

con pedale, ped., pedale, solo, non arpeggio, g.p., grand pause
In addition to text, Human Playback also recognizes musical characters from the Finale music fonts
(Maestro, Engraver, etc.), including symbols like trills, accents and turns. You can even combine
characters in the Expression Designer. For example, entering a turn with accidentals above and/or below,

, will be recognized and performed. For this example, you would simply add the characters
such as
into an expression as you want it to appear and then attach the expression to the desired note. Similarly,
you can add an accidental to a trill character or other such symbols to customize the performance.
Abstract of ornaments caught: Trill (short, long), trill on several notes or several layers, trill with
changing notes behind (long piano trill), trill with specified accidental (as articulation or within the
smartshape/expression), trillo (short baroque trill), mordent, all Bach/Couperin ornaments (mostly found
in November font), including cadenza and coul, gruppeto (with specified accidental(s) or not, can be
combined with mordent like in Bach), Baroque appogiatura, classical accacciatura, timpani/drum trill, all
Jazz Font ornaments (prebend, bend, doit, fall, ) as articulation, jazz shake (wavy line), guitar
expression tremolo (wavy line).
Maestro font (or any Maestro map-compatible font, such as Petrucci, November, etc.):

EngraverExtra font:

Abstract of tremolos caught: TG tools piano tremolos (measured or not), string tremolos (as
articulation), including harmonic tremolo, xylophone tremolo (alternate notes, written as diddle as in
marching bands), percussion diddles, tuplet based/dotted tremolos.
(Music Font char. 84), d (November Extra char. 100) or g (November
Gruppetti: Gruppetti
Extra char. 103) are tracked by HP.

Baroque Ornaments (articulations): Popular ornaments are lower mordent

trillo (=upper mordent)

(short trill, char#109),

(char #77) and

(char #181) long trillo.

Special November Extra font ornaments are char. # 101 to 121:

Basically, symbols above are French and German baroque ornaments, and HP takes a great care of their
interpretation.

1259

If option Baroque Ornaments and Grace Notes is checked, the symbol "+" (char #43 and 246) plays back
either as lower mordent, or trillo (if not checked, it is used for Trombone stopped notes.)
Punctual accents:

Jazz Articulations:

1260

Jazz Font
Jazz Character Set
Jazz Text Font Character Set
Jazz Chord Font Character Set
Jazz Perc Font Character Set

Jazz Character Set

1261

1262

1263

1264

1265

1266

1267

1268

1269

1270

1271

1272

1273

Jazz Text Font Character Set

1274

1275

1276

1277

1278

1279

1280

1281

1282

1283

1284

Jazz Chord Font Character Set

1285

1286

1287

1288

1289

1290

1291

1292

1293

1294

1295

1296

1297

Jazz Perc Font Character Set

1298

1299

1300

1301

1302

1303

Jazz Fusion Percussion Map Table

The Jazz Fusion Percussion Map included with Finale was designed for use with the Garritan Jazz
Fusion Drum Kit instrument sounds (from the Garritan Jazz and Big Band library). See Garritan Personal
Orchestra Finale Edition. The Jazz Fusion Drum Kit sounds are loaded automatically when you add a
Jazz Fusion Drum Kit staff in the Setup Wizard (using the Garritan Instruments for Finale instrument set).
Tip: To see the relationship between MIDI Note
numbers and pitches on a piano keyboard see the
MIDI Note to Pitch Table.

MIDI
Note
Numb
er

Name

MIDI
Note
Numb
er

Name

34

Side Stick

59

Cracked Ride Cymbal 3

35

Bass Drum 1

60

China Cymbal

36

Bass Drum 2

61

Splash Cymbal

37

Rim Shot

62

Ride Cymbal 4

38

Snare LH

63

Crash Cymbal 5

39

Snare RH

64

Sizzle Cymbal 2 (wood

tip)

40

Foot Closed Hi Hat

65

Sizzle Cymbal 2 (nylon

tip)

41

Low Floor Tom

66

Sizzle Cymbal 2 (mallet)

42

Closed Hi Hat LH

67

Sizzle Cymbal 2 (finger)

43

Closed Hi Hat RH

68

Sizzle Cymbal 2 (wood

tip BS)

44

Half Open Hi Hat

69

Cymbal Scrape 1

45

Mid Tom

70

Cymbal Scrape 2

46

Open Hi Hat

71

Cymbal Scrape 3

1304

47

Hi Hat Crash

72

Cymbal Scrape 4

48

High Tom

73

Cymbal Scrape 5

49

Crash Cymbal 1

74

Garbage Can Lid (stick)

50

Ride Cymbal 1

75

Garbage Can Lid

(mallet)

51

Ride Cymbal 2

76

Garbage Can Lid (hard

mallet)

52

Crash Cymbal 2

77

Garbage Can Lid (rubber

mallet)

53

Ride Bell 1

78

Garbage Can Lid (car

keys)

54

Ride Bell 2

79

Garbage Can Lid (hand)

55

Ride Cymbal 3

80

Radial Saw Blade

56

Crash Cymbal 3

57

Sizzle Cymbal 1

58

Stagg Crash Cymbal 4

1305

Latin Percussion Map Table

The Latin Percussion sounds included with Finale were designed for use with the Latin Percussion plugin. These sounds are configured for staves automatically (shown in the Instrument List window) when the
Latin Percussion plug-in is applied to a new or existing staff. They can also be applied to staves manually
in the Instrument List (see steps below). These sounds are only available when SmartMusic SoftSynth is
chosen as your MIDI Out device in the MIDI Setup dialog box.
To setup a staff to use these sounds manually:
1.

From the MIDI/Audio Menu, choose MIDI Setup. Ensure SmartMusic SoftSynth is selected as
the MIDI Out device. Click OK.

2.

From the Window Menu, choose Instrument List.

3.

Find the staff you want to apply the sound to, then, under the Instrument row to the right of
that staff, click the drop-down menu and choose New Instrument.

4.

Enter the Instrument Name. Then, choose channel 10 (or any GM percussion channel e.g. 26,
42, etc.), then Program 4. (Or, do the following if you would like to use several different channels
for different latin percussion instruments: for Patch, click the drop-down menu and choose "Bank
Select 0, Bank Select 32, Program Change." For "Bank Select 0," enter 120. For Program Change,
choose 4.)

5.

Click OK to return to the Instrument List. Your settings have been applied. You can now use the
MIDI Notes from the table below to add Latin Percussion sounds using an external MIDI device.
Tip: To see the relationship between MIDI Note
numbers and pitches on a piano keyboard see the
MIDI Note to Pitch Table.

MIDI
Note
Numb
er

Name

MIDI
Note
Numb
er

Name

36

Heel Quinto

74

Timbales Macho
Rimshot

38

Fingertips Quinto

76

Fiberblock

40

Slap Quinto

77

Timbales Cscara
Hembra

41

Open Tone Quinto

79

Timbales Cscara
Macho

43

Heel Conga

81

Mambo Bell Neck

45

Fingertips Conga

83

Mambo Bell Mouth

47

Slap Conga

84

Cha-Cha Bell Neck

1306

48

Open Tone Conga

86

Cha-Cha Bell Mouth

50

Heel Tumba

88

Ride Cymbal

52

Fingertips Tumba

89

Crash Cymbal

53

Slap Tumba

91

Campana Neck

55

Open Tone Tumba

93

Campana Mouth

57

High Tone Macho

Bongos

95

Giro Motion D-U

59

Fingertips Macho
Bongos

96

Giro Down Long

60

Thumb Macho Bongos

98

Giro Up Short

62

Open Tone Macho

Bongos

100

Giro Down Short

64

Open Tone Hembra

Bongos

101

Giro Up Long

65

Bass Drum

103

Claves Standard

67

Timbales Hembra
Open Stick

105

Claves Afro

69

Timbales Hembra
Open Hand

107

Maracas Macho (Right

Hand)

71

Timbales Hembra
Muffled Hand

108

Maracas Hembra (Left

Hand)

72

Timbales Macho Open

1307

Linking Details for Linked Parts

This following chart describes the relationship between items/edits in the score and its corresponding
linked part.

Always Linked. These items are always identical between the score and corresponding part.
Changes to an item that is "always linked" in the score always also applies to the corresponding part.
Changes to an item that is "always linked" in a part always also applies to the score.

Never Linked. These items are autonomous. Changes to an item that is "never linked" in the score
never applies to any part. Changes to an item that is "never linked" in a part never applies to the
score.

Linked until changed in part (or "inteligently linked"). These items are, by default, linked to the
score. Changes to an item that is "Linked until changed in a part" in the score also apply to its part.
Changes to an item that is "Linked until changed in a part" in a part do not apply to the score. Future
edits of that type in the score no longer apply to the part (until the item is "relinked" to the score). See
Linked Parts.

Element/Edit Type

Always Linked

Never Linked

Linked until changed in

part (inteligently linked)

Articulations
Articulation Selection
dialog box

Articulation Designer
dialog box

Reposition an articulation

Show/hide an articulation

Delete an articulation in
part

Delete an articulation in
score

New articulation in part

Clear manual positioning*

Chords
Chord Suffix Editor dialog
box

1308

Chord Suffix Definition

dialog box

Reposition a chord

Show/hide a chord

Show/hide fretboard

Delete a chord

New chord in part

Fretboard Editor

Resize Fretboards

X
Triangles 3 and 4

Chord baselines
(triangles)

Triangles 1 and 2

Clefs
Clef Change dialog box

Mid-measure clefs

Change clef size

Document Menu
Display in concert pitch

Clef Designer dialog box

Repeat dialogs

Playback/Record Options
dialog box

Page Format for Score

dialog box

X (only applied to
score)

Page Format for Parts

dialog box

X (only applied to
parts)

1309

Page Setup for Score

dialog box

X (only applied to
score)

Page Setup for Parts

dialog box

X (only applied to
parts

Expressions
Expression Selection
dialog box

X (except for H:
and V: values)

Expression Designer
dialog box

Shape Expression
Designer dialog box

Reposition expression

Show/hide expression

Delete expression in part

Delete expression in score

New expression in part

X
Triangles 3 and 4

Expression baselines
(triangles)
Shape Expression:
change size

Expression playback

Expression: Show On

Triangles 1 and 2

Expression assignment:
Allow Individual Edits Per
Staff setting

Clear manual positioning*

Expression playback

Graphics

1310

Add/delete graphic in
score

Graphic added to part

Graphic deleted from part

Reposition graphic

Instrument List/Mixer/Staff Controls

Volume

Pan

Reverb

Room Size

Channel

Program

Key Signatures
Key Signature dialog box

Key signature change

Measures
Position notes

Measure Attributes
(except for measure width
check boxes and values)

Measure Number Regions

Lyrics
Document Options - Lyrics
Adjust Lyric Baselines

X
X

1311

Lyric Text

Lyric Font

Lyric Size

Lyric Style

Baseline Positioning

Triangles 3 and 4

Triangles 1 and 2

Adjust syllables

Edit word extension

Utilities Menu
Mirrored measures

Music spacing

MIDI/Audio Menu
VSTSetup dialog box

Play Finale Through VST

Note Mover
Cross-staff notes

Search and replace

Notes
Pitches

Enharmonic changes

Cautionary accidentals

Rhythms

1312

Beaming

Parenthetical accidentals

Tuplet definitions

Tuplet Positioning

Ossia
Ossia Measure Designer
dialog box

Ossia Positioning

Page Layout
Add blank pages

Page breaks

Optimization

Fit Measures

Edit system margins

Edit page margins

Page size and orientation

Playback
Playback Controls

Repeats
Document Options Repeats

Backwards Repeat Bar

Assignment dialog box

Create Edit Ending dialog

1313

box

Repeat Options dialog box

Create new repeat

Delete repeat

X
X

Reposition repeat
endings/text repeats
Resize
Resize Page

Resize System

Resize Staff

Resize Note

Resize Notehead

Smart Shapes
Smart Shape Placement
dialog box

Smart Shape Options

dialog box

Smart Slur Options dialog

box

Guitar Bend Options

dialog box

Add or Delete smart

shapes

Show/hide smart shapes

Change slur shape

Smart shape direction

1314

Measure Attached Smart

Shape Horizontal
Positioning

Measure Attached Smart

Shape Vertical Positioning

Hairpin Positioning

Special Tools
Note Positioning

Notehead Positioning

Note Shape

Accidental Mover

Stem Length

Broken Beam Direction

Double/Split Stem

Reverse Stem

Custom Stem

Beam Angle

Secondary Beam Break

Beam Extension

Secondary Beam Angle

Tie

Dot

Beam Width

Beam Stem Adjust

1315

Text
Text

Font

Size

Style

Reposition text block

Justification

Alignment

Frame Attributes

X (except for H:;

and V: values)

Line Spacing

Word Wrap

View Menu
View Percentage

1 view % for score

1 view % for (all)
parts

Staff Sets

Grid/Guide Options dialog

box

Show Grid

Show Guides

Show Rulers

Layer Selection

Shoe Active Layer Only

1316

Show Multiple Pages

* Choosing to clear manual positioning in a part moves the part item to its default postitioning (H:0, V:0)
and breaks the link to the score. Clear Manual Positioning does not restore broken links.

1317

Marching Percussion Map Table

This listing contains all the General MIDI percussion tones on channel 10, patch 2, which is the channel
(and patch) reserved for marching percussion. Finales marching percussion sounds are available when
SmartMusic SoftSynth is chosen as your MIDI Out device in the MIDI Setup dialog box. You must also
ensure the marching percussion staff is set to channel 10 and program 2 in the Instrument List window.
(Or, choose a marching percussion staff from the Setup Wizard). Use the pre-designed Marching
Percussion map to easily enter marching percussion sounds and appropriate noteheads. For a visual
table that displays the default staff position and notehead for each instrument in Finales marching
percussion templates see Marching Percussion Templates.
Tip: To see the relationship between MIDI Note
numbers and pitches on a piano keyboard see the
MIDI Note to Pitch Table.

Note
Numb
er

Name

Note
Numb
er

Name

36

Bass Drum 5

69

Tenors - Drum 3

37

Bass Drum Rims

70

Tenors - Drum 3 Rim

Shot

38

Bass Drum 4

71

Tenors - Drum 3 Buzz

Roll

39

Bass Drum Unison

72

Tenors - Drum 2

40

Bass Drum 3

73

Tenors - Drum 2 Rim

Shot

41

Bass Drum 2

74

Tenors - Drum 2 Buzz

Roll

42

Bass Drum Buzz

Roll

75

43

Bass Drum 1

76

Tenors - Drum 1

44

Cymbal Smash

77

Tenors - Drum 1 Rim

Shot

45

Crash Cymbals

78

Tenors - Drum 1 Buzz

Roll

1318

46

Hi Hat Choke

79

Tenors - Drum Spock

Drum

47

Crash Choke

80

Tenors - Drum Spock

Drum Rim Shot

48

M_Snare - LH

81

Tenors -Hi Rims

49

M_Snare - LH Rim
Shot

82

Tenors -Lo Rims

50

M_Snare - RH

83

Tenors - Drum Side

Click

51

M_Snare - RH Rim
Shot

84

Crash Cymbal w/stick

52

M_Snare - Gok
(both hands rim
shot)

85

Chinese Cymbal

53

Short Guz

86

Cowbell

54

Long Guz

87

Lo Agogo

55

M_Snare - LH Rim

88

Hi Agogo

56

M_Snare - RH Rim

89

Claves

57

M_Snare - Cross
Shot

90

Vibra Slap

58

M_Snare - Stick
Shot

91

Tambourine

59

M_Snare - Stick
Click

92

Cabasa

60

M_Snare - Buzz
Roll

93

Hi Muted Conga

61

Ride Cymbal Bell

94

Hi Open Conga

62

Ride Cymbal

95

Lo Open Conga

63

Open Hi Hat

96

Concert Bass Drum

1319

64

Closed Hi Hat

97

Muted Triangle

65

Tenors - Drum 4

98

Open Triangle

66

Tenors - Drum 4
Rim Shot

99

Short Whistle

67

Tenors - Drum 4
Buzz Roll

100

Long Whistle

101

Gong

68

1320

Maestro Font
Notes and Augmentation Dot
Noteheads
Flags
Accidentals
Rests
Dynamics
Articulations
Smart Shapes
Repeats and Alternate Notation
Clefs
Staves and Barlines
Time Signature and Multimeasure Rest numbers
Chord Symbols and Harmonics
Percussion Notation
Other Notation Symbols

Notes and Augmentation Dot

1321

Noteheads

1322

Flags

1323

Accidentals

1324

Rests

1325

Dynamics

1326

Articulations

1327

1328

Smart Shapes

1329

Repeats and Alternate Notation

Clefs

1330

Staves and Barlines

Time Signature and Multimeasure Rest numbers

1331

Chord Symbols and Harmonics

Percussion Notation

1332

Other Notation Symbols

1333

MIDI Note to Pitch Table

The following diagram shows the relationship between MIDI Note numbers and pitch names.

1334

1335

MIDI Terminology
Sequencing
Technically speaking, Finale isnt a sequencing program. It has been designed primary to produce
notation. Yet it duplicates many functions of a sequencer, and has the added advantage of being
notation-based.
Youll find separate entries for Continuous data; Tempo (for playback); MIDI channels; MIDI files;
Dynamics; Rallentando; Key velocity; Pitch wheel; and so on, all of which affect the playback of your
score.
If you plan to use Finale as a quasi-sequencer, its important to recognize that Finale can play back any
score in one of three very different ways. Using a Human Playback style that interprets expression
markings, dynamics, ritards, accents, hairpins and more. Or, if you set Human Playback to None (in the
Playback Settings dialog box), you can use the Playback/Record Options dialog box to specify whether
you want to playback the score as recorded, or rhythmically perfect, lacking any of the irregularities in
performance that give music a human feel.
If in the Document Menu, Playback/Record Options, all of the items under Play recorded are checked,
Finale will, play back the score
including your key velocity information, your ritards, and your pedaling. Whats even
more useful is that once youve transcribed such a performance, you can edit the notes, the dynamics,
and other elements of the notated score; when you play the performance-data version, youll hear your
changes incorporated into the original performance. Remember, you can only hear playback as it was
recorded (or without any additional continuous data), if you set Human Playback to None in the Playback
Settings dialog boxPlayback Controls.
If you want to capture this MIDI data when you record, before recording in HyperScribe, under the
MIDI/Audio Menu, choose Quantization Settings, and then click More Settings. Make sure Retain Key
Velocities and Retain Note Durations are checked.

MIDI Setup
A MIDI setup is the physical connection between all your MIDI devices and your computer. A typical
setup consists of a MIDI interface, a computer, and the actual MIDI equipment such as keyboards, sound
modules, wind controller, and so on.

MIDI System
A MIDI system is any part of the operating system that handles communication between Finale (or any
other software application) and a MIDI setup.

MIDI Interface
A MIDI interface is an external device that translates signals between your computer and MIDI
instrument(s). On the Macintosh, a MIDI interface often connects to a USB port, or, if you have an older
Mac, one of the serial ports.

Port
A port is simply the connection at the back of the computer where you connect a cable leading to any of
several kinds of peripheral devices, such as modems, printers, scanners, and MIDI interfaces. Some
older Macintosh models have two built-in serial ports, the Printer port and the Modem port. Most newer
Macintosh models have a USB port.
Depending on your MIDI interface, you may need an adaptor to plug into a USB port. If you have serial
ports, you can plug in the MIDI interfaces cable to whichever serial port you prefer. If you have more than
one serial port, it is often more convenient to connect the MIDI interface to the Modem portif you have
a printer, it is probably used often enough that it should have a constant connection to the Printer port.
With some MIDI interfaces, you can plug your printer into a special connection on the MIDI interface, then
easily switch between running MIDI and printing all on one port, without having to swap out cables on

1336

your computer. These interfaces are helpful for computer systems that are connected to a modem,
printer, and MIDI gear or multimedia equipment.
Technical Note: if you have an internal modem on your Macintosh, you can no longer use the modem
port. This port is in fact being used by your internal modem. Instead, you must use your printer port.

MIDI channels
Finale supports up to 64 MIDI channels. If you are using a USB interface that has at least four MIDI Out
ports, you can use the maximum number of channels Finale supports through your four (or more)
external MIDI devices. (Finale supports up to 16 MIDI channels per device.)
If you plan to work extensively with staff-to-MIDI channel mappings, you should become familiar with the
concept of Instruments. An Instrument is one distinct stream of playback information; you might think of
an Instrument as one players part.
An Instrument is usually one staff in your score, but it doesnt have to be. For example, youll probably
want to write a piano part on two staves, but those two staves are considered just one Instrument (and
thus theyll use the same MIDI channel). On the other hand, each layer of each staff can be considered a
different Instrument; you might write two clarinet parts on a one staff (in different layers), but you can tell
Finale to treat them as two Instruments. Using two instruments (on different channels) allows you to edit
their MIDI data independently.
Each Instrument can have its own MIDI channel, and each Instrument is dynamically independent. If you
want the treble and bass staves of a piano part to have independent dynamics, make sure you assign
them to different Instruments on different channels.
There are 64 possible channels in Finale. If you use the Setup Wizard or new defualt document, each
instrument you add is assigned to its own channel. Note that multiple staves of the same instrument
added with the Document Setup Wizard (or New Staves Setup Wizard) will be given the same instrument
name and channel.
For more complex playback situations, however, youll find that Finales Instrument List window gives you
a lot of power and control with very little effort. As a matter of fact, we ve included Instrument
Librariespreconfigured instrument, channel, and patch setupsfor many popular MIDI keyboards. See
To load an Instrument Library.

MIDI Channels and Patches

Finale supports up to 16 channels per MIDI device. Some devices only play back using one channel at a
time. Other devices are multi-timbral, meaning that they can play back more than one channel at a time.
In other words, you can play different sounds assigned to different channels at the same time, on the
same MIDI device.
Different sounds within a MIDI device have specific numbers assigned to them, called patches (or
program numbers). Depending on the device, patch 1 may be a grand piano sound, patch 2 - electric
piano, program 3 - violin, program 4 - viola, and so on. Some of the more sophisticated sound modules
can contain many hundreds of sounds. However, MIDI only supports the use of the first 128 numbers
(numbered 0 through 127). To use some of the additional sounds above 127, renumber them as lower
numbers, or set them manually on the instrument before playing back. To accommodate more than 128
sounds many MIDI devices use banks of sounds. Banks are an isolated group of 128 patches, which are
accessed by changing your active bank of patches to a new bank using a special controller message.
Bank information, combined with program information, creates what is referred to as a Patch.
To have different patches play back at the same time, you need to use different channels with a specific
patch assigned to each channel. For example, if you wanted to play back a piece for a trio consisting of
flute, violin and piano, you would set up the piano staves to play back on channel 1, program 1; the flute
staff to play back on channel 2, program 74; and the violin staff to play back on channel 3, program 41.
These settings reflect the General MIDI program numbers. Each MIDI device can be different, so refer to
the devices documentation for a reference to its patches.

Finale Instruments and Channels

There are 64 Finale channels available for MIDI output. Since each instrument in Finales Instrument List
allows you to specify a unique channel and patch combination, you can define up to 64 different
instrument sounds.
Finale makes 64 total channels available, but supports 16 channels per MIDI device. So, Finale groups
its internal channels in four fixed sets: 1-16, 17-32, 33-48, and 49-64. Using the MIDI Setup dialog box,

1337

you can assign each set of Finale channels to the 16 MIDI channels on a particular MIDI device. By
assigning an instrument to a staff in the Instrument List, you tell Finale which device should play that
staffs information and furthermore, which of the devices channels Finale should use. For example, if you
had two devices, one using the first set of 1-16 and the other using the second bank of 17-32, assigning
a Finale instrument to channel 17 would cause the second device to play on channel 1.
Depending on your MIDI setup, you could map four different devices to their own bank of channels, or
overlap them. In the following example, Finales 64 channels are mapped to each of the four devices and
their 16 MIDI channels.
Finale
Channe
ls

MIDI channels on the connected

instrument

1-16

Device Ones channels 1-16

17-32

Device Twos channels 1-16

33-48

Device Threes channels 1-16

49-64

Device Fours channels 1-16

For entering notes with MIDI using HyperScribe, enter any number between 1 and 64 for the Finale
channel that will receive the MIDI information, or set HyperScribe to receive on all MIDI channels. You
can also remap the input channels using Finales MIDI Thru dialog box. See MIDI Setup dialog box.
For MIDI playback from Finale, you can either use the Instrument List to assign the channels to staves in
your score, or you can create expressions to change a staff's channel during playback. Enter any number
between 1 and 64 for the Finale channel used for playback. Finale will direct the playback to the
appropriate device.
Regardless of whether you use the Instrument List or create expressions, Finale refers to settings in the
MIDI Setup dialog box to see what Input or Output device is assigned to the channel you selected. Finale
channels 116 go directly to channels 116 of the specified Input or Output device. The remaining three
sets of Finale channels are mapped to channels 116 of the specified Output or Input device for that set
of channels. For example:
Finale
chann
els

MIDI channels on the connected instrument

1-16

1-16

17-32

1-16 (Add 16 to determine the Finale channel.)

33-48

1-16 (Add 32 to determine the Finale channel.)

49-64

1-16 (Add 48 to determine the Finale channel.)

Input Device and Output Device

Input Device and Output Device options in the MIDI Setup dialog box let you choose where you want
MIDI information sent or received. The available devices vary, depending on the MIDI driver and device
you are using.

1338

Note: You cant assign the same input or output

device to more than one set of Finale channels
after all, each device only uses 16 channels. You
can, however, select multiple devices for a set of
Finale channels. This allows you to double the
number of devices playing the affected staves
music. (To do this, hold down the Shift key when
selecting your MIDI devices.

1339

More on MIDI
MIDI stands for Musical Instrument Digital Interface. Its a communications protocol for computers and
synthesizers that was developed in 1983 through the collaboration of several major electronic instrument
manufacturers. By linking different MIDI devices together by MIDI cables, you have great flexibility: a key
you strike on one MIDI instrument (the keyboard controller) can produce sound from a second MIDI
instrumentor several other MIDI instruments; a note played by a person can be precisely recorded and
reproduced by a computer; and a computer can play many MIDI instruments at once in perfect
synchronization. This part of the appendix covers some sophisticated aspects of MIDI that may help you
to understand Finale better.
A MIDI signal, or event, is transmitted in a burst of two or three bytes (pieces of computer data in numeric
form). The first byte of every event is called the status byte, because it identifies by number the kind of
event being transmitteda note being struck, the pedal being released, and so onand what MIDI
channel its being sent on. The other bytes are called data bytes, because they tell the computer or MIDI
instrument which MIDI device (of the type described by the status byte) is being operated, and by how
much its status has changed. For example, when you strike a note, the data bytes produced describe
which note you played and how hard you struck the key.
Here are some of the various MIDI events described by the status byte and what kind of information is
conveyed by the corresponding data bytes.

MIDI event described by status byte

Parameters described by data bytes

Note On (pressing a key)

MIDI key number and key velocity

Note Off (releasing a key)

MIDI key number and release velocity

Polyphonic Aftertouch (channel pressure)

MIDI key number and amount of pressure

applied

Controller

Controller number and its value (see next

table)

Patch Change

Patch number

Monophonic Aftertouch (channel

pressure)

Amount of pressure applied after note is

struck

Pitch Bend

Position of pitch wheel

System Codes

Variable

In a few Finale dialog boxes youll see sets of three text boxes containing numbers preceded by a dollar
sign. These three boxes contain hexadecimal notation for the three bytes in a MIDI event: from left to
right, the status byte and the two data bytes. If you backspace over the dollar sign, however, you can
enter normal (decimal notation) numbers instead of hexadecimal notation; Finale will translate your
numbers into hexadecimal notation automatically. (Note that most times you see the MIDI data text boxes
like this, youll also see a Listen button. The Listen button lets you play the MIDI event being requested;
Finale translates the key, pedal, or controller you play into hexadecimal notation automatically.)

1340

While the events in the table above are described by MIDI status bytes, theres another class of status
bytes called System status bytes that are independent of any particular MIDI channel. They include MIDI
Sync data; Sequencer Start, Stop, and Continue commands; System Exclusive data (unique to each
synthesizer); and other synchronization and system-exclusive data.
Often in the Finale manual youll encounter the term MIDI controller. Controller data is usually produced
by a MIDI device that affects the MIDI notes youre playingpedals, pitch and modulation wheels, breath
controllers, and so on. There are some useful controllers that are settings more than they are devices:
MIDI volume level, tremolo depth, and right/left stereo pan are examples. In the table below, the most
common MIDI controllers are listed along with their controller numbers.

Control
ler
number

Controller

Control
ler
number

Controller

Modulation Wheel (or

Lever)

64

Sustain

Breath Controller

65

Portamento

Foot Controller

66

Sostenuto

Portamento time

67

Soft Pedal

Main volume

91

External Effects Depth

Balance

92

Tremolo Depth

10

Pan

93

Chorus Depth

11

Expression Controller

Armed with these controller numbers, you can use Finales Expression or MIDI tools to add this kind of
data to the playback of your scores.

1341

Other SmartMusic SoftSynth

Patches
There are two additional alternative General MIDI patches on bank 1, Piano and Violin (all other
SmartMusic SoftSynth patches reside in bank 0). These are the same piano and violin patches that were
included with Finale 2005 are available when SmartMusic SoftSynth is chosen as your MIDI Out device in
the MIDI Setup dialog box. To create an instrument using one of these alternative patches, do the
following:
1.

If the Instrument list isnt visible, from the Window Menu, choose Instrument List.

2.

Under the Instrument Column click the drop-down menu for the staff you want to assign to
the 2005 Piano or Violin and choose New Instrument. This option is at the top of the list. The
Instrument Definition dialog box appears.

3.

Click the Patch drop-down menu and choose Bank Select 32, Program Change. The Bank
Select 32 and Program Change text boxes should be available.

4.

In the Bank Select 32 text box, enter 1.

5.

In the Program Change text box, enter 1 for the Finale 2005 Piano and 41 for the Finale
2005 Violin. Important note: If you want to change this instrument back to any

of the standard General MIDI patches, first change the Bank Select 32 text box back to 0.

1342

Plug-in filenames
Plug-in Name

Filename

Add Cue Notes

Cuenotes.FXT

Apply Human Playback

ApplyHumanPlayback.FXT

Auto-Dynamic Placement

Autody32.FXT

Auto-Slur Melismas

AutoSlurMelismas.FXT

Automatic Barlines

Autobr32.FXT

Band-in-a-Box Auto-Harmonizing

BIABAutoHarmonizer.FXT

Beam Over Barline

BmOvrBar.FTX

Canonic Utilities

Seruti32.FXT

Cautionary Accidentals

Ctnacc32.FXT

Change Font

Chngfnt.FXT

Change Noteheads

ChangeNoteheads.FXT

Change to Default/Real Whole

Rests

DefaultRests.FXT

Check Range

Chkrng32.FXT

Check Region for Durations

CHKDUR32.FXT

Chord Analysis

ChordAnalysis.FXT

Chord Morphing

ChordMorphing.FXT

Chord Realization

ChordRealization.FXT

Chord Reordering

ChordReordering.FXT

1343

Chord Splitting

ChordSplitting.FXT

Classic Eighth Beams

CEBeams.FXT

Clear Lyric Positioning

ClearLyricPos.FXT

Clear Measure Number

Positioning

MeasNumPos.FXT

Command Line

CommandLine.FXT

Common Tone Transposition

CommonToneTransp.FXT

Count Items

Cntitm32.FXT

Create Coda System

CreateCodaSystem.FXT

Create Tempo Marking

CreateTempoMarking.FXT

Drum Groove

DrumGroove.FXT

Easy Measure Numbers

MEASNU32.FXT

Export To OpenMusic

OMExport.FXT

Extract Lyrics

lextract.FXT

FinaleScript

FinaleScript.FTX

Find Parallel Motion

ParallelMotion.FXT

Find Range

Fndrange.FXT

Flat Beams / Flat Beams Remove

flatbm.FXT

Frequency Modulation Chord

Generator

FMChordGenerator.FXT

Global Staff Attributes

Gstfatt.FXT

Import From OpenMusic

OMImport.FXT

Ledger Lines - Hide & Show

Hsledg32.FXT

1344

MiBAC Jazz Rhythm Section

Generator

RhyGen.FXT

Mid-Measure Repeats

MidMeasureRepeats.FXT

MusicXML Import/Export

MusicXMLLight.FTX

Melodic Morphing

MelodicMorphin.FXT

Menu Shortcuts

TGToolsLE2002.FXT

Midline Stem Direction

MidlineStemDirections.FXT

Move Rests

MoveRests.FXT

Notes and Rests - Hide & Show

flatbm.FXT

Number Repeated Measures

NUMRPT32.FXT

Patterson Beams

PatBeams.FXT

Piano Reduction

PianoReduction.FXT

Resize Noteheads

ResizeNoteheads.FXT

Rhythm Generator

RhythmGenerator.FXT

Rhythmic Subdivisions

RHYTHS32.FXT

Score System Divider

ScoreSystemDivider.FXT

Single Pitch

SinglePitch.FXT

Slash Flagged Grace Notes

(Remove)

flatbm.FXT

Smart Cue Notes

SmartCueNotes.FTX

Smart Page Turns

PageTurns.FTX

Split Measure

SplitMeasure.FXT

Split Point

MoveSplitPoint.FXT

1345

Text Search and Replace

TextSearchReplace.FXT

Tie Common Notes

TieCommonNotes.FXT

TGTools: Align/Move Dynamics,

Cross Staff, Easy Harmonics,
Easy Tremolos, Handbells Used,
Modify Rests, Process Extracted
Parts, Smart Playback, Smart
Split Point

TGToolsLe.FXT

Virtual Fundamental Generator

Virtfund.FXT

Voice 2 to Layer

Voice2toLayer.FXT

1346

Quantization Guide
Yur success at creating notation with the HyperScribe Tool depends largely on the settings you make in
o
the Quantization Settings dialog box. The more simple the assortment of rhythmic values in your piece,
the better Finale will transcribe them; but Finale can handle even rhythmically complex pieces if youve
made the proper settings.
These settings include your beat source (called Time Tags in the Transcription window), the smallest
note you will input, and your quantization type settings. For a complete discussion of the beat source and
quantization options, see Quantization Settings dialog box, Recording with HyperScribe and Transcribing
a sequence).
The following table is designed to help you make the correct quantization settings before you begin.
Consult this table if you find that (1) Finale is quantizing (rounding off) smaller valuessuch as sixteenth
notesinto chord clusters with larger values, such as eighth notes, or (2) Finale isnt quantizing
enoughin other words, youre finding that eighth notes are being notated as sixteenth notes separated
by sixteenth rests, for example, or (3) Finale isnt correctly notating triplets or other tuplets.
Consult the Beat (Tap), Rhythm and Time columns of this table to find the assortment of rhythmic values
and Time Signatures that correctly characterizes the rhythmic values of the piece youre trying to
notate.The Smallest Note Value and Type of Quantization columns show you what settings to use in the
Quantization Settings dialog box to notate the described rhythm.
(To specify a Beat Durationthat is, the rhythmic value of your tapin HyperScribe, choose Tap from
the HyperScribe Menu and click a note value in the Tap Source dialog box. In the Transcription window,
choose the corresponding value from the First Tag is submenu of the Time Tag Menu before you record
Time Tags.)

Beat
(Tap)

Rhythm

Ti
m
e

Small
est
Note

Type of
Quantization

Space Notes
Evenly

Space Notes
Evenly

1347

Space Notes
Evenly

Space Notes
Evenly

Mix Rhythms

Mix Rhythms

1348

Mix Rhythms

Space Notes
Evenly

Mix Rhythms

Space Notes
Evenly

1349

Mix Rhythms

Space Notes
Evenly

32nd
note

Space Notes
Evenly

Mix Rhythms

1350

Template Percussion Mappings

MIDI pitches, notehead and placement for percussion staves in the following templates:

Full Concert Band, Small Concert Band, Wind

Ensemble, Percussion, Church Orchestra, Brass
Band and Full Orchestra

35 Acoustic Bass
Hand Clap

40 Electric Snare
44 Pedal Hi Hat

36 Bass Drum 1

41 Low Floor Tom

45 Low Tom
46 Open Hi Hat
49 Crash Cymbal 1

50 High Tom
54 Tambourine

51 Ride Cymbal 1

37 Side Stick

42 Closed Hi Hat

38 Acoustic Snare

39

43 High Floor Tom

47 Low Mid Tom

48 Hi Mid Tom

52 Chinese Cymbal

53 Ride Bell

55 Splash Cymbal
59 Ride Cymbal 2

56 Cowbell

57 Crash Cymbal 2

58 Vibra Slap

60 Hi Bongo
64 Low Conga

61 Low Bongo

62 Mute Hi Conga

63 Open Hi Conga

1351

65 High Tambale
69 Cabasa

66 Low Timbale

67 High Agogo

68 Low Agogo

70 Maracas
74 Long Guiro

71 Short Whistle

72 Long Whistle

73 Short Guiro

75 Claves
Mute Cuica

76 Hi Wood Block

79 Open Cuica
Triangle

77 Low Wood Block

80 Mute Triangle

78

81 Open

Jazz Band and SATB with Piano, Bass and

Drums Templates

36 Bass Drum 1

41 Low Floor Tom

Hi Hat

45 Low Tom

37 Side Stick

42 Closed Hi Hat

46 Open Hi Hat

38 Acoustic Snare

43 High Floor Tom

47 Low Mid Tom

40 Electric Snare

44 Pedal

48 Hi Mid Tom

1352

49 Crash Cymbal 1
Cymbal

53 Ride Bell
Cymbal 2

50 High Tom

55 Splash Cymbal

51 Ride Cymbal 1

56 Cowbell

52 Chinese

57 Crash Cymbal 2

59 Ride

Marching Percussion Templates

36 Bass Drum 5
40 Bass Drum 3

37 Bass Drum Rims

38 Bass Drum 4

39 Bass Drum Unison

41 Bass Drum
42 Bass Drum Buzz Roll 43 Bass Drum 1 44 Cymbal Smash
Cymbals
46 Hi Hat Choke

47 Crash Choke
48 Snare LH
51 Snare RH Rim Shot

52 Snare Gok
Snare LH Rim

56 Snare RH Rim
Snare Stick Click

49 Snare LH Rim Shot

53 Short Guz

57 Snare Cross Shot

45 Crash

50 Snare RH

Long guz 55

58 Snare Stick Shot

59

1353

60 Snare Buzz Roll

64 Closed Hi Hat

61 Ride Cymbal Bell

65 Tenor Drum 4
69 Tenor Drum 3

66 Tenor Drum 4 Rim Shot

70 Tenor Drum 3 Rim Shot

Tenor Drum 2 Rim Shot

74 Tenor Drum 2 Buzz Roll

Tenor Drum 1 Buzz Roll

79 Tenor Spock Drum

83 Tenor Stick Click

84 Crash Cymbal w/stick

88 Hi Agogo

71 Tenor Drum 3 Buzz Roll

76 Tenor Drum 1

80 Tenor Spock Rim Shot

85 Chinese Cymbal

89 Claves
90 Vibra Slap
93 Hi Mute Conga

94 Hi Open Conga
95 Lo Open Conga
98 Open Triangle
Triangle

99 Short Whistle

62 Ride Cymbal

100 Long Whistle

63 Open Hi Hat

67 Tenor Drum 4 Buzz Roll

72 Tenor Drum 2

77 Tenor Drum 1 Rim Shot

81 Tenor Hi Rims

86 Cowbell

91 Tambourine

96 Concert Bass Drum

73

78

82 Tenor Lo Rims

87 Lo Agogo

92 Cabasa

97 Mute

101 Gong

1354

Latin Percussion Templates

The following mappings are referenced when applying the Latin Percussion plug-in. Percussion maps
including these mappings can also be selected manually. See Percussion.

36 Heel Quinto

38 Fingertips Quinto

43 Heel Conga

45 Fingertips Conga

40 Slap Quinto

41 Open Tone Quinto

47 Slap Conga

48 Open Tone

Conga

50 Heel Tumba

52 Fingertips Tumba

53 Slap Tumba

55 Open Tone

Tumba

57 High Tone Macho Bongos 59 Fingertips Macho Bongos

62 Open Tone Macho Bongos

60 Thumb Macho Bongos

64 Open Tone Hembra Bongos

65 Bass Drum
67 Timbales Hembra Open stick
71 Timbales Hembra Muffled Hand
Open Hand

69 Timbales Hembra

1355

72 Timbales Macho Open 74 Timbales Macho Rimshot

79 Timbales Cscara Macho
Cscara Hembra

81 Mambo Bell Neck

76 Fiberblock

77 Timbales

83 Mambo Bell Mouth

84 Cha Cha Bell Neck

86 Cha Cha Bell Mouth

Crash Cymbal

91 Campana Neck

88 Ride Cymbal

93 Campana Mouth

96 Guiro Down Long

95 Guiro Motion Down Up
Guiro Down Short
101 Guiro Up Long

103 Claves Standard

Maracas Hembra LH

89

105 Claves Afro

98 Guiro Up Short

107 Maracas Macho RH

100

108

1356

Troubleshooting
For the most up-to-date information, see our Knowledge Base at http://finalemusic.com/support.aspx. If
youre having problems, you may wish to check for a maintenance release, which may have fixed
problems appearing in earlier releases. Updates can be found at http://finalemusic.com/downloads/.
Here is a list of common problems and suggested solutions. Each question provides a link to the relevant
solution.

General Troubleshooting
1.

How do I open a Macintosh Finale file on my PC?

2.

How do I open a Windows Finale file on my Macintosh?

3.

Why can't I open Finale 2009 files in earlier versions?

4.

Why doesn't Finale allow me to save a file in an older version format?

5.

How do I open older Finale files in my current version?

6.

Can you suggest any books on the standard practices of music engraving?

7.

What is a CTREE error, and what can I do about it?

MIDI and Playback Troubleshooting

1.

I am having MIDI Problems, what can I do to make sure everything is setup correctly?

2.

Why is Speedy Entry only giving me rests?

3.

Im playing my keyboard controller, but no sound is coming out of my second (sound module) MIDI
instrument.

Printing
1.

How do I create and print PostScript files?

Display
1.

Why can I see some staves or measures in Scroll view but not in Page view?

2.

My music is displaying and printing as strange text symbols rather than musical characters. How can
I correct this?

3.

Why is Mouse movement sluggish while holding down a metatool key?

4.

Why do Upper ASCII characters display incorrectly.

Lyrics, Expressions, Clefs and More

1.

How do I copy and paste music from one document to another? OR, Why am I having difficulty
copying and pasting certain items?

Scanning
1.

When I try to import a Tiff graphic with SmartScore Lite, I get an error message. What can I do?

2.

How can I use SmartScore Lite with my HP Scanner?

Q: How do I open a Macintosh Finale file on my PC?
A: Since Finale 3.7, the Finale Notation File format has been cross-platform. This means that the
same file can be opened on either a Macintosh or a Windows computer. The only caveat is that in
some cases the file won't be recognized on the Windows machine as a Finale Notation File until it
is named according to the format: [filename].mus -- where the .mus portion of the name tells the
Windows computer that the file is a Finale Notation File. Checking the Append File Extensions
box when saving the file on the Macintosh can resolve this problem.

1357

There are several ways to transport the file:

via a PC-formatted floppy disk or other removable media. More information below.
via E-mail. More information below.
via a web site or local network. Upload (save) the file to a network drive from the Mac and then
download (save) the file onto the PC.
Keep in mind that Finale Notation Files are not backwards compatible. This means that the latest
version of Finale (or Allegro, PrintMusic or NotePad) will always open files created in earlier
versions, but you can't, for example, open Finale 3.7 files in Finale 2.0. If the user does not yet own
a version that is compatible, we suggest downloading Finale NotePad (it's free), which should open
files from all previous versions.
To use removable media like a floppy disk or ZIP disk, Save (copy) your Macintosh Finale Notation
File to a PC-formatted disk, making sure the file has a dot-three extension to the name as
appropriate (.mus or .ETF). Place the disk in your PC and save the file to your PC, noting the
location. Remove (eject) the disk. Launch Finale on your Mac. Go to the File menu and choose
Open. Navigate to the location of your Finale Notation File. Select it and click Open.
Note: Most recent Macs come with software like
~Access PC or File Exchange that allows the Mac
to format, read and write to PC-formatted disks. To
convert a blank Mac-formatted disk, highlight the
disk icon from the desktop, and choose Erase Disk
from the Special menu. When asked, specify DOS
1.4 MB. (Keep in mind this completely erases the
contents of the disk: never reformat a disk that
contains data you want to keep.)
The following alert will appear when Finale cannot determine a files current font encoding. This
could happen if a file were created on one platform and then modified on another platform:

For more information, see Program Options-Open and Data Check submenu.
If you are having trouble e-mailing files, there are several things you can do.
To try to protect the files, you might want to send Finale Notation Files in compressed form using a
utility like Aladdin DropStuff (for instance). This is available at www.aladdinsys.com. Several e-mail
programs now can automatically compress files for you when you send e-mail. This reduces errors
in transmission.
Next you might try using a different e-mail service to send the files. There are many free ones such
as www.hotmail.com or www.yahoo.com.
Q: How do I open a Windows Finale file on my Macintosh?
A: Since Finale 3.7 it has been easy to open PC files on your Macintosh. Finale Notation Files are
fully cross-platform compatible. All you need to do is save or copy the Windows notation file.
Transfer it to your Mac using media such as a CD or over the Internet. Go to the File menu and
choose Open. Under Type specify All Files. Navigate to your floppy drive and select the Finale
Notation File you wish to open.

1358

Keep in mind that Finale is not backwards compatible. This means that the latest version of Finale
will always open files created in earlier versions, but you can't, for example, open a file created in
Finale 2009 in Finale 2007.
The following alert will appear when Finale cannot determine a files current font encoding. This
could happen if a file were created on one platform and then modified on another platform:

For more information, see Program Options-Open and Data Check submenu.
Q: Why can't I open Finale 2009 files in earlier versions?
A: A Finale document contains items (Staff Styles, Engraver Slurs, Percussion Maps, and Shape
Articulations for example) that simply didn't exist in earlier versions. Consequently, previous
versions of Finale will not recognize this data.
Q: Why doesn't Finale allow me to save a file in an older version format?
A: One of the reasons Finale is so powerful is that it has a very high degree of flexibility, which is
made possible by a very rich data structure. As a result, a significant development effort would be
required to add the capability to save Finale, Allegro, or PrintMusic! files in an older format. Such
an effort would take resources away from the development of new features and enhancements that
have been more often requested by our customers. In addition, if this functionality was added, and
you saved as an older version, much of the new data made possible by the current version would
be lost.
Since the introduction of Finale Notepad, which can be downloaded for free from MakeMusic's web
site, you can share your Finale files not only with people who own older versions of Finale, but
even with people who have never purchased a MakeMusic product; Finale Notepad allows anyone
to open, playback, print and even edit any Finale, Allegro, Finale Guitar, PrintMusic or Notepad file.
Q: How do I open older Finale files in my current version?
A: To open a Finale file created in an earlier version, launch your version of Finale and choose
Open from the File Menu, select the desired file, and click OK. Depending on what version of
Finale the file was last saved in, you may see a message stating that the file was created with an
earlier version of Finale. When this happens, simply click the OK button. The file will be opened as
a untitled document. When you save this untitled document, we suggest naming it something
different than what it was named in the previous version: Opus might become Opus2, for example.
In addition to providing you with a backup of your file (always a good idea when working with
computers), by not overwriting the original file you retain the ability to open the original in the older
version of Finale, should you choose to do so.
Q: Can you suggest any books on the standard practices of music engraving?
A: Here are five:
1.

"(Teach Yourself) the Art of Music Engraving" by Ted Ross (Hansen Books)

1359

2.

"Music Notation" by Gardner Read (Crescendo/Taplinger)

3.

"The Norton Manual of Music Notation" by Heussenstamm (Norton)

4.

"Music Notation in the 20th Century" by Kurt Stone (out of print)

5.

"Preparing Music Manuscript" by Anthony Donato (Amsco)

The Ross book might be your best bet as it specifically deals with precision engraving whereas
Read, for example, uses many handwritten examples.
Try locating these books at a new or used bookstore near you.
Q: What is a CTREE error, and what can I do about it?
A: Most often, a CTREE error means that there is not enough room on your hard drive for Finale
to write its temp files. Temp (temporary) files are the scratch paper Finale uses when it's figuring
out how to do what you've asked of it. (These temp files are only useful to Finale while a document
is open. They will not help you resurrect a lost document.)
If you're getting a Ctree error message, you'll want to:
1.

Free up some space on your hard drive. This may mean throwing away old applications or
files you no longer need, or simply archiving data elsewhere, either on floppy disk or other
drives or storage media. If you have an idea of how big your largest file is, at a absolute
minimum you'd want to have ten times the size of that file free on your drive at all times.

2.

In Finale, go to the Edit Menu and open the Program Options. Under Folders there will be a
path (or lack there of) for Temporary Files:. This should read something like
C:\Windows\TEMP. If it does, and you are still getting this error message, close Finale and
double click on My Computer, C:, Windows. If there is not a folder in this directory named
TEMP, create one.If you are using a RAM disk you should increase the size to accommodate
the space needed for the temp files. If this is not possible, you may want to restart without the
RAM disk.

Q: I get crashes and errors type 1,2 or 3. What does this mean?
A: Error types 1,2 and 3 have to do with memory, or RAM. You may be running more applications
than your machine can handle at once, or you may not have enough RAM to run the program. To
find out how much total memory you have on your computer and how much memory the operating
system itself uses, go to the Apple menu and choose About this Computer. If you know you have
enough RAM, you may be able to remedy error type 1, 2 or 3 crashes by giving the program more
memory.
1.

Make sure Finale is not running.

2.

Open the program folder on your hard drive and single-click on the startup icon.

3.

Go to the File menu > Get Info > Memory.

4.

Increase the Minimum and Preferred sizes by, for example, 500k or 1000k each.

Q: I cant add instruments in the Setup Wizard by double-clicking. Whats going on?
A: Turn off the DigiSystem Init 3.1.1 extension. This extension shipped with older versions of
ProTools.
Q: My settings are not being saved from session to session. What can I do?
A: If your settings are not being saved, you can trash the program's Preferences file in order to
create a fresh new one.
1.

If Finale is running, Quit.

2.

Find the Finale 2009 Preferences file found in the System Folder>Preferences folder. Drag
it to the Trash.

3.

Empty the Trash and Start Finale. A new preferences file has been created.

Q: I am having MIDI Problems, what can I do to make sure everything is setup correctly?
A: Start by making sure your MIDI cables are hooked up correctly. As simple as this sounds, it's a
common problem as the correct configuration strikes many as non-intuitive. The cable labeled IN
that comes from the MIDI interface must be connected to the OUT port of the MIDI keyboard. The

1360

cable labeled OUT that comes from the MIDI interface must be connected to the IN port of the
MIDI keyboard (or other playback device).
Note: Some interfaces lable the ports "TO IN" and
"TO OUT." If this is the case, do what the cables
say.
To test MIDI out:

Open any file with music in it. The included Tutorial files will serve as good test files.

Adjust your volume controls on your computer speakers or MIDI output device.

Click Play.

If you hear the music, you have MIDI Out. If you dont, go back to MIDI Setup and try a
different Output driver.

To test MIDI input:

From the File Menu, choose New, then Default Document.

Select the Speedy Entry Tool.

From the Speedy Menu, ensure Use MIDI Device for Input is checked.

Click the first measure and the Speedy Edit frame appears.

Hold down a note on the MIDI keyboard and type a 5 from the numeric keypad on your
computer. (while keeping the note depressed). (On a laptop look for the function key that
allows you to use some of the normal QWERTY keys as though they were the numeric
keypad if the numbers across the top aren't working.)

You should see a quarter note at the pitch you played. Any other result indicates a problem.
A rest means you dont have MIDI input.
A different (wrong) note means that you have not checked Use MIDI Device for Input from the
Speedy Menu.
If your setup fails this test, proceed to the next question Article 19379 in the Knowledge Base.
If you've tried all the choices for input and output drivers, and you still can't get MIDI to work in
Finale, you may need to take a step back to see if your sound card/interface and their drivers are
properly installed. The soundcard/interface manufacturer may be your best resource in helping you
determine that this has been done properly.
You may also wish to read Setting Up Your MIDI System in the Installation chapter of your Finale
Installation and Tutorials manual.
Q: I've confirmed all the above configurations, and I get MIDI Out, but not MIDI In. What's
next?
A: This symptom most commonly points to an interrupt conflict. Either the interrupt setting on your
sound card does not agree with the setting in the driver software, or the interrupt setting specified
for the sound card and the driver software are already in use by something else in the computer. If
you suspect this might be the case and you have some other Windows based MIDI Software (like a
sequencer) you might see if you are able to get MIDI In and Out with this other software: this would
indicate whether the problem was in the configuration of Finale or in Windows in general.
Commonly the interrupt setting on the card can only be configured by removing the card from the
computer and re-configuring jumpers or switches on the card. You will likely need to consult the
documentation which came with your sound card for these details.
Q: I set the initial playback tempo in the Playback Controls. Why isnt it working?
A: Several things can override the initial playback tempo. You could have an Expression with a
tempo playback effect in your score. Click on the Expression Tool. In the first measure, or wherever
the problem seems to occur, double-click on the handle of any Expression. In the Text Expression
Designer dialog box, click the Playback tab. Check the Type drop-down list to see if there is a

1361

Tempo defined. If there is, change the Type to none. If you have trouble finding the offending
marking, try erasing all expressions from the suspected region with the Selection Tool and Clear
Items. (Remember you can undo your actions by choosing Undo from the Edit Menu.)
You could also have Tempo Tool adjustments. To clear the adjustments, click on the Selection
Tool. From the Edit Menu, choose Select All (or select the appropriate area). From the Edit Menu,
choose Clear Items, Only Selected Items, Measures, Tempo Changes. Click OK twice.
Q: Why is Speedy Entry only giving me rests?
A: If you are not trying to use a MIDI Keyboard, make sure Use MIDI Device for Input is
unchecked in the Speedy Menu.
If you are trying to use a MIDI Keyboard, then the MIDI signals arent reaching the computer. First,
make sure your MIDI equipment is connected properly (see Setting up your MIDI system in
Installation & Tutorials). Check your cables (each should run from a MIDI IN port to a MIDI OUT
port). I am having MIDI Problems, what can I do to make sure everything is setup correctly?
Q: I click a Listen button and play a note or other MIDI device, but the Listen dialog
boxFinale is Listening alert box doesnt go away.
A: MIDI signals arent reaching the computer. First, make sure your MIDI equipment is connected
properly (see Setting up your MIDI system in Installation & Tutorials). Check your cables (each
should run from a MIDI IN port to a MIDI OUT port). Make sure the MIDI interface is turned on and
connected properly. Make sure youve identified the port (modem or printer) to which the interface
is connected by choosing MIDI Setup from the MIDI/Audio Menu. Make sure the MIDI interface is
turned on and connected properly. See also I am having MIDI Problems, what can I do to make
sure everything is setup correctly?
Q: Im not getting accurate, clean transcription when I use HyperScribe.
A: Your quantization settings arent quite right, and/or there is a MIDI latency problem that delays
the MIDI signal from the MIDI device to the computer. See Quantization Guide, for hints on making
the proper quantization settings.
To compensate for MIDI latency, from the MIDI/Audio Menu, choose MIDI Setup and then click the
Advanced button to expand the dialog box. Then, after MIDI-In Latency, enter a duration, like 25.
This is just a first guess. Getting this value to match the precise delay may require some trial and
error. You may need up to 150ms to compensate for the delay. The ideal amount of latency will
depend on your hardware configuration.
You also might find using a MIDI output device other than SoftSynth (in MIDI Setup), which is
demanding on computer resources, solves this problem.
Q: Im playing my keyboard controller, but no sound is coming out of my second (sound
module) MIDI instrument.
A: You havent turned on MIDI Thru. Choose MIDI Thru from the MIDI/Audio Menu, choose Smart,
and click OK. See MIDI Setup dialog box for more details.
Q: Im absolutely positive that all my cables are correctly installed and that the MIDI
interface, if any, is plugged in and turned on, if necessary - but still no MIDI signals are
going in or out.
A: Your MIDI instrument may need to be put into MIDI mode or your MIDI cables are damaged.
A few MIDI instruments (some Casio models, for example) have a MIDI button that you must press
to tell the synthesizer to transmit and receive MIDI signals or replace your MIDI cables.
Q: I don't get the correct MIDI channel when clicking the Listen button, then playing a note.
This occurs in the Click and Countoff dialog box (MIDI/Audio Menu) and all other dialog
boxes that record channel information.
A Some MIDI Devices use a MIDI channel (sometimes called Global Channel or Control Channel)
to communicate between Editor\Librarian software. If this channel is being used, Finale will hear it

1362

before any other channel when listening for MIDI data. Turn off the Control channel in your MIDI
device, or simply play into Finale, then type in the correct channel information after Finale has filled
in the note number, velocity and duration information.
Q: I'm trying to use Speedy Entry and Use MIDI Keyboard for Input in the Speedy Menu is
grayed out.
A No MIDI device is present. Install an interface or soundcard. Use the MIDI Setup dialog box
(MIDI/Audio Menu) to ensure that Finale knows about your device.
Q: All my staves play back using the same sound.
A: Most of the time, when using the Setup Wizard, your Staves will be assigned automatically to
the correct MIDI Patches. At times, this is not the case and you will need to go into the Instrument
List and configure the playback yourself.
Go to the Window Menu and open the Instrument List.
Check Send Patches Before Play if it isnt checked already.
Under "Instrument", ensure that each staff (shown under the "Staff Name" column) is assigned to
the desired instrument.
If it is, also make sure each instrument is assigned to a unique channel under the "Chan." column.
To playback using multiple instruments, each instrument must be assigned to a unique channel. To
assign a new channel to an instrument, click the box under the B column (of the row containing the
instrument you want to change) to open the Instrument Definition dialog box, and then jump ahead
to the next section.
If the desired instruments do not appear under the "Instrument" column, click on the Drop Down
Arrow next to the instrument name. Do you see the instrument you are looking for in this list?
If so, choose the Instrument (each instrument here is assigned to its own channel). If the staff still
does not sound correct on playback, click on the GM column to the far right and choose the
correct sound. If this doesn't seem to be working for ANY reason, click in the B column for that
Staff. This will bring up the Instrument Definition Dialogue Box, skip to this section below.
If you dont see the instrument you need, choose New Instrument from the top of the drop down
menu. This will bring up the Instrument Definition Dialogue Box, continue below.
The Instrument Definition Dialog Box
Instrument Name: Name the instrument appropriately. You will need to enter a unique name. (i.e.
if you already have an instrument named Grand Piano, and you want another Instrument that
sounds like a Grand Piano, you could name this one Grand Piano 2.)
Channel: While the specific channel you choose for an Instrument is not important, you do need to
choose a unique Channel for each instrument in your document. The exception to this is Channel
10, which is reserved for Non-Pitched Percussion on General MIDI devices (meaning your
Soundcard, Keyboard, or Sound Module). Keep in mind that there is a limit on all single MIDI
devices of 16 Channels so Channels 17 and higher will not work unless you are using multiple
devices. For large scores you can usually get away with assigning similar staves to the Same MIDI
Instrument, i.e. Staves Oboe 1 and Oboe 2 can both have Oboe assigned as the Instrument.
Patch: This should be set to Program Change by default, you will not need to change this unless
your MIDI Device is Non-General MIDI.
General MIDI: Click on this list and choose the Patch for the Instrument. This is the actual sound
that the Instrument will use. Due to manufacturer variations in numbering, this list may be off by
one number as compared to your MIDI Device. If this is the case, compensate for this when you
make your selection. (If you want patch 24, choose 25 from the list.) If the list doesn't match the
table of sounds on your device whatsoever, or if there are sounds not accessible through this list,
then you have a Non-General MIDI Device.
Once you have defined an Instrument, click OK and return to the Instrument List where you can
continue to assign Instruments to Staves and create new Instruments when needed. To close the
Instrument list, click on the x in the upper right hand corner.
See also Instrument List or MIDI channels.

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Q: I have a controller keyboard and several sound modules. They all seem to work with my
other MIDI applications, why don't they work with Finale?
A: MIDI Thru has not been selected. Choose MIDI Thru from the MIDI/Audio Menu. Select Direct
then click OK. See MIDI Setup dialog box.
Q: Finale's list of sounds doesn't match my MIDI Device. How do I get the correct sounds
on playback?
A: For general information on the Instrument List, see also Instrument List. Also, if your external
MIDI device has an accompanying .MIDNAM file, follow instructions under To configure a new
device in Audio MIDI Setup.
The Instrument List is based on General MIDI patches, a standard list of 128 Instruments. When a
MIDI Device (meaning your Soundcard, Keyboard, or Sound Module) doesn't communicate using
General MIDI, (or has additional patches above the 128 General MIDI sounds) you can access
these sounds in that Device by using Bank Select information and Program Changes.
There are two Bank Selects, Bank Select 0" and Bank Select 32" (sometimes referred to as
Control 0" and Control 32").
The Bank Select and Program change information that needs to be sent to obtain these non-GM
patches varies for different brands and models of keyboards, and this table of the Bank Selects (or
Controls) and Program Change for each patch should be obtainable from the keyboard's manual or
the keyboard manufacturer. Once you obtain this information, these patches can be selected from
the Instrument Definition Dialog:
Example 1: If the non-GM instrument is selected by Control 0 = 24, Program Change 120,
In the Instrument Definition dialog box: for Patch, choose Bank Select 0, Program Change; for
Bank Select 0, enter 24; for Program Change, enter 120.
Example 2: If the non-GM instrument is selected by Control 0 = 24, Control 32 = 118, Program
Change 120,
In the Instrument Definition dialog box: for Patch, choose Bank Select 0, Bank Select 32, Program
Change; for Bank Select 0, enter 24; for Bank Select 32, enter 118; for Program Change, enter
120.
Example 3: If the non-GM instrument is selected by Program Change 128, Program Change 12,
In the Instrument Definition dialog box: for Patch, choose Program Change, Program Change; for
the first Program Change, enter 128; for the second Program Change, enter 12.
Tip: Lists of Instrument Definitions can be saved as libraries for use in other documents. See Finale
Libraries.
Once you have defined instruments for your MIDI device, choose Save Library from the File
Menu.
Choose Instruments and click OK.
Name the library, (perhaps with the name of your MIDI device) and save it in the Finale > Libraries
> Instrument Libraries folder. (You will find several instrument libraries in this folder prepared by
MakeMusic for common MIDI devices)
In any other document, (or your template/default file) choose Load Library from the File Menu to
load your saved instrument library.
Q: How do I create and print PostScript files?
A: Sometimes you may need to print a Finale document from a computer that does not have
Finale. You can do this by creating and downloading a PostScript file. It's important to note that this
will only work with PostScript printers and you need to have a PostScript printer driver installed in
order to compile the listing. Another non-PostScript alternative would be to use Adobes Acrobat to
turn the PostScript listing into a PDF file which can be opened with the free Acrobat Reader.
When you have finished entering and laying out your score you can create a PostScript file by
choosing Compile PostScript Listing (File Menu). Make sure Include Fonts in Listing is checked.
Select the pages you wish to compile and click on the Compile button.

1364

Note: You can also send a Finale file. Then,

instruct the recipient of the file to download and
install Finale NotePad which is available at
www.finalemusic.com/notepad for free. The
recipient can open and print the file using Finale
Notepad.
Q: Why can I see some staves or measures in Scroll view but not in Page view?
A: There are several possible causes for this problem:
This situation may have been caused by editing measures in Scroll View that were previously
included in a multimeasure rest in Page View. To retrieve the missing measures:

Go to page 1 in Page View, and choose the Measure Tool.

From the Edit Menu, choose Select All.

Go to the Measure Menu >> Multimeasure Rests >> Create.

This will redefine any multimeasure rests, and bring back any hidden measures.

Choose Update Layout from the Edit Menu.

This can also be caused by making changes in the document after applying optimization. For more
information on this option please see Optimizing systems.

Select the Page Layout Tool.

Go to the Page Layout Menu and select Optimize Staff Systems.

Select Remove Staff System Optimization and Whole Document then click OK.

Go to the Edit Menu and click Update Layout.

If you wish, you can then reapply the optimization.

Go to the Edit Menu and make sure this option is turned off (unchecked).
Q: My music is displaying and printing as strange text symbols rather than musical
characters. How can I correct this?
A: If youre running Windows 2000, or XP, restart the computer. If problems continue, you may
need to reinstall your music fonts:
Turn off any anti-virus programs. If youre running Windows 2000, or XP, make sure youre logging
in as Administrator.
Put in your Finale CD.
If the setup program does not automatically start: Go to the Start menu and choose Run. Click on
the Browse button. For Look In, choose the Finale CD-ROM. Double-click on the Setup or
Setup.exe file. Click OK.
In the setup program, click Next until you see the window marked Install Type.
Choose Custom, and click Next.
Put a checkmark on all items that have Font, TrueType, or PostScript in their names.
Click Next until the installation is completed.
Restart your computer, and then launch Finale. Your fonts should be in place.
A Your music fonts may have become corrupted.
Reinstall your fonts from the CD. Insert your Finale CD. Double-click the installer and click continue
twice. In the install window, change from Easy Install to Custom Install in the upper-left corner of
the window. Scroll down and place a checkmark next to Basic Fonts and Additional Fonts. Click
Install. After restarting the computer, empty the trash.
Launch Finale and your fonts should now be in place.
Q: Why is mouse movement sluggish while holding down a metatool key?

1365

A: Some notebook computers are set to limit trackpad mouse movement while typing. As a result,
you may experience sluggish performance while dragging over items while holding down a
metatool key. To resolve this, open the Preferences pane and deactivate "Ignore accidental
trackpad movements."
Q: The font that appears in Finale's Message Bar is difficult to read.
A: Windows has substituted a font that is difficult to read. You can select any font installed on your
system to be used in the Message Bar. Open the Finale.INI file with any text editor such as
NotePad. Scroll to MsgBarFont and MsgBarFontHeight, in the [Settings] section. If nothing is
entered for MsgBarFont=, or if the key does not exist, Finale allows Windows to provide its best
sans serif font. Sometimes the font provided by Windows is not ideal. Enter the exact font name
(without leading or trailing spaces) that you want Finale to use for the Message Bar display. This
would be the same name you see in the Control Panel Fonts dialog box, without the parenthesized
technology description (True Type, Plotter, VGA, etc.). (Example: Arial Bold Italic) You should
change the MsgBarFontHeight= key as well to specify the font size that you want to use. Font
sizes between 8-12 pixels high work best, but you may want to use larger values with higher
resolution displays. Save the changes to the Finale.INI file, and exit the text editor.
Q Why do Upper ASCII characters display incorrectly.
A: Starting with Finale 2002a, files can be transferred across platforms while maintaining correct
higher ASCII text characters, such as , , and hard spaces (commonly used in lyrics). Finale is
configured to do this by default. Before opening a file, from the Edit Menu, choose Program
Options, select Open, and then check Automatically Convert Text In Files From Other Operating
Systems, and then open the file (see Program Options-Open). Alternately, this conversion can be
done after the file is open: From the Document Menu, select Data Check, and then Convert Text
for Macintosh (see Document Menu).
Q How do I copy and paste music from one document to another? OR, Why am I having
difficulty copying and pasting certain items?
A: To copy music, select the Selection Tool and highlight the material you wish to copy. (There are
a number of methods you can use to highlight larger regions of music: for details, see Selecting
music.) Then, from the Edit Menu, choose Copy, or press Ctrl-C. To paste this data you must
choose between two options in the Edit Menu:
Insert, OR
Replace Entries
This distinction is a very important one and is discussed in detail, see Copying music. Let's say, for
example, you wanted to append the music of one document onto the end of another. After copying
the source music (as described above) you'd add a blank measure at the end of the destination
document, highlight this measure on all staves with the Selection Tool, and choose Insert (Edit
Menu). Insert will add new measures to your piece and place them before the blank measure you'd
selected. (Similarly, if you wanted to paste a section between measures 3 and 4, you'd highlight
measure 4 prior to choosing Insert.) The number of measures added will depend on the number of
measures you had copied. As the Insert procedure generates new measures, most measure items
(like repeats, time and key signatures, expressions...) are included.
If, however, you wanted to paste some notes into just one staff of a score, using Insert would paste
the copied material into the desired staff, but it'd also generate blank measures on all the other
staves of the score. In this case you'd be better off using Replace Entries. For an example, imagine
a completed piano piece on a grand staff. You decide that you want to replace measure 2 in just
the treble clef. After copying the desired source data, select the Selection Tool, highlight measure 2
in just the treble clef, and choose replace entries (or press Ctrl-V). This will replace just the Entry
Items (notes, lyrics, chords, articulations) in measure two of the treble clef. The limitation with this
method is that Measure Items (repeats, time and key signatures, expressions...) are not copied.
For complete lists of what are entry or measure items, see Edit Filter dialog box.
Q: My lyrics are garbled. What can I do?

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A: Should corrupted lyrics appear, the solution is to select the Selection Tool, highlight the area in
which the lyrics are misbehaving, go to the Edit Menu, and choose Clear Items, Only Selected
Items, Entry Items, and Lyrics. This will remove the lyrics (and their corrupted connection) from the
score, but not from the Edit Lyrics window. At this point you can use Click Assignment to place
them back into the score, and the problem will be resolved without having to re-type any text.
Q: I'm having difficulty copying music which has clef changes in it: the clef changes don't
appear. What can I do?
A: When using the Selection Tool, if you highlight one measure and drag it to another measure on
a staff with a different clef, the clef will not copy. Similarly, if you drag a measure with a clef change
in it, either to a staff with a different clef, or to elsewhere on the same staff, the clef change will not
copy. This is a change from earlier versions (before 3.5) in which the clef did change. Many users
found the old behavior inconvenient; particularly when copying a section of music from one
instrument to another, unwanted clef changes would appear. Now they don't.
If, however, you want the clef to copy, here's the trick: select the Selection Tool, select the region
you want to copy, go to the Edit Menu and choose Edit Filter and click All, then OK. (If you want to
move any measure items, you could next specify them as well.) When you specifically select All
entry items the clef will be copied in Selection Tool functions.
Note: Clef changes will not copy from one
document to another.
Q: Whenever I alter a shape in my score with the Expression Tool, the identical shape I've
placed elsewhere changes also
A: You have not entered them as a Metatool expression. See the Metatools section for the
Expression Tool in Finale Reference.
Q: When I try to import a TIFF graphic with SmartScore Lite, I get an error message. What
can I do?
A: Here are some possible reasons for an error message from MIDIScan:

TIFFs scanned at 300 dpi tend to produce the best results.

The TIFF must be grayscale.

There should be no LZW compression on TIFF files, and the file should be a standard TIFF.
Some scanning applications save TIFF files that are specific to their product line; if you
suspect that your scanning software is producing non-standard TIFF files, try opening it in
another application or graphic utility, eliminating compression, and saving it again. Paint
Shop Pro is one application capable of saving uncompressed TIFFs.

Skewed scans are not properly recognized. Make certain your scan is properly aligned to
avoid errors.

Clear, clean originals tend to give the best results. Handwritten scores and poor quality
originals tend to cause error more frequently.

1367

Using the Finale Encyclopedia

This section is a musical cookbook. To your left, the volumes you see beneath this topic house "how-to"
instructions arranged alphabetically by musical situation. In other words, you won't find Staff Tool, Page
Layout dialog box, or HyperScribe listed as entries, because they are all terms you encounter only in
Finale. To learn about those and other Finale-specific topics, consult the "Reference" section on the
Navigation Pane to your left.
Instead, this section contains entries for musical elements and situations, such as Beaming, Copying
Music, Rehearsal letters and so on. After a brief introduction, each entry includes at least one step-bystep tutorial; broader topics, like Rests, have several such tutorials. Following each instruction is an
explanation of the step you just took, a description of Finale's response to it, or a description of an
available detour to another feature. The "how-tos" are devised so that, if you are in a hurry, you can skip
the editorial material and just follow the bulleted instructions step-by-step.
These steps assume some familiarity with Finale. In particular, they assume you have worked through
most of the Installation and Tutorials Manual. Some of the tutorials in this section are, in fact, pared-down
versions of the tutorials in the Installation and Tutorials manual. In some circumstances, then, you may
learn the most by reviewing the same topic in both resources.
The Finale Encyclopedia is not meant to be a complete guide to Finale itself. Finale's flexibility allows for
many approaches to a vast universe of musical styles. Although we can't cover every possibility, we've
tried to anticipate as many musical problems as we could.
You will find many links to reference material, the Visual Index, and other sources. Use the Back button
on your browser to return to previously viewed topics. Also note that all topics can be reached using the
Table of Contents to your left, or by using the Search or Index functions.
Here's hoping that this musical cookbook will yield some delicious results!

1368

8va/8vb
To create an

or

marking

1.

Click the Smart Shape Tool

2.

Click the

or

. The Smart Shape Palette appears.

Tool. The

marking usually goes beneath the music it affects. To

specify that in this Finale document you want the under-bracket

Tool to create an

marking instead of the default

marking, choose Smart Shape Options from the Smart Shape
Menu. The Smart Shape Options dialog box appears, in which you can choose either marking to
appear at the beginning of the bracket.
3.

Position the cursor in the measure where the marking is to begin so that the cursor arrow
points to the staff to which youre attaching it.

4.

Double-click; on the second click, hold the button down and drag to the right. Your doubleside of the marking; as you drag, you increase the length of the dashed-line
click marks the
bracket. Release the mouse when youve positioned the right end where you want it. If you doubleclick below the staff the
symbol to use).

marking will be used instead (unless you have specified another

markings affect playback.

To move or reshape an

or

marking

If the marking is already selected, it displays diamond editing handles. If not, click the Smart Shape Tool.
Any Smart Shape created with this tool displays a handle; click the handle of the marking you want to
modify.

Drag the right or left diamond editing handles to move the endpoints. Drag the square handle
to move the marking. Press delete to remove it. If the
bracket is long enough that it
straddles one or more system (line) breaks, it will automatically break into two (or more)
segments; the continuation portions will have an

in parentheses.

See Also:
Smart Shape Options
Smart Shape Tool

1369

Accelerando
See also Beaming: feathered beaming.
The word accel. or accelerando is a Text Expression, which you put into your score with the Expression
Tool.

To place the word accelerando into a score

1.

Click the Expression Tool

2.

Double-click on, above, or below the note or measure to which you want to attach the
marking. The Expression Selection dialog box appears.

3.

Choose the Tempo Alterations category. All the tempo alteration expressions appear in the
preview window.

4.

If you see the accel. expression in the list, double-click it. Finale places the "accel."
expression into the score. Positioning is based on the Tempo Alterations Category settings (see
Category Designer). If you do not see the "accel." expression, continue:

5.

Click Create. The Expression Designer dialog box appears.

6.

Type accel. or accelerando. Finale automatically applies the font, size, and style of the Tempo
Alterations category.

7.

Click OK and then Select to return to the score.To adjust the marking, drag its handle; to remove
it, click the handle and press delete. You have just added an expression to the expression library - it
will now be available to use elsewhere in this document. For more details, see Expressions.

To define the expression for playback

The instructions below describe how to assign a tempo change to an expression that can be added to the
score at any time. To easily record, or conduct, a unique tempo change for any region, use TempoTap.
Note: Finales Human Playback feature recognizes
text such as accel. and applies tempo
adjustments accordingly during playback. See
Playback Settings dialog box for details. To use
manually defined tempo or dynamic markings for
playback, set Human Playback to None.
1.

Click the Expression Tool

. If you havent yet placed the mark in the score, double-click any
place on a staff. When the Expression Selection dialog box appears, click the desired symbol, click
Edit, then skip to step 3.

2.

Double-click the expression's handle. The Expression Designer dialog box appears.

3.

Click the Playback tab. The playback options appear.

4.

From the Type drop-down list, choose Tempo. Select Execute Shape, then click the Select
button. Then click Create, then Shape ID. Youre now in the Shape Designer.

5.

From the Shape Designer Menu, choose Rulers and Grid. Click Eighth Notes, type 1 into the
Grid Lines Every: box, and click OK. From the Shape Designer Menu, choose Show, and then
Grid. Your Shape Designer drawing area now shows a horizontal point for each eighth-note
duration, so that you can specify how long you want the accelerando to last. Each horizontal gridline
represents a one-point increase in tempo (from 150 to 151 beats per minute, for example).

6.

Click the Line Tool

. Click on the small white circle (the origin) and drag toward the
upper-right. Watch the numbers in the H: and V: numbers as you drag; stop when H: and V: both
say 4.

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Youve drawn a graph (an Executable Shape) of the tempo during the accelerando. For each
vertical gridline you crossed as you dragged to the right, the accelerando lasted another eighth
note duration; for each horizontal gridline it crossed, the tempo increased one metronome point.
Therefore, to make the accelerando last for one half-note, it should cross four gridlines as you drag
to the right. To make the tempo increase by 20 beats per minute, you might think youd have to
cross 20 horizontal gridlines on the way up. For now, however, cross only four, meaning the tempo
will only increase by four beats per minute.
7.

Click OKto return to the Executable Shape Designer dialog box.

8.

In the Level Scale boxes, enter 8:1. You probably wouldnt even be able to perceive the
accelerando if it only sped up by four points during a half note. By changing the Level Scale, youre
multiplying the degree of accelerando. If you enter 8:1, the tempo will change by 32 pointsa much
more satisfying accelerando. Note that at this point you could also specify a different Time Scale,
which would determine how long the executable shape will last. When you designed the shape, it
crossed four gridlines (eighth notes)one half note. Change the Time Scale to multiply that amount;
a Time Scale of 1:2 would make the accelerando last half as long (a quarter note), and 3:1 would
create one that would last three times as long (six beats).

9.

Click OK, Select, and OK to return to the score. Listen to the accelerando and see how it works. If
it doesnt speed up enough, increase the Level Scale. If it lasts too long, decrease the Time Scale.
(The effect of the accelerando will vary according to the current tempo.)

1371

Accidentals (Speedy Entry)

Accidentals (such as sharps, flats, and naturals) appear automatically if youve entered the music from a
MIDI keyboard.

To change an accidental to its enharmonic equivalent

See Enharmonics.

To hide (or show) an accidental

1.

Click the Speedy Entry Tool

frame appears.

. Click the measure containing the accidental. The editing

2.

Position the insertion bar and crossbar on the note in question. Use the arrow keys or the
mouse.

3.

Press the asterisk (*) key. The accidental disappears (or, if there was no accidental, one now
appears). The notes pitch, however, doesnt change; Finale still plays it back as though the
accidental were visible. If you press the asterisk again, the accidental reappears.

To add or change an accidental

1.

Click the Speedy Entry Tool

2.

Position the insertion bar and crossbar on the notehead in question. Use the arrow keys or the
mouse.

. Click the measure containing the accidental.

3.

Press the plus (+) key to raise the notes pitch, and the minus () key to lower it, by half steps.
If you press these keys repeatedly, you can add up to seven sharps or flats to a note. If you press
the ctrl key as you do so, all subsequent notes on the same line or space in the measure also
change. See Speedy Entry Tool for more accidental shortcuts.

To correct accidentals on tied notes

After entering music in step time (using the Simple or Speedy Entry Tools), you may discover that Finale
hasnt correctly notated notes that are tied across a barlineand the notes that follow them in the second
measure. Using the Check Accidentals command, you can quickly update all accidentals so that they
follow the usual musical rules: a note tied from a previous measure doesnt show the accidental, but any
notes of the same pitch in the second measure do repeat the accidental, as shown below.

1.

, and select the region whose tied-accidental notes you want to

Click the Selection Tool
correct. See Selecting music for some region-selecting shortcuts.

2.

From the Utilities Menu, choose Check Notation, then Check Accidentals. Finale takes a
moment to update and correct all ties and accidentals.

To move an accidental
1.

Click the Special Tools Tool

. The Special Tools Palette appears.

2.

Click the measure you wish to edit.

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3.

Click the Accidental Tool

. Handles appear on any accidentals in the measure. Deselect Show
Handles from the Special Tools Menu if the handles are obscuring the accidentals you want to move.

4.

Drag any handle. If youve made the handles invisible (by deselecting Show Handles), drag the
accidental itself. If you want to undo any accidental repositioning youve done, click the accidentals
handle and press delete. To drag the handle vertically, double-click on the handle and check Allow
Vertical Positioning.

1373

Adobe PDF documents

The Adobe Portable Document Format (PDF) was developed by the Adobe company to provide a
universal file format that preserves the fonts, formatting and graphics of a source document, regardless of
what platform or application was used to create it. PDF files can be shared, viewed and printed by
anyone with a free Adobe Acrobat Reader. (Youre using the Reader now to read this Manual.) Weve
provided this basic primer on PDFs because many Finale users want to create PDFs: to publish on the
Web, to E-mail to a friend, to give to publishers for further formatting, or to give to a print shop for printing.
In order to *create* PDFs, you will need to buy Adobe Acrobat. For more information about these
products, please visit Adobes website at www.adobe.com.

To create a PDF document from a Finale notation file

Theres more than one way to create a PDF, but this method will give you more control over the results.
See your Adobe Acrobat manual for full details.
1.

Open the file in Finale.

2.

From the File Menu, choose Print. The Print dialog box appears.

3.

Click on Setup. The Print Setup dialog box appears.

4.

From the Printer Name drop-down menu, choose "Acrobat Distiller" or "Acrobat PDF" (or
whatever Adobe PDF print driver is installed on your computer). Keep in mind, youll need to switch
the printer back to your regular printer when youre done creating PDFs.

5.

Click OK. If your document has parts, select which ones you would like to print using the score/parts
check boxes in the upper left. Adjust any other print settings (see Printing).

6.

Click OK. Finale begins printing using the Acrobat Distiller. If Distiller is running in the background
(youll see it at the bottom of your screen in the Taskbar), it will immediately launch the Acrobat
Distiller. Once the Distiller has launched, it will display a Save PDF File As dialog box.

7.

Give the file a name (you may wish to save it to the Desktop for convenience) and click Save.
The Acrobat Distiller creates a PDF of your file. Depending on your Distiller Assistant settings, it may
open your newly created PDF file for viewing.

Troubleshooting PDF documents

For complete information, see your Adobe Acrobat Exchange documentation. The below suggestions are
problems that Finale users have commonly encountered.
Problem: When I run the Distiller, I get the error message ...[font name] cannot be embedded due to
licensing restrictions.
Solution: Update to the newest Acrobat Distiller version. For more information, visit www.adobe.com or
call 1.800.272.3623. A quick and dirty workaround is to change to Outline in the Fonts/Send Fonts As
portion of the Distiller printer driver.
Problem: Im using my PostScript printer instead of the Distiller driver. Now Im getting a Finale-Dict error.
Solution: Some drivers seem to require an additional setting for Finales mixed graphics and fonts. To
correct the problem, exit all programs, including Finale. From the Start Menu, choose Settings, Printers.
Right-click on the printer and choose Properties. Click on the PostScript tab. Set the PostScript to
Optimize for Portability. Click the Apply button, then OK. Close the Printers window and try again. If you
still receive errors, or your printer driver does not have a PostScript tab, try the suggestion below.
Problem: Im using my PostScript printer instead of the Distiller driver. Im still getting a Finale-Dict error,
even though Ive tried Optimize for Portability.
Solution: Some drivers seem to require an additional setting for Finales mixed graphics and fonts, but the
driver doesnt allow for Optimizing. Exit all programs, including Finale. Navigate to your Finale folder and
double-click on a file called Finale.ini (It may just be called Finale, and the icon will look like a notepad.)

1374

The file will open in Notepad. The first section of this file is under the heading [Settings]. Add another line
in this first section with this text:
OwnPS=0
Then Save and Exit the Notepad. Try creating a PDF again.

1375

Arrows
If you want to create an arrow, for example, to indicate the direction of a strum or for a worksheet
example, you can do so with Finale's Shape Designer. See Shape Designer and Arrowheads dialog box.

1376

Articulations
Articulations indicate performance information including the style of attack, delay, and manner or extent
to which notes are connected or disconnected. These indications are represented by accents, staccato
marks, or harmonic symbols, for example.
Articulations are generally added with the Articulation Tool
be applied to notes with the Selection Tool
easily move or delete articulations.

or Simple Entry Tool

, but can also

. You can also use the Selection Tool to quickly and

They are positioned in relation to that entry either above or below the note/entry.
In Finale, articulations can be applied either one note at a time (see To put one articulation mark in the
score), or to a whole group of notes at once (See To apply an articulation to every note in a region).
Finale will automatically center the markings, if you wish, and place them the proper distance from the
noteheads; youll even hear their effect on the music when you play it back.
The Articulation Tool is also used for creating and editing the appearance of these markings. Each
consists of a single character (letter) from any font or a shape; most of the time, youll want to use
Finales Maestro music font, in which all the characters are musical symbols. A complete list of Maestro
characters appears on the Quick Reference Card.
An articulation must be attached to a note (or a rest); you cant insert one into an empty measure. The
marking maintains its position relative to that note, even if you transpose it; in fact, the symbol will
automatically flip to the opposite side of the note if the stem changes direction, and even switch to a
different symbol if the new stem direction warrants (as when a fermata symbol flips upside-down).
Most markings commonly regarded as articulations fall into Finale's definition, however, some others

used to articulate musical passages, such as slurs

different tools (see Slurs and Expressions respectively).

and dynamics

, are added with

Working with articulations globally (by document)

Designing an articulation

Removing an articulation from the list

Defining an articulation for playback

Creating an articulation metatool
Articulations in linked parts

Working with articulations by region

To apply an articulation to every note in a region

To erase articulations from a region

To copy markings based on a rhythmic match

To center and reposition existing articulations

To copy articulations

1377

To put one articulation mark in the score

1.

Click the Articulation Tool

. Click on, above, or below a note. (If you are using voices, click
above the staff for Voice 1 and below for Voice 2.) The Articulation Selection dialog box appears.

2.

Double-click the symbol you want.

Or, to add an articulation while entering music in Simple Entry:

1.

Choose the Simple Entry Tool

2.

Select a note and press numpad * or Alt-A and press an articulation metatool key to add an
articulation to the note. For example, A for an accent, S for staccato, etc. Click Select (or press
Enter) to open the Articulation Selection dialog box where you can choose from a list of articulations.
(Note the metatool assignment appears in the upper right corner of each articulation in the
Articulation Selection dialog box.)

3.

Press Ctrl-numpad * or Ctrl-Alt-Shift-A and then press an articulation metatool key (or click
select or press Enter to choose an articulation) to add a sticky articulation to the caret and
mouse cursor. Now, the chosen articulation will appear on all notes entered until the sticky
articulation is removed. Press Ctrl-numpad * or Ctrl-Alt-Shift-A again to remove the articulation from
the caret and mouse cursor.

To move or delete an articulation

1.

Click the Articulation Tool

2.

Drag the handle to move the marking. Select it and press the arrow keys to "nudge it for fine
positioning; select it and press delete to remove it.

To change the articulation character

1.

Select the Articulation Tool

2.

Select the articulations handle and double-press the desired metatool key. The articulation
changes to the definition assigned to the metatool key you used. (A "double-press" simply means
pressing the keystroke twice in rapid succession). Or, double-click the articulation handle to open the
Articulation Selection dialog box where you can choose from a number of articulations.

3.

Double-click the desired articulation.

To design an articulation
Follow these steps to add a new symbol to the Articulation Selection dialog box.
1.

, and click a note in the score. It makes no difference what note

Click the Articulation Tool
you click; the symbol youre about to design wont appear in the score until you want it to. The
Articulation Selection dialog box appears.

2.

Click Create. The Articulation Designer dialog box appears. If the symbol you want to create is not a
musical symbol in the Maestro music font, click Set Font to specify a different font.

3.

Next to the Main Symbol display, click Main. The Symbol Selection dialog box appears. Use the
scroll bars to view all the musical symbols available in the font.

4.

Double-click the marking you want. You return to the Articulation Designer dialog box.

5.

Describe how you want this marking to appear, using the Positioning Options.
How you use these options depends upon the type of music youre notating, and your own
preferences. If you make these settings carefully, youll save an immense amount of time
when you place articulations into your scores, because Finales articulations dont merely
snap into place on a notewhen a notes stem direction changes, its marking even flips to the
other side, and, as in the case of a fermata
, even turns upside down automatically.

1378

Note: As you read about the following

options, remember that all of these
placement options have already been
established for the basic set of
articulation markings included in your
Finale package. You can safely skip
this entire section, unless you want to
learn to edit these settings (or create
new articulations of your own.
In some jazz and popular music, its standard practice to place certain markings consistently
above the staff, regardless of stem direction. If thats the case, choose Above note from the
Position drop-down list.
In other music, you may decide that a symbol should appear either above or below the note,
depending on the notes stem direction. In that case, choose either On note side or On stem
side from the Position drop-down list.Finally, youll find some additional placement options in
the form of checkboxes. Click Avoid Staff Lines if you dont want Finale to place a symbol so
that it falls on a staff line. (Since symbols are different sizes, Finale will attempt to place the
symbols handle so that it doesnt fall on a staff line. This may mean, however, that the handle
of a marking is between lines, but part of the symbol itself crosses a line. In that case, click
the Handle Positioning button, and use the H: and V: controls to further adjust the symbols
positioning within the staff lines.) Click Always Place Outside Staff if you want Finale to
place this marking as close as possible to a note, but never within the staff. Finale can
accommodate either notational convention: With Always place Outside unchecked,
articulations are placed a certain distance from the notehead whether or not theyre inside or
outside the staff. With Always Place outside checked articulations are placed as close as
possible to their noteheads without appearing within the staff lines.Click Center Horizontally
if Finale should neatly center the articulation with the notehead automatically. Finally, click
Attach to Top Note if, when you attach this marking to a chord, you want Finale to measure
the markings distance from the top note instead of the bottom one.
6.

If this marking is supposed to flip "upside down" when the stem direction changes, click the
are supposed to
Flipped button and select the flipped character. Some symbols, such as
appear inverted when below a note. Finale cant turn a symbol upside down; instead, Maestro and
other music fonts contain both the normal and inverted versions of each such symbol. When a notes
stem direction changes, Finale can substitute the appropriate "upside-down" symbol automatically.

7.

Find the drop-down list that begins, "When Placed Below a Note, use the", and choose
Flipped Symbol. See Finale Libraries in the Appendix for the settings for typical markings.

8.

Define the marking for playback, if you wish. Your marking can affect key velocity (i.e., volume
an accent, for example) or timing (a staccato mark, for example). See To define an articulation for
playback.

9.

Click OK (or press enter). From now on, you may click as sloppily as you wish when attaching this
marking to a note; Finale will neatly center it, place it on the correct side of the note, and substitute
an inverted symbol when necessaryif youve set the marking up that way. Once youve placed an
articulation on a note, of course, youre still free to drag it to a new position.

To define an articulation for playback

Human Playback interprets and performs articulations during playback automatically. See Human
Playback. To hear manual changes to the MIDI playback definition of any articulation you must first set
Human Playback to None in the Playback Settings dialog box.
1.

Click the Articulation Tool

. If you havent yet placed the Articulation in the score, click
any note. When the Articulation Selection dialog box appears, click the desired symbol and click
Edit; then skip to step 3.

2.

Double-click the handle. The Articulation Designer dialog box appears.

1379

3.

To specify how the marking will affect playback, make a selection from the Playback Effect
drop-down list. You have three playback choices: Change Attack, Change Duration, and Change
Key Velocity. Choose Change Attack to shift the attack point forward or backward in timea useful
option for producing rolled chord effects.
Choose Change Duration to affect the notes length by changing its release pointto create a
staccato mark, for example.
Finally, choose Change Key Velocity for accents, stress markings, and marcato markings
symbols that affect a note by striking it with more or less force (generally making it louder or softer).

4.

In the Top Note Value and Bottom Note Value text boxes, enter the amount of playback effect
you want this Articulation to have.
When Change Attack is selected, the numbers you enter in these text boxes are 1024ths of a
quarter note. To create an Articulation that strikes a note earlier or later than notated, therefore,
enter numeric values large enough to create a noticeable rhythmic difference on playback: 256 (a
sixteenth note) and higher, for example.
A Change Attack marking makes especially good use of the Top Note Value and Bottom Note
Value text boxes. These text boxes come into play when youre attaching an Articulation to a chord,
because the top and bottom notes can have different values; Finale scales any middle notes
proportionately. With this setup, its easy to create effects such as rolled chords. For example, you
might enter -256 as the Bottom Note Value, and 0 as the Top Note Value. Finale would roll the
chord from bottom to top, and the top note would land on the beat.If youre creating a Change
Duration marking, the numbers in these text boxes are, once again, 1024ths of a quarter note.
Generally, however, you wouldnt use the Change Duration setting to lengthen or shorten a notes
notated value by a fixed amount. Instead, youd want an articulation to change a notes duration by
a percentagea staccato mark should shorten a notes playback duration by 50%, for example,
regardless of whether its a quarter note or an eighth note. Therefore, click the Values Are
Percentages checkbox, so that the numbers represent percentages of the notes written value.
Youll usually want to leave the Bottom Note Value blank, so that the Top Note Value affects the
entire chord to which its attached.Finally, if youve selected Change Key Velocity, the numbers you
enter are MIDI velocity values. These range from 127 to 127, where a negative number will make
the affected note softer than unaffected notes, and a positive number will make the affected note
louder (0 = no change). If youre creating an accent mark, for example, you could enter, say, 40
into the Top Note Value text box; if an affected note has an original MIDI velocity value of 60, it will
now play back with a velocity of 100.
Of course, it may be easier to click the Values Are Percentages checkbox, so that the numbers you
enter represent percentages of the notes original value. If you enter 200 into the Top Note Value
text box, the note would be twice as loud as an unaffected note.

5.

Click OK (or press enter). The changes youve just made affect all occurrences of this Articulation,
even those youve already placed into the score.

To apply an articulation to every note in a region

1.

Click the Articulation Tool

, and drag-enclose a region of notes. The Apply Articulation
dialog box appears. If you have programmed a metatool for the particular articulation press the
metatool while drag-enclosing the notes, and youre done! See To create an Articulation Metatool.

2.

Click Select. The Articulation Selection dialog box appears.

3.

Double-click the symbol you want.

At this point, you can specify a number of other parameters. Click Notes within Range of Durations
to select a range of note values you want affected by the markingfor example, you might want
the articulations to appear only on eighth notes and quarter notes; youd click the eighth note in the
upper palette and the quarter note in the lower one. You can also specify whether or not Finale
should place the articulation mark on notes beginning or ending a tie (since an accent mark, for
example, doesnt mean much on a note at the right end of a tie). Select Include Notes that Start a
Tie or Include Notes that Continue or End a Tie, respectively.
Finally, you can specify an additional amount of distance added to (or subtracted from) the
markings usual distance from the notehead. See Apply Articulation dialog box for more
information.

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4.

Click OK (or press enter). You return to the document, where Finale places the marking on every
selected note.

To erase articulation from a region

1.

Click the Articulation Tool

2.

Press delete while drag-enclosing a region. The articulations in the selected region are
removed.

To center and reposition existing articulations

When you place an articulation marking onto a note, Finale automatically centers it and places it a
precise distance away from the notehead. Once the marking appears in the score, youre free to drag it
into a new position.
To restore the markings original positions, eliminating any hand-positioning youve done, drag-enclose
the desired articulations and press the Backspace key (laptop users Fn-6).
The following procedure can be used to move a specific marking into a new position, such as moving
breath marks a uniform distance to the right of the notes to which theyre attached.
1.

and select the region of music you want to affect. See Selecting
Click the Selection Tool
music for some region-selecting shortcuts.

2.

From the Utilities Menu, choose Change, and then Articulation Assignments. The Change
Articulation Assignments dialog box appears.

3.

If you want Finale to reposition all articulations in the selected region back to the default
position, click OK.

4.

If you want Finale to reposition only a certain articulation marking, click Position Selected
Articulations; click Select, and double-click the symbol you want.
You can also swap one marking for another throughout the selected region: select Change All
Articulations (or Selected Articulations) to Articulation, and click Select to specify the replacement
symbol.
You can also specify new positioning information by entering numbers into the H: and V: text
boxes. Youre adding distance to either the usual or existing positions of the selected markings,
depending on your selection from the drop-down list. The units are whatever youve selected using
the Measurement Units command (Edit Menu). For articulations designed to be placed On
Notehead Side, or On Stem Side, positive numbers move the symbols to the right (H:) and away
from the staff (V:); negative numbers move them left and in toward the staff. For articulations
designed to be placed Manually, Above Note or Below Note, positive numbers move the symbols
to the right (H:) and upward (V:); negative numbers move them down and left. See Change
Articulation Assignments dialog box and Articulation Designer dialog box for more detailed
explanations of these options.

5.

Click OK (or press enter). Finale neatly positions every articulation mark in the selected region,
according to your specifications.

To quickly change an articulation

1.

Select the Articulation Tool

2.

Select the articulations handle and double-press the desired metatool key.
The articulation changes to the definition assigned to the metatool key you used. (A "double-press"
simply means pressing the keystroke twice in rapid succession).

To copy articulations

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You can copy any musical elementssuch as articulationsfrom one passage to another. In this
discussion, the source region is the music that contains the articulations, and the target region is the
music to which you want to copy them.
1.

Click the Selection Tool

2.

From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears.

3.

Select Articulations; then click OK (or press enter). Youve just told Finale to copy and paste only
articulation markings, and to leave all other musical elements alone.

4.

Select the source region. See Selecting music for some region-selecting shortcuts.

5.

Drag the selected region so that its superimposed on the beginning of the target region. If the
first target measure is offscreen, scroll to it; then, while pressing and shift together, click it.

The Copy Measures dialog box appears (unless you drag to a region directly above or below the source
region). In that case, specify the number of times you want the articulations copied, and click OK.
Finale only copies articulations to notes that fall on the same beats as they did in the source measures.
The articulations maintain their positions relative to the noteheads.

To copy markings based on a rhythmic match

1.

Click the Selection Tool

2.

Select a region.

Click or drag-enclose any region of music to select it. Add additional measures to the selection by
shift-clicking. Double-click to select a full measure, and double-click a second time if you want to
include all other staves in your selection. The selection 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.
3.

From the Edit Menu, choose SmartFind and Paint, then Set SmartFind Source. An outline box
appears around the selected region. If you selected the wrong region, choose Deselect SmartFind
Source from the SmartFind and Paint submenu, and try again.
Select a target region to paint. If no region is selected, SmartFind will assume you wish to scan the
entire document. You may include partial measures in your target region.

4.
5.

From the Edit Menu, choose SmartFind and Paint, then Apply SmartFind and Paint. The
SmartFind and Paint dialog box appears. See SmartFind and Paint dialog box.
Check the box for the markings you want to copy.
If youve already entered some markings into your document, you may wish to check "Delete
Target Markings Before Paint." With this box checked, SmartFind will erase the markings before
painting the new markings, so you get an exact duplicate. 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.

6.

Click Find.
SmartFind shows you the first match, if any. SmartFind will look for matches in all layers of the
target region, regardless of the source layer. SmartFind will search the first measure of the top staff
selected to the last measure of the top staff in the region, then continue through layers, then down
through the rest of the staves. SmartFind will search for a match based on the rhythmic or note
durations and therefore will consider tied notes. SmartFind will ignore grace notes, Voice 2 and
mirrored notes.

7.

8.

Click Paint to apply the markings to the match, or Paint All to apply the markings to all
matches, or click Find Next to skip this match. SmartFind copies the select markings from the
source region onto the rhythmic match target region. Only the first note of a tied note will receive
copied markings.
When youre finished, click Cancel or Close. You return to the document.

To create an articulation metatool

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A Metatool is a keyboard equivalent for a certain Articulation. By creating a Metatool for a symbol, you
can pop it into the score with a single click of the mouse. You bypass the selection box that would
otherwise appear.
1.

Click the Articulation Tool

to use for your metatool.

.While pressing shift, press the letter or number key you wish

It makes no difference whether you use the top row of the alphabet keyboard or the numeric
keypad with num lock on to use the numbers. The Articulation Selection dialog box appears. If the
marking you want isnt present in the Articulation Selection dialog box, you can create it in the
usual way; see To design an articulation for instructions. (Predefined metatools are in parentheses
in the Articulation Selection dialog box).
2.

Double-click the desired marking.

You return to the document, having successfully prepared the Metatool for use. Youve just
assigned a specific Articulation mark to a number or letter key; you might want to write down which
symbol you assign to each number. Repeat this procedure for other number or letter keys, if you
wish; you can re-assign your Metatools at any time by repeating this procedure.
Heres how to place the marking in the score:

3.

While pressing the appropriate letter or number key, click the note on which you want the
marking to appear.
The Articulation appears in the score. By pressing a different key each time you click a note, you
can rapidly add articulations to your score. You can also drag-enclose a number of notes while
pressing the metatool key and apply the articulation to all the notes at once.

To remove an articulation from the list

1.

Click the Articulation Tool

. Click any note. The Articulation Selection dialog box appears.

2.

Click the symbol you want to remove; then click Delete. If the item is being used in the score, the
Delete Element dialog box appears. Select whether to replace the articulation with a different
articulation, or simply delete all instances from the score. See Delete Element dialog box.

3.

Click Cancel.

See Also
Articulation Tool
Articulation Selection
Articulation Designer
Symbol Selection
Handle Positioning

1383

Attack and release

Finale automatically performs attacks an releases based on the Human Playback Style selected in
Finale's Playback Settings dialog box. If Human Playback is set to none, you can define your own attack
and release points for a single note or notes in a chord (to produce a rolled chord effect), or for specified
notes in a specified region. See Rolled Chords, and Start and Stop Times.
See Also:
Articulations
Human Playback

1384

Audio
Finale's audio options include the ability to add an audio track to your document suited for either
recording a live performance or inserting an external audio file. Additionally, any document can be saved
as an audio file using the same high-quality results you hear during playback.
Wave, AIFF, or mp3 files can be loaded into a Finale document's audio track. To add an audio track to a
Finale document and add an audio file, see To import an audio file (below). To record audio in real-time
with HyperScribe, see To record an audio track. The Mixer controls and Studio View Staff Controls that
are used for controlling staff volume, panning, and other playback parameters also apply to audio tracks.
See Studio View.
Note: Finale does not include any audio editing
capabilities. To make changes to an audio file
itself, use an audio editing product. (Pro Tools,
Sonar, and Cubase are examples of audio editing
products).
You can save a Finale document as a standard Wave file (for burning to a CD), or as a compressed Mp3
(for storing on your computer or transfer over the Internet). See To export an audio file (below). Finale
generates the audio file based on the MIDI performance of the Finale document. For sound, Finale uses
a General MIDI SoundFont installed to the Finale/Component Files folder named synthgms.sf2. This file
contains the sounds used to record the audio file. To use a different General MIDI SoundFont, from the
MIDI/Audio Menu, choose MIDI Setup, click SoftSynth Settings, and then click Select to open a different
SoundFont.
To burn audio files to a CD, follow instructions included with your CD burning software to organize the
files into tracks and burn them to a recordable CD.
Note: Finale can use VST sounds when saving as
audio, although the file is recorded in real-time.

To import an audio file

1.

From the View Menu, choose Studio View. Audio tracks are only visible in Studio View.

2.

From the MIDI/Audio Menu, choose Audio Track, then Add Audio Track. An empty audio track
appears beneath the TempoTap staff.

3.

From the Audio/MIDI Menu, choose Audio Track, then Load Audio. The Open dialog box
appears.

4.

Navigate to the desired audio file and click Open. The Audio Clip Attributes dialog box appears
where you can adjust the start point of the audio file in the score, or specify at what point to
begin/end the audio file (the portion you would like to play).

To export an audio file

1.

Review playback. The audio file created by Finale is generated from the MIDI performance, so
changes to the documents MIDI data will apply to the generated audio file.
IMPORTANT: Human Playback settings apply to
saved audio files, so all generated audio files
sound the same as the document played from
Finale. To use MIDI data added deliberately (with
the MIDI Tool for example), set Human Playback to
None in the Playback Settings dialog box. To edit
Finales MIDI performance manually (instead of
using Human Playback), you can use the MIDI or
Expression Tool. See MIDI Tool and Expressions.

1385

To export a specific region, in the Playback Settings dialog box, check Observe Playback Region
when saving to MIDI or audio file, and the specify the region you would like to export in the
options above.
2.

Review playback. Your audio file will sound the same as playback in Finale.

3.

From the File Menu, choose Export to Audio. The Save As Audio File dialog box appears. Here,
you can choose to generate a standard, or compressed audio file.

4.

Choose the destination folder and click Save. Finale generates the audio file and saves it to the
specified folder.

See Also:
To record an Audio Track

1386

Augmentation
Augmentation refers to the process of doubling a motifs rhythmic values, so that each quarter note
becomes a half note, and so on. In effect, the following process re-notates any passage so that it doubles
every notes value.

To double the rhythmic values in a passage

1.

Click the Selection Tool

and select the region of music you want to affect. See Selecting
music for some region-selecting shortcuts.

2.

From the Utilities Menu, choose Change, then Note Durations. The Change Note Durations
dialog box appears.

3.

Choose 200% from the Change All Note Durations by drop-down list. If you want Finale to rebar the selected measures so that there are half as many notes per measure, make sure Rebar
Measures is selected. See Change Note Durations dialog box for details on these options.

4.

Click OK (or press enter). You can even double the values of the notes in a specific layer (if Show
Active Layer Only is selected in the Document Menu).
Note that this command does not affect empty
measures. (A measure in which youve entered a
real whole rest doesnt count as empty in this
context.) That is, the command will double the
values of all notes and rests youve entered, but it
wont create a second completely empty measure.

1387

Backbeats
In Finale, a backbeat is the second half of the beat (in duple meters); thus the second eighth note of
or
time (or the second quarter note in
time) is the backbeat. In triple meters,
every beat in
the last two thirds of the beat are the backbeats. In both cases, beat is determined by the durational
meter could either be
value of the denominator in the Time Signature dialog box. The backbeats of a
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 signatures for more information on
defining meters.
You can use the MIDI Tool to affect only the backbeats of a piece. You might, for example, boost the
velocity of the backbeats to give the music a rockier sound. If youre preparing a Strauss waltz for
playback, you could delay the attacks of the backbeats for a slightly more Viennese feeling.

A downbeat is the first beat of the measure. A backbeat is the second half of the beat (or, in a triple
meter, the second and third of the beat). An Other beat is any other beat, where a beat is defined as the
lower half of the time signature (a quarter note in the top example, a half note in the next, and a dotted
half note in the bottom example).

To alter the key velocity of backbeats

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
and select the
region to be affected. Click to select one measure, shift-click to select additional measures, dragenclose 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.
If you want to edit only one staff (and the desired region fits on one screen), double-click the
highlighted region to enter the MIDI Tool split-window.

2.

Choose Key Velocities from the MIDI Tool Menu.

3.

Choose Alter Feel from the MIDI Tool Menu. The Alter Feel dialog box appears.

4.

Enter the desired amount of key velocity alteration (a positive or negative number) in the
Backbeats By box. The range of MIDI key velocity is 0 to 127, so the number you enter here, when

1388

added to the existing velocity values of the notes, will not exceed 127. (If you prefer, you can click
the Percent of Original button and type a percentage value into the Backbeats By box.)
5.

Click OK (or press enter).

To alter the durations of backbeats

See Swing.

To copy or erase MIDI Tool editing

See MIDI To copy or erase captured (or edited) MIDI data.

1389

Barlines
Use the Staff Tool and the Group Attributes dialog box to draw barlines and set alternate barlines
(instead of the barline style selected in the Measure Attributes dialog box) for groups. Use the Measure
Tool to set the barlines for staves, and to override the group barline setting. See also Automatic Barlines
Plug-in.

To draw the barline on a group

Grouped staves have an important characteristic: instead of drawing barlines only on the staves, the
barlines can either be drawn through or between staves in a group.
Make sure youre in Scroll View before you begin; if youre not, choose Scroll View from the View Menu.
1.

Click the Staff Tool

2.

If you havent yet created the group, do so now. See Groups-To group staves .

3.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. Or, double-click
a group handle. (Or, choose Edit Group Attributes from the Staff Menu without selecting a group.) To
display the attributes of another group, use the arrow controls to select another Group ID number.

4.

Use the Draw Barlines drop-down list in the Group Attributes dialog box to specify how you
want barlines to appear for this group. To draw the barline only within each staff, and not connect
each staff with the barline, choose Only on Staves from the drop-down list. To draw a barline as one
continuous line passing through all the staves in the group, choose Through Staves. To draw a
barline between staves, but not through the staff lines themselves, choose Only Between Staves
(Mensurstriche).
Hint: If Group Attributes do not appear in page
view, turn off optimization. You can then re-apply
optimization as needed.

5.

Click OK to confirm your barline settings.

. The Staff Menu appears.

To break a barline between grouped staves

There are several ways to draw or break barlines between every staff in a group. If you dont want to
draw the barlines through any staff on a group, use the Draw Barlines drop-down list in the Group
Attributes dialog box to specify the appearance of the barlines (see To draw the barline on a group).
However, to break a barline above a single staff in a group whose barlines are otherwise drawn through
the group of staves, follow these instructions:
1.

Click the Staff Tool

2.

Select the staff immediately below the desired break, then choose Edit Staff Attributes from
the Staff Menu. Or, double-click a staff, staff handle, or staff name handle immediately below the
desired break. The Staff Attributes dialog box appears.

3.

Click Break Barlines Between Staves, then click OK. The barline is no longer drawn continuously
through the space above the staff you selected.

. The Staff Menu appears.

To create one double, dotted, final, or other barline

1.

Click the Measure Tool

, and double-click the handle of the barline you want to change.
The Measure Attributes dialog box appears.

2.

Click the desired barline type. When you select any unusual barline type, Finale automatically
selects Break a Multimeasure Rest; thats so that, when you extract parts, the special barline will
break a multimeasure rest (or block 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.)

3.

Click OK.

1390

To change barlines for groups

1.

Click the Staff Tool

. The Staff Menu appears.

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. (Or, double-click
a group handle.) Or, choose Edit Group Attributes from the Staff Menu without selecting a group.
The Group Attributes dialog box appears. To display the attributes of another group, click the spin
controls to select another Group ID number.

3.

To use an alternate barline style instead of the barline style originally defined in the Measure
Attributes dialog box, select Use Alternate Group Barline, then select the barline style from
the palette for the group.

4.

Click OK to dismiss the dialog box.

To change barlines in a selected region (or at regular intervals)

Using this method, you can either change all barlines in a region to a specific type (such as an Invisible
barline), or you can change barlines at regular intervals (for example, creating a double barline every
eight measures).
1.

, and select the region you want to affect. See Selecting music for
Click the Measure Tool
some region-selecting shortcuts.

2.

From the Measure Menu, choose Edit Measure Attributes. The Measure Attributes dialog box
appears.

3.

Click to select the barline type you want. In the Change Every Measures text box, enter the
frequency of barlines you want to change. In other words, to create a double barline every eight
measures, select the double barline and enter 8 in the Change Every text box. (If youre changing all
barlines, leave a 1 in this text box.)
If youre creating a part that will be extracted, you may also want to select the Break a
Multimeasure Rest checkbox (by clicking it twice), so that Finale will break bars of rest at each
double barline.

5.

Click OK (or press enter).

To hide one barline

1.

Click the Measure Tool

and double-click handle of the barline you want to hide. Youre
about to hide the right-hand barline.

2.

Click the Invisible barline type. Click OK.

To hide all barlines (No-barline music)

1.

Create the music normally (with barlines).

2.

From the Document Menu, choose Document Options and select Barlines. The Barlines
options appear.

3.

Click Display All Barlines so that the X disappears. Click OK. Note, however, that Finale thinks
in measures, even if youre creating scores with no barlines.
Note: To hide the meter in such a document, see
Hiding time signatures.

To move a barline
1.

Click the Measure Tool

2.

Drag the handle of the desired barline horizontally. The measure becomes wider or narrower. If
you move a barline in Page View, you dont just change the width of the measure whose right barline
you drag; you also increase or decrease the width of the measure to its right, making this a useful
technique for touching up your page layout. (You can adjust all measures in a system except the last
one with this method.)

. A handle appears on each barline.

1391

To insert a false or custom barline

These instructions assume you want to insert a false barline in the middle of an existing measure. This
method lets you create a barline of any thickness, size, or shapecurved, dotted, triple, or anything you
can think up. You can also use Maestro or Engraver font characters at 24 pt for barlines. The \ character
is a normal barline and the alt+0241 character is a dashed barline in the Maestro font. The normal barline
is the same in the Engraver font and the dashed line is the alt+0200 character.
1.

Click the Expression Tool

2.

Double-click the measure to which the barline will be attached. The Expression Selection dialog
box appears.

3.

Click Create, then click the Shape radio button.

4.

Click Create. The Shape Designer appears. If you want to change the thickness of the barline, use
the Line Thickness submenu of the Shape Designer Menu. You can also specify how you want a
dashed or dotted barline to look by using the Dash options in the Shape Designer Menu.

The following instructions give measurements in points (1/72 inch). If youve been working in
different units, choose Rulers and Grid from the Shape Designer Menu and select Points (with
gridlines every 6 points).
5.

From the Shape Designer Menu, choose Show, then Grid. From the Shape Designer Menu,
choose Show, then Staff Template.

6.

. Begin drawing on the origin (the small white circle at point 0,0).
Click the Line Tool
While pressing shift, drag in the drawing area, straight down, until the V: text box says -24.
Youve just drawn a vertical line (the shift key constrains your mouse to perfectly vertical or
horizontal lines) thats exactly the height of a staff.

7.

Click OK to return to the Expression Designer.

8.

Click Allow Horizontal Stretching to deselect the checkbox. Youve just told Finale that the
Shape Expression youve just created should not be allowed to stretch horizontally along with the
measures (when Finale widens measures slightly to make them flush with the page margins).

9.

Click OK, then Select. The barline appears in the measure. Drag its handle to move it. Select its
handle and press delete to remove it.

To change the thickness of barlines in a document

1.

From the Document Menu, choose Document Options, then select Barlines. The Barlines
options appear.

2.

Enter a new value in either the Heavy Line Thickness or the Thin Line Thickness text box. The
units are whatever youve most recently selected using the Measurement Units command (Edit
Menu). (The default value for barline thickness is 0.46 points.) Note that this setting does not change
custom barlines.

3.

Click OK (or press enter).

To correct barline display

In the process of creating your document, you may have added or dragged staves between existing
staves. Such changes could have unexpected results, especially concerning the appearance of your
barlines. If a barline doesnt appear to be drawn correctly, you can usually solve the problem with this
technique. If you keep Auto Sort Staves turned on, the barline display should save you these steps. See
Auto Sort Staves in the Staff Menu.
1.

Click the Staff Tool

2.

Choose Sort Staves from the Staff Menu to restore their appearance, based on the new staff
order.

. The Staff Menu appears.

To create a double left barline

See Left barlines.

1392

1393

Batch Printing
You can print many documents at once using the FinaleScript plug-in.
1.

Move all files you want to print into the same folder. FinaleScript is capable of processing any
number of files in a folder. All files in this folder will be printed.

2.

From the Plug-ins Menu, choose Finale Script, and then FinaleScript Palette. The FinaleScript
palette appears.

3.

Choose the Batch Process folder and choose Batch Printing. The Script Editor appears.
Here you can view and edit the commands. It is already setup to process a folder. Enter the path
after "process folder" to specify a folder. Note the additional commands listed (More attributes, print
pages 1 to 2, etc.). Remove the // markings to use one of these commands. You can edit or add new
commands as needed. For a complete list of FinaleScript commands, see FinaleScript.

4.

Click Run Script (with or without specifying a folder). If a folder is not specified, you can open
the Browse for Folder dialog box where you can specify a folder. When you have selected the folder,
Finale batch prints the documents in that folder.

1394

Beam angles
The angles of the beams on eighth notes (and smaller values) can be set either globally or one-by-one.
You can also specify flat beams (no angling). See also Patterson Beams plug-in.

To set the beam angle style globally

1.

From the Document Menu, choose Document Options, then select Beams. The Beam options
box appear.

2.

Choose a beaming style from the Beaming Style drop-down list. Below are some examples of
beaming style differences for the various beaming styles. Flat beams make all the beams flat in the
entire document. See Document Options-Beams for more information.

3.

Click OK (or press enter).

The determining note or notes are marked with an X.

To change or restore the angle of a beam (Special Tools)

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

, and

2.

Click the Beam Angle Tool

3.

Drag the right handle up or down to change the beam angle. Drag the left handle up or down
to change the stem heights. To restore the beam to its default angle and height, click the handle
you used to change the position of the beam; press delete.

. A handle appears at the beginning and the end of the beam.

To remove angle modifications from a selected region

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

From the Edit Menu, choose Edit Filter. Check (only) Stem and Beam Alterations. Click OK (or
press enter) twice.

To change the angle of secondary beams

See Beaming: feathered beaming.

1395

To limit the steepness of beams

1.

From the Document Menu, choose Document Options, then select Beams. The Beam options
appear.

2.

Enter a new value in the Max Slope box. The number in this text box specifies the maximum
vertical distance between the high and low ends of any beam, measured vertically in lines and
spaces. See Document Options-Beams.

3.

Click OK (or press enter).

To allow only flat beams on a single staff

See also Global Staff Attributes Plug-in.
1.

Click the Staff Tool

and double-click the handle of the staff which should have flat
beams. The Staff Attributes dialog box appears.

2.

Select Flat Beams from the Options section of the dialog box. See Staff Attributes dialog box for
details. If you have a number of staves to select Flat Beams for use the Global Staff Attributes plugin. This plug-in allows you to set up the staff attributes for a number of staves at once. See Global
Staff Attributes Plug-in.

3.

Click OK (or press enter).

To change a beam from the default angle to flat

See Flat Beams Plug-in, Flat Beams (Remove) Plug-in
1.

Click the Speedy Entry Tool

and click in a measure where the music has beams that you
would like to be flat. The Speedy frame appears.

2.

Click on the first note of the beam group and press \ (backslash). This will change the beam to
flat. If you have a number of beams you would like flattened, use the Flat Beams Plug-in which will
allow you to select a region with the Selection Tool and flatten all the beams in the region. See Flat
Beams Plug-in, Flat Beams (Remove) Plug-in.

1396

Beam thickness
To change the thickness of beams globally
1.

From the Document Menu, choose Document Options, then select Beams. The Beam options
appear.

2.

Enter a new number in the Beam Thickness text box.

3.

Click OK (or press enter).

To change the thickness of beams individually

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

, and

2.

Click the Beam Width Tool

3.

Drag either handle to adjust the width of the selected beam. To restore the beam width, select
its handle and press delete.

. A handles appears on each beam.

1397

Beaming
See also Beam angles; Beaming across barlines; Beaming: feathered beaming; Beaming over rests;
Beaming: Secondary beams; and Beam thickness.
Beaming of eighth notes (and notes of smaller value) is automatic in Finale, although you can override
Finales beaming decisions, either on a global, regional, or case-by-case basis.
Note: To automatically modify the appearance of
all beams at once, use the Patterson Beams plugin.

To break (or create) a beam

1.

Click the Speedy Entry Tool

, and click the measure in question. The editing frame
appears. Use the arrow keys to position the insertion bar on the note at the end of the desired beam.

2.

Or click the Simple Entry Tool

beam.

3.

Press the slash key (/) or B. If the note was beamed to the previous note, the beam breaks. If the
note wasnt beamed to the previous note, two notes are now beamed together. Press the slash key
again to restore the beam to its previous form.

, and control-click the note at the end of the desired

To rebeam a selected region

When you first enter music into Finale, the time signature determines how eighth notes (and smaller
notes) are beamed together. In
, Finale groups beamed notes in quarter note groupings with the
exception of eighth notes which are beamed in groups of 4. See Document Options-Beams to change
this setting. In

, Finale groups beamed notes in half note groupings.

If you change the time signature after youve entered music, the beaming patterns changes unless you
have deselected the Rebar music checkbox in the Time Signature dialog box. In such a case, its easy to
rebeam the music to match the new time signature: Select the region (using the Selection Tool) and
choose Rebeam Music (from the Rebeam submenu of the Utilities Menu).
However, if you want to give a region a beaming pattern thats completely unrelated to the time
signaturefor example, to beam eighth notes in groups of 3, 3, and 2 in a

meter, follow these steps:

, and select a region. See Selecting music for some region-

1.

Click the Selection Tool

selecting shortcuts.

2.

From the Utilities Menu, choose Rebeam, then Rebeam to Time Signature. The Rebeam dialog
box appears.

3.

Using the upper and lower scroll bars, adjust the upper and lower numbers of the beaming
signature until you see the desired beaming patterns. In other words, if you want eighth notes in
common time beamed in groups of four (rhythmic value equals a half note), adjust the display until it
shows two half notes (two groups of four eighth notes). If youre in
and you want all six eighth
notes beamed together in each measure, adjust the display until it shows a dotted half note (one
group of six eighth notes).

1398

Note: If you want an asymmetrical beaming

pattern (such as three, three, and two eighth notes
in common time), click the Composite button and
enter the desired groupings into the text boxes.
You specify the new beaming pattern for the selected music much as you would create a time
signature. See below.

To create custom beaming patterns

Normally, Finale beams 16th notes (and notes of smaller value) according to the time signature. In

, theyre grouped in half-note units. Eighth notes are beamed

theyre grouped in quarter-note units; in
in groups of 4. See Document Options-Beams to change this setting for eighth notes.
Occasionally, you may find it useful to break this rule. You may want to create a section of music in
time, but whose eighth notes are grouped (for example) in patterns of 3, 3, and 2.
1.

Click the Time Signature Tool

, and double-click the measure where you want the meter
to change. The Time Signature dialog box appears.

2.

Using the two scroll bars, specify the beaming pattern you want. If you want eighth notes
beamed in groups of 3, 3, and 2, click Composite, and enter 3+3+2 in the top box (and 8 in the
bottom box). See Time signatures for further instructions in using the Time Signature Tool.

3.

Click . The dialog box expands.

4.

Select Use a Different Time Signature For Display. Using the lower set of scroll bars, specify
the time signature you want to appear in the score. If youve specified a
using the upper scroll bars, you could enter
beaming pattern of

beaming signature

as the display meter. Or if youve specified a

, you could set the lower scroll bars to

or

5.

Using the Measure ___ Through ___ (or Through End of Piece) text boxes, specify the range
of measures you want affected by the time signature/beaming patterns.

6.

Click OK (or press enter).

To prevent Finale from beaming automatically (Speedy Entry)

Finale normally beams notes together according to the denominator of the time signature (quarter note
, half note groupings in
, and so on) when youre entering notes in step time using the
groupings in
Speedy Entry Tool. You can, if you wish, turn off this feature.
1.

Click the Speedy Entry Tool

2.

Choose Check Beaming from the Speedy Menu, so that the check mark no longer appears.

. The Speedy Menu appears.

To beam eighth notes in quarter note groups

1.

From the Document Menu, choose Document Options, then select Beams. The Beaming
options appear.

2.

Deselect Beam 4 Eighth Notes Together in Common Time. This will only affect entries from this
point forward.

1399

3.

Click OK (or press enter).

1400

Beaming across barlines

In certain cases, you may want the beams on eighth notes (and smaller values) to extend across a
barline to join a beam in the next measure. Finale gives you two methods to accomplish this manually. To
beam over barlines automatically using a plug-in, see Beam Over Barlines plug-in.

To extend a beam across a barline (Speedy Entry Method)

The first method is best for scores where playback isnt important.
1.

Click the Speedy Entry Tool

2.

Under the Speedy Menu, uncheck Jump to Next Measure.

3.

Click a measure. At the end of the measure, enter the notes that belong at the beginning of
the next measure (the ones to which you want to beam from the first measure). Use the / key
to beam or unbeam notes as needed. Dont worry that you've added too many beats to the measure.
When Finale tells you that there are too many beats, just click OK.

4.

In the second measure add the same number of rests at the beginning of the measure as you
added extra notes to the previous measure. These rests will act as placeholders when you drag
notes from the first measure into the second measure.

5.

Move the cursor over the top of each placeholder rest and press the letter H key. This will hide
the placeholder rests.

6.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure. If the Note Position tool isnt already selected, select it.

7.

Drag the note(s) from the first measure that you want in the second measure to the right, so
that they now appear in the second measure.

, and

To extend a beam across a barline (Beam Extension Method)

This method creates cross-barline beaming that plays back correctly.
, and

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure containing the beam you want to extend.

2.

Click the Beam Extension Tool H. Handles appear at each end of each beam.

3.

Drag a handle horizontally to extend the beams. To restore an extended beam to its normal length, click its
handle and press delete.

1401

Beaming over rests

In normal circumstances, Finale doesnt include rests in beam groups. However,
you may prefer to have eighth-note (and smaller value) beams include rests on
the outside of beam groups.

To globally beam over rests on the outside of beam

groups
1.

From the Document Menu, choose Document Options and select Beams. The Beam options
appear.

2.

Select Extend Beams Over Edge Rests and Extend Secondary Beams Over Rests. Click OK
(or press enter). This is a global option. You can, of course, override this beaming pattern in the
usual way; see Beaming.

To create (or remove) half-stems on beamed rests

1.

From the Document Menu, choose Document Options and select Beams. The Beam options
appear.

2.

Select Display Half-stems for Beamed Rests. Click OK. To hide the half-stems, turn this option
off. To adjust the position of the stems, see To change the position of the stem relative to its
notehead.

1402

Beaming: feathered beaming

In some music, ritards and accelerandi are notated with converging secondary-beam angles in a
technique called feathered beaming. In the case of the ritard, the player increases the rhythmic values
gradually from the faster values, at the left end, to the slower values, on the right end, as shown below.

To create feathered beaming

To create this form of notation, notate all values as the smallest values (in this case, 64th notes). Then
proceed as follows.
1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

, and

. Handles appear at both ends of secondary beams.

2.

Click the Secondary Beam Angle Tool

3.

Drag the handles so that the secondary beams converge with the primary beam. The left
handle moves its entire beam up and down, without changing its angle; the right handle changes the
angle. To remove any changes you make this way, click the appropriate handle and press delete.

1403

Beaming: Secondary beams

If rhythmic values smaller than eighth notes are beamed together, the sixteenth-note (and smaller value)
beams are called secondary beams. Finale provides considerable independent control for such beams.

To break secondary beams

If you want, you can specify places to break secondary beams even though the primary (eighth note)
beam continues.
, and

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

2.

Click the Secondary Beam Break Tool

secondary beam.

3.

Double-click the handle at the right end of the pair of notes whose beam you want to break.
The Secondary Beam Break Selection dialog box appears, letting you specify exactly which beams
you want to break. If you select Break Only, you can specify individual levels of beams to be broken;
thus if you select Break Only 32nds, the sixteenth-note beam (and always the eighth note beam) will
remain intact. If you select Break Through, however, Finale will break the beams of the note value
you specify and all smaller values.

4.

Select the desired Break options, and click OK (or press enter). To restore the beam grouping,
click the handle you used to make modifications. When the dialog box appears, click Reset.

. A handle appears over every note grouped by a

To change a broken beams direction

Depending on the meter, its sometimes useful to override Finales decision about which direction a
secondary beam stub should extend: Using the Broken Beam Tool, you can flip such a stub from its
default position (below, left) to the other side (below, right).

and click

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
the measure in question.

2.

Click the Broken Beam Tool

3.

Click a handle to flip the beam in the opposite direction. Click the handle again to restore the
beam stubs original direction.

. Handles appears on each broken beam in the measure.

To change the distance between beams

Finale lets you specify the amount of vertical space between the beams in sixteenth-note (or smaller
value) beam groupings.
1.

From the Document Menu, choose Document Options, then select Beams. The Beam options
appear.

2.

Enter a new number in the Secondary Beam Separation text box.

3.

Click OK (or press enter). You can also change the separation between secondary beams on a
case-by-case basis with the Secondary Beam Angle Tool in the Special Tools Tool. See Beaming:
feathered beaming.

1404

To change the angles of secondary beams

See Beaming: feathered beaming.

To change the height of stems in secondary beams

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
the measure in question.

and click

2.

Click the Beamed Stem Length Tool

measure.

3.

Drag the handles to the desired location. For example, stems could be dragged to touch the
beam closest to the noteheads, and not go all the way through the secondary beams. Dont forget
that you can select more than one handle at a time.

. Handles appears on each beamed stem in the

1405

Beat positions
When using Finale, beats are positioned according to nonlinear spacingin other words, the positioning
of beats in a measure that contains a half note and four eighth notes wont be the same as in a measure
with four eighths and a half noteeven though the measures are the same width. See Document
Options-Music Spacing for a more complete discussion.
Each measure has beat chart (when using Automatic Music Spacing), providing handles that you can
drag horizontally to reposition the beats in a measure. Moving a beat is not the same as moving a note
when you move a beat, the note that falls on that beat in every staff moves at once.

To create a beat chart in one measure

Until a measure has a beat chart, you wont have control over the positions of the individual beats. If you
apply the Music Spacing command to a certain measure, you affect the spacing of the notes and provide
a beat chart; see Document Options-Music Spacing. The following method, on the other hand, adds a
beat chart to the selected measures
without changing the spacing of the music in them.
1.

, and double-click the barline handle of a measure. The Measure

Click the Measure Tool
Attributes dialog box appears.

2.

From the Position Notes drop-down list, choose Using Beat-Chart Spacing. Click OK. To copy
the positioning mode youve just established to other measures, youll need to turn off Automatic
Music Spacing in Program Options-Edit. Next, click the Selection Tool. From the Edit Menu, choose
Edit Filter; check Note Positioning (only), and click OK. Drag the measure youve already modified so
that its superimposed on the first target measure. Finale asks how many times you want to copy the
positioning mode; enter the appropriate number and click OK (or press enter).

To move a beat
This process wont work unless the measure in question has a Beat Chart (see Document Options-Music
Spacing or To create a beat chart in one measure.
1.

Click the Measure Tool

2.

Click the second from the top barline handle of the measure in question. The beat chart
appears above the measure. The top row of handles indicates the positions of the beats according to
the time signature (as they were before you respaced the music). By dragging a handle on the
bottom row, you can reposition a beat in all staves at once.

. Two stacked handles appear on each barline.

When you click on the bottom barline handle, a beat chart appears. The top row of handles
indicates the positions of the beats as theyd fall with linear spacing, and the bottom row of handles
allows you to move beat positions by dragging them.
3.

Drag the desired beats handle horizontally. If you press shift while dragging, all handles to the
right of the dragged handle move in tandem. If you double-click between two top-row handles, a new
handle appears, which governs the position of the beat halfway between the handles on either side.

4.

If you double-click any top-row handle (except the first), the Beat Chart Element (#) dialog box
appears. See the Beat Chart dialog box for more details.

1406

Bend hats
A bend hat in Finale is just a special kind of slur. See also Slurs.
1.

in the Main Tool palette. The Smart Shape Palette and Smart
Click the Smart Shape Tool
Shape Menu appear. Make sure that a checkmark appears next to Attach to Notes in the Smart
Shape Menu.

2.

Click on the Bend Hat Tool

bend's beginning note.

3.

Double-click the mouse, holding the mouse button down on the second click. The note will be
highlighted and a small bend hat will appear. Continuing to hold down the button, drag the slur to the
right until you reach the note marking the end of the attachment. When Finale highlights that note, let
go of the mouse button. The new note-attached bend hat appears.

in the Smart Shape palette, then position the cursor on the

To create a bend hat spanning two consecutive notes, just double-click the mouse on the first note.
Finale places the bend hat on the adjacent notes.
Note that bend hats will convert to Guitar Bend Smart Shapes when drag-copied into a TAB staff
with the Selection Tool. See To create tablature notation.

1407

Blank pages
You can create blank pages anywhere in your document. These pages can then be used for dialogue (in
an operetta or musical), discussion (in a textbook), or title pages, for example.

To add a blank page anywhere in your document

1.

Click the Page Layout Tool

2.

From the Page Layout Menu, select Insert Blank Pages. The Insert Blank Pages dialog box
appears.

3.

Select the number of blank pages, and where you want the new pages to appear in your
document. See Insert Blank Pages dialog box.

4.

Click OK to return to your score.

To delete a blank page anywhere in your document

1.

Click the Page Layout Tool

2.

From the Page Layout Menu select Delete Blank Pages. The Delete Blank Pages dialog box
appears.

3.

Select the blank pages to be deleted. See Delete Blank Pages dialog box.

4.

Click OK to return to your score.

1408

Booklets
To print in Booklet form using FinaleScript
1.

Set your printer to landscape format. To do this, from the Start Menu, choose Settings, Control
Panel, then open your Printer settings (the wording depends on the version of Windows). Right-click
the desired printer and choose Preferences. Your printer software opens. Here, set the layout to
landscape and click OK (exact procedure varies depending on the printer).

2.

In Finale, open the file you want to print, then, from the Plug-in Menu, choose Miscellaneous,
FinaleScript Palette. The FinaleScript Palette appears.

3.

Scroll down and double-click Print Booklet.

4.

Double-click the Script Editor button

5.

Follow the instructions in this script to print your score. For example, if you do not have a
printer that is capable of printing on both sides, enter // before print booklet (so FinaleScript will
ignore it) and remove the // characters before print booklet recto and print

6.

Click Save and Close and then click the

. The FinaleScript Editor appears.

button to print the booklet.

To print in booklet form (manually)

1.

Select Page Setup from the File Menu.

2.

Choose Landscape as the page orientation.

3.

Click OK.

4.

Check how many pages you have. If the number of pages is not divisible by four (such as 3, 5, 6,
7, 9 etc.), add a blank page to the end of your document. This will allow for staggered printouts. See
To add a blank page anywhere in your document. If you have 4, 8, or 12 (etc.) pages of music, you
do not need to add a blank page at the beginning.

5.

Select Print from the File Menu.

6.

Select 2-up printing.

7.

If you want to run the paper through your printer once and then go to a print shop and copy
your 1 page originals to front and back, enter the following numbers (including commas) in
the Page Range field then click print.
Single page originals to take to a print shop

Number of
pages with
music

Page numbers to type

4,1,2,3

4,1,2,3

6,5,4,1,2,3

6,7,7,5,4,1,2,3

8,1,2,7,6,3,4,5

1409

8,1,2,7,6,3,4,5

10,9,8,1,2,7,6,3,4,5

10

10,11,11,9,8,1,2,7,6,3,4,5

11

12,1,2,11,10,3,4,9,8,5,6,7

12

12,1,2,11,10,3,4,9,8,5,6,7

13

14,13,12,1,2,11,10,3,4,9,8,5,6,7

14

14,15,15,13,12,1,2,11,10,3,4,9,8,5,
6,7

Blank pages are in bold

8.

If you wish to run the paper through your printer twice to have music on both sides of the
paper, enter the first row of numbers in the Page Range in the Print Score dialog box.

Double-page originals (print twice)

Number of
pages
with music

Page numbers to type

for first side

Page numbers to type for second side

4,1

2,3

4,1

2,3

6,5, 4,1

2,3 (Do not place paper with page 5 in printer second time)

6,7,4,1

7,5,2,3

8,1,6,3

7,2,4,5

8,1,6,3

2,7,4,5

10,9,8,1,6,3

2,7,4,5 (Do not place paper with page 9 in printer second

time)

10

10,11,8,1,6,3

11,9,2,7,4,5

11

12,1,10,3,8,5

2,11,4,9,6,7

12

12,1,10,3,6,7

2,11,4,9,6,7

13

14,13,12,1,10,3,8,5

2,11,4,9,6,7(Do not place paper with page 13 in printer

second time)

1410

14

14,15,12,1,10,3,8,5

15,13,2,11,4,9,6,7

Blank pages are in bold

9.

Click Print.

10. Turn the paper over and place back in the Printer to be printed on.
11. Enter the second row of numbers in the Page Range in the Print Score dialog box.
12. Choose Print.

1411

Boomwhackers Tuned Percussion

Tubes / Chroma-Notes
Instruments
Boomwhackers Tuned Percussion Tubes / Chroma-Notes Instruments are brightly colored plastic tubes
that are tuned by length to musical notes. Each pitch is identified with a specific color based on the
Chroma-Notes color scheme. Finale supports colored noteheads and its default colored noteheads
settings are also based on the Chroma-Notes color scheme used with Boomwhackers percussion tubes
and other instruments using the Chroma-Notes colors as they become available. Additionally, Finale
includes options for starting a new Boomwhackers percussion tube / Chroma-Notes instruments score
directly from the Setup Wizard.
Note: Boomwhackers is a registered trademark
under license to, and Chroma-Notes is a
trademark of, Whacky Music, Inc., of Sedona,
Arizona (www.boomwhackers.com). MakeMusic
has licensed from Whacky Music, Inc., the use of
the Boomwhackers and Chroma-Notes
trademarks and logos, Boomwhackers tube
sounds and Chroma-Notes Colored Music colors
in Finale.

To create a new Boomwhackers Percussion Tubes or ChromaNotes Instruments score

1.

From the File Menu, choose New, then Document with Setup Wizard.

2.

Choose the desired Document Style and click Next. For details, see Document Styles.

3.

In the list box to the left, click Pitched Percussion. "Boomwhackers(R) Tubes" and "ChromaNotes(TM) Instruments" appear in the middle list box.

4.

Double-click "Boomwhackers(R) Tubes" and/or "Chroma-Notes(TM) Instruments" to add it to

the list on the right.

5.

Click Next and enter a title, composer, and additional information as required.

6.

Click Next and specify a time signature, key signature, and document details. See Setup
Wizard.

7.

Click Finish. The document opens based on your settings. Notes are now automatically colored
based on the Chroma-Notes color scheme as they are entered. See Simple Entry. Note that
although you can enter pitches outside of the Boomwhackers tubes' range, only pitches within the
range will sound during playback. The supported range is C2-G5 (see MIDI Note to Pitch Table). The
lowest octave requires using specially designed caps on the bass octave tubes.

To apply colored noteheads to an existing score

1.

Open the document.

2.

Click the Staff Tool

3.

Double-click a staff. The Staff Attributes dialog box appears.

4.

Check Colored Noteheads. Click the Define button to the right to open Document Options-Notes
and Rests where you can adjust the coloring as needed.

5.

Click OK. Repeat the previous three steps for any other staves that require colored noteheads.

See Also:

1412

Staff Tool
Simple Entry

1413

Brackets: Horizontal lines

This entry contains instructions for placing a horizontal line or bracket above a staff, with or without a
hook at the end, like this:

To draw a horizontal line

1.

Click the Smart Shape Tool

. The Smart Shape palette appears. (If it doesnt, choose Smart
Shape Palette from the Window Menu.)

2.

Click the bracket shape you want. There are several types: some are dotted, some solid; some
have an upward or downward hook at the right end. You can also create a custom line style with a
hook using the Custom Line Tool. See Custom lines.

3.

Position the cursor in the measure where you want the bracket to begin so that the cursor
arrow points to the staff to which youre attaching it. This is particularly important when youre
working in orchestral scores; if you accidentally attach a Smart Shape to the wrong staff, it wont
appear in the correct staff when the parts are extracted.

4.

Double-click; on the second click, hold the button down and drag to the right until the bracket
is the correct length.

To move, reshape, or delete a Smart Shape line

If the line is already selected, it displays diamond editing handles; if so, skip to the last step.
1.

Click the Smart Shape Tool

2.

Click the handle of the shape you want to modify. The shape displays diamond editing handles.

3.

Drag the right or left editing handles to change the lines length. Drag the square handle to
move the line. Hint: Its a good idea to press the shift key just before your double-click and hold it
down while you drag; if you do so, Finale will constrain your dragging action to a perfectly horizontal
plane, so that your line is perfectly level. You could also right-click the handle of the line and choose
Make Horizontal from the contextual menu after creating the line.

4.

Press delete to remove the selected shape.

. The Smart Shape palette appears.

1414

Brackets: Notes
This entry contains information on creating a bracket ([) used to indicate that several notes are to be
played with the same hand (piano music) or by a divisi orchestral section (string music). For information
on brackets that connect staves, see Brackets: Staves. For information on triplet (and other tuplet)
brackets, see Tuplets.

A bracket that encloses a group of notes is created as an expression in the Shape Designer.

To create a note bracket

To create a note bracket, use the Smart Shape Tool.
1.

Click the Smart Shape Tool

2.

Ctrl-click the Custom Line Tool

3.

Click Create.

.
. The Smart Line Designer dialog box appears.

4.

Set the desired thickness (you might try 0.0215 inches).

5.

In the End Point section, for Start and End, select Hook.

6.

Enter the desired hook length (you might try 0.04167) inches.

7.

Click OK and then Select.

8.

Double-click and drag to create a Smart Shape bracket in the desired location.

Hold down Shift, and then double-click and drag up or down to create a vertical bracket. The direction of
the hooks depend on whether you drag up or down.

1415

Brackets: Staves
You use the Staff Tool to place staff brackets (including curly braces on piano staves) into the
document. Add brackets to staves by grouping the staves. Drag the top or the bottom handles of a
bracket to stretch it, or to change its distance from the staves. To create nested brackets (one bracket
within another), group each set of staves that you want the brackets to enclose. Staves can belong to
more than one group. You can also create floating brackets, unattached to any staves and placed
anywhere in the document, for certain modern pieces that require them.
Note that Finales Setup Wizard automatically
generates brackets based on your staff selection.
Brackets are also pre-defined in Finales template
files.
After a system has been optimized, edits to groups and brackets only apply to that system. To edit
groups and brackets on optimized systems en mass, use the Update Groups and Brackets plug-in.

To place a bracket on grouped staves

Finale allows you to define only one bracket for each group you create. However, if you want to place
more than one bracket on a group, theres an easy way to do so. See To create additional (nested)
brackets, below.
1.

Click the Staff Tool

2.

If you havent yet created the group, do so now. See GroupsTo group staves.

3.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. Or, double-click
a group handle. (Or, choose Edit Group Attributes from the Staff Menu without selecting a group.)
The Group Attributes dialog box appears. To display the attributes of another group, click the arrow
controls to select another Group ID number.

4.

Click one of the bracket styles in the Group Attributes dialog box to select the style you want
to use for the group.

5.

Specify the position of the bracket in relation to the group. In the Distance from Left Edge of
Staff text box, enter the distance, in measurement units, that Finale should place the bracket from
the left edge of the staff. A negative number moves the bracket to the left. Enter numbers into the
Vertical Adjust (Top of Bracket) and Vertical Adjust (Bottom of Bracket) text boxes for the distance 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. To align the brackets ends evenly with the top and bottom lines of the
group, enter a value of zero. A positive number for either option moves the brackets end upward.

6.

Click OK to add the bracket and dismiss the dialog box.

. The Staff Menu appears.

To move or stretch a bracket

1.

Click the Staff Tool

2.

Drag the bottom handle up or down. Drag the top handle left, right, up, or down. When you
drag the top handle horizontally, the entire bracket moves. When you drag either handle vertically,
you can make it appear to enclose even non-grouped staves.

. Handles appear on every group bracket in the document.

3.

Select a bracket handle and press backspace to revert a bracket to its default length (so it
encloses the staves of a group).

To correct bracket display

In the course of creating a document, you may have added or dragged staves between existing staves.
Such changes could have unexpected results, especially concerning the appearance of your brackets. If
a bracket doesnt appear to be drawn correctly, you can usually solve the problem with this technique.

1416

1.

Click the Staff Tool

. The Staff Menu appears.

2.

Choose Sort Staves from the Staff Menu to restore their appearance, based on the new staff
order.

To delete a bracket from a group

1.

Click the Staff Tool

2.

To delete a bracket on-screen, click a bracket handle, then press delete.

3.

Or, click a group handle, then choose Edit Group Attributes from the Staff Menu. (Or, doubleclick a group handle.) Or, choose Edit Group Attributes from the Staff Menu without selecting a
group. The Group Attributes dialog box appears. To display the attributes of another group, click the
spin controls to select another Group ID number.

4.

Select None from the Bracket palette, then click OK. Finale removes the bracket from the group.

To create additional (nested) brackets

Finale allows you to define only one bracket for each group using the Group Attributes dialog box.
However, you can still place more than one bracket on staves. Simply create additional groups for the
same staves, choosing a different bracket style for each group. This has the advantage that each bracket
is automatically sized to match its corresponding group.
Create a new group that contains the staves that you want the bracket to enclose, then choose a
bracket for the new group. See To place a bracket on grouped staves earlier in this section.

To modify brackets on a system-by-system basis

You can avoid showing a bracket on a group containing a single staff, such as a solo line. If you dont
want a bracket to appear, make sure that Show Bracket If Group Only Contains One Staff is not selected
in the Group Attributes dialog box.
However, there may be situations where you need the bracket configuration to change from one staff
system to another. If you optimize the system (remove any empty staves), youll find that you can use the
Staff Tool in Page View to rearrange and re-bracket the staves on a system-by-system basis. For details
on staff optimization, see Optimizing systems.
1.

Choose Page View from the View Menu. Two handles appear on staves that have been optimized.

2.

Drag to adjust the bracket for the staff system. Or, double-click the group handle for that staff
system that you want to change, change the bracket as needed, then click OK. (For instructions, see
GroupsTo group staves, and To place a bracket on grouped staves, above). Any changes you
make will appear only in the single, optimized, staff system.

After a system has been optimized, edits to groups and brackets only apply to that system. To edit
groups and brackets on optimized systems en mass, use the Update Groups and Brackets plug-in.

To create floating brackets

A floating bracket is unattached to any particular staff; it can appear anywhere on the page. Finale
considers such a bracket purely graphic, you can use the Expression Tool to place it.
Floating brackets can be especially useful when you need to enclose a group of lyric verses, as shown:

1417

1.

Click the Expression Tool

2.

Double-click on, above, or below the note to which you want to attach the bracket. The
Expression Selection dialog box appears.

3.

Click Create, and then select the Shape radio button.

4.

Click Create. You arrive at the Shape Designer dialog box.

5.

Choose Bracket Style from the Shape Designer Menu, and double-click the bracket style you
want.

6.

, and then click in the drawing area. A bracket appears. To adjust its
Click the Bracket Tool
height or width, click the Selection (arrow) Tool, click the bracket, and drag its bounding handles.

7.

Click OK, OK, Select to return to the score. You can stretch or move the bracket as needed (see
below).

To move, stretch, or delete a floating bracket

1.

To move or delete the bracket, click the Expression tool. Click the note or measure to which
the bracket is attached. Its handle appears.

2.

Drag the handle to move the entire bracket. Click the handle and press delete to remove it. To
stretch the bracket, double-click the handle, and drag one of the eight bounding handles that appear.
To completely reshape the bracket, double-click it a second time, and drag its individual control-point
handles.

1418

Breath marks
In Finale, a breath mark, or luftpause (
), is an Articulation; see Articulations. When you create a
breath mark using the Articulation Designer dialog box, you can use the H: and V: positioning text boxes
to place it automatically just to the right of the note its attached to.

1419

Cadenzas
A cadenzaan unmeasured, free, often improvisatory solo passagepresents several notational
challenges. First, the notes are often smaller than usual; see Cue notes for instructions. Second, there
may be many more notes within a measure than the time signature would normally allow. There are
different ways of creating a cadenza, but here are two of the most popular approaches.

To permit unlimited notes in one measure (Time Signature method)

Using this method, you can enter as many notes as you need and modify them easily later. With this
method, you can also create inner voices that line up with each other.
1.

Click the Time Signature Tool

Signature dialog box appears.

2.

Click the top right scroll bar arrow to increase the number of beats in the measure until it
equals the total number of beats in the cadenza. For example, a 54/4 measure.

3.

Click OK. A time signature appears in the cadenza measure and the next measure.

4.

; double-click the barline handle of the cadenza measure. The

Click the Measure Tool
Measure Attributes dialog box appears.

, and double-click the cadenza measure. The Time

5.

From the Time Signature drop-down list, choose Always Hide.

6.

Click OK (or press enter). Repeat for the measure after the cadenza.

To permit unlimited notes in one measure (Position Notes Evenly

method)
Using this method, you can make Finale space an unlimited number of notes evenly in a measure,
regardless of the meter.
1.

; double-click the barline handle of the cadenza measure. The

Click the Measure Tool
Measure Attributes dialog box appears.

2.

Select Position Notes Evenly Across Measure. If you want to hide the ending barline (to continue
the cadenza onto the next line), click the Invisible barline icon.

3.

Click OK (or press enter). Enter the music into the modified measure with the Speedy Entry Tool,
after making sure youve turned Jump to Next Measure off (in the Speedy Menu). Use the slash (/)
key to break or create beams within the cadenza. When you exit the measure, the There Are Too
Many Beats alert box appears; simply press enter (Make sure that Leave the Measure Alone is
selected).

See Also
Time Signature
Measure Tool
Measure Attributes

1420

Cesuras
In Finale, a cesura, or railroad track (

) is an Articulation; see Articulations.

Tip: If you make a habit of attaching a cesura to

the note that precedes it, youll always remember
where to click in order to see its handle. When you
create a cesura using the Articulation Designer
dialog box, you can use the H: and V: positioning
text boxes to place it automatically just to the right
of the note its attached to.

1421

Channel Pressure
Channel Pressure is a type of MIDI information, also called monophonic aftertouch, that describes how
much pressure you apply to a key while its being held down. Finale lets you record, edit, and play back
Channel Pressure information. (Channel Pressure data describes the overall pressure level for an entire
MIDI channel at any moment. Contrast with Key Pressure data, which describes the pressure being
applied to each individual key; some MIDI devices respond to this kind of data. Finale records and plays
back Key Pressure data, but you cant edit it.)
When you record a performance with the Transcription Mode of HyperScribe, you can specify whether or
not you want Finale to retain your Channel Pressure data so that you can later hear it applied to the
playback of your transcription. For a full description of captured MIDI information, see Tutorials.

To retain Channel Pressure data for score playback

Record a performance in Hyperscribe. To record continuous data, see Record Continuous Data
dialog box.

To edit Channel Pressure data

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool

2.

Select the region whose playback data you want to edit. Click to select one measure, shift-click
to select additional measures, drag-enclosed 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.

3.

Choose Continuous Data from the MIDI Tool Menu. Click Channel Pressure; click OK.
If you want to edit only one staff, double-click the highlighted region to enter the MIDI Tool splitwindow. Drag through the display area above the notes whose Channel Pressure you want to edit.

4.

Edit the selected region by choosing the appropriate command from the MIDI Tool Menu.
Choose Set To to specify a uniform value for the Channel Pressure of all notes in the selected
region. Choose Scale to create a gradual change in Channel Pressure values over the selected
region. Choose Add to add a positive or negative amount to all notes in the selected region. Choose
Percent Alter to change the Channel Pressure values in the selected region by a percentage of their
original amounts. Choose Limit to specify a maximum or minimum Channel Pressure value for the
notes in the selected region. (See also Set to dialog box; Scale dialog box; Add dialog box; Percent
Alteration dialog box; Limit dialog box.)

To copy or erase controller data

See MIDI To copy or erase captured (or edited) MIDI data.

1422

Character names
Character names (opera, musical theater) are Text Expressions entered into your score as expressions.
Once youve created these markings, you can save them into a Text Expression Library so that you can
use them in other documents.
For full instructions for adding text markings to your score, see Expressions To create Expression
Metatools.Expressions . You may save time, when adding character names to your score, if you assign
each name to a Metatool (a one-key shortcut); see

1423

Choral music
See also Hymns; Lyrics.
There are no specific instructions for working with choral scores, only a few tips.
Work from one of the Setup Wizard's choral Document Styles, a template (a blank, preformatted
documentin your Templates folder), or one of your own design. This way, youll save yourself the
trouble of reconstructing the system each time you create a new document with the same format.
To enter choral music quickly, such as SATB (soprano, alto, tenor bass) parts: Use the Simple Entry,
Speedy Entry, or HyperScribe Tool (see Simple Entry, Speedy Entry or Recording with HyperScribe) to
create the music as a series of four-note chords on one staff. Then use Finales Explode Music command
to strip the chordal passage into four separate one-line staves. See Exploding music for instructions.
If the choir sings a section of homophonic musicwhere all voices sing the same rhythms and same
wordsuse the Clone Lyric command in the Lyrics Menu to copy lyrics from one line to another. This
way, if you need to change a lyric, you only have to edit it once (in a single Edit Lyrics window) and the
change will ripple through all vocal parts.
For setting alignment and justification of syllables with word extensions throughout the document see
Document Options-Lyrics.
The tenor part is often notated an octave higher than it sounds. Use the Staff Attributes Tool to make the
tenor staff a transposing part (see Transposing instruments) or use the Treble 8vb clef for that staff (see
Clefs).
Remember the Piano Reduction plug-in if you want to create a piano reduction. See Piano Reduction
Plug-in.)

1424

Chord symbols
Finales chord symbols are intelligent with
respect to key; if you decide to change
the key, the chord symbols are
automatically transposed. Similarly, if you
copy chord symbols to a passage in
another key, theyll be transposed when
you paste them. Even Finales guitar fretboard diagrams, which can be created automatically, transpose
according to the key.
If youre going to add chord symbols to your score, you should prepare in two ways. First, load (or build)
a Chord Suffix Library (unless youre working from the Maestro Font Default file). Second, choose a font
for the chord letter names. (The font for the suffixes is determined by the Chord Suffix Library you use in
your Libraries folder. You can change chord suffix fonts either globally, by region, or one by one; see the
appropriate sub-entries. See Fonts and Document Options-Fonts for help in choosing fonts to meet your
needs.)
Note that Finale offers two systems of chord
labeling. The primary method operates according
to the standard rules of chord theory and allows
Finale to recognize almost any kind of chord it
encountersmajor, minor, augmented, diminished,
suspended, sevenths, ninths, elevenths, and so
on, even with alternate bass notes.
Occasionally, however, youll want to create a chord that Finale doesnt ordinarily recognize, such as C
V/11, or youll want Finale to think of a certain chord in a different way. For example, where Finale
displays Am7/C, you may prefer C6. For these situations, you can use Finales second system of creating
chords: you can create a learned chord, a symbol that youve defined to represent a particular pattern of
notes. Once youve defined a learned chord, Finale will correctly identify it in the future, regardless of the
voicing or register, and automatically display the correct symbol. Instructions for creating and editing
learned chords appear below.
Note, however, that Finale will only recognize a learned chord if the root of the chord falls 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 wont recognize F6 or G6 in the same key. It will, however, 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. In other words, its sometimes
helpful to define the same learned chord for several different scale degrees within a single keysuch as
C6, F6, and G6 in the key of C.

To enter chord symbols automatically

Youre about to learn three different methods for adding chord symbols to your score; all three depend on
Finales intelligence in recognizing patterns of notes. Occasionally, you may encounter a dialog box
telling you that Finale doesnt recognize the chord you just played (or the chord it just analyzed).
If you click the Ill Do It button, Finale displays the Chord Definition dialog box; construct the chord as
described in To enter a chord symbol manually by typing numbers, below. At that point, you will be
building a learned chord; in other words, Finale will recognize the chord the next time. Read the
introduction to this entry for details on learned chords.
If you click Let Finale Do It instead, Finale will construct the correct suffix automatically, displaying the
chord symbol on the screen and adding its suffix to its current library of chord suffixes. If you dont care
for Finales labeling of a chord (for example, if it calls a chord Gm7 but you prefer G7), you can edit
the chord suffix (see To edit a chord suffix).
If, however, you disagree with Finales analysis of a chord (for example, if it calls a chord Am7/C but you
prefer C6), remove the chord symbol from the score (see To move and delete chord symbols). Then

1425

teach Finale how youd like the chord to be recognized henceforth (as a learned chord), using the
procedure described below in To teach Finale learned chords, and reenter the chord.
. The Chord Menu appears.

1.

Click the Chord Tool

2.

If you want to add chord symbols to the score by playing them, one by one, on a MIDI
keyboard, choose MIDI Input from the Chord Menu, and then click a note or rest in the score.
The ear-shaped cursor appears, indicating that Finale is listening to your MIDI instrument.
(Technically, you cant add a chord symbol to an empty measure. But see To enter a chord symbol
when theres no note below it.)

3.

If you want Finale to analyze a chord notated in the score, choose One-Staff Analysis from
the Chord Menu, and then click the chord. Finale immediately analyzes the chord you clicked,
and places the chord symbol into the score. Click again on each note for which you want a chord
symbol to appear.

To enter chords (Type Into Score)

1.

Click the Chord Tool

. The Chord Menu appears.

2.

Choose Type Into Score from the Chord Menu.

3.

Click on the note on which you want the chord to appear. A cursor appears above the note,
aligned with the chord positioning triangles.

4.

Type the chord that you want to appear in the score, such as BbM7/C. Type an underscore
(shift-hyphen) instead of a slash if you want the alternate bass note (C in this example) placed under
the root.

5.

An alternate method of entering suffixes is to type a colon followed by the slot number of the
suffix shown in the Chord Suffix Selection dialog box. Or, type a colon followed by zero. If you
type a slot number, Finale displays the corresponding suffix from the Chord Suffix Selection dialog
box. If you type a zero, the Chord Suffix Selection dialog box appears, where you can choose a
suffix.

1426

Note: Regardless of the chord style selected in the

Chord Style submenu, you must type letters (C, D,
E and so on) for the chord root and alternate bass
note. Finale will not accept Roman numerals (I, IV,
V and so on) or scale degrees typed into the score.
For example, when Roman is selected (a
checkmark appears next to Roman in the Chord
Style submenu), youd type the letter F to display
IV in the key of C Major.
6.

Type uppercase letters unless you want the root and alternate bass note to use lowercase
letters. For example, Roman numerals typically indicate quality (I for Major, ii for minor), so in the
key of C Major, youd type a lowercase d to display ii in the score (as opposed to II that appears
if you type an uppercase D).
Tip: Use the Caps Lock key when you know you
want only uppercase chords.

1427

7.

Press enter to accept the change. Or, press spacebar, tab, or shift-right arrow to move to the next
entry, or click the next note on which you want a chord to appear. To move to the previous entry,
press shift-spacebar, shift-tab, or shift-left arrow.
If Finale doesnt recognize the suffix a dialog box appears in which you can choose to add the
suffix to the chord suffix library.

8.

If you want to enter or edit another alternate chord on the same note, press the up or down
arrows.

9.

Continue entering the chords in this manner.

To edit chords (Type Into Score)

1.

Click the Chord Tool

2.

Choose Type Into Score from the Chord Menu.

. The Chord Menu appears.

3.

Click on the note containing the chord you want to edit.

4.

If more than one chord is assigned to the same note, press the up and down arrows to select
the chord you want to edit.

5.

Select the portion of the chord you want to change, and type the change.

6.

Press enter to accept the change. Or, press spacebar, tab, or shift-right arrow to move to the next
entry, or click the next note on which you want a chord to appear. To move to the previous entry,
press shift-spacebar, shift-tab, or shift-left arrow.
If Finale doesnt recognize the suffix a dialog box appears in which you can choose to add the
suffix to the chord suffix library.

To enter a chord symbol manually by typing numbers

1.

Click the Chord Tool

. From the Chord Menu, choose Manual Input.

2.

Click the note or rest on which the chord symbol is to be centered. The Chord Definition dialog
box appears.

3.

Click on the Show Advanced button. The dialog box expands to show the Number Definition.

4.

Enter the root scale tone number. If theres a different bass note, click Alternate Bass and
enter its scale tone in the Alternate Bass text box. For an F/G chord in the key of C, for example,
the Root Scale Tone (F) is 4, the Alternate Bass is 5.

1428

5.

If you need to alter the scale degree chromatically, type a number into the Alteration boxes. This
number, positive or negative, alters the scale tone by half steps. To create an A chord in the key of
F, for example, the Root Scale Tone is 3 (the third note of the scale) and the Alteration is 1.
Note the Alteration box is especially important if you want a chord symbol thats out of the key and
Simplify Spelling is turned on in the Chord Menu. Suppose, for example, that youre in the key of A,
but you want an A flat chord symbol. You might assume that entering a scale degree of 1 (A) and
an Alteration of 1 would do the trickbut in fact, youd get a G chord symbol. To solve the
problem, enter 2 in the Root box, and 3 in the Alteration box. In effect, you get an A flat chord
symbol by specifying a B triple-flat.

7.

Click Select button next to Suffix. The Chord Suffix Selection box appears. If you have loaded or
created a Chord Suffix Library, the suffixes appear here.

8.

Double-click the desired suffix. If there are no suffixes in the palette, either click Create to create a
new suffix, or load a chord-suffix library, as described in To create or load a Chord Suffix Library.
If you dont want the chord symbol to play back, uncheck the appropriate Play box.

9.

Click OK (or press enter).

To enter a chord symbol manually with MIDI data input

Instead of creating a chord symbol by typing numbers and clicking a chord suffix, you can play this data
from your MIDI keyboard.
1.

Click the Chord Tool

2.

Click the note or rest on which the chord symbol is to be centered. The Chord Definition dialog
box appears.

3.

Click the Listen box at the top right side of the box. Play the root scale tone on your
synthesizer. Finale automatically fills in the Root Scale Tone and Alteration text boxes for you.

4.

Click the second Listen button. Play the bass note on your synthesizer. If the bass note is
different from the root, Finale fills in the Alternate Bass text boxes.

5.

Click the third Listen button. Play the rest of the chord on your synthesizer. Finale will only fill
in the Suffix ID if it recognizes the suffixin other words, if it matches a suffix definition in its Chord
Suffix Library. (If no library has been loaded, or if Finale doesnt find a match, nothing happens.)

6.

Click OK (or press enter).

. Choose Manual Input from the Chord Menu.

To edit chords (Manual Input)

1.

Click the Chord Tool

. The Chord Menu appears.

2.

Choose Manual Input from the Chord Menu.

3.

Click on the note that contains the chord you want to edit.

4.

Double-click the handle of the chord. The Chord Definition dialog box appears.

5.

Make the necessary changes in the Chord Definition dialog box. To force the root or alternate
bass to appear in lowercase, click Lowercase to select it. If you want the root or alternate bass to
appear in uppercase, make sure that Lowercase is not selected.

6.

Click OK to return to the document, where the changes now appear.

To edit a chord suffix

When you edit a chord suffix, the changes you make affect every occurrence of this chord suffix in the
score.
1.

Click the Chord Tool

. Choose Manual Input from the Chord Menu.

2.

Click the note to which the chord is attached. Its handle appears.

3.

Double-click the handle. The Chord Definition dialog box appears.

1429

4.

Click Chord Suffix ID. The Chord Suffix Editor appears. In this window, you edit each character in
the chord suffix individually, moving from one to the next with the Prev and Next buttons.

5.

Change a character by editing the Symbol box. You can only type one letter at a time into this
text box, unless you select Number, which lets you type a multidigit number into the box. Instead of
typing a character into the Symbol box, you can simply click Symbol, and youll see the complete
palette of characters for the selected font.
Note that you can prefix any chunk in the suffix box with a +, -,
and select the appropriate button.

or

character: click Prefix With

6.

Change the type style of the current character by clicking Set Font. Remember, you must set
the font for each character individually. Be careful to match this chord suffix font with a
complementary chord root font (which you choose in Document Options-Fonts. From the Document
Menu, choose Document Options and select Fonts). You can also change the font for all chord
symbols in a piece; see To change chord symbol fonts.

7.

Adjust the position of a character by dragging its handle. To produce its handle, you must be
editing this character (move from one to the next with the Prev and Next buttons). Alternatively, you
can type coordinates into the H: (how far to the right?) and V: (how high up?) boxes. The units are
whatever youve selected using the Measurement Units command (Edit Menu). (The numbers you
type, however, wont affect the display until you click the Update box.)
If youre having trouble positioning a character because the square handle obscures it, de-select
the Show Handles checkbox. The handles become invisible but are still draggablejust click
where a handle used to be.

8.

Define the voicing this suffix is to use for playback by clicking Set Play. The Suffix Keynumber
Offsets box appears, presenting a series of text boxes into which you can type the numbers that
represent the notes of the suffix, as measured in half steps from the root. A quick way to enter this
data is to click Listen; Finale displays a message asking you to play the root of the chord, so it will
have a point of reference from which to compute the keynumber offsets. Immediately after you do so,
Finale tells you that its still listening; now play the suffix itself. Finale enters the appropriate numbers
in the text boxes. SeeSuffix Keynumber Offsets dialog box.
Remember that even though you just played a specific root and voicing, this suffix will remember
the voicing no matter what its rootyou define the playback voicing for your Fmaj7, Emaj7, and
Cmaj7 chords all at once, for example.

To teach Finale learned chords

(For a full description of learned chords, see Chord symbols. These instructions describe how to teach
Finale several learned chords before you enter them with either of the automatic chord symbol entry
methods described above. Of course, you can always create a learned chord while youre entering chord
symbols; when Finale displays its Unknown Chord SuffixFinale cannot find a match dialog box, click Ill
Do It. The chord you then construct in the Chord Suffix Editor dialog box is a learned chord.)
If you plan to enter chords from your MIDI keyboard (or by letting Finale analyze existing chords in the
score), you can save time by anticipating the learned chords youll need to teach Finale. For example, if
your piece contains V11 chords (such as F/G or Dm7/G), major sixth chords, or any chords with
nonstandard names (C2, for example), use this method to teach them to Finale before you enter them.
Once Finale has learned such chords, it will automatically display the proper symbol when it encounters
them (via MIDI or by analyzing the notes in the score).
1.

, and choose Edit Learned Chords from the Chord Menu. The Edit
Click the Chord Tool
Learned Chords dialog box appears. Remember that Finale always associates a learned chord with
a particular scale degree; therefore, if the key signature in the display isnt the correct one for the
music to which youll be adding chord symbols, click the Set Key button and specify the correct key,
so that Finale will be able to recognize the new chord in the correct context.

2.

Click Learn. Finale asks you to play the chord on your MIDI keyboard.

3.

Play the chord. What counts is the bass note and the selection of pitches in the chord; the voicing
and the octave register dont matter. As soon as you play the chord, Finale displays the Chord
Definition dialog box, where you can build the actual chord symbol you want to associate with the
pattern of notes you just played.

1430

4.

Construct the chord symbol in the usual way. Click OK (or press enter). See To enter a chord
symbol manually by typing numbers or To enter a chord symbol manually with MIDI data input, for
instructions in the use of the Chord Definition dialog box.
When you return to the Edit Learned Chords dialog box, you can once again click Learn to repeat
the process, teaching Finale as many new chord symbols as you want. Note that Finale stores
learned chords along with regular Chord Suffixes in a Chord Suffix Library (see To create or load a
Chord Suffix Library). Therefore, you can load the learned chords you create in one document into
another one without having to redefine them.

5.

Click OK (or press enter). The next time you add chord symbols to your score using Finales
automatic (MIDI or note-analysis) methods, Finale will recognize the chord youve just taught it, and
it will display the chord symbol youve told Finale to use. (Finale will also recognize the learned chord
in other keysbut only if it falls on the same scale degree. That is, if you teach Finale to recognize
Csus2 in the key of C, it will also recognize Fsus2 in the key of Fbut it wont recognize Fsus2 in the
key of C, unless you teach it that chord too.)

To edit or delete a learned chord

1.

Click the Chord Tool

, and choose Edit Learned Chords from the Chord Menu. The Edit
Learned Chords dialog box appears.

2.

Click Find. Finale asks you to play the learned chord you want to edit. (If you prefer to locate the
chord you want to edit by scrolling through the existing learned chords, click the Prev and Next
buttons until it appears in the display.)

3.

Play the chord. If Finale recognizes what you played as a learned chord that it already knows, the
corresponding chord symbol appears in the display. (If Finale doesnt recognize the chord you
played, it will tell you so, and offer you the option of adding it to its existing bank of learned chords.)
At this point you can edit the chord in one of several ways. To delete it, click Delete. To edit the
chord symbol itself, click Edit to enter the Chord Definition dialog box.

4.

When youre finished editing, click OK (or press enter).

To move and delete chord symbols

1.

Click the Chord Tool

2.

Click the staff containing the chord symbols. Four small arrows appear at the left edge of the
screen. These arrows control the baseline for the chord symbolsthe line against which the bottoms
of the chord symbols align. (Make sure Position Chords is selected in the Chord Menu.)

. If it is not already selected, choose Manual Input from the Chord Menu.

3.

If you want to move more than one chord symbol, drag the positioning triangles up or down.
Drag the first (leftmost) triangle up or down to move all the chords in the piece. Drag the second
triangle to move the chords 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 doesnt move any existing chord symbols; instead, it sets the position for the next
one you enter.

4.

If you want to move a single chord symbol, click the note to which its attached. The chords
handle appears.

5.

Drag the handle to move the chord. Select it and press the arrow keys to nudge it for fine
positioning; select it and press delete to remove it.

To transpose chord symbols

Finales chord symbols are intelligent enough to transpose automatically when you change the key
signature; a Cmaj7 in the key of C will become an Fmaj7 in the key of F.
If you inadvertently enter chord symbols before setting the key signature, however, you can use the
following method to transpose the chord symbols independently of the key and the existing music.
1.

Click the Selection Tool

, and select the region containing the chord symbols that you
want to transpose. See Selecting music for some region-selecting shortcuts.

1431

2.

From the Utilities Menu, choose Change, then Chord Assignments. The Change Chord
Assignments dialog box appears.

3.

Click Transpose. The Transposition dialog box appears.

4.

Specify the interval by which you want the chord symbols transposed, and click OK. Click OK
again.

To enter a chord symbol when theres no note below it

Thus far, youve seen that chord symbols must be attached to a note or rest (except that you cant attach
them to Finales default whole rests). There will certainly be times, however, when you want to put a
chord symbol where no note appearssuch as several chord symbols over a single whole note, or even
over a blank measure.
Begin by entering the whole note (or whatever notes you want to appear) in Layer 1 (or 2 or 3). If youve
already entered them in the Layer 4, its easy to send them into another layer; see To move music from
one layer to another. Once youve emptied Layer 4, proceed as follows:
1.

Enter dummy notes in Layer 4, one for each chord symbol youll want to add. It makes no
difference what pitches you select; these notes won't appear.

2.

Attach chord symbols to the dummy notes in the usual way. See To enter chord symbols
automatically.

3.

Click the Staff Tool s, and select the dummy measures.

4.

Select Apply Staff Styles from the Staff Menu. The Apply Staff Styles dialog box appears.

5.

Select Blank Notation - Layer 4, and click OK (or press enter). The dummy notes vanish, and
your chord symbols remain in place. Using the Speedy Entry Tool, however, you can still view your
hidden Layer 4 notes (for spacing purposes, for example). For more information about creating Staff
Styles, see Staff styles.

In Layer 4, add some dummy notes, and attach your chord symbols to them. In the Layer 1 (or 2 or 3),
enter the whole note (or whatever music you want ultimately to appear). When you apply Blank Notation
to Layer 4, the notes disappear, leaving the chord symbols behind.

To erase chords from a region

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

Choose Clear Items from the Edit Menu. The Clear Items dialog box appears, listing two
categories of items to clear: Measures and Entries.

3.

Click Only the Selected Items, then Entries, then Chords.

4.

Click OK (or press enter) twice. Finale erases the chord symbols.

To copy chords from one region to another

In this discussion, the source region is the music that currently contain the chords, and the target region
is the music to which you want to copy them.

1432

1.

Click the Selection Tool

box appears.

. Choose Edit Filter from the Edit Menu. The Entry Items dialog

2.

Select Chords (only). Click OK.

3.

Select the source region. See Selecting music for some region-selecting shortcuts.

4.

Drag the highlighted region so that its superimposed on the beginning of the target region. If
the target passage is offscreen, scroll to it; then, while pressing ctrl and shift simultaneously, click it.
If youre copying chords horizontally, the Copy Measures dialog box appears.Specify the number of
times you want the chords copied, and click OK.
Finale only places chords on notes that fall on the same beats as they did in the source measures.
The chords will automatically transpose if the source and target passages are in different keys.

To change the display or position of all chord symbols in a region

See To prevent chord symbols from playing back and Change Chord Assignments.

To prevent chord symbols from playing back

When you create a chord symbol, the Play checkboxes in its Chord Definition window are initially
selectedin other words, the chord will play back unless you specify otherwise. Unchecking the Play
checkboxes for each chord symbol would be one way to prevent the chords from playing, but its a
technique best used on a case-by-case basis. To prevent all chord symbols from playing back, use the
following technique.
1.

From the Window Menu, choose Instrument List. The Instrument List appears.

2.

Click on the arrow next to the name of the staff that has chords attached. The list expands to
display the components of the staff, including Chords.

3.

Click the square next to Chords in the P column. The chord symbols will no longer playback from
this staff.

To program a chord symbol Metatool

You can assign a complete chord symbol to each of the number keys and each of the letter key on your
keyboard, for use as described below in To enter a chord using a Metatool.
1.

Click the Chord Tool

. While pressing shift, press a number or letter key. The Chord
Definition dialog box appears.

2.

Define the chord. See To enter a chord symbol manually by typing numbers and To enter a chord
symbol manually with MIDI data input for full instructions on creating chord symbols.

3.

Click OK (or press enter). When you return to the document, it will appear as though nothing has
happened. In fact, you have prepared Finale to enter the chord you just described whenever you use
the Metatool.

To enter a chord using a Metatool

This example assumes that you have programmed a Chord Symbol Metatool (see above).
1.

Click the Chord Tool

2.

While pressing the number or letter key corresponding to the desired Metatool, click a note or
rest. The chord symbol appears. Using this method, you can rapidly click fully-formed chord symbols
into your score. (You still cant enter a chord symbol over a default whole rest, however.)

To create or load a Chord Suffix Library

Once youve created or edited chord suffixes (or taught Finale to recognize learned chords) in a
document, you can save them in a separate library with its own title and icon on your hard disk. The next
time you want to add chord symbols to a piece, you can load this library, thus saving yourself the time it
would take to create or edit the chord symbols (or learned chords) again.

1433

1.

To make a Chord Suffix Library of the chord suffixes and learned chords in a piece, choose
Save Library from the File Menu. The Save Library dialog box appears.

2.

Click Chord Suffixes, and then click OK (or press enter). Youre then asked to title the new
library.

3.

Type in a title and click OK (or press enter). The next time you want to add those chord symbols
to a piece, simply load the library you just created (choose Load Library from the File Menu) and
enter chord symbols in the usual way.

To change chord symbol fonts

This entry provides a quick way to change the font and size of the chord symbols and suffixes in your
entire piece.
1.

To change the font for the chord-symbol letter name, from The Document Menu, choose
Document Options and select Fonts. The Font Options appear.

2.

Click Symbol. The Font dialog box appears. Youre about to choose a typeface for the root portion
of all chord symbols in the piecethat is, the C portion of Cmaj7.

3.

Make your type style selection; then click OK twice.

4.

To change the font for chord-symbol suffixes, click the Chord Tool
. Youre now going to
be changing the font for the suffixfor example, the maj7 portion of your chord symbols.

5.

From the Chord Menu, choose Change Chord Suffix Fonts. The Change Chord Suffix Fonts
dialog box appears.

6.

To change the entire library of chord suffixes at once, click the Set Font button in the lower
half of the screen. The FontFont dialog box appears, letting you specify new font, size, and style
characteristics for the suffixes.
To change one aspect of the suffixessuch as the sizeselect the appropriate checkbox in the
upper half of the Font dialog box. Click Set Font to specify which point size you want to replace
(such as all 12-point elements). Then repeat the process in the lower half of the Font dialog box,
this time clicking the lower Set Font button to specify a new point size.
Similarly, you can, in effect, search-and-replace for one specific type style and replace it with
another; Finale will leave suffixes in other type styles untouched. For example, in the upper half of
the Font dialog box, you could click Selected Fonts, then click all three checkboxes, click Set Font
and specify Times New RomanGeneva 12-point Plain. Repeat the process in the lower half of the
FontFont dialog box, but this time choose, for example, Helvetica 10-point Italic; Finale would
replace every occurrence of the former type style with the latter.
Finally, for best results, be sure that the Fix Chord Suffix Spacing checkbox is selected, so that
Finale automatically adjusts the individual characters in each chord suffix to compensate for the
new font and size.

7.

Select a type style, and then click OK. You return to the document, where Finale has changed the
font for your chord suffixes. Finale is smart enough, however, not to change any musical symbols
within the suffix, such as the

in F7 9.

To left-justify chord symbols above the notes

Generally, Finale centers each chord symbol above the note to which its attached. If you wish, you can
specify that each chord symbol be left-justified, so that the first letter of the chord name falls above the
note to which its attached.

Click the Chord Tool

. From the Chord Menu, choose Left-Align Chords. To restore the chords,
choose this command a second time.

To prevent changing the size of chord symbols attached to cue

notes
See To prevent attached lyrics and chord symbols from shrinking.

1434

See also:
Chord Tool

1435

Chords
This entry discusses chords as several notes played together. For information on chord symbols, see
Chord symbols.
To edit chords, you can use the Simple Entry Tool or the Speedy Entry Tool. You use the Special Tools
Tool if you want to rearrange the notes of a cluster chord.

To add notes to (or remove notes from) a chord

1.

Click the Speedy Entry Tool

2.

Position the insertion bar on the existing note or chord. Position the crossbar on the desired
pitch. You can position the cursors either by clicking or by using the arrow keys.

, and click the measure in question.

3.

Press enter or double-click (to add a note where none exists), or press backspace or shiftdelete (to remove the note from the chord).

To change the pitch of a chord

1.

Click the Speedy Entry Tool

, and click the measure in question.

2.

To change the pitch of a single note within the chord, drag it up or down.

3.

To change the pitch of the entire chord, double-click one of its notes; on the second click,
hold the button down and drag the entire chord up or down.

To change the enharmonic spelling of a chord

1.

Click the Speedy Entry Tool

, and click the measure in question.

2.

Position the insertion bar on the chord. You can position it either by clicking or by using the arrow
keys.

3.

Position the crossbar on the note (to change a single pitch) or the stem (to change the
spelling of the entire chord).

4.

Press the 9 key. Each time you press 9, the note or chord changes its enharmonic spelling.

To rearrange the noteheads of a cluster chord

1.

Click the Special Tools Tool

, and click the measure in question.

2.

Click the Notehead Position Tool

3.

Drag the noteheads horizontally. If the handles are in your way, deselect Show Handles; the
handles are now invisible (but the notes are still draggable). If you make a mistake, click the handle
and press delete to restore the notehead to its default position.

. A handle appears on every notehead.

1436

Clefs
See also Courtesy clef changes.
The clefs in Finale are intelligent: if you change a clef, the music that follows it is
automatically renotated to reflect the change. Finale can use eighteen different kinds of
clefs per piece, shown below (see To design a new clef, below), but you can re-define
any of these symbols or their effects on the notated music.

To set the starting clef for a staff

This method is suggested when you are also setting up other attributes of the staff, such as its instrument
name and transposition. Keep in mind, though, that you can also use the Clef Tool (as described below)
to perform the same function.
, and then double-click the desired staff. The Staff Attributes dialog box

1.

Click the Staff Tool

appears.

2.

Click the Select button near the words First Clef. The Clef Selection dialog box appears.

3.

Double-click the clef you want. Click OK (or press enter).

To insert a clef change at the beginning of a measure

You can also use this method to set the clef at the beginning of a staff.
1.

. Double-click the measure where you want the clef to change. The
Click the Clef Tool
Change Clef dialog box appears.

2.

Click to highlight the clef you want.

3.

In the Measure__ Through __ text boxes, enter the measures you want to be affected by this
clef change. When you enter the dialog box, both text boxes show the current measure number. If
you want the clef to change all measures to the end of the piece, choose the second measure region
button in the dialog box.

4.

Click OK (or press enter).

To apply a clef change to a region of measures

1.

Click the Clef Tool

2.

Highlight a region of measures.

3.

Double-click the highlighted region. The Change Clef dialog box appears.

4.

Choose the new clef and click OK.

Also, after selecting a region, press the metatool key assigned to the clef you want apply to the
region. The clef change applies to the highlighted region. See Metatools.

To insert a mid-measure clef change

1.

Click the Clef Tool

2.

Highlight a measure region that begins where you would like to place the clef change. See
Selecting Music.

3.

Double-click the highlighted region (or press Enter). The Change Clef dialog box appears.

4.

Choose the new clef and click OK. You return to the document with the clefwhich now has a
handleat the beginning of the staff. Drag the clefs handle right or left to position it as desired. The
notes before and after it will be renotated automatically.

1437

To change a clef youve inserted in mid-measure

1.

Click the Clef Tool

2.

Double-click the handle; on the second click, hold the button down and drag left or right. As
you drag the clef, its identity cycles through the eighteen standard clefs.
Another way to edit the clef is to right-click its handle and choose Edit Clef Definition. You reenter
the Mid-Measure Clef dialog box, where you change the clef itself, its size, or its position.

To change the default clef

When you add a staff to the score, it initially appears with a treble clef. You can change this default clef,
so that any new staff appears with another clef.
1.

From the Document Menu, choose Document Options, then select Clefs. The Clef options
appear.

2.

Under the heading Default Clef Change, click Select. The Clef Selection dialog box appears.

3.

Double-click the desired default clef. Click OK (or press enter). Now any new staff you create
with the Staff Tool will appear with the default clef you specified.

To hide a clef
1.

Click the Clef Tool

. Double-click the measure where you want hide the clef. If you want to
hide a mid-measure clef, right-click the mid-measure clef handle. The Change Clef dialog box (or the
Mid-measure Clef dialog box) appears.

2.

Select Never in the Show Clef section.

3.

Click OK.

To design a new clef

Youre not limited to using the traditional clefs in Finale; you can create your own clef, using any symbol,
with any notational meaning. You can even create your own clef in the Shape Designer; see To design a
shape clef. Each document you create can have eighteen clefs; in order to create your own, therefore,
youll have to replace one of the eighteen default clefs. You can save your newly designed clef into a Clef
library, so you can use the same clef in new documents. See Save Library dialog box.
1.

From the Document Menu, choose Document Options, select Clefs, then click the Clef
Designer button. The Clef Designer dialog box appears.

2.

Click on the clef whose characteristics you want to alter.

3.

Next to Character, click Select. A palette of all available characters in the currently selected font
appears. To change the font for this clef, click on Set Font and choose a different font. To change the
font for all clefs, see Document Options-Fonts. If you dont see a font character you want, see To
design a shape clef.

4.

Double-click the desired symbol.

5.

Set the middle-C line for this clef by typing a number into the Middle C Position text box. A
value of zero places middle C on the top line of the staff; this number indicates the number of lines or
spaces that middle C is to be positioned away from this top line. For example, the treble clef, which
places middle C one ledger line below the staff, has a Middle C Position value of 10, because one
ledger line below the staff is ten lines and spaces down from the top line of the staff (whose number
is zero).

6.

Set the vertical positioning of the clef symbol by typing a number into the Clef Position text
box. This value, measured in lines and spaces, 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 is based on its musical meaning, and isnt quite the same as the baseline for regular text. For
example, the baseline of the treble clef isnt the bottom of the characterits the curl that sits 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.

1438

7.

If youre using a font other than Maestro, Petrucci, Engraver or Sonata, select Musical
Baseline Offset and type a value into the text box. This number sets the distance, in lines and
spaces, between the normal baseline for the clef (as defined in the previous step) and its vertical
position when it occurs as a clef change in the middle of the score, and hence at a reduced size.
Finale positions clefs automatically if the Maestro, Petrucci, Engraver or Sonata music font is
selected as the default music font, but symbols from a font you design yourself might require this
extra adjustment.

8.

Click OK (or press enter). From now on in this document, any time you access the palette of clefs,
youll see the new clef represented as one of the eighteen available. Any music that follows it will be
notated according to the definition of middle C (and the stem-flipper value) youve created. If you
want to use this clef in other documents, see Save Library dialog box.

To design a shape clef

Youre not limited to a shape found in a font; you can combine font characters, draw free-hand or mixand-match shapes. Each document you create can have eighteen clefs; in order to create your own,
therefore, youll have to replace one of the eighteen default clefs.
1.

From the Document Menu, choose Document Options, select Clefs, then click the Clef
Designer button. The Clef Designer dialog box appears.

2.

Click on the clef whose characteristics you want to alter.

3.

Set the middle-C line for this clef by typing a number into the Middle C Position text box. A
value of zero places middle C on the top line of the staff; this number indicates the number of lines or
spaces that middle C is to be positioned away from this top line. For example, the treble clef, which
places middle C one ledger line below the staff, has a Middle C Position value of 10, because one
ledger line below the staff is ten lines and spaces down from the top line of the staff (whose number
is zero).

4.

Set the vertical positioning of the clef symbol by typing a number into the Clef Position text
box. This value, measured in lines and spaces, 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 is based on its musical meaning, and isnt quite the same as the baseline for regular text. For
example, the baseline of the treble clef isnt the bottom of the characterits the curl that sits 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.

5.

Select Musical Baseline Offset and type a value into the text box. This number sets the
distance, in lines and spaces, between the normal baseline for the clef (as defined in the previous
step) and its vertical position when it occurs as a clef change in the middle of the score, and hence at
a reduced size.

6.

Click on Shape, then Select, then Create. The Shape Designer appears. Finale provides a
template of the staff lines, to give you an idea of size and position when your clef appears in the
score. A small origin circle marks where Finale will begin the clef horizontally and the Clef Position
vertically. Youll probably want to draw your shape close to the origin circle, unless you want extra
space before this clef. If you want to create extra space after this clef, insert a blank character to the
right of the clef. (For extra space before or after all clefs, see Document Options-Clefs.) To change
the line of the origin circle, see the Clef Position earlier in this text. To insert a text character, click on
the Shape Designer Menu and choose Set Font. Select a font, then return to the Shape Designer.
You can now click on the Text Tool, then click on the window to type a character in the selected font.
For more details about using the Shape Designer, see See Shape Designer.

7.

Press enter twice. You return to the Clef Designer dialog box.

8.

Click OK twice. You return to the document. From now on in this document, any time you access
the palette of clefs, youll see the new clef represented as one of the eighteen available. Any music
that follows it will be notated according to the definition of middle C (and the stem-flipper value)
youve created. If you want to use this clef in other documents, see Save Library dialog box.

To change the horizontal positioning of starting clefs

1.

From the Document Menu, choose Document Options, then select Clefs. The Clef options
appear.

1439

2.

Enter new values in the Spacing text boxes. There are two text boxes next to the word Clef, both
of which affect the horizontal placement of clefs throughout the piece. The Before text box
determines how much space Finale will insert between the left barline and the clef itself. The After
text box determines how much space will be between the clef and the key signature. The units are
whatever youve selected using the Measurement Units command (Edit Menu). (To change the
global vertical positioning of clefs, see To design a new clef, above.)

3.

Click OK (or press enter).

To globally change the position and size of inserted clefs

When the clef for a staff changes in mid-score, its customary to print that inserted clef at a slightly
reduced size. Depending on the symbol and font youre using, you may also need to adjust the reduced
clefs horizontal position (distance from the barline) on the staff. The vertical position of such a clef is
determined in the Clef Designer (see To design a new clef, above). Heres how to modify the
percentage reduction and position of an inserted clef.
1.

From the Document Menu, choose Document Options, then select Clefs. The Clef options
appear.

2.

Enter a new percentage value in the Default Clef Change/Percent text box. The number here is
the reduction (or enlargement) you want applied to an inserted clef, relative to 100% (normal size).

3.

To adjust the horizontal placement of an inserted clef, enter a new value in the Default Clef
Change/Offset text box. This number determines the distance between the clef and the following
barline or notes. (Again, the units are the currently-selected Measurement Units.) A negative number
moves the clef farther to the left.

4.

Click OK (or press enterr).

To specify the location of key-signature accidentals in a

nonstandard clef
If you create your own clef, you can specify which octave each accidental appears in as you cycle
through the circle of fifths. For example, on which F sharp line or space should the first sharp appear (in
the key of G)? To specify this parameter, see Accidental Octave Placement dialog box. See also, Middle
C Position in the Clef Designer dialog box.

1440

Click and Countoff

Use the settings in the Click and Countoff dialog box to define the metronome click played when youre
recording with HyperScribe or playing back using Playback Controls. Specify the number of measures, if
any, you want counted off prior to recording. Set when you want to hear a metronome click, whether a
MIDI note or a MIDI event will be played for the click, its exact sound, how hard the note should be
struck, its duration, and whether Finale should wait for a start signal before starting countoff and
recording. If you have selected Tap as your Beat Source Finale will ignore the settings in this dialog box.
For more information about click and countoff settings, see Click and Countoff dialog box.

To set up countoff measures and the metronome click (for Playback

and HyperScribe recording)
1.

From the MIDI/Audio Menu, choose Click and Countoff to display the Click and Countoff
dialog box.

2.

Choose an option from the Countoff drop-down list to set when Finale will provide a countoff
of measures before starting to record or play back. Choose Never if you never want a countoff;
choose Always if you always want a countoff when youre playing back and recording; choose While
Playing or While Recording if you want a countoff only while playing back or only while recording,
respectively. Finale will always sound a click when playing countoff measures.

3.

In the Measures text box, enter the number of measures that you want Finale to count off
before recording or playing back music. Enter zero if you dont want any countoff, 1 if you want
one measure counted off, 2 to hear two measures, and so on. If youre only playing back, Finale
uses the time signature of the first measure that youre playing back to determine the time signature
of the countoff measure. If youre recording, Finale uses the beat duration set in HyperScribes
Quantization dialog box.

4.

Choose an option from the Click drop-down list to determine when the metronome click will
play. Choose Never if you never want a click; choose Always if you always want a click when youre
playing back and recording; choose While Playing or While Recording if you want a click only while
playing back or only while recording, respectively. Regardless of this setting, Finale will always play
a metronome click during countoff measures.

5.

Choose Internal Speaker, MIDI Note or MIDI Data from the Source drop-down list, depending
on whether you want a MIDI note or MIDI event as the clicks. You can specify different MIDI
signals for the down beats and other beats. To have Finale automatically fill in the MIDI settings for
you, click Listen, then play the MIDI note or activate the MIDI event; Finale will fill in all the settings
for you, except for Duration. If you prefer, type the MIDI information into the text boxes. For details,
see Click and Countoff dialog box.

6.

Click OK to return to the document. When you record, Finale will use the settings you just made.

To setup a click with a non-percussion playback device

1.

From the MIDI/Audio Menu, choose MIDI Thru. The MIDI Thru dialog box appears.

2.

Click Smart and click OK.

3.

From the MIDI/Audio Menu, choose MIDI Setup. The MIDI Setup dialog box appears.

4.

Click the Advanced button. The MIDI Setup dialog box expands.

5.

In the first MIDI IN slot (above Hide Advanced Settings), select the driver for your MIDI IN
device (usually with MPU or MIDI IN in its name.)

6.

In the first MIDI OUT slot (above Hide Advanced Settings), select the driver for your MIDI OUT
device (usually with MPU or MIDI OUT in its name.)

7.

For the second MIDI OUT slot (below Hide Advanced Settings), select the driver for your
computer speakers (usually with the words Synth or FM in its name.)

8.

Set the base channel to 17. Click OK.

1441

9.

Click the HyperScribe Tool

. The HyperScribe Menu appears.

10. From the HyperScribe Menu, choose Beat Source, then Playback and/or Click.
11. Click on the Click and Countoff button. The Click and Countoff dialog box appears. See To setup
countoff measures and the metronome click (for Playback and HyperScribe Recording) above for
more details.
12. Enter 26 in the Note box for both Down Beats and Other Beats. Leave the other boxes in their
default values. See General MIDI Percussion Map Table for more information.

1442

Closed symbols
See Articulations.

1443

Coda
See also D.S/D.S. al Coda.
A coda is a musical tag, or extension, which usually follows the main body of the piece. The musicians
cue to jump to the coda is often marked by a marking like To coda
displays a notation like

, and the coda itself often

Coda.

You can place such markings into your score very easily if youre preparing your score for printout only
(without playback). With some additional steps, you can setup your coda markings to control the way
Finale plays back your score. When Finale encounters the To Coda marking, it will direct the playback
of your score to the measure displaying the

sign.

Note: To automatically create a separate coda

system, use the Create Coda System plug-in.

To place the
1.

sign, and a to coda sign in the score

Click the Repeat Tool

. Double-click the measure in which you want the coda sign to appear.
The Repeat Selection dialog box appears. If youve loaded a Text Repeat Libraryor if the Finale
Maestro Font Default file is in placeyou should see the

sign.

2.

If you dont see the marking, click Create; the Repeat Designer dialog box appears. While
pressing alt and shift, type 0222. Click Set Font, and set the font to Maestro 24 regular. Press
enter twice.

3.

sign. You arrive at the Text Repeat Assignment dialog box. If you are not
Double-click the
placing a working coda sign in you piece, click OK, and your task is complete, otherwise, continue
following the instructions. Note the Text Repeat ID number of the
. This indicator appears at the
top left of the dialog box, in the form Text Repeat ID: 7 (or whatever number Finale has assigned to
your coda sign). Youll need to remember this number for a moment.

4.

Click Never Jump (Mark). Youve just defined this text repeat to be a markin other words, a
marker to which Jumper text repeats (To Coda, in this example) will direct playback.

5.

Click OK (or press enter). The coda sign appears in all staves. See Repeats To move, hide, or
delete a text repeat. Once youve created a coda symbol and designed it for playback, you must now
place the To Coda sign somewhere in the main body of music. Follow these steps, to create a
functional text repeat that directs the playback of your score to the measure containing the coda
sign.

6.

. Double-click the last measure to be played before jumping to the coda.

Click the Repeat Tool
The Repeat Selection dialog box appears. If the To coda mark doesnt appear in the window: Click
Create and type To Coda #. (You create the number sign [#] by pressing shift and typing a 3.) Set
the font and style by clicking the Set Font button. Now select Replace # With: Text Repeat ID in
Target. In other words, when your To Coda # indication appears in the score, you want the # sign
to be replaced by the repeat mark itselfin this case, the

sign (To Coda

). Click OK (or

press enter). The To Coda

mark now appears in the list of Text Expressions See Repeat
Designer dialog box for more information regarding text repeats.
7.

Double-click the To Coda # text repeat. The Text Repeat Assignment dialog box appears.

8.

Click Jump on Pass(es) and enter a number in the text box to designate on which repetition of
this music the playback should jump to the coda sign.

1444

9.

In the Target section, click the drop-down menu and choose Text Repeat ID. Enter the Text
Repeat ID number of the coda sign you created. This is the number you remembered when you
placed the coda sign into the score. (If you are using a score set up with the Setup Wizard, or one of
Finales templates, or the default file, enter 7). Because youve specified that the playback should
jump to the coda sign itself (instead of to a measure number), you can change your mind about the
location of the coda sign in the score. You can delete it and put it in another measureeven a
measure that precedes the To Coda
correctly.

markingand Finale will still direct the playback to it

10. Click OK (or press enter). You return to the document, where the To Coda
every staff.

mark appears in

1445

Common time
Common time, also known as

time, is a meter with four quarter-note beats per measure. Its often

symbolized by the common-time symbol: . For general information on time signatures, see Time
signatures. For details on Finales automatic beaming patterns, see Beaming.
Tip: For large Time Signatures used for some
scores, use the Engraver Time font.

To change the common-time display (

, or another symbol)

1.

From the Document Menu, choose Document Options and select Time Signatures.

2.

Click Abbreviate Common Time to. If theres a check in the checkbox, Finale will display the
common-time symbol any time the meter is
. If not, Finale will display
. (You can also specify
any other symbol you want Finale to use instead of the standard common-time symbol by clicking
the Select button. You select a font for time signatures by choosing Fonts in the Document Options
dialog box (under the Document Menu) and changing Time from the Notation drop-down list menu.
See Document Options-Fonts).

3.

Click OK (or press enter).

1446

Composite time signatures

Composite meters (
, for example) are not only valuable for creating unusual time signatures,
but also for creating accurate beaming patterns. Finale uses the time signature to determine beaming
patterns, you can create a meter such as
, and all music you enter will be automatically be
beamed in eighth-note groups of three, two, and two, for example. (Once youve created a custom
beaming signature in this way, you can even select a time signature to appear in the score thats
different from the underlying beaming signature; see To create custom beaming patterns.)

To create a composite meter

1.

Click the Time Signature Tool

2.

Double-click the measure in which you want the new meter to begin. The Time Signature dialog
box appears.

. A handle appears on each barline.

3.

Click Composite. The Composite Time Signature dialog box appears. The composite time signature
you create here will affect the beaming of notes in your music.

4.

Enter the series of numbers for the top half of the time signature in the first Beat Group: text
box. If you want to create a
time signature, for example, simply type 3+2+2 in the first text
box of the beat groups: section. You can enter a decimal value, such as 3.5, as well. If you want to
create a

5.

time signature type the 3 in the first text box and the 2 in the second text box.

Press Tab to jump to the lower box. Enter the lower number of the time signature in the Beat
Duration: text box. Type the 8 for the lower half of the composite time signature (for the
example) in the first text box. If you are creating a
time signature, type a 4 in the first text box,
and a 4 in the second text box to finish creating the time signature. Finale will only accept standard
denominator values. For example, theres no such thing as a third note, so you cant enter a 3 into
this text box; Finale will round off any such number to a legitimate value (1, 2, 4, 8, and so on).

6.

Click OK (or press enter). You return to the main Time Signature dialog box. If you wish, you can
click Options, and then select Use a Different Time Signature for Display. In this expanded version of
the Time Signature dialog Finale displays a second composite button which will take you to an
identical Composite Time Signature dialog box. With this dialog box you have the opportunity to
create a separate composite time signature for display purposes only (the composite time signature
created in the upper section of the dialog will be used to decide how the music will be beamed). See
Beaming and Time signatures for details.

7.

Specify the range of measures to be affected by this meter change. Enter the measure numbers
in the Measure __ Through __ text boxes (or Through End of Piece).

8.

Click OK (or press enter).

To remove a composite meter

1.

Click the Time Signature Tool

; then double-click the first measure in which the
composite meter appears. The Time Signature dialog box appears.

2.

Click the Composite button. The Composite Time Signature dialog box appears.

3.

Click Clear, and click OK. You return to the main Time Signature dialog box, where you can specify
a replacement time signature.

1447

1448

Compound meters
See Composite time signatures.
Compound meters, sometimes called triple meters, are time signatures whose rhythmic pulses occur in
threes, such as

, and so on. See Time signatures for general instructions.

Note, however, that the way you define your triple
meter is very important, because it also governs
beaming in the region it affects. To beam eighth
notes in groups of three, for example, the values of
the notes in the Time Signature window for a 6/8
meter should be two dotted quarter notes, not six
eighth notes; if it displayed six unbeamed eighth
notes, youd get no automatic beaming. In short:
the lower buttons determine the rhythmic value of
the pulse, including beaming groups; the upper
buttons determine how many of that rhythmic
value.

1449

Continuous data
Continuous data is MIDI information thats not related to individual notes. Usually the term refers to
devices on your MIDI keyboard that modify the notes in some electronic way: volume and sustain pedals
(and other MIDI controllers), pitch and modulation wheels, channel pressure (aftertouch), and breath
controllers are some examples. You can record any continuous data when you use HyperScribe or the
Transcription Mode of HyperScribe to transcribe your music; furthermore, using the MIDI Tool, you can
graphically edit this data.
In order to playback continuous data recorded with HyperScribe, you must first set Human Playback to
None. To do this, click the speaker icon in the Playback controls to display the Playback Settings dialog
box. Click the Human Playback drop-down menu and choose None. Then click OK.To do this, expand
the Playback Controls to display the additional options. Click the Human Playback drop-down menu and
choose None.
This entry describes the general recording, playback, and editing of standard controllers. For information
on specific controllers, see their separate entries: Channel Pressure; Patches; Pedal markings; Pitch
wheel; and Volume.

To specify which continuous data you want to record with

HyperScribe
Because continuous data consumes memory and disk space, you may opt not to record all types of this
data when you use HyperScribe. You can specify which types of continuous data you want to record.
1.

Before recording a HyperScribe Session, from the HyperScribe menu, choose Record
Continuous Data. The Record Continuous Data dialog box appears.

2.

Click Listen. Briefly play each controller or wheel you want to record in your upcoming performance.
As you tap each pedal or wiggle each wheel, Finale records their continuous data numbers in the
four text boxes. If you record four controllers or less, any continuous data types you dont specify in
this dialog box will not be recorded. If you record more than four controllers, Finale will record all
continuous data during the Hyper Scribe session. See Record Continuous Data dialog box.

3.

Click OK (or press enter). Proceed with your recording. See Recording with HyperScribe.

To specify which continuous data you want to record in

Transcription Mode
Because continuous data consumes memory and disk space, you may opt not to record all types of this
data when you use the Transcription Mode.
1.

Before recording a performance with Transcription Mode, choose Input Filter from the
Transcription Menu. Finale displays the MIDI Input Filters dialog box. You can directly enter the
controller numbers you want recorded, if you know them. Its simpler, however, to specify the
controllers by playing them.

2.

Click Listen. Briefly play each controller or wheel you want to record in your upcoming performance.

3.

Click OK (or press enter). Proceed with your recording.

To retain continuous data for score playback

When you record a performance in Transcription Mode, Finale temporarily remembers the continuous
data that you generated during the performance. Normally, however, Finale discards this information
when it transcribes your performance into standard notation.
If youll later want to hear and edit this data, however, make sure you follow these steps before
transcribing:
1.

Record a performance in Transcription Mode. See Transcribing a sequence.

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2.

Before saving or transcribing the performance, click Save Continuous Data. If Play Recorded
Continuous Data is selected in the Playback/Record Options dialog box (see Playback), Finale will
play back your transcribed performance applying the same controllers and wheels you did.

To edit continuous data

If youve saved continuous data from a performance in Transcription mode, you can edit it directly even
when the performance has been transcribed into standard notation.
1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool

2.

Choose Continuous Data from the MIDI Tool Menu. The View Continuous Data dialog box
appears, and you can choose the MIDI data you want to edit.

3.

Specify the continuous data you want to edit. If the continuous data type you want to edit is listed
in the dialog box, select it from the drop-down menu (Sustain Pedal, Modulation Wheel, and so on).
If not, click the Listen checkbox and play the controller. Finale enters the correct controller number in
the text box automatically.

4.

Click OK (or press enter).

5.

Select the measures whose continuous data you want to edit. Click to select one measure, shiftclick 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. If you want to edit
only a few measures on a single staff, select them, and then double-click the highlighted region to
enter the MIDI Tool split-window. Drag through the display area above the notes whose continuous
data you want to edit.

6.

Edit the selected region by choosing the appropriate command from the MIDI Tool Menu.
Choose Set To to specify a uniform value for the controller or wheel setting for all notes in the
selected region. Choose Scale to create a gradual change in the continuous data setting over the
selected region. Choose Add to add a positive or negative amount to all the controllers values in the
selected region. Choose Percent Alter to change the values in the selected region by a percentage
of their original amounts. Choose Limit to specify a maximum or minimum value for the continuous
data in the selected region. (See also Set to dialog box; Scale dialog box; Add dialog box; Percent
Alteration dialog box; or Limit dialog box.)

To copy or erase continuous data

See MIDI To copy or erase captured (or edited) MIDI data.

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Copying music
Finale offers a great deal of control over copying, including options for filtering specific elements,
methods for both inserting and pasting (replacing), and the ability to copy across documents. This section
describes methods for copying music in Finale, and the choices you have when doing so.
For the remainder of this section, source refers to the original selected music, and target refers to the
destination for the copied material. Also, unless specified otherwise, "selection" refers to a region
including full or partial measures less than a stack. Any tool that allows regional selection can be used to
copy music, including the Selection Tool, Staff Tool, Measure Tool, and others. For more details, see
Selecting Music.
Whenever you copy music, you will need to choose whether you want to copy and paste or copy and
insert.

Copying and pasting allows you to replace the music in the target region with the music from the
source region. Pasting does not wipe out any measure settings, such as measure-width information
unless a stack is pasted (and Measure Settings are selected in the Edit Filter dialog box). When
pasting any region other than a stack, all note attached items and many measure attached items are
replaced.

Copying and inserting allows you to introduce new beats or measures into the piece, pushing all
existing music to the right. Inserting a selection nudges all subsequent music the number of beats of
the inserted material on the target staves only. When inserting any region less than a stack, the
inserted beats can overflow into the next measure requiring the music to be redistributed in all
remaining measures of the piece. This is called Rebarring music, and Finale applies it automatically
when inserting regions less than a stack. Since stacks are always full measures, all staves, inserting
a stack does not rebar music, but pushes all measures to the right intact (increasing the length of the
score the number of inserted measures).

After selecting a region of music, use one of the following methods to copy and paste or copy and insert.

Copying and pasting using the clipboard. This method allows you to easily copy/cut and
paste to target regions outside of the visible area, or paste the same material multiple times.
See To copy and paste using the clipboard.

Copying and pasting by dragging. This method allows you to quickly copy and paste to target
regions within the visible area, and also allows you to copy and paste to target regions
outside of the visible area. See To copy and paste by dragging.

Copying and pasting stacks. This method allows you to copy and paste any number of items
in the Edit Filter dialog box including measure items like key signatures, barline styles, and
measure widths. See To copy and paste stacks.

Copying and inserting using the clipboard. This method allows you to easily copy/cut and insert
to target regions outside of the visible area, or insert the same material multiple times. See To copy
and insert using the clipboard.

Copying and inserting by dragging. This method allows you to quickly copy and insert to
target regions within the visible area. See To copy and insert by dragging.

Copying and inserting stacks. This method allows you to insert full measures, all staves, including
any number of items in the Edit Filter dialog box. See To copy and insert stacks.
Note: To move measures from one system to
another or make other changes to the measure
layout, see Measure layout.

To copy and paste using the clipboard

Using the clipboard is another way to copy (or cut) and paste music. When you paste, existing music is
overwritten. This is the method commonly used when copying to a target region outside of the visible
area or across documents (see Copying across documents).
To copy using the clipboard:

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1.

With the Selection Tool

selected, highlight a region of measures. Or, highlight a region
with any tool that allows regional selection. For details, see Selecting music.

2.

Press Ctrl-C to copy or Ctrl-X to Cut. The music is loaded to the clipboard. If you chose to Cut the
selection disappears. At this point, you can paste the copied material anywhereeither elsewhere in
the same document, or into another document. If you want to paste to another document, open the
document now, using the Open command in the File Menu. You cant, however, directly paste music
into other programs such as word processing or graphics programs. For details on exporting music
into another program, see Encapsulated PostScript (EPS) and Graphics Tool.

3.

Specify the musical elements you would like to copy in the Edit Filter dialog box. See To
specify what you want to copy. Or, to copy everything, ensure Edit Filter is unchecked under the Edit
Menu. (Tempo changes are the exception; they are not included when Use Filter is unchecked. See
To copy tempo changes.)

4.

Select a measure (or partial measure) that begins at the desired target and press Ctrl-V to
paste. Finale replaces whatever was in the target measures, starting at the left-most edge of the
selected region, with a copy of the music you originally selected (as shown here). Pasting does not
introduce any new measures into the target document, but replaces whatever was there with the
contents of the Clipboard. (However, measures will be added on paste as needed if there are fewer
measures in the target than in the source.

Note: When clipboard-copying, Finale pastes the

entire source content starting with the upper left
target selection.
To paste multiple copies of the source material, press Alt-Ctrl-V to open the Paste Multiple dialog box
where you can repeat the source material any number of times in the score, horizontally or vertically.

To copy and paste by dragging

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1.

Specify the musical elements you would like to copy in the Edit Filter dialog box. See To
specify what you want to copy. Or, to copy everything, ensure Use Filter is unchecked under the Edit
Menu. (Tempo changes are the exception; they are not included when Use Filter is unchecked. See
To copy tempo changes.)

2.

selected, highlight a region of measures. Or, highlight a region

With the Selection Tool
with any tool that allows regional selection. For details, see Selecting music.

3.

Click and drag the source music so that its superimposed on the target measure(s).

4.

When the black border surrounds the desired target region, release the mouse button to
paste as shown below. Finale replaces whatever was in the target measures, starting at the
position of the cursor, with a copy of the music you originally selected. In other words, if you drag to
beat three of a certain measure, the pasted music will begin at beat three. If the measure is empty,
the music will appear at the nearest beat following the cursor.

If the first target measure is not on-screen, instead of dragging, do the following:
1.

With the source region selected, scroll until you see the desired target region.

2.

While pressing ctrl, click the first target measure. The music appears in the target
measure(s) with the same beat placement as the original (as shown below).

Alternatively, you can hold down both ctrl and Shift as you click to open the Edit Filter dialog box which
allows you to specify elements of the source region you want to include.
Also, you can hold down Ctrl and Alt to open the Paste Multiple dialog box which allows you to past
additional copies of the source material.

To copy and paste/insert stacks

Full measure stacks can be copied using the clipboard or by dragging, replacing existing music or
inserting between it. Here, a stack really refers to the measure settings including key signatures, measure
widths, and barline styles. (See Edit Filter dialog box for details).
Copy and paste/insert measure settings using the following criteria:
The source region selection:

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Must begin and end at a barline.

Must include either a stack or the same number of staves as the target or greater. (A
single staff full measure selection is a stack selection).

The target region selection:

Must begin at a barline.

Must consist of the same amount or fewer staves if the source is not a stack. (Fewer is
possible with optimization or copying across documents. See Optimizing Systems. You
can use Staff Sets to decrease the apparent number of staves in the target document to
compensate for this. See Hiding Staves.)

Can be any number of staves if the source is a stack.

To copy and paste/insert stacks, use the above definitions for "source" and "target" regions while
following the directions under either To copy and paste using the clipboard, To copy and paste by
dragging, To copy and insert using the clipboard, or To copy and insert by dragging. While drag-copying
or drag-inserting, use the green border/insert cursor to confirm the target is a valid for transfer of measure
settings.
When drag-copying, Finale displays a green border around the destination stack region if the region is
eligible for stack-pasting (left). When dragging over a region that does not start on a barline and/or
include the top staff, Finale displays a black border around the destination region indicating it is not
eligable for a stack paste (right). If you release the mouse button in a region not eligible for stack pasting
(black border), the music pastes normally and does not include measure-specific data.

Measure settings are copied if either the Source or Target region constitute a stack. The following
examples illustrate these situations for drag-copying (the same applies for clipboard-copying and
inserting):

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To copy and insert using the clipboard

1.

Specify the musical elements you would like to copy in the Edit Filter dialog box. See To
specify what you want to copy. Or, to copy everything, uncheck Use Filter under the Edit Menu.
(Tempo changes are the exception; they are not included when Use Filter is unchecked. See To
copy tempo changes.)

2.

With the Selection Tool

selected, highlight a region of measures. Or, highlight a region
with any tool that allows regional selection. For details, see Selecting music.

3.

Press Ctrl-C. The music is loaded to the clipboard.

4.

Select a measure (or partial measure) that begins at the desired target and press Ctrl-I to
insert. You indicate where you want the copied material to appear by selecting the notes or
measures just after it. So, if you want the copied music to appear between measures 3 and 4, click
measure 4. Finale inserts a copy of the selected music, nudging all subsequent notes in the staff (or
staves) to the right the duration of the inserted material (see Rebarring music).
Note: Finale adds new measures to accommodate
notes nudged beyond the final barline.

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To copy and insert by dragging

1.

Specify the musical elements you would like to copy in the Edit Filter dialog box. See To
specify what you want to copy. Or, to copy everything, uncheck Use Filter under the Edit Menu.
(Tempo changes are the exception; they are not included when Use Filter is unchecked. See To
copy tempo changes.)

2.

selected, highlight a region of measures. Or, highlight a region

With the Selection Tool
with any tool that allows regional selection. For details, see Selecting music.

3.

While holding down the Alt key, click and drag the source music to position the vertical red
line where you would like to insert.

4.

Release the mouse button. Finale inserts a copy of the selected music starting at the position
of the red insertion cursor, nudging subsequent notes in the staff (or staves) to the right the
duration of the inserted material. Finale inserts a copy of the selected music just before the target
region, nudging all subsequent notes in the staff (or staves) to the right the duration of the inserted
material (see Rebarring music).

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To copy and insert stacks

Full measure stacks can also be inserted using the clipboard or by dragging, shifting all subsequent
measures to the right in all staves. Rebar music does not apply when inserting stacks because the
subsequent music is nudged in full measure increments (so notes cannot be nudged across barlines).
In order to copy and insert a measure stack, the source region must include a stack selection.
To copy a measure stack using the clipboard:
1.

Select a measure stack. A measure stack must include all staves and begin and end at a barline.
See Selecting music.

2.

Press Ctrl-C. The stack is loaded to the clipboard.

3.

Select a region beginning on a barline on the top staff and press Ctrl-I to insert.

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To copy a measure stack by dragging:

1.

Select a measure stack. A measure stack must include all staves and begin and end at a barline.
See Selecting music.

2.

While holding down the Alt key, click and drag the source music to position the vertical
insertion cursor at a barline on the top staff of the target region. The insertion cursor changes
color to green indicating an eligible location to insert as shown in the figure below.

3.

Release the mouse button. Finale inserts a copy of the selected music starting at the position of
the green line, nudging subsequent measures in the staff (or staves) to the right the duration of the
inserted material.

To specify what you want to copy

Generally, Finale includes all notes, entry items and measure items when you copy. However, by using
Finale's filter you can specify which items you would like to copysuch as chord symbols or
articulationswith or without affecting the notes themselves. (To learn about selecting measure regions,
see Selecting music). You can easily choose any number of entry and measure items by doing the
following:
1.

Click the Selection Tool

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2.

From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears. All measure and entry
items appear in this dialog box. If you want to copy everythingmusic, lyrics, measure widths,
expression marks, and allno action is necessary (all items are selected by default).

3.

Uncheck any item you do not want to copy and click OK. Now, when you copy, only selected
items appear in the target region. Notice Use Filter is now checked under the Edit Menu. Uncheck
this command to disable the filter and include all items (other than Tempo changes) while copying (see To copy tempo changes).

4.

Technical note: Finale actually always includes all items whenever you copy. The Edit Filter dialog
box actually filters certain items from appearing when inserting or pasting. Therefore you could copy
music, and subsequently change your selection in the Edit Filter dialog box to specify what you
would like to include in the target region.
Note: Ctrl-Shift-click the target region to open the
Edit Filter dialog box prior to pasting the selected
music.
IMPORTANT: The settings in the Edit Filter dialog
box are program-wide. That means these settings
apply to all documents, even after closing and
restarting Finale. If you are unsure of previous
settings be sure to review this dialog box prior to
copying to ensure it is set up as desired.

To copy time signatures

In order to copy time signature changes along with the music you must select the full stack of measures.
Time signatures also must be checked in the Edit Filter dialog box. See To copy and paste stacks and To
copy and insert stacks.

If Time Signatures is not checked, and music is copied to a target region of a different time signature,
Finale does not rebar the music. In other words, if the source contains full measures, the target
measure(s) will either be unfilled or overfilled.
In the example below, the first measure has been copied to measure 2 and measure 3.with Time
Signature unchecked in the Edit Filter dialog box.

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To delete extra notes in overfilled measures (such as measure 3), navigate to them using the arrow keys
using Speedy Entry or Simple Entry. Then press the Delete key. To redistribute these extra notes into
subsequent measures automatically, rebar music. To automatically fill empty portions of measures (such
as beat 4 of measure 2 above) with rests, use the Fill with Rests utility (Utilities Menu > Check Notation
> Fill with Rests).

To Copy Tempo Changes

Tempo changes include any tempo change added with Tempo Tap, the Tempo Tool, the MIDI Tool, or by
importing a MIDI file that includes tempo data. Tempo change information is unique in that it is the only
measure setting not included when copying without the Filter (Edit Menu).
To copy tempo data:
1.

From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears.

2.

Ensure that the "Tempo changes" box is checked.

3.

Click OK.

4.

Click the Edit Menu and ensure Use Filter is checked. Now, when you copy, tempo data (other than
tempo data included with expressions) will not be transferred to the target region.

To copy across documents

All entry and measure items can be copied and pasted or inserted across documents using the clipboard
or by dragging.

To make a copy of a document

These instructions assume that youre running Finale. To duplicate a Finale document when youre not in
Finale, select the desired file using Explorer and choose Copy from the File menu.
1.

Open the document. Choose Save As from the File Menu. A dialog box appears, allowing you to
name the copy. No two documents in the same folder may have exactly the same name.

2.

Click Save. The copy of the document is left on the screen, and the original is automatically closed
without saving any changes.

To copy multiple passages of music to another document (using

Clip Files)
Although you could use the clipboard to copy individual regions of music from one document to another
(see To copy and paste using the clipboard), Finales Clip Files feature gives you, in effect, multiple
Clipboards, each containing a different passage of music. By making Clip Files, you can copy many
sections from a single document before pasting them, one by one, into a new document. These files are
stored on your hard disk, where you can easily retrieve them for use in any documenta handy feature
when you want to re-use motifs. All items can be transferred from one document to another using Clip
Files (see Edit Filter dialog box).
1.

Specify the musical elements you would like to copy in the Edit Filter dialog box. See To
specify what you want to copy. Or, to copy everything, ensure Edit Filter is unchecked under the Edit
Menu.

2.

While pressing ctrl, choose Copy to Clip File from the Edit Menu. When you ctrl-Copy in this
way, you tell Finale to place the copied material into a file of its own, called a Clip File, instead of on
the invisible Clipboard. A dialog box appears, asking you to name your Clipboard File.

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3.

Name the Clip File, and click Save (or press enter). Repeat the process with as many other
sections as you want: select the region, choose Copy while pressing ctrl, name and save the Clip
File.

4.

Choose Open from the File Menu, and select the target document (if its not already open).

5.

If you want to insert the copied music between two existing measures, click the measure just
after the insertion point. While pressing ctrl, choose Insert from Clip File from the Edit Menu.
Once again, the ctrl key tells Finale you intend to access a Clip File. When you choose Insert, the
Paste dialog box appears, displaying the names of the Clip Files youve created. Double-click the
name of the desired Clip File.

6.

If you want the copied music to replace (overwrite) the music in the target document, select
the beginning of the target region.

7.

While pressing ctrl, choose Paste from Clip File from the Edit Menu. A list box appears,
displaying the names of the Clip Files youve created. Double-click the name of the desired Clip File.
If you want to Insert, instead of choosing Paste from Clip File, choose Insert from Clip File under the
Edit Menu.

To combine files with Score Merger

Finale allows you to copy and paste or insert across documents just as you would copy within the same
document. (See To copy and paste using the clipboard). You could use these methods to merge two or
more documents manually. However, if you would like to combine two or more separate files, such as
several movements of a piece into a single document, there are many additional considerations beyond
the musical elements that can be copied including measure numbers, staff settings, staff lists, pagination,
and more.
Finale includes a tool called Score Merger specifically designed to allow you to combine several files into
one automatically.
Note: Score Merger also allows you to merge files
vertically. To combine several parts into a
conductors score, see To merge part files into a
score with Score Merger.
1.

From the File Menu, choose Score Merger. The Score Merger dialog box appears. See Score
Merger dialog box.

2.

Click Add Files. The "Select the files to merge" dialog box appears. Navigate to the files you would
like to merge.

3.

Select the files you would like to merge and click Open. Hold down Ctrl and click to select
multiple files. The files appear in the Score Merger list box alphabetically. Select a file and use the
Move Up and Move Down buttons if you need to change the order.

4.

Ensure the Merge These Files Into One File radio button is selected. The subsequent check
boxes allow you to append the merged files to the current open document, specify measure
numbering, and customize how the staff merging is handled. If you check Edit Instrument Junction
Between Files, you will be prompted to review and/or edit the way Score Merger deals with
instrument staves individually. See Instrument Junction dialog box for details.

5.

Click Merge. Finale prompts you to choose a location for the merged file.

6.

Select a destination for the merged file and click Save. Score Merger processes the files based
on your settings. If Edit Instrument Junction Between Files was checked, you are prompted with the
instrument merging details for each file as it is merged. Make any desired changes and click
Continue. When the merge is complete, the Score Merger Report appears with an overview of the
results as shown below.

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7.

Click Close. The Score Merger Report closes and the merged document appears in the active
window ready for your review.

There are a few more details to bear in mind while merging files with Score Merger:

To insert the merged material at a selected region, the region must begin at beat one.

If the selection is at the beginning of a staff system, that system and the subsequent one will appear
after the inserted files after the merge, starting on a new page. (Page text and graphics remain
attached to the initial page of the inserted files).

If the selection in the middle of a staff system, the system will be be split up, one piece before the
inserted files, and the other after. Each piece is locked automatically.

Since there can only be one definition for entries/text inserts in the File Info dialog box, Score Merger
resolves conflicts by retaining all File Info from the first merged file. Text inserts such as Title,
Composer, and Copyright that conflict with those in the first file are automatically converted to
regular text blocks upon merge. For example, if the title of file 1 is "Movement 1 and the title of file 2
is Movement 2, "Movement 1" is used for the Title insert in the merged file, and "Movement 2" is
automatically converted to a regular text block. (If an insert is the same text in all the merged files,
Score Merger retains the insert without changing any to regular text.) Score Merger uses the first file
in the merge as a "template" for the rest of the document. In other words, other document-specific
settings are automatically set to the first file in the merger. See Document Settings and Program
Settings.for a list of document-specific settings.

Expect to make some adjustments to the page layout and other properties after merging files using
Score Merger. See Page layout.

To merge part files into a score with Score Merger

In addition to merging files horizontally, Score Merger can also consolidate several part documents into a
single document in order to generate a conductor's score. Score merger can automatically assign groups,
MIDI channels, and deals with expressions and page layout.
Note: In order to use Score Merger to combine
part files into a score, Special Part Extraction must
be disabled in the part files. See Document/Special
Part Extraction.

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1.

From the File Menu, choose Score Merger. The Score Merger dialog box appears. See Score
Merger dialog box.

2.

Click Add Files. The "Select the files to merge" dialog box appears. Navigate to the files you would
like to merge.

3.

Select the files you would like to merge and click Open. Hold down Ctrl and click to select
multiple files. The files appear in the Score Merger list box alphabetically. Select a file and use the
Move Up and Move Down buttons if you need to change the order.

4.

Select the Merge These Parts Into One Score radio button.

5.

Click Merge. Finale prompts you to choose a location for the merged file.

6.

Select a destination for the merged file and click Save. Score Merger processes the files based
on your settings. When the merge is complete, the Score Merger Report appears with an overview of
the results as shown below.

7.

Click Close. The Score Merger Report closes and the merged document appears in the active
window ready for your review.

To copy markings based on a rhythmic match

1.

Click the Selection Tool

. Or, highlight a region with any tool that allows regional selection.
For details, see Selecting music.

2.

Select a region. Click or drag-enclose any region of music to select it.

3.

The selection 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.

4.

From the Edit Menu, choose SmartFind and Paint > Set SmartFind Source. A outline box
appears around the selected region. If you selected the wrong region, choose Deselect SmartFind
Source from the Edit Menu, and try again.

5.

Optional: select a target region to paint. If no region is selected, SmartFind will assume you wish
to scan the entire document. You may include partial measures in your target region.

6.

From the Edit Menu, choose SmartFind and Paint > Apply SmartFind and Paint. The SmartFind
and Paint dialog box appears. See SmartFind and Paint dialog box.

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7.

Check the box for the markings you want to copy. If youve already entered some markings into
your document, you may wish to check Delete Target Markings Before Paint. With this box
checked, SmartFind will erase the markings before painting the new markings, so you get an exact
duplicate. 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.

8.

Click Find. SmartFind shows you the first match, if any. SmartFind will look for matches in all layers
of the target region, regardless of the source layer. SmartFind will search the first measure of the top
staff selected to the last measure of the top staff in the region, then continue through layers, then
down through the rest of the staves. SmartFind will search for a match based on the rhythmic or note
durations and therefore will consider tied notes. SmartFind will ignore grace notes, Voice 2 and
mirrored notes.

9.

Click Paint to apply the markings to the match, or Paint All to apply the markings to all
matches, or click Find Next to skip this match. SmartFind copies the select markings from the
source region onto the rhythmic match target region. Only the first note of a tied note will receive
copied markings.

10. When youre finished, click Cancel or Close. You return to the document.

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Copyright notices
A copyright notice, often added to the bottom of the first (or every) page of a published score, is a text
block in Finale; while pressing alt, type 0169 on the numeric keypad to create the copyright symbol itself
(), or use the Copyright Symbol text insert (Text Menu > Inserts > Copyright Symbol). See Titles for
instructions on creating text blocks incorporating Text Inserts. Note that a symbol is provided for you on
page 1 of the Setup Wizard.

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Counting measures
If you are a Finale copyist, you might choose to bill clients by the frame. A frame is one measure of one
staff. Finale's File Statistics dialog box tells you how many frames are in your piece; it also tells you how
many frames actually have notes in them, so the client doesn't get billed for empty measures. It also tells
you how many Pages, Staff Systems, and Measures are in your piece.

To count measures, frames, systems, or pages

1.

From the File Menu, choose File Info. The File Info dialog box appears.

2.

Click Statistics. For an interpretation of this information, see File Statistics dialog box.

1467

Courtesy accidentals
A courtesy accidental, also called a cautionary or reminder accidental, is one that, according to the rules
of accidental occurrence, isnt strictly necessary before a note. But there are times when the composer
wants to remind the player that an accidental is (or is not) in effect for a particular note. For example, in a
measure containing several E accidentals, the first E in the next measure often has a courtesy natural
attached, even though the E is technically canceled in the new measure. See also Cautionary
Accidentals Plug-in.

To create a courtesy accidental

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Click the notehead for which you want the accidental displayed. You can also position the
insertion bar and crossbar on the notehead using the arrow keys.

3.

Press the asterisk (*) key. If there was no accidental on the note, a courtesy sharp, flat, or natural
now appears. (If there was an accidental on the note, its now hidden. Press the asterisk key again to
restore it.)

1468

Courtesy clef changes

When a clef change occurs at the beginning of a new line, its customary to alert the musician by placing
a smaller, warning, clef change at the very end of the previous line. You can, if you wish, instruct Finale
not to display these courtesy clef changes.

To globally prevent courtesy clefs from displaying

1.

From the Document Menu, choose Document Options, then select Clefs. The Clef options
appear.

2.

Click Display Courtesy Clef at End of Staff System to de-select it. Finale will no longer display
these warning clefs, unless you re-select this checkbox.

3.

Click OK (or press enter).

To prevent courtesy clefs from displaying in a single measure.

See also Change Clef dialog box.
1.

, and double-click the handle on the measure where the courtesy

Click the Measure Tool
clef change occurs. The Measure Attributes dialog box appears.

2.

Select Hide Cautionary Clefs, Key and Time Signatures.

3.

Click OK.

1469

Courtesy key signatures

Under usual circumstances, the key signature for a staff appears only at the beginning of each line, or at
a key change. If you want, however, you can force the key signature to be displayed in any measure. You
can also hide the courtesy key signature that appears at the end of a staff system (when the key changes
at the beginning of the next line).

To force the display of the key signature in a measure

1.

Click the Measure Tool

, and then double-click barline handle of the measure in which
you want the key signature to appear. The Measure Attributes dialog box appears.

2.

From the Key Signature drop-down list menu, choose Always Show. Click OK (or press
enter). You can also hide a key signature in a measure where it would normally appear by choosing
Always Hide.

To hide the end-of-line courtesy key change (globally)

When a key change occurs at the end of a line of music, its customary to display the new key signature
at the very end of the system, as well as at the beginning of the following system. This end-of-the-line key
signature is sometimes known as a cautionary, or courtesy, key signature.
Some musicians prefer to omit this end-of-line warning and let the key change (on the next line) stand on
its own. Then, too, sometimes one movement (or piece) ends and another begins on the same page; if
the new movement begins in a different key, you wouldnt necessarily want the new key signature to
appear in the last measure of the preceding movement. In either case, take the following steps.
1.

From the Document Menu, choose Document Options and select Key Signatures. The Key
Signature Options appear.

2.

Click Display Courtesy Key Signature at End of Staff System, so that its no longer selected.
Click OK (or press enter).

To hide the end-of-line courtesy key change (in one place)

If you want Finale to suppress the end-of-line cautionary key change everywhere in the file youre
working on, see To hide the end-of-line courtesy key change (globally), above.
In some cases, however, you may want to hide the key or time change only in one place; for the
remainder of the piece, you do want Finale to provide this advance warning. These instructions show you
a special method of hiding only one end-of-line key or time change.
1.

Click the Measure Tool

, and double-click the barline handle of the blank measure. The
Measure Attributes dialog box appears.

2.

Click Hide Cautionary Clefs, Key and Time Signatures.

3.

Click OK.

To alter the key signature of the courtesy key signature

On rare occasions, such as a key change at the beginning of a Coda, you may need the courtesy key
signature to be different from the key signature at the beginning of the next line. To create a custom
courtesy key signature, follow these steps:
1.

Click the Measure Tool

2.

From the Measure Menu, choose Insert. The How many measures dialog box appears. To select
the default of 1 measure, click OK.

3.

Click the Selection Tool

; then click the new measure. Press the Up arrow key to move it
to the end of the previous line.

. Select the first measure of the next line.

1470

4.

Click the Key Signature Tool

box appears.

5.

Set the desired Key Signature for the courtesy key signature. For more details, see Key
Signatures. Make sure the region is set to the current measure only and click OK.

6.

Click the Staff Tool

7.

Select the measure in all staves. See Selecting music for hints on selecting shortcuts.

8.

Choose Apply Staff Style from the Staff Menu. You can also select Apply Staff Style from the
contextual menu by right-clicking in the staff. The Apply Staff Style dialog box appears.

9.

Select Blank Notation: All Layers from the drop-down list menu and click OK. The default rest
will disappear.

10. Click the Measure Tool

appears.

; then double-click the measure. The Key Signature dialog

. The Staff Menu appears.

. Double-click the measure. The Measure Attributes dialog box

11. Next to Barline, choose Invisible. Check the Change Width checkbox and enter zero. Under
Options, check Hide Cautionary Clefs, Key and Time Signatures. Click OK. The invisible
dummy measure will have its own measure number. If you want your score to display measure
numbers, you may want to use the Measure Tool to set up 2 different measure number regions. See
Measure numbers for more information.

1471

Courtesy time signatures

Under usual circumstances, the time signature appears only at the beginning of a piece or at a meter
change. However, you can force the time signature to be displayed in any measure.

To force the display of the time signature in a measure

1.

Click the Measure Tool

, and then double-click barline handle of the measure in which
you want the time signature to appear. The Measure Attributes dialog box appears.

2.

From the Time Signature drop-down list, choose Always Show. Click OK.

1472

SmartMusic
SmartMusic is a complete music practice system that features Intelligent Accompaniment, MakeMusics
patented software that listens to you sing or play into a microphone and follows your spontaneous tempo
changes. You are free to interpret the solo line of the music as you wish, free to project your personality
into the music. SmartMusic's assessment feature also offers the ability to assess a live performance and
deliver a visual representation of the accuracy.

Creating SmartMusic Accompaniments

Finale allows you to create your own solos with accompaniment, exercises and warm-ups, or assessment
files to be graded for accuracy with SmartMusics Assessment feature. You can save any Finale Notation
File or MIDI file as a SmartMusic Public Accompaniment (.SMP file) and even include the solo notation
file to be displayed in the SmartMusic interface during the performance.
Finale is capable of creating several different types of SmartMusic files. It is important to decide which
type of SmartMusic file you would like to create. Your options are:

Solo assessment file without accompaniment: Solo notation files can be saved for use with
SmartMusics assessment feature. This is the most straightforward type of assessment file, and does
not include accompaniment. In order to grade the solo performance, all assessment files include the
solo notation file for display in SmartMusic. See To create a solo assessment file without
accompaniment.

Solo assessment file with accompaniment: This is the same as a solo assessment file (described
above) with the addition of an accompaniment file. Although SmartMusic will play the
accompaniment during the assessment, Intelligent Accompaniment is not available for any
assessment file. See To create a solo assessment file with accompaniment.

Ensemble: The purpose of the ensemble file is to give the instrumentalist a canvas of parts that can
be turned on or off individually. For example, a trombone player might mute the piano and drums in a
big band chart in order to better hear how his part fits with the other horns. Intelligent
Accompaniment is not available for use with ensemble files, and notation cannot be included. To
create a SmartMusic ensemble file, see To create a new SmartMusic ensemble file.

Solo with accompaniment: This is the format of the classic SmartMusic accompaniment file. It
includes a solo line and any number of accompaniment staves. Intelligent accompaniment follows
the soloist during the SmartMusic performance and the solo notation can be included for display in
the SmartMusic interface. To create a Solo with Accompaniment, see To create a new SmartMusic
Solo with Accompaniment.

Solo assessment file generated from a Finale exercise: This is the same as a solo assessment
file (described above), but generated from Finales Exercise Wizard. See To create a solo
assessment file from a Finale exercise.

To create a solo assessment file without accompaniment

1.

Enter/edit the notation for the solo staff. There should be only one staff in the document. Some
notation elements are not compatible with SmartMusic. In order to ensure compatibility, you can
consult the SmartMusic Compatibility Guidelines. However, if there are any compatibility issues,
Finale will check the file automatically and list conflicts as part of every SmartMusic Export
procedure.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

From the File Menu, choose Export to SmartMusic. The Export SmartMusic Accompaniment Select File Type dialog box appears.

4.

ChooseSolo and click Next. The Select Solo Staff dialog box appears. The instrument staff from
the document already appears in the Solo Staff drop-down menu.

1473

5.

Click the drop-down menu for Corresponding Instrument (or closest match) in SmartMusic
and choose the instrument that most closely resembles that of the solo part. SmartMusic uses
advanced pitch recognition technology to follow the solo performance. Since each instrument
produces its own signature wave form, SmartMusic must know what type of instrument it will be
following in order to ensure the most accurate response.

6.

Click Next. The File Information dialog box appears.

7.

Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from the File Info dialog box. After you click Finish, Finale checks the file
for compatibility with SmartMusic. If there are any notation elements that SmartMusic does not
accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the
Save SmartMusic Export File As dialog box (and can skip the next step).
Changes to the title, composer, and copyright
made here do not apply to the Finale file in any
way. This information is stored for the SmartMusic
Accompaniment separately.

8.

Click each conflict to view a description on the right side of this dialog box. Click Edit to
restore focus to the document where you can resolve these conflicts on the fly. Then click
Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box.
When you have resolved the conflicts, click Done to return to the score. Then, from the File Menu,
choose Export to SmartMusic to complete the saving process.
Finale allows you to save the SmartMusic
Accompaniment without resolving all conflicts.
Review the SmartMusic Compatibility Guideline or
the description on the right side of this dialog box
for details regarding the effects of each conflict.

9.

Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the ensemble accompaniment file you've just saved.

To create a solo assessment file with accompaniment

If you want to take advantage of SmartMusics assessment feature (which is capable of evaluating a live
performance for accuracy) and wish to include accompaniment during SmartMusics assessment, do the
following.
1.

Enter/edit the notation for the solo and accompaniment staves. Some notation elements are not
compatible with SmartMusic. In order to ensure compatibility, you can consult the SmartMusic
Compatibility Guidelines. However, if there are any compatibility issues, Finale will check the file
automatically and list conflicts as part of every SmartMusic Export procedure.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

When you are ready to save the accompaniment, from the File Menu, choose Export to
SmartMusic. The Export SmartMusic Accompaniment - Select File Type dialog box appears.

4.

Choose Assessment, and click Next. The Select Staves page appears. This page displays all of
the parts in the document.

5.

Check all the parts you wish to assess. Then, ensure the appropriate corresponding
instrument is selected for each part in the drop-down menu below. Choose as many parts as
you like. You can select which one you would like to assess in SmartMusic later.

1474

Use the drop-down menu to make sure the Finale Part is assigned to the appropriate SmartMusic
instrument. Finale draws information for SmartMusic Accompaniments from the linked part
definition. To change the properties of a part, such as the name or staff assignment, click the
Manage Parts button. See Manage Parts dialog box.
6.

Click Next. The Select Accompaniment Staves page appears.

7.

Check all parts you wish to include in the accompaniment. SmartMusic will mute the solo staff
automatically during the performance.

8.

Click Next. The File Information Page appears.

9.

Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from the File Info dialog box. After you click Finish, Finale checks the file
for compatibility with SmartMusic. If there are any notation elements that SmartMusic does not
accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the
Save SmartMusic Export File As dialog box (and can skip the next step).
Changes to the title, composer, and copyright
made here do not apply to the Finale file in any
way. This information is stored for the SmartMusic
Accompaniment separately.

10. Click each conflict to view a description on the right side of this dialog box. Click Edit to
restore focus to the document where you can resolve these conflicts on the fly. Then click
Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box.
When you have resolved all conflicts, click Done to return to the score. Then, from the File Menu,
choose Export to SmartMusic to complete the saving process.
Finale allows you to save the SmartMusic
Accompaniment without resolving all conflicts.
Review the SmartMusic Compatibility Guideline or
the description on the right side of this dialog box
for details regarding the effects of each conflict.
11. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the assessable .SMP accompaniment file you've just saved.

To create a new SmartMusic ensemble file

The steps in this section explain how to create an ensemble file for use with SmartMusic. Ensemble files
are not capable of utilizing SmartMusics Intelligent Accompaniment feature. However, you will be able to
mute instruments from playback during the SmartMusic Performance. For example, a trombone player

1475

might mute the piano and drums in a big band chart in order to better hear how his part fits with the other
horns.
1.

Enter/edit the notation for the ensemble staves.

Note that you can also save a single-staff
exercise as an assessable SmartMusic
accompaniment. To create an exercise,
see Exercise Wizard.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

From the File Menu, choose Export to SmartMusic. The Select File Type page appears.

4.

Choose Ensemble and click Next. The Select Accompaniment Staves dialog box appears.

5.

Check all the staves you wish to include in the accompaniment. This is the music you will be
playing along with in SmartMusic, and the parts you will be able to turn on and off in SmartMusic.

6.

Click Next. The File Information dialog box appears.

7.

Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from theFile Info dialog box.
Changes to the title, composer, and copyright
made here do not apply to the Finale file in any
way. This information is stored for the SmartMusic
Accompaniment separately.

8.

Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the ensemble accompaniment file you've just saved.

To create a new SmartMusic solo with accompaniment

The steps in this section explain how to create a SmartMusic solo with accompaniment capable of taking
advantage of SmartMusics Intelligent Accompaniment feature. Alternative steps are required if you would
like to create a solo with accompaniment that can be assessed and graded for accuracy by SmartMusic
(see To create a solo assessment file with accompaniment). To create a standard SmartMusic solo with
accompaniment, do the following:

1476

1.

Enter/edit the notation for the solo and accompaniment staves. Some notation elements are not
compatible with SmartMusic. In order to ensure compatibility, you can consult the SmartMusic
Compatibility Guidelines. However, if there are any compatibility issues, Finale will check the file
automatically and list conflicts as part of every SmartMusic Export procedure.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

When you are ready to save the accompaniment, from the File Menu, choose Export to
SmartMusic. The Export SmartMusic Accompaniment - Select File Type dialog box appears.

4.

Choose Solo. If you want to display the solo notation on-screen in SmartMusic, check Display Solo
Notation.

5.

Click Next. The Select Solo Staff page appears.

6.

Click the drop-down menu under Solo Part and choose the instrument that will be performing
this solo. Finale uses information from the linked part to generate the solo. Only single-staff parts
can be used as solo parts. To change the properties of a part, click the Manage Parts button. See
Manage Parts dialog box.

7.

Click the drop-down menu for Corresponding Instrument (or closest match) in SmartMusic
and choose the instrument that most closely resembles that of the solo part. SmartMusic uses
advanced pitch recognition technology to follow the solo performance. Since each instrument
produces its own signature wave form, SmartMusic must know what type of instrument it will be
following in order to ensure the most accurate response.

1477

8.

Click Next. The Select Accompaniment Staves dialog box appears.

9.

Check all the staves you wish to include in the accompaniment. This is the music you will be
playing along with in SmartMusic.

10. Click next. The File Information page appears.

11. Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from the File Info dialog box. After you click Finish, Finale checks the
file for compatibility with SmartMusic. If there are any notation elements that SmartMusic does not
accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the
Save SmartMusic Export File As dialog box (and can skip the next step).
Changes to the title, composer, and copyright made here do not apply to the Finale file in any way.
This information is stored for the SmartMusic Accompaniment separately.

1478

12. Click each conflict to view a description on the right side of this dialog box. Click Edit to
restore focus to the document where you can resolve these conflicts on the fly. Then click
Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box.
When you have resolved all conflicts, click Done to return to the score. Then, from the File Menu,
choose Export to SmartMusic to complete the saving process.
Finale allows you to save the SmartMusic Accompaniment without resolving all conflicts. Review
the SmartMusic Compatibility Guideline or the description on the right side of this dialog box for
details regarding the effects of each conflict.
13. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the .SMP accompaniment file you've just saved.

To create a solo assessment file from a Finale exercise

Use the Exercise Wizard to create a single-staff exercise. Then, follow the instructions under To create a
solo assessment file without accompaniment to create the assessable Smartmusic Accompaniment.

To prepare a file for SmartMusic

A SmartMusic accompaniment file is essentially an enhanced MIDI file. Some of the tips below can help
you prepare the best possible MIDI playback (in Finale or SmartMusic) as you notate the score. Other
tips address the unique issues of the SmartMusic enhancements and limitations.
Tips for SmartMusic files

Double-check the playback of the file. To hear how the music will sound in SmartMusic, playback the
file using Finales SmartMusic SoundFont playback.

Check the Instrument List to make sure none of the tracks are muted. See Instrument List.

Remove extra or empty measures at the end of the file.

Tempos should remain within a range of 20-240 beats per minute for best following.

Ritards and accelerandos applied to the file will help the SmartMusic following create a smoother
tempo change.

Keep tempo changes conservative to allow the musician to create their own interpretation and
provide a smoother following of tempo nuances for the Intelligent Accompanist.

No Controllers except Volume (#7), Sustain (#64), Room Select (#12), Reverb (#91) and Pitch Bend
are allowed. See Continuous data.

Finale and SmartMusic understand transposing instruments and will adjust accordingly. If you wish
to double-check the sounding or concert pitch, use Display in Concert Pitch in the Document Menu.

If you intend to use Intelligent Accompaniment, you must have at least 2 staves when saving a
SmartMusic Public file from Finale: one staff for the solo or melody line and one staff for the
accompaniment.

General tips for MIDI Files

You may want to record all tracks by performing them into Finale using HyperScribe or a sequencer
and avoid step-entering notes. Performing tracks adds human variation to velocities, durations and
note placement which creates a more natural sounding accompaniment. To achieve a similar effect,
enable Human Playback (available in the Playback Settings dialog box).

If youre importing a MIDI file into Finale, make sure you save it as MIDI Type 1 (tracks become
staves), so that all of the channels or tracks are separate.

When importing a MIDI file, preserve as much of the MIDI information as possible by checking
Include Tempo Changes and Continuous Data. See also To import a MIDI file.

Check your Playback/Record Options. Make sure the four Play Recorded checkboxes are checked.
If you enable Human Playback, set up the HP Preferences to incorporate all of the User MIDI Data.
See Playback/Record Options dialog box.

Check the tempo playback. Many things can affect the tempo in Finale. Start with the base tempo in
the expanded. See Playback Settings dialog box, Expression Designer dialog box and Tempo Tool.

1479

Assigning Instruments for SmartMusic Accompaniments

To assign playback instruments (that will playback using SoundFonts), SmartMusic looks to the
instrument assigned to each staff. It is particularly important to review the instrument assigned to each
staff if you are generating a SmartMusic Accompaniment from an existing Finale file, and if the file was
setup for playback with a MIDI device other than Finales SmartMusic SoftSynth. Remember, Finale
playback with SmartMusic Softsynth chosen as the MIDI Out device in the MIDI Setup dialog box will
match playback of the .SMP accompaniment file when performed by SmartMusic.
1.

From the Window Menu, choose Instrument List. Note that SoundFont playback of .SMP files is
supported in SmartMusic 8.0, and not 7.0 or 7.1. In versions of SmartMusic earlier than 8.0, all
accompaniment staves will playback using a piano sound.

2.

Under the Instrument column, click the drop-down menu for a staff and choose New
Instrument (at the top of the list). The Instrument Definition dialog box appears. Note the channels
that are currently defined.

3.

In the Instrument Name text box, enter an instrument name. This is the name that will appear in
SmartMusic.

4.

Ensure the channel is set to one not used by any other staff.

5.

Click OK. You return to the Instrument List.

6.

Assign a new instrument for each of the remaining staves. Make sure to choose New Instrument
from the drop-down menu for each staff to enter each part name and set a unique channel for each.

When you have finished assigning instruments, be sure to play the file to review your changes before
saving.

1480

Crescendo/Decrescendo
A crescendo may be notated either as a hairpin shape or as
the word cresc. or crescendo. The hairpin can be created with
either of two Finale tools, depending on your purpose. If your
goal is to create a graphic crescendo marking, you can do so
quickly and easily with the Crescendo Tool (on the Smart Shapes palette). A Smart Shape crescendo has
three special advantages: first, it expands and contracts automatically to fit the layout of music it affects;
second, it automatically breaks into two segments if it straddles a system line break. Lastly, Finales
Human Playback automatically interprets hairpins. See Playback for details. You can also deactivate
Human Playback and assign playback using the TGTools Smart Playback plug-in. See Smart Playback.
If you want to affect the playback only, and you dont need the marking in the score, you can create a
smooth, effective volume increase using the MIDI Tool. (Of course, you could also combine the above
techniques to create a graphic and playback crescendo.)
You can also create a graphic crescendo that plays back (or the word cresc. that also affects playback),
using the Expression Tool. An expression crescendo, for example, is the only one that can appear in
more than one staff at once. See also SmartFind and Paint dialog box.
In all cases, the process for creating crescendo or decrescendo markings is nearly identical.

To create a Smart Shape (graphic) crescendo or decrescendo

marking
1.

Click the Smart Shape Tool

. The Smart Shape palette appears.

or Decrescendo Tool

2.

Click the Crescendo Tool

3.

Position the cursor in the measure where you want the marking to begin so that the cursor
arrow points to the staff to which youre attaching it. This is particularly important when youre
working in orchestral scores; if you accidentally attach a Smart Shape to the wrong staff, it wont
appear in the correct staff when the parts are extracted.

4.

Double-click; on the second click, hold the button down and drag to the right until the hairpin
is the correct length. Human Playback, which is active by default, interprets hairpins automatically
and performs them during playback. See Playback Settings dialog box for details. If you have
disabled Human Playback and wish to add a playback effect to hairpin crescendos manually, see
Smart Playback.

To move, reshape, or delete a Smart Shape crescendo

If the hairpin is already selected, it displays handles; if so, skip to the last two steps. See also Align/Move
Dynamics Plug-in.
. The Smart Shape palette appears.

1.

Click the Smart Shape Tool

2.

Click the handle of the shape you want to modify. The shape displays handles:

1481

3.

Drag the appropriate handle to change the width, angle, or height of the hairpin. Note:Finale
automatically constrains to horizontal dragging while creating or working with hairpins. To disable
this feature, from the Smart Shape Menu, choose Smart Shape Options, and then uncheck Make
Horizontal. Then click OK. Drag either endpoint of the hairpin across the other to change a
crescendo into a decrescendo and vise versa.

4.

Press delete to remove the selected shape.

To align multiple Smart Shape hairpins

You can also use the Align/Move Dynamics plug-in to align hairpins with dynamic expressions. See
Align/Move Dynamics Plug-in.
. The Smart Shape palette appears.

1.

Click the Smart Shape Tool

2.

Drag-select or shift-click the handles of the hairpins you want to align.

3.

Right-click on the hairpin you want the hairpins to align to. Select Align Horizontal or Align
Vertical from the contextual menu. If you chose Align Horizontal, the hairpins will move to line up
along a horizontal line, based on the hairpin you clicked on. If you selected hairpins on more than
one staff, the hairpins will move to the same distance from the staff. If you chose Align Vertical, the
hairpins will reshape to line up the endpoints vertically.

To change the default opening and thickness of Smart Shape

hairpins
Use this procedure to adjust the default opening for any additional hairpin shapes you place into the
score.
1.

From the Smart Shape Menu, choose Smart Shape Options. The Smart Shape Options dialog
box appears.

2.

In the Crescendo Opening Width text box, enter a new width value. All of your crescendo or
decrescendo symbols will have an opening of the size you specified, unless they have been
manually edited. You can select the measurement unit in the Units drop-down menu.

3.

Edit the Line Thickness text box, in the Crescendo/Decrescendo section of the Smart Shape
Options dialog box. This number controls the thickness of the actual straight lines that compose the
hairpin shape.

To create a playback crescendo or decrescendo with the MIDI Tool

1.

From the Window Menu, choose Advanced Tools Palette, and click the MIDI Tool
. Select
the region whose playback data you want to affect. Double-click the highlighted area. The MIDI
Tool split-window appears. Drag through the graph region above the notes to select all of them, or
shift-click (or drag-enclose) individual note handles if you want only certain notes to be affected.

2.

Make sure Key Velocities is selected in the MIDI Tool Menu; then choose Scale from the MIDI
Tool Menu. The Scale dialog box appears.

1482

3.

Specify the degree of crescendo or decrescendo by filling in the From and To text boxes.
There are two buttons at the bottom of this text box: Absolute, and Percent of Original. If Absolute is
checked, the numbers you enter are MIDI velocity values, which can be from 0 (silent) to 127 (very
loud). If you choose Percent of Original, you type percentage values (for example, you might want to
create a crescendo that increases from 100% to 150% of the current volume). This last option is
useful for preserving the existing dynamic balance of the music while still achieving a smooth
increase in volume.

4.

Click OK (or press enter). You can also create a MIDI-based playback crescendo by increasing the
MIDI Volume controller. See Volume and Continuous data. To automate this task for hairpin
crescendos, see Smart Playback.

To create a Text Expression (such as cresc. or decresc.)

You can use any text you want in a Text Expression: crescendo, diminuendo, and so on.
1.

Click the Expression Tool

2.

Click on, above, or below the note or measure to which you want to attach the marking. The
Expression Selection dialog box appears.

3.

Choose the Dynamics category. All the dynamic expressions appear in the preview window.

4.

If the crescendo or decrescendo marking already appears in the list, double-click. You return
to the document. The marking's positioning settings are those of the Dynamics category. To change
them, see Category Designer dialog box. If you do not see the desired marking, continue:

5.

Click Create. The Expression Designer dialog box appears.

6.

Type "cresc." or "decresc.". Finale automatically applies the font, size, and style specified for the
Dynamics category in the Category Designer dialog box.

7.

If you do want the mark to affect playback, click the Playback tab (see Expression DesignerPlayback).

8.

Click OK.

9.

Click Select to add the expression.

To move or delete a crescendo (Text or Shape Expression)

See also Align/Move Dynamics Plug-in.
.

1.

Click the Expression Tool

2.

Click the note or measure to which the expression was attached. Its handle appears.

3.

Drag the handle to move the entire shape. Click the handle and press delete to remove it.

1483

Crossed hands
There are several conventions for notating crossed-hands playing in keyboard music. See Cross-staff
notes and Clefs).
If you play a crossed-hands performance into the Transcription Mode of HyperScribe, Finale will attempt
to track the positions of your hands as you play, even if the hands cross. See Split points.

1484

Cross-staff notes
The following instructions explain how to create cross-staff notation manually with the Note Mover and
Special Tools Tool. To create cross-staff notation automatically with a plug-in, see Cross Staff plug-in.
See also Reverse stems.
A cross-staff note is one that belongs to one staff, but that, for notational efficiency (for example, to
eliminate the need for ledger lines) is written in another staff, often with a different clefits stem is
stretched from the original staff to the target staff. You encounter cross-staff notes most often in
keyboard music.
In Finale, you enter the music on the original (source) staff and use the Note Mover Tool to move
selected notes to other staves.

To create cross-staff notation with the Cross-staff Plug-in.

1.

Select the measure region including the notes you want to move to a different staff. See
Selecting music.

2.

Hold down the Alt key and press the down arrow key to move notes down a staff, or the up
arrow key to move the notes up a staff. For additional control over cross-staff notes, use the
NoteMover Tool (as described below). See also Cross-staff plug-in.

To create cross-staff notation

1.

Enter the music in the usual way (all on one staff).

2.

From the Window Menu, choose Advanced Tools. Click the Note Mover Tool
Mover Menu appears.

3.

From the Note Mover Menu, choose Cross Staff.

. The Note

4.

Click the measure containing the notes in question. A handle appears on each note.

5.

Select the notes to be moved. You can select a single note by clicking its handle, additional notes
by shift-clicking their handles, and a group of notes by drag-enclosing them. When selected, the
handles become highlighted.

6.

Drag any selected handle to the desired target staff. As you drag the single handle, all selected
handles move simultaneously. You dont need to drag the handles to any particular pitch on the new
staffsimply release the mouse button when the cursor is directly on the target staff, and youll find
that the notes have now moved to the new staff. Their beams and stems, however, still originate in
the source staff.

1485

If you have a relatively simple cross-staff notation, youre done. If you need the beam in the middle,
continue with the instructions below.
7.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

, and

8.

Click the Reverse Stem Tool

9.

Click the upper handle (for an upstem note), or the lower handle (for a downstem note). Finale
responds by attaching the stem to the opposite side of the notehead. For notes you want above the
beam, click on the upper handle. For notes you want below the beam, click on the lower handle.

10. Click the Beam Angle Tool

. A handle appears above and below each note or chord.

. A handle appears at the beginning and the end of the beam.

11. Drag the left handle down to move it to the position you want. Drag the right handle up or
down to change the beam angle. To restore the beam to its default angle and height, click the
handle you used to change the position of the beam and press delete.

1486

To restore cross-staff notes to their source staff

1.

From the Window Menu, choose Advanced Tools. Click the Note Mover Tool
Mover Menu appears.

. The Note

2.

Click the source measure. Dont click the measure that now contains the notes; click the measure
they came from. A handle then appears on each note.

3.

Select the notes to be moved. You can select a single note by clicking its handle, additional notes
by shift-clicking their handles, and a group of notes by drag-enclosing them. When selected, the
handles become highlighted.

4.

Press Delete. The selected notes are returned to their source staff.

To restore cross-staff notes to their source staff temporarily

At times, you may find your score easier to edit if all cross-staff notes are displayed on their original or
source staves. With the following technique, you can tell Finale to restore them in this way temporarily;
when youre ready to print the score, you can tell Finale to display them once again on the target staves
to which you dragged them.
1.

From the Document Menu, choose Document Options then select Notes and Rests. The Rest
options appear.

2.

Select Display Cross-Staff Notes in Original Staff (so that an X appears). Click OK (or press
enter). When you want the cross-staff notes to return to their target staves, de-select Display Crossstaff Notes in Original Staff.

3.

Optional: uncheck Display Reverse Stemming in the Stems portion of the Document Options
to return note to the correct side of their stems.

1487

Cue notes
Cue notes are reduced-size notes in a score that a player under normal circumstances isnt meant to
play. Usually they indicate musical material being played by other instruments, and are used as an aid for
keeping track of ones place in the music, especially during long rests. Or they may appear in one
players part for him or her to play in case the primary instrument or player isnt available. See also Add
Cue Notes Plug-in

.
In addition to the method described here, you can reduce note sizes in several other waysonly the
notehead, for example. See Note size for more information.

To create cue notes on a full-size staff

1.

Enter the music at normal size.

2.

Select the layer your cue notes are in from the Select Layer submenu View Menu.

3.

From the Document Menu, choose Show Active Layer Only.

4.

Click the Selection Tool

and select a region. See Selecting music for some region-selecting
shortcuts. You can select as little as one note, or as much as an entire piece.

5.

From the Utilities Menu, choose Change, then Note Size. The Resize Notes dialog box appears.

6.

Indicate how small you want the cue notes to be by typing a number into the number box.
This number is expressed as a percentage of normal-size notes, so 50% would give you notes that
are half size; numbers between 50 and 75 generally produce good results.

7.

Click OK (or press enter). To restore the notes, repeat the process but set the notes size to
100%.

To create a cue staff

You can also create an entire staff at a reduced size.
1.

Enter the music at normal size. If youre not in Page View, choose Page View from the View Menu.

2.

Click the Resize Tool

appears.

3.

Enter the desired reduction value. For a cue staff, 60% to 75% of full size would be a typical
reduction.

4.

Specify the range of systems in which you want this staff reduced. You can also reduce an
entire system. Follow these same instructions, but instead of clicking to the left of a staff, click to the
left between two staves. Youll be offered two extra options: Hold Margins (to ensure that the
horizontal dimension of the system doesnt get reduced) and Resize Vertical Space (to reduce the
space below the system as well). For a further discussion of these options, see Resize Staff System
dialog box.

, and click to the left of the desired staff. The Resize Staff dialog box

1488

5.

Click OK (or press enter).

To restore a cue staff to full size

1.

Follow the instructions above, but when the Resize Staff dialog box appears, type 100 (%).
Specify the range of systems you want affected.

2.

Click OK.

To prevent attached lyrics and chord symbols from shrinking

When you shrink notes, Finale automatically shrinks anything attached to them proportionallylyrics,
chord symbols, articulations and expressions, and so on. Under some circumstances, you may not want
these attached items to change size along with the notes.
Note: For lyrics, a simpler alternative to the method
below is to specify a Fixed Size when you select a
type size; see To set the font for lyrics globally.
For chords, a simpler alternative to the method below is to specify a Fixed Size in Document OptionsFonts.
1.

Enter the cue notes in Layer 2, 3, or 4. If youve already entered them in Layer 1, use the
Move/Copy Layers command in the Edit Menu to put them into another layer. If youve already
attached the lyrics, chord symbols, or other elements to the cue notes, remove them; youll be
inserting them into a different layer.

2.

Enter normal-sized dummy notes in Layer 1. It makes no difference what the pitches are; in a
moment, theyll be invisible. Make sure they match the rhythm of the cue notes.

3.

Attach your lyrics, chord symbols, or other markings to the dummy notes.

4.

Click the Staff Tool

5.

From the Staff Menu, choose Apply Staff Styles.

6.

Select Blank Notation: Layer 1, and then click OK. The Blank Notation setting hides all notes in
Layer 1, but preserves anything attached to them. In short, you now have cue notes in one layer
(unaffected by the Blank Notation setting), and associated lyrics and markings at normal size in
another layerbut they appear to be attached to the cue notes.

See Also
Resize Staff System dialog box
Selecting music
Resize Tool

1489

Custom lines
To create a custom line
1.

Click the Smart Shape Tool

. The Smart Shape Palette appears.

. The Smart Line Selection dialog box appears.

2.

Ctrl-click the Custom Line Tool

3.

Click Create. The Smart Line Designer dialog box appears.

4.

Select a Line Style from the Style drop-down list. This determines whether your Smart Shape will
be a character, or a solid or dashed line.

5.

If youve selected line, you can set the thickness, and the dash settings for a dashed line. If
youve selected a character, such as in the case of a glissando, you can change the character, font,
and set the vertical offset from a baseline.

6.

Set the line adjustments for the start and end of the line, arrowheads, hooks, or related text.
See Smart Line Designer dialog box for details.

7.

Click OK.

To place a custom line

1.

Click the Smart Shape Tool

. The Smart Shape Palette appears.

2.

Click the Custom Line Tool

3.

Double-click where you want the line to begin; on the second click, hold the button down and
drag diagonally. Release the mouse when the line has the length and angle you want.

To change which custom line is assigned to the palette icon

1.

Ctrl-click the Custom Line Tool

2.

Select the Smart Shape to be used when clicking the Custom Line Tool. You can also click edit
to edit the currently select Smart Line, or click Create to define a new one.

3.

Click OK.

1490

Customize Toolbar dialog box

How to get there

From the Window 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 dismiss the dialog box. Click Reset to return
the palette to the tool arrangement you had when you entered the dialog box.

1491

Cut time
Cut time, also known as

or alla breve, is a meter with two half-note beats per measure. Its often

symbolized by the cut-time symbol: . For general information on time signatures, see Time signatures.
For details on Finales automatic beaming-pattern feature, see Beaming.
Tip: For large Time Signatures used for some scores, use the Engraver Time font.

To change the cut-time display (

, or another symbol)

1.

From the Document Menu, choose Document Options and select Time Signatures.

2.

Click Abbreviate Cut Time To. If theres a check in the checkbox, Finale will display the cut-time
symbol. If not, Finale will display
the Select button.)

3.

. (You can also specify any other symbol you want by clicking

Click OK (or press enter).

To mix abbreviated and non-abbreviated cut and common time

signatures
TIP: Before you begin, remember to set the global
settings for common and cut time in the Time
Signatures portion of the Document Options dialog
box (under the Document Menu).
1.

Click the Time Signature Tool

2.

Double-click on the first measure in which you want to change the appearance of the time
signature. The Time Signature dialog box appears.

3.

Choose the measures you want affected. By default, Finale selects the measure you clicked, or
the area you drag-enclosed, so if thats the range you want, you dont need to enter anything. To
specify a different range of measures, enter the numbers of the first and last measures making up
the region. To change the measure you selected through the end of the piece, click Measure ___
Through End of Piece.

4.

Click Options. The Time Signature dialog box expands to show the display options.

5.

Click Use a Different Time Signature for Display. (If its already selected, dont click it again). Set
the time signature if necessary.

6.

Use the Abbreviate checkbox to specify whether to abbreviate the cut or common time
signature for this time change. If you want to use the abbreviated symbol

, simply click

Abbreviate. On the other hand, if you want the time signature to appear as numbers
deselect Abbreviate by unchecking the checkbox.
7.

, just

Click OK (or press enter). You return to the document, where the measure region you specified
now shows the time signature in the format you chose.

1492

Cutaway scores
A cutaway score is one in which staves can begin and end in mid-system, appearing and disappearing in
the score as necessary.

Its easy enough to create scores in Finale with full-width staves that are present in each system only
when they contain notes; indeed, hiding staves that contain only rests is the sole purpose of Finales
system optimization feature (see Optimizing systems).
Such staves still occupy the full margin-to-margin width of the system, however. If you want a staff to
begin or end halfway across the page (when the other staves in the system continue all the way to the
page margins), you can hide the portion of each staff you dont want to appear using Staff Styles. See
also Masks.

To hide a portion of a staff

1.

Click the Staff Tool

, and select the measures that you want to hide. See Selecting music
for more information on selection methods.

2.

From the Staff Menu, choose Apply Staff Styles. The Apply Staff Styles dialog box appears.

3.

Select Hide Staff and click OK. All the staves in the selected region will be hidden. To clear the
Staff Style, re-select the measures and choose Clear Staff Styles from the Staff Menu. Alternatively,
you can right-click the highlighted region and choose Hide Staff from the context menu.

1493

Dashed lines
There are two ways to produce dashed (dotted) lines of any length in Finale: Smart Shapes and Shape
Expressions. In general, you should use a Smart Shape. A Smart Shape has three advantages: First, it
expands and contracts along with the measures it affects. Second, it will automatically break into
separate segments if it straddles a system line break. Third, there are three dashed-line Smart Shapes
one with a hook on both ends, one with a hook on the right side, and one without hooks, plus you can
define custom lines as well. You place Smart Shapes into one staff at a time; they may be horizontal or
diagonal, and you can control the length of the dashes.
If you want a dashed line to appear in many staves at once (such as a dashed barline), you can create
one in the Shape Designer, where you can also specify the thickness of the line.

To draw a Smart Shape dashed line

1.

Click the Smart Shape Tool

. The Smart Shape Palette appears.

2.

Click one of the dashed line tools. There are three predefined dashed-line tools: one with an
upward hook at the end, one downward, and one with no hook. To create a custom line see Custom
lines. (There is also a dashed curve tool.) To change the lengths of the dashes and spaces, select
Smart Shape Options from the Smart Shape Menu, and change the numbers in the Dash Length and
or
marking, youll notice that there are
Dash Space text boxes. If youre creating an
Smart Shape tools specifically for these indications; click the appropriate tool. See 8va/8vb for more
information.

3.

Position the cursor in the measure where you want the line to begin so that the cursor arrow
points to the staff to which youre attaching it.

4.

Double-click where the Smart Shape should begin; on the second click, hold the button down
and drag to the right. Your double-click marks the beginning of the line; as you drag, you increase
the lines length. Release the mouse button when youve positioned the end of the line about where
you want it.
Tip: To create a perfectly horizontal or vertical line,
press shift before you double-click and keep it
pressed while you drag. This constrains your
dragging.

To move, reshape, or delete a Smart Shape dashed line

If the line is already selected, it displays diamond editing handles. If so, skip to step 3.
. The Smart Shape Palette appears.

1.

Click the Smart Shape Tool

2.

Click the handle of the line you want to modify. The line displays diamond editing handles.

3.

Drag the right or left diamond editing handles to move its endpoints. Drag the square handle
to move it. Press delete to remove it.

1494

Date stamps
If you create a time stamp or a date stamp, Finale will automatically print the current time or date on your
document each time you print it. To add a time or date stamp, you use the Text Tool.

To create a time or date stamp

1.

Click the Text Tool

2.

Double-click where you want the Date or Time stamp on the page. The text editing frame
appears.

3.

Select font, size and style from the Text Menu. Skip this step if the default Text Block settings are
the ones you want to use. See Document Options-Fonts.

4.

Select Date or Time from the Inserts submenu of the Text Menu.

5.

Select Frame Attributes from the Text Menu. The Frame Attributes dialog box appears.

6.

Select Page. Choose Single Page from the drop-down list menu and type 1 in the first text
box. (These should be the default settings).

7.

Specify where you want this date stamp to appear, using the options in the Frame Attributes
dialog box. Use the alignment and position drop-down lists menus and the Attach To options to
place the date or time stamp. See Frame Attributes dialog box for more information.

8.

Click OK to exit the Frame Attributes dialog box. The date stamp appears on the pages you
specified, with the justification you selected. To move the date stamp, drag its handle; select the
handle and press delete to remove it.

To change the date format for date stamping

1.

From the Document Menu, choose Document Options and select Text. At the bottom of these
options, you see two options listed under the Date Format heading. You can choose the short format
(10/14/07) or the long format (Friday, October 14, 2007).

2.

Click the date format you prefer. Click Apply to save your settings.

1495

D.C.
Da Capo, or D.C., means to the head. It directs the player to return to the beginning of the score. D.C.
al Coda and D.C. al fine instruct the player to then play to the To Coda marking or to the end of the
piece, respectively.

To place a D.C marking in the score

If you follow all of these steps, youll create a functional text repeat that directs the playback of your score
to the beginning of the piece. If the D.C. marking doesnt need to affect playback, follow only the first four
steps.
1.

Click the Repeat Tool

, and double-click the last measure to be played before returning
to the beginning of the piece. The Repeat Selection dialog box appears. If the D.C. marking
already appears in the window, skip the next two steps.

2.

Click Create and type D.C. (or D.C. al Coda, or D.C. al fine). Set the type style by clicking Set
Font.

3.

Click OK (or press enter). The marking now appears in the list of Text Repeats.

4.

Double-click the D.C. marking. The Text Repeat Assignment dialog box appears. If you dont need
your D.C. marking to be functional for playback, simply click OK (or press enter) to return to the
document, where the D.C. marking appears.

5.

Click Jump on Pass(es) and Enter a number in the Text Field. The number in the Jump On
Passes text box designates on which repetition of this music the playback should jump to the
beginning of the piece. Thats the number you enter into the Total Passes text box. If the playback
should return to the first measure after playing the music only once (the usual situation), enter 1.

6.

In the Target section, click the drop-down menu and choose Measure # (if it isnt selected
already). Then enter the measure number to which you want the playback to jump (usually
measure 1).
Tip: Check Allow individual edits per staff to allow
the text repeat to be moved independently
between staves. Under Show On, assign the text
repeat to all, or certain staves.

7.

Click OK (or press enter). You return to the document, where the D.C. marking appears in every
staff. (To hide the marking in a certain staff, click the Staff Tool; then double-click on the desired
staffs handle. In the dialog box that appears, uncheck Endings and Text Repeats. Or, use the Show
On options)

To move or delete the D.C. marking

To move the marking, drag its handle. To remove it, click the handle and then press
delete.

To create a functional To Coda marking and

sign

See Coda.

1496

Diminution
Diminution refers to the process of halving a motifs rhythmic values, so that each quarter note becomes
an eighth note, and so on. In effect, the following process re-notates any passage so that it halves every
notes value.

To halve the rhythmic values in a passage

1.

Click the Selection Tool

and select the region of music you want to affect. See Selecting
music for some region-selecting shortcuts.

2.

From the Utilities Menu, choose Change, then Note Durations. The Change Note Durations
dialog box appears.

3.

Choose 50% from the Change All Note Durations by drop-down list menu. If you want Finale to
re-bar the selected measures so that there are twice as many notes per measure, make sure Rebar
Measures is selected. See Change Note Durations dialog box for details on these options.

4.

Click OK (or press enter). You can even double the values of the notes only in one layer (if Show
Only Current Layer is selected in the Edit Menu. Finally, note that this command does not affect
empty measures. (A measure in which youve entered a real whole rest doesnt count as empty in
this context.) That is, it will double the values of all notes and rests youve entered, but it wont create
a second completely empty measure.

1497

Distances
To automatically reformat the vertical positioning of staves, systems, and instrument groups to avoid
collision of notes, articulations, smart shapes and other items, use the Vertical Collision Remover plug-in.
Here are some techniques you can use to easily adjust distances and measurements of staves, systems
and other score elements.

To change the distance between staff systems

See Systems.

To change the distance between staves

1.

If youre not in Scroll View, choose Scroll View from the View Menu.
.

2.

Click the Staff Tool

3.

Drag any staff up or down to move the staff vertically. You can drag more than one staff at a
time if you choose several at once (by shift-clicking or by drag-enclosing their handles, so that
theyre highlighted). If you have many staves, you can move all except one or two as follows:
Then shift-click the staves you dont want to move; when any staff is selected, a shiftclick deselects it. Then, as before, drag any selected staff to move all selected staves at once.

To make all staves equidistant

After youve experimented with dragging staves up and down, you may want to restore them to even
spacing. See StavesTo space existing staves evenly.

To change the distance between staff lines

1.

Click the Staff Tool

, and double-click the staff handle you want to modify. The Staff
Attributes dialog box appears. Choose Other from the Staff drop-down list menu.

2.

Select Custom from the Staff Setup dialog box.

3.

In the Settings section, for Line Spacing, enter the space between each staff line. Finale will
round the number you enter to an even number of EVPUs (or equivalent).

To change the distance between notes

The distance between the notes in each measure is determined by your choice of Allotment Library (see
Document Options-Music Spacing). You can also drag individual notes horizontally in one staff (see Note
positioning), and you can change the horizontal position of notes in all staves that fall on a certain beat
(see Beat positions).

To change clef, key, and meter distances

You can set various global distances in the Document Options dialog box. From the Document Menu,
choose Document Options, then choose Clefs, Keys or Time from the list on the left. You will see the
options on the right. Now, set the value for Space Before _ , or Space After _ to change the distance
between the clef, key or time signature and the barline. The units are whatever youve selected using the
Measurement Units command. Any measurement up or to the right are positive numbers; measurements
down or to the left are negative.
For a more complete discussion of these options, see Document Options-Clefs,Key Signatures, orTime
Signatures.

To change the page and system margins

See Margins; Systems.

1498

1499

Divisi
See also Expressions.

A divisi indication is a normal Text Expression that you place in a part (such as a string part) to indicate
that the section of players should split upone group should read the top written notes and the rest
should read the bottom written notes, for example. Use the Expression Tool to place the marking into the
score.
Tip: If you want to create a bracket or split up
marking as shown above, simply create a second
Text Expression that consists only of a less-than
marking (shift-comma), like this: <, or a left bracket,
like this: [ , so that you clearly indicate which notes
are to be played by each group of players.

1500

Doits
A doit is an effect often performed by brass instruments in which the player produces a kind of upward
glissando after attacking the indicated note, producing the opposite of a fall-off effect. You can create
the word doit as an expression (see ExpressionsSlurs ; for information on creating an adjustable line in
the score, seeShape Designer ), and the line itself as a second expression (in this case, a Shape
Expression). For instructions on creating a custom shape, see.

Note, too, that you can purchase special music

fonts for use with Finale, some of which contain a
selection of useful jazz symbols, including doits,
especially Finales Jazz Font. (The Jazz Font is
included with Finale 2009.) See Fonts.

1501

Dotted notes
See also Augmentation Dots and Simple Entry.

To dot a note
1.

Click the Simple Entry Tool

appears.

. Click the measure you want to edit. The editing frame

2.

Hold down Alt and click a note to select it. You can also press the right and left arrow keys to
move forward or back through notes (see Simple Entry Tool).

3.

Press the period (.) key. The note is now dotted. By pressing the period key again, youll add a
second dot, and so on. You can add up to ten dots to a note. (If Finale tells you There Are Too Many
Beats before youre finished editing this measure, turn off Jump to Next Measure in the Speedy
Menu by choosing it.)

To remove a dot from a note

1.

Click the Simple Entry Tool

. Click the Eraser Tool

in the Simple Entry palette.

2.

Click the dot to remove it. There are many methods you can use to edit note durations - see
Simple entry and Speedy entry for more details.

To change the position of all dots

1.

From the Document Menu, choose Document Options, then select Augmentation Dots. The
Augmentation Dot options appear.

2.

Enter a new value in the Space Between Dot and Note text box. This value determines how far
away the dot will be from the note. The higher the number, the farther to the right the dot will be (and
the more space there will be between dots when there is more than one). The units are whatever
youve selected using the Measurement Units command (Edit Menu).

3.

Click OK (or press enter).

To change the position of a single dot

1.

Click the Special Tools Tool

2.

Click the Dot Tool

. The Special Tools Palette appears.

3.

Click the measure you want to edit. A handle appears on each dotted note.

4.

Click on the handle of the dot you want to move and drag it to its new position. Or,

5.

Double-click the handle of the note whose dot positions you want to change. A dialog box
appears, where you can enter positioning values for this dot. The units are whatever youve specified
using the Measurement Units command (Edit Menu).

6.

Enter new values for the dot placement variables. The Horizontal and Vertical Offsets represent
distances you want added to the horizontal and vertical coordinates of the dot, respectively, as
measured from its default position. A higher Horizontal Offset value means farther to the right; a
higher Vertical Offset value means upward. (A change of 6 points moves the dot one space [the
distance between two staff lines].) The Inter-dot Spacing sets the distance between the dots of a
note that has more than one dot.

To undo individual dot positioning

1.

Click the Special Tools Tool

. The Special Tools Palette appears.

1502

2.

Click the Dot Tool

3.

Click the measure you want to edit. A handle appears on each dotted note.

4.

Click the handle of the note whose dot you want to restore to its original position.

5.

Press Delete.

1503

Double barlines
See also Automatic Barlines.

To create a double barline

1.

Click the Measure Tool

; then double-click the barline handle of the measure you want to
end with a double bar. The Measure Attributes box appears.

2.

Click the Double barline icon. Click OK. To restore the single barline, repeat the process, but click
the leftmost (normal) barline icon.

1504

Double whole notes

The double whole note, or breve (
or
) has a duration of eight beats. Either notehead may also
be use to represent recitative on a single pitch. See Note values (durations) for information on creating
double whole notes.

To substitute the

notehead for the

Follow these instructions if you want Finale to use the

note.

notehead globally
default

notehead for the double whole

1.

From the Document Menu, choose Document Options and select Notes and Rests The Notes
and Rests options appear.

2.

From the Note Head Characters drop-down list menu, choose Double Whole; click Select.
Finale displays the Symbol Selection dialog box containing every symbol in the Maestro music font.

3.

Double-click the

4.

Click OK.

To substitute the

notehead. You return to the dialog box.

notehead on a note-by-note basis

See Note shapesTo change the shape of a notehead.

1505

Downbeats
You can control both aspects of Finales handling of downbeats: graphic and playback. For example, you
might decide that one or all of the downbeats in your piece occur too close to the beginning of the
measure.
If youre using Finale for playback, you can alter the velocity and durational values for some, or all,
downbeats by using the MIDI Tool.

To move all downbeats graphically

1.

From the Document Menu, choose Document Options, then Select Notes and Rests. The
Notes and Rests options appear.

2.

Enter a new value in the Spacing Before Music field. The number you type here represents the
distance between the measure header (clef, key, meter) and the first note or rest in the measure. By
increasing the number, you can allow more space before every downbeat in the piece.

3.

Click OK.

To move a single downbeat graphically

See Beat positionsTo move a beat.

To alter the key velocity of downbeats

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Velocities from the MIDI Tool Menu.

, and choose Key

2.

Select the region to be affected. Drag-enclose to select measures, click to the left of the staff to
select the entire staff, or choose Select All from the Edit Menu.

3.

Choose Alter Feel from the MIDI Tool Menu. The Alter Feel dialog box appears.

4.

Enter the desired amount of key velocity alteration (a positive or negative number) in the
Downbeats By text box. The range of MIDI key velocity is 0 to 127, so the number you enter here,
when added to the existing velocity values of the notes, cant exceed 127. (If you like, click Percent
of Original, and type a percentage value into the Downbeats By text box.)

To alter the attack points of downbeats

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Durations from the MIDI Tool Menu.

, and choose Note

2.

Select the region you want to affect.

3.

Choose Alter Feel from the MIDI Tool Menu. The Alter Feel dialog box appears.

4.

Enter the desired amount of Start/Stop Time alteration (a positive or negative number) in the
Downbeats By text box. The number you enter into the Downbeats By text box is the number of
1024ths of a quarter note by which Finale will shift the Start Time of each downbeat. In other words,
Finale moves the audible location of each downbeats attack forward or backward in time, depending
on the number you enter here.

1506

D.S., D.S. al Coda

D.S., or Dal Segno, means from the sign. It directs the player to return to a spot earlier in the score
thats marked by the
from the

symbol. If the marking says D.S. al Coda, then the player is supposed to play

to a To Coda marking, then jump to a coda section at the end of the music. See Coda.

You can easily place D.S. markings into your score if youre preparing your score for printout and not for
playback; see To place a D.S. marking into the score, below.
With some additional steps, you can even make your D.S. markings functionalthat is, control the way
Finale plays back your score.

When Finale reaches the D.S. marking during playback, it jumps back to the

sign

and repeats the music up to the To Coda marking, whereupon it jumps to the coda.

To create a D.S. al Coda and define it for playback

To place a

marking into the score

1.

Click the Repeat Tool

2.

Double-click the measure in which you want the % sign to appear. The Repeat Selection dialog
box appears. If youve loaded a Text Repeat Libraryor if the Maestro Font Default file is in place
you should see the
sign. If you dont see the marking: click Create; the Repeat Designer dialog
box appears. Type a % symbol (shift-5); click Set Font to change the type style to Maestro 24-point.
Click OK to return to the Repeat Selection dialog box.

3.

Double-click the
sign. The Text Repeat Assignment dialog box appears. If you dont need to
make the % marking control playback, click OK without changing any settings; you return to the
document, where the marking is in place. Also see Repeats To move, hide, or delete a text
repeat.
If you want to define the
marking for playback, continue: Note the Text Repeat ID of the
marking. This indicator appears at the top left of the dialog box, in the form Text Repeat ID: 9 (or
whatever number Finale has assigned). Youll need to remember this number for a moment.

4.

Click Never Jump (Mark). Youve just defined this text repeat to be a markin other words, a
marker to which other text repeats (D.S., in this example) will direct playback.

5.

sign appears in all staves. See Repeats To move, hide, or

Click OK (or press enter). The
delete a text repeat. Click in the measure and drag the handle to reposition.

1507

To place a D.S. marking into the score

If youve created a
symbol, you must now place the corresponding D.S. marking. Again, this marking
may be purely graphic, or it may be a functional text repeat that actually directs playback of your score to
the measure containing the

sign.

1.

. Double-click the last measure to be played before jumping to the

.
Click the Repeat Tool
The Repeat Selection dialog box appears. If you dont see the D.S. marking in the window: Click
Create and type D.S. (or D.S. al Fine, or D. S. al Coda). Click OK. The D.S. marking now appears
in the list of Text Repeats.

2.

Double-click the D.S. marking. The Text Repeat Assignment dialog box appears. If you dont need
to make the marking control playback, press enter one more time; you return to the document, where
the marking is in place. Also see To move, hide, or delete a text repeat.
If you want to define the D.S. marking for playback, continue:

3.

Click Jump on Pass(es). Enter a number in the text box. This number designates on which
repetition of the music the playback should jump to the
sign. If this is a standard D.S., in which
the music up to the D.S. marking is played once, type 1 into the Total Passes text box.

4.

In the Target section, click the drop-down menu and choose Text repeat ID. Enter the Repeat
number of the

sign you created. This is the number you remembered when you placed the

sign into the score (This is 9 by default). Because youve specified that the playback should
jump to the

itself (instead of specifying a measure number), you can change your mind about the

location of the
sign in the score. You can delete it and put it into another measure, and Finale
will still direct the playback to it correctly.
5.

Click OK (or press enter). You return to the document. See To move, hide, or delete a text repeat.

1508

Dynamics
See also Crescendo/Decrescendo; Key velocity; Auto-Dynamic Placement Plug-in,
Align/Move Dynamics Plug-in.
Dynamics, along with other Text Expressions, are stored in a Text Expressions Library.
Finale's Document Styles all include libraries with dynamic markings so if you begin with the Setup
Wizard (or with a template), a list of dynamic markings will be available in the Expression Selection dialog
box as soon as the document opens.
Dynamics may be purely graphic or they may be defined for playback. (The predefined Text Expression
dynamics provided with Finale have been defined for playbackbut feel free to modify them, as
described below.) If your synthesizer is velocity (touch) sensitive, youll hear Finale respond to these
dynamic markings as the music plays back.
If you want to create dynamics for playback only, and dont need the actual markings to appear in the
score, you can quickly edit key velocity over a selected region with the MIDI Tool; see Key velocity for
instructions.

To design a dynamic marking

If you started your document from the Document Setup Wizard, a template, or by going to the File Menu
and choosing New > Default Document, all of the most common dynamic markings are defined for you
already. You only need to go through the following steps if you want to create your own dynamic marking,
or if you simply want to learn the process.
1.

Click the Expression Tool

dialog box appears.

2.

Choose the Dynamics category on the left and click Create. The Expression Designer appears.

3.

Click the Font drop-down menu, and choose Music Font.

4.

Type the letter that corresponds to the dynamic marking you want to create. A full list of the
dynamic markings in the Maestro music font appears on the Quick Reference Card. For example,

. Double-click any note or measure. The Expression Selection

marking, capital F is the

marking, and so on (in the default music
lower-case f is the
font, Maestro). The size and positioning characteristics are applied automatically as specified for
Dynamics in the Category Designer dialog box.
5.

Click OK and then Select to enter the expression.

To insert a dynamic marking into the score

See also Auto-Dynamic Placement.
1.

Click the Expression Tool

2.

Double-click on, above, or below the note or measure to which you want to attach the
marking. The Expression Selection dialog box appears.

3.

Click the Dynamics category on the left. Finale displays the dynamic expressions in the preview
window. Note the number or letter to the upper right of each expression. This is the expression's
metatool assignment. You can hold down this keystroke and click the score to instantly add this
expression. To change the metatool assignment, select the expression, hold down Shift, and type
the desired metatool key.

4.

Double-click the desired dynamic marking. Finale adds the marking to the score based on the
positioning settings for dynamics specified in the Category Designer dialog box.

5.

To enter a dynamic without entering the Expression Selection dialog box, hold down the
metatool key and click the score. Remember, you can easily reference metatools in the
Expression Selection dialog box.

1509

6.

Hold down a metatool key, click and drag over multiple staves to add the expression multiple
times.

7.

To move or delete a dynamic marking

See also Align/Move Dynamics Plug-in.
.

1.

Click the Expression Tool

2.

Drag the handle to move the marking; select it and press delete to remove it.

To define a dynamic marking for playback

The dynamics preloaded into the Maestro Font Default file (as well as those in the Text Expression
Library) have already been defined for playback. You can use these steps, however, to alter such
definitions (to make a forte louder, for example).
1.

Click the Expression Tool

. If the marking hasnt yet been placed in the score and you simply
want to edit its definition from within the Selection palette, double-click any measure or note; when
the palette appears, click the marking in question, click Edit, and skip the next two steps.

2.

Double-click the markings handle. The Expression Selection dialog box appears.

3.

Click Create. The Expression Designer dialog box appears.

4.

Click the Playback tab. The playback options appear.

5.

From the Type drop-down list menu, chooseKey Velocity. Enter a velocity value in the Set To
Value box. The value you enter here is the MIDI key velocity value that Finale will apply to all the
music, beginning at the point where it first encounters the dynamic marking and ending only when it
encounters another marking. MIDI velocity is measured on a scale from 0 (silent) to 127 (very loud).
If youre editing a dynamic that came with Finale, youll notice that a velocity value has already been
defined; feel free to change it. The changes you make only affect the definition of the dynamic
marking in this document, although you can store this documents set of modified dynamic marks in
a Text Expressions Library, ready for use in other documents, by choosing Save Library from the File
Menu. Then you can borrow the modified markings for use in other documents.

6.

Click OK (or press enter).

1510

8va/8vb
To create an

or

marking

1.

Click the Smart Shape Tool

2.

Click the

or

. The Smart Shape Palette appears.

Tool. The

marking usually goes beneath the music it affects. To

specify that in this Finale document you want the under-bracket

Tool to create an

marking, choose Smart Shape Options from the Smart Shape

marking instead of the default
Menu. The Smart Shape Options dialog box appears, in which you can choose either marking to
appear at the beginning of the bracket.
3.

Position the cursor in the measure where the marking is to begin so that the cursor arrow
points to the staff to which youre attaching it.

4.

Double-click; on the second click, hold the button down and drag to the right. Your doubleclick marks the
side of the marking; as you drag, you increase the length of the dashed-line
bracket. Release the mouse when youve positioned the right end where you want it. If you doubleclick below the staff the
symbol to use).

marking will be used instead (unless you have specified another

markings affect playback.

To move or reshape an

or

marking

If the marking is already selected, it displays diamond editing handles. If not, click the Smart Shape Tool.
Any Smart Shape created with this tool displays a handle; click the handle of the marking you want to
modify.

Drag the right or left diamond editing handles to move the endpoints. Drag the square handle
to move the marking. Press delete to remove it. If the
bracket is long enough that it
straddles one or more system (line) breaks, it will automatically break into two (or more)
segments; the continuation portions will have an

in parentheses.

See Also:
Smart Shape Options
Smart Shape Tool

1511

Elapsed time
If you need an accurate assessment of the real-time length of a section of music, the Selection Tool can
help. The time displayed is based on the current tempo settings for the piece in the Playback Controls,
including any tempo changes, ritards, and so on set up as playback effects on an expression.

To learn the real-time length of selected music

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

From the Utilities Menu, choose Check Notation, then Check Elapsed Time. Or, while pressing
the 3 key, double-click the highlighted area. A dialog box appears, displaying (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).

3.

Click OK (or press enter).

1512

Encapsulated PostScript (EPS)

Encapsulated PostScript (EPS) is a computer graphics format. Because an EPS file contains the full
PostScript description of its contents, it will print with the greatest resolution possible on a laser printer or
other PostScript device, even if its pasted into another program. If youre using Finale in conjunction with
a graphics, page-layout, or word-processing program, use this technique to transfer music from Finale.

To create an EPS file

Use the Export Pages or the Export Selection commands in the Graphics Menu. See Graphics.

Special instructions for printing from Finale with imported EPS files
1.

You must have a PostScript capable printer. Check your printer manual for details.

2.

The printer driver must be set to Optimize for Portability. Exit Finale. Click Start, Settings,
Printers. Right-click on your printer driver and select Properties. Select the PostScript tab
and set the PostScript output format to Optimize for Portability ADSC. Click Apply, then
OK.

3.

The line OwnPS=0 must be added to the Finale.ini file. Exit Finale. Open the Finale.ini file in
the Finale 2009 folder with Notepad. In the [Settings] section, add the following line, without
quotes, OwnPS=0. Save and exit Notepad.

1513

Enharmonics
There are several ways to change a note to its enharmonic equivalent: note by note, chord by chord, or
even globally.
Note: If you change a note to its enharmonic
equivalent in a linked part, the enharmonic spelling
link is broken between the score and part for that
note. See Enharmonics in linked parts.

To change a note to its enharmonic equivalent

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Press the directional arrow keys until the insertion bar and crossbar are positioned squarely
on the notehead you want to change. You can also click the notehead with the mouse. If the note
you want to change is the only entry, the crossbar does not have to be directly on the notehead.

3.

Press the 9 key. Pressing the 9 key flips a note to its enharmonic equivalent. If you press 9 again
while the crossbar is positioned on the changed notehead, the note will flip back to its original
identity.

4.

Special feature: If you press option-9, youll also change all other notes on the same line or space in
the measure. The crossbar does not have to be on a notehead to use this option.

To change a note to its enharmonic equivalent (Simple Entry)

1.

Click the Simple Entry Tool

2.

Ctrl-click a note to select it.

3.

Press the \ (Backslash) key. The note changes to its enharmonic equivalent.

To change a chords enharmonic spelling

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Press the right arrow key until the cursor is positioned on the chord you want to change.
Press the up and down arrow keys until the crossbar is not on a notehead. You can also click
the chord with the mouse.

3.

Press the 9 key several times. Each time you press 9, Finale cycles to the next possible
enharmonic spelling of the chord. If the chord contains several notes with accidentals, there could be
many different possibilities.

To change all occurrences of a note (search and replace)

You can change every occurrence of a note to its enharmonic equivalentchanging every G sharp to an
A flat, for example. See Search and replace.

1514

Engraver slurs
Engraver slurs avoid collisions with stems, beams, noteheads, inside slur articulations, and accidentals.
Engraver slurs will make most of your slurs look perfect the first time, although nothing can completely
replace an artistic judgement call from a human!
Font annotation is critical to proper functioning of Engraver slurs. If youre using a MakeMusic font, such
as Maestro or Jazz, weve already provided font annotation files. If youre using a third-party music font,
you should create a font annotation file. See Font Annotation dialog box.
Any manual edit to an Engraver slur will make it immune to Engraver slur settings. It will still be marked
as an Engraver slur in the contextual menu, but will be frozen. When frozen, Engraver slurs will no longer
reshape to changes in the notes. To revert the slur to behaving like an Engraver slur or unfreeze the slur,
use the Remove Manual Adjustments command in the contextual menu or the Mass Edit Tool Utilities
submenu.
Because Engraver slurs depend heavily on the spacing of notes, they may appear slightly different
between Page View and Scroll View. Many factors, such as locked measure systems, cause this
difference. We recommend that you make final adjustments to Engraver slurs in Page View, as this is the
view that will print.

To define Engraver slurs

Engraver slurs can avoid collisions with stems, beams, noteheads, articulations, and accidentals. If you
transpose the music, Engraver slurs will reshape to avoid collisions with the new layout. See Engraver
Slurs.
1.

Click the Smart Shape Tool

2.

Choose Smart Slur Options from the Smart Shape Menu. The Smart Slur Options dialog box
appears.

3.

Check the Use Engraver Slurs box. The Engraver slur settings become active.

4.

Make adjustments to the Engraver Slur settings, if desired. See Smart Slur Options dialog box
for details.

5.

Click OK (or press enter) when youre ready to save the new settings. Or click Cancel if you
want to discard changes.

. The Smart Shape Menu appears.

Any manual edit to an Engraver slur will make it immune to Engraver slur settings. It will still be marked
as an Engraver slur in the contextual menu, but will be frozen. When frozen, Engraver slurs will no longer
reshape to changes in the notes. Remove Manual Adjustments in the contextual menu or the Selection
Tool Utilities will revert the slur to behaving like an Engraver slur or unfreeze the slur.

To edit Engraver slurs

See To move, reshape, or delete Smart Shape slurs.

1515

Erasing
You can erase any individual element of music from any specified region: lyrics, chord symbols,
articulations, and so on, without removing any actual notes. If you want, you can also quickly erase all
elements, including notes, from the desired region.

To erase everything from a selected region

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

Press backspace (laptop users Fn-6) or select Clear All Items from the Edit Menu. Finale
erases all music, leaving empty measures behind. (If you want to remove the measures too, select
full measures and press the delete key. Pressing the Delete key without a full measure selection
erases the music without deleting the measures themselves).

To erase a note, rest, or chord

1.

Click the Simple Entry Tool

2.

Click the Eraser Tool

, then click the note, rest or chord. The entire note, rest, or chord
disappears, and the music that follows it slides to the left to fill the space.

To erase a note from a chord

1.

Click the Speedy Entry Tool

2.

Click the notehead you want to delete. You can also use the arrow keys to position the insertion
bar and crossbar on the notehead.

3.

Press backspace (laptop users Fn-6) or shift-delete. Alternative method: Click the Simple Entry
Tool

, click the Eraser icon

. Click the measure in question.

, and click directly on the notehead to be erased.

To erase selected elements from a selected region

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

Choose Clear Selected Items from the Edit Menu (or, right-click the region and choose Clear
Items). The Clear Selected Items dialog box appears. See Clear Selected Items dialog box.

3.

Check the items you would like to clear. Uncheck Entries if you would like to clear individual entry
items.

4.

Click OK (or press enter) twice. Finale erases the selected items. (You can undo this action by
immediately choosing Undo from the Edit Menu.)

1516

Exploding music
If you have notated a chordal or polyphonic passage, you can tell Finale to explode the passage onto
individual monophonic staves. For example, you can write three trumpet parts on a single staff, notated
as triads; when youre finished, Finale can explode that one staff into three individual trumpet staves,
each with a single-line part.

The Explode Music command can place the top note of each chord in the top exploded part, the second
note in the second, and so on. You can specify the clefs for the resultant staves beforehand.

To explode music onto several staves

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

From the Utilities Menu, choose Explode Music. The Explode Music dialog box appears, asking
for more information.

3.

Enter the number of staves you want the music exploded onto in the Number of Splits box.
You can create up to eight staves.

4.

Decide your explode direction. You can select either Top Down or Bottom Up.

5.

Select where extra notes should be placed. Extra notes can be placed in the Top Staff, Bottom
Staff, Distributed to a number of staves, or discarded all together.

6.

If you would like to have at most one note in every staff, select Only One Note per Staff.

7.

Optional: Enter the desired clefs for the exploded staves, and click Use These Clefs. Finale
numbers each clef as follows: Treble (0), Alto (1), Tenor (2), Bass (3), Percussion (4), Treble Ottava
Bassa (5), Bass Ottava Bassa (6), and Baritone (F clef) (7).
If youre exploding a triadic passage onto staves for violin (treble), viola (alto), and cello (bass), for
example, youd type 013 as the first three digits in the Use These Clefs box. (If you just want all
exploded staves to begin with the default clefthe treble clef, unless youve changed the default
leave the Use These Clefs box unchecked, and ignore the numbers.)

8.

Select the staves you want to contain the exploded music. You can select either New staves or
Existing staves.

9.

Click OK. If youve selected a large amount of music, this process may take time. Be aware that
Articulations and Expressions on the source staff also appear in the resultant staves.

1517

Expressions
If you upgraded to Finale 2009 from an earlier
version, see Finale 2009 Interface Changes to
learn how expressions have changed.
Expressions are markings that tell the performer how to interpret (or express) a musical passage. In
Finale, expressions are generally symbols or text placed above or below the staff. Dynamics, tempo
indications (Allegro), and performance practice markings (pizz.) are among the figures added as
expressions. Because of their positioning characteristics, expressions are best suited for other types of
markings as well, such as rehearsal letters. (Although shapes such as slurs and hairpins are also used to
communicate the manner of expression, these are generally added as Smart Shapes, whose properties
are specially designed for graphical editing. Markings that apply to a single note/beat are added as
Articulations.)
Because similar types of expressions usually share positioning and appearance characteristics, Finale
separates the different types of expressions into independent categories. Categories permit, for example,
all dynamics to automatically share the same font, size, and positioning settings. Furthermore, changes
to a category apply to all expressions in that category, including those that have already been added to
the score. Finale includes six categories already, each with unique font, positioning, and staff assignment
settings. (Each category's settings can be changed at any time using the Category Designer dialog box).

Expression Type
Dynamics

Example

Tempo Marks
Tempo Alterations
Expressive Text
Technique Text
Rehearsal Marks

Additional expression categories may be added in the Category Designer dialog box, and individual
expressions may be moved from one category to another in the Expression Selection dialog box.
Behind the scenes, the markings available in the Expression Selection dialog box are stored in libraries.
All of Finale's expressions, articulations, and other markings are stored in libraries because different
documents require different types of markings. For example, if youre scoring a big band piece, you may
want to create a library full of fall-off, bend, and doit markingsbut you certainly wont need those
expressions when you write a string quartet. The File Menu in Finale offers two commands: Load Library,
for bringing expression marks into a document, and Save Library, for storing symbols you have created
or modified in a separate library of their own, ready to be imported into future pieces. Note that Document
Styles include libraries, and can be used to load a collection of libraries every time you begin a new
document.
A basic set of Expression markings is already included whenever you start a new default document,
template, or document with the Setup Wizard. If the Expression Selection dialog box is empty when
youre attempting to place an expression in the score, you can remedy the situation by choosing Load
Library from the File Menu, locating the Libraries folder, and double-clicking the correct libraries (the
Articulation Library for the Articulation Tool, Text Expression Library and Shape Expression Library for
the Expression Tool).
For information regarding specific markings (tempo indications, crescendos, and so on), see their
individual entries.

1518

For information regarding the behavior of expressions in linked parts, see Expressions in linked parts.
If you intend to make use of the Shape Expressions, its important that you assign each to a Metatool
(see To create Expression Metatools for full instructions) before placing them in the score. Otherwise,
youll find that the shapes arent individually reshapable; if you change one, they all change.
See also Articulations;Crescendo/Decrescendo;Dynamics; Slurs.

To add an expression
These steps demonstrate how to add a dynamic marking, the most common type of expression. These
general steps also apply to any type of text expression; tempo markings, rehearsal letters, style
markings, and performance practice indicators.
1.

Click the Expression Tool

2.

Double-click on, above, or below the note or measure to which you want to attach the
marking. To add an expression to multiple staves, click and drag a box around those staves.
The Expression Selection dialog box appears.

3.

Choose the Dynamics category from the list on the left (or choose Show All to display all of
them). Each category represents font and positioning settings that apply to all included expressions
(see Category Designer). All dynamics in the score, as well as future dynamics added, will respect
changes made to the Dynamics category unless the expression has been specifically excluded from
category settings in the Expression Designer (by unchecking the Use Category Fonts/Use Category
Positioning check boxes).

Notice the number to the upper right of some expressions. This is the metatool assignment (see
below). You can hold down this key and click to add the expression directly to the score. While
viewing the Expression Selection dialog box, to assign a new metatool key to a selected
expression, hold down shift and press the key (see To create expression metatools).

4.

Double-click an expression to add it to the score. Finale places the expression according to
positioning settings defined for the category in the Category Designer. An attachment indicator line
displays the expression's attachment point (to either a beat or measure). Click and drag the
expression to change the expression's attachment point (to a different beat or measure). To position
the expression relative to a different staff, drag the expression over the desired staff.

1519

The same category settings also apply to expressions added with metatools...

To add an expression using metatools

To define metatools, see To create expression metatools. To add them, do the following:
1.

Hold down a metatool key and click to quickly add the expression.

2.

Hold down a metatool key, then click and drag over multiple staves to add several
expressions at once. See Metatools - To use an expression metatool.

To move or delete an expression

1.

Click the Expression Tool

2.

Drag the handle to move the marking. As you drag horizontally, the attachment indicator line
jumps beats or measures to show the current attachment.

3.

Hold down Alt and drag the handle to move the marking without changing the attachment point.

4.

Select it and press delete to remove it. Once the handle is selected, you can also use the arrow
keys to nudge the marking for fine positioning.

See also Align/Move Dynamics Plug-in and To adjust the vertical positioning of expressions

To create an expression
1.

Click the Expression Tool

. Double-click on, above, or below the note to which you want
to attach the marking. The Expression Selection dialog box appears.

2.

Choose the desired expression category from the list on the left. Finale will automatically apply
the category's font, style, and size to the new expression. If you would like to change the font, size,
or style, you can do so in the Category Designer dialog box.

3.

Click the Create [expression category] button. The Expression Designer dialog box appears.

4.

Choose the Text radio button and type the text to create a text expression. See Expression
Designer.

5.

Choose the Shape radio button and click Create to create a shape expression. Design the
shape and click OK. See Shape Designer.

6.

To assign a playback effect for the expression, click the Playback tab. See To define an
expression for playback.

7.

Category positioning is already defined. To change the positioning settings for the
expression, click the Positioning tab. See To assign the default positioning for an expression.

8.

Click OK. The expression appears in the Expression Selection dialog box.

9.

Click Select to add it to the score.

10. Double-click any expression's handle (or select an expression's handle and press enter) to
open the Expression Selection dialog box where you can choose a different expression or edit the
existing one.
11. Shift-double-click an expression's handle (or select an expression's handle and press shiftenter) to open the Expression Assignment dialog box where you can specify positioning changes,
staff assignment, and playback options for the expression.

1520

Some types of expressions, such as tempo marks and rehearsal marks must be assigned to more than
one staff using a Staff List. You can apply a Staff List to a category in the Category Designer. For more
information, see Staff List dialog box.

To erase Expressions from a region

1.

Click the Selection Tool

2.

Select the desired region. See Selecting music for some region-selecting shortcuts.

3.

From the Edit Menu, choose Clear Items. The Clear Selected Items dialog box appears.

4.

Check Expressions. There are two types of expressions listed. If you choose "Tempo Marks,
Tempo Alterations & Rehearsal Marks" be sure a stack is selected.

5.

Click OK.

To copy expressions
You can copy any musical element from one passage to another. In this discussion, the source measures
are those that now contain the marking, and the target measures are those to which you want to copy
them.
1.

Click the Selection Tool

2.

From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears.

3.

Select Expressions and click OK. There are two Expression check boxes. If you choose
Tempo Marks, Tempo Alterations, & Rehearsal Marks, the source region will need to be a
stack.

4.

Select the source measures. See Selecting music for some selecting shortcuts.

5.

Drag the first source measure so that its superimposed on the first target measure. If the first
target measure is offscreen, scroll to it; then, while pressing ctrl, click it. Alternatively, you can use
the clipboard to copy (Ctrl-C, then Ctrl-V, see Copying Music).
Note: when you are done copying expressions,
open the Edit Filter dialog box again and click "All"
if you want Finale to copy everything as you
continue to edit your score. The configuration of
the Edit Filter dialog box remains until edited
manually, even after closing and restarting Finale.

To move expressions assigned to staff lists

Three of Finale's default expression categories include staff lists, Tempo Marks, Tempo Alterations, and
Rehearsal Marks. Staff lists are Finale's way of hiding expressions on certain staves of the full score,
although they apply to all staves (and usually appear in every part). See Category Designer dialog box for
more information. In the score, they can be moved independently.

Drag the top Master Expression (the one assigned to the highest staff) to move all occurrences of
the expression in the score.

Drag a subsequent expression (one assigned to a staff other than the top staff) to move only that
expression occurrence.

Hold down ` (tilde) and drag the Master expression to move it independently.

To create a shape
See Shape Designer.

To define an expression for playback

The following instructions allow you to define an expression for playback manually. Note that Human
Playback interprets expressions and performs them automatically based on the selected Human
Playback Style. See Human Playback.

1521

1.

Click the Expression Tool

. If you havent yet placed the mark in the score, double-click any
note or measure. When the Expression Selection dialog box appears, click the desired category,
choose the desired expression, click Edit, then skip the next two instructions.

2.

Click the Playback tab. The playback options appear.

3.

From the Type drop-down list menu, choose the playback effect you want the marking to
have. Many of these are self-explanatory: Tempo, Key Velocity, and so on. For a complete
description of these items, see Expression Designer dialog box.

4.

To set a specific value for this parameter, enter a number in the Set To Value box. The units for
these items are usually what youd expect. Tempo is quarter notes per minute. Key Velocity is MIDI
velocity (0, silent; to 127, very loud). Transposition is in half steps (to transpose up an octave, type
12 in the Set To Value box). When youve entered a value into the Set To Value box, youre finished
defining the shape for playback. The rest of these steps deal with creating playback definitions that
change over timefor example, MIDI pitch wheel data (for a pitch bend), Tempo (for a ritard), Key
Velocity (for a crescendo), and so on.

5.

If the playback parameter is to change over time, select Execute Shape, and then click the
Select button. The Executable Shape Selection box appears. If the desired shape appears here,
double-click it and skip to the instruction marked by the asterisk (*).

6.

Click Create. In the next box, click Shape ID. In the next box, click Create. Youre now in the
Shape Designer. For a more complete discussion of the Shape Designer, see Shape Designer.

7.

Choose Rulers and Grid from the Shape Designer Menu. A box appears, asking you to specify
the background grid increments.

8.

Click Eighth Notes, enter 1 in the text box, then click OK. From the Show submenu of the
Shape Designer Menu, choose Grid. You should now see a network of grid points; each horizontal
gridpoint represents an eighth notes duration.

9.

Draw the Executable Shape. Again, see Shape Designer. Youre drawing, in fact, a graph whose
contour Finale will follow as it plays back your music. A ritard (or a diminuendo, for that matter) looks
like a straight line, or gentle curve, sloping down. A pitch bend looks like a scoop down or up. For
details on these individual markings, see separate entries for Trills; Rallentando; Pitch wheel; and so
on. As you draw, keep in mind that each imaginary vertical gridline represents an eighth notes
duration, and each horizontal gridline represents one change in value. If youre creating a crescendo,
the volume will increase an equal amount each time your shape crosses a horizontal gridline. If
youre creating a rallentando, the tempo will decrease each time your shape crosses a horizontal
gridline. In a later step, youll learn how to determine the rhythmic value of these gridlines
specifying, for example, whether the volume increases every eighth note or every sixteenth note. But
for the moment, realize that the height of your shape (the number of horizontal gridlines it crosses)
determines how many changes in value there will be. (The shape for a rallentando that crosses eight
horizontal gridlines will create eight small tempo changes when the expression to which its assigned
is played back.)

10. Press enter twice. You arrive at the Executable Shape Designer box. The two most important
elements here are the Time Scale and Level Scale boxes.
11. Enter a new Time Scale, if necessary. When you created the shape, you determined how long the
playback effect would last (by the number of vertical gridlines your shape crossed). The Time Scale
ratioformed by a combination of the two text boxesis multiplied by the length of the shape you
drew so that you can change the total duration affected by the shape. A 1:1 ratio means that each
vertical gridline your shape crosses (in the Shape Designer) represents an eighth note duration.
Suppose youre defining the Executable Shape for a crescendo. If the shape you drew was only a
quarter note long (two gridlines in the Shape Designer), the crescendo will last for exactly a quarter
noteif you leave the Time Scale at 1:1. To make the crescendo last twice as long, change the Time
Scale to 2:1. If you want it to last only a third as long, the Time Scale should be 1:3. The values you
enter here determine the span of time affected by your shape.
12. Enter a new Level Scale, if necessary. The Level Scale, like the Time Scale, is a ratio. Instead of
determining how long the Executable Shapes effect will last, the Level Scale determines how much
change youll hear (in the MIDI parameter youve specified). When you designed your shape, each
horizontal gridline crossed by your shape represented one change in MIDI value: a tempo change
from 60 to 59 beats per minute, a MIDI key velocity change from 120 to 121, a transposition down
one half step. By changing the Level Scale, you can multiply that number to create more dramatic

1522

changes in the playback effect. For a ritard, you might want to specify a Level Scale of 10:1, so that
the tempo drops by 10 beats per minute for each horizontal gridline crossed by your shape.
13. Click OK or Select in each dialog box until you return to the document. Listen to the effect of
your Executable Shape. Can you even hear your ritard in playback? If not, increase the Level Scale
ratio. Is your crescendo too brief? Then increase the Time Scale ratio. If youre still puzzled, examine
one of the predefined Text or Shape Expressions that use Executable Shapes: the crescendo
hairpin, for example, or the rallentando expression.

To change the default positioning for an expression category

1.

From the Document Menu, choose Category Designer. The Category Designer dialog box
appears.

2.

Select the category and edit the positioning settings (see Category Designer dialog box).

3.

Click OK. Existing and future expressions in the category reflect your updated positioning settings.

See also To Create an Expression

To adjust the vertical positioning of expressions on a baseline

You can adjust the vertical positioning of expressions along a baseline after they have been entered
provided they have been set to Above Staff Baseline or Below Staff Baseline in the Vertical portion of the
Positioning tab of the Text/Shape Expression Designer. See Expression Designer-Positioning. Then, do
the following
1.

Click the Expression Tool

2.

From the Expression Menu, choose Adjust Above Staff Baseline or Adjust Below Staff
Baseline depending on whether you want to move expressions above or below the staff,
respectively. Positioning triangles appear to the left of the staff.

3.

Drag the positioning triangles to adjust the vertical positioning of the expressions. These
triangles are handles that control the baseline for the expressions (the invisible line against which the
bottoms of the letters align). Dragging the leftmost triangle up or down moves the baseline for these
expressions vertically, affecting the entire piece. The second triangle sets the baseline for
expressions 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. The rightmost triangle sets the baseline for the next
expression you enter. For information regarding baselines in linked parts, see Baseline Positioning in
linked parts.

To create Expression Metatools

When you have many expression marks to place in your score, you can use a Metatool to bypass all the
dialog boxes and button-clicks required in the expression-placing procedures described above. A
Metatool is simply a keyboard equivalent for a certain expression marking; you use letter or number keys
on your keyboard.
Furthermore, Expression Metatools are extremely important if you want to place more than one of any
particular Shape Expression into the score. If you dont place them into the score using Metatools, youll
find that the shapes arent individually reshapable; if you change one, they all change.
.

1.

Click the Expression Tool

2.

Double-click a staff. The Expression Selection dialog box appears. Note the number or letter to the
upper right of each expression slot. This is its metatool assignment.

3.

Choose an expression, then hold down Shift and press a key to assign it to the marking. The
new metatool assignment appears in the upper right corner of the slot. Repeat for any other
metatools you wish to assign.

4.

Click Cancel (or Select to add the selected expression). You can now hold down the metatool key
and click to add the expression you just defined.

Alternatively, you can also assign metatools in the traditional way...

1523

1.

While pressing shift, press any letter or number key. The key you press is the Metatool key to
which youre assigning the marking. When you do this, the selection box appears. If the marking isnt
present in the palette, you can create it in the usual way; see To create an expression.

2.

Double-click the desired marking. Press enter as necessary to exit the dialog boxes. You
return to the document, having successfully prepared the Metatool for use. Youre now ready to
place the marking in the score select the proper tool).

3.

While pressing the appropriate letter or number key, click where you want the marking to
appear.

Again, remember to use this Metatool technique all the time if you plan to place Shape Expressions into
the score; doing so will ensure that each occurrence of a shape is individually reshapable, because each
time you use a Metatool, it creates a copy of the original shape.

1524

Extracting parts
Extracting parts into separate documents is no longer required to produce printed sheet music - you can
print Linked Parts directly from the main project file. See Linked Parts and Print dialog box. When you
extract parts, Finale creates a separate document for each selected part. The extracted parts formatting
and content is identical to the original Linked Part from the main project file. Finale generates a separate
file using the Linked Part as the source.

To extract parts into individual documents

1.

Save the full score document.

2.

Choose Extract Parts from the File Menu. The Extract Parts dialog box appears.

3.

Specify the instruments you want to extract by checking the desired parts (and/or the score).

4.

Enter a file name for the resultant documents. If you select the Generate Names From radio
button Finale proposes the folder (same as the score file) then %f %p. The %f will be replaced by the
file name and %p will be replaced by the part name of the linked part. If you want another
combination of variables to construct your file name with, see Extract Parts dialog box for details. If
you select the Prompt for Each Name radio button Finale will pause between each file to ask you to
title the next one.

5.

Click OK and choose your location to save your documents. Regardless of how file names are
generated, it is wise not to give your extracted-part files the same name as an existing file in the
same folder.

6.

Click OK (or press enter). Finale will generate an individual Finale document for each part,
according to your specifications.

1525

Fall-offs
While a fall-off is musically not the same thing as a glissando, the technique Finale uses to produce an
adjustable slanted line attached to a notehead is the same. See Glissandos.

1526

Fermatas
The fermata, or hold (
or
), is an Articulation. For complete instructions on creating, positioning,
and moving articulations, see Articulations. If youve loaded an Articulation library into your file (or started
your document with the Setup Wizard, a template, or new default document), you wont have to create
the symbol anew.

To move or delete a fermata

1.

Click the Articulation Tool.

2.

Drag the handle to move the fermata. Select it and press the arrow keys to nudge it for fine
positioning; select it and press delete to remove it.

1527

Figured bass
You can create figured bass symbols with the same Finale tools youd use to create fingerings (see
Fingering numbers).
You might prefer, however, to create them as chord symbols, because chord suffixes in Finale also allow
you to stack numbers on top of each other within a single suffix. As you define each chord symbol,
remember to de-select the Root Scale Tone checkbox in the Chord Definition dialog box, so that the letter
name itself doesnt appear in the chord symbol. That is, create the suffix (maj7, for example) without the
root letter name (C, for example). Or use this chord-suffix method only for the inversion numerals, and
use the Lyrics Tool to place the roman numerals; this combination of tools gives you a great deal of
control over the positioning of these two independent elements (roman numerals and inversion numbers).
See the Figured Bass Library in the Chord Suffixes Library folder for a starting point.You might also
consider using the Shape Designer to create figured-bass numerals, since it allows you to combine text
elements in any relationship. Place these shapes into the score as expressions.
If youre handy with a font-making program, you could even create your own figured-bass font, whose
characters you could place in your score as Articulations or expressions. See also the Alternative music
fonts for some professional figured bass fonts.

1528

Final barline
See also Automatic Barlines.

To create a final barline

1.

Click the Measure Tool

; double-click the barline handle of the measure you want to end
with a final barline. The Measure Attributes dialog box appears.

2.

Click the Final barline icon. Click OK.

To turn off automatic final barline

1.

From the Document Menu, choose Document Options, then select Barlines.

2.

Uncheck Final Barline at End of Piece.

3.

Click OK.

1529

Fingering numbers
Numbers that are added to a part to indicate fingerings are Articulations; see
ArticulationsFinale Libraries for full instructions. A note or chord can have as many
Articulations as you want. The Maestro Font Default file already contains fingering
articulations. You can also find fingering articulations in the Articulation libraries.
See for more information.
One of the easiest ways to put fingerings into a score is with the use of Metatools.
The fingering numbers in the Maestro Font Default file have metatools assigned to numbers 1 through 5;
youll be able to quickly and accurately place one number after another. See Metatools.

1530

First and second endings

You can easily create a repeat with first and second endings that will playback correctly (as shown
below).

To create a repeat with first and second endings

1.

Click the Repeat Tool

; then click the first ending measure to highlight it. If the first ending
is longer than one measure, click the first measure of the first ending and the hold down Shift and
click the last measure of the first ending so all measures you want to include in the first ending are
highlighted.

2.

Right-Click the region you just highlighted and choose Create First and Second Ending. The
first ending, backward repeat barline, and second ending appear in the score. At this point during
playback (upon reaching the backward repeat bar) Finale will go back to the closest forward repeat it
finds, so well add that next.

3.

Right-Click the first measure of the repeated section and choose Create Forward Repeat. You
could also double-click the measure, and double-click the forward repeat bar graphic. This section is
automatically configured to playback correctly. Also, if any measures are inserted or removed from
within the repeated section, Finale makes the appropriate adjustments so playback continues to
jump to the correct measures as indicated by the repeat markings.
For more advanced repeat indication, such as nested repeats, to configure playback you may need
to specify the target and number of passes for backward repeat bars manually. See Backward
Repeat Bar Assignment dialog box and Create Ending dialog box.
Note: You can add the forward repeat before
creating the first and second endings. The order for
the last two steps isnt crucial.

To adjust the brackets on a repeat ending

1.

Click the Repeat Tool

each repeat bar.)

. Three handles appear on the bracket. (A single handle appears on

2.

To stretch a bracket, drag its upper handles vertically or horizontally. To delete a repeat, click
any handle and press delete. You cant stretch a bracket further than the length of one system.

To change the default bracket height for repeats (and set the
number font)
1.

From the Document Menu, choose Document Options and select Fonts. The Fonts options
appear.

2.

To change the font for the numbers that appear in a repeat bracket (for example, the 2. in a
second ending bracket), in the Text drop-down menu, choose Ending repeat, and then click
Set Font. See Document Options-Fonts for more details.

1531

3.

To change the height of any brackets in your score, choose the Repeats category, then click
the Repeat Endings button. Change the Height of Bracket number. The units are whatever
youve selected in the Document Menu for Measurement Units. See Document Options-Repeats.

To move, hide, or delete a text repeat

1.

Click the Repeat Tool

. Handles appear on all repeat markings.

2.

Drag its handle to move a text repeat; select it and press delete to remove it. Note that in terms
of its playback functions, the marking is still associated with the measure in which you originally
placed it, even if you drag it to a different measure. Repeat markings initially appear in all staves. To
assign an ending or text repeat to specific staves of your score, use the Staff List options available in
the Create/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box. Also see Staff
List dialog box.

To change a backward repeats playback definition

1.

Click the Repeat Tool

; a handle appears on the barline.

2.

Double-click any handle. The Backward Repeat Bar Assignment (playback definition) dialog box
reappears. Make the desired changes, and then click OK (or press enter). (See To place a repeat in
your score, for the playback options you can specify.)

To hide the ending brackets and text repeats for a specified staff
If your score includes a piano part (for example), you normally wont want ending brackets (such as a first
ending bracket) to appear above both the treble and bass staves. Similarly, you would probably want a
Text Repeat (such as To Coda) only to appear above the treble staff, not above both. If you want to
remove these items from just one staff:
1.

Click the Staff Tool

, and double-click the staff for which you want to hide the brackets
or Text Repeats. The Staff Attributes dialog box appears.

2.

In the Items to Display section, uncheck Endings and Text Repeats. Click OK. (If you want to
assign the text repeat to a number of staves in your score use Staff Lists in theCreate/Edit Ending
dialog box and Backward Repeat Bar Assignment dialog box).

1532

Flags
See also Beaming; Document Options-Stems.
You have considerable control over the flags on single eighth notes (and smaller values) in Finale. The
typical use for these parameters is to adapt a music font to Finale other than Finales Maestro font or
Adobes Sonata font. Because different fonts use different spacing and positioning schemes for their
music characters, you may need to adjust some of these variables in order to accommodate a different
music font.

To change the character assignment for a flag

1.

From the Document Menu, choose Document Options and select Flags. The Flag options
appear.

2.

From the Flag Characters drop-down list menu, choose the flag element whose character you
want to change, then click Select. See the figure for reference. Maestro flag characters contain
either one or two flags (as shown below).

When you click Select, the Symbol Selection dialog box appears containing every available
character in the font. (To change the font, from the Document Menu, choose Set Default Music
Font, choose a new font and click OK.)
3.

Double-click the replacement character. Whichever character you select will now appear at every
occurrence of a flag in this document.

4.

Click OK.

To use Straight Flags

1.

From the Document Menu, choose Document Options and select Fonts.

2.

Choose Flags from the Notation drop-down list menu.

3.

Click Set Font, and choose Maestro Percussion.

4.

Click the Straight Flags radio button to select it.

5.

Choose Straight Upstem Flag from the drop-down list menu, then click Select to display the
Symbol Selection dialog box. Type the key combination for the character, or scroll through the
dialog box and click the character you want to use. Click Select to choose the Straight Upstem Flag
character. Choose the characters according to the tables below, then click select.

6.

Choose Straight Downstem Flag from the drop-down list menu, then click Select to display
the Symbol Selection dialog box. Type the key combination for the character, or scroll through the
dialog box and click the character you want to use. Click Select to choose the Straight Downstem
Flag character. Choose the characters according to the tables below, then click select.

If youre using Horizontal Straight Flags, use the flag character on R (slot number 114) in the Tamburo
font for both the straight upstem and downstem flag. For Angled Straight Flags, use the flag character S
(slot number 115) for the straight upstem flag, and shift-S (slot number 83) for the straight downstem flag.
Use the Flag category in the Document Options dialog box (under the Document Menu) to adjust the
horizontal or vertical placement of the flags as needed. Refer to the following tables to determine which
characters to select for the angled or horizontal style of straight flags.

1533

Angled Straight
Flag

Slot
number

Key
Cap

Straight Upstem
Flag

115

Straight Downstem
Flag

83

shiftS

Horizontal Straight
Flag

Slot
number

Key
Cap

Straight Upstem
Flag

114

Straight Downstem
Flag

114

To adjust the placement of Horizontal and Angled Straight Flags

1.

From the Document Menu, choose Document Options and select Flags.

2.

Choose Straight Upstem Flag from the drop-down list menu and change V to 12 EVPUs. (For
angled straight flags, set V to 24 EVPUs.)

3.

Choose Straight Downstem Flag from the drop-down list menu and change V to zero. (For
angled straight flags, set V to -24 EVPUs.)

4.

Click OK twice.

1534

Flutter-tongue
The notation for flutter tonguing (flute and other instruments) varies. You can place the f.t. notation into
the score as an expression (see Expressions). Use a wavy line to indicate its duration; see Trills.

1535

Font Annotation
Font Annotation allows you to fine-tune the height and width of each font character, allowing Finale to
better handle the selection area for font characters and collision avoidance in Engraver slurs. Weve
provided annotation files for each of the fonts provided by MakeMusic. If you use an alternative music
font, you should create your own font annotation file for a smoother integration with Finale.

To annotate a font
1.

Open any file.

2.

From the Edit Menu, choose Program Options, and select Edit. Click the Font Annotation
button. The Font Annotation dialog box appears.

3.

Click New. Select the desired font and click OK. You return to the Font Annotation dialog box with
a character displayed in the selected font.

4.

Under Character, click Select. Scroll up and find the first non-empty character in the font.
Double-click on it. You return to the Font Annotation dialog box with the selected character in the
selected font.

5.

Drag each side of the red bounding rectangle until the lines frame the character as closely as
possible. Use the View text box to increase or decrease the size of the character. Use the Hand
Grabber Tool (right-click and drag in the character window) to move your view of the character. No
part of the character should appear outside the bounding rectangle.

6.

Click Save. The Save As dialog box appears.

7.

Save the file in the Font Annotation folder in your Finale folder. Finale will automatically load all
font annotation (FAN files found in the Font Annotation folder when you start Finale.

8.

Select the next character in the font. Use the arrow buttons or click Select under Character and
double-click on the next character.

9.

Repeat until all characters in the font are annotated.

10. Click Save, then OK twice. You return to the document. In order to see the effects of the changes
youve just made, you would need to quit and restart Finale.
i

1536

Fonts
Most items you see in Finale are created with font characters. In addition to items created with text,
musical symbols (such as noteheads, clefs, and expressions) are font characters as well. Finale is unique
among music notation programs in that it allows the user to specify the font used for music characters.
This means you can choose from different note heads, different treble clefs, or whatever you'd like, to
make your music look exactly the way you want it to. Furthermore, within lyrics, text blocks, chord
symbols, and the Shape Designer you are able to mix fonts freely: you could, for example, combine text
characters with musical symbols, or have selected lyrics italicized.

PostScript and TrueType

All fonts included with Finale come with a Type 1 PostScript font (with a corresponding screen font) and a
True Type font. A PostScript font does not appear on screen and will only print to PostScript printers,
where it provides superior printed output. PostScript fonts have accompanying screen fonts which allow
the user to have an idea what the font will look like in printout. These screen fonts dont resize smoothly
on the computers screen, meaning that a 24 point font will look okay at 100 percent, but jagged at other
point sizes, page reductions or view percentages. TrueType fonts allow you to print to non-postscript
printers as well as resize smoothly in both printout and on screen. TrueType fonts do not work, however,
in the creation of EPS (Encapsulated PostScript) files. A full installation of Finale installs both the
PostScript and TrueType fonts in your system.

Where are the fonts installed?

The Finale Installer automatically installs the Maestro, Maestro Wide, Maestro Percussion, Petrucci,
Tamburo, Jazz, and Engraver Fonts TrueTypes directly into your Fonts folder located in your Windows
folderLibrary/Fonts folder. The PostScript fonts are installed in a folder called PS fonts, located on your

&

and appear instead of

root directory (usually c:\). If, when you open Finale, large text symbols like
clefs and notes, Windows is unable to locate the Maestro font. The solution is to go to the Fonts Control
Panel and manually add the Maestro font to your system, and restart. (Note that PostScript font
installation is printer specific and that the PostScript fonts are only visible to the printer that was selected
as the default printer when the fonts were installed.)

How to identify font types

PostScript fonts often have abbreviated names like Maest. If you click on the font and choose Get Info
from the File Menu, youll see an icon of a laser printer with a page sticking out of it. The number on the
page tells you what version of PostScript the font is: current font technology would be a type 1 font.
Screen or bit-mapped fonts come in specific sizes and are recognized by the number: for example,
Maestro 24 would be a screen font. If you Get Info on a screen font, youll see an icon consisting of a
page with a corner folded over with a single A on it.
TrueType fonts are usually identified by a full name without a number, like Maestro. If you Get Info on a
TrueType font, the icon will display a page with a corner folded over and three As on it.
PostScript fonts are recognized by .PFM or .PFB extensions. TrueType fonts have a TT icon, and.TTF
extensions, and Windows will create corresponding files with .fot extensions.
Finale also divides the font list into different types of fonts, such as text fonts, Japanese fonts, symbol
fonts, and so on. Starting with Finale 2002a, your symbol or music fonts will appear listed after your text
fonts. Symbol fonts are listed in the MacSymbolFonts.txt file, a user-editable text file that must reside in
the application folder. For more details, see the appendix entry Configuring MacSymbolFonts.txt.
Additional discussions of fonts and font selections appear in individual entries, such as Lyrics;
Noteheads; Expressions; Text; and so on.

To globally change a musical elements font

With this technique you can change the font for a single element of the music, such as the clefs or the
notes themselves. If you want to change all elements of the music to a different font, see To change
music fonts , below.

1537

1.

From the Document Menu, choose Document Options and select Fonts. The Fonts options
appear, with buttons and drop-down lists for various elements of the file. The Select Font button
refers to the font used for the notes, rests, accidentals, and other musical symbols; if you use this
button to substitute a music font of your own design, youll need to make some adjustments to music
character in the Document Options dialog box. (Finale makes the necessary adjustments
automatically if you specify Maestro, Petrucci, Engraver, Jazz, or Sonata as your default music font.)
See Document Options-Fonts.

2.

From the list on the left, choose the type of music character you want to change. Accidentals,
Alternate Notation, Augmentation Dots, Flags, Chords, Key Signatures or Notes and Rests are all
possible options.Then click the drop down list to choose the specific music character. Click the Set
Font button and the Font dialog box appears. Choose the font name, type, and point size, youll see
the sample text change in the display below. You can choose any combination of style elements:
bold, italic, and so on.

3.

Click Apply to save your settings.

To change music fonts

If you choose not to use one of Finales default fonts, Maestro or Jazz, you can substitute any other
music font.
1.

From the Document Menu, choose Set Default Music Font. The Font dialog box appears.

2.

Choose the new font and style; click OK twice. Depending on the music font youve selected, you
may have to fine-tune the positions of individual elements, such as the eighth-note flags. For details,
see Document options-Flags.
To change positioning of other individual elements, select their corresponding category in the
Document Options dialog box. If you want to change other elements to another font, such as
JazzText or JazzCord, continue with the instructions below.

3.

From the Document Menu, choose Data Check, then Swap One Font For Another. The Swap
Font dialog box appears.

4.

Select the text font you want to change by clicking the top Set Font button. Select the text
font you want by clicking the bottom Set Font button. For example, select Times New Roman
mixed sizes and styles for the Search For font and Jazz Text mixed sizes and styles for the Replace
font.

5.

To change chords, from The Document Menu, choose Document Options and select Fonts.
The Font options appear.

6.

From the drop-down lists next to Chord, choose Symbol. Click Set Font and choose JazzCord
or the desired chord font.

7.

Click OK (or press enter) twice.

8.

Click the Chord Tool

9.

From the Chord Menu, choose Change Chord Suffix Fonts.

. The Chord Menu appears.

10. To change the entire library of chord suffixes at once, click the Set Font button in the lower
half of the screen. The Font dialog box appears, letting you specify new font, size, and style
characteristics for the suffixes. For best results, be sure that the Fix Chord Suffix Spacing checkbox
is selected, so that Finale automatically adjusts the individual characters in each chord suffix to
compensate for the new font and size.
11. Select a type style, and then click OK. You return to the document, where Finale has changed the
font for your chord suffixes. Finale is smart enough, however, not to change any musical symbols
within the suffix, such as the f in F7f9.

To change every occurrence of one font to another

You can use Finales Data Check submenu to change every occurrence of one font and size to another,
no matter where they occurin symbol libraries, in text, in chord symbols, and so on. See also Change
Fonts plug-in.

1538

1.

Click Swap One Font for Another... from the Data Check submenu of the Document Menu. In
the dialog box that appears, you can instruct Finale to search for a specific font and replace it with
another.

2.

Specify the font to be replaced and the font to replace it with, and click OK.

To change every occurrence of a font to a different size

With this technique, you can scale every occurrence of a certain font thats used in your document to a
larger or smaller font size, no matter what size was used in each occurrence. For example, you could tell
Finale to scale every occurrence of New York 24-point down to 12-point. In so doing, Finale would also
scale New York 36-point down to 18-point, and New York 10-point down to 5-point.
1.

Click Scale Fonts... from the Data Check submenu of the Document Menu. In the dialog box
that appears, you can instruct Finale to search for a specific font, style and size and then replace it
with the same font of a different size. All occurrences of this font will change in size proportionally.

2.

Specify the font, style and size you want changed and Click OK (or press enter).

3.

Specify the percentage you want the specified font to be scaled to. If you want text included as
part of a shape expression scaled, make sure Scale Fonts in Shapes is checked.

4.

Click OK.

To change the music font of noteheads on a staff by staff basis

To use Tamburo, Maestro Perc, or Jazz Perc for your percussion notation, assign it as the notehead font
in each staff or as the documents default notehead font. Then, take advantage of Finales built-in
percussion libraries or create one of your own, so that notes you enter on a percussion staff automatically
assign themselves to appropriate lines or spaces with the correct noteheads. For details, see
Percussion.
1.

Click the Staff Tool

2.

Double-click the staff. The Staff Attributes dialog box appears.

3.

Click the Notehead Font checkbox if it is not already selected.

4.

Click Select and choose the new font.

5.

Click OK twice. Your new font is now being used for noteheads while other elements such as flags
and clefs are taken from the default music font(s).

To eliminate dimmed font names from a documents font lists

Finale stores a font list with each document you create. The list contains the fonts that were available to
Finale when the document was created. If you notice that some font names are dimmed in the font
selection boxes of a certain document, its because those fonts were present when the document was
created (or previously edited) but are no longer installed.
This procedure removes dimmed font names from a documents font selection boxes.

From the Data Check submenu of the Document Menu, choose Check Document
Fonts Against System Fonts.

1539

Transporting files across platforms

Starting with Finale 2002a, files can be transferred across platforms while maintaining correct higher
ASCII text characters, such as , , and hard spaces (commonly used in lyrics). Finale is configured to do
this by default, by having Automatically Convert Text In Files From Other Operating Systems selected in
the Open section of the Program Options dialog box.
It is essential that the MacSymbolFonts.txt file be placed in the application folder, for both Windows and
Macintosh users (note that in spite of its title, this is a required file for Windows). This user-editable text
file contains the names of all the Macintosh fonts that are symbol fonts and therefore do not need to be
converted (as opposed to text fonts which will be converted). For more details, see the appendix entry
Configuring MacSymbolFonts.txt.

Engraver Font: The Alternate Notehead Sets

Let Ring Noteheads
Double-stopped unison Noteheads
Trill to Noteheads
Indeterminate and Determinate Tone-cluster Noteheads
Dynamics
Articulations
Tempos
Harp Pedaling

Let Ring Noteheads

These are noteheads with the let ring symbol. By having the let ring symbol directly attached to the
notehead, consistency of the symbol placement is achieved. These noteheads can be accessed through
the Special Tools Tool (change notehead). First enter the notes with any of the Finale note entry
methods, then with Special Tools Tool change the notehead.
Engraver Font Set and Engraver Font Extras

Engraver Font Extras Only

1540

Also included are the two let ring symbols for input with the articulation tool.
Alt0105

Alt0073

Double-stopped unison Noteheads

sh-Q
sh-H
X

1541

Trill to Noteheads
Set One: Full Size
These noteheads are to make consistent the process of setting up trill to notes when they are to be
outside of the staff. First enter the notes with any of the Finale note entry methods, then with Special
Tools Tool change the notehead, shorten the stem and move it to the desired horizontal position.

Set Two: 75% Reduction

These noteheads are already reduced to 75% and can be used as trill to notes for use within the staff.
Enter with the Articulation Tool.

Indeterminate and Determinate Tone-cluster Noteheads

These noteheads allow for a quick and consistent way to input tone-clusters. After inputting notes, use
the Special Tools Tool to change the noteheads.
Indeterminate

1542

Determinate

Dynamics
Type away! Make whatever dynamic possible.

ex.
There are two sets of parenthesis for use. The

and

markings need more space than the other

symbols, so use the shift-[ and shift-] both before and after any dynamic with an
marking with a

and before any

Articulations
Engraver Font Set

1543

Engraver Font Extras

Engraver Text Fonts

Tempos
1544

Harp Pedaling

1545

Fretboard diagrams
Creating guitar-fretboard chord diagrams is easy in Finale; theyre intelligent, too, because they
transpose automatically when the music is transposed.

To create or show fretboard diagrams globally

1.

Click the Chord Tool

. The Chord Menu appears.

2.

From the Chord Menu, choose Show Fretboards. If you have already added chord symbols to
your piece, the guitar diagrams now appear. Individual chords with Show Fretboards unchecked in
the Chord Definition box will not have fretboards. See Chord symbols for instructions.
If you havent yet added chord symbols, add them as described in Chord symbols; as you add each
chord, its fretboard diagram will also appear.

To create custom fretboard diagrams

See Custom Fretboards.

To show and hide fretboards for a region

Fretboards must be set to display globally to allow regional fretboards. See To create or show fretboard
diagrams globally above. See Change Chord Assignments dialog box under the Utilities Menu.

To show and hide fretboards on individual chords (Manual Input)

To show fretboards on all chords, choose Show Fretboards from the Chord Menu. When selected,
fretboards will appear on all chords in the score, except for those chords where you specifically hide the
fretboard.
1.

Click the Chord Tool

. The Chord Menu appears.

2.

From the Chord Menu, choose Manual Input.

3.

Click on the note containing the chord you want to edit.

4.

Double-click the handle of the chord. The Chord Definition dialog box appears.

5.

Under Show, uncheck Fretboard. Click OK. You return to the document, where the fretboard no
longer appears for that chord. (If you later decide you want the fretboard to appear, check the Show
Fretboard box.)

To remove all fretboard diagrams

1546

1.

Click the Chord Tool

. The Chord Menu appears.

2.

From the Chord Menu, choose Show Fretboards. The diagrams disappear, and there should no
longer be a checkmark next to Show Fretboards in the Chord Menu.

To move the fretboard diagrams up or down

1.

Click the Chord Tool

. The Chord Menu appears, and four small triangles appear at the left
edge of the screen. These control the baseline of the chords (against which the bottom edges of the
symbols line up).

2.

From the Chord Menu, choose Position Fretboards. Youve just told Finale that the triangles
should adjust the baseline for the diagrams instead of the textual chord symbols.

3.

Drag the triangle handles up or down. Drag the leftmost triangle to set the baseline for the entire
piece. As you drag it, the other three triangles move with it.
Drag the second triangle up or down to set the baseline for this staff, all the way through the piece.
As you drag it, the two triangles to its right move with it.
Drag the third triangle up or down to set the baseline for this staff, this system only. As you drag it,
the rightmost triangle moves with it. Use this third triangle only in Page View (so you can see the
system youre affecting).
Dragging the rightmost triangle doesnt move any existing fretboards; instead, it sets the position
for the next one you enter.

To change Fretboard Style or capo settings in a region

See Change Chord Assignments dialog box.

1547

Fugues
There are several Finale features you may find useful when creating a fugue. First of all, remember that
you can create intelligent copies of any motif, so that when you edit or renotate the initial statement, all
other occurrences change simultaneously; see Mirroring.
If you need many individual musical lines on a single staff, remember that you can have up to eight
independent voices per staff (four layers, with two voices in each layer). For a more complete discussion
of inner voices, see Installation & Tutorials and Multiple voices. Also keep in mind that you can
superimpose two or more staves; just use the Staff Tool to drag one staff until its staff lines are
superimposed perfectly on top of anothers. In both cases, you can adjust the positions of individual
noteheads and avoid overlapping notes by fine-tuning measures with the Special Tools Tool; see Note
positioning.

1548

Garritan Personal Orchestra Finale

Edition
Included with Finale is an integrated collection of instrument sounds from Garritan Personal Orchestra
(also known as GPO). These instruments are professionally recorded sound samples designed to offer
the highest quality playback. Here is a description of Garritan Personal Orchestra from its creator Gary
Garritan:
Orchestras are wonderful but not very practical to bring to your sessions. The next best thing is to record
each note of every instrument in an orchestra and play them back on a keyboard. Personal Orchestra is
just that. It is a complete collection of actual high-quality recordings (or samples) of nearly every note, of
each musical instrument, in an entire orchestra. When Personal Orchestra is loaded, and you play a note
on your keyboard, a high-quality recording or sample of that note as played by an orchestral instrument is
reproduced. What you hear sounds remarkably like the real thing, because it is an actual recording of an
instrument. Personal Orchestra gives you an entire orchestra at your fingertips.
See Garritan Personal Orchestra and Human
Playback Tutorial for detailed guidance on using
GPO for Finale and the full version of GPO along
side Finale.
Finale includes a sample version of the GPO collection of orchestral sounds, which you can use
independently, or along side Finale's SmartMusic SoftSynth SoundFont instrument sounds. When
starting a new file, you can easily choose to use GPO sounds in the Document Setup Wizard.

To use Garritan Instruments in new scores:

1.

From the File Menu, choose New > Document with Setup Wizard. Or, in the Launch Window,
select Setup Wizard. Page 1 of the Document Setup Wizard appears.

2.

Choose a Document Style and Ensemble if you'd like and click Next. If you choose one of the
ensembles marked "Garritan," Finale will load the Garritan instruments on the next page
automatically. (See also Document styles.) Page 2 appears.

3.

From the Instrument Set drop-downmenu, choose Garritan Instruments for Finale 2009. The
available Garritan instruments appear in the subsequent lists. (If you chose a Garritan ensemble on
the previous page, the instruments added to the right column are indeed the Garritan sounds
regardless of the state of the Instrument Set drop-down menu).

4.

Select the desired category from the left options in the column. Double-click the instrument
you would like to add. Your selections appear in the right column. Use the up and down arrows on
the right to adjust the score order manually. (Or, choose a preset order from the Score Order dropdown menu.)

5.

Click Next.

6.

Enter a Title, Composer, Copyright, and other information and click Next. The final page
appears.

7.

Make any additional settings and click Finish to complete the wizard.

Your new document opens. The instrument staves that appear are automatically configured for playback
using Garritan sounds. For detailed information on setting up Garritan sounds, see Garritan Instrument
Setup.
While notating into staves set for GPO playback, be sure all entries are within the range of the selected
instrument. Notes outside of an instruments range will not playback. For a list of instrument ranges, see
GPO Finale Edition Instrument Details.
Some instruments contain Keyswitches which are notes outside the range of the instrument that trigger
a patch change from, for example, arco to Pizzicato. For a list of Keyswitches, see GPO Finale Edition
Instrument Details. See also To add Keyswitches as Expressions.

1549

Note that if Human Playback is enabled, it will

recognize, for example, arco and pizz, and add
keyswitches automatically. See the
GPO & HP Tutorial Supplement for additional
information.
Note your GPO setup is not compatible crossplatform. If a file that is setup to use Finale GPO is
opened cross-platform (from Mac to Windows or
vise versa), the GPO sounds will need to be
manually loaded. See below for details.

To load a Garritan Instrument into the Aria Player for Finale

When you choose from the list of Garritan Instruments for Finale in the Document Setup Wizard, Finale
loads all instruments into the Aria Player automatically when the new document opens. On the other
hand, when you use the Staff Tool to add staves (Staff Menu > New Staves or Staff Menu > New Staves
(with Setup Wizard)), the added staves will not automatically load into the Aria Player. After adding a
Garritan staff to an existing document (or to load a Garritan sound for any staff not created using one of
the GPO choices in Finale 2009s Document Setup Wizard) the following steps are required to prepare
for playback.
1.

From the Window Menu, choose Instrument List. The Instrument List appears. If you want to
assign a new instrument (one not yet used) to a staff, you must first assign the staff a unique channel
in the Instrument List. Even if you are using an instrument sound already used in the document, it is
recommended to assign the staff a unique channel (especially if the staff is in the same range as
another staff with the same channel). (A pitch on one staff is not distinguished from the same pitch
on another staff if the staves share a channel. On/off messages apply to all notes of the same pitch
which can disrupt playback).

2.

In the row of the desired staff, click the drop-down menu under the Instrument column. Scroll
to the top of this list and choose New Instrument. The Instrument Definition dialog box appears.

3.

Enter the desired instrument name in the top text box. You might enter the name of the GPO
instrument you would like to use here.

4.

After Channel, enter a channel number not used by any other staff. Use the Instrument List as a
reference. If you are assigning all new staves manually, number the channels consecutively from the
top down (e.g. 1-16).

5.

Click OK. The Instrument Definition dialog box closes. Repeat steps 2 through 5 for any other
staves. Leave the Instrument List open.

6.

From the MIDI/Audio Menu, choose Instrument Setup > Instruments. The VST Instruments
Setup dialog box appears.

7.

Click the drop-down menu for the range including the channels you want to assign and
choose Instruments for Finale 2009 (if its not chosen already).Then click the Edit button to
the right. The Aria player appears. Any instrument already defined (for this bank of
channels)appears within the interface.

8.

Click the top slot (channel 01) and choose the desired instrument. The instrument appears in
the slot.
If you clicked the Edit button next to Finale Channel 1-16 in the VST Instruments Setup dialog
box, the sixteen slots in the Aria Player are equivalent to Finale channels 1-16 (as shown in the
instrument list). If you clicked the Edit button next to Finale Channel 17-32 in the VST Instruments
Setup dialog box, the sixteen slots in the Aria Player are equivalent to Finale channels 17-32 (as
shown in the instrument list).

9.

When you have finished loading instruments close the Aria Player. Playback the document to
audition the results.
Note that each instrument occupies a different
amount of RAM. For example, the Garritan Flute
Pla1 sound uses only 1.17 MB of RAM whereas
the Steinway Piano uses 10.55 MB. If you are

1550

experiencing choppy playback or missing

instruments, VST instruments may have exhausted
your computer resources. If this is the case, try
loading the Plr# instruments instead of the Solo
instruments to conserve RAM.
Note also: When you save a file configured to
playback using the Aria Player, the absolute path
to the folder containing the sounds is stored with
the file. If this file is opened on a computer whose
sounds are stored in a different location (or if the
names of folders or drives are different) anAuto
Load message will appear which will allow you to
search for the folder.

Choosing the Appropriate Garritan Sound (Player vs. Solo

Instruments)
The Player (Plr) designation in a Garritan instrument name indicates it has been designed exclusively for
use in an ensemble setting. These player instruments are derived from the corresponding solo instrument
and constructed so that none of the three numbered Player instruments have any samples in common
with one another. Each Player instrument has been mapped starting with a different note (e.g. C, C#, D)
and using every third sample in the mapping. This allows all three instruments to be applied to unison
ensemble lines without having common samples for any given pitch. For their designed function these
instruments containing "stretched" samples work well together despite the samples sometimes sounding
less than ideal if played by themselves.
Only the "Solo" instrument is intended to be used in a solo context. Also, the "Solo" instrument should
never be used along side any of the "Plr" instruments if a unison is to be encountered in the writing.
Again, this is because the "Plr" instruments all have samples in common with the "Solo" instrument from
which they are derived and this can cause phasing problems.

To add Keyswitches as Expressions

While using Garritan instruments for playback, you can add a keyswitch at any point to change the
instrument sound, for example, from arco to Pizzicato. A Keyswitch is simply a regular note outside the
range of the instrument that triggers this change. For a list of Keyswitch mappings, see Garritan Finale
Edition Instrument Details.
If Human Playback is enabled, text (such as arco, pizz, etc.) is interpreted and keyswitches are added
automatically. If you are not using HP, choose from a list of keyswitch expressions available by default in
the Expression Selection dialog box to add these effects.
You can also assign a Keyswitch to an expression manually by defining the expression to send a MIDI
Note On message at the pitch of a Keyswitch. By doing this, you can invoke a Keyswitch by simply
adding the expression defined accordingly (a Pizz text expression would change the playback to a
pizzicato sound). Remember, Keyswitches are a feature of GPO, and will not apply to other playback
devices.
1.

Click the Expression Tool

dialog box appears.

2.

Click Create. Or, you could also select an existing Expression you would like to define to a
Keyswitch and click Edit.

3.

Type the desired text. Set the font, size, style, make it hidden, or apply other text attributes.

4.

Click the Playback Tab. The playback options appear.

5.

From the Type Menu, choose Dump. The Playback Data Dump dialog box appears.

6.

For Number of Units, type 3. We will be sending 3 pieces of Data.

7.

For the top Data box, type 144. This is the message for Note On.

, and Double-Click the document. The Expression Selection

1551

8.

For the second Data box, type the MIDI Note number for the Keyswitch. For example, Arco = 0,
Pizz = 5 in Finale GPO). For a complete list, see GPO Finale Edition Instrument Details.

9.

In the third data box, type 127. Since the note is below the instruments range, it will not sound.

10. Click OK, OK, Select, and OK to add the Expression. The performance style will change upon
reaching this point during playback.
See Also:
Garritan Personal Orchestra and Human Playback Tutorial

1552

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

1553

Glissandos
A glissando, or gliss, is represented in the score by a diagonal straight or wavy line.

To create a glissando
1.

Click the Smart Shape Tool

. The Smart Shape Palette appears.

2.

Click the Glissando Tool

starting note.

3.

Double-click where you want the glissando to begin; on the second click, hold the button
down and drag diagonally. Release the mouse when the glissando has the length and angle you
want. If the Smart Line Selection dialog box appears, you may need to create a glissando.
Glissandos are predefined in your default file. See Custom Lines for directions. To create a glissando
between two consecutive notes, just double-click the mouse on the first note. Finale places the
glissando on the adjacent notes.

. Move the cursor until the end points to the

To move, reshape, or delete a Smart Shape glissando

1.

Click the Smart Shape Tool

2.

Click the Glissandos handle. The shape displays diamond editing handles.

. The Smart Shape Palette appears.

3.

Drag the left or right diamond editing handles to adjust the length and angle of the glissando.
Drag the square handle to move the entire glissando.

4.

Press delete to remove the selected glissando.

To define Glissando Placement settings

1.

Click the Smart Shape Tool

. The Smart Shape Menu appears.

2.

Choose Smart Shape Placement from the Smart Shape Menu. The Smart Shape Placement
dialog box appears.

3.

Choose Glissando from the Smart Shape type drop down list menu in the dialog box.

4.

Drag the glissando end point vertically and horizontally until the glissando attaches to the
notes the way you want it to attach to notes in the score. Instead of using the mouse, you can
enter values into the text boxes using the measurement unit youve selected.

5.

Drag the other end-point of the glissando to adjust it.

6.

Click Reset at any time to return the glissando to Finales built-in settings.

7.

Click OK (or press enter) when youre ready to save the new settings. Or click Cancel to discard
any changes you made to the settings.
Note: All glissandos that you create from now on
will use the Slur Placement settings. The settings
also apply to glissando end points that haven't
been manually adjusted in all existing glissandos.

To change which glissando is assigned to the palette icon

1.

Click the Smart Shape Tool

1554

2.

From the Smart Shape Menu, choose Smart Shape Options. The Smart Shape Options dialog
box appears. You could also simple Ctrl-click the Glissando Tool.

3.

Select Glissando from the Smart Line Style drop-down listmenu.

4.

Click Select next to the Smart Line Style drop-down list menu. The Smart Line Selection dialog
box appears.

5.

Select the Smart Shape to be used when clicking the Glissando Tool. You can also type the
number of the Smart Shape into the text box next to the Select button in the Smart Shape Options
dialog box to change the selection.

6.

Click OK.

To create a playback glissando

The best way to create a glissando effect, at least for keyboard sounds, is to actually write out a run and
define the notes as grace notes; see Grace notes. To automate the task, use the plug-in Smart Playback
Note Human Playback automatically interprets and performs glissandos.

1555

Grace notes
To create a grace note
1.

Enter the grace notes as normal notes.

2.

Click the Speedy Entry Tool

appears.

3.

Using the arrow keys, position the cursor on the note you want to change to a grace note,
and press the semicolon (;). The note becomes a grace note. On playback, the grace note will play
just ahead of the beateven if there are many grace notes together, forming a run. To change a
grace note to a normal note, repeat the above procedure.

and click the measure in question. The editing frame

To beam grace notes

1.

Click the Speedy Entry Tool

appears.

and click the measure in question. The editing frame

2.

Using the arrow keys, position the cursor on the second note of any pair you want beamed
together, and press the slash (/). Repeat this process for any additional grace notes you want to
include in this beam group.

To change the size of grace notes

1.

From the Document Menu, choose Document Options, then select Grace Notes. The Grace
Note options appear.

2.

Enter a new reduction value in the Grace Note Size text box. The size of regular notes is 100%;
the default reduction percentage for grace notes is 60%.

To add or remove the slashes from grace notes globally

You can eliminate slashes from grace notes by doing the following. See also Slash Flagged Grace Notes
Plug-in, Slash Flagged Grace Notes (Remove) Plug-in.
1.

From the Document Menu, choose Document Options, then select Grace Notes. The Grace
Note Options appear.

2.

Deselect Always Slash Flagged Grace Notes. When the checkbox is deselected, slashes do not
appear; otherwise, slashes appear on every flagged grace note.

3.

Click OK (or press enter).

To add or remove the slashes from individual grace notes

This method will only slash flagged grace notes. See also Slash Flagged Grace Notes Plug-in, Slash
Flagged Grace Notes (Remove) Plug-in
1.

From the Document Menu, choose Document Options, then select Grace Notes . The Grace
Note option appear.

2.

Deselect Always Slash Flagged Grace Notes if it is selected. When the checkbox is deselected,
slashes do not appear.

3.

Click OK (or press enter).

4.

Click the Speedy Entry Tool a and click the measure in question. The editing frame appears.

5.

Position the cursor over the flagged grace note requiring a slash and press ` (accent). This will
place a slash on the grace note.

To add a slash to beamed grace notes

Normally, Finale adds slashes only to flagged (unbeamed) grace notes. Its possible, however, to add
slashes to beamed grace notes.

1556

1.

Click the Expression Tool

appears.

; then click the grace note. The Expression Selection dialog box

2.

Select Expression.

3.

Proceeding through the dialog boxes, click as follows: Shape; Create; Select; Create. You are
now in the Shape Designer. The following instructions give measurements in points (1/72 inch). If
youve been working in different units, choose Rulers and Grid from the Shape Designer Menu and
select Points. Also choose .5 pt from the Line Thickness submenu of the Shape Designer Menu.
Because youre making a very small shape, choose 400% from the View drop-down list menu to
magnify your work area.

4.

Click the origin (the small white circle); drag upward and to the right, until the H: and V: text
boxes both say 6.

5.

Click OK and Select until you return to the document. You can now adjust the slash by dragging
its handle.

To eliminate grace notes from a transcription

When youre using HyperScribe to notate real-time performances, you may find grace notes in the
transcription. The problem is one of quantizationFinale is transcribing too precisely. Fortunately, theres
a simple solution.
1.

From the MIDI/Audio Menu, choose Quantization Settings. The Quantization Settings dialog box
appears.

2.

If youre importing a MIDI file, in the Import MIDI File Options dialog box, which appears after
you have chosen your MIDI file to open, click Quant Settings. The Quantization Setting dialog
box appears. If youve told Finale not to display the Import MIDI File Options dialog box during a File
Open, you can select Quantization Settings from the MIDI/Audio Menu.

3.

Click More Settings. The More Quantization Settings dialog box appears.

4.

Select either Remove Grace Notes or Convert to Real Notes. See More Quantization Settings
dialog box for details.

5.

Click OK twice.

To create a graphic only slashed grace note

In addition to the intelligent grace notes described above, you can also add a single, stem-up, slashed
grace note symbol as an Articulation. In the Maestro symbol palette (accessed from the Articulation
dialog box), the slashed grace note is #201. The grace note symbol without the slash is #59, and the
stem-down grace note is #58. See Articulations for instructions on creating, moving, and deleting
articulations.

1557

Grand Pause
Use the Expression Tool to place the G.P. marking in all staves. If you plan to extract parts or to optimize
staves, you must make sure that the Grand Pause measure doesnt get grouped into a single
multimeasure rest in the extracted parts.

To create a G.P. marking

1.

Click the Expression Tool

, and double-click above or below the G.P. measure. The
Expression Selection dialog box appears.

2.

Choose the Tempo Alterations category.

3.

Click Create. The Expression Designer dialog box appears.

4.

Type G.P. To change the type style (italic, for example), from the Text Menu, choose Font.

5.

Click OK or Select in each dialog box until you return to the document.

To move or delete the G.P. marking

1.

Click the Expression Tool

2.

Drag the handle to move the marking. Select it and press the arrow keys to nudge it for fine
positioning; select it and press delete to remove it.

To force a break in a multimeasure rest

This step is important if you want the G.P. always to appear as an independent single measure in the
extracted parts.
1.

Click the Measure Tool

2.

Select Edit Measure Attributes from the Measure Menu. Or, you can double-click in the measure.
The Measure Attributes dialog box appears.

3.

Select Break a multimeasure rest and click OK (or press enter). When you create multi-measure
rests, the G.P. marking will appear in a single independent measure.

, and select the G.P. measure and the measure before it.

1558

Graphics
With the Graphics Tool, you can place Encapsulated PostScript (EPS) files, PICT and TIFF files for use
within Finale, and export a region of music or pages of music as EPS, PICT and TIFF files that can be
used in other applications.
Graphics placed in Scroll View and Page View are assigned differently. Finale always assigns a graphic
to a measure if you are in Scroll View when the graphic is placed. To place a page-assigned graphic, you
must be in Page View. Both page- and measure-assigned graphics can be edited and repositioned in
Page View. However, page-assigned graphics do not appear in Scroll View.
For information regarding the relationship between graphics in the score and linked parts, see Pageattached graphics and in linked parts and Measure-attached graphics in linked parts.
When exporting graphics, Finale exports entire pages of music, or a selected region of music. To export a
selected area of a page, you must be in Page View.

To export a selected region of music as a graphic (Page View)

1.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

. The Graphics

2.

Double-click and drag to enclose the area you want to export as a graphic.

3.

Choose Export Selection from the Graphics Menu. The Export Selection dialog box appears.

4.

Choose a graphics format from the Type drop-down list to tell Finale whether to create an
EPS, PICT or TIFF file. If you select EPS or TIFF, the PostScript Options or TIFF Resolution
settings will be available, respectively. For details about these settings, see Export Selection and
Export Pages dialog boxes.

5.

Use the Pages setting to export the selected region of music from one or more pages to
graphics files. Select All to export the selected region from every page. Select From to export a
selected region on a range of pages, then enter the page numbers in the two text boxes.

6.

Select Generate Names From and enter the files title in the text box, followed by a number
sign (#), to have Finale name each new graphics file automatically. Optional: Click Save In to
specify the folder that Finale should save the graphics file into. Finale uses the title and
replaces the number sign by a sequential number to create a unique title for each file. Select Prompt
For Each Name if you want Finale to ask you for a title each time a file is created.
Note: Unless you specifically enter a file extension
as part of the file name, Finale will automatically
save graphics files using their standard extensions:
TIF for TIFF files and EPS for Encapsulated
PostScript files (or the extensions specified in the
[EXTENSIONS] section of the Finale.INI file).

8.

Click OK (or press enter). Finale saves the graphic.

To export full pages of music as graphics (Page View)

1.

Choose Page View from the View Menu.

2.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

3.

Choose Export Pages from the Graphics Menu. The Export Pages dialog box appears.

4.

Choose a graphics format from the Type drop-down list to tell Finale whether to create an
EPS, PICT or TIFF file. If you select EPS or TIFF, the PostScript Options or TIFF Resolution
settings will be available, respectively. For details about these settings, see Export Selection and
Export Pages dialog boxes.

. The Graphics

1559

5.

Use the Pages setting to export all pages or a range of pages of your score to graphics files.
Select All to export every page of your score to a graphics file. Select From to export a range of
pages, then enter the page numbers in the two text boxes.

6.

To have Finale name each new graphics file automatically, select Generate Names From and
enter the files title in the text box, followed by a number sign (#). Optional: Click Save In to
specify the folder that you want Finale to save the graphics files into. Finale uses the title and
replaces the number sign by a sequential number to create a unique title for each file. Select Prompt
For Each Name if you want Finale to ask you for a title each time a file is created.
Note: Unless you specifically enter a file extension
as part of the file name, Finale will automatically
save graphics files using their standard extensions:
TIF for TIFF files and EPS for Encapsulated
PostScript files (or the extensions specified in the
[EXTENSIONS] section of the Finale.INI file).

7.

Click OK (or press enter). The standard Save As dialog box appears. Click Save to save the
graphics files.

To place graphics into the score

1.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

. The Graphics

2.

Choose Place Graphic from the Graphics Menu, or double-click on the document window
where you want the graphic to appear. The Place Graphic dialog box appears, listing the available
graphic formats in a drop-down list EPS, PICT or TIFF files.

3.

Choose one of the formats in the drop-down list to display only the files of the selected type
in the current folder. Choose TIFF file (*.TIF), or Encapsulated PostScript Listing (*.EPS), or
choose All Files (*.*) to display all files.

4.

From the scrolling list, select the graphics file you want to place, then click OK. A special
cursor appears, indicating that a graphic is ready to be placed.

5.

Click on the measure (in Scroll View) that you want the graphic assigned to, or click on the
screen where you want the graphic placed (in Page View). Finale assigns the graphic to the
nearest measure in Scroll View. In Page View, Finale assigns the graphic to the page you clicked.
The graphic appears at the position you clicked. When a graphic is selected, eight bounding
rectangle handles appear.

To place graphics into the Shape Designer

1.

To place a graphic into the Shape Designer for use as an expression, click the Expression
Tool
, then click a note or a measure. Click Shape. In the dialog boxes that follow, click
Create, Select, and Create. The Shape Designer dialog box appears.

2.

Or, to place a graphic into the Shape Designer for use as an articulation, click the Articulation
Tool
and click a note. Click Create, then click Shape and Main (or Flipped). Click Create. The
Shape Designer dialog box appears.

3.

Click the Graphics Tool

4.

Click in the Shape Designer display area. The Place Graphic dialog box appears, listing the
available graphic formats in a drop-down list; EPS, PICT or TIFF files.

5.

Choose one of the formats in the drop-down list to display only the files of the selected type
in the current folder. Choose TIFF file (*.TIF), or Encapsulated PostScript Listing (*.EPS), or
choose All Files (*.*) to display all files.

6.

From the scrolling list, select the graphics file you want to place, then click OK. The graphic
appears at the position you clicked in the Shape Designer display area. When a graphic is selected,
eight bounding rectangle handles appear. Use the graphic as you would any shape created in the
Shape Designer.

in the Shape Designer dialog box.

1560

To assign a graphic to one or more pages

1.

Choose Page View from the View Menu if it isnt already selected.

2.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

3.

Click to select a graphic, then choose Attributes from the Graphics Menu. Or, double-click a
graphic. The Graphic Attributes dialog box appears.

4.

Click to select Attach to: Page, if it isnt already selected.

5.

Choose an item from the Page drop-down list menu to have Finale show the graphic on a
single page, all pages, left-facing (even-numbered) pages or right-facing (odd-numbered)
pages. Choose Single Page to show the graphic on one page; choose All Pages to show it on every
page; or choose Left Pages or Right Pages to show it on left-facing (even-numbered) or right-facing
(odd-numbered) pages.

6.

Set the page range. Enter the numbers of the pages where the graphic will appear (for example,
choose Left Pages and 6 Through 10 to show the graphic on every left page between pp. 610). To
show the graphic on one page, choose Single Page from the Page drop-down list menu and enter
the page number in the first page text box. To display the graphic on the first indicated page through
the end of the piece, enter your first page number in the first text box and enter zero in the second
text box, or leave the text box blank. For example, to show the graphic on every page, starting at
page 6, youd select All Pages and enter 6 Through 0, or enter 6 and leave Through blank.

7.

Use the other settings in the Graphic Attributes dialog box to adjust the graphics position in
the score, then click OK.

. The Graphics

To assign a graphic to a measure

Occasionally you may want to change a page-based assigned graphic to a measure-assigned graphic so
it moves with the measure instead of remaining at a fixed position on the page. To assign a graphic to a
measure when first placing it into the score, place the graphic in Scroll View. (See To place graphics into
the score for details.)
1.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

2.

Click to select the graphic, then choose Attributes from the Graphics Menu. Or, double-click
the graphic youre adjusting. The Graphic Attributes dialog box appears.

3.

Click to select Attach to: Measure, if it isnt already selected. In the Measure text box, enter
the number of the measure you want the graphic assigned to.

4.

From the Staff drop-down list, choose the name of a staff you want associated with the
measure-assigned graphic. Finale will align and position the graphic in relation to this staff.
Note: Finale will only display the graphic on the
page the measure appears on when youre in Page
View. If your measure layout changes, the graphic
will move with the measure.

5.

Use the H: and V: settings in the Graphic Attributes dialog box to adjust the graphics
position in the score, then click OK.

. The Graphics

To scale a placed graphic proportionally

1.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

. The Graphics

2.

Click the graphic to select it. Or, drag-enclose the entire graphic to select it. When selected, eight
bounding handles appear on the graphic.

3.

Drag a handle to resize the graphic horizontally or vertically.

1561

4.

To adjust the exact scaling of a graphic or to reset it to 100% of its original size, select the
graphic, then choose Attributes from the Graphics Menu. Or, double-click the graphic. The
Graphics Attributes dialog box appears.

5.

Enter a value into the Scale: H: and V: text boxes, as a percentage. Enter 100 in each box to
draw the graphic at 100% of its original size, 50 to draw it at half its original size (50%), and so on.

6.

Click OK to confirm your settings.

To position placed graphics on-screen

1.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

. The Graphics

2.

Click to select a graphic. Or, drag-enclose one or more graphics. (You must drag-enclose an entire
graphic to select it.)

3.

Drag a selected graphic to the new position. All the selected graphics will move as you drag.

To position page-assigned graphics (Graphics Menu)

1.

Choose Page View from the View Menu, if it isnt already selected.

2.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool . The Graphics
Menu appears.

3.

Click to select a page-assigned graphic.

4.

Position the graphic from the page edge or page margin using the Alignment submenu.
Choose Position from Page Edge or Position from Page Margin from the Alignment submenu of the
Graphics Menu to align the graphic from the edge of the page or from the page margin, respectively.

5.

Position the graphic horizontally using the Alignment submenu. Choose Left to place the
graphic on the left edge or margin of the page; choose Center Horizontally to center it between the
left and right edges or margins; or choose Right to align it with the right edge or margin.

6.

Position the graphic vertically using the Alignment submenu. Choose Top to place the graphic
on the top edge or margin of the page; choose Center Vertically to center it between the top and
bottom edges or margins; and choose Bottom to align it on the bottom edge or margin.
Note: When you change a graphics horizontal or
vertical alignment using the Alignment submenu,
Finale repositions the graphic on the page, and
resets its H: or V: positioning settings to zero,
respectively, in the Graphic Attributes dialog box.

To position page-assigned graphics (Graphic Attributes dialog box)

1.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

. The Graphics

1562

2.

Click to select a page-assigned graphic, then choose Attributes from the Graphics Menu. Or,
double-click a page-assigned graphic.

3.

Use the Alignment and Positioning group box to position the graphic horizontally. Choose Left
from the Horizontal drop-down list to place the graphic on the left edge or margin of the page;
choose Center to center it between the left and right edges or margins; or choose Right to align it on
the right edge or margin.

4.

Use the Alignment and Positioning group box to position the graphic vertically. Choose Top
(Header) from the Vertical drop-down list to place the graphic on the top edge or margin of the page;
choose Center to center it between the top and bottom edges or margins; or choose Bottom (Footer)
to align it with the bottom edge or margin.
Note: When you change a graphics horizontal or
vertical alignment using the drop-down list, Finale
repositions the graphic on the page, and resets the
H: or V: settings, respectively, to zero.

5.

Use the Position from drop-down list to position the graphic from the page margin or the
page edge. Choose Page Margin from the Position from drop-down list to have Finale calculate the
graphics position starting from the page margin. Choose Page Edge to have Finale measure the
graphics position starting from the edge of the page.

6.

Set the positioning distance. Enter values into the H: and V: text boxes in the Alignment and
Positioning group box for the distance to position the graphic horizontally and vertically on the page,
based on the other settings in the Alignment and Positioning group box.

7.

Click OK to confirm your settings.

To position measure-assigned graphics (Graphic Attributes dialog

box)
1.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

. The Graphics

2.

Click to select a measure-assigned graphic, then choose Attributes from the Graphics Menu.
Or, double-click a measure-assigned graphic.

3.

Set the positioning distance. Enter a value in the H: text box in the Alignment and Positioning
group box for the distance to position the graphic horizontally from the upper-left of the staff
associated with the measure. Enter a value in the V: text box for the distance to position the graphic
vertically from the upper-left of the staff.

4.

Click OK to confirm your settings.

Note: The Horizontal, Vertical, and Position from
options in the Alignment and Positioning group box
are not available when Attach to: Measure is
selected, because a graphic assigned to a
measure will only appear on the page containing
that measure.

To position page-assigned graphics on left- and right-facing pages

(Graphic Attributes dialog box)
If youre 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
(even-numbered) or right (odd-numbered) 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 (odd-numbered)
pages in the Graphic Attributes dialog box.
1.

Choose Page View from the View Menu.

2.

From the Window Menu, choose Advanced Tools. Click the Graphics Tool
Menu appears.

3.

Click to select a page-assigned graphic, then choose Attributes from the Graphics Menu. Or,
double-click a page-assigned graphic.

. The Graphics

1563

4.

Use the Alignment and Positioning settings to position the graphic on every left-facing (evennumbered) page in the selected page range. See To position page-assigned graphics (Graphic
Attributes dialog box).

5.

Select Use Right Page Positioning to place the graphic differently on right-facing (oddnumbered) pages.

6.

Position the graphic horizontally on right-facing pages. Choose Left from the Right Page
Alignment and Positioning: Horizontal drop-down list to place the graphic on the left edge or margin
of the right-facing page; choose Center to center it between the left and right edges or margins; or
choose Right to align it on the right edge or margin. (Finale resets the Right Page Alignment and
Positioning: H: setting to zero so the left, right, or center of the graphic is aligned horizontally with the
page edge or margin.)

7.

Set the positioning distance. Enter values into the H: and V: text boxes in the Right Page
Alignment and Positioning group box for the distance to position the graphic horizontally and
vertically on right-facing pages, based on the Right Page Alignment and Positioning: Horizontal
setting, and the Vertical and Position from selections in the Alignment and Positioning group box.

8.

Click OK to confirm your settings.

See Also:
Graphics Menu
Graphics Tool

1564

Grids and guides

You can use grids and guides to accurately align and position expressions, text, or any item in your
document. The grid represents horizontal and vertical lines which appear at regular intervals on the page,
just like graph paper. Set apart at any distance you like, they make a great reference for aligning items
relative to each other or from the page edge. Guides are reference lines, horizontal or vertical, that can
be set anywhere on the page. Unlike gridlines, guides can be positioned at will, and are particularly
useful for fine positioning of items to be aligned between lines of the grid.
You can also tell Finale to automatically snap certain items to the closest grid intersection or to a guide
line.

To show the grid

1.
2.
3.

From the View Menu, choose Page View.

From the View Menu, choose Grid/Guide > Show Grid.
The grid appears on the page. To set the distance between gridlines, see Document Options-Grids
and Guides.

To create a guide
1.
2.
3.
4.

From the View Menu, choose Page View.

From the View Menu, choose Grid/Guide > Show Guides. Notice rulers appear above and to the
left of the page.
Right-click the ruler and choose New Guide. The New Vertical/Horizontal Guide dialog box
appears, which displays the guide location.
Click OK. The guide line appears. To move the line, click the arrow at the top or left end of the line.

To snap to grids and guides

1.
2.
3.
4.
5.
6.

In Page View, from the View Menu, choose Grid/Guide > Show Grid or Show Guides.
From the Document Menu, choose Document Options, and then select Grids and Guides.
Check Snap To Grid or Snap To Guide.
Choose Items to Snap To Grid or Items to Snap To Guide. The Items to Snap To Grid or Items to
Snap To Guides dialog box appears. See Items To Snap To Grid and Items To Snap To Guide
dialog boxes.
Check the items you want to snap to grids and/or guides.
Click OK. Selected items now snap to the nearest grid intersection and to nearby guide lines. To see
how close you can move an item to a guide line without snapping to the guide, Right-click the guide
arrow and choose Show Gravity Zone.

See Also:
Window Menu

1565

Group names
You can specify two names for every group in a document. For example if youve defined a group for a
piano part, you can enter a full name (such as Piano), which appears in the first system of the document,
and a second name (often abbreviated, such as Pno.), which appears on all subsequent systems.

To create or edit a group name

1.

Click the Staff Tool

. The Staff Menu appears.

2.

If you havent yet created the group youre naming, do so now. For details, see Groups-"To
group staves".

3.

Ctrl-click a group handle. The Edit Text window appears.

Note: You can also access the Edit Text window
by clicking the Edit buttons for full or abbreviated
group names in the Group Attributes dialog box.
For more information, see Group Attributes dialog
box.

4.

Type a new group name in the window or make changes to an existing group name. Change
fonts and styles using the Text Tool; see Edit Text window for details.

5.

Click OK to confirm the name and dismiss the dialog box.

Note: You can also access the Edit Text window
by clicking the Edit buttons for full or abbreviated
group names in the Group Attributes dialog box.
For more information, see Group Attributes dialog
box.

To position group names (globally)

These instructions show you how to set the default position for all full and abbreviated group names. You
can override these positions on a group-by-group and system-by-system basis, however; see To
reposition group names (individually).
1.

Click the Staff Tool

2.

Choose Full Group Names or Abbreviated Group Names 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, depending on your menu selection.

3.

Specify the alignment of the group name by choosing Left, Right, or Center from the
Alignment drop-down list. Finale automatically selects the matching setting (Left, Right or Center)
from the Justification drop-down list.

4.

Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or
Forced Full from the Justification drop-down list. You may need to change the justification for
multi-line names.
Note: choosing Full justification will currently have
the same effect as choosing Left justification, since
each line is treated as the end of a paragraph.

5.

Drag the name in the display area to adjust its position, or enter values, in measurement
units, into the H: and V: text boxes to adjust the position of the name. The H: value determines
the horizontal distance between the beginning of the group name and the left edge of the staff. By
default, Finale vertically centers group names between the first and last staff in the group. A
horizontal line between the staves indicates the center of the group of staves. The V: value
determines the vertical distance of the group name from the center point.

. The Staff Menu appears.

6.

Click OK when you have entered the position settings.

7.

Tip: If your changes dont appear to take effect, display the Group Attributes dialog box and make
sure that the Position checkbox is not selected. Or, select the group handles and press backspace.

1566

To reposition group names (individually)

1.

Click the Staff Tool

. The Staff Menu appears.

2.

Drag a group handle to reposition the full or abbreviated group name on-screen.

3.

To specify the exact positioning of a group name, click a group handle, then choose Full
Group Name or Abbreviated Group Name from the Position Names submenu of the Staff
Menu. (Or, ctrlo-shift-click a group handle.) The Position Full Group Name or the Position
Abbreviated Group Name dialog box appears.

4.

Specify the alignment of the group name by choosing Left, Right, or Center from the
Alignment drop-down list. Finale automatically selects the matching setting (Left, Right or Center)
from the Justification drop-down list.

5.

Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or
Forced Full from the Justification drop-down list. You may need to change the justification for
multi-line names.
Note: choosing Full justification will currently have
the same effect as choosing Left justification, since
each line is treated as the end of a paragraph.

6.

Drag the name in the display area to adjust its position, or enter values, in measurement
units, into the H: and V: text boxes to adjust the position of the group name. The H: value
determines the horizontal distance between the beginning of the group name and the left edge of the
staff. By default, Finale vertically centers group names between the first and last staff in the group. A
horizontal line between the staves indicates the center of the group of staves. The V: value
determines the vertical distance of the group name from the center point.

7.

Click OK when you have entered the position settings.

Tip: To revert the position of the full or abbreviated
group name to its default position, select the group
handle and press backspace. (Or, make sure that
Position is not selected in the Group Attributes
dialog box.)
Note: You can also position an individual group
name from the Group Attributes dialog box. Click a
group handle, then choose Edit Group Attributes
from the Staff Menu, or double-click a group
handle. The Group Attributes dialog box appears.
Click the Position button for the full or abbreviated
group name to display the appropriate Position
dialog box. For information about the Position
settings in the Group Attributes dialog box, see
Group Attributes dialog box.

To set the initial font for group names

1.

From the Document Menu, choose Document Options and select Fonts to set the initial font
for new names that you create. The Fonts options appear, listing various elements for which you
can set the font.

2.

Choose Group Names (Full) from the Text drop-down list.

3.

Click the Set Font button next to the Text drop-down list. The Font dialog box appears.

4.

Set the initial font, size, and style to use when creating full group names. Click OK twice to
confirm the changes.

5.

Repeat this process for abbreviated group nameschoose Group Names (Abbreviated) from
the Text drop-down list.

6.

Click OK to confirm your changes.

To change the font for group names (globally)

1567

See Change Fonts Plug-in and Global Staff Attributes.

To hide a group name (full score)

1.

Click the Staff Tool

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. (Or, double-click
a group handle.) To display the attributes of another group, use the arrow controls to change the
Group ID number.

. The Staff Menu appears.

3.

Deselect the Show Group Name checkbox, then click OK. Finale remembers the group name,
but hides it until you select the Show Group Name checkbox again. This setting controls whether the
group names you enter will appear on your printed score. Default names enclosed in square
brackets only display on-screen; they never appear on your printed score.

4.

Click OK to confirm your changes.

1568

Staff groups
Every staff in Finale can be assigned to one or more groups. Grouped staves have several important
characteristics. First, you can control how barlines are drawn for the staves in a group (see Barlines).
Second, you can add a bracket to grouped staves (see Brackets: Staves). Third, when youre extracting
parts, the Extract Parts command gives you the option of extracting groups as well as staves, making it
possible for pairs of staves (piano, for example) to be extracted together, along with a solo part.
Groups in linked parts are completely independent, although new linked parts can inherit the groups as
they exist in the Manage Parts dialog box. See Groups in linked parts.

To group staves
1.

Click the Staff Tool

. The Staff Menu appears.

2.

Select all the staves you want included in the group, then choose Add Group and Bracket
from the Staff Menu. The Group Attributes dialog box appears.

3.

Select a staff from the Staff and Through drop-down lists to set the starting and ending
staves for the group. All staves in between will also be part of the group.

4.

Use the settings in the Group Attributes dialog box to set the group name, bracket, and
barline for the new group. For more information, see Barlines, Brackets: Staves, and Group
Attributes dialog box.

5.

Click OK to confirm your changes.

Note: You can also group and ungroup staves in
optimized systems in Page View if you need to
change the definition of a group on a system-bysystem basis. For information on optimizing, see
Optimizing systems.

To remove a group
1.

Click the Staff Tool

2.

Click a group handle to select the group.

. The Staff Menu appears.

3.

Choose Remove Group from the Staff Menu, or press delete. Finale removes the group definition
for the staves in the selected group.

To change the attributes of a group

1.

Click the Staff Tool

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also
double-click a group handle or choose Edit Group Attributes from the Staff Menu without selecting a
group. The Group Attributes dialog box appears. To display the attributes of another group, click the
arrow controls to select another Group ID number.

. The Staff Menu appears.

3.

Use the Group Attributes dialog box to change and reposition the group name, add and
reposition the bracket, and choose a barline style for the group barline. For details, see Group
Attributes dialog box.

4.

Click OK to confirm your settings.

To add staves to a group

1.

Click the Staff Tool

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also
double-click a group handle or choose Edit Group Attributes from the Staff Menu without selecting a

. The Staff Menu appears.

1569

group. The Group Attributes dialog box appears. To display the attributes of another group, click the
arrow controls to select another Group ID number.
3.

Add staves to a group by choosing different staff names from the Staff and Through dropdown lists. All staves in between will also be part of the group. For details, see Group Attributes
dialog box.

4.

Click OK to confirm your settings.

To remove staves from a group

To exclude a currently grouped staff from its group, youll need to change the staves that are included in
the group.
1.

Click the Staff Tool

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also
double-click a group handle or choose Edit Group Attributes from the Staff Menu without selecting a
group. The Group Attributes dialog box appears. To display the attributes of another group, click the
arrow controls to select another Group ID number.

3.

Adjust which staves are included in a group by choosing different staff names from the Staff
and Through drop-down lists. All staves in between will also be part of the group. For details, see
Group Attributes dialog box.

4.

Click OK to confirm your settings.

. The Staff Menu appears.

To configure a multiple-staff part to optimize like a single staff.

1.

Click the Staff Tool

. The Staff Menu appears.

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu.

3.

Click the drop-down next to Group Optimization and choose Only Remove if All Staves
Empty.

4.

Click OK. Now, when you optimize your score, Finale will only remove the staves in the group you
selected if all staves in the group are empty. For more information on optimization, see Optimizing
systems.
Note: After a system has been optimized, edits to
groups and brackets only apply to that system. To
edit groups and brackets on optimized systems en
mass, use the Update Groups and Brackets plugin.

1570

Guitar bends
To create guitar bends:
in the Main Tool palette. The Smart Shape Palette and Smart

1.

Click the Smart Shape Tool

Shape Menu appear.

2.

Click on the Guitar Bend Tool

3.

Double-click the first of two fret numbers. Finale extends the bend or release, with the
appropriate bend text, over the next fret number. By default the second fret number will be hidden.
By default, the second fret number of a release will be parenthesized. To indicate a 1/4 bend,
Option-double-click any note.

in the Smart Shape palette.

To change the font, size or style of the guitar bend text or to hide it entirely see the Guitar Bend Options
dialog box.
See Also
Tablature

1571

1572

Guitar markings
Enter the following guitar markings with the Smart Shape Tool. To enter a Guitar Bend, TAB Slide, Trill
(vibrato), or Bend Hat, first click the corresponding tool in the Smart Shape Palette. The remaining
markings are available in the Smart Line Selection dialog box. For information on how to enter these
markings, see To enter hammer-ons, pull-offs and other guitar-specific markings. For information on how
to program your own metatools for all of these markings, see Smart Shape Tool.

Marking

Description

Predefined Metatool

Bend Arrows

TAB Slide

Vibrato

Bend Hat

Hammer-on

Hammer-on for use above

a slur or tie

Pull-off

1573

Pull-off for use above a

slur or tie

Bend

Bend for use above a slur

or tie

Release

Release for use above a

slur or tie

Artificial Harmonic
(A.H./A.H)

Artificial Harmonic/A.H.

--

Natural Harmonic
(N.H/N.H.)

Natural Harmonic/N.H.

--

1574

Pick Harmonic (P.H./P.H.)

--

Pick Harmonic/P.H.

--

Palm Mute (P.M./P.M.)

Palm Mute/P.M.

--

Let Ring

--

Hold Bend

--

Up Pick

--

Down pick

--

See also:
Guitar notation

1575

1576

Guitar notation
Guitar parts are often more complex than other parts, because they often combine regular notation with
slashes, or hash marks, representing chordal rhythms. There are three ways to accomplish this
combination, depending on the kind of part you want to create.
If theres a passage where you want to indicate ad lib comping, you can let Finale fill in the measures
automatically with either stemless, evenly-spaced slashes, or beamed, stemmed rhythmic slashes. See
Slashes.
If the part calls for a combination of notes and pitchless slashes, you can enter the melodic parts in one
Finale layer, and add the slashes in another. See To combine notes with pitchless slashes on one staff.
If there are only a few slashes that must fall on specific pitches, you can notate the entire part in one
layer, temporarily notating the slashes as standard noteheads. Once thats done, you can change the
appropriate noteheads to slashes with the Special Tools Tool. SeeTo create pitched slashes (note-bynote method).

To enter hammer-ons, pull-offs and other guitar-specific markings

1.

Click the Smart Shape Tool

in the Main Tool palette.

2.

Click the Slur Tool

3.

Double click the first fret number. A slur will extend from the first fret number to the second.

4.

Hold down the Option key and click the Custom Shape Tool
Smart Line Selection dialog box.

5.

Double-click the H to select a Hammer-On, or the P for a Pull-Off. You will see many other
guitar markings here as well including a bend (B), release (R), palm mute (P.M.), a let ring marking
and others. You can find a complete list in the Appendix under Guitar Markings.

. You should now see the

6.

Click the Select button.

7.

Double-click the first fret number and drag to the second. You will see the H or P appear above
the fret number. You will see two handles below the hammer-on or pull-off indicating the endpoints of
an invisible line. Click and drag either of these to position the H or P accordingly.
You can use predefined metatools to quickly enter these items, and even program your own. See
Metatools and To Program a Smart Shape metatool for details. You can also enter several guitar
markings as articulations. See Articulations.

To combine notes with rhythmic notation slashes on one staff

1.

Choose Layer 2 from layer buttons in the lower-left

corner of the screen, and click the Speedy Entry Tool
. Youre going to notate the parts that are to display
normal noteheads. See Speedy Entry for instructions in
using the Speedy Entry Tool.

2.

Click a measure, and enter the notes. For each beat

where youll want a slash, enter any pitch; well convert
them to slashes next so what counts are the rhythms.

3.

Click the Staff Tool

, and select the notes that will
contain slashes. See Selecting music for more information.

4.

From the Staff Menu, choose Apply Staff Styles. The Apply Staff Styles dialog box appears.

5.

Select Rhythmic Notation, and click OK. See Staff styles for more information.

1577

To create pitched slashes (note-by-note method)

1.

Create the part on a single staff. For each note thats going to be a slash, enter a normal note.

2.

Click the Special Tools Tool

3.

. Double-click the handle of the first notehead you want to be

Click the Note Shape Tool
a slash. Finale displays a palette containing every symbol in the Maestro music font.

4.

Double-click the slash. You actually have a choice of two slashes; the smaller one (slot #33)
usually looks best. (The larger one is slot #243.) You return to the document, where the note now
has a slash instead of a notehead.

5.

Repeat the process with the other slashed notes. If the stems dont connect with the notehead
correctly, this can be adjusted for each character you use as a notehead. See Stem Connection
Editor dialog box for details.

, and click the first measure you want to contain slashes.

To use a MIDI guitar for entry

There are two components necessary for entry with a MIDI guitar, the MIDI guitar itself, and a guitar to
MIDI interface. The guitar to MIDI interface translates pitches from the guitar into MIDI signals to be sent
to the computer. Consult the instruction manual that came with your guitar to MIDI interface to insure it is
connected properly to the computer. Then in Finale, go to the MIDI setup dialog box (under the MIDI
menu) and choose the appropriate MIDI IN driver. For more information on MIDI setup in the Finale
Installation and Tutorials.
There might be a slight delay from the time the string is plucked to the time the MIDI information reaches
Finale. To compensate for this, you may need to adjust the MIDI Latency setting:
1.

From the MIDI/Audio Menu, choose MIDI Setup.

2.

In the MIDI Latency text box, enter 25 ms. This is just a first guess. Getting this value to
match the precise delay may require some trial and error. You may need up to 150ms to
compensate for the delay. The ideal amount of latency will depend on your hardware configuration.

3.

Coordinate MIDI channels for your guitar strings. From the MIDI menu, choose Tablature MIDI
Channels. The MIDI Channels for Tablature dialog box appears. The MIDI data for each string on a
MIDI guitar reaches Finale on its own MIDI channel. In order to properly organize this information,
you need to tell Finale the MIDI channel assigned to each string. In this dialog box, enter the channel
for each string as defined on your guitar to MIDI interface. Consult your interfaces instruction manual
for information on assigning strings to MIDI channels, or viewing the currently selected MIDI channel
for each string. See Tablature MIDI Channels dialog box.

Once you have hooked up the MIDI guitar and set the latency and string MIDI channels, follow
instructions for Recording with HyperScribe on either a notation or tablature staff. You can also use a
MIDI guitar for entry while using the Simple or Speedy Entry Tools. The principals for using HyperScribe
for entry with a MIDI guitar are the same as entry with a MIDI keyboard.
See also
Slashes
Tablature

1578

Harmonics
String harmonics are often notated as a diamond
or small circle
above the notes they affect.
In Finale, you either create the harmonic symbol as an Articulation (below left), or change a notehead on
the same stem (below right).

For instructions on creating, moving, and deleting articulations, see ArticulationsDocument Options-Notes
and Rests . For instructions on changing a notehead to a diamond shape, see. See also Easy Harmonics
Plug-in.

1579

Harp pedal diagrams

You can create a pedal diagram easily, using the Shape Designer. See also Harp Pedaling in the Finale
Engraver Font.

Youll save time, however, if you simply load the Harp Pedal Library provided with your Finale package.
1.

Choose Load Library from the File Menu. The Load Library dialog box appears.

2.

Navigate to your Libraries folder, and double-click the Harp Pedal Library. This library contains
two shapes: the empty cross-shaped skeleton; and a single, vertical, pedal line.

3.

Select the Expression Tool

4.

Click Shape, Create, then Select. The Harp diagrams are displayed.

5.

Choose the harp diagrams to make available in the Expression Selection dialog boxes.

6.

Click OK until you return to the Expression Selection dialog box, then click Cancel to return
to the document. Its important to place each harp-pedal shape into the score using Metatools. See
To create Expression Metatools. Otherwise, you wont be able to adjust the pedals independently on
each diagram.

and double-click anywhere on the score.

Finally, you place the diagram into the score in two steps. First, use the Expression Tool to place
the Metatool empty cross-shaped skeleton into the score. Now add the other Expressionthe
one that represents the pedal. Once these pedal shapes are placed into the score, again using
Metatools, you can drag their handles up or down to adjust the positions of the various pedals.

1580

Headless notes
You can create notes without heads on either a note-by-note or global basis (for plainchant notation or
recitative, for example).

To remove the head of a single note

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

, and

. A handle appears on each notehead.

2.

Click the Note Shape Tool

3.

Double-click the desired noteheads handle. The Symbol Selection dialog box appears, displaying
every character in the music font. (Some of the squares in the palette are blank.)

4.

Double-click any blank square. To restore the notehead, click its handle to select it. Press delete.

To remove all noteheads

1.

From the Document Menu, choose Document Options, then select Notes and Rests. The
Notes and Rests options appear.

2.

From the Notehead Characters drop-down list menu, choose Quarter/Eighth, and then click
Select. The Symbol Selection dialog box appears, displaying every character in the music font.

3.

Double-click any blank square. Repeat with the Half, Whole, and Double Whole notehead types, if
they appear in your piece.

4.

Click OK. To restore the noteheads, repeat the process. Instead of double-clicking a blank square,
however, double-click the appropriate notehead shape in the palette.

To remove all noteheads in a region

1.

Click the Selection Tool

selecting shortcuts.

, and select a region. See Selecting music for some region-

2.

From the Utilities Menu, choose Change, then Noteheads. The Change Noteheads dialog box
appears.

3.

Select All Noteheads in the Find section of the dialog box.

4.

Select Selected Notehead in the Change to section of the dialog box.

5.

Click Select next to Selected Notehead. The FontFont dialog box appears.

6.

Double-click on Slot 32. You return to the Change Noteheads dialog box.

7.

Click OK. The noteheads are replaced with blank characters. To restore the noteheads, repeat the
process. Instead of selecting Selected Notehead, select Regular Noteheads and Click OK.

1581

Hiding key signatures

Its standard practice to display the key signature at the beginning of each system. You can, however, tell
Finale not to display the key signature in a particular measure (in which the key signature would normally
appear).

To hide the key signature in a measure

1.

Click the Measure Tool

, and double-click the barline handle of the measure in which you
want to hide the key signature. In general, this is the first measure on a line. Be sure to perform
these steps just before printing, to ensure that the measures with hidden key signatures dont move
from their positions at the beginning of lines.

2.

From the Key Signature drop-down list menu, choose Always Hide. You can also force a key
signature to appear in a measure where it would not normally appear by choosing Always Show (see
Courtesy key signatures).

3.

Click OK (or press enter).

Note that you can also choose to display the key
signature on the first staff system only in Document
Options-Key Signatures.

1582

Hiding notes and rests

A hidden note or rest in Finale may still takes up horizontal space, but it doesnt play back or print out.
Hiding a rest is an excellent way to provide a placeholder in order for a second voice to enter in the
middle of a measure. Hiding a note or rest will not hide lyrics and chords assigned to the entry. It will hide
other items attached to a note or rest such as articulations or expressions. See Notes and Rests (Hide)
Plug-in, Notes and Rests (Show) Plug-in. See also Document Options-Music Spacing for spacing hidden
notes.

To hide a note or rest

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Click the desired note or rest. The pitch crossbar doesnt have to be on the notehead.

3.

Press the letter O or H key. To show the note or rest again, press O or H again.

1583

Hiding staves
If youre interested in hiding staves to print a full score (so that empty staves are omitted from each
system), see Optimizing systems.
If youre interested in hiding staves temporarily, use the Hide Staves checkbox in the Staff Attributes
dialog box. Do not delete the stavesa method of hiding staves that was used in versions earlier than
3.7. Delete staves only if you want to permanently remove them from the score.

To hide staves for editing (Scroll View)

By hiding staves youre not immediately editing, but you can greatly reduce the time it takes for your
computer to redraw the screen as you move around the score. When you change the position of a staff in
a staff set, it changes positions for all staff sets.
1.

. Shift-click the staves you dont want to hide. You can also select
Click the Staff Tool
staves by drag-enclosing their handles or by choosing Select All from the Edit Menu. In any case, the
selected staves handles become highlighted.

2.

While pressing ctrl, choose Program Staff Set from the View Menu; from the submenu,
choose one of the Staff Sets (1 through 8). Youre programming a Staff Set that, when selected,
will hide the non-selected staves.

3.

To view the new configuration of staves, choose the Staff Set you programmed from the
submenu of the Select Staff Set command (in the View Menu). A quicker way is to note the
keyboard equivalent for the desired Staff Template (control-1 through control-8). By pressing control0 (zero), you restore all staves to the display; by pressing the command for your Staff Set, you
rehide the desired staves. You can repeat this process with other configurations of staves (the
other seven Staff Sets), which allows you a total of nine instantly available staff configurations. Finale
prints all staves, however, no matter which ones are visible in Scroll View; to omit staves in printing,
see To hide staves for printing below.

To hide staves for ossia measures or special playback

Use this method to hide staves that contain source music for ossia measures. Or, hide other staves that
you dont want printed; for example, staves containing notes for playback only, such as written-out trills,
turns, or doubled parts.
1.

Click the Staff Tool

2.

Select a staff, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a staff, a
staff handle, or a staff name.) Or, choose Edit Staff Attributes from the Staff Menu without selecting a
staff. The Staff Attributes dialog box appears. To display the attributes of another staff, choose a staff
from the Staff Attributes for drop-down list menu. (Or, use the arrow controls to select a staff from the
Staff Attributes for drop-down list menu.)

3.

Select Hide Staff in the Options section in the Staff Attributes dialog box, then click OK. Any
staff that you hide using this method will still appear in any Staff Lists but (hidden) will appear after
the staffs name in the list.

. The Staff Menu appears.

To hide staves for printing

If your purpose is to hide empty staves when printing a full score, see Optimizing systems.
To hide staves containing music, which you may want to do if a staff contains alternate versions of music,
or music only used for playback:
. The Staff Menu appears.

1.

Click the Staff Tool

2.

Select a staff handle, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a
staff handle, or a staff name. Or, choose Edit Staff Attributes from the Staff Menu without selecting a
staff.) The Staff Attributes dialog box appears. To display the attributes of another staff, choose a

1584

staff from the Staff Attributes for drop-down list menu. (Or, use the arrow controls to select a staff
from the Staff Attributes for drop-down list menu.)
3.

Select Hide Staff in the Options section in the Staff Attributes dialog box, then click OK. When
this option is selected, Finale displays hidden after the name of the staff in the Staff Attributes for
drop-down list menu in the Staff Attributes dialog box.

4.

Format and print your piece as usual.

To play back only selected staves

See To play back selected staves.

To show hidden staves

If youve hidden a staff using the Hide Staves option in the Staff Attributes dialog box, Finale displays
(hidden) after the name of the staff in the Staff Attributes for drop-down list menu in the Staff Attributes
dialog box.
. The Staff Menu appears.

1.

Click the Staff Tool

2.

Click the handle on a hidden staff, then choose Edit Staff Attributes from the Staff Menu. If
you cant find staff handles in your score, or if youre not sure which staves are hidden, choose Edit
Staff Attributes from the Staff Menu without selecting a staff. The Staff Attributes dialog box appears.
Choose the hidden staff from the Staff Attributes for drop-down list menu, which provides a complete
list of all staves in the score. (Or, use the arrow controls to select the hidden staff from the Staff
Attributes for drop-down list menu.)

3.

Click to deselect Hide Staff in the Staff Attributes dialog box. The staff will reappear when you
return to the document.

4.

Use the arrow controls to choose another hidden staff and deselect Hide Staff to display the
staff in the score.

5.

Repeat the process for every hidden staff you want displayed again, then click OK when
youre done.

1585

Hiding time signatures

Its standard practice to display the time signature at the beginning of each system. You can, however,
tell Finale not to display the time signature in a particular measure (in which the time signature would
normally appear).
To hide all time signatures for a staff see Staff Attributes dialog box.

To hide the time signature in a measure

1.

Click the Measure Tool

; double-click the barline handle of the measure in which you
want to hide the time signature. The Measure Attributes dialog box appears.

2.

From the Time Signature drop-down list menu, choose Always Hide. You can also force a time
signature to appear in a measure where it would not normally appear by choosing Always Show (see
Courtesy time signatures).

3.

Click OK (or press enter).

To hide automatic courtesy time signatures

When a time change appears at the beginning of a system, a courtesy time signature appears
automatically at the end of the previous system.
To remove the courtesy time signature that appears automatically at the end of the previous system:
1.

From the Document Menu, choose Document Options, and then select Time Signatures.

2.

Uncheck Display Courtesy Time Signature at End of Staff System.

3.

Click OK.

1586

Human Playback
Finales Human Playback feature, (developed by Robert Pichaud), is a comprehensive utility designed
to interpret virtually every aspect of your score including articulations, expressions, hairpins, and other
markings, and generate playback that simulates a live human performance. Human Playback will even
read text expressions you add manually, such as "Faster", "calando", or even "zurckhaltend". (For a
complete list of words Human Playback understands see Human Playback Dictionary). By default, when
you playback the score, Human Playback temporarily discards all existing MIDI data in favor of its own
(then restores it when playback is stopped). However, you can instruct Human Playback to incorporate
MIDI data you have added manually in its interpretation by adjusting settings in the Human Playback
Preferences dialog box.
In addition to elements of the score itself, Human Playback bases its interpretation on one of several
available styles including classical, baroque, and jazz. When you start a new Finale document, Human
Playback is on by default and set to the "Standard" playback style. Simply add some of the markings just
mentioned and playback the score to hear Human Playback at work. To customize Human Playbacks
interpretation, do the following:
1.

From the Window Menu, choose Playback Controls (if the Playback Controls are not already
visible). The Playback Controls appear.

2.

Click the Playback Settings button. The Playback Settings dialog box appears Controls expands,
offering additional controls.

3.

For Human Playback Style, select the style of the piece you are notating. For example, the Jazz
style adds a swing feel to the piece. The Baroque style performs articulations according to standard
baroque performance standards. Or, choose Custom to view the Human Playback Custom Style
dialog box where you can create your own style.

4.

Click OK to apply these settings Minimize the Playback Controls if desired.

5.

Click the play button to review Human Playbacks interpretation. The score is processed, and
performs the score based on Human Playbacks interpretation. During this process, MIDI data is
applied to the score temporarily, and then removed when playback stops.

If you want to make additional global settings for Human Playback, in the Playback Settings dialog box,
click HP Preferences to open the Human Playback Preferences dialog box where you can adjust
program-wide settings. Here, you can instruct HP to use MIDI data you have already defined in the score
(with the MIDI Tool, Expression Tool etc.), adjust reverb settings, and make further adjustments to the
way Human Playback interprets your score. See Human Playback Preferences dialog box.
You can also apply Human Playback to a region of your score using the Apply Human Playback plug-in.
When you do this, instead of only temporarily adding the MIDI data, Human Playback adds it to a
selected region of measures. (Then you can apply different setting to another region of measures, or
even edit the MIDI data with the MIDI Tool). To use the Apply Human Playback plug-in, set human
Playback to None in the Playback Settings dialog box, then highlight a region of your score with the
Selection Tool and from the Plug-ins Menu, choose Playback > Apply Human Playback. See Apply
Human Playback plug-in.

GPO and Human Playback

Human Playback includes enhanced capabilities when used with Finales integrated Garritan Personal
Orchestra sounds (or the full version of Garritan Personal Orchestra). One of these is the ability to apply
patch changes automatically using keyswitch triggers. Several GPO instruments include multiple sounds,
for example, pizzicato and arco for strings. These alternate sounds are called Keyswitches. HP
interprets expression or Smart Shape text added to the score (such as pizz) and changes the
instrument sound during playback accordingly. See GPO Keyswitch Triggers for Human Playback for
details.
Additionally, Instrument Techniques can be applied to an instrument sound and/or modified to take full
advantage of GPO and other sound sample libraries. See GPO & HP Tutorial for information on how to
get the most out of these tools.

Instrument Techniques and Effects

1587

Instrument Techniques allow Human Playback to take advantage of a given sound library, from basic GM
to high-end samples like Garritan or EWQL. They can be actual techniques, such as pizzicato or
fluttertongue, but more generally, they can be used however required to make the most of the sound
library at hand. Earlier versions of Finale (2006 and earlier) included a limited support for Instrument
Techniques, focused on GPO (Finale and Full editions) and GM (SoftSynth), but were not customizable.
In particular, there was no way to mix different sample libraries so that Human Playback could interpret
the whole thing smoothly.The Technique & Effects window looks like this:

Every item in the list represents a particular technique or effect. The technique list pictured above is the
default set, featuring about 30 items including full support for SoftSynth, Finale GPO, Garritan Personal
Orchestra (full), Garritan Jazz & Big Band, Marching Band, Stradivari Violin, and Gofriller Cello.
For details, see Human Playback Preferences-Instrument Techniques and Effects.
See Also:
Human Playback Preferences dialog box
Human Playback Dictionary

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Hymns
There are several conventions common to hymns which Finale can accommodate. For example, hymns
are often notated on two staves (which may be Soprano/Alto and Tenor/Bass and double as an organ
part), with lyrics in between. Use Layer 1/Layer 2 on each staff to create parts whose stems are
automatically flipped the right way (see Multiple voices).
Often, too, a hymn contains several verses, with a single repeated refrain. Assuming that the lyrics lie
between the two staves, you need to adjust the space between the two staves so that theres enough
room for multiple verses, yet leave less space between staves where there are only the single-line refrain
lyrics.
The solution is to optimize the systems. In general, optimizing is used to suppress the printing of blank
staves within a system. However, optimizing has another important effect: it allows each staff within a
system to be independently movable in Page View.
Another characteristic of published hymns is that the first syllables of all verses are aligned with each
other, flush left. (Lyrics under normal circumstances are centered under the notehead.) To create this
alignment, see Document Options-Lyrics.

To create variable-distance systems

For best results, perform this operation last, just before you print. See Optimizing systems for more
information.
.

1.

Click the Page Layout Tool

2.

From the Edit Menu, select the systems or choose Select All.

3.

From the Page Layout Menu, choose Systems, then Allow Individual Staff Spacing.

4.

Click the Staff Tool

; then drag the lower handle of any staff to move it.

1589

Hyphens
A hyphen (or a space), when typed into the Edit Lyrics window for lyrics, indicates the end of a lyric
syllable. When Finale distributes lyrics automatically into the score (see Lyrics), it looks for a hyphen or
space as its cue to advance to the next melody note.
The default hyphens are called Smart Hyphens because they automatically extend over system breaks
and use the hyphen character from the font selected for lyrics in Document Options-Fonts. You can edit
the default space between hyphens, and adjust the default positioning in the hyphens section of
Document Options-Lyrics.
Note: Old documents (those created in Finale
version 2003 or earlier) that contain lyrics retain all
word extension positioning information when
converted to Finale 2009 format. However due to
possible conflicts with existing hyphens, Smart
Hyphens are not active in converted documents by
default. Hyphens in documents converted from
earlier Finale versions do not extend over system
breaks automatically and always use a dashed line
instead of the lyric fonts hyphen character. If you
want to activate Smart Hyphens in an Finale
Document created in Finale 2003 or earlier, from
the Document Menu, choose Document Options,
select Lyrics, and then check Use Smart Hyphens.
Then click OK to confirm your settings. This setting
applies to new hyphens and existing hyphens
already added to the score.

To prevent a hyphen from ending a syllable

In certain situations (melismatic passages, for example), you may not want Finale to assume that a
hyphen is the end of a syllable.
1.

If youre not already in the Edit Lyrics window, click the Lyrics Tool k and from the Lyrics
Menu, choose Edit Lyrics. The Edit Lyrics window appears.

2.

To create a hyphenated word, all of which will be assigned to a single note, type 0173 on the
numeric keypad while pressing the alt key in place of the normal hyphen. When these lyrics are
Click-Assigned into the score, the alt+0173 hyphen-hyphen will not separate the word into syllables.

1590

Imploding music
To implode music onto a single staff
1.

Click the Selection Tool

and select a region. To implode music, youll usually want to select
several staves by shift-clicking them. See Selecting music for some region-selecting shortcuts.

2.

From the Utilities Menu, choose Implode Music. The Implode Music dialog box appears, asking
whether the resultant reduction should appear on a new staff (at the bottom of the score) or on the
top selected staff (in which case its current contents will be replaced).

3.

Select either New Staves Added to Bottom of Score or Top Staff of Selection. If youve selected
a large amount of music, this process may take time.

4.

Click OK.

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Importing
You can import files from Encore, Rhapsody, MIDIScan, and SmartScore into Finale. You can import
various elements into your Finale documents from other programs.

To import Encore or Rhapsody files

Finale can convert Encore 3.0 through 4.2.1 files and Rhapsody 1.0 files regardless of which platform
was used to create them. Finale will convert most items in your Encore file. The simpler the Encore file
the fewer 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. More information on the items Finale will not convert, or
modifies upon conversion is given in Encore Conversion.
1.

From the File Menu, choose Import, then Encore or Rhapsody. (Or, in the Launch Window,
choose Encore or Rhapsody from the Import drop-down menu and click Import File.) The
Open File dialog box appears.

2.

Navigate to your Encore or Rhapsody file and double-click on the file. Your file is converted to a
new, untitled Finale file, based on the Encore Default file.

3.

From the File Menu, choose Save. Enter the new file name and save it as a Finale Notation File.

To import Score files

Like importing Encore or Rhapsody files, the quality of the conversion will depend on the complexity of
the original file. There will usually be some cleanup necessary after importing the file. You will be able to
import individual score files into Finale or several score files at once. For information on items that are
lost or changed upon conversion, see Score Conversion.
1.

From the File Menu, choose Import, then Score. (Or, from the Launch Window, choose Score
from the Import drop-down menu and click Import File). The Open File dialog box appears.
Highlight the file or files you want to open. To select more than one file, hold down the Shift key while
selecting files (or hold down the Ctrl key and click to select non-contiguous files). Score files should
have the extension .PGE, PAG. or .MUS.

2.

Click Open. The Import Score Files Options dialog box opens. Choose the page size and specify
how you want to determine the file order here. For more information, see Import Score Files Options dialog box.

3.

Click OK. If only one file was selected for conversion, or if Let Finale Determine File Order was
selected in the Import Score Files Options dialog box, Finale will generate and open the converted
document. If Specify File Order was selected in the Import Score Files - Options dialog box, the
Import Score Files Order dialog box will appear. Choose page breaks and file order here and click
OK to generate the converted file. See Import Score Order dialog box.
Note: Score files can appear as Finale Notation
Files in your operating system if it they were saved
with an .MUS file extension. Though these files will
display a Finale Notation File icon, you will still
need to use the Import Score feature to open them.

To import MIDIScan or SmartScore files

Finale can import MIDIScan 2.5 MND files and SmartScore FIN files, regardless of which platform was
used to create them. Finale will convert most items from your MIDIScan or SmartScore files. As you
compare your results, make sure that you compare Finales output to that of MIDIScans MND file or
SmartScores ENF file, not the original scanned TIFF file. See Scanning. For tips on getting the best
scanning results, see Musiteks website at www.musitek.com.
1.

In MIDIScan or SmartScore, save the file as an MND or FIN file, respectively.

2.

In Finale, click on the File Menu, choose Import, then MIDIScan or SmartScore. (Or, from the
Launch Window, choose MidiScan or SmartScore from the Import drop-down menu and click
Import File The Open File dialog box appears.

1592

3.

Navigate to your FIN or MND file and double-click on the file. Your scanned file will be converted
to a new untitled Finale file, based on the SmartScore Default file.

4.

From the File Menu, choose Save. Enter the new file name and save it as a Finale Notation File.

To import text
Finale wont retain the tabs or character formatting if you import text from another word processor, but the
text itself will transfer.
1.

In your word processor, select the text. Choose Copy from the Edit Menu. In almost every word
processor, you can press ctrl-C (for Copy) instead of choosing Copy from a menu.

2.

Open your Finale document. There are two places the text might go: into your lyrics or into a text
block.

3.

To paste the text as lyrics, click the Lyrics Tool

. Choose Edit Lyrics from the Lyrics
Menu, and press ctrl-V (for Paste). The lyrics currently on the Clipboard appear in the Edit Lyrics
window. You can paste text the same way when youre creating text blocks (see Text blocks).

To import a MIDI file

See MIDI files.

To import graphics
See Graphics.

To open files from earlier versions of Finale or other MakeMusic

products
From the File Menu (or the Launch Window), choose Open. Navigate to the file. Double-click on the file.
Finale opens and converts the older versions document with a different name than the original file,
keeping the older document as a backup. If you want to save the file using the same name, choose Save
As from the File Menu. For conversion issues, see below:
From Finale 2004 or earlier:

The option Stop on Total Passes has been removed from the Backward Repeat Bar Assignment
dialog box. During playback of files created in 2004 or earlier, backward repeat bars with this setting
would stop after the specified number of passes instead of jumping to the target measure. When
opening an older Finale file with this setting, in the Backward Repeat Bar Assignment dialog box for
these repeat bars, the Target drop-down menu is set to Measure # and -1 is specified in the text
box. Playback after converting to Finale 2007 format or later is not changed.

From Finale 2003 or earlier:

Expressions convert to the Finale paradigm established in version 2004. For Expressions, the
positioning settings are applied to the Positioning tab of the Expression Designer.

From Finale 2002 or earlier:

Tablature staves from documents created in Finale 2002 or earlier will continue to use the old
paradigm of a one line staff for each TAB line. In addition, if you are using a document converted
from Finale 2002 or earlier, tablature staves with alternate tuning that are added to the document
with the Setup Wizard will revert to the Standard Guitar instrument. For information on working with
staves in Finale 2003, see Tablature.

From Finale 2001 or earlier:

Slurs will not be converted automatically to the new Engraver Slurs. See Smart Shape Tool.

From Finale 98 or earlier:

If you used Alternate Notation in a converted file, the appropriate Staff Style will be created. If you
wish to use the pre-defined Staff Styles that came with your default file, such as transpositions and
1-line staves, you will need to load the Staff Styles library. See Staff styles.

From Finale 3.7 or earlier:

1593

If you use bitmapped fonts, converted files may display text items at a different point size than the
original file. Finale 2002s display of bitmapped fonts is limited to the actual point sizes installed in
your system. We highly recommend the use of TrueType or PostScript fonts, which can be scaled to
virtually any point size.

Staff Names and Titles are considered text blocks in later versions. As a result, staff names and titles
in files created in earlier versions of Finale will be converted to text blocks.
When converting text blocks, Finale will convert the text so it's unique for each text block. However,
if the same shape is used, Finale will not duplicate the shape. Note that in Finale 2002, both the
text and the shapes (Standard Frame or Custom Frame) are unique for each text block that you
create.
The fonts selected in the Fonts portion of the Document Options dialog box for Text Blocks, Staff
Names and Group Names will be used when the text block, or staff or group name is first created.
Changing the font in Document Options-Fonts will no longer change the font used for all staff
names in your document; nor will it change the first font used for text blocks in your document. To
change a font, you must change the font in the document for text blocks created with the Text Tool,
or in the Edit Text window for staff and group names created using the Staff Attributes dialog box.

The conversion routines go through great lengths to ensure that the position of text remains the
same in converted files. This has the following implications for Text Blocks, Titles and Staff Names.
Text blocks are positioned differently starting with Finale 3.7. If you display the Frame Attributes
dialog box, for a text block created in an older version of Finale, Position from Edge of Frame will
be deselected. (This option is selected for text created with the new Text Tool.) If you select this
option for a converted text block, you will most likely need to adjust its position on the page.
Since titles are considered text blocks, Finale calculates the position of the title from the top of the
name, using the specified font. Earlier versions (before 3.7) calculated the position from the
baseline of the font. When converting files, Finale adjusts the values for the positioning of the titles
to maintain their previous page positioning.
Since staff names are considered text blocks, Finale calculates the position of the name from the
top of the name, using the font selected at the beginning of the name. Earlier versions (before 3.7)
calculated the position from the baseline of the font.
When converting files, Finale recalculates the values for the default positioning of the staff names
based on the font and point size selected in the Fonts portion of the Document Options dialog box.
If alternate fonts or point sizes have been set for staff names, individual positioning for those staff
name will be selected in the Staff Attributes dialog box. This automatic calculation of positioning
values, and the selection of individual positioning for names using the non-default font and point
size, will maintain the correct position of staff names in your converted files.

From Finale 3.5 or earlier:

Finale offers better support of stem to notehead connections--its ability to sense the width of the
notehead, particularly for upstem notes, is enhanced. However, this enhancement may change
existing stem connection settings slightly in newly-converted documents. In general, these changes
should provide subtle improvements, but you should double-check the on-screen and printed
appearance if you have concerns.

Due to the improved stem to notehead connections, Finale may change the appearance of onscreen and printed blank noteheads (e.g., noteheads set to Petrucci's space character). If you have
documents that use the space character (slot number 32 in the Symbol Selection dialog box) as a
notehead, you should create a new stem connection setting for this notehead in the converted
document by following the steps outlined below.

To fix "blank" notehead connections

1.

From the Document Menu, choose Document Options and select Stems. Make sure that Use
Stem Connections is selected.

2.

Click the Stem Connections button.

3.

Click Create to display the Stem Connection Editor to create a new setting.

4.

Click Select to display the Symbol Selection dialog box. Select slot number 32 (the space
character created by pressing the spacebar), then click Select.

1594

5.

Enter a value of 24 EVPUs in the Upstem V: text box by typing "24 e" -- this automatically
enters a value of 24 EVPUs regardless of the Measurement Units setting currently in use.

6.

Click OK, then click Done, then OK. Your blank noteheads should now display properly.

Finale may display certain unusual chords differently than earlier versions did. This depends on the
setting of the Chord Menu command, Simplify Spelling. Using this command, you can more easily
specify some chord spellings in any key, such as a B sharp chord in C major. Formerly, Finale would
simplify this spelling to C (a change made in response to customer requests very early in Finale's
history). Now, Finale offers you the choice of simplifying or not simplifying these spellings. To ensure
that your chords appear as they did in earlier versions, choose Simplify Spelling from the Chord
Menu, if necessary, so that a checkmark appears next to the command. For more information, see
Simply Spelling in the Chord Menu.

Finale has another small change that may affect your document, both on-screen and in printout.
Finale now displays chords and lyrics on notes hidden with Speedy Entry Tool's O key; chords and
lyrics attached to notes you've hidden in earlier versions' documents will now appear. If you do not
want them to appear, delete these elements from the hidden notes.

From Finale 3.0 or earlier:

Time Signature Libraries have been replaced by the Composite Time Signature dialog box.

Output Route Libraries have been replaced with Instrument Libraries.

From Finale 2.2 or earlier:

Shapes created in Finale 2.2 or earlier will appear in the new version but cannot be edited. If editing
is required, replace the old shape with one youve created in the new Shape Designer.

To transport files across platforms

You dont have to save a Finale file in a special format to open the file cross-platform; simply save it in
the regular Finale file format.
Starting with Finale 2002a, files can be transferred across platforms while maintaining correct higher
ASCII text characters and hard spaces (commonly used in lyrics). Finale is configured to do this by
default, by having Automatically Convert Text In Files From Other Operating Systems selected in the
Open section of the Program Options dialog box (see Program Options-Open). Alternately, this
conversion can be done after the file is open by going to the Document Menu (see Document Menu),
specifying Data Check, and choosing Convert Text for Windows.

1595

Indenting systems
To indent a system:
1.

. A dashed line borders every staff system on the page. A handle

Click the Page Layout Tool
appears on the upper left and lower right of each system.

2.

To adjust the left system margin, click and drag the upper left handle to the right. To define a
specific position for a system margin using values, select the upper left handle, and then, from the
Page Layout Menu, choose Systems > Edit Margins. Use text boxes here to specify the placement of
the selected margin. For details, see Edit System Margins dialog box.

See Also:
Page layout

1596

Working with the Instrument List

To assign staves to MIDI channels and instruments
1.

From the Window Menu, choose Instrument List. The Instrument List window appears. Down the
side of the screen you see the names of the staves in your document. At the right side of the screen,
you can see the Instrument each staff is assigned to (and the MIDI channel that Instrument uses).

2.

To change the MIDI channel for a staff, click in the Chan column across from its name, and
type a new channel number. Keep in mind that youre now changing this Instruments channel; if
any other staves share the same Instrument, their MIDI channel numbers will change, too.
You can also change the channel for an individual Layer of a staff. To do so, click the triangle to the
left of the staff name; Finale displays new rows of information that correspond to the staffs Layers.
Change any Layers Instrument assignment, using the Instrument drop-down list across from its
name, or just edit its Channel. If you want the Layers to have different MIDI channels, remember to
assign them to different Instruments first.

3.

Click the staff names upward-pointing arrow to collapse (hide) the list of layers.
If you plan to re-use a typical patch/channel configuration, consider defining it, and naming it, as an
Instrument. To do so, choose New Instrument from the Instrument drop-down list across from any
staff name. Enter the patch and channel numbers, and click OK. Then, the next time you want to
re-create a particular channel and patch configuration for a particular staff, your new Instrument's
name will appear in the drop-down list for quick access.

To load an Instrument Library

One of the advantages of Finales Instrument List is that, with a single command, you can configure a
score with an elaborate MIDI setup, complete with channels, patch numbers, and their specific program
names (Breathy Winds. for example).
1.

Choose Load Library from the File Menu. The Open Library dialog box appears.

2.

Navigate to your Libraries folder. Double-click the Instrument library you want to open. Weve
provided Instrument libraries for several popular MIDI instruments. You can, of course, create your
own.
Once youve loaded a library, open the Instrument List. When you click the Instrument drop-down
list (in the Instrument column across from a staff name), youll see a list of a dozen or more
Instruments, each set up to match the names and patch information on your MIDI Instrument.
Simply choose a program name to assign it to a staff. (You can view the choices more clearly if you
select the View by Instruments button.)

If you customize a MIDI configuration, or own a MIDI instrument for which we havent provided a library,
its easy to create your own. Using the New Instrument command in the Instrument drop-down list you
can create several Instrument name/channel/patch setups. When youre finished, choose Save Library
from the File Menu, select Instruments, and click OK. Load this library the next time you want a quick way
to assign channels and sounds to the staves of a score (see Save Library dialog box for a more complete
discussion of libraries).

1597

Internet
Finale NotePad, which has replaced the Finale Viewer browser plug-in, provides a free, reliable, and
easy way to view and playback Finale documents downloaded from the Internet. To open a Finale (MUS)
file available at Finale Showcase, or another online resource, viewers now need to simply download the
file to their local machine and then open it in Finale NotePad. This paradigm shift eliminates a variety of
problems associated with some web browsers, and means that all Finale files posted on the Internet will
be available for viewing on all machines immediately upon the release of Finale NotePad 2009. Finale
NotePad is available for download free of charge at www.finalemusic.com/notepad. (Note that documents
saved in Finale 2009 are only compatible with NotePad 2009 which becomes available shortly after the
Finale 2009 release. NotePad 2009 will open files saved in any Finale version 2009 or earlier.)
To post sheet music on a web site for viewing and/or printing using a web browser, we recommend
generating a PDF from Finale. See Adobe PDF documents. Use Finales Export to Audio File feature to
create a MP3 file if you want to distribute playback data of a Finale document over the Internet. See
Audio Files.

1598

Key signatures
See also Nonstandard key signatures.

To change the key

1.

Click the Key Signature Tool

, and double-click the measure where the key will change.
The Key Signature dialog box appears.

2.

Click the up and down scroll-bar arrows until the desired new key signature appears. Scroll up
for sharp keys, and down for flat keys. If you want to select or create a nonstandard key signature
(based on a quarter-tone or other nontraditional scale), choose Nonstandard from the drop-down list
menu. See Nonstandard key signatures.

3.

Using the Measure ___ Through ___ (or Through End of Piece or To Next Key Change) text
boxes, specify the range of measures you want to be affected by the key signature.

4.

Specify the transposition effect. The three choices are: Transpose Notes, in which any existing
music will be transposed to the new key; Hold Notes to Original Pitches, which holds each note at
its original absolute pitch, adjusting accidentals where necessary; or Hold Notes to Same Staff
Lines (Modally), in which each existing note remains on its original line or space, but no new
accidentals appear.
If you select Transpose Notes, choose either Up or Down from the drop-down list menu to specify
the direction in which you want to transpose the music. If the measure range youve specified
contains keys whose relationships you want to preserve, click Transpose All Keys Proportionally.
Subsequent key changes will be preserved, but will be affected by the same interval as the key
change youre now creating.

5.

Click OK (or press enter).

1599

Key velocity
Key velocity, also called note velocity, is the MIDI data that describes how hard a key was struck. A
notes key velocity usually determines its volume, although velocity can be programmed to affect other
playback elements, depending on your MIDI keyboard. Finale can record the key velocity for every single
note you play using the HyperScribe Tool. See also Auto-Dynamic Placement Plug-in.
There are two ways to affect the key velocity of notes in your score. The quickest method uses the MIDI
Tool to directly edit note (key) velocities. The other method involves placing into the score standard
musical markings that have been defined for playback (an accent, a forte mark, and so on).

To edit key velocity with the MIDI Tool

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Velocities from the MIDI Tool Menu, if its not already selected.

. Choose Key

2.

Select the region whose playback data you want to affect. 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.

3.

If the selected region is only on one staff, double-click the highlighted area. You enter the MIDI
Tool split-window. At the bottom of the window you see the music on the staff you selected. Above
each note is a thin vertical line; in essence, these lines are a bar graph of the key velocities of the
displayed notes. Click the up, down, left, and right arrow buttons to move through the score.
While in the MIDI Tool split-window, you have note-by-note editing powers for the displayed notes.
To select the notes whose velocities you want to edit, drag through the graph area of the window,
highlighting it; the handles of all displayed notes are selected. You can also click an individual
notes handle, or shift-click additional handles, or drag-enclose groups of handlesor even shift
drag-enclose additional groups.

4.

Choose the appropriate command from the MIDI Tool Menu.Set To gives all selected notes a
velocity value you specify. Scale creates a smooth gradation from one value to another (ideal for
crescendo effects). Add alters every selected notes velocity by a value you specify. Percent Alter
alters a notes velocity by a percentage of its current value. Limit lets you specify a maximum and
minimum velocity value for the selected notes. Alter Feel gives you selective control over
downbeats, offbeats, and backbeats, letting you alter each by an absolute or percentage of current
value (ideal for boosting the backbeatin other words, making the backbeats louder). Randomize
changes the selected notes velocities by a random amount, to the degree you specify (ideal for
giving a more human feel to the piece).

5.

If you have the MIDI Tool split-window open, and want to hear the effects of your work along
the way, choose Play from the MIDI Tool Menu. Its important to understand that youre editing the
performance data of the selected music. Performance data is a set of velocity (and Start and Stop
Time) playback information that Finale associates with each note in the score. At any point, you can
hear your music played strictly as it appears in the score, or you can hear it played using the
captured MIDI data (from the Document Menu, choose Playback/Record Options).
If the music youre editing was from a performance in HyperScribe, and selected Retain Key
Velocities in the Quantization Settings dialog box (or if you clicked Save Key Velocities before
transcribing in Transcription More), in the MIDI Tool youd see (and be able to edit) the actual key
velocities of the notes as you originally played them.

6.

When youre finished, close the MIDI Tool split-window. In order to hear the changes you made,
choose Playback Controls from the Window Menu. Click the expand arrow, and then
Playback/Record Options. Make sure Play Recorded Key Velocities is selected. If it is, youll hear the
score played back using the performance datain other words, youll hear the effects of your
velocity editing whenever you play back your score.

To copy or erase key velocity data

See MIDI To copy or erase captured (or edited) MIDI data.

1600

To affect the key velocity of a single note (Articulations) or

Expressions
See Articulations; Crescendo/Decrescendo; Dynamics.

To record key velocity information

For complete information on recording with the HyperScribe Tool, see Transcribing a sequence and
Recording with HyperScribe.
1.

From the MIDI/Audio Menu, choose Quantization Settings and then click More Settings.
Ensure Retain Key Velocities is checked.

2.

From the Document Menu, choose Playback/Record Options. The Playback/Record Options
dialog box appears.

3.

Make sure Play Recorded Key Velocities is selected and click OK. When Play Recorded Key
Velocities is selected, Finale uses the original key velocity information it recorded when you created
the performanceeven if you edit the durations of notes in the score. You can edit the captured
velocity information visually by using the MIDI Tool (see To edit key velocity with the MIDI Tool,
above).

1601

Kodly Stick Notation and Solfge

The Kodly Method of music education is based on the
teachings of the Hungarian composer Zoltan Kodly.

To use the Kodly template with Stick

Notation and Solfge
1.

From File Menu, choose New, Document from Template.

2.

If the Templates folder does not appear, navigate to the Finale folder, Templates folder, then
Education Templates. Double-click on Kodly 1. The template appears with two staves - top one
for stick notation, bottom one for solfge.

3.

Use the Time Signature Tool and Key Signature Tool to set the Time Signature and Key
Signature. Note that the key signature does not change visually.

4.

Use the Clef Tool to set the clef for the solfge (bottom) staff. You can choose either a standard
notation clef or a moveable Do clef. If youre concerned with the document playing back correctly,
make sure the Do clef and the Key Signature match.

5.

Enter your music in the solfge staff.

6.

Copy the music from the solfge staff to the stick notation staff with the Selection Tool. See
Copying music. The solid noteheads will disappear, such as quarter notes or smaller. Only half notes
and whole notes will still have noteheads.

7.

Click on the Articulation Tool

. Move the cursor below the first stem on the stick notation
staff until a small note appears on the cursor. This indicates that the cursor in the correct range
to attach an articulation.

8.

Hold down the letter representing the Solfge pitch matching this note (D = Do, R = Re, M =
Mi, etc.) and click the mouse. The letter appears below the stem or notehead.

9.

Use the Measure Tool to hide barlines, if desired. See To hide one barline.

10. Optional: Click the Staff Tool, select the solfge staff. From the Staff Menu, choose Apply
Staff Styles. Choose Note Shapes. The noteheads of the solfge staff now appear as shape notes.

To use the Kodly template with Auto-Stick Notation

1.

From File Menu, choose New, Document from Template.

2.

Navigate to the Finale folder, Templates folder, then Education Templates. Double-click on
Kodly 2. The template appears with one staff for stick notation.

3.

Use the Time Signature Tool and Key Signature Tool to set the Time Signature and Key
Signature. Note that the key signature does not change visually.

4.

Enter your music consisting of quarter note and smaller durations.

5.

Click the Staff Tool. Select the staff. From the Staff Menu, choose Apply Staff Styles. Choose
Auto-Stick Notation where Do = the key you chose above. The notation you entered is replaced
by stick notation.

1602

Landscape and Portrait orientation

Under normal circumstances, Finale prints your pages in portrait orientationwith the page taller than it
is wide. For some scores, however, you may want the page turned sideways, in landscape orientation.
For instructions on printing in landscape orientation, see Printing.
If you would like to specify a different page orientation for the score than the parts, two print sessions are
required. On Windows, Finale cannot use the orientation setting in the Page Format for Score and Page
Format for Parts dialog box instead of the one specified in the Print dialog box.
While printing both the score and parts, you may want to use a different orientation for the score than the
parts. To do so, you must perform two print jobs, one for the score and one for the parts.To change the
orientation, see Page Setup.

1603

Lead sheets
See also Chord symbols; Lyrics; Measures per line; Titles.
In general, lead sheets are no different than any other format. There are one or two Finale features of
which you should be aware, however.

To omit the left barline from each system

In many lead sheets, there is no barline at the left end of the line.
1.

From the Document Menu, choose Document Options and select Barlines. The barline Options
appear.

2.

Click Display on Single staves (or Display on Multiple Staves) to de-select it. Click Apply to
save your settings.

To place several chord symbols over a single note (or no note)

Occasionally, you may need to place a chord symbol where theres no note to attach it tofor example,
when the chord changes midway through the measure even though the melody is a sustained whole
note. For an easy solution, see Chord symbolsTo enter a chord symbol when theres no note below it.

1604

Ledger lines
Ledger lines appear automatically in Finale whenever you enter a note that requires them. In addition,
any tool that performs a staff- or measure-related function automatically draws ledger lines as you move
the cursor, letting you know which staff youre attached to. See also Ledger Lines (Hide) Plug-in, Ledger
Lines (Show) Plug-in.

To change the thickness or length of ledger lines

1.

From the Document Menu, choose Document Options and select Lines and Curves The Lines
and Curves options appear.

2.

Enter a new thickness value in the Ledger Lines text box. The units are whatever youve
selected using the Measurement Units command (Edit Menu). Or, to change the ledger lines length,
enter new values in the Left Half and Right Half text boxes. For extra flexibility, you can control the
length of each side of the ledger line independently.

3.

Click OK (or press enter).

1605

Left barlines
To create a double left barline
1.

From the Document Menu, choose Document Options, then select Barlines. The Barlines
options appear.

2.

Under Left barlines, check Display on Single Staves and Display on Multiple Staves, as
appropriate. Click OK. For more information, see Document Options-Barlines.

3.

; then double-click the measure you want to begin with a double

Click the Measure Tool
barline. The Measure Attributes box appears.

4.

In the Left Barline row, click the Double barline icon. Click OK. You return to your score, where
Finale has drawn a double barline along the beginning of the system.

1606

Legal-size paper
When you lay out your score for legal-size (8.5 by 14-inch) paper, there are two settings you have to
make. First, choose Legal from the Page Setup dialog box (see PrintingPage size and Page layout ).
Second, make sure youve created a Finale score with the appropriate dimensions (see).

1607

Limiting MIDI data

You can use the MIDI Tool to limit certain MIDI data for selected regions. In particular, you can limit the
note velocities, Start and Stop Times, pitch wheel values, Channel Pressure values, and other MIDI
continuous data to within a certain range. For example, if you specified a maximum velocity of 90 for a
given region, any note whose velocity value is between 91 and 127 would be clipped down to 90.
For a more complete description of the Limit function. For specific information on limiting MIDI controller
and wheel data, see Continuous data.

1608

Linked Parts
Important note: Prior to printing Linked Parts,
always view them to update multimeasure rests.
Doing this ensures there are no missing or extra
measures in the printout. Press Ctrl-Alt-. (period)
several times - until all the parts have been viewed.

A Linked Part is simply a representation of one or more score staves arranged in a part layout that walks
in-step with notation and other changes you make to the score. Although their basic purpose is to
eliminate the need to make redundant changes to the score and part separately, their integrated nature
offers many other time and labor-saving advantages:

Parts are conveniently accessible within a single project file under the Document Menu (or by
pressing key commands).

You can open up more than one window of your document (for example, with each document
window displaying a different part) by choosing New Window from the Window Menu.

Parts are customizable. A part can contain any combination of staves or groups from the score.
Parts can be created at any time; while setting up your score or after the score is complete.

Page Layout changes in one part, such as system margin positioning and page reduction,
can be applied to other parts. See Page layout in linked parts.

Changes to the music spacing can be applied to multiple parts. See Music Spacing in linked
parts.

A single voice in a multi-voice staff can be isolated for printing (while the linked relationship
remains intact). See Part Voicing.

Linked parts can be extracted into separate documents. See Extracting parts.

Page Layout changes in one part, such as system margin positioning and page reduction,
can be applied to other parts. See Page layout in linked parts.

Changes to the music spacing can be applied to multiple parts. See Music Spacing in linked
parts.

A single voice in a multi-voice staff can be isolated for printing (while the linked relationship
remains intact). See Part Voicing.

Linked parts can be extracted into separate documents. See Extracting parts.

Linked parts can be printed en masse from the main project file. See Print dialog box.

Linked parts were designed to be as intuitive as possible while offering the greatest degree of
flexibility. For example general page text, such as the title, composer and copyright appears on
each part automatically - although you can reposition any of these elements on each part
independently if desired. The following general principles apply for all scores containing linked parts:

Changes to pitches and rhythms in the part or score always apply to the other respectively .

Changes to the definition of markings (e.g. changing expressions from

part or score always apply to the other respectively.

A change to the positioning or shape of any marking in the score also applies to that marking
in the part respectively (unless the link has been broken).

Manually repositioning or altering the shape of a marking (dragging or nudging and

2
expression/articulation, or altering a smart shape, etc.) in a part breaks the positioning
relationship between that part and its corresponding score marking. The change does not
apply to the score. That marking is now orange in the part indicating it has been broken. It is also

to

) in the

1609

orange in the score indicating it has been broken in at least one part. This applies to all intelligently
linked items (see Linking Details for Linked Parts).

Any broken link can be relinked.

Changing a markings show/hide setting in a part breaks only its show/hide link with the
score. Changing an items positioning link state does not change its show/hide link state - they are
autonomous.

Removing manual positioning does not relink a marking. In fact, it removing manual positioning
can break the positioning link for an item when done in a part.

Page layout changes to a part do not apply to any other part unless applied to other parts
deliberately. See Page layout in linked parts.

As noted above, the notation between a score staff and its corresponding part staff is always
linked. In contrast, the page formatting and measure layout is independent and (by default) based
on Finales automatic settings. (Although page layout changes to one part can be applied to others.
See Page layout in linked parts). Expressions, text, repeat markings, smart shapes, and several
other elements (or properties of elements) are said to be intelligently linked, meaning the link can
be broken if desired. For these items, edits to positioning in a part apply to that part only and not the
score. Furthermore, future positioning changes to the corresponding score element will not apply to
the part. There are many different types of markings that can be broken, and many ways to edit
them. Some markings are unique in their relationship between the score and part. (For example,
slurs should always connect the same notes, but their shape may differ between the part and the
score.) If any property of a marking is broken, it changes color (to orange) to indicate it is no longer
(entirely) linked.

Additionally, by repositioning an item such as an expression in the part, you have broken
only the positioning link - any further edits to the positioning of this expression in the score
will not affect that expression in the part. The show/hide setting remains linked. At this point, if
you were to hide this expression in the score, it would also be hidden in the part, even though the
positioning link has been broken. (After an item has been broken it can be relinked to the score - see
Relinking part items to the score.) This paradigm is the standard for every linked part item that can
be broken unless specified otherwise in this chapter.

To find out if an element is permanently linked, independent, or intelligently linked, see the Linking Details
for Linked Parts chart in the Appendix.

Special mouse clicks and keyboard shortcuts

Linked Parts context menus. Every element whose link can be broken includes a context menu
command. The command available depends on whether you are viewing the score or part and the status
of the link. To illustrate, well use an expression. Right-click an expression in the score and choose Unlink
In All Parts to break the link for this expression in all parts; choose Relink In All Parts to restore the link
for all parts. Right-click an expression in a part and choose Relink To Score to completely restore the link
(show/hide and positioning). See also Contextual Menus.

Hold down the Ctrl key to override Finales default linking behavior for that item. This key
reverses Finales linking behavior. For example, using the override key and editing an expression in
a part will preserve the linked state and apply the edits to the score and other parts using that staff.
Using the override key when editing an expression in the score will break the linked state for the
object to all parts and apply the edits to the score only.

When any linkable item is selected, press Ctrl-Alt-Shift-H to Hide/Show the item.

To relink an item that has been broken, select it in the part and press Ctrl-Alt-Shift-L.

To break the positioning link of an item between the part and score, select it and press CtrlAlt-Shift-U.

Press Ctrl-Alt-> to move to the next part and Ctrl-Alt-< to move to the previos part.

Contextual Menus
Contextual menus are reached by right-clicking on the handle of an object. A contextual menu will be
displayed where you can select various items.

1610

Menu item

What it does

Show

Toggles show/hide setting

Relink

Restore the link to its corresponding score item

Unlink in All Parts (parts only)

Break the link between the score and this item in all parts

Relink in All Parts (score only)

Restore the link between the score and this item in all
parts

To create linked parts

You can easily create linked parts while setting up new documents (or even adding new staves) using the
Setup Wizard. Simply check Generate Parts on page 2 of the Setup Wizard while setting up your
document (or adding new staves using the New Staves (with Setup Wizard) command under the Staff
Menu). When the score appears, Finale automatically creates a part for each instrument.
Additionally, parts can be generated from existing score staves at any time. In fact, you could choose to
generate parts after the score is complete or after opening a file created in an old version of Finale. To
create new linked parts in an existing score:
1.

From the Document Menu, choose Manage Parts. The Manage Parts dialog box appears.

2.

Click Generate Parts. Finale populates the list with one part for each instrument. Finale names the
part based on the staff name. If a grand staff is in the score, or any multiple-staff instrument, Finale
adds a single part and names it based on the group name. Although Finale generated a single part
for each instrument, you can click Edit Part Definition to manually assign any combination of staves
(or groups). See Manage Parts dialog box.

3.

Click OK. Finale generates a part for each instrument. To view a part, from the Document Menu,
choose Edit Part, and select the part (or use the keystrokes listed in this submenu).

4.

If you are working with a score created in Finale 2006 or earlier, you may want to:

Add part names. See Part Names in Linked Parts.

Define articulations to automatically flip to the other side of the staff when appropriate
automatically. See Articulations in linked parts.

Set multimeasure rests to update automatically. See Multimeasure Rests in linked parts.

Load the Document Options Library to reset document options to the Finale 2009 defaults.
This will also update your Page Format for Parts settings.

Navigating Linked Parts

The following techniques allow easy navigation and are recommended while working with a document
containing linked parts.

Use the keyboard shortcuts to quickly navigate between the score and any part:Ctrl--. (period)
to move forward, Ctrl-Alt-, (comma) to move backward, and Ctrl-Alt-/ (slash) to move to the score or
the last viewed part. See also Document Menu.

Use of Ctrl-Page up and Ctrl-Page Down to quickly turn pages.

Note the name of the part you are currently viewing is listed in the title bar of the document
window. The name of the current part also appears after the document name in the Window Menu.

You can open up more than one window of your document (for example, with each document
window displaying a different part) by choosing New Window from the Window Menu.

To hide an item in the score (and leave it showing in parts)

Use the override key and a context menu to do this easily. These steps apply to all intelligently linked
items. See Linking Details for Linked Parts.

1611

1.

From the Document Menu, choose Edit Score to navigate to the score.

2.

Hold down Ctrl, and right-click the item and uncheck Show. The item is now set to show in the
parts but not the score.

To show an item in the Score (and hide it in all Parts)

Use the override key and a context menu to do this easily. These steps apply to all intelligently linked
items. See Linking Details for Linked Parts.
1.

From the Document Menu, choose Edit Score to navigate to the score.

2.

Right-click the item and uncheck Show. (This hides the item everywhere.)

3.

Hold down Ctrl, and right-click the item and recheck Show. The item is now set to show in the
score but not the parts.

To show an item in one part only (and hide it in other parts and the score)
Use the override key and context menus to do this easily. These steps apply to all intelligently linked
items. See Linking Details for Linked Parts.
1.

From the Document Menu, choose Edit Part and choose the desired part.

2.

Hold down Ctrl, and right-click the item and check Show. The item is now hidden everywhere.

3.

Release the Ctrl key, right-click the item and check Show. The item is now set to show in this
part only.

To reposition an item in the score without moving it in parts

Use the override key to do this easily. These steps apply to all intelligently linked items. See Linking
Details for Linked Parts.
1.

From the Document Menu, choose Edit Score to navigate to the score.

2.

Hold down Ctrl and drag or nudge the item. The item moves in the score, but not in the part(s).
The link is now broken for this item (in all parts containing it).

To reposition an item in all parts while viewing a part

Use the override key to do this easily. These steps apply to all intelligently linked items. See Linking
Details for Linked Parts.
1.

From the Document Menu, choose Edit Part and choose the desired part.

2.

Hold down Ctrl and drag or nudge the item. Corresponding items in the score and other parts
whose link is intact move respectively. Now, the item is probably out of position in the score. To
move it into the correct position:

3.

From the Document Menu, choose Edit Score to navigate to the score.

4.

Hold down Ctrl and drag or nudge the item. The item moves in the score, but not in the part(s).
The link is now broken for this item (in all parts containing it).

Expressions in linked parts

Expressions follow the paradigm described at the beginning of this section (see Linked Parts). When an
expression is added to either the score or part, it appears in both. Similarly, when an expression is
deleted from either the score or part, it is removed from both.
The following properties of expressions are permanently shared between the score and parts:

Settings from the Expression Designer dialog box

On Playback, Affect: setting in the Expression Assignment dialog box

Begin Playback At setting in the Expression Assignment dialog box

The following table lists properties of note expressions that are broken if changed in a part:
Property changed

Link type broken

1612

Repositioning (nudge, drag, or H: V:

values)

Positioning

Remove Manual Adjustments

Positioning

Hide/Show setting

Hide/Show

Note: Removing Manual Positioning in a part (e.g.

selecting an expression handle and pressing
Backspace) does not relink a broken expression. In
fact, doing so in a part breaks the positioning link.

Repositioning expressions
When you first add an expression, positioning changes to that expression in the score apply to all parts
containing that expression. If an expression is repositioned in a part, the change does not affect other
instances of that expression in the score or other parts, and future positioning changes to that expression
in the score do not apply to that part. However, if an expression is repositioned in a part containing
multiple instances of that expression, all instances of that expression in the part are broken (and all
instances of that expression in the part continue to move uniformly).
Broken expressions in parts can be relinked to the score at any time (see Relinking part items to the
score).
The Allow individual edits per staff setting in the Expression Assignment dialog box allows you to
reposition, hide, or show an instance of an expression without applying these changes to other instances
of that expression.

Checking this box for an expression in a part breaks the positioning and show/hide link for all
instances of that expression in the part - each instance of that expression in the part can be edited
independently. All other linked instances of that expression in other parts continue to move in
uniform with edits made to that expression in the score. (All expressions in the score turn orange
indicating this expression has been broken in at least one part).

Broken instances of an expression in a part containing multiple staves can be edited uniformly or
independently depending on this setting. However, note that changing the state of this check box
always breaks the link for all instances of the expression in the part.

Show/hide setting for expressions

The show/hide linking behavior for expressions follows the same rules as repositioning. See
Repositioning expressions above.

Articulations in linked parts

When an articulation is added to a note in a score or part, it appears in both. When an articulation is
deleted from either the score or a part, it is removed from both.
The following properties of articulations are permanently shared between the score and parts:

All settings in the Articulation Designer dialog box.

All values in the Handle Positioning dialog box.

The following table lists properties of articulations that are broken if changed in a part:
Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values) including repositioning of second
handle using Copy the Main Symbol)

Positioning

1613

Remove Manual Positioning (Backspace

key)

Positioning

Hide/Show setting

Hide/Show

Note: Removing Manual Positioning in a part (e.g.

selecting an articulation handle and pressing
Backspace) does not relink the articulation. In fact,
doing so in a part breaks the positioning link.

If your score was created in Finale 2006 or earlier, articulations will not automatically flip across the staff
when appropriate when working with part voicing (see Part Voicing). To define an articulations definition
so that it is optimized for use with linked parts:
1.

Choose the Articulation Tool

2.

Double-click the handle on the articulation you would like to change. The Articulation Designer
dialog box appears where you can edit the definition for (all occurrences of) this articulation. See
Articulation Designer dialog box.

3.

Click the Position drop-down menu and choose Auto Note/Stem Side.

4.

Click OK. Now, this articulation will flip to the other side of the staff when appropriate. For example,
if a second voice or layer is added or removed while isolating voices in a part.

Measure-attached text in linked parts

When a measure-attached text block is added to either the score or part, it appears in both. Similarly,
when a measure-attached text block is deleted from either the score or part, it is removed from both.
The following properties of measure-attached text blocks are permanently shared between the score and
parts:

The following settings in the Font dialog box: Font Name, Style, and Size.

The following settings from the Text Menu: Baseline Shift, Superscript, Tracking, Standard Frame,
Custom Frame, Justification, Alignment, Line Spacing, Word Wrap, and Edit Page Offset

The following settings in the Frame Attributes dialog box: "Attach to" Assignment (measure attached,
single page, multiple pages.), "Position from" (Page Margin or Page Edge), Position from edge of
frame, Use right page positioning, Alignment and Positioning for right pages settings.

The following table lists properties of measure-attached text blocks that are broken if changed in a part:
Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values)

Positioning

Hide/Show setting

Hide/Show

Page-attached text in linked parts

When a page-attached text block is added to either the score or part, it appears in both on corresponding
pages. When a multiple-page-attached text block is deleted from either the score or part, it is removed
from both.
When a page-attached text block is added to a score or part, Finale adds it to the corresponding page of
the score or linked part based on page number, and also takes into account title pages.

1614

The following properties of page-attached text blocks are permanently shared between the score and
parts:

The following settings in the Font dialog box: Font Name, Style, and Size.

The following settings from the Text Menu: Baseline Shift, Superscript, Tracking, Standard Frame,
Custom Frame, Justification, Alignment, Line Spacing, Word Wrap

The following settings in the Frame Attributes dialog box: "Attach to" Assignment (measure attached,
single page, multiple pages.), "Position from" (Page Margin or Page Edge), Position from edge of
frame, Use right page positioning, Alignment and Positioning for right pages settings.

The following table lists properties of page-attached text blocks that are broken if changed in a part:
Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values)

Positioning

Edit page offset

Positioning

Hide/Show setting

Hide/Show

Page-attached text blocks behave differently depending on whether they are attached to a single page or
multiple pages. (See Frame Attributes dialog box.)

Single-page-attached text blocks

When a page-attached text block is added to a single page, Finale adds it to the corresponding page of
the score or part based on page number, and also takes into account title pages. Since the page number
of the score will generally be far different than the page number of the part, single page-attached text
blocks should only be used for title pages, or the first page of music. To attach text to a measure that
adjusts according to layout changes, use measure-attached text blocks or measure-attached expressions
(see To assign a text block to a measure and To create an expression).
In order to properly account for title pages that may differ in number between the score and parts, Finale
manages the placement of single-page-attached text blocks as follows:

If there are no blank pages, or if the same number of blank pages appear in the score and all parts,
placing a text block on a particular page number in the score will also place it on that page number of
the part and vise versa.

When there is a different number of title pages between the score and parts, Finale will ignore title
pages when a text block is added to pages that contain music. For example, if the score contains 2
blank pages and there are no blank pages in the parts, placing a page-attached text block on page 3
in the score (first page of music) will also place the text block on the first page of music in the parts.

When adding single page-attached text blocks to title pages, the first title page is used as a
reference point. For example, if the score contains 2 blank title pages and the parts contain 1 blank
title page, a text block added to the first title page in the score will also place it on the first title page
of the part (see image below). A linked page-attached text block only appears if there is a
corresponding page for the text block in the respective score or part. Add a text block to the 2nd title
page of the score and it will not appear in the part.

1615

When a page-attached text block is deleted from either the score or part, it is removed from both.

Multiple-page-attached text blocks

When a multiple-page-attached text block is added to either the score or part, it appears in both on
corresponding pages. When a multiple-page-attached text block is deleted from either the score or part, it
is removed from both.

Page-attached graphics and in linked parts

When a page-attached graphic is added to the score or part, it appears in both. The graphic is placed on
the corresponding page number(s). (If there are blank title pages in the score or parts, Finale bases the
graphic placement on the page number starting with the first page containing music.) When a pageattached graphic is deleted from either the score or part, it is removed from both.
The following properties of page-attached graphics are permanently shared between the score and parts:

The following settings in the Graphic Attributes dialog box: "Attach To" assignment, Horizontal and
Vertical Alignment and Positioning, Position From Page Edge/Page Margin, Use right page
positioning, Right Page Horizontal Alignment, Horizontal and Vertical scaling, Fixed percent.

The following table lists properties of page-attached graphics that are broken if changed in a part:

Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values)

Positioning

1616

Hide/Show setting

Hide/Show

Single page-attached graphics

When a page-attached graphic is added to a single page, Finale adds it to the corresponding page of the
score or part based on page number, and also takes into account title pages. Since the page number of
the score will generally be far different than the page number of the part, single page-attached graphics
should only be used for title pages, or the first page of music. To attach text to a measure that adjusts
according to layout changes, use measure-attached graphics or measure-attached expressions (see
Graphics).
In order to properly account for title pages that may differ in number between the score and parts, Finale
manages the placement of single-page-attached graphics as follows:

If there are no blank pages, or if the same number of blank pages appear in the score and all parts,
placing a graphic on a particular page number in the score will also place it on that page number of
the part and vise versa.

When there is a different number of title pages between the score and parts, Finale will ignore title
pages when a graphic is added to pages that contain music. For example, if the score contains 2
blank pages and there are no blank pages in the parts, placing a page-attached graphic on page 3 in
the score (first page of music) will also place the graphic on the first page of music in the parts.

When adding single page-attached graphics to title pages, the first title page is used as a reference
point. (The treatment of single page-attached graphics is identical to single page-attached text in this
regard.) For example, if the score contains 2 blank title pages and the parts contain 1 blank title
page, a graphic added to the first title page in the score will also place it on the first title page of the
part (see image below). A linked page-attached graphic only appears if there is a corresponding
page for the graphic in the respective score or part. Add a graphic to the 2nd title page of the score
and it will not appear in the part.

1617

When a page-attached graphic is deleted from either the score or part, it is removed from both.

Multiple page-attached graphics

When a multiple-page-attached graphic is added to either the score or part, it appears in both on
corresponding pages. When a multiple-page-attached graphic is deleted from either the score or part, it is
removed from both.

Measure-attached graphics in linked parts

When a measure-attached graphic is added to either the score or part, it appears in both. When a
measure-attached graphic is deleted from either the score or part, it is removed from both.
The following properties of measure-attached graphics are permanently shared between the score and
parts:

The following settings in the Graphic Attributes dialog box: "Attach To" assignment, Horizontal and
Vertical Alignment and Positioning, Position From Page Edge/Page Margin, Use right page
positioning, and Right Page Horizontal Alignment.
The following table lists properties of measure attached (and page-attached) graphics that are
broken if changed in a part:

Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values)

Positioning

Hide/Show setting

Hide/Show

Note: Fixed percent and horizontal and vertical

scaling are independent between the part and
score.

Tuplets in linked parts

When a tuplet is added to either the score or part, it appears in both. When a tuplet is deleted from either
the score or part, it is removed from both.
The following properties of tuplets are permanently shared between the score and parts:

The following settings in the Tuplet Definition dialog box: "__in the space of__," Placement,
Appearance, Always Flat, Avoid Staff, Bracket Full Duration, Center Number Using Duration

The following table lists properties of tuplets that are broken if changed in a part:

Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values)

Positioning

Bracket direction (Over/Under/Flip)

Direction

Editing the slope or hook length of a

tuplet bracket

Positioning

1618

Hide/Show setting

Hide/Show

You can use the F key to flip a tuplet to the other side of the staff. If you do so in the score, the tuplet also
flips in all parts containing that tuplet (if it hasnt been broken). Flipping the tuplet in a part breaks the link
and does not apply to the score or other parts.
You can reverse the linking behavior while flipping tuplets using the Ctrl key. For example, select a tuplet
in a part, hold down the Ctrl key and press F to flip the tuplet in both the score and part, retaining the link.
Select a tuplet in the score, hold down the Ctrl key and press F to flip the tuplet in the score only,
breaking the link to the part/all parts that contain that staff.

Smart Shapes in linked parts

Smart shapes, such as slurs and hairpins behave differently than other types of linked items because
their shape may require individual editing, but generally not their start and end point. The following
describes how Finale handles Smart Shapes in linked parts.
The following general smart shape settings are permanently shared between the score and parts:

Settings from the Slur Contour dialog box.

Settings from the Smart Shape Placement dialog box.

Settings from the Smart Shape Options dialog box.

Settings from the Smart Slur Options dialog box.

Settings from the Guitar Bend Options dialog box.

Settings from the Smart Line Designer dialog box.

Note and Notehead-attached Smart Shapes

Note and Notehead-attached smart shapes including slurs, dashed curves, glissandi, bend hats, tab
slides and others are treated identically. When a note or notehead-attached smart shape is added to
either the score or part, it appears in both. When it is deleted from either the score or part, it is removed
from both. The direction (above/below staff) is automatic (for slurs and dashed curves depending on the
pitches on the staff), and may differ in the score than the part without user intervention.
The following properties of note and notehead-attached smart shapes are permanently shared between
the score and parts:

Avoid Accidental status (slurs and dashed curves)

Start and end note assignments (although changing the note assignment in a part does break the
positioning link

The following table lists properties of note and notehead-attached smart shapes that are broken if
changed in a part:

Property changed

Link type broken

Engraver Slur setting

(On/Off/Automatic)

Positioning

Slur direction (Over/Under/Flip)

Direction

Position of primary and secondary

handles

Positioning

Show/Hide setting

Show/Hide

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Any time the contour of a slur is manually repositioned, its Engraver Slur qualities are disabled (see
Engraver slurs), and repositioning a slur in a linked part is no exception. Therefore, when the contour of a
slur is manually repositioned in a part, the link is broken as well as the slurs ability to automatically adjust
to avoid notes, articulations, and so forth. Subsequent editing of notes in the score may cause collisions
with slurs that have been edited in parts.
If a slur is flipped in a part, the arc and endpoint positioning links are also broken. Edits to the endpoint
positioning and arc in the score will no longer apply to the flipped slur in the part.
You can use the F key to flip a slur to the other side of the staff. If you do so in the score, the slur also
flips in all parts containing that slur (if it hasnt been broken). Flipping the tuplet in a part breaks the link
and does not apply to the score or other parts.
You can reverse the linking behavior while flipping slurs using the Ctrl key. For example, select a slur in a
part, hold down the Ctrl key and press F to flip the slur in both the score and part, retaining the link.
Select a slur in the score, hold down the Ctrl key and press F to flip the slur in the score only, breaking
the link to the part/all parts that contain that staff.

Note: If you choose to Remove Manual Slur

Adjustments in a part (e.g. select a slur handle and
press Backspace), the positioning is restored and
the Engraver Slur status is reactivated, but not the
link to the score. To relink the slur to the score,
right-click the slur in the part and choose Relink to
Score (or choose Relink In All Parts for the slur in
the score).

Measure-attached smart shapes

Smart shapes that are usually measure-attached include hairpins, ottavas, trill extensions, lines and
brackets. Any change to the vertical positioning or contour of a measure-attached smart shape in a part
breaks its positioning link. Horizontal stretching in a part does not break its link to the score.
The following properties of measure-attached smart shapes are shared between the score and parts:

Horizontal Positioning (and stretching)

Make Horizontal Over System Break setting

Maintain Angle Over System Break setting

Make Horizontal (check box)

The following table lists properties of trills, trill extensions, and ottavas that are broken if changed in a
part:

Property changed

Link type broken

Vertical positioning

Positioning

Hairpin width (opening)

Positioning

Show/Hide setting

Show/Hide

Repeats in linked parts

When a repeat is added to either the score or part, it appears in both. When a repeat is deleted from
either the score or part, it is removed from both.
The following general repeat settings are permanently shared between the score and parts:

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The following settings in the Backwards Repeat Bar Assignment dialog box: Repeat Action, Target
section, Show On section (including Staff Lists).

The following settings in the Create Ending dialog box: Ending Number(s), Alternate Text in Ending,
Target section, Skip Ending if Ignoring Repeats, Show On (including Staff Lists)

All settings in the Repeat Designer dialog box.

The following items in the Text Repeat Assignment dialog box: Action section, Target section, Show
On section (including Staff Lists)

All settings in Document Options-Repeats._Ref-1937565732

The following table lists properties of text repeats and ending brackets that are broken if changed in a
part:

Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values) Includes Text Repeats and
ending bracket front hook, back hook,
inset for start of bracket and inset for end
of bracket

Positioning

Show/Hide setting

Show/Hide

Repositioning text repeats

Text repeats are similar to expressions in that a single text repeat can be assigned to multiple staves
(see Repeats (barlines and text indications)), which has some implications for linked parts.
When you first add a text repeat (Fine, To Coda, D.S. al Coda, etc), positioning changes to that item in
the score apply to all parts. If a text repeat or bracket is repositioned in a part, the change does not affect
other instances in the score or other parts, and future positioning changes to that text repeat in the score
do not apply to that part. However, if a text repeat is repositioned in a part containing multiple instances
of that text repeat, all instances in the part are broken (and all instances of that text repeat in the part
continue to move uniformly).
Broken text repeats in parts can be relinked to the score at any time (see Relinking part items to the
score).
The Allow individual edits per staff setting in the Text Repeat Assignment dialog box, Backward Repeat
Bar Assignment dialog box, and Create Ending dialog box allows you to reposition, hide, or show an
instance of a repeat marking without applying the same changes to other instances of that repeat
marking on other instrument staves.

If Allow Individual Edits per Staff is checked for a repeat marking in the score, every instance of that
repeat marking in the score can be edited independently - linked instances of that repeat marking in
parts continue to respond to score changes accordingly.

Checking this box for a repeat marking in a part breaks the positioning and show/hide link for all
instances of that repeat marking in the part - each instance of that repeat marking in the part can be
edited independently. All other linked instances of that expression in other parts continue to move in
uniform with edits made to that repeat marking in the score. (All repeat marking in the score turn
orange indicating this repeat marking has been broken in at least one part).

Broken instances of a repeat marking in a part containing multiple staves can be edited uniformly or
independently depending on this setting. However, note that changing the state of this check box
always breaks the link for all instances of the repeat marking in the part.

Repositioning ending brackets

In general, ending bracket positioning is identical to repositioning of text repeats. Most positioning
changes to an ending bracket in the score apply to the corresponding part, and positioning changes in
the part breaks the positioning link. However, if the ending bracket is extended across the right barline in

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the score, the positioning link is automatically broken for that ending bracket in all parts. To extend an
ending bracket across the right barline for all parts, each will need to be edited individually. (Note that this
is the only type of score edit that automatically breaks the link to its part.

Show/hide setting for text repeats and ending brackets

The show/hide linking behavior for text repeats and ending brackets follows the same rules as
repositioning and depends on the Allow Individual Edits per Staff setting. See Repositioning expressions
above.

Staff Attributes in linked parts

When the Staff Attributes dialog box is opened in a part, only staves within the part are accessible. All of
the settings are permanently shared between the score and parts with the exception of the Staff
Name/Abbr. Staff Name positioning. If the Staff Name/Abbr. Staff Name is repositioned in the part, the
link is broken - the change does not apply to the score or any other part. Future changes to the Staff
Name/Abbr. Staff Name in the score for that staff do not apply to the part unless the Staff Name/Abbr.
Staff Name is relinked (see Relinking part items to the score). (Staff Name in Parts is unchecked by
default. Check this option in the Staff Attributes dialog box to show staff names in the score and parts.)

Groups in linked parts

Groups are independent between the score and parts. Edits to a group in the score do not apply to the
part and vise versa. They can have different names, brackets, and other attributes. (See Groups). When
creating parts, the only groups that can be inherited by a part are the groups that appear in the Manage
Parts dialog box.

Staff Styles in linked parts

When a staff style is added to the score, it appears in both the score and corresponding parts. When a
staff style is added to a part, it appears in that part only. When a staff style is deleted from the score, it is
also deleted from the corresponding part. Deleting a staff style in a part does not delete staff styles in the
score or any other part. When a part is created from a staff that contains staff styles, all staff styles on the
staff are copied to the part.

Staff Style definitions are permanently shared.

Staff Styles added to the Score are copied to corresponding Parts.

Any conflicts with other staff Styles will be resolved individually per Part.

When deleting a Staff Style in the Score, Finale searches all parts for an identical Staff Style
assignment (with the same style and measure range), and if one exists, Finale deletes it from the
parts.

To apply Staff Styles to the Score only, you must first assign the Staff Style to the Score and then
delete it in corresponding parts.

When a new part is created, all Staff Styles on corresponding staves in the score will be copied to
the new part.

Staff Styles applied to a part will not be applied to the score or other parts.

Staff Styles deleted in a part will not delete Staff Styles in the score or other parts.

Select a region of measures in a part and choose "Set Staff Styles to Score" to match the presence
or absence of particular Staff Styles to the Score.

Staff styles can be used to create two representations of the same part. You can create a new part
containing a copy of, for example, the bass clef baritone staff and apply a staff style that displays it in B
flat treble clef. For steps, see To display a staff differently in one part than another.

Chords, fretboards, and lyrics in linked parts

When a chord symbol is added to either the score or part, it appears in both. When a chord symbol is
deleted from either the score or part, it is removed from both.

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Changes to the chord or fretboard definition in the score or part apply to both. The following table lists
properties of chords and fretboards that are broken if changed in a part:

Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values) Includes chord symbol and
fretboard.

Positioning

Show/Hide setting

Show/Hide

Chords, Fretboards and Lyrics are new additions to the Staff Attributes dialog box and Staff Styles dialog
box (See Staff styles). These are particularly useful as Staff Styles.

Hiding Chords/Fretboards:
If you would like to display chord symbols in linked parts, but don't want the chord symbols to appear on
this staff in the score, create a Staff Styles (Staff styles) that hides chords and fretboards and apply it to
the Score. (Remember that assigning a Staff Style to the score also assigns it to corresponding staves in
parts, so you will need to remember to delete this Staff Style in parts.)

Hiding Lyrics
If you would like to use the vocal lines to create string parts, create a Staff Style (Staff styles) that hides
lyrics and apply it to the parts whose lyrics you'd like to hide.

Lead sheets in linked parts

If you have a Lead Sheet, or a melody line and chord symbols, for example, that you would like to
transpose for several instruments, use linked parts:
Let's say that you have a single staff melody line with chord symbols for a C transposing instrument such
as Flute.
1.

From the Document Menu, choose Manage Parts.

2.

Click New Part.

3.

In the far right pane in this dialog, Add the melody line staff to this new part.

4.

Click Edit Part Name and name the new part. Click OK, OK.

5.

View the new part you just created.

6.

Select the Staff Tool. Select All (Ctrl-A).

7.

Right- click the staff and select one of the available instrument transpositions such as
"Clarinet in Bb." See that the notes and chord symbols transpose accordingly. If the transposition
you're looking for doesn't appear here, you can define your own Staff Style.

8.

Repeat this process for additional parts.

Clefs in linked parts

Clefs are permanently linked, but staves in parts can display a different clef with a Staff Style. (It may be
necessary to force a clef in a Part and not the Score or vice versa when doing cue notes.) To add a Staff
Style to a part to display a different clef:
.

1.

Select the Staff Tool

2.

From the Staff Menu, choose Define Staff Styles.

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3.

Click New and type a name for the Style (for example "Treble Clef.").

4.

Click the Select button to the right of Transposition.

5.

Leave Transposition set to "None." Check "Set to clef" and select the desired clef.

6.

Click OK, OK.

7.

Highlight the measures in the score or the part whose clef you want to change independently,
right-click and choose the Staff Style you just created from the context menu. (Remember that
if you want this Staff Style to apply to the score only, you need to delete it from the parts.)

Staff Lists in linked parts

If you're using Linked Parts, it is recommended to use Staff Lists to assign Repeat Endings and
Repeat Text instead of unchecking "Repeat Endings and Text Repeats" in Staff Attributes.

Most often, the "Top Staff" radio button will be sufficient. This will place the Repeat Ending or Text
Repeat on the top staff in the Score and in the top Staff of all Linked Parts.

If you need the Repeat ending to appear in some, but not all staves in the Score. Or, if you need
them to appear in some but not all staves in each Part, then use a Staff List.

Measure Numbers in linked parts

The visual appearance and frequency of measure numbers for both the score and parts is controlled by
the Measure Number dialog box. Regardless of whether you are viewing the score or parts, changes to
this dialog box apply to both.
The enclosure is the only attribute of a measure number that is permanently shared between the score
and parts.
The following table lists properties of measure numbers that are broken if changed in a part:

Property changed

Link type broken

Repositioning (nudge, drag, or H: V:

values)

Positioning

Hide/Show setting

Hide/Show

Whether a measure number is shown or hidden for a measure is first determined by settings for that
measure numbers region in the Measure Number dialog box. Then, you can edit the show/hide setting
for individual measure numbers within the region using Contextual Menus.
Using the Show/Hide commands in a Part will not affect the Score or other Parts.
If the measure number is defined to show according to the Measure Number Region in the Measure
Numbers dialog box:

Right-click a measure number and choose Always Show Number to force-show the number. This
measure number will continue to show even if it is later defined to not show in the Measure Number
dialog box.

Right-click a measure number and choose Always Hide Number to force-hide the number. Since this
measure number is defined to show it will not disappear; it will be shaded on the screen and will not
appear in the printout.

Right-click a measure number and choose Show/Hide According to Region to restore the measure
number to the state defined for its region in the Measure Numbers dialog box. This command is only
be available if the number has been force-shown or force-hidden.
If the measure number is defined to not show according to the Measure Number Region in the
Measure Numbers dialog box:

1624

Select a region of measures and choosing the Measure Menu > Show Measure Numbers to forceshow the measure numbers.

If a measure number that is defined to not show in the Measure Numbers dialog box has been
forced-shown, Right-click and choose Show/Hide According to Region from the context menu to
make the measure number and its handle disappear.

Page-attached Ossia measures in linked parts

Page-attached Ossia measures behave much like page-attached text. When a page-attached ossia
measure is added to a single page, Finale adds it to the corresponding page of the score or part based
on page number, and also takes into account title pages. Since the page number of the score will
generally be far different than the page number of the part, page-attached ossia measures should only be
used for the first page of music (if at all in documents containing linked parts). To attach an ossia
measure to a measure that will adjust according to layout changes, use measure-attached Ossias. See
Ossia.
The following table lists properties of page-attached ossia measures that are broken if changed in a part:

Property changed

Link type broken

Repositioning/Page Assignment for Ossia

Measure

Positioning

Hide/Show setting

Hide/Show

Measure Attributes in linked parts

Every setting in the Measure Attributes dialog box is permanently linked between the score and parts
except the following settings which are never linked:

Position Notes drop-down menu

Measure width checkboxes and values

Again, all other items are linked including the "Begin a New Staff System" setting which should be used
for measures that will begin a new system for both the score and all parts. Use the Fit Measures dialog
box or manual editing (see To move a measure to the previous (or next) system) to move measures in
the score or part independently.

Page layout in linked parts

Since parts often bear many similarities to each other with regards to layout Finale allows you to apply
page layout changes to any number of parts (or the score). System spacing, system margins, page size,
page margins, page reduction and the addition/removal of blank pages can be applied to multiple parts at
once. By default, changes to the system or page layout only apply to the part you are viewing. Also,
Update Page Format settings apply to the appropriate Page Format for Score or Page Format for parts
dialog box.

To apply page layout settings to multiple parts

1.

Choose the Page Layout Tool

2.

From the Page Layout Menu, choose the desired option. The following dialog boxes allow you to
apply page layout changes to multiple parts: Page Size, Insert Blank Pages, Delete Blank Pages,
Resize Page, Resize Staff System, Edit System Margins, Edit Page Margins, Fit Measures, and
Space Systems Evenly. (Note that Respace Staves under the Staff Menu also allows you to apply
staff spacing to multiple parts).

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3.

Make changes to the dialog boxes as desired. If you want to edit the system or page margins
graphically, do so in one part by dragging systems and/or margins as desired. You can then apply
these changes to other parts using the Edit System Margins dialog box or Edit Page Margins dialog
box.

4.

When the values and regions are set, click the drop-down menu and choose Selected
Parts/Score. Or, in the Edit System Margins or Edit Page Margins dialog box click Apply to
Parts/Score. The Select Parts/Score dialog box appears where you can choose the parts you would
like to apply your changes to. See Select Parts/Score dialog box.

Music Spacing in linked parts

If Automatic Music Spacing is turned on (Program Options-Edit), Finale applies automatic changes to the
measure width and layout to both the score and part when you edit either. (As you enter notes, Finales
automatic adjustments are applied to both the score and linked part). Manual changes made to music
spacing, measure width, or system composition with the Measure Tool or Selection Tool apply to the
part/score you are currently editing only.
You can apply music spacing to regions of measures for a single part or several parts at once.
To apply music spacing to a region of measures in more than one part:
Choose the Selection Tool.
Select a region of measures.
From the Utilities Menu, choose Music Spacing > Apply Music Spacing to Selected
parts/Score. The Apply Music Spacing dialog box appears.
Choose the parts you want to apply music spacing changes to.
From the radio buttons at the bottom, choose the type of music spacing you would like to
apply.
Click OK. The music spacing type is applied to the region of measures you selected in the
selected parts.
When Automatic Music Spacing is on, your settings in Document Options-Music Spacing apply to all
parts and the score. If Automatic Music Spacing is off, changes to the layout only apply to the part or
score you are currently editing.

Note: All all manual changes to the horizontal

placement of individual entries made within the
Speedy Frame or with the Note Position Tool apply
to both the score and linked part.

Multimeasure Rests in linked parts

When parts are created while setting up the score in, for example, the Setup Wizard, multimeasure rests
are not created automatically. (If they were at this point, each part would be a single multimeasure rest.)
When a linked part is created from an existing staff in the score (in the Manage Parts dialog box), Finale
groups the silent measures together into a multimeasure rest, or block rest, as shown below (if Create
Multimeasure Rests is checked in the Part Creation Preferences dialog box).

To create multimeasure rests for the selected parts/score (all measures):

Choose the Measure Tool

From the Measure Menu, choose Multimeasure Rests, then Create for Parts/Score.

Finale automatically breaks up block rests at key or time changes, repeat barlines or text repeats, any
real whole rest (a whole rest you entered, not the default whole rest that appears in any measures left
empty), or any measure youve explicitly designated to break such a multimeasure rest. See the Break a
Multimeasure Rest option, in the Measure Attributes dialog box for more information.

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Multimeasure rests do not appear in Scroll or Studio View. In fact, there is no visual cue that indicates
where multimeasure rests appear in any view but Page View. If a note is added, in Scroll or Studio View,
to a measure that is part of a multimeasure rest, Finale automatically breaks the multimeasure rest - each
measure with notes displays in full in Page View (if Update Automatically is checked in Document
Options-Multimeasure Rests, which is the default setting). Update Automatically is not checked in files
converted from Finale 2006 or earlier.
With the Update Automatically setting checked, multimeasure rests only become smaller, not larger. (In
other words, Finale never assumes you want to create or increase the duration of a multimeasure rest).
You have the choice of automatically updating multimeasure rests to parts using the Measure Menu as
described above, or applying them manually. To create a multimeasure rest manually, see To create a
multimeasure rest.

Baseline Positioning in linked parts

Lyrics, chords, and expressions can all be adjusted vertically using positioning triangles. These
positioning triangles are used to adjust the baseline which is the imaginary horizontal line to which these
elements are attached (above or below the staff). Whether you are positioning chords, lyrics, or
expressions there are four positioning triangles, each responsible for a specific range; score, staff,
system, or next entry (for an example, see To adjust the vertical positioning of expressions, To set the
baseline (vertical position) for lyrics graphically and Position Chords/Position Fretboards under the Chord
Menu.

Adjusting baselines in the score:

Moving the leftmost baseline triangle (all staves/all systems) in the Score effects all Parts.

Moving the 2nd baseline triangle (entire staff) in the Score applies to all parts that contain that staff.

Moving the 3rd baseline triangle (single system) has no effect on parts, only the score.

Moving the 4th baseline triangle has no effect in any part.

Adjusting baselines in a part:

Moving any baseline triangle in a part has no effect in the score or other parts.

Moving any baseline triangle in a part breaks the link to the score for that particular baseline triangle
in that part.

Moving a baseline triangle in the score also moves that baseline in all parts (if the link for that
triangle is still intact). Broken triangles in parts maintain their relative positioning - moving the
leftmost triangle adjusts the baseline for the full score, and broken staff (second triangle) baselines
will maintain their relative positioning in parts.

Baseline context menus

Right-click a baseline triangle to display a context menu where you can relink or unlink the
positioning of that triangle.

Right-click a positioning triangle in the score and choose Unlink In All Parts to break the link for this
positioning triangle in all parts. Future changes to this positioning triangle in the score will not apply
to any part.

Right-click a positioning triangle in the score and choose Relink in All Parts to restore the link for this
positioning triangle in all parts.
IMPORTANT NOTE: There is no visual cue that
flags unlinked baselines in parts. There is also no
visual cue in the score that indicates a baseline
has been broken in one or more parts.

Enharmonics in linked parts

Enharmonic spelling is one of the few notation elements whose link can be broken between the score
and parts. Due to instrument transposition, it is entirely possible a different harmonic spelling will be
required in the part than in the full score, and to accommodate this, enharmonics share the standard
linking behavior described under Linked Parts. Change a note to its enharmonic equivalent in the score

1627

and the change applies to the corresponding part; change a note to its enharmonic equivalent in a part,
and the score remains unchanged - the link has been broken. The notehead changes color to orange (in
both the part and score) indicating the enharmonic spelling has been broken. In no other way can a
note/accidental be broken, so if a note is orange its enharmonic spelling has been broken in one or more
parts. Once broken, future edits to the enharmonic spelling of this note in the score do not apply to the
corresponding part unless the enharmonic spelling is relinked.

Time Signatures in linked parts

It is not uncommon for the appearance of a time signature to differ between the score and parts. For
example, a single large time signature may be used for several score staves. And of course, a single time
signature is required for each part. To accommodate this, Finale allows separate document settings for
time signatures - one set for the score and one set for parts in Document Options - Time Signatures.
You can use Staff Styles to apply a different instrument transposition, clef, or other staff attribute to a
part. See To display a staff differently in one part than another.

Relinking part items to the score

Any part item that has been broken can be relinked to the score. When you relink, all attributes of that
item (positioning, show/hide setting, etc.) are reset to match the corresponding score item, and future
changes the score item will apply its corresponding part item. To relink:

In a part, right-click a previously broken item and choose Relink To Score. The item is relinked
to the score in that part only.

In the score, right-click the item and choose Relink in All Parts. The item is relinked to the score
in all parts. Future changes to this item will apply to the corresponding part.

Part Names in Linked Parts

There is a special text insert designed specifically for use as the part name in linked parts. This text insert
already exists in most new files, however, if you are opening a file created in Finale 2006 or earlier do the
following to add part names to all of your parts:
1.

If you havent added parts to your score, do so now. See To create linked parts. See that parts
are named as desired in the Manage Parts dialog box (where the part names are derived from).

2.

From the Document Menu, choose Edit Part and choose any part.

3.

Click the Text Tool

4.

Double-click where you would like to add the part name. An empty text block appears with a
blinking cursor.

5.

From the Text Menu, choose Inserts, then Part/Score Name. The part name appears on all parts
as well as the score. To edit the font, size, or style of the part name click a part name handle, from
the Text Menu choose Edit Text, make the desired changes and click OK. Changes apply to the part
name in all parts. Now, you may want to hide the part name on the score.

6.

If youd like to hide the part name insert on the score, from the Document Menu, choose Edit
Score.

7.

Right-click the part name (Score by default) and choose show to uncheck it. Score (or
whatever this insert is named in the File Info dialog box) fades a bit indicating it is hidden and will not
appear in the printout.

Printing linked parts

Finale allows you to specify any combination of the score and/or parts for printing in the Print dialog box.
(When Print is chosen from the File Menu, this dialog box automatically appears prior to displaying the
Print dialog box.) In the score/parts list box, you can also specify the number of copies for each item
selected. When multiple items are checked, upon printing, Finale automatically collates, batch printing
each selection as if it were its own print job.

To print parts directly from the score

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Finale is designed to allow you to easily print any number of parts from the main project document. To do
so:
1.

Choose Print from the File Menu. The Print dialog box appears. The score and all parts are listed
in the Parts/Score window.

2.

Check the parts (and/or score) you would like to print. Note that if you would like to print a
different orientation for your score than the parts in the same print session (as specified in Finales
Page Format for Score and Page Format for Parts dialog boxes), ensure Use Finales Page
Orientation Instead of the Printers Page Orientation is checked in Program Options - Save and
Print_Ref-293930108. Two print sessions will be required (one for each part/score in landscape
and one for each part/score in portrait).

3.

Click OK. Finale proceeds to print the score/parts, one by one.

Tacet parts
A page containing only the title, composer, and page text, and a note to tacet or tacit informs the
player to rest for that entire movement/act of a musical/etc. Creating such a page in Finale is easy using
linked parts. To create a tacet part:
1.

Open the document and from the Document menu, choose Manage Parts. The Manage Parts
dialog box appears.

2.

Click New Part. A part appears in the list above. To name the part, click Edit Part Definition and
then Edit Part name. Click OK to return to the Manage Parts dialog box. The middle column should
be empty indicating no staves are selected.

3.

Click OK.

4.

From the Document Menu, choose Edit Part, and then select the part you just created. Only
the title, composer, and any other page text blocs appear on the part.

5.

Choose the Text Tool.

6.

Click the page and type Tacet (or Tacit) where desired. Use the text menu and other
features of the Text Tool to edit the page-attached text block. Use context menus to hide the text
block in other parts/score accordingly - see Contextual Menus. See also Text Tool.

FNB_11. The representation of the notation may differ between the score and parts to account for
different transposition or enharmonic spelling.

FNB_22. The note assignment of note-attached or notehead-attached smart shapes are permanently
linked and cannot be broken. See Smart Shapes in linked parts.

FNB_33. Changing the vertical positioning of markings in a part using baselines breaks that baseline
link for the part, but not the manual positioning link. There is no visual cue that flags a broken baseline.
See Baseline Positioning in linked parts.

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Lyrics
There are two ways to create lyrics within
Finale. You can type the lyrics directly into
the score, so that you know at all times
where you are in the musica feature called
Type Into Score. Or you may prefer the
faster Click Assignment methodwhere you
type the lyrics in Finales text processor
(called the Edit Lyrics window), and then
paste them into the score all at once. The
Click Assignment method also offers you the
option of pasting your lyrics in from another
program, such as a word processor; see
Importing.
Finale defines a syllable as any letters separated by a space or a hyphen. When you put the lyrics into
the score, Finale places the syllable in your score by the settings in the Lyrics Options dialog box, centers
the hyphen between notes, and moves any syllable correspondingly if its notehead moves.
Lyrics are often written in distinct sectionsverse and chorus, for example. For that reason, Finale
provides three different lyric typesVerse, Chorus, and Section. These types are identical in every
respectyou can write the verse of a song and define it as a Chorus, if you want toexcept that you can
set the default font and positioning for each type differently. You could specify, for example, that all
Verses are to be set in boldface type, but that all Choruses are set in italic type. (You can have as many
as 512 of each lyric type. You can also change the font and style within any lyric.)

To type lyrics directly into the score

1.

Click the Lyrics Tool

. The Lyric Menu appears. If you want to specify a lyric type (Verse,
Chorus, or Section), from the Lyric Menu, choose Specify Current Lyric. If you dont specify a type,
your first lyrics will be a Verse.

2.

If youre returning from other lyric editing, choose Type Into Score from the Lyric Menu.

3.

Indicate the staff and the note to which you want to begin adding lyrics by clicking near the
staff at the position of the first melody note. A set of four positioning triangles appears at the left
edge of the screen. The triangles control the baseline of the lyrics (against which the bottom edges
of the words line up). For a full discussion, see To set the baseline (vertical position) for lyrics
graphically, below. The blinking cursorthe insertion pointjumps to a position beneath the first
note, in the staff you clicked.

4.

Type the lyrics. Each time you type a space or a hyphen, Finale automatically moves the insertion
point in preparation for entering 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 backspace. (If you backspace to the
previous syllable, Finale highlights the whole syllable so that you can replace it all at once with
anything you type.) To change a word youve already typed, click in the staff so that the syllable is
highlighted, and then type its replacement.
If you encounter a melismatic passage, where one syllable is sustained through several melody
notes, press the space bar for each note of the melisma; the cursor will skip ahead to the next note
and a word extension will appear for the duration of the melisma.
As you type, Finale stores each syllable in its built-in text processor, the Edit Lyrics window. Its
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, every occurrence of the syllable is
automatically changed in the scoreand vice versa.

1630

Important: When you enter lyrics using this

method, pay special attention when entering
additional lyric lines, one beneath another. To add
a new lyric line, be sure to change Verses before
typing in each new line; to do so, from the Lyric
Menu, choose Specify Current Lyric. Otherwise,
Finale will believe that all the lyrics, even
successive lines, are all part of the same verse,
and unexpected results may occur.
Tip: if you want a quick MIDI audio check of the
notes youre attaching lyrics to, hold down
ctrloption and the space bar and drag the cursor
across the staff. Finale will play any note the cursor
touches, no matter which direction you drag.

To prepare lyrics in a separate window

1631

This is the first step to adding lyrics to the score using the Click Assignment method.
1.

Click the Lyrics Tool

. The Lyrics Menu appears.

2.

From the Lyrics Menu, choose Edit Lyrics. The Edit Lyrics window appears.

3.

Type the lyrics, including hyphens within polysyllabic words. If youve copied lyrics from
another program (such as a word processor), press ctrl-V (for Paste). If you make a mistake,
backspace over it with the backspace key. If youre anticipating a melisma (one syllable held over
several notes), type alt+0160 and a regular space for each extra note through which the syllable is
held. (Word extensions will be placed in the score where appropriate).
You can cut (by pressing ctrl-X), copy (by pressing ctrl-C), or paste (by pressing ctrl-V) any
selected text; select text by dragging through it. To view another Verse (or Chorus, or Section),
select it from the drop-down lists menus.

4.

When youre finished, click OK.

To place lyrics into the score (click assignment)

1.

Click the Lyrics Tool

. The Lyrics Menu appears.

2.

From the Lyrics Menu, choose Click Assignment . A box appears, containing the lyrics you
created in the Edit Lyrics window. The bottom scroll bar scrolls through the syllables, left to right. The
top scroll bar scrolls through the Verses, if there are more than one.

3.

If you want to place one syllable at a time, click the first melody note. You must click on the
staff at the position of the notenot necessarily on the note itself. When you click, the first syllable
displayed in the Click Assignment window disappears from the window and appears in the score,
aligned with the note you clicked. Note: you must have the layer in which the notes are placed active
for lyrics to be attached. Also, if you want to attach lyrics to notes in Voice two, hold down the shift
key, then click on the note.

4.

If you want to assign all the lyrics at once, click the first melody note while pressing ctrl. This
technique, called ControlClick-Assigning, tells Finale to assign each of the syllables, one after
another, to consecutive melody notes, automatically skipping rests, tied notes, and notes in different
layers and voices. If any syllables are assigned to the wrong notes, see To correct misaligned
lyrics.
You have to repeat this process for each Verse, Chorus, or Section. If you have a second verse, for
example, simply scroll back to its beginning spot, advance the upper scroll bar to Verse 2, and
controlclick-assign again.

To edit lyrics already in the score

The method described below is useful for making small changes to lyrics youve already placed in the
scorecorrecting a misspelling, for example.
If the editing you need to do is more extensive, it may be easier just to do it directly in the Edit Lyrics
window. After specifying the lyric type and number (by choosing Specify Current Lyric from the Lyrics
Menu), choose Edit Lyrics from the Lyrics Menu. Any changes you make in the Edit Lyrics window
automatically affect the lyrics in the score.
Note: If you have placed the same syllable on
more than one note in your score, all instances of
the syllable will be changed.
1.

Click the Lyrics Tool

2.

If youre returning from other lyric editing, from the Lyrics Menu, choose Type Into Score.
Click on the staff at the position of the syllable you want to edit. The syllable is highlighted.

. The Lyrics Menu appears.

3.

Type the new syllable. Anything you type replaces the highlighted syllable.

4.

Press the Space bar to advance to the next syllable. Press backspace to backspace over what
youve just typed. To select any syllable, click within the staff lines; the syllable becomes highlighted,
so that you can replace it with whatever you now type.

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To correct misaligned lyrics

You may discover that your lyrics dont scan after ControlClick-Assigning (that is, they dont
correspond correctly to the melodic notes). You may have entered too many syllables, failed to remember
a melisma, or skipped a word. Using the following technique, you can shift all syllables by one note to the
right from a selected point.
1.

Click the Lyrics Tool

, and from the Lyrics Menu, choose Shift Lyrics. The Shift Syllable
dialog box appears,e
ltingyouspecfiythedre
ictionandrangeofthelycrishftiyoureaboutoproduce.

2.

From the drop-down list menu, choose the appropriate direction (Left or Right). These
directions tell you which way Finale will shift lyrics relative to the melody.

3.

Click the appropriate range option. If you click Shift Syllables by One Note, to the End of the Lyric,
Finale will shift every syllable from the one you click to the last one in the piece. If you click Shift
Syllables by One Note, to the Next Open Note, the effect of your syllable-shifting will ripple through
the score only as far as the first note that doesnt have a syllable attached to it. Subsequent syllables
will remain where they are.
The Rotate syllables option is only useful if youve created a set of lyrics with more syllables than
there are notes to attach them to. Click this option on those rare occasions when you want to
replace the syllable on each note with the syllable to its right or leftbut without changing which
notes have lyrics (see the figure below).

If you select Rotate Syllables (and To The Right), you can click the first note of a melody (the first middle
C, top) to shift the syllable assignments by one syllable to the left (bottom).
4.

Click OK (or press enter). You return to the document.

5.

If you specified a Right shift, click the note above the first syllable you want to move. The
syllable at which you clicked, and subsequent syllables, shift to the right by one melody note,
automatically skipping notes, rests, and tied notes. (You should click in the staff at the position of the
notenot on the note itself.)

6.

If you specified a Left shift, click in the staff above the note just before the first syllable you
want to move. The syllable on the following note, and subsequent syllables, shift to the left by one
melody note, automatically skipping notes, rests, and tied notes.

To correct overlapping lyrics

Youll often discover that some of your lyric syllables overlapor have more space than they need. You
can use the Music Spacing command (which you normally use for respacing the notes in your music) to
correct lyric collisions. See Document Options-Music Spacing for more information.
1.

From the Document Menu, choose Document Options and select Music Spacing. The Music
Spacing options appear.

2.

Verify Lyrics is selected under Avoid Collision items.

3.

Click OK.

4.

Click the Selection Tool

5.

Select the music you want to respace. In general, youll want to choose Select All from the Edit
Menu, so that all staves are highlighted. (If you select only the lyric staff, for example, you could get

1633

unexpected spacing in other staves, because the Music Spacing command sets the measure widths
for all staves according to the spacing of the selected region.)
6.

From the Music Spacing submenu of the Utilities Menu, choose either Apply Beat Spacing or
Apply Note Spacing . For a description of the differences between the two options, see Document
Options-Music Spacing. they work equally well in correcting lyric overlaps. This process takes time.
When the Selection Tool cursor disappears, however, youll find that your music has been carefully
respaced, with no lyric collisions.

To set the font for lyrics globally

This will set the default font for lyrics you are about to enter. It will not change the font for lyrics already
entered in the score. See also Change Fonts Plug-in.
1.

From the Document Menu, choose Document Options and select Fonts. The Font options
appear. See Document Options-Fonts for more details.

2.

From the drop-down list menu for lyrics, select the lyric type you want to change (Verse,
Chorus, or Section).

3.

Click Set Font. The FontFont dialog box appears.

4.

Select the type style you want for your lyrics. Under normal circumstances, Finale scales the
type size of lyrics proportionally with the piece; if you reduce the music to half size (using the Resize
Tool), the lyrics also shrink to half size.
If youd prefer to specify a fixed size for the lyrics, so the text wont vary with the size of the notes,
select the Fixed Size checkbox.

5.

Click OK (or press enter) twice. Use this method to set the primary font for your lyrics. If there are
occasional variations within this primary font, see To change fonts within a lyric.

To change fonts within a lyric

To set the primary font for a lyric, see To set the font for lyrics globally. Use the following method for
exceptions to the primary font.
1.

Click the Lyrics Tool

. The Lyric Menu appears. If you want to specify a particular lyric type or
number, from the Lyrics Menu, choose Specify Current Lyric.

2.

From the Lyrics Menu, Choose Edit Lyrics. The text editor appears. If you have several lyric
sections of the same type, use the drop-down lists menus to select the ones you want to change.

3.

Select the text whose font you want to change by dragging through it (so that its
highlighted).

4.

From the Text Menu, select the desired font and click OK.

5.

Click OK (or press enter) to confirm your settings.

To prevent changing the type size for lyrics attached to cue notes
See To set the font for lyrics globally. See also To prevent attached lyrics and chord symbols from
shrinking.

To set the baseline (vertical position) for lyrics numerically

You can set the height of the lyric line with respect to its staff either before or after youve placed your
lyrics in the score. You can also set the baseline (on which the bases of the letters align) independently
for each staff in each systemand for each set of lyrics of each type. Finally, you can drag any syllable
anywhere you want (see To move or delete a syllable). (For information regarding lyric baselines in
linked parts, see Baseline Positioning in linked parts.)
1.

Click the Lyrics Tool

. The Lyrics Menu appears.

2.

From the Lyrics Menu, choose Adjust Baselines. The Adjust Baselines dialog box appears.

3.

Specify the lyric type and number for which you want to set the baselines. Also specify the
staff and system number, if desired. You specify a staff and system number by clicking the Prev.

1634

and Next buttons beside the Staff and Staff System boxes. If you just want to move the baseline for
the entire piece at once, you dont need to adjust the staff or system controls; just click in the Piece
text box.
4.

Enter the distance you want the baseline to be from the center line of the staff in the
appropriate box or boxes. The center line of the staff is the zero position. The units are whatever
youve selected using the Measurement Units command (Edit Menu).
For example, to set the baseline half an inch below the center line, youd type .5 (inches) in the
Piece box. Its a negative number because youre moving the line down. If there were very low
melody notes and you felt that the baseline in the third system needed to be a quarter inch lower
still, youd set the Staff System counter to 3 (by clicking the Next button twice), and youd enter
.25 in the Staff System: 3 box. (If you ever want to restore all baselines to their original positions,
click Set Piece Offsets to Default Font.)

5.

Click OK (or press enter).

To set the baseline (vertical position) for lyrics graphically

1.

Click the Lyrics Tool

. The Lyrics Menu appears. From the Lyrics Menu, choose Specify
Current Lyric to specify the lyric type and number, if you want.

2.

From the Lyrics Menu, choose Click Assignment or Type Into Score. Move the Click
Assignment box out of the way, if necessary. At the left edge of the screen is a row of four small
triangles pointing to the right. They control the baseline for the lyrics. If necessary, click the staff
whose lyrics need adjustment.

3.

Drag the leftmost triangle up or down to set the baseline for the entire piece (for the selected
lyric type and number). As you drag it, the other three triangles move with it.

4.

Drag the second triangle up or down to set the baseline for the selected staff only, all the way
through the piece (for the selected lyric). As you drag this triangle, the two triangles to its right
move with it.

5.

Drag the third triangle up or down to set the baseline for this staff, this system only (for the
selected lyric). As you drag this triangle, the rightmost triangle moves with it. Use this third triangle
only in Page View (so you can see the system youre affecting).

6.

Drag the rightmost triangle up or down to set the baseline for the next syllable, before its
entered. This option is useful when youre entering lyrics with the Type Into Score feature or by Click
Assigning one syllable at a time.
For information regarding lyric baselines in linked parts, see Baseline Positioning in linked parts.

To move or delete a syllable

1.

Click the Lyrics Tool

. The Lyrics Menu appears.

2.

From the Lyrics Menu, Choose Adjust Syllables.

3.

Click on the staff at the position of the syllable you want to move. Dont click the syllable. Just
click within the staff lines in line with the syllable you want to move or delete; its handle appears.

4.

Drag the handle to reposition the syllable. Select it and press the arrow keys to nudge it for
fine positioning; select it and press delete to remove the syllable. Note that this method of
deleting a syllable doesnt pull the following syllables one note to the left; it allows you simply to
remove a selected syllable, leaving all other syllables where they are. To delete a syllable where you
want the remaining syllables to slide over to compensate, see To correct misaligned lyrics.

5.

To restore a syllable to its original position, click its handle and press backspace.

To erase lyrics
1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

From the Edit Menu, choose Choose Items to Clear. The Clear Selected Items dialog box
appears.

1635

3.

Under Entry Items, click None to deselect all items, then select Lyrics.

4.

Click OK.

To copy lyrics
1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

From the Edit Menu, choose Edit Filter. The Edit Filter dialog box appears.

3.

Check Lyrics (only). Click OK.

4.

Drag the first selected measure so that its superimposed on the first target measure. If the
first target measure isnt on the screen, scroll to it, and then ctrlshift-click it. In either case, the lyrics
are copied from the source selection to the target music. Note that Finale will only place lyrics in the
target region on notes that fall on the same beats as they did in the source region.

To clone lyrics
1.

Click the Lyrics Tool

. The Lyrics Menu appears.

2.

Choose Clone Lyric from the Lyrics Menu.

3.

Select the region whose lyrics you want to copy. You use the Lyrics Tool to select a musical
region just as you would with the Selection Tool: select one measure by clicking, additional
measures by shift-clicking, a screenful by drag-enclosing, or an entire staff by clicking to the left of it.

4.

Drag the first selected measure so that its superimposed on the first target measure. If the
first target measure isnt on the screen, scroll to it, and then ctrlshift-click it. In either case, the lyrics
are copied from the source selection to the target music. Note that Finale will only place lyrics in the
target region on notes that fall on the same beats as they did in the source region.

To change alignment and justification of syllables for individual

notes
1.

Click the Lyrics Tool

2.

From the Lyrics Menu, choose Adjust Syllables.

. The Lyrics Menu appears.

3.

Click on the staff at the position of the syllables in question. Dont click the syllable; click in the
staff lines. The syllables handles appear.

4.

Select the handle above the syllables.

5.

Choose from the Alignment submenu to change the position of the syllables relative to the
notehead. See Lyrics MenuAlignment for more details.

6.

Choose from the Justification submenu to change the position of the syllables relative to
each other. See Lyrics MenuAlignment for more details.

To set alignment and justification of syllables globally

1.

From the Lyrics Menu, choose Lyric Options. The Lyric Options appear.

2.

If you would like specific alignment and justification settings for word extensions, select the
Syllables with Word Extensions checkbox and set the alignment and justification settings. For
example, you could set the alignment and justification both to Left.

3.

If you would like specific alignment and justification settings for the first syllable in your
score, select the First Syllable in Lyric checkbox and set the alignment and justification
settings. For example, you could set the justification to Left and leave the alignment (relative to the
note) to Center.

4.

If you would like specific alignment and justification settings for the first syllable of every
system, select the Syllables at Start of System checkbox and set the alignment and
justification settings. For example, you could set the justification to Left and leave the alignment
(relative to the note) to Center or set both the alignment and justification to Left.

1636

5.

Select the alignment and justification settings for the remainder of the syllables in your score
using Others. 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).

6.

Click OK.

To draw word extension underlines

When a syllables note is tied over to another note or sustained through several notes (as in a melisma),
a common practice is to draw an underline following the syllable to indicate its extension.

As you enter lyrics, word extensions are defined automatically where appropriate. While using Type Into
Score, they do not appear immediately, only after switching out of Type Into Score mode, or changing
tools. These underlines are called Smart Word Extensions because they expand and contract along with
the music as you enter additional lyrics and modify the page layout. They can also automatically extend
over a system breaks. You can edit the default visual appearance of Smart Word Extensions, such as the
baseline and offset from the left or right syllable, in the Word Extensions dialog box. Changes made in
this dialog box apply to existing word extensions, as well new ones added to the score.
A Smart Word Extension underline will extend to the next syllable of the same lyric type and number
regardless of the baseline difference of the individual syllables. A word extension underline will extend to
any syllable of a different type (verse, section, or chorus) provided it lies on the exact same vertical
baseline as the previous syllable. Word extensions do not terminate at the startpoint of the next syllable if
it is of the same type, but a different number (verse 1, verse 2) regardless of the next syllables baseline
position.
Note: Old documents (those created in Finale
version 2003 or earlier) that contain lyrics retain all
word extension positioning information when
converted to Finale 2009 format. However due to
possible conflicts with existing word extensions,
Smart Word Extensions are not active in converted
documents by default. If you want to activate Smart
Word Extensions in an older Finale Document,
from the Document Menu, choose Document
Options, select Lyrics, and then click Word
Extensions. Check Use Smart Word Extensions.
Then click OK twice to confirm your settings. Old
word extensions disappear and are replaced with
Smart Word extensions. (Uncheck this option to
revert back to the old word extensions that existed
in a document prior to turning Smart Word
Extensions on).
After word extensions appear in the score, each can be edited manually. To edit word extensions
individually:
1.

Click the Lyrics Tool

. The Lyrics Menu appears.

2.

From the Lyrics Menu, choose Edit Word Extensions.

3.

Click near the syllable to be extended. A handle appears at the end of the syllable.

1637

4.

Drag the syllables handle to the right. As you drag, you create an underline. To remove the
underline, click its handle and press delete. To clear manual positioning, press Backspace.

To add word extensions on specific syllables only

1.

From the Lyrics Menu, choose Lyric options.

2.

Choose Word Extensions. The Word Extensions dialog box appears.

3.

Uncheck Create Automatically When Notes Follow Without Lyrics.

4.

Make sure Use Smart Word Extensions is checked.

5.

Click OK twice to confirm your settings.

6.

Add an underscore (_) after a syllable to define a word extension either while using Type Into
Score, or while entering into the Edit Lyrics dialog box.
Note: If Smart Word Extensions if turned Off in the
Word Extensions dialog box, underscore
characters will not convert to word extensions.

To adjust the position of word extension underlines

1.

From the Document Menu, choose Document Options, and then select Lyrics. The Lyric
Options appear.

2.

Click Word Extensions. The Word Extensions dialog box appears.

3.

In the Lyric Alignment section, enter new values into the Vertical Offset from Baseline and
Horizontal Offset from Syllable text boxes. The Vertical Offset from Baseline is the distance
between the underline and the baseline (against which the bottoms of the lyric syllables align). The
Horizontal Offset from Syllable is the distance between the end of the syllable and the beginning of
the underline. The units are whatever youve selected using the Measurement Units command (Edit
Menu). See Word Extensions dialog box.

4.

Click OK (or press enter).

1638

Macros
Macros, or keyboard equivalents for mouse, menu, and dialog box actions, can dramatically increase
your efficiency in working with Finale.
One kind of macro is already built into FinaleMetatools. These macros are always programmed to the
number keys and the letter keys on your computer keyboard. By using a macro to place an expression
marking into the score, for example, you can bypass three dialog boxes and several mouse clicks. See
the individual tool for instructions for programming Metatools.
You can also get external macro programs to do some of your work for you. Any one of them can perform
almost any of the multistep instructions in this document with a single keystroke. Not only do you save
time, but you dont have to wander through all those dialog boxesthe macro takes care of the
navigation.
You can also change tools from the keyboard, without having to use the mouse. To find out how to
program these keyboard tool shortcuts, see Master Tool Palette dialog box.

1639

Major seconds (in different voices

and layers)
When notes in two Finale layers fall on the same beat but are a major second apart, Finale usually
automatically offsets some of them to avoid overlapping the noteheads. However, if youve turned off
Automatic Music Spacing, Finale wont adjust these for you until you take the following steps.

To fix overlapping noteheads in different layers

1.

Click the Selection Tool

for more information.

, and select the measures you want to edit. See Selecting music

2.

From the Document Menu, choose Document Options and select Music Spacing. The Music
Spacing options appear.

3.

Make sure that the Seconds checkbox is selected. You can also verify that other options you
want included in spacing considerations are selected. See Document Options-Music Spacing for
more information.

4.

Click Apply and then OK.

5.

Choose Apply Note Spacing from the Music Spacing submenu of the Utilities Menu. Your
music will be spaced to avoid collisions between seconds in different layers. See Document OptionsMusic Spacing for more information on different types of music spacing.

1640

Manuscript paper
If you wish to print blank manuscript paper, without default rests, see the instructions below.
1.

From the File Menu, choose New, then Document with Setup Wizard. Leave Title, Composer
and Copyright fields blank.

2.

Select the desired instrumentation, then Time and Key Signature, and default font. When you
finish the Wizard, the score appears.

3.

Click on the Text Tool. Click on the Title, Composer and Copyright text blocks and press
Delete.

4.

Click on the Staff Tool. Double-click on a staff. The Staff Attributes dialog box appears.

5.

Uncheck Display Rests in Empty Measures. If you have more than one staff, use the Staff
Attributes For drop-down menu to switch to the next staff. Continue unchecking Display Rests for all
staves.

6.

Click OK.

7.

If desired, fine-tune the layout with the Page Layout Tool. Add additional measures with the
Measure Tool.

8.

From the File Menu, choose Print. Finale prints your manuscript paper.

1641

Margins
There are two kinds of margins in Finale: page margins and system margins. Both can be set either from
a menu or with the Page Layout Tool. For information on system margins, see Systems.

To change page margins

1.

Click the Page Layout Tool

2.

First set the range of the pages to affect in the Page Margins submenu of the Page Layout
Menu.

3.

Drag the handles at the edge of the page margins. You can also enter values directly into the
number boxes of the Edit Page Margins dialog box. See Edit Page Margins dialog box for more
information.

4.

From the Edit Menu, choose Update Layout. This command re-calculates the layout of measures,
based on the new margins.

To change default page margins numerically

Note: The changes youll be making with these
instructions establish the page margins for pages
yet to be created. To apply them to existing pages,
see the final two steps.
1.

From the Document Menu, choose Page Format, then Score. The Page Format for Score dialog
box appears.

2.

Enter new values in the Page Margins boxes. These numbers are the distances from the edge of
the page; thus if the page size changes, the margins remain at the same distance from the page
edge. These measurements are always positive and measure the absolute distance from the edge of
the page.

3.

Click OK (or press enter). The changes youve made will affect only new pages added to the piece
by Finale, unless you perform one of the following additional steps.

4.

To apply the new margin settings to one existing page, click the Page Layout Tool
; and
go to the page you want to change; Click on the Page Layout Menu and choose Redefine
Pages, then Current Page.

5.

To apply the new margins to all existing pages, click on the Page Layout Menu, choose
Redefine Pages, then Redefine All Pages.

1642

Masks
To mask a portion of a staff, youll create a solid white rectangle as a Shape Expression. By placing this
rectangle over part of a staff, you can make the staff appear to end in mid-system. Its much easier to
hide entire portions of the staff using staff styles. See Staff styles.
When placing Shape Expression masks, you must be careful to attach the shape to the appropriate note,
as it affects how the staff and notes are covered. If you want to cover the staff lines, as well as all the
notes on a staff, you must select a note after the region to be hidden. If you select a note before the
region to be hidden, the staff lines will be covered, but notes and expressions will show through your
shape.
If you need to place more than one of these special shapes into your score, you must do so by using
Expression Metatools. If you dont, youll be resizing all occurrences of the shape any time you resize or
reshape any one of them. For full instructions, see ExpressionsTo create Expression Metatools.

To mask a portion of a staff

1.

Click the Expression Tool

, and click a note or a measure in the staff you want to mask.
Click a note at the appropriate end of the staff. The Expression Selection dialog box appears.

2.

Click Shape. Proceeding through the dialog boxes, click as follows: Create; Select; Create.
You arrive in the Shape Designer. Youre about to draw a mask thats the height of a standard staff
and two inches wide.
The following instructions give measurements in points (1/72 inch). If youve been working in
different units, choose Rulers and Grid from the Shape Designer Menu and select Points.

3.

Click the Rectangle Tool

4.

Click the origin; without releasing the mouse, drag up and to the right, until the number in the
H: box is 144 and the V: box is 28. Youve just drawn a rectangle.

5.

, and select the rectangle. From the Shape Designer Menu,

Click the Selection Tool
choose Fill, and then White. The inside of the rectangle turns white, but the outline is still black.

6.

From the Line Thickness submenu of the Shape Designer Menu, choose None. The black line
goes away.

7.

Click OK or Select in each dialog box until you return to the document. The shape appears in
the score as a whited-out rectangle.

. Note the origin, the small white circle.

The technique: if you want to cover up everything, attach the expression to a subsequent note. In the
following illustration, you can see the difference.

At left, the Expression was attached to the first eighth note, as indicated by the arrow. As a result, the
shape only covers up the staff lines. If the shape is attached to a following note (right), the mask covers
everything.
If your shape is an expression, however, the white rectangle will always cover everything, including the
notes.

To move, reshape, or delete a Shape Expression mask

1643

1.

Click the Expression Tool

2.

Drag the handle to move the entire shape. Click the handle and press delete to remove it. To
stretch the shape, double-click a handle; its bounding handles appear, which you can drag to make
the rectangle larger or smaller.

To mask a portion of the score using the Graphics Tool

You can also create a white mask using the Graphics Tool. While the procedure is much easier with the
Graphics Tool, one potential downside is that it involves the creating of a graphic file, separate from
Finale, which you must remember to include should you transport your Finale file to print elsewhere. Also,
the Graphics Tool method works like an expression in that it will always cover anything you place it on top
of.
1.

Select the Graphics Tool

2.

In a blank area of the page, double-click and drag the mouse down and to the right, creating a
square or rectangle approximately the size of the area you wish to mask. Since youre going to
paste this box on top of unwanted items in your file, be advised that anything that appears within the
lines of the box will appear in your score. So, if you inadvertently drew the box on top of something,
try it again.

and then, from the View Menu, choose Page View.

3.

From the Graphics Menu, choose Export Selection.

4.

Click OK.

5.

Type in the name you would like to call your file in the dialog box that appears and click Save.

6.

From the Graphics Menu, choose Place Graphic.

7.

Select the file you just created and click Open. Note that the cursor changes to a box with and X
inside.

8.

Place the cursor in the upper left hand corner of where youd like the white mask to appear,
and then click the mouse. Note that the white mask now has eight handles on it. If you need to fine
tune its position, you can do so by dragging these handles.

Keep in mind that in addition to pasting in blank material you can use this same procedure to copy and
paste musical examplesincipits for example. SeeGraphics Tool for more information.

To move, reshape or delete a Graphics Tool mask

1.

Select the Graphics Tool

and from the View Menu, select Page View.

2.

Click on the mask. If you wish to move the entire mask, click on it and drag while keeping the
mouse button pressed; to reshape the mask simply drag the handles accordingly. Press backspace
to delete the mask.

1644

Measure layout
For information regarding the relative widths of the measures in a particular system, see To adjust
measure widths in a system.
You can easily control the page layout of measures in Finale through the use of measure groups. A
measure group is a set of measures fastened to each other; even if the arrangement of other measures
changes, those in a group will remain together in the same system.
This kind of control over measure layout is especially useful when youre fine-tuning a pieces layout
avoiding an awkward page turn, forcing a key change to fall at the beginning of a system, and so on.
Note that the measures you rearrange in the following instructions become locked into the arrangement
you specify; they wont be affected by future measure-rearranging commands like Update Layout or even
Begin a New Staff System (see To create a system break , below). To lock measures into place, select
the systems you wish to affect and pressL. These locked measures will not be affected by updating the
layout (unless Remove System Locks is selected in Program Options-Edit) or rearranging the measures
in other systems.
To remove measure groups from the piece choose Update Layout from the Edit Menu or highlight the
systems or region with the Selection Tool and press U. If Maintain System Locks is selected in Program
Options-Edit select Update Layout while pressing shift.

To move a measure to the previous (or next) system

Before you perform this or any significant page layout action, be sure to choose Update Layout (ctrl-U)
from the Edit Menu. (If youre in Page View, be sure to choose Update Layout while youre viewing the
first page, since Update Layout only affects the region from the current page to the end of the piece.)
1.

If youre not in Page View, choose Page View from the View Menu.

2.

, and click the measure to be moved. If you want to move more

Click the Selection Tool
than one measure to the next systemthe last two on a line, for exampleclick the first measure of
the group to be moved. If you want to move more than one measure to the previous system, click the
last measure of the group to be moved.

3.

Press the up arrow key or down arrow key. If you press up arrow, the selected measure (and any
that precede it in the system) move to the previous system. If you press down arrow, the measure or
measures move to the next system or are consolidated if you are editing the last 2 systems. In either
case, Finale then automatically adjusts the layout, just as though youd chosen Update Layout from
the Edit Menu.
What youve just done is to create a measure group, Finales system of locking measures within a
system. Be aware, however, that once a measure has been manipulated in this way, the measures
in its new system are locked into this arrangement, and wont be affected by future measurerearranging commands. To remove measure groups from the piece highlight the systems with the
Selection Tool and press U or choose Update Layout from the Edit Menu while pressing shift.

To force selected measures into one system

Where the up/down-arrow trick works well to push a single measure into a different system, sometimes
its useful to say: I want these three measures, and only these, in one system.
1.

If youre not in Page View, choose Page View from the View Menu.

2.

, and select the measures you want to group. To select the first
Click the Selection Tool
measure of the group, click it; then shift-click the last measure of the group. You may also dragenclose the measures you want; in any case, they should now be highlighted.

3.

Choose Fit Measures from the Utilities Menu. A dialog box appears.

4.

Click Lock Selected Measures Into One System. Click OK. Finale places the selected measures
into a system by themselves, then does an automatic Update Layout.

1645

To specify a number of measures per system

See Measures per line.

To remove measure groups through the end of the piece

This process will undo the procedures above, restoring all measures to floating statusin other words,
their system affiliation may change as the page layout changes.
Choose Update Layout from the Edit Menu. If Maintain System Locks is selected in Program
Options-Edit, press shift while selecting Update Layout, or deselect this option. ShiftUpdate
Layout works exactly like the normal Update Layout command in one respect: it only affects the
pages of your piece from the page youre viewing to the last page. If youve carefully created
measure groups on the first page, for example, you wont disturb them if you perform a shift
Update Layout command while viewing page 2. See Program Options-Edit.

To remove measure groups for individual systems

This process will undo the procedures above, restoring all selected systems to floating statusin other
words, their system affiliation may change as the page layout changes.

Select the systems to remove measure groupings and U. This will unlock all the locked systems
in the selected region.

To create a system break

You can command a specified measure to begin a new system, no matter what the measure layout may
be in other systems.
1.

Click the Measure Tool

; double-click the barline handle of the measure you want to
begin a new system. The Measure Attributes dialog box appears.

2.

Select Begin a New Staff System. Click OK (or press enter).

3.

Choose Update Layout from the Edit Menu. The specified measure now begins a new system. It
will always begin a new system, no matter how the page layout changes.

To split a measure across a line break

See To split a measure across a system break.

1646

Measure numbers
You can create different regions of measure numbers in your piece, each with a different font, position,
and numbering scheme. If you want measure numbers to occur only at specific places in the score to
serve as rehearsal numbers, see Easy Measure Numbers and Rehearsal letters.
For information regarding measure numbers in scores with linked parts, see Measure Numbers in linked
parts.

To create measure numbers

1.

Click the Measure Tool

and select Edit Regions from the Measure Numbers submenu of
the Measure Menu. The Measure Number dialog box appears. If there is no measure number
region click Add.

2.

Enter the Measures to include for this region. The Include Measure and Through text boxes are
the actual measures in the piece; they have nothing to do with what youre going to call them. For
example, if the piece begins with a pickup measure, youll probably want what is actually measure 2
to be numbered as measure 1; if so, type 2 into the first text box. If you simply want to number every
measure sequentially (a single region), type 1 into the first text box and 1000 (or any number larger
than your actual measure count) in the second text box. If you want to define a region to number only
part of the piece, the End Measure is the last measure to be numbered.

3.

Enter the number you want to start your region numbering with in the First Measure in Region
text box. If you want to use letters, type in a number corresponding to its place in the alphabet.

4.

Select the style of measure numbers (numeric, alphabetic, etc.) from the Style drop-down list
menu.

5.

Click Set Font to choose a font and style for this region. Click OK (or press enter).

6.

Click Position. The Position Measure Number dialog box appears, displaying a symbolic measure
number.

7.

Drag anywhere in the graphic box to position the measure number relative to the measure.
Click OK (or press enter). You return to the Measure Number dialog box, where you can make
various other settings.

8.

Specify the incidence of the numbers. If you click Show Measure Number at Start of Each
System, a measure number will only appear at the beginning of a new system. If you click Show
every __ Measures beginning with __, you can specify how often a number appears and where it
should start from. Multiple of 1 would number every measure in the region.

9.

If you want each measure number to be prefixed, enter the Prefix number or letter. If you
entered the letter A in the Prefix text box for a region with numbered measures, for example, youd
create a sequence of measures labeled A15, A16, A17, and so on. On the other hand, if you entered
the number 21 in the Prefix text box for a region with lettered measures, youd create a sequence of
measures labeled 21a, 21b, 21c, and so on.

10. If you want an enclosure around each measure number, select an enclosure from the dropdown list menu. If you dont see one you like, click Edit Enclosure and the Enclosure Designer
dialog box appears. See Enclosure Designer dialog box.
If you want every measure number in the region to be enclosed, select Show Enclosure on Every
Number. If you click Show Enclosure on Selected Numbers, no measure numbers will be enclosed
when you first return to the document; to add the enclosure you specified to a particular measure
number, simply double-click the numbers handle and click Use Enclosure.
11. If you want a range of measure numbers on multimeasure rests select Show Measure Number
Ranges on Multimeasure Rests. If you want the range to always appear, also select Always Show on
Multimeasure Rests. If you want a bracket around the range, enter the bracket in the Left and Right
boxes.
12. If you dont want the measure numbers to begin with 1, enter a number in the First Measure in
Region text box. See Measure Number dialog box for more information.
13. To set up the parameters for another region, click Add. To remove a region, click Delete.

1647

14. Click OK (or press enter). The numbers appear in every measure in every staff. Each number has
a handle.

To remove measure numbers from a single staff

1.

Click the Staff Tool

, and double-click the staff whose numbers you want to turn off.
The Staff Attributes dialog box appears.

2.

In the Items to Display section, click Measure Numbers to de-select it. Click OK (or press
enter). Note that Always Show on Top/Bottom Staff in the Measure Number dialog box will override
this setting. See Measure Number dialog box.
Note: You can also remove measure numbers with
the Selection Tool. Click a measure number handle
and press Delete (or right-click and choose
Delete).

To move a single measure number

1.

If the measure number handles arent already visible, click the Measure Tool
appears on each measure number in the score.

. A handle

2.

Drag a number by its handle to reposition it. Select it and press the arrow keys to nudge it
for fine positioning. To restore a number to its original positioning, click its handle and press
backspace. To remove the measure number press delete.

To add a measure number to an existing region

. Ctrl-click a measure which is part of a region, but is not
Click the Measure Tool
currently displaying a number. To add a measure number to the entire system, ctrl-shift-click. To
remove a forced measure number, click its handle and press delete.

To reshape or remove a measure numbers enclosure

The Measure Number dialog box offers two ways of creating enclosures around measure numbers. If you
select an Enclosure and then click Every Number, Finale places an enclosure around every number in
the region.
If you select an Enclosure and then click Selected Numbers in the Measure Number dialog box, you add
enclosures to one number at a time in the score, by double-clicking its handle and then clicking OK. You
can both resize and remove an individual enclosure of this type.
1.

Click the Measure Tool

. Double-click the handle of an enclosed measure number. The
Enclosure Designer dialog box appears, letting you reshape the enclosure and reposition the number
within it.

2.

If you want to remove the enclosure, select None for the enclosure shape and click OK. You
return to the document (provided that the enclosure isnt an Every Number type).

3.

If you want to modify the enclosure, drag the top and side handles to change its height and
width. Drag the numbers handle to reposition the number within the enclosure. Change the
line thickness, if desired. The line thickness is measured in the current measurement units.

4.

Click OK.

1648

Measure repeat signs

The measure repeat symbol (
), often used in rhythm parts,
indicates that the measure in which it appears is to be a
repetition of the previous measure. See also Number Repeated
Measures Plug-in to place a number over each repeated
measure.

To create a measure repeat sign

1.

Click the Staff Tool s and select the measures you want to contain measure repeat signs. See
Selecting music for some region-selecting shortcuts.

2.

From the Staff Menu, choose Apply Staff Style. The Apply Staff Style dialog box appears.

3.

Select either One-Bar Repeat(s) or Two-Bar Repeat(s). Or, right-click and choose from the list of
styles. Or, press O for a one bar repeat and T for a two bar repeat.

4.

Click OK. Finale hides all the music in all layers, and replaces it with these measure repeat marks.
To restore the music, select the measures again, choose Clear Staff Styles from the Staff Menu (or
press the Backspace key (laptop users Fn-6)).
You can edit the properties of the staff styles; see Staff styles for more detail.
If you need additional control over these symbolsif you dont want the symbol centered in the
measure, for exampleyou can also insert a measure repeat symbol as an expression. See
Expressions.

1649

Measures
See also Measure layout.

To add blank measures at the end of the document

1.

Double-click the Measure Tool

choose Add Measures.

. Or, to add more measures at once, from the Edit Menu,

2.

Enter the desired number of measures. Click OK (or press enter).

To insert blank measures within a document

1.

Choose any tool that allows regional selection. See Selecting music.

2.

Select the measure after the point of insertion. Even if there is more than one staff, click a single
measure. Finale will add a blank measure in every staff.

3.

From the Measure Menu, choose Insert Measure Stack or, if the Measure Tool is selected, you
can right-click on the top measure handle and choose Insert Measure Stack. A dialog box
appears, asking how many measures you want to insert.

4.

Enter the desired number of measures. Click OK (or press enter).

To erase or remove measures

1.

Choose any tool that allows regional selection. See Selecting music.

2.

Double-click a measure to select the full measure stack. Highlighting should extend between the
staves (or above and below the staff if there is only a single staff).

3.

Press the Delete key, or, from the Edit Menu, choose Delete Measure Stack. This removes the
selected measures from every staff. The result: your score contains fewer measures.

To delete a measure from a single staff

When you remove a measure from the score as described above, Finale removes the measure in
question from every staff in the score. Using the following technique, however, you can remove a
measure from a single staff (in effect) by sliding the subsequent measures one measure to the left.
1.

Click the Selection Tool

delete.

2.

Hold down Shift and press the End key to select all measures to the right of the one you
selected. Alternatively, you could choose Select Region from the Edit Menu, delete the number in
the Through Measure text box, and click OK. (Leaving this text box blank indicates the end of the
piece.)

3.

Drag the first selected measure to the left, so that its superimposed on the measure you want
to delete. Finale asks you how many times you want the selected music copied. The default value,
once, is what you want.

4.

Click OK (or press enter). Finale moves the music you selected one measure to the left, in effect
eliminating the measure you wanted to remove. There may now be an extra measure at the end of
the staff; just erase or remove it (see To erase or remove measures).

, and click the next measure after the measure you want to

To change one measures width

1.

Click the Measure Tool

. A handle appears on each barline.

2.

Click the top handle and drag the right barline of the measure in question to the right or left.
You can also click inside the measure itself and drag to the right or left.

1650

To adjust measure widths in a system

Its useful to remember that you can adjust the relative widths of the measures in any particular system.
1.

Go to Page View, if youre not already there. You change views by choosing Page View from the
View Menu.

2.

Choose Update Layout from the Utilities Menu.

3.

Click the Measure Tool

4.

Drag the handle of any measure to the right or left. As you make one measure wider, the one to
its right becomes narrower. (You can adjust all measures in a system except the last one with this
method.)

. A handle appears on every barline.

To change the widths of many measures

1.

Click the Selection Tool

2.

Select the measures to be resized. You only need to select the region in one staff; the measure
widths will be changed in all staves. See Selecting music for some region-selecting shortcuts.

3.

From the Edit Menu choose Edit Measure Attributes. The Measure Attributes dialog box appears,
letting you specify a fixed width for all selected measures or to add or subtract a certain amount from
all selected measures. The units are whatever youve selected using the Measurement Units
command in the Edit Menu.

4.

If you want to set the selected measures to a uniform width, enter a value into the Width text
box. If you want to add or subtract the same amount of width in all the selected measures, enter a
positive number (to widen) or negative number (to narrow) in the other text box.

5.

Click OK (or press enter). Be sure to choose Update Layout from the Utilities Menu (or press ctrl-U)
before printing or viewing in Page View.

To specify minimum or maximum measure widths

Using this method, you can tell Finale not to make any measure wider or narrower than a certain width.
1.

From the Document Menu, choose Document Options and select Music Spacing. The Music
Spacing options appear.

2.

In the Minimum Measure Width text box, enter the minimum measure width you want to allow
in the selected region. The units are whatever youve selected using the Measurement Units
command (Edit Menu). Enter a Maximum Measure Width too, if you want.

3.

Click OK (or press enter). When you use the Music Spacing command, Finale will check all the
measures youve selected, to make sure theyre within the width range you specified. If any
measures are narrower than the minimum, Finale sets them to that minimum width (and shortens
any that are longer than the maximum width).

To split a measure across a system break

There may be times when you want a very long measure (such as a cadenza measure) to break in half if
it straddles a system break. The point at which the measure can be split into two, and the latter half
moved to the next system is called the horizontal split point. The following instructions result in a measure
that may break at the end of a system, but only if Finale thinks its necessary. (You can, however, force
the measure to break, as described in the note below.)
1.

Click the Measure Tool

, and double-click the barline handle of the measure you want to
split. The Measure Attributes dialog box appears.

2.

Select Allow Horizontal Split Points. Click OK (or press enter). When you dismiss the dialog box,
a new handle appears at the bottom of the measures right barline.

3.

Click the handle at the bottom of the barline. A special split-point rectangle appears above the
measure.

4.

Double-click in the split-point rectangle. A handle appears. Drag it horizontally to tell Finale
precisely where it may break the measure (if necessary). Double-click in as many places as you

1651

want to provide additional permissible split points. To remove a split point handle, click it and press
delete.
5.

Choose Update Layout from the Edit Menu. You wont see the effects of your split point until you
choose Update Layout.
Note: If you want to force the measure to split,
after you have added a split point, click the
Selection Tool, click the portion of the measure you
want to move, and press the up or down arrow, as
described in To move a measure to the previous
(or next) system. (If youve specified more than
one split point, Finale breaks the measure at the
first designated split point, regardless of whether
you press up or down.)

To arrange measures on the page

See Measure layout.

1652

Measures per line

Finale can automatically lay out a certain number of measures per system for youeither within a certain
region, or for the entire piece.

To specify a number of measures per line (within a region)

1.

Choose Page View from the View Menu, if youre not already there.

2.

, and select the range of measures for which you want to

Click the Selection Tool
specify the number of measures per line. See Selecting music for some region-selecting
shortcuts. If you want the same number of bars per line for the entire piece, choose Select All from
the Edit Menu.

3.

Choose Fit Measures from the Utilities Menu. The Fit Measures dialog box appears.

4.

Enter the number of measures per system for this document.

5.

Click OK (or press enter). This technique creates measure groups, which dont float from one
system to another as the page layout changes. See Measure layout for more information on
measure groups.

To remove measure groups from the current page to the end

This process will undo the procedure above, restoring all measures to floating statusin other words,
their system affiliation may change as the page layout changes.
While pressing shift, choose Update Layout from the Edit Menu.

To remove measure groups from a selected region

1.

Click the Selection Tool

groups.

, and select the system for which you want to remove measure

2.

Press Command-U to unlock the system. This will allow the measures to reflow during Fit
Measures operations. See Selection Tool for more information.

1653

Melismas
See also Slurs; Vocal musicTo beam according to lyric syllables.
A melisma is a series of notes sung on the same lyric syllable. When Finale assigns lyric syllables to a
melody, it has no way of knowing which melody notes are melismatic. Therefore, when youre creating
lyrics (if you plan to have Finale assign them to notes automatically), you can anticipate the melismatic
passages by creating an invisible syllable for each note of the melisma.

To create invisible syllables when typing lyrics

1.

Click the Lyrics Tool

. The Lyrics Menu appears.

2.

From the Lyrics Menu, choose Edit Lyrics. The Edit Text window appears. Type the lyrics in the
usual way, up to the melisma.

3.

Type the syllable to be sustained, followed by the usual space or hyphen. For each
subsequent note of the melisma, type alt+0160, space. Finale considers each alt-0160 (press alt
while typing 0160) a syllable. Therefore, you need to separate it as you would any syllablewith a
space or a hyphen. Thus you type an alt-0160 followed by a regular space (or a hyphen) for each
subsequent note of the melisma. Complete the remaining lyrics.

4.

Click OK. When you enter these lyrics using the CtrlClick Assignment method (see Lyrics), Finale
distributes the invisible melismatic syllables you just created to the corresponding notes of the
melody.
Note that you can add slurs to melismas
automatically using the Auto Slur Melismas plug-in.

To shift lyrics to the right or left

If you failed to anticipate the melisma (by typing alt-0160 characters, as described above) when entering
the lyrics in the Edit Lyrics window, you can adjust misaligned lyrics by using the Shift Lyrics command.
For full instructions, see LyricsTo correct misaligned lyrics.
Note: To anayze the score and slur melismas
appropriately, use the Auto Slur Melismas plug-in.

1654

Metatools
Macros, or keyboard equivalents for mouse, menu, and dialog box actions, can dramatically increase
your efficiency in working with Finale. One kind of macro is already built into Finale: Metatools. These
macros are always programmed to the number keys and the letter keys on your computer keyboard. By
using a metatool to place an expression marking into the score, for example, you can bypass three dialog
boxes and several mouse clicks. See the individual tool for instructions for programming Metatools.
Tools with Metatools

Articulation Tool

Selection Tool

Expression Tool

Key Signature Tool

Tuplet Tool

Smart Shape Tool

Time Signature Tool

Staff Tool

Clef Tool

Repeat Tool

Chord Tool

To program an Articulation Metatool

Click the Articulation Tool
. Press shift and a letter or number key. Finale displays the Articulation
Selection dialog box; double-click the marking you want to correspond to the letter or number you
pressed.

To use an Articulation Metatool

Click the Articulation Tool
. While pressing the number or letter key to which the desired marking
was programmed, click on, above, or below a note or rest. If you have notes in both Voice 1 and Voice 2,
click above the staff for Voice 1 or below the staff for Voice 2 to place the articulation. The marking
appears at the place you clicked.
You can also press a metatool key and drag-enclose the desired notes to apply the articulation to those
notes.

To program an Expression Metatool

1.

Click the Expression Tool

2.

Press shift and a letter or number key. Finale displays the Expression Selection dialog box.

3.

Double-click the Expression you want to correspond to the letter or number you pressed.

Additionally, you can assign any number of metatools from within the Expression Selection dialog box:
1.

Enter the Expression Selection dialog box. There are several ways to enter this dialog box. See
Expression Selection dialog box.

2.

Select an expression.

3.

Hold down Shift and type the desired metatool key. If an expression is already assigned to the
key you pressed, it will be reassigned. You can assign as many metatools as you like in each
Expression Selection session.

1655

To use an Expression Metatool

1.

Click the Expression Tool

2.

While pressing the letter or number key corresponding to the Metatool you programmed,
click on, above, or below a note or rest. If you have notes in both Voice 1 and Voice 2, click above
the staff for Voice 1 or below for Voice 2 to place the articulation. The expression appears at the
place you clicked.

To change an existing expression to a different one:

1.

Select the expressions handle.

2.

Double-press the desired metatool key. The expression changes to the definition assigned to the
metatool key you used. (A double-press simply means pressing the keystroke twice in rapid
succession).

To apply an expression to several staves at once, hold down a metatool key, then click and drag over
several staves. When you release the mouse button the expression will appear on all staves in the
region. Each of these expressions is a separate occurrence (and not assigned using astaff list). For
information regarding Finale 2009's new expression design, see Finale 2009 Interface Changes under
Measure Expressions and Staff Lists.
Important note: If you use a Metatool to place a
Shape Expression into the score, you create a
duplicate of that shape. This gives you an
important advantage when youre placing several
of the same Shape Expression into a score,
because it means that you can reshape or resize
each copy individually. If you didnt use a Metatool
to place Shape Expressions into the scoreand
placed them instead by selecting them from the
selection box directlyyou would reshape every
occurrence of a shape when you adjusted any one
of them.

To program a Tuplet Metatool

Click the Tuplet Tool
. Press shift and a number key or a letter key. Finale displays the Tuplet
Definition dialog box; create the tuplet you want to correspond to the number or letter key you pressed.
Click OK.

To use a Tuplet Metatool

Click the Tuplet Tool
. While pressing the number or letter corresponding to the Metatool you
programmed, click a note (or, if the note is in Voice 2, click below the staff). Finale automatically
transforms the note you clicked and subsequent notes into the tuplet grouping you predefined, complete
with a bracket or slur (if you specified one) with the positioning you specified.

To program a Time Signature Metatool

Click the Time Signature Tool
. Press shift and a number key or a letter key. Finale displays the
Time Signature dialog box; create the time signature you want to correspond to the number or letter you
pressed. Click OK (or press enter).

To use a Time Signature Metatool

There are two ways to use a Time Signature

metatool.

1656

1.

Click the Time Signature Tool. Select a region of music. While pressing the number or letter
corresponding to the Metatool you programmed, click a measure. Finale changes the meter over the
region you have selected.

2.

In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and
Shift and type T. Then type the metatool key to apply the new time signature. See also Simple
Entry.

To use a Clef Metatool

There are two ways to use a clef metatool.
1.

Click the Clef Tool

. While pressing the number corresponding to the Clef you desire.

Click before the first note of a piece to change the first clef displayed.
Click before the first note of a measure to change the first clef for that measure and the
remainder of the piece.
Click between notes in a measure to set a mid-measure clef for the remainder of the
measure and the remainder of the piece.
2.

In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and
Shift and type C. Then type the metatool key to apply the new clef. The clef change will appear.
See also Simple Entry.

To program a Chord Metatool

Click the Chord Tool
. Press shift and a letter or number key. Finale displays the Chord Definition
dialog box; create the chord symbol you want to correspond to the letter or number you pressed (see
Chord Definition dialog box). Click OK.

To use a Chord Metatool

Click the Chord Tool
. While pressing the letter or number key corresponding to the Metatool you
programmed, click a note or rest. The chord symbol appears immediately, transposed according to the
key signature if necessary.

To program a Selection Tool Transposition Metatool

Click the Selection Tool. Press Ctrl-Shift and a number key (6-9). Finale displays the Transposition dialog
box; set the transposition you want to program. Click OK.

To use a Selection Tool Metatool

To use a Selection Tool Metatool, select the measures you want to affect. Then, press the appropriate
number key on your computer keyboard. the Selection Tool Metatools are defined as follows:
Note: Selection Tool Metatools are programspecific, not document-specific like other
metatools. You can hold down Ctrl and press 3, 4,
5, and 6-9 to invoke these metatools with any tool
that allows regional selection. (Ctrl-1, 2, and 3 are
used to change the view percentage.)

Metatool

Predefined effects

Implode Music (displays the Implode Music dialog box)

Drag-Implode Music for multiple staves (displays the Implode Music

1657

dialog box)

Explode Music (displays the Explode Music dialog box)

Drag-Explode Music for multiple staves (displays the Explode Music

dialog box)

Show elapsed time based on current tempo (displays the Elapsed

TimeTime at the Beginning of... dialog box)

Respace notes, lyrics, and accidentals (Apply Note Spacing

command) using the settings in Document Options-Music Spacing

Respace notes, lyrics, and accidentals (Apply Beat Spacing

command) using the settings in Document Options-Music Spacing

6-9

Transpose (press Ctrl-Shift 6-9 to program)

To program a Key Signature Metatool

Click the Key Signature Tool. Press shift and a number key or a letter. Finale displays the Key Signature
dialog box; choose the key signature you want to correspond to the number or letter you pressed. Click
OK (or press enter).

To use a Key Signature Metatool

There are two ways to use a Key Signature metatool.
Click the Key Signature Tool. Select a region. While pressing the number or letter corresponding to the
Metatool you programmed, click a measure. Finale changes the key signature over the range or
measures you selected.
In Simple Entry, with the Simple Entry Caret active, or a note selected, hold down Ctrl and Shift and type
K. Then type the metatool key to apply the new key signature. See also Simple Entry.

To use a Smart Shape Metatool

To use a Smart Shape Metatool, hold down the appropriate key on your computer keyboard. With the key
down, double-click and drag to create the desired shape. For slurs, glissandi, bends and slides, doubleclick and drag from note to note.

To program a Staff Style Metatool

Click the Staff Tool. Press shift and a number key or a letter. Finale displays the Apply Staff Style dialog
box; choose the staff style you want to correspond to the number or letter you pressed. Click OK (or
press enter).

To use a Staff Style Metatool

Click the Staff Tool. Select a region. While pressing the number or letter corresponding to the Metatool
you programmed, click a measure. Finale applies the staff style over the range or measures you
selected.

To program a Repeat Metatool

Click the Repeat Tool
. Press shift and a letter or number key. Finale displays the Repeat Selection
dialog box; double-click the repeat barline or the text repeat you want to correspond to the letter or

1658

number you pressed (or, if the text repeat you want doesnt appear in the list, click Create and design it at
this point). Click OK.

To use a Repeat Metatool

Click the Repeat Tool
. While pressing the letter or number key corresponding to the Metatool you
programmed, click a measure. If the Metatool was programmed to insert a repeat barline, Finale displays
the Backward Repeat Bar Assignment dialog box, where you can specify the playback effects of the
barline (unless it was the purely graphic Forward Repeat barline). If the Metatool was programmed to
insert a text repeat, Finale displays the Repeat Assignment dialog box, where you can specify the
playback effects of the text repeat.

1659

Metronome markings
Because a metronome marking generally appears in all parts, its best to create it as an expression,
which allows you to specify in which staves it will appear. (Note that you can also generate full-featured
metronome marking expressions with the Create Tempo Marking Plug-in plug-in. See Create Tempo
Marking Plug-in). See also Engraver Font.

To create a metronome marking (such as

1.

Click the Expression Tool

2.

Double-click above the measure to which you want to attach the marking. The Expression
Selection dialog box appears.

3.

Click the Tempo Marks category.

4.

Click Create. The Expression Designer dialog box appears.

5.

Type any desired text (e.g. Allegro, Largo, etc). If you dont need text prior to the metronome
marking, skip this step.

6.

From the Text Menu, choose Font. Set the font to Maestro 24 point, and click OK. Of course,
you can choose a larger or smaller point size if you want the tempo marking to appear larger or
smaller.

7.

Create the metronome marking by typing the appropriate numbers on the numeric keypad
(with num lock on), while pressing the alt key.

Keystrokes

Resultant marking:

Lower-case x, then alt+0200, then altcharacters

Lower-case e, then alt+0200, then altcharacters

Lower-case q, then alt+0200, then altcharacters

Lower-case q, then lower-case k, then alt+0200, then altcharacters

Lower-case h, then alt+0200, then altcharacters

1660

Lower-case w, then alt+0200, then altcharacters

In the Maestro music font, the x, e, q, h, and w characters correspond to the

,
,
,
, and
symbols, respectively; a lower-case k produces the dot; alt0200 creates the equal sign; and the small
numbers are produced using alt characters according to the table below.

Keystrok
e

Result
ant
markin
g:

Keystrok
e

alt+0193

alt+0164

alt+0170

alt+0166

alt+0163

alt+0165

alt+0162

alt+0187

alt+0176

alt+0188

Result
ant
markin
g:

You can use multiple fonts in the same expression. Simply highlight the text you want to change, and
then, from the Text Menu, choose Font to edit the font, size or style.
6.

To edit the baseline, or vertical positioning of text, highlight the text you want to adjust, and
then from the Text Menu, choose Baseline Shift. The measurement units here correspond to the
units selected under the Edit Menu.

7.

Click OK or Select in each dialog box until you return to the document.

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To move or delete the marking

1.

Click the Expression Tool

2.

Drag the handle to move the marking; select it and press delete to remove it.

To define the metronome marking for playback

1.

Click the Expression Tool

. If you havent yet placed the marking in the score, double-click
any measure. When the palette appears, click the metronome marking, click Edit, then skip to step 4.

2.

Double-click the handle. The Expression Selection dialog box appears.

3.

Click Create or choose an existing expression and click Edit. The Expression Designer dialog
box appears.

4.

Click the Playback tab to display the playback options. From the Type drop-down list menu,
choose Tempo. In the Set to Value box, enter the metronome setting. For example, if your
tempo is q =60 beats per minute, type 60 in the Set to Value box. (You can change the rhythmic

unit by choosing it from the Tempo drop-down list menu; you could, for example, specifyh =60just
as easily.)
5.

Click OK (or press enter).

Note: To easily record, or conduct, a unique
tempo change for any region, use TempoTap.

To create complex metronome markings

The usual method of creating metronome markings (above) is quick and easy, but it cant handle
sophisticated tempo indications like these:

In these cases, you can use Finales Shape Designer to create metronome indications as complex as you
wish.
Weve provided a swing indication as a Shape Expression in your default library. You can use this
indication, duplicate and edit it, or create your own using the Shape Designer.
.

1.

Click the Expression Tool

2.

Double-click a note or measure. The Expression Selection dialog box appears.

3.

Click the Shape radio button. Notice the swing indication in the list.

4.

Select the swing indication and click Duplicate, then Edit. The Shape Expression Designer
dialog box appears. If you would like to create a metronome marking from scratch, click Create,
Select, Create and skip to step 6.

5.

Click Edit. The Shape Designer dialog box appears.

6.

Use the tools in the Shape Designer to design your metronome marking. See Shape Designer
for additional information. You can use the Maestro Times font to place musical characters and
numbers on the same baseline.

7.

Click OK. You return to the Shape Expression Designer dialog box.

8.

Click the Playback tab. Assign the playback effect here. For Type, choose Swing to specify a swing
feel, or Tempo to specify a tempo (beats per minute). For Effect, choose Set to Value and enter the
swing value, or the number of beats per minute (respectively). See Expression Designer - Playback
dialog box for more information.

9.

OK, Select, and OK to return to the score. The shape expression appears.

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To hide the scratch staff

1.

Choose the Staff Tool

2.

Double-click a measure in the scratch staff. The Staff Attributes dialog box appears.

3.

Check Hide Staff and click OK.

1663

MicNotator
For best results with MicNotator, follow these basic guidelines:
The purpose of MicNotator is to allow users to input notes via a wind instrument instead of a MIDI
keyboard. This version of MicNotator is not designed for use with a vocalist (i.e., does not accommodate
wide vibrato, glissandi, etc.). When using MicNotator, keep in mind that the desired result is to notate and
print the music as you want it, not to record your performance. So think of it more like a typewriter and
less like a tape recorder.

Setting up MicNotator
1.

Plug the microphone into your computer. Make sure it is plugged into the Mic In port, not Line In.
If youre using a Mac that does not have a Mic port, you may need a USB to microphone adapter,
such as the iMic from Griffin Technology.

2.

From the MIDI/Audio Menu, choose Audio Setup. Or, click the MicNotator icon on the
MIDI/Audio Menu Toolbar. The Audio Setup Dialog box appears.

3.

Place a checkmark on Enable MicNotator.

4.

Under Mic Level, use the slider to control the microphone input level. THE MIC LEVEL IS
VERY IMPORTANT TO SUCCESSFUL NOTE ENTRY WITH MIC NOTATOR. For best results, use
the small clip-on microphone available from MakeMusic Customer Service at 1.800.843.2066. To set
the mic level, follow these steps:

5.

Place the microphone as follows:

Instrument

Placement

Flute, Piccolo

left side of shirt collar

Bassoon, Oboe, English Horn

shirt above the stomach

Clarinet, Soprano Sax

shirt above the stomach

Alto and Bass Clarinet

music stand

Alto, Tenor and Baritone Sax

neck strap

All brass

outside of bell

6.

Play your instrument and watch the level lights.

7.

Move the slider next to the level light up or down to obtain the correct input level. The lights
should be green most of the time; red is too high, blue is too low. Occasional red readings are
acceptable. To ensure accurate pitch detection, follow the guidelines for mic placement and mic level
above.

Using MicNotator with Speedy Entry

Before you begin, make sure youve set up the MicNotator for your instrument. See Setting Up
MicNotator. Youll need to use the Hands-Free MIDI method (unless you can play one-handed). For more
details, see Speedy Entry.
1.

Click the Speedy Entry Tool

, and click a measure. The editing frame appears.

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2.

Press caps lock; then press the number key on the computer keyboard corresponding to the
value you want to enter. In other words, youre now telling Finale what the note values are going to
be before you specify the pitches.
The number you press appears in the lower-left corner of the editing frame.

3.

Play the notes on your instrument. Each note you play appears in the document; if Jump to Next
Measure is checked in the Speedy Menu, the editing frame advances automatically as soon as you
fill each measure. Its safe to outplay Finale, too; it will remember up to 500 notes (and continue to
notate them as fast as your computer allows).

Using MicNotator with Simple Entry

Make sure youve set up the MicNotator for your instrument. See Setting Up MicNotator. Youll be using
the Simple Entry Caret to do this. For more details, see Simple Entry.
1.

Click the Simple Entry Tool

2.

From the Simple Menu, choose Use MIDI Device for Input.

3.

From the Simple Menu, choose Simple Entry Options, and ensure Use Simple Entry Caret is
checked. Then click OK. The Simple Entry Caret appears.

4.

Click or use the arrow keys to place the caret where you would like to start entering notes.

5.

Choose the duration of the note you want to enter (by clicking a duration icon or pressing its
corresponding keystroke). See Keycuts-Simple Entry Tool for details.

6.

Play the notes on your instrument. Each note you play appears in the document of the duration
selected. Use keystrokes to quickly change durations between notes. Its safe to outplay Finale, too;
it will remember up to 500 notes (and continue to notate them as fast as your computer allows). To
record notes without help from the computer keyboard to specify duration, use the HyperScribe entry
method (see below).

Using MicNotator with HyperScribe

Before you begin, make sure youve set up the MicNotator for your instrument. See Setting Up
MicNotator. For more details about HyperScribe, see Recording with HyperScribe.
MicNotator will notate what you play, so your performance should reflect the desired printed results,
rather than the desired sound. For instance, if you play eighth notes in a staccato style, they may come
out as sixteenth notes rather than eighth notes. So you should play the full duration of all notes. Also, you
will experience better results if you input notes at a slow tempo.
Follow the basic guidelines for quantization that you would use with MIDI input. As a general rule, you
should quantize to the smallest duration that you will play (i.e., if your smallest duration is an eighth,
quantize to the eighth note rather than the sixteenth). The No Tuplets quantization setting produces the
best results. Even if you have triplets in your performance, you will have better results using the No
Tuplets setting and then editing the triplet measures (using the speedy note tool).
If you encounter small rhythmic errors when entering sixteenth note passages, click on the More Settings
in the Quantization Settings dialog box and change the Very Short Notes value from 20 EDUs to 0 EDUs.
1.

From the MIDI/Audio Menu, choose Quantization Settings. The Quantization Settings dialog box
appears.

2.

Click on the More Settings button. The More Quantization Settings dialog box appears.

3.

Under Very Short Notes, click in the Remove Notes Smaller text box and enter 20.

4.

Choose Remove Grace Notes.

5.

Under Options, ensure Include Voice Two and Allow Dotted Rests are unchecked.

6.

Click OK. You return to the Quantization Settings dialog box. Adjust the settings, then click OK. See
Quantization Settings dialog box for more information.

7.

Click the HyperScribe Tool

8.

From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. The Playback
and/or Click dialog box appears. (See Playback and/or Click dialog box) If youd rather provide the
tap or tempo yourself, see Tap Source dialog box.

. The HyperScribe Menu appears.

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9.

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.

10. If you know what tempo you want to record at, enter the tempo into the Tempo text box. If you
prefer to have Finale calculate the tempo for you, click Listen, then tap your mouse in the dialog box
at the desired tempo. Finale will enter the tempo you play.
11. Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay
starting the countoff measures and recording until it receives a start signal. Choose None (Record
Immediately) if you dont want to use a signal to start recordingFinale will immediately start
recording (after playing the countoff if one was specified); choose Any MIDI Data for Finale to start
recording upon receiving any MIDI signal thats played; choose Current Metronome Sound to use the
same MIDI signal as the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain
Pedal to signal the start by depressing the foot pedal; choose Other to define an alternate MIDI
signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box).
12. Deselect Play Staves While Recording or make sure MicNotator is set to a unique input
channel. See Audio Setup dialog box.
13. Click on Click and Countoff to set up your click and countoff options. For details, see Click and
Countoff dialog box.
14. Click OK. You return to the document.
15. From the HyperScribe Menu, choose Record into One Staff. MicNotator only supports single
pitch instruments.
16. To start recording, click the measure in which you want Finale to begin recording. Signal
Finale to start (if you selected a start signal). Click a measure. Or, choose Playback Controls
from the Window Menu, if it isnt already selected. Change the measure if necessary, then click
Record in the Playback Controls.
Note: If you click a measure to start recording,
Finale will start recording into the measure you
clicked, not the measure displayed in the Playback
Controls.
17. When youre finished, if you are providing the beat, give one extra tap. The extra tap is required
to fill out the beat, for the benefit of Finales quantization feature.
18. Click anywhere on the screen to stop recording. If the quantization or split point settings werent
quite right, change them; then click the first measure and try the performance again. HyperScribe will
overwrite whatever music is already on the staff.
Note you can also adjust Finales MIDI In Latency
setting for improved recognition. If notes tend to
appear behind the beat during a recording session,
do the following.
19. From the MIDI/Audio Menu, choose MIDI Setup, and then click the Advanced button.
20. For MIDI In Latency, enter 50 and click OK. Try recording. You may need to experiment with
different values until you find the amount of MIDI latency that works best.

1666

MIDI
MIDI, or Musical Instrument Digital Interface, is the computer language that computers and MIDI
instruments use to speak to each other. If you need help setting up your MIDI system, consult Setting Up
Your MIDI System in Installation & Tutorials. If youre interested in some of the technical aspects of MIDI,
see the More on MIDI.
Dozens of Finale features make use of MIDI. If youre interested in affecting MIDI playback through the
use of graphic expression marks, see Expressions (or see the entry for the individual marking). If you
want to edit a specific MIDI data type, see the entries Key velocity; Start and Stop Times; Patches;
Continuous data; and Pitch wheel.
If youre interested in step-time MIDI input, see Speedy Entry or Simple Entry.For information on
recording and transcribing real-time MIDI performances, see Recording with HyperScribe and
Transcribing a sequence.
To create or transcribe a standard MIDI file for exchanging with sequencer programs, see To export a
MIDI file.
To assign the staves in a piece to MIDI playback channels, see MIDI Terminology MIDI channels. For
information on sending patch changes, see Patches. To synchronize Finales MIDI input or output to that
of an external sequencer or another computer, see MIDI Sync.
You have a wide range of MIDI driver choices and can send and receive MIDI on more than one
instrument per port. Furthermore, supports up to 64 channels.

To copy or erase captured (or edited) MIDI data

Once youve either captured MIDI data or edited MIDI data in the score (using the MIDI Tool), you can
either copy this MIDI data to other parts of the score or erase it completely from a selected region. For
example, if youre creating a piano piece in which the sustain pedal should be pressed at the beginning of
each measure and released at the end, you only have to create this pattern of MIDI controller data once
using the MIDI Tool. Thereafter, you can simply copy the pedaling data from that one measure to any
other measures in the score.
When you erase MIDI data, youre erasing variations from the default value of the particular MIDI data
youre editing. For example, if you erase Key Velocity data from a region, youre effectively restoring the
default velocity value (such as 64) to every note in the region. (You set this default velocity value in the
Base Key Velocity box [choose Playback Controls from the Windows Menu, click the speaker icon].)
Similarly, if you erase Note Duration (Start/Stop Time) data from a region, youre erasing the difference
between the notated attacks and releases of the notes and the actual attack and release points (as
recorded in HyperScribe or edited with the MIDI Tool). In short, youre restoring the playback of the
selected region to a straightforward, perfect rhythmic feel.
. The MIDI Tool

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Menu appears.

2.

From the MIDI Tool Menu, select the MIDI data type you want to erase or copy. Choose Key
Velocities, Note Durations, or Continuous Data; if you choose Continuous Data, a dialog box
appears so that you can specify which kind of MIDI continuous data you want to edit. Click the
appropriate button (Sustain Pedal, Modulation Wheel, and so on), or enter the continuous data
number in the text box. Click OK.

3.

Select the region whose playback data you want to affect. 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.

4.

To erase the selected MIDI data type from the selected region, press Backspace, or use the
Selection Tool to clear Continuous Data.

5.

To copy the selected MIDI data type to another region, drag the selected region so that its
superimposed on the first target measure. If the first target measure is not on-screen, scroll until
you see it. Then, while pressing ctrloption and shift simultaneously, click the first target measure. The

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Copy MIDI Data dialog box appears (unless the first target measure is directly above or below the
first source measure).
6.

Type the number of times you want the material (horizontally) copied. Click OK (or press
enter).

To send an All Notes Off message

On rare occasions, you may encounter a situation called MIDI lock, in which your synthesizer is stuck
on a certain note or chord.
From the MIDI/Audio Menu, choose All Notes Off. Finale sends an all notes off message to
every note of every channel. You should find that, after a moment, the situation is corrected.

To correct erratic MIDI playback

If youre working with a very notey score, you may at times find that your computer gets overwhelmed
by the amount of MIDI data its asked to play. For suggestions, see To correct erratic MIDI playback.

To specify the MIDI device

In order to specify a MIDI device (sound card or MIDI interface), you must first ensure it is properly
installed on your computer. For details, consult your MIDI Device manual.
1.

Choose MIDI Setup from the MIDI/Audio Menu. The MIDI Setup dialog box appears.

2.

Specify the MIDI IN Device (from which you want Finale to receive MIDI input). While Finale can
play back up to eight devices, it only records from one device at a time, and will not address the MIDI
channels on all eight cards discretely.

3.

For MIDI OUT or playback, specify the devices from the drop-down list. If you have more than
one MIDI card installed, specify which one you want to carry MIDI channels 1 through 16 by entering
the number in the Base Channel field.

4.

Click OK (or press enter).

To change a MIDI channel in mid-staff

To change a staffs MIDI channel within a piece, you create an expression thats been defined for
playback as a MIDI channel number.
1.

Click the Expression Tool

2.

Click on, above, or below the note to which you want to attach the channel-change
expression. The Expression Selection dialog box appears.

3.

Click Create. The Expression Designer dialog box appears.

4.

Type the text for your Text Expression. You might want to call an expression that switches
playback to channel 2 To channel 2, for example. To change the font, highlight the text, then from
the Text menu, choose Font. If you want this marking to be invisible, dont type anything at all.

5.

Click the Playback tab. The playback options appear.

6.

From the Type drop-down list menu, choose Channel. Enter the channel number in the Set To
Value box. Click OK or Select in each dialog box until you return to the document.

To move or delete the channel-change expression

1.

Click the Expression Tool

handle appears.

, and click the note to which the expression was attached. Its

2.

Drag the handle to reposition the expression; select it and press delete to remove it.

To assign a staff to more than one MIDI channel

Finale normally allows you to route each staff to a single MIDI channel. For some effects, however, you
may want the staffs contents transmitted on more than one channelfor example, if you want to mix the

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sounds from two different patches. To create this arrangement, you have to create an expression (which
can be invisible, if you like) defined for playback. This markings playback definition involves the creation
of a MIDI data dump.
1.

Click the Expression Tool

; click on, above, or below the note at which the music should
begin playing over additional MIDI channels. The Expression Selection dialog box appears.

2.

Click Create. The Expression Designer dialog box appears.

3.

Enter the text (if any) for your data dump expression. To change the font, highlight the text, then
from the Text Menu, choose Font. (You can leave the text box blank, if you wish.)

4.

Click the Playback tab. The playback options appear.

5.

From the Type drop-down list menu, choose Dump. The Playback Data Dump dialog box
appears.

6.

In the Number of Units text box, enter 2 or 3 (depending on whether you want the staffs
playback routed to a total of 2 or 3 additional MIDI channels). A staff can play over up to three
MIDI channels, including the primary MIDI channel youve established for the staff.

7.

In the first Data box, enter $FF. This code, including the dollar sign, is a special notation that tells
your MIDI Instrument to prepare to receive additional MIDI channel information.

8.

In the next Data text boxes, enter one or two numbers, corresponding to the MIDI channels
you want the staffs 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. (Also be sure to delete the default $00 value from each text box before entering your
MIDI channel numbers.) When Finale plays your score and reaches the expression youre creating, it
will reroute the playback to the MIDI channels youve just specified.

9.

Click OK or Select in each dialog box until you return to the document. You return to the
document.
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 youve specified, create another
expression. Define this expression, too, to have a
Data Dump Playback Definition; however, in the
Data text box that originally displayed the MIDI
channel that you dont want to change at this point,
enter the code $FE. Example: Your first Data
Dump expression added channels 5 and 6 to the
staffs 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 youve 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 staffs 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 dont change this channel
command).

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MIDI files
Finale both imports and exports standard MIDI files. A MIDI file has a format that can be understood by
music programs from different companies, including most sequencer programseven on other operating
systems. If you prefer to compose by improvising in your favorite sequencer, you could save your piece
as a standard MIDI file and let Finale notate it for you.
When you save a MIDI file, Finale saves the instrument name (from the Instrument List) as the track
name. When you open a MIDI file, Finale uses the track name as the staff name (which appears in the
Staff Attributes dialog box).

To import a MIDI file

To create the MIDI file, follow your sequencers instructions. Theres no need to quantize the sequence;
however, youll probably find Finales quantization powers to be more effective than your sequencers.
1.

Choose Open from the File Menu. The Open dialog box appears. The file types are listed in the
drop-down list at the bottom of the window.

2.

Click MIDI File. The names of any available MIDI files appear in the list box.

3.

Double-click the desired document name. The Import MIDI File Options dialog box appears,
listing various transcription options.

4.

Specify the way in which you want the MIDI file extracted onto Finale staves. If you click Tracks
Become Staves, each sequencer track becomes a Finale staff. If you click Channels Become
Staves, the contents of each MIDI channel (regardless of their track assignments) become a Finale
staff. In either case, Finale will choose a clef for each resultant staff based on the range of notes in
the track. (If it discovers that the notes in a track have a very wide range, it will automatically notate
its contents on two staves. See Import MIDI File Options dialog box for details.) For even greater
control over the track and channel extraction, click Set Track-to-Staff List; the Track/Channel
Mapping to Staves dialog box appears, in which you can specify extremely sophisticated track and
channel splitting.

5.

Click Quant Settings. The Quantization Settings dialog box appears.

6.

Click the icon representing your smallest note value.

7.

Choose your quantization type. See Quantization Settings dialog box for more details.

8.

Click More Settings. The More Quantization Settings dialog box appears.

9.

Select the quantization settings you desire. You can select options for grace notes and voice 2,
as well as retain key velocities and note durations. See More Quantization Settings dialog box for
details.

10. Choose Key and Time Signature options. Most MIDI files contain key and time signature
information already, so you usually wont have to change the default selection (Use the Files).
11. If youll want to hear the sequence played back with its original tempo fluctuations and
continuous data (controllers and wheels) data, make sure Tempo Changes and Continuous
Data are selected. These options capture some of the MIDI performance data from your sequence.
12. Click OK (or press enter). Finale transcribes the MIDI File into standard notation. If you discover
that your settings werent quite right, you can close the new Finale document and try againthe
original MIDI file is unaffected by Finales transcription efforts. Or, for smaller sectional changes, use
the Retranscribe function under the MIDI/Audio Menu. For more information about the elements of
the Import MIDI File Options dialog box, see Import MIDI File Options dialog box and
Retranscription.

To export a MIDI file

1.

Prepare your Finale file. Keep in mind that any playback data will be retained in the MIDI file. This
includes tempo changes (for those sequencers that support a tempo, or conductor, track), dynamics,
pitch wheel data, MIDI channel assignments, in addition to Human Playback settings configured in
the Playback Settings dialog box. To export a specific region, in the Playback Settings dialog box,

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check Observe Playback Region when saving to MIDI or audio file, and the specify the region you
would like to export in the options above.
Be sure to specify other important playback options in the Playback/Record Options dialog box
(choose Playback Controls from the Window Menu; click the expand arrow; click Playback/Record
Options). Remember that you are exporting a MIDI file, text and layout will not be retained in this
format.
2.

Make sure that you have assigned Instruments correctly (one for each resultant sequencer
track). When Finale creates a MIDI sequencer file, it places the music youve assigned to each
Instrument in the Instrument List dialog box in a separate sequencer track. Therefore, make sure the
Instrument configuration is set up the same way you want the resultant tracks set up. See MIDI
channels for further instructions.

3.

Choose Save As from the File Menu. The Save As dialog box appears.

4.

From the List Files of Type: drop down list choose MIDI File, and enter a title in the text box.
Note, too, that you dont have to click anything if you add the suffix .MID (including the period) at
the end of the title, as in Overture.MID; if you do this, Finale automatically saves your document as
a MIDI file.

5.

Click Save (or press enter). Finale now asks which type of MIDI file you want to create: Format 1
(multiple tracks), Format 0 (a single, multichannel track), or just a tempo map. Format 1 is by far the
most common format. Also, choose whether you want to save any bookmarks you created in Finale
as sequencer marks in your MIDI file.

6.

Select a MIDI file format by clicking the appropriate button.

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MIDI Sync
MIDI Sync signals, often referred to as Song Pointer data, consist of a stream of MIDI data that allows
two sequencers or computers to perfectly synchronize their playback or recording (providing both are
equipped to interpret this data). Finale can both transmit and receive MIDI Sync data; in other words, you
can either use Finale to drive external sequencers so that they all play back together, or you can record
new music in Finale (or listen to a playback of a Finale document) along with the tempo track of a
sequencer thats sending MIDI Sync data. (Finale supports MIDI clock signals as well as SMPTE MIDI
Time Code. See SMPTE and MIDI Time Code.)

To transmit MIDI Sync data while playing back a Finale document

Finale sends MIDI Sync (Song Pointer data) when youre playing back music in the Transcription window,
or when youre using the Playback Controls. Send MIDI Sync must be selected in the MIDI Setup dialog
box.
Follow these instructions if you want Finale to be the master device and an external sequencer to be the
slave (in other words, Finale is providing the synchronization signal).
1.

Choose Send MIDI Sync from the MIDI/Audio Menu.From now on, Finale will transmit MIDI Sync
(Song Pointer data) any time it plays back your document. If you have connected your computer to
an external sequencer (or another computer) configured to interpret this kind of MIDI message, it will
wait in pause mode until Finale begins to play, at which point the two will play in synchronization.

To receive MIDI Sync data while playing back a Finale document

Follow these instructions if you want Finale to be the slave device and an external sequencer to be the
master (in other words, the external sequencer is providing the synchronization signal).
1.

From the Window Menu, choose Playback Controls if they are not already visible.

2.

Click the speaker icon to show the Playback Settings dialog box. Make sure Scrolling
Playabck is unchecked and click OK.

3.

From the Document Menu, choose Sync and Video Options. The Sync and Video Options dialog
box appears.

4.

Select MIDI Sync, and then click OK. Finale now waits for a MIDI Sync signal from the external
sequencer. Once the external sequencer begins to play, Finale will automatically sync up to it,
playing precisely together with it, even if you jump forward or backward in the external sequence.

5.

Click Play. Finale will wait for the MIDI Sync data from the other MIDI device before playing the
music.

To transmitMIDISyncdatawhilerecordingintheTranscription Mode
You can transmit MIDI Sync signals during either recording or playing back in the Transcription Tool. You
might want to set up this configuration if, for example, you want to record a new track with a drum
machine as accompaniment. Using this technique, Finale will drive the drum machine as you record
new music in the Transcription window. Finale supports MIDI clock signals as well as SMPTE and MIDI
Time Code.
1.

Click the HyperScribe Tool

select Transcription Mode and click a measure. The measure
you click will be the first measure of the resultant transcription. You enter the Transcription window.

2.

Choose Click Output from the Time Tag Menu. The Click Output Type dialog box appears.

3.

Click Send MIDI Sync. Click OK (or press enter).

4.

Enter Time Tags in the usual way. You can record Time Tags either by tapping a key or pedal, or
by telling Finale to enter them automatically (using the Set To text box). You can find full instructions
for the first method of entering Time Tags under Transcribing a sequence, and for the second
method under Metronome markings.

5.

Under the words Time Tag, click Play. Proceed with your playback or recording as usual. Finale
will transmit MIDI Sync (song pointer data) instead of providing an audible click. If you have

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connected the 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 synchronization.

To use the MIDI Sync signal to provide the tap in HyperScribe

Normally, when youre transcribing music in HyperScribe, you tap a key or pedal to provide Finale with a
tempo reference. If youre using HyperScribe to transcribe music being played by an external sequencer,
however, the sequencer can provide the tempo reference by itself by transmitting MIDI Sync signals.
Finale supports MIDI clock signals but does not recieve SMPTE, MIDI Time Code, or MIDI Machine
Control.
. The HyperScribe Menu appears.

1.

Click the HyperScribe Tool

2.

From the Beat Source submenu of the HyperScribe Menu, choose External MIDI Sync.
Proceed with the usual HyperScribe preparations, concluding by clicking the first measure in which
you want the transcription to appear. Finale will wait in pause mode until it receives the MIDI Sync
signal, at which point it will automatically sync up to it, transcribing the music as it goes. No tapping
is needed.

To transmit Song Pointer data during playback

1.

Choose MIDI Setup from the MIDI/Audio Menu. The MIDI Setup dialog box appears.

2.

Select Send MIDI Sync. Click OK (or press enter). You may also choose Click Output from the
Time Tag Menu, and select Send MIDI Sync; Finale will now transmit this information instead of an
audible click.

1673

Minor keys
Finale defaults to a major key system, where the scale that begins on C has no sharps or flats. In such a
key system, C is considered by Finale to be scale degree zero of the scale with no sharps or flats (C
major). You can, however, tell Finale that youre working in a minor key, where the scale that begins on C
has three flats (for example), and in the scale with no sharps or flats (A minor), C is not the root.
If you follow the instructions below, youll notice two significant changes in Finales behavior. First, when
you create chord symbols, their descriptions in the Chord Definition dialog box will be accurate (the root
of an A minor chord in a scale with no sharps or flats will be labeled 1, not 6). Second, if youre
transcribing music using HyperScribe or the Transcription Mode, youll discover that accidentals are
transcribed with greater accuracy. In A minor, for example, the note between G and A will be notated as a
G (instead of an A , as it would be called in C major).

To establish a minor key system

1.

Click the Key Signature Tool

; then double-click the measure where the minor key is to
begin. The Key Signatures dialog box appears.

2.

From the drop-down list menu next to the scroll bar, choose Minor Key.

3.

Use the scroll bars at the top of the window to set the minor key signature you want. If you
want to select A minor, leave the default key signature (no sharps or flats).

4.

Specify the range of measures you want to be affected by the key change.

5.

Specify the transposition effect. The three choices are: Transpose Notes, in which any existing
music will be transposed to the new key; Hold Notes to Original Pitches, Chromatically, which
holds each note at its original absolute pitch, maintaining the original spelling of the note, (for
example, a G in the key of E will remain a G in the key of E ), or Enharmonically, in which the
spelling of the accidentals is adjusted where necessary (for example a G becomes an A in the key
of E ); Hold Notes to Same Staff Lines (Modally), in which each existing note remains on its
original line or space, but no new accidentals appear. If you select Transpose Notes, choose either
Up or Down from the drop-down list menu to specify the direction in which you want the music
transposed.

6.

Click OK (or press enter).

1674

Mirroring
To create a mirror (intelligent copy)
You can only make mirrors in measures that are currently empty.
, and from the Mirror Menu, choose Dragging Mirrors Measures.

1.

Click the Mirror Tool

2.

Select the music that will serve as the source of the copies.

3.

Drag the selection so that its superimposed on the first target measure. Remember, the target
measures must be empty. If the first target measure is offscreen, scroll to it; then, while pressing ctrl
and shift simultaneously, click it. In either case, the Mirror Attributes dialog box appears.

4.

If you want the mirror to be transposed in relation to the source measure, click Transposition,
specify the interval, and click OK. For example, if youre doubling a violin line in the cellos, youd
probably want to transpose the mirror (the cello copy) down an octave or two. In this case, youd
choose Down, Diatonically, and Octave from the drop-down lists menus.

5.

Specify any elements of the source music that you dont want to appear in the copy. To do so,
click Dont Draw, and then click the elements you dont want to appear (Lyrics, Chords, or Beam
Extensions, for example).

6.

Click OK (or press enter).

To identify mirrored measures in the score

From the Window Menu, choose Advanced Tools. Click the Mirror Tool
appears on any measure thats a mirror of a normal measure.

. A mirror icon

To convert mirrored measures into normal measures

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

From the Utilities Menu, choose Check Notation, then Convert Mirrors. A dialog box appears,
asking you to confirm your decision.

3.

Click Yes.

To create a composite mirror

Using the Mirror Tool, you can create a measure that contains intelligent copies of individual notes from
several normal measures. The resulting patchwork measure is called a composite mirror.
Note: Composite mirroring combines notes from
different measures into a single measure. If you
want to create a mirror consisting of selected notes
from a single measure, copy the entire measure
(see To create a mirror, above), and see To
rebeam or edit an existing mirror, below, for
instructions on choosing selective elements of it.
1.

From the Window Menu, choose Advanced Tools. Click the Mirror Tool
; then doubleclick an empty measure (the target measure). The Tilting Mirror dialog box appears, so called
because it can be made to reflect the contents of any other measure in the score. At the moment,
the Tilting Mirror dialog box is blank.

2.

Click the up, down, left, or right arrow buttons to maneuver your window on the score to
the measure whose notes you want to mirror. Click the up arrow to move up a staff, the right
arrow to move to the next measure, and so on. As you proceed, youll see the contents of each

1675

measure you view, adjusted for the target measures clef. (If you move your view to another
mirrored measure, it appears blank in this window.)
3.

When youre viewing a measure whose notes you want to mirror, drag the cut bar handles
inward to enclose the desired notes. The cut bars are the dotted lines at each end of the
window, whose handles you drag to move them.

4.

Click Next. Finale keeps track of the notes you just selected and restores the cut bars to the ends of
the window, ready for another set of notes.

5.

Repeat the last three steps, as necessary. Use the arrows to locate the measure, the cut bars to
identify the notes, and click Next to add the selected notes to the target measure. To remove one of
the elements of your composite mirror, click the Prev (or Next) button until the notes appear in the
window; then click Delete. If you want to insert a new selection between two existing ones, click the
Prev or Next buttons until youre viewing the selection after the insertion point; then click Insert. Use
the directional arrows and cut bars as usual.

6.

Click OK. The Mirror Attributes dialog box appears. Specify a transposition, and specify musical
items to ignore (Dont Draw), as needed.

7.

Click OK (or press enter). The composite measure appears in the score with a mirror icon. If any of
your measure-fragment selections were blank, any selections after the blank selection are ignored.

To rebeam or edit an existing mirror

1.

From the Window Menu, choose Advanced Tools. Click the Mirror Tool
double-click the mirrored measure. The Mirror Attributes window appears.

, and shift-

2.

If you want to rebeam the notes in the measure, click Rebeam, and specify a rebeaming
option. Rebeam to Time Signature beams the notes in the usual way, correcting any peculiar
beaming that arose from the use of composite mirroring. If you click Rebeam to Beam Chart, a
window appears with a handle on each eighth (or smaller value) note in the measure. In this window,
you break the beam to a note (from the previous note) by clicking its handle. Any notes whose
handles you havent selected will be beamed when you return to the document. (To beam all notes
together, select the first handle in the measure.) Click OK when youre finished.

3.

If you want the mirror to display only selected notes (instead of all notes) from the source
measure, click Selective Mirror ID. A picture of the complete composite mirror appears, with a
handle on every note. Click the handles of the notes you want to include in this sub-selection of your
composite mirror, known as a selective mirror. Any handles you dont select will be omitted from the
final display of the measure (or turned into rests). You can use a selective mirror to select the melody
notes within a triadic passage, for example. Click OK when youre finished selecting handles.

4.

Specify a transposition, if desired. Click OK.

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Mordents
A mordent is a form of ornament, akin to a turn (or gruppetto), denoted by the symbol (e.g.
)
placed over a note. For complete instructions on creating and manipulating articulation markings, see
Articulations. You cant define the Articulation mordent for playback. You can, however, create a mordent
marking as an expression and define it for playback.

1677

Multimeasure rests

You can create a multimeasure rest (or sometimes referred to as a block rest) many different ways with
Finale. One way is by generating parts or turning on Special Part Extraction. This will create
multimeasure rests in your entire score, and all the rests will look the same. See Multimeasure Rests in
linked parts and To temporarily view a part using Special Part Extraction.
You can also use the Measure Tool to quickly create multimeasure rests in a selected region or for the
entire piece. You can change the appearance of a single multimeasure rest without affecting the
appearance of the other rests in the score. Also, you can choose to use shapes and/or symbols for
multimeasure rests in the same piece, and control when Finale should display the number which
indicates how many measures are in the rest.
Note: You must be in Page View to use the Break,
Create, or Edit multimeasure rest commands.

To set up the appearance of multimeasure rests

Use the Multimeasure Rest command in the Multimeasure Rest section of the Document Options to set
up the default appearance of most of the rests in your score.
1.

From the Document Menu, choose Document Options and select Multimeasure Rest.

2.

Specify how you want the multimeasure rests to appear when you use Extract Parts (in the
File Menu), when you turn on Special Part Extraction (in the Document Menu) for one or more
staves, or when you choose Create (in the Measure Menus Multimeasure Rests submenu. For
details about the settings in this set of options, see Document Options-Multimeasure Rests.

3.

Optional: If you want to use a Shape to notate multimeasure rests, make sure that Start
Numbering at ___ Measures is set to two measures. Finale will display a number on all
multimeasure rests in your score. If you prefer that no number appearsas when using the new
symbolic rest style, for exampleenter the number of measures to be included in a multimeasure
rest before Finale will display the number.

4.

Click OK when your settings are complete. Finale uses these settings when you create
multimeasure rests in the score. If you need to change the settings for a single multimeasure rest,
use the Edit command in the Multimeasure Rests submenu (in the Measure Menu).

To display symbols for multimeasure rests

1678

1.

From the Document Menu, choose Document Options and select Multimeasure Rests.

2.

Select Use Symbols for Less Than ___ Measures. Finales default number of measures for using
rest symbols (instead of shapes) is nine. Symbols are usually used for rests containing up to eight
measures, and shapes are used for rests containing nine or more measures.

3.

Optional: If you want to use symbols for multimeasure rests containing fewer or more
measures than the default of nine measures, enter the number of measures in the Use
Symbols for Less Than ___ Measures text box.

4.

Click OK when your settings are complete. Finale uses these settings when you create
multimeasure rests in the score. If you need to change the settings for a single multimeasure rest,
use the Edit command in the Multimeasure Rests submenu (in the Measure Menu).

To create a multimeasure rest

When you create parts using Finales Linked Parts and Special Part Extraction commands, Finale groups
all empty measures into multimeasure rests. If you would rather control which measures get combined
into multimeasure rests, you can select the measures that you want to combine into a multimeasure rest
in your score.
.

1.

Choose the Selection Tool

2.

Select the region that contains the measures you want to display as a multi-measure rest. You
can also select your whole score. (You must be in Page View to do this.)

3.

From the Edit Menu, chose Multimeasure Rests > Create. Finale creates multimeasure rests in
the selected region, using the same rules as when you use Special Part Extraction to create rests
breaking them at key and time signatures, or when youve selected Break a Multimeasure Rest in the
Measure Attributes dialog box for the measure. In order for measures to be grouped, they must
contain default whole rests. If a whole rest was entered in a measure, that measure will not be
included in a multimeasure rest until you erase the whole rest (using the Simple Entry or Speedy
Entry tools, or the Edit Menu's Clear commands).

4.

Choose Update Layout from the Utilities Menu to ensure that Finale is displaying the current
layout of the score.

To break a multimeasure rest

When you create parts, Finale groups all empty measures into multimeasure rests. You can now break
one or more multimeasure rests into separate measures. For example, you might prefer that measures
are written out if less than four consecutive measures are empty, or you might want to break a single
multimeasure rest into two or more rests.
1.

Choose the Selection Tool

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2.

Select the multimeasure rest to break. To break more than one multimeasure rest, select a
region that contains the rests. (Remember that you must be in Page View to do this.)

3.

From the Edit Menu, chose Multimeasure Rests > Break, or right-click on the multimeasure
rest and choose Multimeasure Rests > Remove. Finale breaks the multimeasure rests in the
selected region into separate measures of rests.

4.

Choose Update Layout from the Utilities Menu to ensure that Finale is displaying the current
layout of the score.

To edit the appearance of a multimeasure rest

When you edit a multimeasure rest using the Measure Menu, youll change the appearance of the
selected rest only. (If more than one multimeasure rest is selected, Finale changes only the first rest in
the region.)
Note: If you find that youre using the Edit
command frequently to change rests, consider
changing the global settings in the Document
Menu. See To set up the appearance of
multimeasure rests.
1.

Choose the Selection Tool

2.

Select the multimeasure rest you want to change. (You must be in Page View to do this.)

3.

From the Edit Menu, choose Multimeasure Rests > Edit.

4.

Specify the settings that you want Finale to use for this multimeasure rest.

5.

Click OK to return to the document, where Finale displays your new settings.

6.

Choose Update Layout from the Utilities Menu to ensure that Finale is displaying the current
layout of the score.

To display a measure number range for a multimeasure rest

1.

Click the Measure Tool

2.

From the Measure Menu, choose Edit Measure Number Regions.

3.

Click Show Measure Number Ranges on Multimeasure Rests. Additionally you can click Always
Show on Multimeasure Rests force ranges no matter what the other settings.

4.

If your measure number is not displayed, choose Show Number from the Measure Numbers
submenu of the Measure Menu. The current multimeasure rest is not designated to show in the
current measure number region, show it must be forced on.

1680

Multiple key signatures

You can create a score in which each staff has a different key signature. Note that the presence of
multiple simultaneous key signatures isnt the same thing as establishing staves for transposing
instruments (trumpet and clarinet, for example), in which various staves are notated in different keys but,
in fact, all sound in the same key. To find out how to handle transposing instrumentsfor which Finale
correctly changes the key signature automaticallysee Transposing instruments.

To create multiple simultaneous key signatures

1.

Click the Staff Tool

, and double-click the first staff whose key you want to make
independent. The Staff Attributes dialog box for the selected staff appears.

2.

Under the Independent Elements heading, select Key Signature. You have to click this checkbox
for each staff that will be in an independent key. If you have several staves to prepare this way, dont
exit the Staff Attributes dialog box; choose the next staff from the drop-down list menu at the top of
the dialog box.

3.

Click OK (or press enter). You return to the document. If you now click the Key Signature Tool, a
handle appears on every measure that youve enabled to have an independent key signature.

1681

Multiple passes and endings

You can define as many passes for an ending as you wish. As you define multiple passes for an ending,
Finale defines playback for you automatically.

To create multiple passes for a repeat ending

1.

Click the Repeat Tool

; and highlight the measure(s) you want to place the ending above.

2.

Right-click the highlighted region and select Create Ending. Or, from the Repeat Menu,
choose Create Ending. The Create Ending dialog box appears.

3.

For Ending Numbers, enter the passes you want to include for this ending, separated by
commas. If you want to add several consecutive passes, use a hyphen (for the image above, for
example, you would enter 1-4).

4.

If you want playback to skip over these measures after the final pass and resume at the next
ending, for Target, choose Next Ending. You can also specify a different target using the options
in this drop-down menu.

5.

If you want a backward repeat bar to appear at the end of this region (as shown above),
ensure Create Backward Repeat Bar is checked. The backward repeat bar is defined to jump to
the nearest forward repeat. To edit the target for a backward repeat bar, double-click its handle to
open the Backward Repeat Bar Assignment dialog box. Now, if you want to specify the staves in
which you want this ending to appear, select or create a staff list in the Create/Edit Ending dialog box
and Backward Repeat Bar Assignment dialog box.

6.

Click OK. The ending appears in the score. Now, to create a final ending, do the following:

7.

Right-click the measure following the ending you just created and choose Create Ending. Or,
highlight the measure following the ending you just created, then from the Repeat Menu, choose
Create Ending.

8.

Enter the desired number(s) after Ending Number(s). Separate with commas or a hyphen as
described earlier.

9.

For Target, click the drop-down menu and select Never Skip Ending.

10. Uncheck Create Backward Repeat Bar.

11. Click OK. Now, after the final pass of the ending defined earlier, playback will skip to this ending.

To create multiple endings

You can easily create three or more endings by manually defining repeat endings.

1682

1.

Click the Repeat Tool

ending.

2.

Right-click the highlighted region and select Create Ending. Or, from the Repeat Menu, choose
Create Ending. The Create Ending dialog box appears.

3.

For Ending Numbers, enter the number(s) you want to appear in this ending. These numbers
also indicate on which passes this ending is played.

4.

If you want a backward repeat bar to appear at the end of this region (as shown above),
ensure Create Backward Repeat Bar is checked.

5.

Now, to assign these endings to certain staves, select or create a staff list. For more
information, see Staff List dialog box.

6.

Click OK. The ending appears in the score.

7.

Right-click the measure following the ending you just created and choose Create Ending. (Or,
if the ending is more than one measure long, highlight the region of measures, Right-click the
region and choose Create Ending.) The Ending Number is already defined for you. Change this
number or add additional numbers if necessary (separated multiple numbers with commas or a
hyphen to indicate a range of numbers).

8.

If you want a backward repeat bar to appear at the end of this region (as shown above),
ensure Create Backward Repeat Bar is checked.

9.

Repeat steps 6, 7, and 8 for any number of additional endings you wish to create.

; and highlight the measure(s) in which you want to place the first

10. When defining the final ending, for Target, click the drop-down menu and select Never Skip
Ending. Then, uncheck Create Backward Repeat Bar.
11. Click OK. The backward repeat bar for each ending is defined to jump to the nearest forward repeat.
To edit the target for a backward repeat bar, double-click its handle to open the Backward Repeat
Bar Assignment dialog box.

1683

Multiple time signatures

With the following technique, you can create a score in which each staff has a different time signature.
The staves wont play back in different meters, but the music in all staves will be spaced (and beamed)
correctly.

To create multiple time signatures

1.

Click the Staff Tool

, and double click the first staff whose time signature you want to
make independent. The Staff Attributes dialog box for the selected staff appears.

2.

Under the heading Independent Elements, select Time Signature. You have to click this
checkbox for each staff that will be in an independent time. If you have several staves to prepare this
way, dont exit the Staff Attributes dialog box; choose the next staff from the drop-down list at the top
of the dialog box.

3.

Click OK (or press enter). You return to the document. If you now click the Time Signature Tool, a
handle appears on every staff youve enabled to have an independent time signature. To change
the time signature for an independent time signature staff, click the Time Signature Tool, and then
click a measure of it. The Time Signature dialog box appears, so that you can set the time in the
usual way.

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Multiple voices
You can have up to eight independent musical
lines per staff.
Finale offers three methods for working with inner
voices: the Layer mechanism, the Voice 1/Voice
2 mechanism, and superimposing staves. Youll
probably find it easiest and quickest to work with
the Layer system, which treats each staff as four transparent layers, if youre entering music in step time
(Simple Entry or Speedy Entry tools). HyperScribe automatically transcribes inner voices with the Voice
1/Voice 2 feature.
The Voice 1/Voice 2 and four-Layer mechanisms are both capable of generating flexible stems-up/stemsdown notation, and the two mechanisms can be combined (giving you a total of eight independent
voices). If you have even more complex inner-voice relationships, you can use the superimposed-staves
technique (see below) as well.

To enter multiple voices using layers

Each staff in Finale has four transparent layers of music. Each layer can play back over a different MIDI
channel and synthesizer patch, and each can have its own dynamics. You can view one layer at a time,
or all simultaneously. When youre placing expression marks, you can tell which layer is receiving the
mark by the indicator in the lower-left corner of the screen, which identifies the current layer by number.
(You can switch from one layer to the other by clicking the layer buttons.)
Finally, each layer may be taught to flip its stems up or down automatically, to help distinguish the
multiple voices.
1.

From the Document Menu, choose Document Options, then select Layers. The Layer options
appear, letting you specify the characteristics of each layer. In general, youll want the stems of
Layer 1 to flip up, but only when Layer 2 is present, and the stems of Layer 2 to flip down, but only
when Layer 1 is presentand so on. Furthermore, youll probably want ties to flip the wrong way
in other words, if there are notes in Layer 2, youll want ties in Layer 1 to flip upward, even though
the Layer 1 stems are upward.
Therefore, youll probably want to select options as follows. For Layer 1, choose Up from the
Freeze Stems drop-down list menu; select Freeze Ties in the Same Direction as Stems; and select
Apply Settings Only if Notes are in Other Layers. For Layer 2, choose Down from the Freeze
Stems drop-down list menu; select Freeze Ties in the Same Direction as Stems; and select Apply
Settings Only if Notes are in Other Layers. The settings for Layers 3 and 4 are up to you, since
their stem and tie directions probably depend on the piece youre notating.
In addition, you may wish to specify that the placement of rests in one layer is such that they dont
get in the way of notes in another. You tell Finale how far out of the way you want these rests to
appear by entering numbers into the Adjust Floating Rests By text box. This text box measures the
distance, in lines and spaces, from the center line of the staff. In the usual situation, youd enter a
positive number for Layer 1 (such as 6), and a negative number for Layer 2 (such as -6).
If you choose not to use the Adjust Floating Rests option, dont worryyou can always drag rests
vertically later.

2.

Specify stem direction, tie direction, and rest placement for each layer.

3.

Click OK (or press enter). If you like, choose Show Active Layer Only from the View Menu. When
this option is selected, only the current layer (as indicated by the drop-down list menu in the lowerleft corner of the window) is visible; the other layers are hidden. You can switch to another layer by
clicking the Layer push buttons menu.

4.

Choose the layer you want to edit first, using the Layer push buttons menu in the lower left
corner of the screen.

5.

Click the Speedy Entry Tool a, and click a measure in which you want to enter music. The
editing frame appears. Enter the music for the first layer in the usual way (see Speedy Entry).

1685

6.

Press shift- (apostrophe) The editing frame flips to the next layer, and the first layer is dimmed.
(Shift- cycles you through the four layers from Layer 1 to Layer 4.) You can now enter and edit
music in this layer.

7.

To flip an individual stem, position the cursor on it and press the L key. Press L again to make
it flip back.

8.

If you need to adjust colliding noteheads, use Music Spacing. See Document Options-Music
Spacing for more information.

9.

To drag a rest, position the cursor on it and press the asterisk (*); then drag it up or down. If
you want the rest to snap back to its default position, position the cursor on it and press the asterisk
(*) key again.

10. To hide a note or rest, position the cursor on it and press the letter O key. Press O again to
restore the entry. Use this feature to hide a Layer 2 half rest, for example, to give the appearance of
a second voice entering on the third beat. See also Notes and Rests (Hide) Plug-in, Notes and Rests
(Show) Plug-in.
11. Press zero (0) to exit the editing frame. When you use the Selection Tool to copy music, youll
copy whichever layer or layers are showing. To copy Layer 1 only, for example, choose Show Active
Layer Only from the View Menu, and choose Layer 1 from the layer push buttons (lower-left corner of
screen); copy in the usual way (see Copying music).

To move music from one layer to another

1.

Click the Selection Tool

, and select a region of music. See Selecting music for some
region-selecting shortcuts, but note that, for this procedure, you must select a region of complete
measures.

2.

From the Edit Menu, choose Move/Copy Layers. The Move/Copy Layers dialog box appears.

3.

Specify how you want the layers contents moved. For example, to move the contents of Layer 2
into Layer 3, select Move Contents of Layer 2 into and choose Layer 3 from the drop-down list menu.
Be careful how you use the elements of this dialog box. If you set it up incorrectly, you could lose
musicfor example, if you direct Finale to place the contents of one layer into a layer that already
contains music. (Finale will warn you.)

4.

Click OK (or press enter).

To enter multiple voices using V1/V2

You can also have two independent voices within each layer, called Voice 1 and Voice 2 (or V1/V2, as
theyre called in the Speedy Entry editing frame).
1.

and click a measure in which you want to enter music.

Click the Speedy Entry Tool
Unlike the layer mechanism, in which it doesnt matter which musical line you notate first, you must
enter Voice 1 first when working with the V1/V2 mechanism. In general, its best to enter the longer
note values first.

2.

Enter the notes of the first voice (Voice 1). First doesnt necessarily mean upper. V1 and V2
may have their stems up or down at any point.

3.

Press the arrow keys to move the insertion point to the Voice 1 note at which the first Voice 2
note is to appear. A Voice 2 musical line may materialize at any point in the measure, as long as its
been launched from an existing Voice 1 note. Indeed, you can have several launches within a
measure (although you cant beam together Voice 2 notes that have been launched from different
Voice 1 notes).

4.

To enter Voice 2, press the apostrophe (') key. The indicator now reads V2. The insertion bar is
offset slightly from the Voice 1 note to remind you that youre now editing a second voice.

5.

Enter the notes of the second voice (Voice 2). You may notice that the note stems dont always
flip in the proper directions.

6.

To correct note stem directions, switch to the correct voice by pressing the apostrophe key.
Move the cursor to the note in question by pressing the arrow keys. Press the L key to freeze
the stem in the opposite direction. When a stem is frozen up or down, its no longer free to

1686

change directions if it gets transposed. To restore a stem to its floating status, position the insertion
bar on the note and press ctrl-L.
You can move rests up or down, too. If the rest is in Voice 1 or 2, you can simply drag it. If you later
want the rest to snap back to its default position, position the cursor on it and press the asterisk (*)
key.

To enter additional voices by superimposing staves

If your music requires more than the eight voices available through the use of layers and V1/V2, you can
superimpose two or more staves on top of one another to accommodate the extra voices. Those who
prefer to use layers might use this method whenever more than four independent voices are required in a
staff.
1.

Enter notes into one staff with the first four layers, and use the V1/V2 method to add an
additional voice on each layer if desired.

2.

Choose the Staff Tool and create a new staff with the same properties, such as transposition
and clef, as the existing staff. You might use the New Staves (with Setup Wizard) option (under
the Staff Menu) to do this, or configure the staff manually in the Staff Attributes dialog box. See Staff
Tool for more details.

3.

Enter the remaining voices in the new staff using layers and the V1/V2 method.

4.

Click the handle on the new staff and drag, or use the arrow keys to nudge it on top of the
original staff. Use the Zoom Tool to zoom in and insure the new staff is positioned directly over the
original staff. By superimposing two staves, you have twice the number of possible voices.

1687

Music spacing
Music spacing is automatically applied when you enter music into Finale. However, if you decide to turn
off Automatic Music Spacing, the spacing is linear; in other words, a whole note gets exactly the same
horizontal space as four quarter notes. Furthermore, this newly-entered music may contain collisions
between lyric syllables, overlapping chord symbols, and crowded 32nd notes.
One of Finales most important featuresand one not found in any other notation programis its many
customizable music spacing options. Finale can apply a sophisticated system of width allotments to each
note of your document or scale all note durations proportionally. This feature is modeled on traditional
professional music typesetting, where the engraver would consult a table of width measurements for
each note value. The result is nonlinear spacing, where notes of different duration occupy only as much
space as they need. Music Spacing Options have the added benefit of neatly adding additional space to
each measure, as necessary, to accommodate lyrics, chord symbols, and notey passages.
In Finale, the width tables used to space the music are stored in Music Spacing Libraries. Spacing tables
are width measurements, one per rhythmic value. For example, in the library called Loose Spacing, a
quarter note is given 1/3 inch of width and an eighth note is given 1/4 inch. By spacing your music with
the aid of a Music Spacing Library, you can create extremely professional-looking scores, which are
neither wider nor narrower than they need to be. See Finale Libraries for more Music Spacing Libraries.
You apply a music spacing to your music using the Music Spacing command or you can use the default
Automatic Music Spacing option that applies music spacing as you enter notes or edit your music.
This example is
spaced with Beat
Spacing. Each beat is
spaced non-linearly
first, then spaced
within the beat
linearly.
This example is
spaced with Note
Spacing. Each note is
spaced non-linearly.

This example is
spaced with Time
Signature Spacing.
Each note is spaced
linearly.

You can edit Finales Music Spacing libraries so that they distribute width differently, and you can also
create your own Music Spacing Libraries. Aside from the tables, you can use a scaling factor to smoothly
set the relationship between the different note durations in you document. The picture below illustrates
this difference between Time Signature Spacing (or a scaling factor of 2.0) and a Fibonacci scaling factor
of 1.618.

1688

For information regarding the relationship between music spacing the score and linked parts, see Music
Spacing in linked parts.

To turn off Automatic Music Spacing

From the Edit Menu, choose Program Options, then Edit. Uncheck Automatic Music Spacing.
When the checkmark is not shown, Automatic Music Spacing is not enabled. Check the box to turn it
back on.

To load an Music Spacing library into an open document

1.

From the File Menu, choose Load Library. The Open dialog box appears, letting you navigate
through the folders on your disk. Find and open the Libraries folder.

2.

Double-click the name of the desired Music Spacing Library.

To reapply music spacing over a region

1.

Click the Selection Tool

2.

Select the music you want to respace. In general, youll want to select all the staves in a system. If
you select only one staff, for example, you could get unexpected results, because the respacing
command sets the measure widths for all staves according to the spacing of the selected region.
Thus, if you select and respace measure 1 in the flute staff, which contains only a whole note, the
running eighth notes in another staffs measure 1 will be compressed and overlapping.

3.

From the Music Spacing submenu of the Utilities Menu, choose either Apply Beat Spacing or
Apply Note Spacing. If you use Beat Spacing, Finale calculates where each beat should be
positioned in the measure; any notes within the beat are spaced linearly (where an eighth note gets
half as much space as a quarter note, and so on). If you use Note Spacing, Finale uses the table of
values to determine the exact position of each note or rest in a measure. Thus, the Note Spacing
command provides more exact spacing than does the Beat Spacing command. Either command
takes time. But when done processing, youll find that your music has been carefully respaced
according to the Music Spacing Librarys specifications. Note: For a more complete discussion of
Finales spacing feature, see Document Options-Music Spacing. The final step is extremely
important:

4.

Choose Update Layout from the Options Menu. The Music Spacing commands are responsible
for laying out the notes within each measure. In doing so, Finale adjusts the widths of the selected
measures, and they may no longer fit neatly into one line of music across the page. The Update
Layout command is responsible for laying out the measures across the page; it justifies the
measures with the page margins.

1689

If you dont choose Update Layout after respacing your music, you may find measures at the ends of
systems in Page View that seem much too wide or too narrow. (Choosing Update Layout will solve the
problem immediately.)
Note: When Finale spaces the notes of your
document, it widens the selected measures as
necessary to make room for lyrics, if any. If you
choose Music Spacing in the Document Options
dialog box, youll discover that there are other
elements you can take into consideration when
spacing measures: chord symbols, and
accidentals, for example. Select the appropriate
checkboxes, and click OK.

To edit an existing Music Spacing library

Finales music spacing libraries were constructed by listing rhythmic valuesfrom 64th note to double
whole noteand assigning each a horizontal space measurement. Depending on your own tastes, you
may sometimes want to alter the music spacing libraries.
1.

Load an existing Music Spacing Library as described above.

2.

From the Document Menu, choose Document Options and select Music Spacing. The Music
Spacing options appear.

3.

Click Spacing Widths, select Use spacing widths table, then click Widths. The Widths dialog
box appears, displaying a durational value (measured in EDUs, 1024 per quarter note) in the top box
and its allotted horizontal width in the bottom box. (The units of the lower box are whatever youve
selected using the Measurement Units command in the Edit Menu.) Click Duration to see the closest
notated equivalent of the EDU value. If you click the Prev and Next buttons, you can step through the
various rhythmic values to see what horizontal space each has been assigned. (To help you with the
math, remember that 512 EDUs is an eighth note.) Or click Duration and click the durational value
whose allotment you want to change.

4.

Click Prev or Next until you locate the rhythmic value whose width you want to alter. Enter its
new value in the bottom text box. In the quintuplet example, youd actually want to create a new
rhythm/width pair, and insert it into the existing library.

5.

To create a new rhythm/width pair, enter the rhythm value (in EDUs) in the top box, and its
width allotment in the bottom box; then click Insert. When you do this, it will appear that youve
typed over an existing duration/allotment pairing. But in fact, when you click Insert, you merely add
your new pair to the library.

6.

Similarly, you can remove the displayed duration/allotment pairing by clicking Delete.
Note the other options in this box, by the wayby
selecting the appropriate checkboxes, you can
specify which musical elements you want Finale to
consider when calculating new measure widths:
Notes and Accidentals, Articulations, Chords,
Lyrics, Note-attached Expressions, Clefs, Unisons
and Seconds. See Document Options-Music
Spacing for details.

7.

When youre finished, click OK. Use the Music Spacing command (Utilities Menu) to apply the
new allotments to your document.

To restore a region to proportional spacing

1.

Click the Selection Tool

, and select the region you want to restore.

2.

From the Utilities Menu, choose Music Spacing, then Apply Time Signature Spacing. Finale
restores the music to proportional spacing, where a whole note is allotted the same width as four
quarter notes. Adjust the widths of the measures, if you wish (see Measures).

To create a new Music Spacing library from scratch

1690

1.

Load one of the existing libraries. Youll save time by simply modifying the allotment values of an
existing library.

2.

From the Document Menu, choose Document Options and select Music Spacing. The Music
Options appear.

3.

Click Spacing Widths, then click Widths.

4.

Type over the existing allotment value for each duration value. Insert new duration values as
needed, following the steps in To edit an existing Music Spacing Library, above.

5.

When youre finished, click OK. Use the Music Spacing command (Utilities Menu) to apply the
new allotments to your document.

To save your edited or newly created Music Spacing library

1.

Choose Save Library from the File Menu. The Save Library dialog box appears.

2.

Click Music Spacing; then click OK. Youre then asked to title the new library.

3.

Type in a new title and click Save (or press enter). The next time you need your customized
spacing, load the modified library (choose Load Library from the File Menu) and use one of the
Music Spacing commands.

To specify minimum or maximum measure widths

If, after using Finales music spacing feature, you feel that the measures in your piece that contain whole
rests (or whole notes) are too narrow or wide, you can adjust them all at once. For instructions, see To
specify minimum or maximum measure widths.

1691

Mutes
Mute indications for brass or stringed instruments (such as Straight mute, con sord., Open, and so on)
are usually placed an expressions in the appropriate staves in your score. See Expressions for
instructions. If you want to create an open or closed symbol (

or

), see Articulations.

1692

VST Instruments

How to get there

From the MIDI/Audio Menu, choose Instrument Setup > VST Instruments.

What it does
With this dialog box, choose a desired VST Instrument for use with Finale. Finale includes the Aria Player
which is designed to use Finale as its host sequencer and includes an accompanying library of Garritan
Personal Orchestra sounds. See Aria Player and Garritan Instruments. The Aria Player can also load
other sample libraries compatible with the Aria Player. .

Finale Channel VST Instrument Edit. Each one of these drop-down menus displays all sound
libraries installed on your computer. The Aria Player is included with Finale. Choose Instruments for
Finale 2009 to load the Garritan instruments included with Finale 2009.

Ambience Reverb; Edit. Check Ambience Reverb to apply a reverb effect to playback of VST
sounds. To adjust reverb settings, click the Edit button.

1693

Close. Click Close to apply your settings.

See Also:
MIDI/Audio Menu

1694

Neutral key
A piece in neutral key displays no key signature. Instead, individual notes display accidentals as needed.
As far as Finale is concerned, you can create neutral key simply by setting your piece in the key of C.
Any note then, not in the C diatonic scale will have its own accidental. A problem arises when you have a
transposing instrument, such as a trumpetFinale will automatically place the trumpet part in D (the
usual correct trumpet transposition for a piece in C), instead of in neutral key.
The solution, then, is to avoid using Finales automatic part transposing feature for neutral key pieces.

To create a neutral-key transposing instrument part

The idea is to enter the music at concert pitch (as though the instrument was not a transposing
instrument at all), then correct the key and transposition just before printing.
1.

Enter the part in concert pitch. In this case, dont use the Staff Tool to create an automatic staff
transposition.

2.

Click the Selection Tool

3.

Choose Transpose from the Utilities Menu. The Transposition dialog box appears.

4.

Specify the interval needed to transpose the notes to their written pitches. In other words, if
youre working on a trumpet part, youd specify Up a Second Diatonically as the transposition
interval.

5.

Click OK (or press enter).

; then click to the left of the staff. The entire staff is highlighted.

1695

Nonstandard key signatures

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 where a new accidental is added to the key signature with
every advance around the circle of fifths.
In certain advanced and twentieth-century music schemes, however, these traditional key signature
practices dont apply. A piece may be based on the quarter-tone scale, for example, in which there are
four chromatic steps from C to D. See To create a quarter-tone Scale or key signature for instructions. In
Finale, you can create your own key signatures in any format, based on scales with any number of steps
from one note to the next. Using the five dialog boxes accessed by the Nonstandard Key Signature
dialog box, you can create up to 128 linear or nonlinear key signatures that are available at any time
within the document.

To create nonstandard key signatures

Because this aspect of Finale is among its most technical, youll find only a summary of the steps for
creating a nonstandard key signature in this entry. In some of the steps, youll be directed to a
corresponding (more detailed) discussion. Steps for a sample key signature of B , E and F have been
provided where appropriate.
1.

, and double-click the measure in which the key will

Click the Key Signature Tool
change. The Key Signature dialog box appears.

2.

Choose Nonstandard from the drop-down list menu next to the scroll bar. The Nonstandard
Key Signature dialog box appears. In the center of this dialog box youll find a pair of buttons with
which you tell Finale which kind of nonstandard key signature you want to create: Linear or
Nonlinear.

3.

Click Linear Key Format or Nonlinear Key Signature. Click Next or Prev to find an open Key
Format. Click Next twice to advance to a key signature you can edit. The first two are the Major and
minor formats (that cannot be changed). (See Nonstandard Key Signature dialog box.)
A linear key format is one whose scale is composed of a repeating sequence of diatonic and
chromatic steps. The standard diatonic major scale, for example, is a linear key formatin Finale,
its called Linear Key Format 0. (Linear Key Format 1, which you can choose by clicking the Next
button, is the standard minor scale format; a key signature with no sharps or flats thats been set to
this key format considers A, not C, to be the first note of the scale. Because these two formats
have been predefined, youll find that only the ClefOrd and Attribute icons [two of the five icons
whose associated dialog boxes define the key format] are operational. Once youve selected Key
Format 2 or higher, all five icons are active.)
The keys of 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 the scale in each
of the key formats related keys is formed by the same sequence of whole and half steps, and as
long as the upper and lower halves of the scale are formed by the same sequences of whole and
half steps (such as the tetrachords in a standard diatonic scale), the system of keys is considered a
linear key format.
A nonlinear key signature is one for which theres no circle of fifths; in fact, theres no circle of
anything. Whereas a linear key format is a system of related keys and key signatures, a nonlinear
key signature is a key signature unto itself, unrelated to any other key signature. It 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.

4.

Specify the number of diatonic and chromatic steps you want in the scale by clicking the
KeyMap icon. The Key Step Map dialog box appears, in which you specify how many steps you
want in an octave, and which steps are diatonic and which chromatic. It also determines the
playback of your key signature. Choose the total steps in your signature. Using the buttons under
Total Steps, set the key map so that the scale notes are white and accidentals are black. In our
sample key signature of B , E and F , the Total Steps would be 12 and the key map as follows:

1696

Note

White/Blac
k

C (scale tone)

white
black

C /D
(accidental)
D (scale tone)

white
white

D /E (scale
tone)
E (accidental)

black

F (accidental)

black
white

F /G (scale
tone)
G (scale tone)

white
black

G /A
(accidental)
A (scale tone)

white

A /B (scale tone)

white

B (accidental)

black

See Key Step Map dialog box for details.

5.

Specify the order in which accidentals appear in each sequential key signature by clicking the
AOrdAmt icon. Click this icon to display the Accidental Order and Amount dialog box, in which you
specify the new accidental you want to appear with each progression (if any) to a new key, and on
what line or space it should appear. The Unit number is the order in which the accidentals appear in
the staff display of the key signature. For example, in E major, B =Unit 1, E =Unit 2 and A
=Unit3. The Step Level is the distance from middle C. For example, B=Step Level 6. The Amount is

1697

how far, in half steps, to alter that pitch. For example, flat=Amount -1, sharp=Amount +1, and
unaltered=Amount 0. The Next and Previous buttons select the Unit. For Units that are not sharped
or flatted, enter zero for the Amount. In our sample key signature of B , E and F :
Unit

Step
Level

Amount

-1

-1

4: C

4: D

4: G

4: A

1:
B

2:
E

3: F

See Accidental Order and Amount dialog box for more information.
6.

Specify the tone center (root) of each key by clicking the ToneCnt icon. The Tone Center(s)
dialog box appears, in which you specify the relationship of each new key (tone center) to the
appearance of a new accidental. See Tone Center(s) dialog box for a more complete discussion.

7.

Specify the octave in which each of the accidentals appears (on the staff) by clicking the
ClefOrd icon. The Accidental Octave Placement dialog box appears, in which you can specify the
octave in which you want each accidental to appear according to each clef. Click the Next and
Previous buttons to select the accidental to edit. In our sample key signature of B , E and F :
Unit

Octave

Unit

-2

0
1:

Octave

1: B

B
-1

1
2:

2: E

E
1
3:

-1
3: F

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Clef 0 (treble) Clef 3 (bass)

See Accidental Octave Placement dialog box for details.
7.

Choose the font and character to be used in place of the normal sharps and flats (if you want)
by clicking the Attribute icon. The Special Key Signatures dialog box appears, in which you can
specify a number of miscellaneous attributes for the key format youre 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.

8.

Click OK (or press enter). You return to the Key Signature dialog box.

9.

Specify the transposition effect and measure range. See Key signatures for an explanation of
these options.

10. Click OK.

To create a quarter-tone scale or key signature

After following these instructions, Finale will display quarter symbols where appropriate as accidentals
and in the key signature. It will not affect the playback.
1.

Click the Key Signature Tool

2.

Double-click on a measure. The Key Signature dialog box appears.

3.

Choose Nonstandard from the drop-down list menu next to the scroll bar. The Nonstandard
Key Signature dialog box appears.

4.

Make sure Linear Key Format is select, then click the Next button until Linear Key Format 2 is
listed. The first two Key Formats have been predefined for major and minor scales. When you select
an open Key Format, the five icons will all become active.

5.

Click the Attribute button. The Special Key Signature Attributes box appears. From this dialog box,
we will specify a different font and symbols for the quarter-tone sharps and flats.

6.

Click the Symbol font button. Finale displays the Font dialog box, from which you can choose the
new font. Choose Maestro Percussion or any font with the desired symbols.

7.

Click OK. You return to the Special Key Signature Attributes box.

8.

Click the Symbol List ID button. The Symbol List dialog box appears. This is where you tell Finale
what symbols to use for your quarter-tone accidentals. To view your choices, Maestro Font
Character Sets and look under Maestro Percussion Character Set The table below lists a common
set of quarter-tone symbols which apply to the Maestro Percussion font. Obviously, you can
substitute any symbol you like. Note that the characters will appear in the system font regardless of
the actual font youve chosen. For example, if youre using the Maestro Percussion font to create an

symbol, youll see a capital L in this box. Characters will appear in the proper font when you
return to the document.
Alter
Amount

Character to
enter

l (lowercase l)

m (lowercase m)

Character in Maestro
Percussion font

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9.

L (Shift-L)

n (lowercase n)

-1

j (lowercase j)

-2

b (lowercase b)

-3

J (Shift-J)

Enter the Alter Amount and Character, then click Insert. Finale adds the information to its
database. Repeat for each character.

10. Click OK twice. You return to the Non-Standard Key Signature box.
11. Click the up and down scroll-bar arrows until the desired new key signature appears. Scroll up
for sharp keys, and down for flat keys. Note that quarter tone symbols will appear in the key
signature.
12. Click OK (or press enter). You return to the Key Signature dialog box.
13. Specify the transposition effect and measure range. See Key signatures for an explanation of
these options.
14. Click OK. You return to the document window. When you enter music with accidentals, quarter
symbols will appear where appropriate. For example, a C with one plus added will display a Cquarter tone sharp.

1700

Note positioning
The positions of notes in Finale are determined by a number of factors. Their default horizontal positions
are linear, according to the time signaturea whole note gets exactly as much room as four quarter
notes.
When you have Automatic Music Spacing selected or use the Music Spacing command, notes are
positioned according to the Allotment Library youve loaded (the default file already has one)a table of
width measurements for notes of various rhythmic values. For a full discussion, see Document OptionsMusic Spacing. You can also position notes manually. To move a note and have all other notes that fall
on the same beat (in other staves) remain aligned with itin other words, to move the position of the beat
itselfsee Beat positions.

To move a note
1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Drag the note to the left or right. If you want the note youre dragging to move only horizontally,
press shift as you drag (so that you wont accidentally drag it up or down to a new pitch).

3.

Drag the note up or down to change its pitch. You need to click squarely on the notehead before
dragging. If you want the note youre dragging to move only vertically, press shift as you drag (so
that you wont accidentally drag it to the left or right).

1701

Note shapes
A notehead can be any shape in Finale, including X, diamond, square, circle,
slashyou can even create invisible noteheads. You can globally define
noteheads to be a particular shape on the basis of rhythmic value, position on
the staff, or both. You can also change individual noteheads to any shape.

To change the shape of a notehead

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

, and

2.

Click the Note Shape Tool

3.

Double-click the handle of the notehead you want to change. The Symbol Selection dialog box
appears, displaying every character in the music font.

4.

Double-click the desired replacement notehead shape. To restore the notehead to its original
shape, click its handle and press delete.

. A handle appears on each notehead.

To copy individual notehead changes to other measures

If you require a more global note shape configuration that cant be addressed by changing all notes of a
specified pitch and duration to a specified shape (see To change all notehead shapes of a specified
duration and pitch), you can create the changes manually and then paste only the note shape
information onto other measures.
1.

Change the notehead shapes manually in the first measure or measures. See To change the
shape of a notehead.

2.

Click the Selection Tool

, and select the modified measure or measures. See Selecting
music for some region-selecting shortcuts.

3.

From the Edit Menu, choose Edit Filter. A dialog box appears, listing elements of the music that
you can copy individually.

4.

Click Notehead, Accidental and Tablature String Alterations. Click OK.

5.

Drag the first highlighted measure so that its superimposed on the first target measure. If the
target measure isnt visible on the screen, scroll until its visible, then ctrlshift-click it. Unless the
target measures are directly above or below the source measures, the How many times? box
appears.

6.

Enter the number of times you want the notehead shape information copied. Click OK (or
press enter). To restore the noteheads to their original shapes, select the region using the Selection
Tool. Choose Clear Items from the Edit Menu. Proceeding through the dialog boxes, click as follows:
Only Selected Items; Entries; Notehead, Accidental and Tablature String Alterations. Click OK (or
press enter) twice.

To change all notehead shapes of a specified duration and pitch

This technique is especially useful for Shape Note Music, where the shape of a note indicates its pitch,
and for drum parts, where you might want all notes on the spaces of the staff to have X noteheads
(cymbals and hi-hat), but all notes on lines of the staff to have normal noteheads (tom-toms and bass
drum).

1702

You can assign a different notehead shape to each step of the scale.
1.

; then double-click the staff in question. The Staff Attributes dialog box
Click the Staff Tool
appears for the staff you clicked. You grant permission for changeable note shapes one staff at a
time.

2.

Under the heading Independent Elements, select Notehead font; then click Select. The
FontFont dialog box appears.

3.

Select the font, and size of the Notehead you want to use, then click OK. For Shape Note music
or percussion noteheads, use Maestro Percussion or JazzPerc.

4.

Select Note Shapes from the Notation Style drop-down menu,

5.

Click on the Select button next to the Notation Style drop-down menu, The Note Shapes
options appear.

6.

From the drop-down menu, choose the first notehead shape you want to change. The four
basic note shapes in Finale are the quarter notehead
(also used by eighth, sixteenth, and smaller
, and the double whole note
. For each
note values), the half notehead , the whole notehead
note of the scale, you can specify an alternate notehead shape (X, diamond, and so on) for each of
these four basic shapes. For example, you could specify that every half note occurring on the third
scale degree will appear as an X notehead. See Shape Note music for a chart of note shapes and
scale degrees.

7.

Specify the scale degree for which you want to modify the selected notehead. Enter the scale
degree into the scale degree text box, or click the up and down arrows until the scale degree
number is the one you want.

8.

Click Select. The Symbol Selection dialog box appears, displaying every character in the music font.

9.

Double-click the symbol you want to serve as the alternate notehead shape. You can continue
this way, using the arrow buttons to move through the scale degrees, and clicking Select to choose a
new notehead shape.

10. Click OK twice. You return to the document, where the noteheads of the type and scale degree you
specified have automatically changed to the alternate note shapes you selected. If you anticipate
creating other scores with the same configuration, save this piece on your disk as a template (a
blank document without any notes in it), so that you wont have to repeat the process the next time
you need to create alternate note shapes.

1703

Note size
You can change the size of the music in your documents in a number of ways, both globally and locally.
For specific instructions regarding cue notes, see Cue notes. For information on reducing or enlarging the
entire score or part at once (for printing purposes), see Reducing/Enlarging. See also Resize Noteheads
Plug-in.

To reduce or enlarge the notes (but retain staff size)

Using this technique, you can create large-note music for beginning readers, or reduce all the notes
slightly (with respect to the staff) for a sparser, finer look.
1.

From the Document Menu, choose Document Options and select Fonts. The Select Default
Fonts dialog box appears.

2.

From the Notation drop-down menu, choose Noteheads.

3.

Next to the Notation drop-down menu, click Set Font. The Font dialog box appears.

4.

Enter a new value in the Point Size text box. The standard size for Finales music font (Maestro) is
24 point.

5.

Click OK. If you chose a size thats not a multiple of 12, the notes may have slightly jagged edges if
you print on a non-PostScript printer (unless you use Adobe Type Manager or the TrueType Maestro
font; both are described under Fonts). On a PostScript printer, however, the notes will be crisp and
smooth.
If you discover that the stems of stems-up notes no longer attach correctly to the newly-sized
noteheads, you can adjust their horizontal positions using the Stem Connections dialog box. For
full instructions, see StemsTo change the position of the stem relative to its notehead.

To reduce or enlarge selected notes (or noteheads)

These instructions show you how to resize one notehead or one beamed group of notes. If you want to
create cue notes (by resizing a longer region of notes), however, see Cue notes. See also See also
Resize Noteheads Plug-in.
1.

Enter the music at normal size.

.

2.

Click the Resize Tool

3.

To change the size of a notehead, click it. To change the size of the entire entry groupthe
note or chord, stem, flag, lyric, articulations, and any notes beamed to itclick the stem (of
the first note in the group). The Resize dialog box appears.

4.

Enter the desired reduction or enlargement value. The number you enter here is a percentage of
the full-size notes, so 200 (%) would result in a double-size note.

5.

Click OK (or press enter). The note (or entry group) is now resized. To restore the notes to normal
size, repeat the process, but change the number to 100% in the Resize dialog box and click OK.

To restore a region of modified notes to their original size

1.

Click the Selection Tool

2.

Select the measures containing the resized notes.

3.

Choose Clear Items from the Edit Menu. Proceeding through the dialog boxes, click as
follows: Only Selected Items; Entries. A dialog box appears, listing various elements you can
erase.

4.

Click Notehead, Accidental and Tablature String Alterations. Click OK (or press enter) twice.

1704

Noteheads
For information on changing the shapes of noteheads (to Xs, diamonds, slashes, and so on), see Note
shapes. To use colored noteheads, see Document Options-Notes and Rests.

To move individual noteheads

Occasionally, you may need to drag the individual noteheads horizontallyfor example, to restack the
notes of a cluster chord.
1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

2.

Click the Notehead Position Tool

3.

Drag any handle left or right to move the notehead. To restore a notehead to its original position,
click its handle; then press delete.

, and

. A handle appears on each notehead.

1705

Note values (durations)

You can enter notes of any rhythmic value (quarter note, eighth note, and so on) into the score with or
without MIDI keyboard input. You can also change any existing notes value (or region of notes) without
having to re-enter them.
For instructions on adding and deleting notes, see Simple Entry and Speedy Entry.

To change the note values in a selected region

1.

Click the Selection Tool

and select the region of music you want to change. See
Selecting music for some region-selecting shortcuts.

2.

From the Utilities Menu, choose Change, then Note Durations. The Change Note Durations
dialog box appears.

3.

Specify how you want to affect the notes in the selected region. If you want to affect every note
equally, choose a percentage from the drop-down list menu200% to double each notes value,
50% to make each note half its original value, and so on. Alternatively, you can change the durations
of only a specific note value; click its existing value in the From palette, and the value you want it
changed to in the To palette.
If you want Finale to re-bar the selected measures so that the proper number of beats appears in
each measure, make sure Rebar Measures is selected. See Change Note Durations dialog box for
details on these options.

4.

Click OK (or press enter). You can even double the values of the notes in one layer only (if Show
Active Layer Only is selected in the View Menu).

Finally, note that this command does not affect empty measures. (A measure in which youve entered a
real whole rest doesnt count as empty in this context.) That is, it will double the values of all notes and
rests youve entered, but it wont create a second completely empty measure.

1706

Optimizing systems
In published full scores, its customary to omit from a system any staves consisting entirely of rests, which
results in a more compact and readable score. This is sometimes called "French scoring." In Finale, this
process of suppressing the printing of empty staves within each system is called optimizing systems.
When you optimize a completely empty staff system, Finale will still display the top staff, even though its
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 in
Scroll View, using the Staff Tool. If you have optimized a system, however, youll find that the Staff Tool
works in Page View, too, letting you vary the positioning and spacing of staves as theyll appear on the
printed page. You can even regroup and rebracket them. If you just want to respace one system, use the
To create variable-distance systems command.

To optimize all (or specified) systems

1.

Click the Page Layout Tool

2.

From the Page Layout Menu, choose Optimize Staff Systems. A dialog box appears, letting you
specify the range of systems to be optimized. If you only want to optimize some of the systems, enter
their numbers in the boxes. You could also drag-select the systems to optimize before entering the
Optimize Staff Systems dialog box, and Finale will display your selected systems. To optimize the
entire score, click on Whole Document.

3.

Check Optimize Staff Systems and any additional features below. See Staff System
Optimization dialog box for details.

4.

Click OK (or press enter). When Finales done, look at the staves in Page View. Youll see that
every staff remaining in each system has music on it, because the empty staves have been hidden.

5.

Update the layout using Update Layout in the Edit Menu. Finale has locked in the optimized staff
configuration. If you return to Scroll View and add some music to a staff in a system that no longer
appears in Page View (because its been optimized), the staff wont reappear. If you want to edit,
reformat, enlarge, or reduce your music, remove optimization before you do it, and reapply
optimization when youre finished. For this reason, its best to optimize just before printing, after the
piece has been formatted, proofread, and given its final layout.

To remove staff optimization from all (or specified) systems

1.

Click the Page Layout Tool

2.

From the Page Layout Menu, choose Optimize Staff Systems.

3.

Click Remove Staff System Optimization. Click OK.

To optimize staff by staff

If you only want to remove some blank staves from a system, you can use this method, in which Finale
will ask you to confirm the removal of each staff.
1.

Click the Page Layout Tool

2.

From the Page Layout Menu, choose Optimize Staff Systems. The Staff System Optimization
dialog box appears.

3.

Select how you want this system Optimized; whether you want empty staves removed, if you
want to be asked before a staff is removed, and if you want to keep at least one staff. See Staff
System Optimization dialog box.

1707

4.

Click OK (or press enter) to continue. If you selected Ask Before Removing Staves, the Remove
Staff dialog box appears asking whether you want each empty staff removed.

5.

Click Yes or No. If you click Yes, the staff will be removed. If you click No, the staff will be
optimized, but will remain in the score.

To remove staves from a single system

Similar to the method above (see To optimize staff by staff), this method allows you to specify what staff
to remove, instead of asking about all staves. Keep in mind that this powerful method will remove the
staff from the system regardless of whether it contains music.
.

1.

Click the Page Layout Tool

2.

From the Page Layout Menu, choose Optimize Staff Systems. A dialog box appears, letting you
specify the range of systems to be optimized. If you only want to optimize some of the systems, enter
their numbers in the boxes. If you click on Whole Document, Finale will optimize all staves. (Finale
optimizes to the end if the Through box is blank or 0.)

3.

Click on Optimize but uncheck Remove Empty Staves. Youll be removing the staves individually
later.

4.

Click OK (or press enter).

5.

Click the Staff Tool

6.

Click the bottom handle on a staff. Shift-click to select additional staves.

7.

Press Delete to remove the selected staff or staves, in that system only, while repositioning
the remaining staves. Press shift-Delete to remove the selected staff or staves without
repositioning the remaining staves.

. Two handles will appear on each staff.

1708

Ossia
An ossia passage is an alternative phrase, often placed in a reduced-size measure above the primary
measure in the score. (Ossia means or else.) An ossia measure often provides an explication of a trill,
proposes a cadenza, or suggests an easier alternative to the real measure. In Finale, such an annotative
measure can be created with the Ossia Tool.
There are two kinds of ossia measures. A measure-assigned ossia measure remains attached to its
measure in the score, even if that measures 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.
Measure-attached ossia measures are recommended in documents with Linked Parts. If you are adding
page-attached ossia measures to a document containing Linked Parts, see Page-attached Ossia
measures in linked parts.

To create a floating (ossia) measure

A floating measure must be based on a real measure. For most purposes, then, youll need to create a
scratch staff on which to notate the actual contents of the ossia measure. You then choose hide staff
in the Staff Attributes dialog box (see Hiding staves for full instructions.
1.

From the View Menu, choose Page View.

2.

Click the Staff Tool

, from the Staff Menu, choose New Staves and click OK. A new staff
appears at the bottom. This will be your scratch staff.

3.

In the scratch staff, enter the music you want to appear in the floating measure.

4.

From the Window Menu, choose Advanced Tools.

5.

Click the Ossia Tool

6.

Double-click the spot on the page (in Page View) or double-click the measure to which you
want to attach the floating measure (do not double-click a measure on your scratch staff). The
Ossia Measure Designer dialog box appears.

7.

Select whether you want a measure or page-attached ossia.

8.

Enter the number of the Source Staff and Source Measure. The Source Staff is the scratch staff,
and the Source Measure is the measure in which you entered the music. (If you dont know a staffs
number, click the Staff Tool and select the staffs handle. Select Staff Usage from the Staff Menu.
The Staff Number appears in the resultant dialog box.) If you want to specify a clef other than the
default treble clef, click the Clef Select button; to set a key or time signature, click Key Signature or
Time Signature. You can change the ending barline, too, by clicking one of the barline types.

9.

Specify the reduction value by entering a number in the Scale To box. Generally, 50% to 85%
(of full size) looks good. If there are elements of the scratch staff you dont want to include in the
floating measure, deselect the appropriate boxes in the Items to Display section. You can also
specify various positioning aspects of the floating measure, such as the Top or Left Margin; for full
descriptions of these elements, see Ossia Measure Designer dialog box.

10. Click OK (or press enter). The (Page or Measure Assignment) box appears. If you wish, specify
horizontal and vertical coordinates for the measure (in the currently-selected measurement units). If
youre entering a page-attached ossia, you can also specify the barline-to-barline width of the floating
measure.
11. Click OK (or press enter). You return to the document, where the floating measure is in place. If
youre in Page View, you can drag the measures handle immediately to position the measure. In
Scroll View, you have to click the real measure to which you attached it; a handle appears, allowing
you to drag the measure into position.

To hide the scratch staff

1709

1.

Select the Staff Tool

2.

Double-click a measure in the scratch staff. The Staff Attributes dialog box appears.

3.

Check Hide Staff (under Options).

4.

Click OK. The ossia measure will remain in the score.

To move, edit, or delete a floating measure

To edit the musical contents of the floating measure, simply edit the measure on the scratch staff from
which it was created.
1.

From the View Menu, choose Page View.

2.

From the Window Menu, choose Advanced Tools.

3.

Click the Ossia Tool

4.

Double-click the handle to change the Ossia Measure Designer settings (clef, percentage
reduction, and so on). Shift-double-click the handle to change the Assignment variables (H
and V position and measure width).

5.

Drag the handle to move the floating measure. Click the handle, and then press delete to
remove it.

. A handle appears on the floating measure.

1710

Page layout
Many instructions for setting the page layout for your documents appear under their own entries. See, for
example, Document Options-Music Spacing; Distances; Margins; Page size; Measure layout; and To
change the widths of many measures. For instructions on arranging measures within the score (setting
the number of measures per line, for example, or moving a measure to another system), see Measure
layout. For details on printing large scores that require taping several laser printed pages together into
composite pages, see Tiling pages for printing.
The initial layout of any documents pages is determined by the settings in the Page Format for Score
dialog box (from the Document Menu, choose Page Format, and then Score). In this dialog box, you can
specify dozens of page layout measurements (see Distances). Changes you make to the page layout in
the Page Format for Score dialog box, however, dont immediately affect existing pagesonly pages yet
to be created. If you want the changes applied to existing pages as well, choose Redefine Pages > All
Pages from the Page Layout Menu (which appears only when the Page Layout Tool is selected).
An easier way to make formatting changes, however, is to use the Page Layout Tool. See To change the
page layout, below.
A common use of Finales page layout tools is to specify how much music should fit on a pagehow
many measures per line, for example, or how many systems on a page. Its important to realize that there
are four elements affecting the amount of music on a page. First, look at the distance between staves in
each system; if you decrease the total height of the system (by clicking the Staff Tool and dragging the
staves closer to each other), more systems fit on the page.
Second, you can adjust the distance between systems. If youre trying to fit another system onto a page,
the simplest solution is to slightly decrease the space between all systems, so that the cumulative effect
is to create just enough room for another system on each page (see To change the distance between
systems, below). You can also specify the number of systems on a page by using the Space Systems
Evenly command (see To specify a number of systems on each page). The third factor affecting the
amount of music that fits on the page is the amount of reduction youve applied to the music on a page
you may find that a reduction of even a percentage point or two is just enough to fit another measure per
line, or another system per page (see Reducing/Enlarging). Finally, dont forget that you control the
tightness of the spacing of the music itself, with the Music Spacing command in conjunction with a
Spacing Width Library (see Document Options-Music Spacing). The tighter the music, the more
measures will fit on a line, and hence the more music will fit on the page.

To change the distance between systems

1.

Click the Page Layout Tool

2.

From the Page Layout Menu, choose Systems, then Edit Margins. The Edit System Margins
dialog box appears.

. Dotted-line margins appear around each system.

3.

In the Change section, click Select All. In other words, you want the change youre about to make
to affect every system in the piece. Make sure Distance Between Systems is checked and uncheck
all other boxes. We dont want to make all of the margins the same, just the distance between
systems.

4.

In the Distance Between Systems text box, enter a new value. This value is measured in
whatever your Measurement Units are set to. See the Document Menu for details. If you prefer, you
can click within any system and drag instead of typing numbers.

5.

Click Apply. If you like what you see, click Close. Youve just changed the amount of space
between every system in the piece. In so doing, you may also have changed the number of systems
able to fit on a page. (The bottom text box governs the amount of extra space below each system.)
Finale initially wont let you enter negative values, so that a system overlaps the system above it. If
you really want to create this cluttered effect, turn off Avoid Margin Collisions by choosing it from
the Page Layout Menu, so that a check mark no longer appears.

To specify a number of systems per page

1711

1.

Click the Page Layout Tool

. Dotted-line margins appear around each system.

2.

From the Page Layout Menu, choose Space Systems Evenly. The Space Systems Evenly dialog
box appears.

3.

In the Space System Evenly on section, specify the desired pages, or choose All Pages to
include the entire document. For more information, see Space Systems Evenly dialog box.

4.

Select Place_Systems on Each Page, and in the text box, enter the number of systems you
want to place on the selected pages.

5.

Click OK. Pages in the specified region will appear with the number of systems you entered. If the
number of systems on the pages specified does not change, you will need to edit the system
margins or reduction so the number of systems you choose will fit on the page. See To change the
page layout and To reduce or enlarge a system. For information on resizing pages, see
Reducing/Enlarging.

To change the page margins

See To change the page layout, below, or see Margins for a more detailed discussion.
Note: If youre printing on a PostScript printer and
you find that brackets and staff names are being
chopped off in your printouts, you may not need
to change the page margins at all. Instead, choose
Printer Setup from the File Menu, click Options,
and then select the Paper tab and click Unprintable
Area. If you make this setting, most laser printers
can print 1/8 inch closer to every page edge.

To set the page size

See To change the page layout, below, or see Margins for a more detailed discussion.

To change the page layout

1.

Click the Page Layout Tool

2.

Move to the page you want to change. If you want to change the page layout of all pages at once,
it doesnt matter which page youre on. If youre unsure about your changes, and you dont want your
changes to affect your settings in the Page Format for Score dialog box, make sure to first deselect
Update Page Format in the Page Layout Menu. Remember, you can always choose Undo from the
Edit Menu to restore your piece to its previous state.

3.

If you want to change the Page Size, choose Page Size from the Page Layout Menu.

4.

In the Page Size dialog box, choose the page size from the drop-down list or enter values using
the currently selected measurement units.

5.

Choose Landscape or Portrait.

Tip: This setting affects how Finale lays out the
page. Printing settings are set in the Page Setup
dialog box under the File Menu.

6.

Select the range of pages you want to affect. Page 1 is a Right page.

7.

Click OK.

8.

If you want to change the page margins, first set the range of the pages to affect in the Page
Margins submenu of the Page Layout Menu.

9.

Drag the handles at the edge of the page margins. You can also enter values directly into the
number boxes of the Edit Page Margins dialog box. See Edit Page Margins dialog box for more
information.

10. If you want to reposition or respace a staff system on the page, drag from the middle of the
system. Note that while Avoid Margin Collisions is checked the Page Layout Menu, Finale wont let
you drag one system on top of another one. Ctrl-drag to prevent other systems from moving.

1712

11. If you want to respace the staff systems evenly across the page, choose Space Systems
Evenly from the Page Layout Menu. See Space Systems Evenly dialog box.
12. If you want to insert a page break, select a system handle, then choose Insert Page Break
from the Page Layout Menu.
13. If you want to indent or resize a system, drag a handle. Each system appears bounded by a
dotted line. To indent a system, drag its upper-left handle. Instead of dragging, you can enter values
directly into the number boxes. See Edit System Margins dialog box for more information. When
youre viewing Staff Systems, youll notice a boldface number to the right of each system. The
numbers on the systems (the first system is number 1) help you identify each system, so youll be
aware if the system layout has shifted.
14. To edit another page use the arrows at the bottom of the document window to move the next
or previous page.
15. From the Edit Menu, choose Update Layout.

To change the default page layout (Page Format for Score dialog
box)
See Distances; Margins.
Note: The changes youll be making in these
instructions establish the page layout for pages yet
to be created. To apply them to existing pages, see
the final two steps below.
1.

From the Document Menu, choose Page Format, then Score. The Page Format for Score dialog
box appears.

2.

Enter new values in the text boxes. The units are whatever youve selected in the Measurement
Units in the drop-down list. The Page Size numbers specify the default page dimensions. The Page
Margin numbers are the distances from the edge of the page; thus, if the page size changes, the
margins remain the same distance from the page edge. In these text boxes, all numbers are positive
and measure an absolute change from the page edge. The System Margin numbers define the
placement and shape of the individual systems. The Right and Left margins are the distances from
the edge of the system to the right and left page margins, respectively (both are usually zero); the
Top margin is the distance between the top staff of each system and any extra space for ledger lines
or other symbols which normally appear above the staff; and the Bottom margin measures the
distance between the bottom staff of one system and any extra space for ledger lines or other
symbols which normally appear below the staff. The last measurement is Distance Between
Systems. See Page Format for Score and Page Format for Parts dialog boxes. .

3.

Click OK (or press enter). The changes youve made will affect only new pages added to the piece
by Finale, unless you perform one of the following additional steps.

4.

; go to the
To apply the new page layout to one existing page, click the Page Layout Tool
page you want to edit; Select Current Page from the Redefine Pages submenu of the Page
Layout Menu.

5.

To apply the new page layout to all existing pages, choose Redefine All Pages from the
Redefine Pages submenu of the Page Layout Menu, and click OK.

To apply a different page layout to selected pages

The fact that there are two places to make page layout changesthe Page Layout Tool and the Page
Format for Score dialog boxgives you some extra flexibility. Suppose you need to format a score with
right and left facing pages that are formatted differently, and have different margin requirements. Using
this system, you can apply a secondary page layout to specified pages (just the odd-numbered pages, for
example).
1.

Create the primary page layout in the usual way. Either enter numbers into the Page Format for
Score dialog box (Document Options in the Document Menu) and then choose Redefine All Pages
from the Page Layout Menu, or see To change the page layout, above.

1713

2.

From the Document Menu, choose Page Format, then Score. The Page Format for Score dialog
box appears.

3.

Enter the numbers that define the secondary page layout. For help in interpreting the various
measurement boxes in this dialog box, see To change the default page layout (Page Format for
Score dialog box), above.

4.

Click OK (or press enter).

5.

Click the Page Layout Tool

6.

Go to the first of the pages you want to change. From the Redefine Pages submenu Select Left
Pages, Right Pages, Selected Pages, to give a second Layout to certain pages.

7.

As always, choose Update Layout from the Edit Menu.

See Also:
Main Tool Palette
Page Layout Menu

1714

Page numbers
To add a page number, use the Text Tool in Page View.

To add a page number

1.

Click the Text Tool

2.

From the View Menu, select Page View.

3.

Double-click where you want the page number to appear. The text editing frame appears.

4.

From the Text Menu, select font, size and style. Skip this step if the default Text Block settings
are the ones you want to use. See Document Options-Fonts.

5.

From the Text Menu, choose Inserts, then Page Number.

6.

From the Text Menu, choose Frame Attributes. The Frame Attributes dialog box appears.

7.

Click on Page, then choose All Pages from the drop-down list.

8.

Select the alignment and positioning options from the alignment and positioning drop-down
lists. SeeFrame Attributes dialog box for details. To use the left and right facing pages feature see
Text blocksTo position page-assigned text blocks on left- and right-facing pages.

9.

Click OK (or press enter) to return to the document.

To change the page number offset

1.

Click the Text Tool

2.

Select Page View from the View Menu.

3.

Double-click the handle of the text block containing the page number. The text editing frame
appears.

4.

Select the page number Text Insert so that the number is highlighted.

5.

Select Edit Page Offset from the Text Menu. The Page Offset dialog box appears.

6.

Type in the number to add to the current page number. If you are on page one and want the
page numbers to start at 10, type 9.

7.

Click OK. You return to the document, and the page numbers are updated to reflect the new offset.

To move or delete a page number

1.

Click the Text Tool

2.

Drag the numbers handle to move it. Select the handle and press delete to remove it.

. A handle appears on the page number.

1715

Page size
There are two places in Finale where you can set the page size: the Page Format for Score dialog box,
Document Menu > Page Format > Score, or the Page Layout Tool. A page in Finale can be as huge or as
tiny as you can imaginebut some printers are limited in the sizes of paper they can handle.

To set the page size for all pages

1.

Click the Page Layout Tool

2.

From the Page Layout Menu, choose Page Size.

3.

In the Page Size dialog box, choose the page size from the drop-down list or enter values using
the currently selected measurement units.

4.

Choose Landscape or Portrait. This setting affects how Finale lays out the page. Printing settings
are set in the Page Setup dialog box under the File Menu.

5.

In the Change area, click All Pages.

6.

Click OK.

To change the page size (Document Menu)

See Page layoutTo change the default page layout (Page Format for Score dialog box).

1716

Page turns
A number of tools are at your disposal for adjusting the layout of your music to avoid awkward page
turns. In Finale, this is often a two-step processfirst, you arrange the measures (usually with a goal of
placing rest measures at the end of a system). Second, you may have to move some systems from one
page to another, so that the nearest rest measures fall at the bottom of a page.
To move individual measures from line to line, see Measure layout. To move systems from page to page,
see below. To seek and reconfigure your score to avoid awkward page turns automatically, try the Smart
Page Turns plug-in. See Smart Page Turns.

To push a system onto the next page

1.

Click the Page Layout Tool

2.

Go to the page you want to change.

3.

Select the handle for the system you want to appear on the next page.

4.

From the Page Layout Menu, choose Insert Page Break. Finale places the system at the top of
the next page and displays a non-printing Page Break icon

To fit an additional system onto one page

1.

Click the Page Layout Tool

2.

Go to the page to which you want to add a system. Each system has a pair of handles (at
diagonally opposite corners). In order to pull a system from the following page, youre going to
reduce the space beneath each system on this page.

3.

Drag the lowerright handle of the first system slightly upward. If this step didn't solve the
problem, drag the second systems lower-right handle slightly upward, too (preferably by the same
amountwatch the number boxes in Edit System Margins dialog box if you wish; they show how
much youre dragging each system See Edit System Margins dialog box). Move the handles until
the system is pulled up.
If, despite all your efforts, it looks like the next system simply wont fit without overlapping the
existing systems, youll have to resort to one of the global system-fitting options (see Page layout
To change the distance between systems, or reduce the music (Reducing/Enlarging).

4.

From the Edit Menu, choose Update Layout.

1717

Page View

Page View is one of three Finale views of your music (the others are Scroll View and Studio View). See
View Menu. In Page View, you see your music exactly as it will be printed: laid out in systems, displaying
page-attached as well as measure-attached text blocks and graphics, and stretching the measures as
needed so that each line of music is flush with the margins.
Page View has a few features of its own, accessible from the View Menu.

Choose View > Zoom > Fit In Window to reduce the view just enough to fit one page onto the screen
at once.

Choose View > Zoom > Fit Width to reduce the view just enough to fit the full width of one page on
your screen.

Choose View > Show > Non-Continuous to display a single page.

Choose View > Show > Continuous-Horizontal to display pages in a continuous horizontal band.

Choose View > Show > Continuous-Vertical to display pages in a vertical column.

Choose View > Show > Rows/Tiled (old Multiple Pages) to display horizontally for as many pages as
the current view allows. Additional pages will appear in a subsequent row.

Any visible page can be edited, and markings can be dragged or extended from one page to another at
will.
Page View also offers a feature called Show PostScript Preview (View > Show > PostScript Preview).
When you choose this command, Finale prints the actual PostScript instructions onto your screen, just
as it would to a laser printer. See Show PostScript Preview.
In general, Page View is slightly slower than Scroll View. Each time the screen redraws, for example,
Finale not only has to draw more music, but must also perform many more calculations (to lay out the
page, for example).

Special Mouse Clicks and Keyboard Shortcuts

Press the right-button and drag to move the score (temporarily engage the Hand Grabber Tool).

Press PageUp to move up a full screen (equivalent to clicking the vertical scroll bar track).

Press PageDown to move down a full screen (equivalent to clicking the vertical scroll bar track).

Press Ctrl-PageUp to move to the previous page (equivalent to clicking the page controls).

Press Ctrl-PageDown to move to the next page (equivalent to clicking the page controls).

1718

Press Alt-PageUp to advance one increment up vertically (equivalent to clicking the vertical scroll bar
arrows).

Press Alt-PageDown to advance one increment down vertically (equivalent to clicking the vertical
scroll bar arrows).

Press Home to move left one screen (equivalent to clicking in the horizontal scroll bar track).

Press End to move right one screen (equivalent to clicking in the horizontal scroll bar track).

Press Ctrl-Home to move to the beginning of the score (or page if viewing a looseleaf style).

Press Ctrl-End to move to the end of the score (or page if viewing a looseleaf style).

Press Shift-Home to move to the top/left of the leftmost viewable page (for large zooms).

Press Shift-End to move to the bottom/right of the rightmost viewable page (for large zooms).

Press Alt-Home to advance one increment right horizontally (equivalent to clicking the left/right
scrollbar arrow).

Press Alt-End to advance one increment left horizontally (equivalent to clicking the left/right scrollbar
arrow).

See Also
Zoom Keyboard Shortcuts
View Menu

1719

Parentheses
You can place parentheses around an accidental with a single keystroke (see below). You can also place
parentheses manually around a note or a musical passage by placing them in the score as Articulations.
(You could even define parentheses to be expressions, if need be; see Expressions.) See also
Accidentals (Simple Entry).

To place parentheses around an accidental

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Use the directional arrows to position the insertion bar on the notehead whose accidental you
want to enclose in parentheses. You can also click the mouse on the desired notehead.

3.

Press the P key. Parentheses enclose the accidental. To remove the parentheses, press P again.

To place parentheses around a note or rest

You may sometimes want to enclose musical passages longer than a single note. To do so, you can
insert individual parentheses as Articulations, attaching the opening parenthesis to the first note of the
passage, and the closing parenthesis to the final note.
Depending on the size of the note or chord youre enclosing, you may want to enlarge both parentheses
by clicking Set Font and entering a higher point size. For complete instructions on creating and
manipulating articulation markings, see Articulations.

1720

Part Voicing
Occasionally, more than one voice appears in the same score staff (e.g. Flutes 1 & 2 or a divisi section).
If this is the case, you may want to print separate parts, for example, one for Flute 1 and another for
Flute 2. Finale can help you hide notes to isolate a single voice in preparation for printing the part.
There are nuances to part voicing which make it impossible for Finale to guess entirely which notes you
want to include. In multi-part staves, markings like a2 signify both instrumentalists should perform a
monophonic section in unison. Finale cannot interpret these markings to decide which notes belong to
the voice and which should be removed like the Process Extracted Parts plug-in can. However, with the
help of Staff Styles, parts can be modified so that only a single voice is showing while the link to the score
is retained. (The Process Extracted Part plug-in requires the part to be extracted into another
autonomous document).
When specifying part voicing, bear in mind note attached items attached to one layer cannot be copied
automatically to another layer. Also, the following data is removed from voiced parts:

Manual adjustments to rests

Stem alterations

Beam alterations

Manual positioning of notes (including "automatic" collision avoidance due to notes in layers that are
2nds apart, for example.)
Note the Simple Entry, Speedy Entry, HyperScribe
and Note Mover tools are disabled for the part
once voicing is applied. You can, however, edit
notation of these parts by working with the notation
of corresponding staves in the score.

To generate a single-voice part from a multi-voice score staff:

1.

From the Document Menu, choose Manage Parts. The Manage Parts dialog box appears.
We will now create a new part definition and add the multi-part staff to this new part (a staff can be
added to more than one part). To this new part we will apply voicing settings that will isolate one of
the voices.

2.

Click New Part, then Edit Part Name. Type the name of the part and click OK. The new part
appears in the left list and is automatically selected.

3.

Select the multi-voice instrument staff from the list on the right and click Add to Part to add it
to the part. The staff moves to the center column.

4.

Click to select the staff you just added to the middle column.

5.

Click the Edit Voicing button to open the Voicing for Staff in Part dialog box.
Here, you will first eliminate the majority of extra notes by specifying the layer or chord position in
which most notes in the voice currently appear. The method you will use depends on how the
voices are delegated in the part. For example, if Flute 1 uses layer 1 all of the time, select the All
Notes in Layer _ radio button and from the drop-down menu and choose Layer 1 to display layer 1
notes only.
However, in many cases, a single layer will be used to indicate two or more players should play in
unison. For example, lets say there is a tutti section in the middle of this part, where layer 1 is used
for both Flutes 1 & 2.

6.

Click Selected Notes from One or More Layers.

7.

Choose the option that most closely describes the vertical position of this voice. For example,
if your part is filled with two-note divisi sections, and this is the Violin 2 part, choose Bottom Note. If
there are more than two voices, choose Selected Note(s) to indicate the note within chords of a triad
or greater to display.
Note: As you add or remove notes while isolating
voices, articulations may remain on the incorrect
side of the staff. To set articulations to
automatically flip to the appropriate side of the staff

1721

as notes/layers are added/removed, set them to

Auto Note/Stem Side under the Position drop-down
menu of the Articulation Designer dialog box. (You
may have to remove manual positioning to see the
effects of this setting (select the articulations(s)
and press Backspace).)
8.

When you have configured this dialog box to represent the majority of notes in the layer you
would like to display, click OK. For more information, see Voicing for Staff _ in Part _ dialog box.
You return to the Manage Parts dialog box.

9.

Click OK. It is likely that there are some measures in the part containing extra notes. You can use a
Staff Style to hide these sections.

10. Choose the Staff Tool

. If you would like to hide notes from partial measures, from the Edit
Menu, ensure Select Partial Measures is checked.
11. Highlight the sections containing extra notes. Right-click the highlighted area and choose
Blank Notation with Rests. The staff style replaces notes in that layer with rests (see below). This
staff style does not hide measure attached items such as hairpins, smart shapes, or expressions, but
will hide note attached items such as slurs. For more about Staff Styles, see Staff styles.

1722

Patches
In the world of MIDI music, there doesnt seem to be a consensus as to how to refer to the different
sounds available from any MIDI device. Different manufacturers may refer to a specific violin sound (for
example) on their MIDI device as a sound, patch, part, voice, or program. This can be very confusing
when all you want to do is change the trumpet sound to the saxophone sound. In the interest of
consistency throughout Finale and its documentation, well refer to a specific sound as a Patch. This term
comes from the early days of the synthesizer, when you changed the sound of your synthesizer by
switching the configuration of the various patch cords or cables.
A patch could be as simple as a basic MIDI program change message, but it might also include bank
change information, which may be required on certain MIDI devices to access all available patches.
Finale both records and plays back the MIDI data that allows a MIDI instrument to change patches (that
is, programs or sound settings and optional bank change information) during playback. You can even edit
this data directly using the MIDI Tool. Using Finales Instrument List, you can create sets of your favorite
channel/patch combinations and select them, by name, from the Instrument drop-down list.
Finale begins numbering its patches at 1, but not every MIDI instrument begins the numbering of its
programs at 1 (some begin numbering at 0). Therefore, if you find that the numbers you enter in the
following examples change your MIDI instrument to a program number thats one off, remember to
change the numbers accordingly by adding 1. (If your MIDI instrument isnt responding to the program
changes, make surethat program changes have been enabled, for those synthesizers having such a
cont r o l . )
The easiest way to set up patches is to select the instrument you want from the General MIDI drop-down
list. This will automatically setup the Bank Select and Program Change for that instrument. If you prefer to
setup specific Bank Select and Program Change information using the text boxes, the direction below
provide more information.

To establish the initial program settings for each staff

1.

From the Window Menu, choose Instrument List. The Instrument List window appears.

2.

In the Instrument column, select the name of the instrument you want to assign to each staff.
If the instrument you want does not appear in the Instrument column, choose New Instrument. Here
you can type a name for your instrument, assign a channel number (that is not yet being used), and
choose a general MIDI sound from the General MIDI drop-down menu. If you are using an external
MIDI device, you can indicate the bank and program changes by choosing an option from the Patch
drop-down menu and then entering the appropriate bank numbers. If you want to assign a program
to a certain layer of a staff, click the upward arrow next to a staff name; the list expands to show you
individual layer assignments. The Instrument List gives you a great deal of power over MIDI
channels and patch assignments. See Playbackand MIDI channels for details.

3.

From the bottom on the Instrument List window, ensure Send Patches Before Play is
checked.

To set up a patch change on playback

These instructions tell you how to create an expression marking that produces a patch change during
playback (such as To strings). If you dont need a visual indication to appear in the score, you may find
it faster to use the MIDI Tool to create patch changes (see To set up patch changes using the MIDI
Tool, below).
.

1.

Click the Expression Tool

2.

Click on, above, or below the note at which you want the patch to change. The Expression
Selection dialog box appears. If youve previously created the patch change marking, double-click it.
The expression appears in the score, where you can adjust its position (see below).

3.

Click Create. The Expression Designer dialog box appears.

4.

Type a patch change indication (To Clarinet, for example). You can label the patch change
any way you like, or you can leave the text box empty (if you want no graphic marking at all).

1723

5.

Click the Playback tab. The playback options appear.

6.

From the Type drop-down list, choose Patch.

7.

The Patch drop-down list appears, choose the type of patch change needed, select the
appropriate Bank and Program changes.

8.

Click OK or Select in each dialog box until you return to the document. Depending on your
playback settings, you may need to begin playback at a measure prior to the patch change for it to
take effect. To avoid this problem you can set Finale to chase the patch changes up to the point
where youre beginning playback. That is, Finale will quickly scan the piece all the way from the first
measure, noting (and transmitting to your MIDI keyboard) any patch changes along the way, so that
playback always begins using the current patch. See To chase patch changes before playback,
below. Chase only supports playback in non-scrolling mode.

To chase patch changes before playback

1.

Choose Playback Controls from the Window Menu. The Playback Controls appear.

2.

Click the speaker icon. The Playback Settings dialog box appear.

3.

From the Dynamics and Markings drop-down list, choose Chase from
First MeasureMeasure 1, then click OK. When you click a measure in the middle of a piece to
begin playback, Finale will take a moment to scan your piece and chase any patch change
markings that occur earlier in the piece up to the measure you clicked. In this way, Finale can keep
track of any patch changes it encounters along the way, so that playback always begins with the
correct current patch.

To set up patch changes using the MIDI Tool

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Menu appears.

. The MIDI Tool

2.

Double-click the measure in which you want the patch to change. The MIDI Tool split-window
appears.

3.

Drag through a small horizontal slice at the beginning of the graph area, as shown. Keep in
mind that the actual patch change will occur at the beginning of the region you select (indicated by
the arrow in the figure below). It really doesnt matter, therefore, how much of the window you
highlight; the patch change will be inserted at the far left edge of your highlighted region.

5.

From the MIDI/Audio Menu, Choose Set To. The Set To dialog box appears.

6.

Enter the appropriate Bank and Program numbers you want the staffs playback to switch to.
Click OK (or press enter). You return to the MIDI Tool split-window. Part of the graph area is now

1724

black. Thats because youve just inserted a patch change thats in effect from the point you selected
to the end of the piece. Repeat the entire process at other points in the score where you want the
patch to change (for example, if you want the patch to change back to the original patch).
To remove patch changes youve created in this way, reselect the same region in the MIDI Tool
windows and press backspace, or use the Selection Tool to clear Continuous Data.

To copy or erase patch change data created with the MIDI Tool
See MIDI To copy or erase captured (or edited) MIDI data.

1725

Pedal markings
A pedal marking involves two separate symbolsone where the pedal is to be depressed (
another where its to be released (

), and

). You can, if you wish, also use a dotted-line bracket.

There are two ways to create pedaling indications in Finale. The easiest method is to place them in the
score as Smart Shapes using the Custom Line Tool.
If you only want to add pedaling to the playback of your piece (via MIDI), you may prefer to use the MIDI
Tool. No graphic pedal markings appear in the score, but youll hear the pedaling on playback. Human
Playback must be set to None to hear sustain indications added with the MIDI Tool. See Playback
Settings dialog box for Details.

To create
(pedal down) and
Shape method)

(pedal up) markings (Smart

Smart Shape pedal markings will playback if Human Playback is on in the Playback Settings dialog box.
1.

Click the Smart Shape Tool

2.

Click the Custom Line Tool

3.

From the Smart Shape Menu, choose Smart Shape Options. The Smart Shape Options dialog
box appears.

4.

From the Smart Line Style drop-down list, choose Custom Line.

5.

Click Select next to Smart Line Style. The Smart Line Selection dialog box appears. If this file was
created from a default file or template, you should see a Pedal and * line already created. If so, click
Select and OK and skip to step 13. Otherwise, continue and create the Smart Line from scratch.

. The Smart Shape Palette appears.

.

6.

In the Smart Line Selection box, click Create. The Smart Line Designer dialog box appears.

7.

From the Line Style drop-down list, choose Character. Near Character, click Select and
double-click on the blank character in slot 32. Check the Horizontal box to freeze the shape in
a horizontal line.

8.

In the Text area, click on the Edit button next to Left Start. The Edit Text dialog box appears.

9.

From the Text Menu, choose Font. Set the font to Maestro and the size to 24. Click OK.

10. While pressing alt, type 0161 on the numeric keypad. In the Maestro music font, alt0161 is the
marking.
11. Click OK. Repeat the steps for the Right End, only type shift-8 for the

12. Click OK, Select and OK until you return to your score. For more information, see Custom lines.
13. Double-click where you want the line to begin; on the second click, hold the button down and
drag horizontally. Release the mouse when the line has the length you want.

To draw a pedal on/off diagram (Smart Shape method)

Sometimes pedaling is indicated in a score like this:

1726

The Smart Shape method is easy and the line will expand and contract with the measures. The Keep in
mind, you can add a pedal playback effects with the MIDI Tool. See To create playback pedaling using
the MIDI Tool.
1.

. The Smart Shape Palette appears.

Click the Smart Shape Tool

2.

Click the Custom Line Tool

3.

From the Smart Shape Menu, choose Smart Shape Options. The Smart Shape Options dialog
box appears.

4.

From the Smart Line Style drop-down list, choose Custom Line.

5.

Click Select next to Smart Line Style. The Smart Line Selection dialog box appears. If this file was
created from a default file or template, you should see several pedal on/off lines already created.
(You may need to scroll down to see them.) If so, click Select and OK and skip to step 10.
Otherwise, continue and create the Smart Line from scratch.

6.

In the Smart Line Selection box, click Create. The Smart Line Designer dialog box appears.

7.

Check the Horizontal box to freeze the shape in a horizontal line.

8.

For the End Point Style, choose a hook and enter a vertical distance for either the beginning
or the end of the line. You can also choose a Custom Arrowhead for the pedal point. For more
information, see Custom lines.

9.

Click OK, Select and OK until you return to your score.

10. Double-click where you want the line to begin; on the second click, hold the button down and
drag diagonally. Release the mouse when the line has the length you want.

To create playback pedaling using the MIDI Tool

If you dont need pedal markings to appear in your score, but want to add the use of the sustain pedal to
the playback of your score, you may find the following method faster than the Expression method.
Human Playback must be set to None to hear sustain indications added with the MIDI Tool. See
Playback Settings dialog box for Details.
1.

Click the MIDI Tool

2.

Double-click the measure in which you want the pedal to be pressed. The MIDI Tool splitwindow opens.

3.

From the MIDI Tool Menu, choose Edit Continuous Data. The View Continuous Data dialog box
appears, in which you can select a controller whose data you want to edit.

4.

Click OK (since Sustain Pedal is already selected). You return to the MIDI Tool split-window,
where the display has changed. On the left side you see a scale of controller valuesin this case,
sustain pedal valuesfrom 0 (pedal up) to 127 (pedal down). The sustain pedal is called a
noncontinuous controller, because its value cant change smoothly over time (like pitch wheel data
can). Youve either pressed the pedal (value 127) or released it (value 0). Unless youve already
created pedaling using the MIDI Tool (or by capturing a Transcription Mode performance that
included use of the sustain pedal), the window is empty.

. The MIDI Tool Menu appears.

1727

Controller information is independent of the actual notes being playedyou can press the pedal even
during a measure of rests, if you want. Therefore, you specify where you want to insert a pedal down
message (or another noncontinuous controller, or a patch change) by dragging through a sliver of the
graph area.
5.

Drag through a small horizontal slice at the beginning of the graph area, as shown. Keep in
mind that the actual pedal usage will occur at the beginning of the region you select (indicated by the
arrow in the figure below). It really doesnt matter, therefore, how much of the window you highlight;
the pedaling message will be inserted at the far left edge of your highlighted region.

6.

Choose Set To from the MIDI Tool Menu. The Set To dialog box appears. Remember that to
create the pedal down message, you need to set the pedals MIDI value to 127.

7.

Type 127. Click OK. You return to the MIDI window. Suddenly the entire graph area is black. Thats
because youve just inserted a pedal down message without any corresponding pedal up
message. Therefore, your synthesizer will think that the pedal is being pressed during the entire
piece.

8.

Drag through a small region of the graph area at the point where you want the pedal released.
If the pedal release point isnt in the same measure, click the right arrow button to scroll the music
display. Remember that the pedal up message will fall at the beginning of your selected region.

9.

Choose Set To from the MIDI Tool Menu. Click OK. You dont have to enter a number, because
the default value is already zero. When you return to the window, click anywhere except in the graph
area to remove the selection highlighting.

10. Click the MIDI Tool to close the MIDI Tool split-window. Once youve created one complete
usage of the pedal, as youve just done, you dont have to create it again in other measures that
should contain a similar pedaling pattern. You can simply copy the pedaling from measure 1 into
other measures. See To copy or erase captured (or edited) MIDI data.

1728

Percussion
Percussion Maps
Finales percussion notation offers a great deal of flexibility
and control, especially if you take advantage of creating
and reusing percussion maps. Finale allows you to use one
map for a whole ensemble and turn on only the instruments
you need on each staff as necessary.
Percussion staves within Finale are special in that they
automatically ignore key signatures and transpositions.
Also, if you enter a note and Finale does not find a match in use in that staff, that note will appear on
the staff in its usual position as if it were in treble clef.
If you find that Finale doesnt appear to use the percussion map that you selected, edit the map in the
Percussion Map Designer dialog box, and make sure that Notes to Use is selected for the actual notes
that you're entering and would like displayed on a particular staff. (Scroll through the list and click on the
note that you want to use, then check the Notes to Use section to make sure that Highlighted Note is
selected.)
If Finale displays your percussion notes with the wrong noteheads and youre sure the percussion map is
set up properly, confirm the Notehead Font settings in the Staff Attributes dialog box. (Make sure that the
correct notehead font is in use for the staff, and that the Notehead Font checkbox is selected.)
Important! Finale will not use the note definition
(the new notehead and position on the staff) unless
Notes to Use is selected for the particular note
youre entering. Review the settings in the
Percussion Map Designer for the map selected for
the percussion staff. This is the step that is most
commonly forgotten when constructing or selecting
note definitions for a percussion staff.

Note Entry
In standard notation, percussion staves are non-pitched. However, some of Finales methods of note
entry depend entirely on pitched information. Entering notes with the HyperScribe Tool or the
Transcription Mode, importing a MIDI file, and using Simple or Speedy Entry Tools MIDI Input all rely on
pitched information; Finale can automatically assign pitched MIDI notes to the desired lines and spaces.
You can also enter notes using the Simple Entry Tool without a MIDI keyboard. This method enters nonpitched notes directly on a percussion staff, automatically assigning the correct notehead from those in
use in the staff on that position. For a list of common instruments, and their staff positions, see Notes
Used in Percussion Maps (Chan 10 patch 1) in the appendix. If more than one notehead shares the
same staff position (the ride cymbal and first tom-tom, for example), Finale will pick the first notehead it
sees assigned to that position. You can then switch between all available noteheads by sharping or
flatting the note with Simple Entrys alteration tools (Half Step Up, Half Step Down, Sharp, and Flat).
This allows Finale to cycle through all available noteheads.

Percussion Library
We include many percussion maps in the library. Their purpose is to get you started and to provide maps
for some common approaches to notating percussion staves. Although users notate percussion in many
different ways, Finales libraries are based on one increasingly accepted standard.
However, since no single standard exists for percussion notation, youll probably want to create your own
custom maps or edit Finales to match your needs. Once you've created the maps, save them into your
own percussion library so that you can load them into any new file you create. Or, load them into the
Maestro Font Default file, so the percussion maps are ready for use in new documents. For a list of the
Percussion Maps included in the Percussion Library, see Notes Used in Percussion Maps (Chan 10
patch 1) under Finale Libraries in the Appendix.

1729

The Entry maps provide most of the note definitions for a standard five tom-tom drum kit and other
percussion instruments. Each map is configured for use with Maestro Percussion, one of Finales
notehead fonts. You can also use Tamburo or any other music font for your percussion staff. (Choose the
notehead font to use for the staff in the Staff Attributes dialog box.)
The Bass Clef Entry and Treble Clef Entry percussion maps simply provide a point of reference for
entering notes with MIDI. Percussion notation is non-pitched, but some people find it convenient to refer
to the lowest of the five lines as G or E. In this way, you can easily enter pitchless notes by using your
MIDI keyboard. Use whichever clef reference makes the most sense to you.
The Instrument maps include note definitions for the named instrument only. For example, Congas
contains note definitions for three conga notes only.
The scrolling list in the Percussion Mapping dialog box displays the MIDI Entry pitch. The Bass Clef maps
use MIDI note 43 (G1) for the lowest of the five lines. The Treble Clef maps use MIDI note 64 (E3) for the
lowest line. One additional map for each clef offers playback configured for General MIDI percussion
notes.
The General MIDI Entry & Playback map is based on the percussion tones defined on notes 35 through
81 on Channel 10 (listed in the General MIDI specification). Finale already has configured all common
drum set MIDI notes, leaving the remaining Latin and other instruments for you to customize. Refer to the
General MIDI Percussion Map Table table for a list of percussion tones.

How to use Percussion Notation

The Percussion Notation feature lets you map a MIDI note entered on your MIDI keyboard, or a note
entered without MIDI, to a defined notehead and position on a percussion staff. Notes in a percussion
staff can also be remapped to other pitches for playback. Combined with the Staff Setup dialog box (also
accessed from the Staff Attributes dialog box), you can now easily create the exact percussion staves
you want in your document. You can use Finales Maestro Percussion font that contains characters sized
and shaped specifically for use as percussion noteheads, or you can select another font, such as
JazzPerc, if you prefer.

To load a percussion library

Weve provided a library that contains percussion maps with note definitions set to General MIDI
percussion sounds as well as notes set up for non-MIDI use. You can either use the percussion maps as
they are, or edit them for use with percussion staves in your document. This library has already been
loaded into the Maestro Font Default file and the templates.
1.

Choose Load Library from the File Menu.

2.

Locate and select the percussion library that you want to open. The percussion notation library
included with Finale is named Percussion Maps.LIB. It is located in the Libraries folder in your Finale
folder.

3.

Click OK Finale loads the library into the current document, then returns you to the music. The
percussion maps contained in the library will appear in the Percussion Map Selection dialog box. The
most recently loaded libraries appear at the bottom of the list box.

To save a percussion library

1.

Choose Save Library from the File Menu.

2.

Click Percussion Maps.

3.

Click OK.

4.

Enter a file name for the percussion library, then locate and open the folder where you want
to save your library.

5.

Click OK. Finale saves the all the percussion maps in your document to the percussion library, then
returns you to the music.

To create a percussion staff

1.

Click the Staff Tool

2.

Click to the left of the staff. The every measure of the staff is selected.

1730

3.

From the Staff Menu, choose Apply Staff Style.

4.

Select Percussion (1 line or 5 line) and click OK. Any notes that appeared in the staff will be
remapped. Any notes that you enter, with or without MIDI, will also use the percussion map. If more
in-depth information about percussion staves, see the instructions below.

To create a percussion staff with a customized percussion map

1.

Click the Staff Tool

2.

Double-click a staff. The Staff Attributes dialog box appears.

3.

Near the clef display, click Select. Double-click on one of the percussion staves.

4.

Choose one of the three pre-defined staves from the Staff drop-down list. Choose from
Standard 5-line, 1-line with Full Barline, 1-line with Short Barline. Or, if youre setting up a custom
staff, choose Other to display the Staff Setup dialog box. After you create a custom staff, click OK to
return to the Staff Attributes dialog box. For details about setting up a custom staff, refer to Staff
Setup dialog box.

5.

Under Independent Elements, click Notehead Font if its not already selected. The checkbox
becomes selected.

6.

Click Select (to the right of Notehead Font).

7.

Choose Maestro Percussion (or JazzPerc) 24 point as the font for percussion noteheads on
this staff, then click OK. Or, choose an alternate font that contains all the notehead characters that
you want to use for percussion.
Tip: If you want to use the same notehead font for
all staves, its quicker to set the notehead font in
Document Options-Fonts, rather than to set the
notehead font individually for each staff.

8.

Choose Percussion from the Notation Style drop-down list if its not already selected. (To
change a staff back to standard notation, choose Standard from the Notation Style drop-down list.)

9.

Click Select (to the right of the Notation Style drop-down list).

10. Click Create if you want to create a completely new percussion map containing note
definitions for a percussion staff. Most likely youll want to edit an existing map that appears in the
list box. If so, click the percussion map, usually General MIDI Entry and Playback, that you want to
use for the current staff, then click Edit. In either case, the Percussion Map Designer dialog box
appears.
Tip: The Percussion Map Designer dialog box
serves two functions. First, it lets you create or edit
a percussion map which you can use on any staff.
Second, it lets you choose which notes you
actually want to define for the current percussion
staff.
8.

For each percussion sound you wish to notate, use the list on the left side to select a MIDI
note used for entry. If you are using a MIDI instrument for entry, you can use the Listen
button at the bottom of the window to select your MIDI entry note. Keep in mind that this
method will reset your Playback note to the Entry note, although this can be corrected in the
following instructions. The Note Definition section displays the settings for the selected note. The
notes appear in order by pitch, from MIDI note 0 through MIDI note 127.
Tip: If you intend to use MIDI for entering notes, be
sure to select the MIDI note number that contains
the percussion sound that you want to use. If you
follow this rule, then you can actually HyperScribe
or transcribe your music, and Finale will
automatically map the note to the proper position
and notehead character. If you dont plan to use
MIDI (when you enter notes with Simple Entry or
Speedy Entry without MIDI), Finale simply looks for
a percussion map on the staff position of the note
that you enter, and uses the first percussion note
definition it finds if there is more than one in use for

1731

that staff. You can cycle through all note definitions

assigned to that line or space by using the Simple
Entry tools or Speedy Entry commands that alter
the pitch of a note.
9.

Enter a Playback MIDI note number in the Playback Note text box. This is the MIDI note used to
make the playback sound. The default for this setting is the General MIDI Percussion Map value; see
General MIDI Percussion Map Table. For non-General MIDI instruments, see your devices manual
for these settings, or set the playback note using the Listen button.

10. Enter a Staff Position, counted in steps from middle C, for your percussion notehead. The
MIDI note you enter and the notated staff line can be different.
11. Click the Select button next to Closed Notehead or Open Notehead. Finale opens the Symbol
selection dialog box in the Notehead font. For Closed Notehead, select the notehead you want to
appear on quarter notes or smaller notes. For Open Notehead, select the notehead you want to
appear on half, whole or double whole notes.
12. Click Highlighted Note in the Notes to Use section (if it's not already selected) if you want
Finale to use this note definition on the current staff. This checkbox must be selected if you want
the notehead, new placement and playback note to appear and sound on the staff according to the
note definition. If this checkbox is not selected, Finale will display the note in standard notation.
13. Continue selecting and editing notes in the list box until you've made all the changes that you
want. Remember to select Highlighted Note in the Notes to Use section if you want each individual
note to appear on the current staff.
Tip: Occasionally you may wish to notate more
than one percussion instrument on the same line
or space on the staff. This is easy to do in the
Percussion Map Designer dialog box. Simply
select different notes from the list box, change their
noteheads, then drag them so they share the same
Staff Position.
14. Click Done. Finale returns you to the Percussion Map Selection dialog box.
15. Click Select and OK. Any notes that appeared in the staff will be remapped if Use Note was
selected in the Percussion Map Designer dialog box. Any notes that you enter, with or without MIDI,
will also use the percussion map selected for the staff. For percussion MIDI playback, continue with
the instructions below.
16. From the Window Menu, choose Instrument List.
17. For percussion staves, select Channel 10, Program 1. If your playback device is not General
MIDI, the channel and Program may be different; see your devices manual. For more information,
see also the Instrument List window.

To adjust stem connections on noteheads

In order for Finale to properly attach stems to the alternate notehead shapes you use in percussion
notation (such as X noteheads), you must turn on Stem Connections in the Stems section of the
Document Options dialog box (under the Document Menu). Stem connection settings tell Finale precisely
how to attach stems to the edges of noteheads.
1.

From the Document Menu, choose Document Options, and select Stems. Then click the Stem
Connections button. The initial settings in the dialog box are for the Maestro fonts X notehead
character.

2.

Click the notehead that you want to edit. Click Edit.

3.

Select a new symbol for the notehead. Click Set Font to choose a font other than the Default
Music Font, then click OK. For example, choose Tamburo, or any other font that contains
noteheads. Click Select to choose a notehead character from the font you specified or the Default
Music Font, then click Select.

4.

Enter new H: and V: values for the Upstem and Downstem values.

5.

Click Use Stem Connections. The dialog box is dismissed. Finale will now use these settings when
it draws a stem on any of the noteheads you defined in the Stem Connections dialog box.
Tip: To turn off stem connections in a document,
uncheck Use Stem Connections in the Stems

1732

section of the Document Options dialog box. Refer

to Stem Connection Editor dialog box for more
details about setting stem connections.

To enter percussion notes using Simple and Speedy Entry

When you enter notes onto a percussion staff, Finale notates them according to the settings in the
Percussion Map Designer dialog box. Remember that only the notes for which you selected Use Note will
be displayed according to the notes definition in the percussion map. Other notes will appear in standard
notation.
Occasionally you may have more than one note mapped to the same line or space on the staff. (See To
create a percussion staff earlier.) If this is the case, you can use the up or down arrows on the Simple
Entry Palette, or the plus or minus keys for Speedy Entry to cycle through the different noteheads. To see
a chart of common percussion instruments, and their staff positions, see Notes Used in Percussion Maps
(Chan 10 patch 1) in the Appendix.

For Simple Entry:

1.

Click the Simple Entry Tool

2.

Choose Simple Entry Palette from the Window Menu to display the palette if it doesnt already
appear.

3.

Double-click the Half Step Up Tool

or Half Step Down Tool
on the Simple Entry
Palette, then click the note you want to change. If more than one note was assigned to the same
staff position, and is in use for the current staff (as defined in the Percussion Map Designer dialog
box), Finale displays the next open or closed notehead for that staff position. Continue to click the
note to cycle through all the noteheads on that position until you reach the notehead you want to
use.

For Speedy Entry:

1.

Click the Speedy Entry Tool

2.

Click the measure you want to edit.

3.

Click the note you want to change.

4.

Click + or - to change the notehead.

5.

Optional: Press the 9 key. If two percussion noteheads appear side-by-side, Finale will flip the
position of the noteheads.

To create slashes-with-cues drum notation

In most jazz scores, the drum kit part is not written out in full. Instead, the part usually contains slash
marks (indicating that the drummer should play time), with important ensemble figures cued above the
staff.

Use the following steps to combine this slashes-with-cues drum notation with invisible notes used only for
playback purposes, so that the drum part appears correctly in the score and also plays back correctly.
(Note that these instructions assume you intend to reserve Layer 4 for cue notes.)
1.

Enter the playback notes. You can enter these notes manually, or (if you are using one of the GM
Drum Kits) using the Drum Groove plug-in to automatically generate a drum part. You can use
Layers 1, 2, and 3 for the playback notes - we will use Layer 4 for the cues.

1733

Note: If you use the Drum Groove plug-in, be sure

to check the instrument list afterwards to ensure
that it has not modified the Channel assignment for
your Drum Kit staff. The Drum Groove plugin also
creates a hidden expression - "HP off" - that
disables Human Playback. You may want to delete
this expression. Instead of turning Human
Playback off completely, tell Human Playback to
incorporate all User MIDI Data by choosing the
appropriate settings in the MIDI Data pane of the
Human Playback Preferences dialog box.
2.

Once the playback notes have been entered, select the Staff Tool, then from the Staff Menu
choose Define Staff Styles.

3.

In the Staff Styles dialog box, click New. We are going to create a new staff style that displays
slashes in the drum staff but also shows notes in layer 4 that we will use for cue notes.

4.

Name the Staff Style so you can identify it later. "01a. Slash Notation: show notes" or something
similar.

5.

Click the Select button to the right of Alternate Notation.

6.

In the Alternate Notation dialog box, ensure the following options are selected: Slash
Notation, Show Items Attached to Notes, Show Notes in Other Layers, and Show Items
Attached to Notes in Other Layers.

7.

Click OK twice to save your new Staff Style.

8.

Apply this newly created Staff Style to every measure in your drum part where you want
slashes to appear.

9.

From the Document Menu, choose Document Options and select layers.

10. Click the Settings For drop-down and choose Layer 4. Then configure the remaining
options as follows:

11. Switch to Layer 4 and enter the cue notes in the Drum Set staff. Typically, these cue notes
appear as regular noteheads on a single line or space above the staff, and match the rhythms of
important ensemble figures (see the example at the beginning of this section).

1734

To import a MIDI file with a standard percussion track

To create the MIDI file, follow your sequencers instructions. Theres no need to quantize the sequence;
however, youll probably find Finales quantization powers to be more effective than your sequencers.
Note: Finale uses the Maestro Default File as a template when importing MIDI files. If you dont see all of
your percussion maps, try loading the percussion map library into the Maestro Default File.
1.

Choose Open from the File Menu. The Open dialog box appears. The file types are listed in the
drop-down list at the bottom of the window.

2.

Click MIDI File. The names of any available MIDI files appear in the list box.

3.

Double-click the desired document name. The Import MIDI File Options dialog box appears,
listing various transcription options. The Track/Channel Mapping to Staves dialog box allows you to
specify some extremely sophisticated track and channel splitting, as well as clefs, distances between
staves, split points and multiple percussion maps. See Track/Channel Mapping to Staves dialog box.
Finale will choose a clef for each resultant staff based on the range of notes in the track. (If it
discovers that the notes in a track have a very wide range, it will automatically notate its contents on
two staves. See Import MIDI File Options dialog boxfor details.) For most files, the default Tracks
become Staves option will work fine.

4.

In the Create Percussion Staves area, click on the Select button near Percussion Map. The
Percussion Map Selection dialog box appears. For most percussion staves, youll want to choose the
General MIDI Entry and Playback. If youre using a specific instrument, you may wish to select the
percussion map with your instruments name, such as Triangle.

5.

Click OK. You return to the Import MIDI File Options dialog box. In the Create Percussion Staves
area, you can also select a different clef or playback channel for the percussion staves in the file.
These settings will affect all percussion staves; for individual settings for more than one percussion
staff, see Track/Channel Mapping to Staves dialog box.

6.

Click Quant Settings. The Quantization Settings dialog box appears.

7.

Click the icon representing your smallest note value.

8.

Choose your quantization type. See Quantization Settings dialog box for more details.

9.

Click More Settings. The More Quantization Settings dialog box appears.

10. Select the quantization settings you desire. You can select options for grace notes and voice 2,
as well as retain key velocities and note durations. See More Quantization Settings dialog box for
details.
11. Choose Key and Time Signature options. Most MIDI files contain key and time signature
information already, so you usually wont have to change the default selection (Use the Files).
12. If youll want to hear the sequence played back with its original tempo fluctuations and
continuous data (controllers and wheels) data, make sure Tempo Changes and Continuous
Data are selected. These options capture some of the MIDI performance data from your sequence.
13. Click OK (or press enter). Finale transcribes the MIDI File into standard notation. If you discover
that your settings werent quite right, you can close the new Finale document and try againthe
original MIDI file is unaffected by Finales transcription efforts. Or, for smaller sectional changes, use
the Retranscribe function in the MIDI Tool. For more information about the elements of the Import
MIDI File Options dialog box, see Import MIDI File Options dialog box and Retranscription.

1735

Percussion tones
Heres a list of the percussion tones available for patch 1 and patch 9 on channel 10. Some of these
tones are not available on patch 9. They are indicated by the note patch 1 only. Be sure to use only the
percussion tones listed below. If you choose a tone that is not available in the QuickTime Musical
Instruments file, you will not hear any sound at all. (See General MIDI Percussion Map Table, for a
complete list of percussion tones.)

Note
Numb
er

Percussion Tone

Note
Numb
er

Percussion Tone

35

Kick Drum 2

61

Low Bongo

36

Kick Drum 1

62

Mute High Conga

37

Side Stick

63

Open High Conga

38

Snare Drum 1

65

High Timbale

39

Hand Clap

71

Short Hi Whistle (patch 1

only)

40

Snare Drum 2

73

Short Guiro (patch 1 only)

41

Lo Tom 2

74

Long Guiro (patch 1 only)

42

Closed Hi-Hat

76

High Wood Block (patch 1

only)

44

Pedal Hi-Hat

78

Mute Cuica (patch 1 only)

46

Open Hi-Hat

79

Open Cuica (patch 1 only)

54

Tambourine (patch 1 only)

80

Mute Triangle (patch 1 only)

56

Cowbell

81

Open Triangle (patch 1 only)

60

High Bongo

1736

Piano reductions
See Piano Reduction Plug-in.

To create a piano reduction for the entire piece

1.

From the Plug-ins Menu, choose Scoring and Arranging, then Piano Reduction. The Piano
Reduction dialog box appears.

2.

Select the staves to be included in the piano reduction and the split point.

3.

Click OK.

To create a piano reduction over a region

See also Imploding music.
Using Finales Implode Music feature, you can condense the musical material from several staves onto a
single staffor, in the case of a piano reduction, onto two staves.
If the source staves contain several independent rhythms, Finale will do its best to sort them out, but you
may still have to do some cleaning up afterward. Implode Music works best when the source staves have
only one or two independent rhythmic patterns.
.

1.

Click the Selection Tool

2.

Select the region to be imploded onto the treble-clef staff of the piano reduction. You can
select a region of on-screen measures by shift-clicking or drag-enclosing, or entire staves by shiftclicking to the left of each.

3.

From the Utilities Menu, choose Implode Music. The Implode Music dialog box appears, asking
whether the resultant reduction should appear on a new staff (at the bottom of the score) or whether
the music should be imploded onto the top existing staff (in which case the current contents of that
staff will be replaced). For more information see Implode Music dialog box.

4.

Click OK. If youve selected a large amount of music to be imploded, this process may take time.
Note that any existing articulations and expressions in the source staves will appear in the resultant
staff.

5.

Repeat the procedure for the bass-clef staff of the piano reduction. Dont forget to change the
clef of the bass staff (see Clefs). If the resultant part is a rehearsal piano part that you want to appear
at a smaller size, see Reducing/Enlarging.

1737

Pickup measures
To create a pickup measure at the beginning of a piece
The following method, in effect, places an invisible rest at the beginning of the first measure of your
piece. Follow these steps to convert the first measure into a pickup measure. If you wish to add a pickup
measure before the first measure of your piece, first insert a measure with the Measure Tool. See
Measure Menu. Any notes you enter will be pushed to the right of this invisible rest. Finale will also
automatically skip over your pickup measure when displaying measure numbers. There is another
method which some users prefer to create both pickup measures at the beginning of a piece and pickup
measures within a piece. See To create a pickup measure within a piece.
1.

From the Document Menu, choose Pickup Measure. The Pickup Measure dialog box appears
containing rhythmic values.

2.

Click the rhythmic value corresponding to the sum of the pickup note or notes. If the duration
of the pickup notes is equivalent to a dotted note, click the dotted note.

3.

Click OK (or press enter), and enter the pickup notes. Finale will still play back the entire
measureincluding the invisible rest before the pickup measure. If youve entered the notes before
creating the pickup measure, you may need to reapply music spacing.

To create a pickup measure within a piece

1.

Enter the pickup notes first. For the moment, notate them at the beginning of the measure.
.

2.

Choose the Selection Tool

3.

Click the pickup measure. Then, from the plug-ins menu, choose Measures > Split Measures.
The Split Measures dialog box appears.

4.

For Split Measure After _ Beat, enter the number of beats in the pickup measure. You can
leave Move Second Part of Split Measure To Next System checked as this setting is irrelevant here.

5.

Click OK. The measure is now split in two.

6.

Double-click the second half of the measure (to select the full measure stack). Then, from the
Edit Menu, choose Delete Measure Stack.

7.

Choose the Measure Tool

8.

Double-click the pickup measure to open the Measure Attributes dialog box.

9.

In the Barline column, select the Normal icon and click OK. Now, you can use the beat chart to
adjust the spacing. To do so, click the lower handle on the barline to the right of the pickup measure.
Then drag the beat handle accordingly. To restore the measure to a normal (non-pickup) measure,
click the Time Signature Tool, double-click the measure, uncheck "Use a Different Time Signature for
Display" and then adjust the number of beats to match the time signature. See Time Signatures.

1738

Pitch wheel
As you move the pitch wheel up or down (on MIDI keyboards so equipped), the pitch of the entire
keyboard shifts up or down by an amount you program on the MIDI keyboard itself. Finale records and
plays back pitch bends (the smoothly graduated, continuous shift of pitch that occurs when you use the
pitch wheel). You can also edit pitch bends that youve recorded, and you can even insert expressions
whose playback definitions involve the use of the pitch wheel.
When you record a performance (with Record Continuous Data turned on) in HyperScribe (or in
Transcription Mode), Finale automatically records all your pitch wheel data. You may or may not want this
information retained so that you can later hear it applied to the playback of your transcription. For a full
description of captured MIDI information, see Chapter 6: Playback in theInstallation & Tutorials.

To edit pitch wheel data

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool

2.

From the MIDI Tool Menu, choose Continuous Data. The View Continuous Data dialog box
appears, from which you can choose the MIDI data you want to edit.

3.

Click Pitch Wheel, and click OK.

4.

Select the measures you want to affect. 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.
If the region you want to edit is on only one staff and fits on the screen, double-click the
highlighted region to enter the MIDI Tool split-window. Drag through the display area above the
notes whose pitch wheel data you want to edit.

5.

*Edit the selected region by choosing the appropriate command from the MIDI Tool Menu. In
the following discussion, its useful to remember that when the pitch wheel is at rest, its value is 0;
when its as far down as it can go, its value is -8192; and when its at the top of its range of
movement, its value is 8191.
Choose Set To to specify a uniform value for the pitch wheel level. Choose Scale to create a
gradual change in pitch wheel values over the selected region. Choose Add to add a positive or
negative amount to the pitch wheel level throughout the selected region. Choose Percent Alter to
change the pitch wheel values in the selected region by a percentage of their original amounts.
Choose Limit to specify a maximum or minimum pitch wheel value for the notes in the selected
region. (See also Set to dialog box; Scale dialog box; Add dialog box; Percent Alteration dialog
box; or Limit dialog box.)
For the most part, youll use the Scale, Limit, or Set To commands. For example, to create a
smooth pitch bend that rises for two beats and then falls for two beats, youd proceed as follows:
Drag through the graph display region of the MIDI Tool split-window, so that two beats are
highlighted. Choose Scale from the MIDI Tool Menu; in the text boxes, enter 0 (the pitch wheels at
rest value) and 8191 (the pitch wheels highest position). In the third text box (Increments), enter
640 (for example); the smaller this number, the smoother the pitch bend will be, but the more data
Finale will need to generate and store, and hence the larger your document will be. Click OK. Next,
drag through the second two beats and choose Scale again from the MIDI Tool Menu. This time
enter 8191 in the first text box and 0 in the second (to bring the pitch wheel back to its normal-pitch
position); enter a value in the Increments box and click OK. Youll see the effects of the pitch bend
you just programmed in the graph area of the MIDI Tool split-windowand youll hear it when you
choose Play from the MIDI Tool Menu.
If you create a pitch bend that isnt quite calculated correctly, you may discover that, during
playback, the pitch of your MIDI keyboard never fully returns to normal. Thats because the pitch
wheel, via MIDI, gets stuck partway out of its at-rest position. If this happens, drag through part of
the graph area of the MIDI Tool split-window (at the place where you want the pitch wheel to be
returned to its at-rest position), choose Set To from the MIDI Tool Menu, enter 0, and click OK.

1739

You can also remove pitch bend data from regions of your score by following the instructions above
but, instead of following the last instruction, pressing backspace or use the Selection Tool to clear
Continuous Data.

To copy or erase pitch wheel data

See MIDI To copy or erase captured (or edited) MIDI data.

To create a pitch bend (as an expression)

The following instructions show you how to create an expression that produces a smooth pitch bend over
the course of one whole notefrom the pitch wheels at-rest position to its top position and back down
again. Its impossible to predict the precise musical effect this will have on your MIDI keyboard, because
the pitch wheels on different MIDI keyboards have different intervallic ranges; on some, you can specify
this range (usually up to an octave or so up or down).
If you want to learn the process of creating a pitch wheel expression, by all means follow this example.
You may prefer, however, simply to load the pitch wheel library thats in your Libraries folder, because
this library already contains the expression youre about to create with the exception that it only lasts a
quarter note instead of a whole note. Choose Load Library from the File Menu. Locate the Pitch Bend
Library (in the Libraries folder), and double-click it. Then place it into your score as described below.
1.

Click the Expression Tool

. Click on, above, or below the note to which you want to
attach the marking. The Expression Selection dialog box appears. If the pitch bend expression
marking already appears in the list (because youve loaded the Pitch Bend Library, for example),
double-click it and click OK; you return to the document.

2.

Click Create. The Expression Designer dialog box appears. Type Pitch bend (or whatever text you
want to appear in the score, if any, at the location of the pitch bend). To change the font, highlight the
text, and then from the Text Menu, choose Font.

3.

Click the Playback tab. The playback options appear.

4.

From the Type drop-down list, choose Pitchwheel. Click Execute Shape, then the Executable
Shape Select button. Proceeding through the dialog boxes, click Create, Shape ID. Youre now
in the Shape Designer.

5.

From the Shape Designer Menu, choose Rulers and Grid and select Eighth Notes. Type 4 in
the Grid Marks Every ___ 8th notes text box. Click OK. From the ShapeDesigner Menu, choose
Show, and then grid (if you wish).

6.

Choose 25% from the View drop-down list. When you use the Shape Designer to create a pitch
bend, the range of pitch wheel values is from -8192 (pitch wheel at the bottom of its range) to 8191
(pitch wheel at the top of its range). The pitch wheels value when its at rest is 0.
Because these values are so large, youve just reduced the Shape Designer display so that youll
be able to see the entire shape in the window at once. (You should also click the Hand Grabber
tool and drag so that the small white circle (origin) is closer to the lower-left of the drawing area.)
Youre about to design an Executable Shapea shape whose contour governs the effects of the
pitch bend. For more on Executable Shapes, see To define an expression for playback.

7.

. To use the Multiline tool, you drag to create the first line segment,
Click the Multiline Tool
click at each subsequent corner, and then double-click to complete the shape. To make your shape
match the dimensions of the one pictured here, observe the H: and V: numbers as you move the
cursor, and place your mouse clicks according to the table below. (Of course, you can always drag
individual points into position, using the Selection Tool, after youve drawn the shape.)

8.

Draw the shape as shown:

1740

You should have a tall, upside-down V. This Shape Expression first bends the pitch wheel up, and then
back down to its original position.
9.

Click OK to exit the Shape Designer.

10.

In the Level Scale boxes, enter 128:1. Remember that a pitch wheels actual maximum value is
8191. By multiplying the height of the shape you drew by 128, youre telling Finale to make the pitch
bend 128 times more pronounced; if you didnt, you probably wouldnt even be able to perceive the
pitch bend.
The shape you drew was 32 eighth notes (4 measures) long. The reason for this is to create a
smoother sounding pitch bend.

11. Change the Time Scale. Enter a 1:4 Time Scale ratio to make the pitch bend last only 1/4 as long (a
whole note); enter 2:1 to make it last twice as long, and so on. The shape in the pitch bend library
has a Time Scale ratio of 1:16 to last only a quarter note.
12. Click OK, Select, and OK to return to the score. Listen to the pitch bend in playback and see how
it works. If you want it to be less pronounced, decrease the Level Scale (or change the maximum
pitch bend interval on your MIDI keyboard). If it lasts too long, decrease the Time Scale.
If you entered text for the pitch bend expression, drag this handle to move the expression; click it
and press delete to remove it.

1741

Pizzicato
The pizzicato marking (pizz.) is an expression; for complete instructions on creating and manipulating
expressions, see Expressions.
If you want to define the pizzicato marking for playback, you have several options. If your synthesizer has
a pizzicato sound (or patch), you could define the pizz. marking as a patch change (see Patches). (If you
use this method, youll also have to create a second expression (like arco)which can be invisible, if you
preferto restore the playback to its original patch.) You might also consider placing the pizzicato notes
in a separate layer, then using the Instrument List to specify a special patch for that layer.
A simpler method might be to create such a patch change using the MIDI Tool. Again, see Patches. If
you simply want to hear selected notes play back with a staccato sound, see Staccato marks.

1742

Playback
Finale can play your score in one of three ways: as recorded during a Hyperscribe or Transcription Mode
session, using Finales built-in Human Playback technology, or literally based soley on the notes,
rhythms, and dynamics exactly as they appear in the score - and any MIDI data added deliberately with
the MIDI or Expression Tool.
When you record music using Transcription Mode, HyperScribe, or when you import a MIDI sequencer
file, Finale captures the expressive data including key velocity data (how hard you struck the keys), MIDI
continuous data information (the pitch wheel, and other controllers and wheels), and tempo fluctuations. If
you capture this data before transcribing the performance into notated form, Finale will retain it even
after the performance has been turned into notation, and can play it backnuance for nuanceat any
time. However, if a score was not recorded from a live performance, you can still listen to Finales
interpretation which was designed to replicate a live human performance. This feature is called Human
Playback.
Human Playback, which applies to playback by default, generates a MIDI performance far more
sophisticated than a straight MIDI performance. This method of playback is designed to read the MIDI
data from a score, interpret additional markings, and replicate a human performance during playback.
Finale intelligently interprets markings such as tempo indications (i.e. accel. or rall.), hairpins, tremolo
markings, harmonics, and more. You may notice other subtle changes as well, like a slight ritardando at
the end of a piece, or an increased volume applied to a solo staff. Since an accurate performance of
notated music heavily depends on the style, Finale offers several style choices, including Romantic,
Classical and Jazz, to more accurately interpret the score. See Playback Settings dialog box.
IMPORTANT! To playback a piece using recorded
MIDI data, or if you want to include any
adjustments to playback added with the MIDI Tool
or Expression Tool, first set Human Playback to
None. Human playback overrides all other MIDI
information. See To specify playback parameters.
The Human Playback Preferences dialog box
allows you to have HP on, but select what types of
data you want HP to ignore or incorporate. You
can also enable or disable human playback by
region by adding expressions defined for Human
Playback On and Human Playback Off in the
playback tab of the Expression Designer dialog
box .
When Finale plays back without Human Playback enabled, it responds to any custom musical markings
youve placed in the score, such as staccato or accent marks, dynamics, and MIDI patch and channel
indications. Human Playback interprets default markings automatically, so no further intervention is
needed. For details on creating your own playback-intelligent symbols, see Articulations, Expressions.
If you plan to transcribe your real-time performances or use Finale as a notation-based sequencer, then
its important to understand the distinction between a playback of the score and a playback using the
captured MIDI data. A number of Finale functions apply to one or the other kind of playback only; the
MIDI Tool is a good example. Many of its options are specifically intended for the editing of the captured
MIDI data, just as you would edit the raw MIDI data of a performance in a sequencing program.
Finally, remember that the notated score and the captured MIDI data arent completely independent.
Suppose you transcribe a performance with the Transcription Mode and capture the MIDI data. When
you play the piece using the captured MIDI data (with Human Playback set to None), youll hear it played
with your original feelvolume, tempo, pedaling, and so on. Yet you can edit the transcription by
changing notes, transposing, adding dynamics or other playback expressionsand youll hear the edited
music play back with the captured MIDI data still intact.
For instructions on capturing performance data, see Transcribing a sequence and To import a MIDI file.

1743

To play back a score

1.

While pressing the Space bar, click the measure at which you want to begin playback. See the
table below for various options in starting playback.It doesnt matter which tool is currently selected.
The behavior of the playback is governed by the settings in the Playback/Record Options dialog box
(see To specify playback parameters below).

Command

Keyboard Shortcut

Begin/Pause playing (Playback Controls open)

Spacebar

Begin playing from the current measure

Spacebarclick in staff

Begin playing from current measure in the current staff

only

Shift-spacebarclick in staff

Begin playing from current measure in the global staff list

Spacebarclick in between staves

Begin playing from measure one in the global staff list

Spacebarclick to the left of a staff system

Begin playing from measure one in the current staff only

Spacebar-click to the left of a staff

Scrub onscreen music - all staves

Ctrl-spacebar (and drag across music)

Scrub onscreen music - current staff only

Ctrl-Shift-spacebar (and drag across

music)

2.

Click on the screen to stop the playback. Finale may take a moment to respond.
Note: If you notice Finale missing notes or
instruments during playback, Garritan Personal
Orchestra may be exhausting your computers
resources. You can disable GPO at any time by
unchecking Play Finale through VST under the
MIDI/Audio Menu. To use Finales internal
SmartMusic SoftSynth, from the MIDI/Audio Menu,
choose Device Setup > MIDI Setup, select a
SmartMusic SoftSynth from the MIDI Out dropdown menu and click OK.

To use Playback Controls

Playback Controls reside on a movable/dockable window. They give you several additional controls over
the way your score plays backfor example, they contain Play, Stop, Rewind, and Fast Forward buttons.
They also let you listen to any portion of the score, even if youre viewing a different section on the
screen.
1. From the Window Menu, choose Playback Controls. Playback Controls appears.

1744

2.

Adjust the Measure control, if necessary. This text box shows the first measure to be played. To
change this number, either type in a new one, click the up or down arrows, or click one of the large
buttons on Playback Controls. (To edit the counter, the Current Counter Setting option must be
checked in the Playback Settings dialog box). The
Measure text box. The
Measure text box, and the
text box.

3.

and

button (Rewind to Beginning) enters 1 in the

buttons quickly decrease or increase the number in the

button (Fast Forward to End) puts the last measures number in the

Click Play. The music plays. To Stop, click Stop; to pause, press the space bar again (or click
Pause); when youre ready to go on, click Pause again.
If, while youre listening, you catch something youd like to hear again, click the
button for a
few seconds; Finale will suspend playback, the Measure text box number will decrease (as the
program rewinds). Release the

button, and playback will begin again (with the number in the

Measure text box). Similarly, you can click the

End) buttons at any time during playback.
4.

(Rewind to Beginning), and (Forward to

For additional playback options, click the Playback Settings button The Playback Settings
dialog box opens.
Using Always start at and Stop at, specify what range of measures you want Finale to play; the
default settings tell Finale to play from Measure 1 displayed on the screen through the end of the
piece. By changing these numbers, you can even tell Finale to play measures that arent on the
screen. Or, by entering a small range and repeatedly clicking the Play button, you could, in effect,
loop through a certain segment.
The Tempo control sets the playback tempo unless youve created tempo changes by recording
them, by placing Expression marks, or by using the Tempo Tool. The Base Key Velocity, on a
scale from 0 (silent) to 127 (very loud), establishes the overall key velocity setting, from which all
dynamics are measured. In other words, you can make the piece generally softer by decreasing
this number, but individual dynamics within the piece will still have an effect.
For a discussion of Playback Controls, see Playback Controls. To make real-time adjustments to
volume, panning, and other playback attributes, see To use real-time mixer controls (below).

To use real-time mixer controls

Volume, panning, the instrument sound, and other playback attributes can be adjusted as you listen to
Finales performance using Finales mixer controls. Mixer controls are available in three places; the Mixer
window, the Staff Controls (in Studio View), and the Instrument List. Adjustments made to any of these
controls applies to them all. All mixer changes are supplemental to all playback data currently specified in

1745

the score (HP, MIDI Tool data, etc.). For example, an increase in volume applied with the mixer does not
affect the contour of volume within the score, only the master or staff volume as a conventional mixer
would affect the master volume or volume of individual tracks.
1.

From the Window Menu, choose Mixer. The Mixer controls appear including master and staff
controls. You can also view the set of staff controls, called the Staff Controls, to the left of your score
in Studio View. To do so, from the View Menu, choose Studio View. The same controls (with the
added capability of individual control for layers and chord symbols) are also available in the
Instrument List Window (Window Menu > Instrument List).

2.

Start playback using any of the methods described under To use Playback Controls. Mixer
controls apply to playback regardless of the measure or type of playback you initiate.

3.

Click and drag the sliders or wheels to customize output. See Mixer for an illustration of the
controls. Note that the configuration of the mixer controls is saved when you save the Finale
document. Also, changes to a control for one staff apply to all staves set to the same channel. If you
want to assign a staff a unique channel you can do so by defining a New Instrument in the
Instrument List. (To do so, in the Instrument List choose View by Instruments and click New
Instrument. Choose the same instrument sound (patch) for your new instrument and assign it a
different channel).

To play back selected staves

1.

From the Window Menu, choose Instrument List. The Instrument List appears.

2.

Click the Mute button for each staff you want to silence, or click the Solo button to silence all
other staves). In other words, if your score has 40 staves, and you just want to hear the piano part,
its much quicker to click Solo for the two piano staves than to mute the other 38 staves. But if you
want to hear everything but the piano, click in the Play button for the piano staves. If both Mute and
Solo are selected for the same staff, Mute overrides Solo.

To send an All Notes Off message

On rare occasions, you may encounter a situation called MIDI lock, in which your synthesizer is stuck
on a certain note or chord.
From the MIDI/Audio Menu, choose All Notes Off. Finale sends an all notes off message to
every note of every channel. You should find that, after a moment, the situation is corrected.

To correct erratic MIDI playback

1746

If you experience erratic playback with SoftSynth defined as your output device in MIDI Setup, and are
using a machine with a dual processors or hyper threading capability, set Finale to run on a single CPU.
To do this, press Ctrl-Alt-Delete and then select Task Manager. Choose the Processes tab, right click
Finale.exe and choose Set Affinity. Then, ensure only one CPU is selected. Click OK, close out of the
Task Manager, and the erratic playback problem should be resolved. If your score has many chords,
consider using the MIDI Tools Randomize command to offset the notes attacks (Start Times) slightly
from each othernot enough to hear, but enough so that your MIDI system doesnt have to handle many
notes being struck precisely together. See MIDI Tool Menu.
If you notice Finale missing notes or instruments during playback, Garritan Personal Orchestra may be
exhausting your computers resources. You can disable GPO at any time by unchecking Play Finale
through VST under the MIDI/Audio Menu. To use Finales internal SmartMusic SoftSynth, from the
MIDI/Audio Menu, choose Device Setup > MIDI Setup, select a SmartMusic SoftSynth from the MIDI Out
drop-down menu and click OK.

To specify playback parameters

To adjust Finales playback interpretation of a score, you can adjust the Human Playback settings located
in the Playback Settings dialog box. Human Playback overrides all performance data, MIDI Tool data,
and other playback information deliberately added to the score (with the exception of MIDI data set to
Incorporate in the Human Playback Preferences dialog box). Therefore, if you would like to listen to a
performance as it was recorded, or if you would like to playback performance details added to the score
with the MIDI or Expression Tool, set Human Playback to None. To do this:
1.

From the Window Menu, choose Playback Controls. Playback Controls appears.

2.

Click the Playback Settings button. The Playback Settings dialog box appears, offering additional
controls.

3.

Click the drop-down for Human Playback Style and choose None.

4.

Close out to the Playback Settings. When you play back your score with Human Playback
disabled, Finale checks the Playback/Record Options to find out certain playback parameters, as
described here.

5.

From the Document Menu, choose Playback/Record Options. The Playback/Record Options
dialog box appears.

6.

Select the playback parameters you prefer from the Playback/Record Options dialog box.
Choose Chase from First Measure(from the Dynamics and Markings drop-down list) if you want
Finale to quickly scan your piece and chase any expression markings that occurred earlier in the
piece up to the point you clicked. These might include tempo, dynamics, patch changes, and so on;
select this option if youre starting playback in the middle of the piece and want these playback
variables to be current (and transmitted to your synthesizer) as of the starting point you clicked. If
you choose Reset instead, Finale will ignore any changes that have occurred prior to this point in the
score, and will begin playing based on the markings available in the measure you clicked. Choose
Use Current Settings if youve interrupted playback at a certain spot, and now want to continue
using the expression settings in effect when you stopped playback. Click Ignore Repeats if you want
Finale to play through repeat barlines (and text repeats) as though they didnt exist. Select Reset
Repeats if you want such repeats to be set to zero each time you begin playback again. If you
dont specify Reset Repeats, Finale will remember how many times each repeat has been
activated. If youre proofreading a score by playing one section at a time, you will want Finale to
remember its place each time you stop, so you probably wont want to select this option. Next,
specify any captured MIDI data you want to incorporate into the playback. Captured MIDI data is
captured from a real-time performance in the Transcription Mode, created with the MIDI Tool, or
imported in a standard MIDI file from another sequencer. Select Play Recorded Key Velocities and
Play Recorded Note Durations if you want the playback to incorporate the key velocity (volume)
information and Start and Stop Time data (tiny anticipations or delays of the beat such as rolled
chords and swing) from the original performance. Select Play Recorded Continuous Data if you
want the playback to use the pedaling, pitch wheel, and other MIDI continuous datainformation from
the original performance. Click Send Patches Before Play from the Instrument List windowif you
want Finale to send initial patch settings to your synthesizers before beginning the playback. The
initial patch settings are determined by the Instrument List (see Patches).

7.

Click OK (or press enter).

1747

To make the music scroll during playback

If you want, you can tell Finale to scroll the music, so you can follow the score as youre listening to the
playback.
1.

From the Window Menu, choose Playback Controls. Playback Controls appears.

2.

Click the Playback Settings button. The Playback Settings dialog box appears, offering additional
controls.

3.

Check Scrolling playback. You may now play the music in the normal way.

To audio spot-check music

No particular tool has to be selected.

While pressing ctrl and the Space bar, drag the cursor across your score. As the cursor strikes
each note, you hear it played on your MIDI keyboard. You can drag in any direction, and at any
speed, and from one staff to another. You might use this trick for checking chord voicings, scanning
small sections for wrong notes, or just for fun.

1748

Landscape and Portrait orientation

Under normal circumstances, Finale prints your pages in portrait orientationwith the page taller than it
is wide. For some scores, however, you may want the page turned sideways, in landscape orientation.
For instructions on printing in landscape orientation, see Printing.
If you would like to specify a different page orientation for the score than the parts, two print sessions are
required. On Windows, Finale cannot use the orientation setting in the Page Format for Score and Page
Format for Parts dialog box instead of the one specified in the Print dialog box.
While printing both the score and parts, you may want to use a different orientation for the score than the
parts. To do so, you must perform two print jobs, one for the score and one for the parts.To change the
orientation, see Page Setup.

1749

PostScript
See also Encapsulated PostScript (EPS); Fonts and Compile PostScript Listing dialog box.
PostScript is the page-description language that computers and some printers use when they speak to
each other. Finales printouts look best when generated by a PostScript printer.
In Page View, you can choose the Show PostScript Preview command (in the View Menu). When you
choose this command, Finale prints the actual PostScript instructions onto your screenthe same
instructions that it would send to a PostScript printer. Except for the fact that the screen resolution is
much coarser than that of a PostScript printer, the Show PostScript Preview command provides the most
accurate possible preview of how your music will look when its printed. When you click the mouse, the
display returns to normal.

1750

Printing
To print a score
Portrait orientation is the usual setupthe page is taller than it is wide; Landscape orientation is
sideways. Letter size is 8.5 by 11 inches; Legal size is 8.5 by14 inches.
1.

Choose Page Setup from the File Menu. The Page Setup dialog box appears. Click Letter or Legal
to specify the paper size. Specify the orientation by clicking Portrait or Landscape.

2.

Make sure your page layout matches the paper size and orientation youve just specified. See
Page size for instructions.

3.

Click OK (or press enter). If youre in Page View, go to page 1.

4.

Choose Update Layout from the Edit Menu. By choosing Update Layout, youre reformatting the
music so that no measures are unnecessarily wide or narrow.

5.

Choose Print from the File Menu. The Print dialog box appears letting you specify the range of
pages to print. If you only want the first page to print, type 1 in both the From and To boxes.

6.

Click OK (or press enter). The printer should begin to print in a few moments.

7.

To cancel printing, press esc or click Cancel. Because the computer sends data to the printer
faster than the printer can process it, there will be a momentary pause before the computer and
printer stop printing.

To print large scores by taping smaller pages together

See Tiling pages for printing.

To print linked parts

See Printing linked parts.

1751

Punch in/Punch out

To to perform a punch in and out
Punch in and punch out are sequencing and recording terms. They refer to the act of rerecording, in a
second pass, only a portion of a performance youve already recorded, allowing you to rerecord only a
flawed part of a performance that was otherwise perfect, for example.
You can punch in and out in Finales Transcription window. By clicking the Keyboard Play radio button
and the Time Tag Record radio button, you can also rerecord Time Tags for a certain passage. For
further instructions on the use of the Transcription Mode, see Transcribing a sequence. You can tell
Finale to play a countoff measure or so of music before switching to record mode, if you want.

Record your performance in the usual way. Again, see Transcribing a sequence for complete
instructions.

Specify the region you want to rerecord. To tell Finale what region you want to rerecord, you need
to enter the exact starting and stopping times in the In and Out counters (in the lower-right corner of
the screen). 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 type new values.
You may find it easier 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
clickingclick the word In or Out, and then click in the display area.
Note: To locate the places where you want to
punch in and out, drag through the keyboard
display area of the Transcription window, so that a
portion of it is highlighted. Under the word
Keyboard, click Play; click Start to listen to the
highlighted music. Repeat the process until youve
located the exact places in the music where you
want to punch in and out.

Under the word Keyboard, click Punch In/Out.

Choose Punch In Preroll from the Transcription Menu. Youll probably want Finale to play a few
seconds of the music just before the spot you want to rerecord, so you can hear the desired spot in
context and in tempo. The dialog box that now appears allows you to specify how many seconds of
the existing music you want Finale to play before switching into record mode (at which point youll
begin to play the new music).

Enter the number of seconds of preroll you want. Click OK (or press enter). Youre now ready
to begin.

Click Start. Finale plays the music preceding the punch-in point for the number of seconds you
specified, and then begins recording your new performance. When Finale reaches the point you
specified as the punch-out point, it stops recording.

1752

Quantization Guide
Yur success at creating notation with the HyperScribe Tool depends largely on the settings you make in
o
the Quantization Settings dialog box. The more simple the assortment of rhythmic values in your piece,
the better Finale will transcribe them; but Finale can handle even rhythmically complex pieces if youve
made the proper settings.
These settings include your beat source (called Time Tags in the Transcription window), the smallest
note you will input, and your quantization type settings. For a complete discussion of the beat source and
quantization options, see Quantization Settings dialog box, Recording with HyperScribe and Transcribing
a sequence).
The following table is designed to help you make the correct quantization settings before you begin.
Consult this table if you find that (1) Finale is quantizing (rounding off) smaller valuessuch as sixteenth
notesinto chord clusters with larger values, such as eighth notes, or (2) Finale isnt quantizing
enoughin other words, youre finding that eighth notes are being notated as sixteenth notes separated
by sixteenth rests, for example, or (3) Finale isnt correctly notating triplets or other tuplets.
Consult the Beat (Tap), Rhythm and Time columns of this table to find the assortment of rhythmic values
and Time Signatures that correctly characterizes the rhythmic values of the piece youre trying to
notate.The Smallest Note Value and Type of Quantization columns show you what settings to use in the
Quantization Settings dialog box to notate the described rhythm.
(To specify a Beat Durationthat is, the rhythmic value of your tapin HyperScribe, choose Tap from
the HyperScribe Menu and click a note value in the Tap Source dialog box. In the Transcription window,
choose the corresponding value from the First Tag is submenu of the Time Tag Menu before you record
Time Tags.)

Beat
(Tap)

Rhythm

Ti
m
e

Small
est
Note

Type of
Quantization

Space Notes
Evenly

Space Notes
Evenly

1753

Space Notes
Evenly

Space Notes
Evenly

Mix Rhythms

Mix Rhythms

1754

Mix Rhythms

Space Notes
Evenly

Mix Rhythms

Space Notes
Evenly

1755

Mix Rhythms

Space Notes
Evenly

32nd
note

Space Notes
Evenly

Mix Rhythms

1756

Tuplets
You can also change Tuplets over a region. Instead of selecting the Tuplet Tool, select the Selection Tool
and choose Change Tuplets from the Change submenu of the Utilities Menu. The settings in the Change
Tuplets dialog box are the same as in the Tuplet Definition dialog box.
You can also create tuplets during entry with the Simple and Speedy Entry Tools. See Tuplets (Simple
Entry) and Speedy Entry.

To turn normal notes into a tuplet group

1.

Click the Tuplet Tool

2.

Click the first note to be included in the tuplet group. The Tuplet Definition dialog box
appears.

3.

Specify the rhythmic composition of the tuplet. On the top part of the screen Finale is asking,
How many notes of what rhythmic value are to fit in the space normally allotted to how many of what
value? Enter the number of each rhythmic value in the text boxes. Specify the rhythmic value itself
by selecting the rhythmic-value from the drop-down list.
For example, to define a standard quarter note triplet, you could fill out the values either as 3
(quarters) in the space of 2 (quarters), or 3 (quarters) in the space of 1 (half).

4.

Specify the visual appearance of the tuplet. Finale lets you specify various aspects governing the
visual appearance of your tuplets. See Tuplet Definition dialog box. You can always change the
angle or position of the bracket or slur once its in the score. If you want the 3 (or whatever number
appears over the tuplet) to appear in the middle of the slur or bracket (if youre using one) instead of
being above or below it, be sure to choose Break Slur/Bracket. If youre creating a complex tuplet,
you can also choose Use Ratio for Number; instead of placing a simple digit above the tuplet (like 3,
for example), Finale will express the tuplet as a ratio (such as 3:2, using the numbers you entered in
the __ in the space of __ text boxes).

5.

Click OK (or press enter).

To adjust, move, or delete a tuplet

1.

Click the Tuplet Tool

; then click the first note of the tuplet. Handles appear on the tuplets
bracket (or slur, or number).

2.

To reposition the entire tuplet, drag the main handle (which is unshaded).

3.

To change the length of the hook, drag the left or right hook handle. If you selected Match
Length of Hooks in the Tuplet Definition dialog box, Finale automatically adjusts the other hook to the
same length as you drag.

4.

To move the shape closer to or away from the notes, drag the shape handle up or down.

5.

To change the angle of the shape, drag the slope handle.

6.

To move the number closer to or away from the notes, drag the number handle.

7.

To delete the tuplet definition (and restore the notes to normal), click any handle and press
delete.

1757

To enter tuplets with the Simple Entry Tool

1.

Click the Simple Entry Tool

. The Simple Entry Palettes appear.

2.

Click the icon representing the desired notes duration. Click any accidental tools, if desired.

3.

Click the Simple Tuplet Tool

4.

Click the staff. A note appears where you clicked with rests filling out the rest of the triplet. By
default, the triplet will use the duration of the first note to define the triplet. If there isnt enough room
to create the full tuplet or you click within an already existing tuplet, Finale will enter a note of the
duration you selected.

5.

While entering with the Simple Entry Caret, press 9 (or numpad 9) to begin a tuplet.

on the Simple Entry Palette.

To enter tuplets with the Speedy Entry Tool

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

If MIDI is not being used, place the cursor on the correct pitch.

3.

Press ctrl-number in the number keypad. You can press any number between 2 and 8 to specify
the tuplet value that youre about to enter. When you do so, the number you pressed appears in the
upper right corner of the editing frame, telling you that Finale is ready to group the next notes you
enter as a tuplet defined by that number. If you need to enter a more complex tuplet (or want to
specify a particular bracket or slur configuration), press ctrl1, and the Tuplet Definition dialog box
will appear (see Tuplet Definition dialog box).

4.

Enter the notes of the tuplet. The value of the first note you enter tells Finale whether youre
entering an eighth-note tuplet, quarter-note tuplet, and so on. Finale automatically groups them and
brackets them according to the default visual tuplet settings (see To predefine the appearance of
tuplets, below). To enter many tuplets in a row, see To enter many notes of the same value (handsfree MIDI method).

To create a nested tuplet

To nest tuplets, simply create one, then the other, as described in To turn normal notes into a tuplet
group, above. It makes no difference whether you create the outer or inner tuplet first.

To transcribe tuplets from a real-time performance

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For full instructions on the use of Finales real-time transcription tool, HyperScribe, see Recording with
HyperScribe and Transcribing a sequence. However, you may find these supplementary instructions
helpful.
1.

Choose Quantization Settings from the MIDI Menu. If youve just recorded a performance in the
Transcription Mode, choose Quant Settings from the Transcription window. These settings are used
when importing a MIDI file, and transcribing with the HyperScribe Tool.

2.

Select your smallest note duration. If you will be playing nothing smaller than eighth note triplets,
choose the sixteenth note.
Tip: If your real-time transcriptions consistently
transcribe durations that are too large, lower the
smallest note duration, or choose More Settings
from the Quantization Settings dialog box. Place a
check beside Sensitivity and choose the next
smallest duration to your smallest note duration.
For example, if your smallest note duration is a
sixteenth note, set Sensitivity to a thirty-second
note.

4.

Click either Mixed Rhythms or Space Notes Evenly. If your music will have a combination of
dotted rhythms and tuplets, choose the former. If your music will have only tuplets and evenly
spaced rhythms, choose the later.

5.

Click OK (or press enter). Continue with the transcription in the usual way.

To predefine the appearance of tuplets

If you create tuplets with any of the methods described above, you dont have to redefine the visual
appearance of each tuplet each time you create one. Instead, you can set the visual appearance
including whether or not to include a slur, bracket, and so onin advance. See Document OptionsTuplets.

1759

Rallentando
In Finale a rallentando can be a playback effect, a graphic marking in the score, or both. The Rall.
marking itself can appear in one staff or several specified staves.
Note: Finales Human Playback feature recognizes
text such as rall. and applies tempo adjustments
accordingly during playback. See Playback
Settings dialog box for details. To use manually
defined rallentando markings for playback, set
Human Playback to None.

To place the Rall. marking into a score

1.

Click the Expression Tool

2.

Double-click on, above, or below the note or measure to which you want to attach the
marking. The Expression Selection dialog box appears. If the marking already appears in the list,
click it and skip to the step 5.

3.

Click Create. The Expression Designer dialog box appears.

4.

Type Rall. or Rallentando. Highlight the text, then from the Text Menu, choose Font to change
the type style (to italic type, for example).

5.

Click OK or Select in each dialog box until you return to the document.

To move or delete a Rall. marking

1.

Click the Expression Tool

2.

Drag the handle to move the marking. Select it and press the arrow keys to nudge it for fine
positioning. Select it and press delete to remove it.

To define a Rall. marking for playback

The instructions below describe how to assign a tempo change to an expression that can be added to the
score at any time. To easily record, or conduct, a unique tempo change for any region, use TempoTap.
1.

Click the Expression Tool

. If you havent yet placed the marking in the score, double-click
any note. When the Expression Selection dialog box appears, click the desired symbol, click Edit,
and then skip ahead to step 4.

2.

Ctrl-double-click the handle. The Expression Selection dialog box appears.

3.

Click Edit. The Expression Designer dialog box appears.

4.

Click the Playback tab to display the playback options. From the Type drop-down list, choose
Tempo; select Execute Shape, and click the Execute Shape Select button. Proceeding
through the dialog boxes, click as follows: Create; Shape ID; Create. Youre now in the Shape
Designer.

5.

From the Shape Designer Menu, choose Rulers and Grid. The Rulers and Grid dialog box
appears.

6.

Click Eighth Notes, type 1, and click OK. From the Show submenu of the Shape Designer
Menu, choose Grid. The grid appears; each imaginary vertical gridline represents an eighth notes
duration; each horizontal line represents a tempo change of one beat per minute.

7.

Click the Line Tool

. Youre about to draw a graph of the rallentandos effect on playback. To
use the Line Tool, you drag it across the drawing area. To make your shape match the one pictured

1760

here, observe the H: and V: numbers as you move the cursor, and stop when the H: number is 4 and
the V: number is 5.
8.

Draw a line, as shown:

You should have a line that slopes downward from the small white circle (the origin). In this
example, its width (the H: measurement) is 4, meaning four eighth notes duration; this rallentando
will last for a half note. The lines height, 5, represents the number of beats per minute the tempo
will be slowed by this rallentandoat the moment, thats not much of a tempo change. Youll have
a chance to adjust both of these effects.
8.

Click OK then Select to return to the Executable Shape Designer dialog box.

9.

In the Level Scale boxes, enter 8:1. You probably wouldnt even be able to perceive a rallentando
that only slowed down by five beats per minute. By changing the Level Scale, youre multiplying the
degree of rallentando. If you enter 8:1, the tempo will change by 40 beats per minutea much more
satisfying rallentando.
Note that, at this point, you could also specify a
different Time Scale, which would determine how
long the executable shape will last. When you
designed the shape, it crossed four gridlines (each
representing an eighth note duration, for a total of
one half note). Change the Time Scale to multiply
that rate of rallentando; a Time Scale of 1:2 would
create a rallentando lasting half as long (a quarter
note), and 3:1 would create a rallentando that lasts
three times as long.

10. Click OK or Select in each dialog box until you return to the document. Listen to the rallentando
in playback and see how it works. If it doesnt slow down enough, increase the Level Scale. If it lasts
too long, decrease the Time Scale. (The effect of the rallentando will vary according to the current
tempo.)

To return to the original tempo after a rallentando (a tempo)

1.

Click the Expression Tool

2.

Double-click on, above, or below the note or measure to which you want to attach the
marking. The Expression Selection dialog box appears.

3.

Click Create. The Expression Designer dialog box appears.

4.

Type a tempo. Highlight the text, then from the Text Menu, choose Font to change the type style
(to italic type, for example).

5.

Click the Playback tab to display the playback options. From the Type drop-down list, choose
Tempo.

6.

Choose the note duration that is your time signatures beat duration. If you are in 2/4, 3/4, or
4/4 time, choose the quarter note. If you are in 2/2 or 3/2 time, choose half note. If you are in 3/8, 6/8
or 9/8 time, choose the eighth note or dotted quarter note.

7.

Select Set to Value and enter the tempo you want it to playback.

1761

8.

Click OK.

1762

Recording with HyperScribe

Finale allows two types of recording with HyperScribe; A real-time MIDI transcription recorded using an
external MIDI device such as a MIDI keyboard, or an audio track recorded using a microphone attached
to your computer.
When youre recording a real-time MIDI performance using HyperScribe, you can provide the click
yourself by tapping a note on your MIDI keyboard, a foot pedal, and so on (if Tap is selected in the Beat
Source submenu). Or, another computer or MIDI device can provide a time code that Finale will sync to
(if External MIDI Sync is selected in the Beat Source submenu). If you prefer, however, you can have
Finale provide a metronome click, which can be triggered by playing a certain MIDI note (if Playback
and/or Click is selected in the Beat Source submenu).
When you're recording an audio track, the live performance must be in real-time and match the desired
playback tempo. For details, see To record an audio track.
Note: If you are using Kontakt for Finale with GPO as your playback device, to get a metronome click,
you will need to load a percussion instrument and select the patch manually. See To use a metronome
click with VST.

To record into one or two staves

1.

From the MIDI/Audio Menu, choose Quantization Settings. Adjust the settings, then click OK.
See Quantization Settings dialog box for more information.

2.

Click the HyperScribe Tool

3.

From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. The Playback
and/or Click dialog box appears. (See Playback and/or Click dialog box)

4.

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.

5.

If you know what tempo you want to record at, click Use This Tempo and enter the tempo into
the Tempo text box. If you prefer to have Finale calculate the tempo for you, click Listen, then tap
any key on your MIDI instrument in the desired tempo. Finale will enter the tempo you play. You can
select Use Playback Tempo to respect all playback indicators (Playback Controls, Expressions, etc.)
while you record.

6.

Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay
starting the countoff measures and recording until it receives a start signal. Choose None (Record
Immediately) if you dont want to use a signal to start recordingFinale will immediately start
recording (after playing the countoff if one was specified); choose Any MIDI Data for Finale to start
recording upon receiving any MIDI signal thats played; choose Current Metronome Sound to use the
same MIDI signal as the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain
Pedal to signal the start by depressing the foot pedal; choose Other to define an alternate MIDI
signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box).

7.

Select Play Staves While Recording if you want all the staves set up in the instrument list to
play back while Finale provides a click.

8.

Click on Click and Countoff to set up your click and countoff options. For details, see Click and
Countoff.

9.

Click OK.

. The HyperScribe Menu appears.

10. Choose Record into One Staff or Split into Two Staves from the Record Mode submenu of the
HyperScribe Menu.
11. If you choose Split into Two Staves, the Fixed Split Point dialog box appears. Enter the note
that will serve as the split point for the staves. Or click Listen, and play the note on your MIDI
keyboard. Click OK. See Fixed Split Point dialog box for more information.
12. Choose HyperScribe Options from the HyperScribe Menu and change the Receive On
information if youre sending information on an alternate channel. Change other settings as
needed, then click OK. See HyperScribe Options dialog box for more information.

1763

13. From the HyperScribe Menu, choose Record Continuous Data. Then click Listen and play the
continuous data you want to record during your HyperScribe session (or make your
selections from the drop-down). Then click Done and OK to dismiss the dialog box. See
Record Continuous Data dialog box for more details.
14. To start recording, click the measure in which you want Finale to begin recording. Signal
Finale to start (if you selected a start signal). Click a measure. Or, choose Playback Controls
from the Window Menu, if it isnt already selected. If you have selected split into two staves, click on
the upper staff in which you want recording to begin. Change the measure if necessary, then click
Record in the Playback Controls.
If there are repeats in the region you are recording, Finale will jump back to the beginning of
repeated sections (as it would during playback). While recording, the second pass of a repeated
section will overwrite the first pass.
Note: If you click a measure to start recording,
Finale will start recording into the measure you
clicked, not the measure displayed in the Playback
Controls.
15. When youre finished, (if you are providing the beat), give one extra tap. The extra tap is
required to fill out the beat, for the benefit of Finales quantization feature.
Note: If you stop in the middle of a measure,
Finale automatically fills the rest of the measure
with rests. If youre HyperScribing over an existing
passage and accidentally play partway into an
existing measure that you wanted to preserve, ctrlclick to end the recording; Finale wont transcribe
the new notes youve played in the half-completed
measure.
16. Click anywhere on the screen to stop recording and exit the HyperScribe dialog box (if it is
displayed). If the quantization or split point settings werent quite right, change them; then click the
first measure and try the performance again. HyperScribe will overwrite whatever music is already on
the staff. If you cant seem to find a split point that works to separate the music into the proper
staves, use the Note Mover to correct any split point errors (see To correct split point errors, below).

To use multitrack recording (HyperScribe)

When youre using multitrack recording, remember to specify the recording options in the Instrument List
window, otherwise Finale wont know which staves to record into, or which channels to receive from. As
with other HyperScribe record modes, you can have Finale wait for a click (Tap or External MIDI Sync is
selected in the Beat Source submenu). If you prefer, however, you can have Finale provide a metronome
click, which can be triggered by playing a certain MIDI note (if Playback and/or Click is selected in the
Beat Source submenu).
1.

Choose Quantization Settings from the MIDI Menu. Adjust the settings, then click OK. See
Quantization Settings dialog box for more information.

2.

Click the HyperScribe Tool

. The HyperScribe Menu appears. The first decision you have to
make is whether or not you want Finale to provide a click.

3.

From the Beat Source submenu of the HyperScribe Menu, choose Playback and/or Click. The
Playback and/or Click dialog box appears. (See Playback and/or Click dialog box)

4.

Click the note duration you would like to use for your beat from the Beat Equals palette. Type
in the number of EDUs for any duration that is not available from the palette.

5.

If you know what tempo you want to record at, enter the tempo into the Tempo text box. If you
prefer to have Finale calculate the tempo for you, click Listen (the Listen to Tempo dialog box will
appear), then tap any key on your MIDI keyboard in the desired tempo. Finale will enter the tempo
you tapped. See Listen to Tempo dialog box.

6.

Select Play Staves While Recording if you want all the set up staves in the instrument list to
play back while Finale provides a click.

7.

Choose a start signal from the Start Signal for Recording drop-down list. Finale will delay
starting the countoff measures and recording until it receives a start signal. Choose None (Record
Immediately) if you dont want to use a signal to start recordingFinale will immediately start

1764

recording (after playing the countoff, if one was specified); choose Any MIDI Data for Finale to start
recording upon receiving any MIDI signal thats played; choose Current Metronome Sound to use the
same MIDI signal for the metronome click; choose Standard Sustain Pedal or Nonstandard Sustain
Pedal to signal the start by depressing the foot pedal; choose Other to define an alternate MIDI
signal as the start signal in the MIDI Event dialog box (see MIDI Event dialog box).
8.

Click on Click and Countoff to set up your click and countoff options. For details, see Playback
Click and Countoff.

9.

Choose Multitrack Record from the Record Mode submenu of the HyperScribe Menu.

10. Choose Instrument List from the Window Menu, if it isnt already selected. Click the appropriate
P (Play) or S (Solo) columns to determine which staves will play back as you record. (For more
information, see Instrument List window.)
11. Click in a staffs R (Record) column to specify that music will be recorded into the staff (a
black triangle appears in the column). To record into different layers of a staff, expand the staff list
by clicking on the control arrow next to the staff name, then click in the Record column for each layer
you want to record into. Click again to remove a triangle from a staff or layer previously selected for
recording.
12. Enter the channel number that will be recorded for each staff or layer in the RChan column.
To specify different channels for the layers of a staff, expand the staff list by clicking on the control
arrow next to the staff name, then enter the channel numbers into the RChan columns for those
layers. Finale displays the word Mixed next to the Staff name in the RChan column, indicating that
Finale will be recording into one or more layers of the staff, from more than one channel.
13. Close the Instrument List. Clicking on the minimize icon in the upper right corner.
14. Choose Playback Controls from the Window Menu, if it isnt already selected. See Playback
Settings dialog box.
15. In the Measure text box, enter a new measure number to indicate where to start you
transcribing.
16. When youre ready to start recording, signal Finale to start (if a start signal was selected).
Click the Record button in the Playback Controls. Or, click a measure in your score where you want
recording to begin. Finale will use the settings in the Instrument List to determine which channels to
receive from or which staves to record into, then begin countoff and recording.
Note: If you click a measure to start recording,
Finale will start recording into the measure you
clicked, not the measure displayed in the Playback
Controls.
17. When youre finished, (if you are providing the beat), give one extra tap. The extra tap is
required to fill out the beat, for the benefit of Finales quantization feature.
Note: If you stop in the middle of a measure,
Finale automatically fills the rest of the measure
with rests. If youre HyperScribing over an existing
passage and accidentally play partway into an
existing measure that you wanted to preserve, ctrlclick to end the recording; Finale wont transcribe
the new notes youve played in the half-completed
measure.
17. Click anywhere on the screen to stop recording and exit the HyperScribe dialog box (if it is
displayed). If the quantization or split point settings werent quite right, change them; then click the
first measure and try the performance again. HyperScribe will overwrite whatever music is already on
the staff. If you cant seem to find a split point that works to separate the music into the proper
staves, use the Note Mover to correct any split point errors (see To correct split point errors, below).

To use a metronome click with VST

MIDI instruments and VST instruments cannot playback simultaneously. Therefore, if a VST product (like
Kontakt for Finale with GPO) is chosen as your playback device in MIDI Setup, extra steps are required
to sound a metronome click during your HyperScribe Sessions:
1.

From the MIDI/Audio Menu, choose Instrument Setup > VST Instruments. The VST Instruments
dialog box appears.

1765

2.

Click the 1-16 drop-down menu and choose Instruments for Finale 2009 (if its not chosen
already). Then click the Edit button to the right. The Aria Player for Finale appears.

3.

For channel 10, load the Basic Orch Percussion sound. If all eight slots are full, replace one of
the instruments with the Basic Orch Percussion sound and reassign the replaced instrument on a
different set of channels.

4.

Closethe player and click Close to dismiss the dialog box. Setting the channel to 10 ensures the
metronome click will play normally if MIDI is set as the playback device.

5.

From the MIDI/Audio Menu, choose Click and Countoff. The Click and Countoff dialog box
appears.

6.

Change the Note fields for both Down Beats and Other Beats to 56. This will produce a side
drum hit when using the Aria Player for Finale and a cowbell when using MIDI.
Note that you could use a different VST product
instead of the Aria Player for Finale, although the
sound and patch number for the click sound would
be different than the one used for these steps.

To record an audio track

1.

From the View Menu, choose Studio View. Audio tracks are only visible in Studio View.

2.

From the Document Menu, choose Playback/Record Options. Ensure "Chase from First
Measure" is selected under the Dynamics and Markings drop-down menu. Click OK.

3.

From the MIDI/Audio Menu, choose Audio Track, then Add Audio Track. An audio track appears
above your instrument staves, and below the TempoTap staff.

4.

Choose the HyperScribe Tool

HyperScribe session.

5.

From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. Click the dropdown menu to the right of Start Signal for Recording and choose None (Record Immediately). This
setting tells Finale to begin recording using the number of countoff measures specified in the Click
and Countoff dialog box.

6.

Click the first measure, listen to two bars of metronome clicks, then begin recording into the
microphone.

7.

When you are done, click the score to stop the recording. The audio you just recorded is visible
in the audio track. Click Play in the Playback Controls to listen to your document. Click on the audio
track again to record over the original recording. If there is a delay in the transmission from the
microphone to your computer, you can adjust the audio latency to resolve the difference in all future
recordings. See To Correct Audio Recording Latency

. At this point the steps are basically the same as recording a

Finale allows a single audio track in any document. For more advanced options, such as editing the
reverb of the audio file or recording multiple voices; use audio editing software, save as aWave, and
import the audio file into a Finale document's audio track. See Audio.

To Correct Audio Recording Latency

If during playback you notice your audio recordings are offset from the accompanying score, it is likely the
audio signal from your microphone is not being transmitted to your computer instantly. This short delay is
called latency. Finale's recording settings allow you to compensate for latency. This is a program setting
and will generally only need to be set once (unless future hardware changes alter the degree of latency).
1.

From the File Menu, choose New > Defaut Document. A new single-staff document appears in
Studio View. We'll use this scratch document to determine the degree of latency.

2.

. Then press Enter to place a note on the first beat of the

Click the Simple Entry Tool
document. This is our reference point. Any note or chord is fine, as long as it rests on the first beat
of the document.

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3.

From the MIDI/Audio Menu, choose Audio Track, then Add Audio Track. An audio track appears
above the regular staff, and below the TempoTap staff.

4.

Choose the HyperScribe Tool

5.

From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. Click the dropdown menu to the right of Start Signal for Recording and choose None (Record Immediately). This
setting tells Finale to begin recording using the number of countoff measures specified in the Click
and Countoff dialog box.

6.

Click the first measure, listen to two bars of metronome clicks, then record a marker (i.e.
vocal note or percussive sound).

7.

Click the score to stop the recording. The audio you just recorded is visible in the audio track.

8.

Click Play in the Playback Controls to listen to your document. If the audio marker you recorded
and the note(s) you entered do not play simultaneously, you will need to adjust the latency.

9.

From the MIDI Menu, choose Audio Setup. The Audio Setup dialog box appears.

10. After Recording Latency, enter "50" milliseconds. This is a common degree of latency and a
good place to start, although the exact amount of time varies by machine.
11. Click OK. Repeat steps 6 and 7. If the recorded marker still sounds after beat one of the notated
music, you will need to enter a greater duration for Latency in the Audio Setup dialog box. Repeat
steps 8 and 9, entering a greater value (i.e. 65). If the recorded marker sounds before the notated
music, use a lesser duration of latency (i.e. 35). Experiment with the Latency value until the recorded
marker and notated music play simultaneously.

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Rebarring music
Finales rebarring feature is extremely powerful: almost instantly, it redistributes the notes of your score
so that each measure contains the right number of beats. You can renotate a waltz as a two-step, or vice
versa.
In the Time Signature dialog box, there is a checkbox called Rebar Music. As long as this checkbox is
selected, Finale will rebar your music automatically whenever you change the time signature. There are
only two circumstances, therefore, when you might need to invoke the Rebar Music command
manuallywhen the checkbox is de-selected, or when you insert (or delete) a note from a measure, and
you want Finale to make the following notes flow into (or out of) that measure to take up the slack.
Whether you use the Rebar Music checkbox, or manual rebarring feature, Finale is smart enough to split
or combine notes as needed, rebeam the notes, and stop rebarring at points you designate (such as key
or time changes); the program will also create measures as necessary. If Finale reaches one of these
stopping points but doesnt have enough notes leftover to fill an entire measure, it will fill this final
measure with the appropriate number of rests.
When you rebar partly-filled measures, Finale does not pad the measures with rests. For example, if

youre in
time, and you enter two quarter notes (and no rests) in each of two measures, when you
rebar the music, youll end up with one measure containing 4 quarter notes. To maintain the positions of
the rests, you must actually enter the rests, or you can pad the measures with rests using the Fill With
Rests command located in the Check Notation submenu of the Utilities Menu.

To rebar existing music manually

1.

Click the Selection Tool

, and select the region you want rebarred.

2.

Select how you want your music rebarred using the Rebar Options dialog box. (See Rebar
Options dialog box.)

3.

From the Rebar submenu of the Utilities Menu, choose Rebar Music. Finale redistributes the
notes, so that each selected measure contains the correct number of beats, but respecting your
settings in the Rebar Options dialog box.

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Redraw
In order to speed up your work with Finale, you may want to limit the number of times Finale redraws the
screen picturea process that requires the computer to do time-consuming calculations, particularly with
large scores.

To move the screen picture diagonally

Occasionally, you need to move both scroll barsfor example, if you want to move diagonally across the
pagewhich means that Finale must redraw the screen at least twice.
In those situations, adjust the screen picture using the Hand Grabber Tool instead of the scroll bars; this
tool lets you drag the display in any direction without redrawing until you let go.
Finally, as a shortcut, remember that you can switch to the Hand Grabberregardless of which tool is
highlighted on the paletteby pressing the right-button while dragging.

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Reducing/Enlarging
You can enlarge or reduce almost any element of your music: a notehead, an entire note, a staff, a
system, or a page. The limits of the Resize Tool are 10% to 1000%.

To reduce or enlarge individual notes

See Note size and Cue notes.

To reduce or enlarge a staff or system

You must be in Page View to reduce or enlarge a staff or system.
.

1.

Click the Resize Tool

2.

Click to the left of a staff (to resize the staff), or to the left of or between any two staves (to
resize the system). The Resize Staff (or Staff System) dialog box appears, asking you how you
want to resize the staff or system.
If youre reducing or enlarging a system, you see two important options. Click Hold Margins if you
intend to reduce the music itself but not the system margins, thus increasing the number of
measures that fit on the line. Click Resize Vertical Space if, in reducing a system, you want less
space between this system and the next, proportional to the reduction.
If youre reducing or enlarging a system, youll also want to look at the Staff Sizing. This section
can be very useful for calculating the combined scaling of staff and system. This can help avoid the
necessity of resizing the page and scaling text blocks.
Tip: the absolute staff height is 96 EVPUs or .3333
inches or .8467 cm.

3.

Enter the desired reduction or enlargement percentage. Specify the range of systems you
want to affect. Click OK. If you reduced or enlarged a system with Hold Margins selected, the
measure widths will appear to be uneven.

4.

Choose Update Layout from the Edit Menu. To restore a staff or system to its original size, click to
the left of the staff or system with the Resize Tool. When the dialog box appears, enter 100 (%) and
click OK.

To reduce or enlarge all the music on a page (or the entire piece)
Use this technique for reducing or enlarging the printed size of the music itself, including text and
expressions (without changing the actual page size). You must be in Page View to reduce or enlarge a
page.
1.

Click the Resize Tool

2.

Click the upper-left corner of the first page you want to resize. The Resize Page dialog box
appears.

3.

Enter the reduction or enlargement percentage. Click Hold Margins, too, unless you want the
entire printed page to shrink (or grow) proportionally. (SeeResize Staff System dialog box for
details.)

4.

Specify the pages you want to resize.Click OK. As always, whenever you perform an operation
that changes the measure widths, you should update the measure layout.

5.

Choose Update Layout from the Edit Menu.

To reduce or enlarge fretboards

See Resize Fretboards dialog box.

1770

To prevent certain items from shrinking

When you shrink notes, Finale automatically shrinks anything attached to them proportionallylyrics,
chord symbols, articulations and expressions, and so on. Under some circumstances, you may not want
these attached items to change size along with the notes.
Note: For lyrics, a simpler alternative to the
method below is to specify a Fixed Size when you
select a type size.
Note: For chords, a simpler alternative to the
method below is to specify a Fixed Size in
Document Options-Fonts.
1.

Open the selection dialog box that contains the entry you would like to remain a Fixed Size.
For example, for an Articulation, choose the Articulation Tool and double-click a note to open the
Articulation Selection dialog box.

2.

Select the item in the list that you wish to remain a Fixed Size and choose Edit.

3.

Choose Set Font.

4.

Select Fixed Size. This will prevent your item from shrinking when you use the Resize Tool.

1771

Rehearsal letters
Rehearsal letters (or numbers, or other marks) are added
as expressions and as such can appears at the same
measure in all staves of a full score. In other words, you
can choose to display the marking, for example, above
only the top staff of the full score, but also on every part.
(See Staff List dialog box for more details).
If you want your rehearsal marks to be based on their
measure numbers, see Measure numbers for an alternate
method of creating rehearsal numbers.

To create a rehearsal letter

1.

Click the Expression Tool

2.

Hold down the rehearsal letter's metatool key (e.g. "A") and click a measure. You can also
simply double-click a measure to open the Expression Selection dialog box where you can choose
from a list of rehearsal letters.
Note: To easily add a rehearsal letter to your score
in Simple Entry, press the X key with a note
selected and then press the rehearsal letters
metatool key or press Enter to choose from a list.
See Simple Entry Tool. You can also use the
Expression Tool to easily add expressions. See
Expressions.

To create and add a custom rehearsal letter

1.

Click the Expression Tool

2.

Double-click on or above the measure at which the letter is to appear. The Expression Selection
dialog box appears. If you see the letter in the scrolling list, double-click it and skip to step 8.

3.

Choose the Rehearsal Marks category to display the rehearsal marks. To create a new rehearsal
mark based on one of Finale's existing rehearsal marks, select one, click duplicate, then click Edit.

4.

To create a new rehearsal mark from scratch, click Create. The Expression Designer dialog box
appears.

5.

Type the letter (or number). The rehearsal mark font specified for the rehearsal mark category is
applied automatically (see Category Designer).

6.

If you wish, choose a shape for an enclosure and then click Edit. The Enclosure Designer dialog
box appears. Choose the shape you prefer from the list of geometric enclosures. Drag the top handle
to make the enclosure taller or shorter, the right-side handle to make the whole enclosure bigger or
smaller, and the middle handle to position the enclosure around the letter. You can also change the
line thickness, which is measured in points (72 per inch). (You can also use a different shape
enclosure here by selecting it from the Shape drop-down menu. The second text box holds a decimal
place. Click OK to exit the Enclosure Designer.
Note: Enclosed rehearsal numbers may not look
the same when printed by a PostScript printer as
they appear on the screen. You may need to
experiment to find the correct adjustment; in the
meantime, remember that the Show PostScript
Preview command (in the View Menu, only in Page
View) will help you preview the printed output
before you commit the score to paper.

1772

7.

Click OK twice. You return to the Expression Selection dialog box.

8.

If you want to display the letter in specific staves, click the Edit Categories button to open the
Category Designer dialog box.

9.

Here, you can use the Staff List options to select or define the desired Staff List. See Staff List
dialog box for more information.

10. Click OK and then Select to add the rehearsal mark.

To move or delete a rehearsal letter

1.

Click the Expression Tool

2.

Drag the handle to move the letter; select it and press delete to remove it. If you want to edit
the letters Staff List click the Edit button.

1773

Repeats (barlines and text

indications)
Repeat barlines in Finale can be either purely graphic, or fully functional for playback. For standard
repeat configurations, such as repeats with first and second endings, and even repeats with several
endings, Finale defines playback for you automatically. For more advanced repeats, such as a D.S. al
Coda, you can create text repeats and define them for any playback configuration. See Coda; D.S. al
Coda; and D.C..
For information regarding repeats in scores with linked parts, see Repeats in linked parts.

To place a basic repeat in your score

If you want to create a backwards repeat bar that will return to the beginning of the score, do the
following.

Click the Repeat Tool

and right-click the measure prior to the desired repeat barline
and choose Create Backward Repeat Bar. Or, click to select the measure and from the Repeat
Menu, choose Create Backward Repeat bar. If a forward repeat bar does not appear earlier in the
score, Finale automatically jumps to the first measure upon reaching this repeat barline during
playback.

If you want to define a forward and backward repeat barline at the same time, do the following:
.

1.

Click the Repeat Tool

2.

Highlight the measures you would like to enclose within repeat barlines. (If the section is too
large to see at once, click the first measure, and then hold down Shift and click the last measure of
the desired region).

3.

Right-click the highlighted region and select Create Simple Repeat. Or, from the Repeat
Menu, choose Create Simple Repeat. A forward and backward repeat barline appear on the first
and last measure of the region respectively. Also, this section will repeat accordingly during
playback.

There are several other options for creating repeat barlines. You could alsoright-click the fist measure of
a section you would like to repeat and choose Create Forward Repeat and then right-click the last
measure of the desired repeated section and choose Create Backward Repeat. Of course, instead of
using the contextual menus (right-click), you can also click to select a measure and choose the desired
option from the Repeat Menu. This applies for all contextual measure selections described in this
chapter.

To delete a repeat barline

1.

Click the Repeat Tool

; then click the handle on the repeat barline (or any repeat
indication) you want to remove.

2.

Press the Delete key (or, right-click a repeat handle and choose Delete). The repeat barline,
ending, or text repeat (depending on what you clicked) disappears.

To break a repeat barline that connects staves

When you create a repeat barline, its ordinarily drawn as a solid line across the space between any
grouped staves (those connected by a bracket, for example). If you prefer, you can instruct Finale not to
draw the barline continuously through the space between staves.
1.

, and double-click the staff thats just below the space where you
Click the Staff Tool
want to omit the barline. The Staff Attributes dialog box appears.

2.

Select Break Repeat Barlines Between Staves. Click OK.

1774

To place a text repeat in your score

Text repeats are used to define any repeat indication that appears as text, including Fine, To Coda, D.S.
al Coda, etc. Like repeat barlines, text repeats can display graphically without affecting playback, or they
can be used to direct playback to the appropriate measure.
1.

Click the Repeat Tool

; then double-click the measure you want to contain the repeat.
The Repeat Selection dialog box appears.

2.

Select the text repeat you want to use from the list on the left. If the text you want to use does
not appear in this list, click Create to define a new text repeat. Or, select a text repeat and click Edit
to change one. See Repeat Designer dialog box for more information regarding creating and editing
text repeats.

3.

Click Select. The Text Repeat Assignment dialog box appears which offers several options for
defining the appearance and playback definition. See Text Repeat Assignment dialog box.

4.

Click OK. The text repeat appears in the score.

For information on setting up common repeat configurations, see Coda, D.S. al Coda, and D.C.

1775

Rests (Simple Entry)

You can edit, create, and move rests by using either the Simple Entry or Speedy Entry tools. If you do
most of your editing with the Speedy Entry Tool, see Rests (Speedy Entry). You can change any existing
note into a rest, or change the duration of any rest. See also Multimeasure Rest dialog box, Simple Entry,
and Whole rests.

To move a rest vertically

1.

Click the Simple Entry Tool

2.

Ctrl-click and drag the rest. You can also use the up and down arrow keys.

. The Simple Entry Palettes appear.

3.

After entering a rest with the caret, hold down Alt and press the up and down arrow keys to
move the rest vertically.

To add a rest
1.

Click the Simple Entry Tool

2.

Click the icon representing the desired rests duration on the Simple Entry Rest Palette. Or,
hold down Ctrl and type the number of desired rests duration. Then click the place where
you want the rest to appear. The rest appears at the horizontal position of your click; its vertical
position is always the center staff line, unless youre working in layers and have specified a rest
position offset. (See Multiple voices for a more complete discussion of setting rest position offsets.)
See also To move a rest vertically, above.

. The Simple Entry Palettes appear.

3.

With the caret active, type 0 to enter a rest of the duration chosen in the Simple Entry Palette..

To change a rests duration

1.

Click the Simple Entry Tool

. The Simple Entry Palettes appear.

2.

Click the icon on the Rest Palette representing the desired new duration.

3.

Click the rest. It changes to the new duration.

4.

After entering a rest with the caret, hold down Alt and type a duration (1-8).

To change a rest to a note

1.

Click the Simple Entry Tool

. The Simple Entry Palettes appear.

2.

Ctrl-click the rest or enter a rest with the caret. The rest is selected.

3.

Type R. The rest turns into a note on the middle staff line.

To change a note to a rest

1.

Click the Simple Entry Tool

2.

Ctrl-click a note or enter a note with the caret. The note is selected.

. The Simple Entry Palettes appear.

3.

Type R. The note turns into a rest.

1776

Rests (Speedy Entry)

You can edit, create, and move rests by using either the Simple Entry or Speedy Entry tools. If you do
most of your editing with the Simple Entry Tool, see Rests (Simple Entry). You can change any existing
note into a rest, or change the duration of any rest. See also Multimeasure Rest dialog box, Speedy
Entry, and Whole rests.

To move a rest vertically or horizontally

1.

Click the Speedy Entry Tool

; click the measure in question. The editing frame appears. If
you have created two voices using the Voice 1/Voice 2 mechanism (the inner-voice mechanism used
by the HyperScribe Tool), you can move any rest in Voice 2 by dragging it up or down.

2.

Click the rest. You can also use the arrow keys to position the insertion bar.
If youve created a separate voice in each layer, make sure youre in the layer containing the rest. If
not, press shift- (apostrophe) to switch layers.

3.

To move the rest horizontally, simply drag it. Press shift to prevent it from moving vertically.

4.

Drag the rest up or down. When its where you want it, press zero (0) to exit the editing frame.
If you want to make sure you dont inadvertently drag the rest horizontally, press shift as you drag.
Note that if youre using the Layer mechanism, you
can move all rests in one layer (or all) a specified
distance up or down from their default center-line
position (see Multiple voices for a more complete
discussion).

To add a rest
1.

Click the Speedy Entry Tool a; click the target measure. The editing frame appears.

2.

Press a number key (for non-MIDI, press control, shift and a number key). A rest appears of the
duration corresponding to the number key you pressed, as shown below.
Press this
key

To produce this
rest

Press this
key

To produce this
rest

1777

(If a note appears instead of a rest, even though youre using MIDI, its because Use MIDI device isnt
selected in the Speedy Menu. Use the arrow keys to position the insertion bar on the notehead and press
backspace (or press shift-delete); this turns it into a rest.) If you want to insert a rest between existing
notes, use the Insert mode. Press Insert to turn the Insert mode on or off.

To change a rests duration

1.

Click the Speedy Entry Tool

; click the target measure. The editing frame appears.

2.

Click the rest. You can also use the arrow keys to position the cursor.

3.

Press the number key corresponding to the desired new duration. (See the table of number
key/rest value equivalents in To add a rest.) The rest changes to the specified duration.

To change a rest to a note

1.

Click the Speedy Entry Tool

; click the target measure. The editing frame appears.

2.

Click the rest. You can also use the arrow keys to position the insertion bar.

3.

Press enter. The rest becomes a note of the same duration.

To change a single note to a rest

1.

Click the Speedy Entry Tool

2.

Click the note. You can also use the arrow keys to move the cursor.

; click the target measure. The editing frame appears.

3.

Press backspace (or press shift-delete). The note becomes a rest of the same duration.
Note: To change a chord to a rest, place the
cursor on the stem of the chord.

1778

Retranscription
To retranscribe a region
1.

Choose Quantization Settings from the MIDI Menu. The Quantization Settings dialog box
appears.

2.

Change the quantization settings as needed in the Quantization Settings dialog box. Click the
note that you want to be the smallest note value and the type of quantization you require. Choose
whether you want grace notes and an inner voice notated in the selected region by clicking More
Settings. The More Quantization Settings dialog box appears. Change your settings and Click OK.
See Quantization Settings dialog box and More Quantization Settings dialog box for more
information.

3.

Click OK to return to the document.

4.

Click the Selection Tool

5.

Select the region you want to renotate.

6.

Choose Retranscribe from the MIDI/Audio Menu. Finale retranscribes the region according to the
new settings. All MIDI information is maintained, but if any markings appeared on the original notes,
they are removed.

1779

Reverse stems
A reverse stem is one thats drawn on the wrong side of its notehead; its encountered most frequently in
conjunction with cross-staff notes, like this:

Using the Special Tools Tool, you can create a reverse stem on any note or chord.

To create a reverse stem

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure in question.

, and

2.

Click the Reverse Stem Tool

3.

Click the upper handle (for an upstem note), or the lower handle (for a downstem note). Finale
responds by attaching the stem to the opposite side of the notehead. Bear in mind that you should
decide which handle to click (upper or lower) based on the stems direction.

. A handle appears above and below each note or chord.

To temporarily display reverse-stemmed notes with normal stems

Once youve created reverse stemming, you may find your score easier to edit if stems are drawn on the
correct sides of their noteheads; if so, follow the procedure below.
1.

From the Document Menu, choose Document Options, then select Stems. The Stem options
appear.

2.

Click Display Reverse Stemming to de-select it. When this option is off, Finale draws every stem
on the original side of its notehead.

3.

Click OK (or press enter). At any time, you can restore all affected stems to reverse-stem status by
turning Display Reverse Stemming on again.

1780

Rolled chords
The rolled-chord marking (a vertical wavy line) uses a special Articulation feature called
Copy the Main Symbol Vertically, letting you drag the wavy line to make it as long or as
short as you want it to be.
If youve loaded an Articulation library into your file (or started with the Setup Wizard, a
template, or new Default Document), you dont have to create the marking anew. It is
already defined in slot 31 of the Articulation Designer. To define one yourself, follow
these steps.

To create the rolled chord marking

1.

Click the Articulation Tool

2.

Click the bottom note of the chord. The Articulation Selection dialog box appears. If the rolled
chord marking appears in the palette, double-click it; the marking appears in the score. If not:

3.

Click Create. The Articulation Designer appears.

4.

Click Main. The Symbol Selection dialog box appears.

5.

Double-click the
symbol. Click OK.

6.

Select Copy the Main Symbol. This command lets you to stretch the marking as long as necessary.
Make sure Vertically is selected in the drop-down list menu.

7.

Press enter twice. The marking appears in the score, superimposed on the chord. See To adjust,
move, or delete the rolled chord marking.

symbol (#103). If you have trouble finding it, scroll to slot 103 and click the

To adjust, move, or delete the rolled chord marking

1.

Click the Articulation Tool

2.

Drag the top handle horizontally to move the entire marking. Drag the bottom handle up or
down to shorten or lengthen the marking.

3.

Click either handle and press delete to remove the marking.

To define a rolled chord marking for playback

Human Playback interprets and performs roll articulations during playback automatically. See Human
Playback. To hear manual changes to the MIDI playback definition of rolled chords (such as those
described in this section), you must first set Human Playback to None in the Playback Settings dialog
box.
Note: Playback is defined to roll the chord from
bottom to top (as defined in the following steps) by
default if you started a document with the Setup
Wizard, template, or new default document.
1.

Click the Articulation Tool

. If you havent yet placed the marking in the score, click the chord
to be rolled. When the Articulation Selection dialog box appears, click the rolled chord marking and
click Edit, and then skip to step 4.

2.

Click the rolled chord. A square handle appears at the top and bottom of the marking.

3.

Double-click a handle. The Articulation Designer dialog box appears.

1781

4.

From the Playback Effect drop-down list, choose Change Attack. Enter 0 as the Top Note
Value, and 256 as the Bottom Note Value. The Top Note Value and Bottom Note Value define
how the chord is rolled. The units are 1024ths of a quarter note; thus, a negative Bottom Note Value
tells Finale to strike the bottom note slightly before the beat during playback. The attacks of any
chord notes between the top and bottom notes are scaled proportionally between the Top Note
Value and Bottom Note Value, producing a true rolled chord sound. (You may also wish to select
Values Are Percentages, which lets you enter percentages into these text boxes; 100% would equal
the value of whatever note the marking is attached to.)
If you want the chord rolled from top to bottom, enter the negative number as the Top Note Value,
and zero as the Bottom Note Value. (If you enter zero as the Bottom Note Value and a positive Top
Note Value, the upper chord notes will be struck latein other words, the chord roll will begin on
the beat.)

5.

Press enter twice to exit the dialog boxes.

1782

Running headers
A running header is a piece of text appearing at the top of every page of a scorea title, date, or
copyright notice, for example. (A running footer appears at the bottom of every page.) You can create any
such text with the Text Tool. You can even specify a running header to appear on the right or left pages
only, so that you can have different running headers on each of two facing pages. See Titles To position
page-assigned text blocks on left- and right-facing pages for full instructions on creating headers and
footers.Text blocks and

1783

Scanning
Finale offers a variety of ways for you to scan sheet music and bring the results into Finale. If you own
Musiteks MIDIScan or SmartScore software, you can import files scanned with these programs into
Finale. See File/Import/MIDIScan. However, all you need is a scanner properly set up with your
computer to take advantage of Finales scanning capabilities. Scan, import, and translate a piece of sheet
music directly from Finale (see To scan and import sheet music), or import an existing TIFF graphic you
have already scanned and translate the file to a Standard Finale File using the SmartScore Lite dialog
box. See To Import Scanned TIFF Files.
Note that the SmartScore Lite feature in Finale,
like most music scanning products, doesnt
recognize articulation marks, hairpins, double or
repeat barlines, or text. It will do 3 accidental types,
3 clefs, 16 staves per page, smallest note value is
a 32nd note, and a maximum of 1 augmentation
dot. With SmartScore Lite, you can open several
scanned files at once.
Because scanning is not a perfect science, you will need to clean up any file after conversion. For
complicated music, you will usually find it easier to simply re-enter the music via one of Finale's traditional
note entry methods: Simple Entry, Speedy Entry, or HyperScribe.
Remember that to take advantage of any of Finale's scanning capabilities, you will need to have a
properly installed scanner (contact the manufacturer of your scanner if you have questions).

Choosing the best scanner for SmartScore

Musitek, the makers of SmartScore, offer the following advice for choosing the best scanner for
SmartScore Lite:

Newer Canon or Epson USB scanners.

Scanners that have been tested with Win XP and SmartScore

Newer Hewlett-Packard and Canon USB scanners with WIA drivers.

Newer Microtek USB scanners with TWAIN.

Musitek recommends avoiding the following scanners:

"All-In-One" scanners without WIA drivers.

Older scanners that are not fully TWAIN-compliant.

Most modern scanners will work fine with SmartScore. "All-in-one" printer/copier/scanner models are
becoming popular. Sadly, many have less-than-perfect software and optics. We recommend dedicated
flatbed scanners as a rule.
Issues with All-In-One scanners and some workarounds
Most all-in-one printer/scanners will work in SmartScore provided you choose the right settings.

Use SmartScore's scanning interface (File Menu > Scanning: SmartScore Lite > Scan and
Import).

Turn OFF Auto-Resolution. Most all-in-one scanners do not have variable-resolution scanning.
This means discrete resolution values must be selected: e.g. 300dpi, 600dpi and 1200dpi. One more
reason why dedicated flat-bed scanners are preferred.

Scan at 300 dpi and save pages in GREY as "uncompressed" TIFF files.
Note: Even if you choose "Black & White", most
all-in-one scanners will actually scan in color and
then "dither" the image, making the image

1784

unusable. Remember to scan in "Greyscale" (not

Color or Black & White).
It is always recommended to scan using SmartScore's scanning interface with the benefits of autoresolution, deskew and multiple-page TIFF functions. Also, newer Epson and Cannon scanners work well
with SmartScore's scanning interface under Windows XP and MacOS X platforms.

To scan and import sheet music

The following steps describe how to use Finale to scan and open a single or multiple page document. To
acquire sheet music from your scanner:
1.

Place a page of sheet music on your scanner. To get the best results, start with a clean, highquality original (not a photocopy) that does not have frayed edges or crooked staves. Lay the music
squarely on the bed of your scanner. Do not use scores with more than 16 staves.

2.

In Finale, select the File Menu, go to SmartScore Scanning Lite, and choose Scan and Import.
(Or, in the Launch Window, click Scanning). Finale opens the SmartScore Lite 5.5 dialog box and
automatically displays a preview of the sheet music in your scanner. If you do not see a preview,
click the Preview button.

3.

Adjust settings as desired and click Scan. For more information regarding the settings in the
SmartScore Lite dialog box, see SmartScore Lite 5.5 dialog box.

4.

Scan one page. Finale asks you if you have more pages to scan. If you do, click Yes and repeat the
last two steps. When you have scanned all pages, click No. A message appears noting that your
files have been saved to a temporary folder.

5.

Click OK. The SmartScore Lite dialog box appears.

6.

Click Add Files to List. The Open dialog appears where you can choose the files you have just
scanned. If you scanned multiple pages, click the first file in the list, and then hold down Shift and
click the last file to select all pages.

7.

Click Open. Your files appear in the file list. Click a filename to display a preview of that page in the
preview window on the right.

8.

Click Begin Recognition. Finale transcribes the scanned file(s) and displays the music in a single
Finale file. (If you encounter problems, such as a "Recognition Failed" error, see below).

9.

Save the file with a new name.

10. Make any desired edits. Because scanning is not a perfect science, you will need to proofread the
music and correct for missing notes, ties or dots.
11. Convert slurs to ties, where needed. SmartScore will attempt to convert ties based on context (Are
the two slurred notes the same pitch?) but may occasionally guess incorrectly and insert a slur.
Although slurs and ties are graphically the same; slurs and ties are different musically. Remove the
incorrect slurs with the Smart Shape Tools. See To move, reshape, or delete Smart Shape slurs.
Add the ties with the Simple or Speedy Entry Tools. See Simple Entry or Speedy Entry.
12. In files with more than one staff, fix the key signatures, if needed. All staves will be set to
Independent Key Signatures, which causes the Key Signature Tool to change the key individually for
each staff. You can remove the Independent Key Signatures in the Staff Attributes dialog box. Make
sure you set the proper transposition for any transposing staves if you decide to use this fix.

Using your scanner's software to scan sheet music for Finale

import
It is preferrable to scan from SmartScore's own scanning interface for several reasons: Auto-resolution,
auto-deskew, multi-page/single image file creation, greyscale thresholding, etc.
If you are using SmartScore's scanning interface and your scanner does not operate or you get a
"Recognition Failed" message, you can bypass SmartScore's scanning interface:
1.

In SmartScore Lite, choose Select Scanner and choose your scanner.

2.

Scan in GRAYSCALE White) at a resolution of 300 to 400 dpi.&(NOT Black

3.

Save each page as separate uncompressed TIFF files.

Now, follow the steps under To Import Scanned TIFF Files below to import and translate the scanned
documents.

1785

Failing that, open the scanning module associated with your scanner. Scan and save each page as
individual TIFF file according to points 2. and 3. above. Or consider the following:
Third-party scanning software (ScanVue)
If it not possible to scan from inside SmartScore, a reasonable alternative is to use 3rd-party scanning
software such as ScanVue which supports more than 500 scanners and enables scanning in
SmartScore's scanning interface.

To import scanned TIFF files

If you would like to Import Files you have already scanned and saved as uncompressed TIFF files:
1.

From the File Menu, choose SmartScore Scanning Lite, and then Import Existing TIFF File.

2.

In the SmartScore Lite dialog box, click Add Files to List to add files, and then Begin
Recognition to translate and open the files in Finale. See SmartScore Lite dialog box for details.

(To scan, import, and translate using Finale's included scanning utility, see To scan and import sheet
music.)
Because scanners and scanning software varies widely, we cannot provide specific instructions for how
to configure the above settings for every scanner. When in doubt, see your scanner documentation for
details or contact the scanner manufacturer on how to prepare a file with the requirements stated above.
(Note that some scanning software can be stubborn in its attempts to make decisions for you and result
in a scanned file that does not meet the above requirements).
After you have scanned the file do not open the image file in PhotoShop or PhotoDeluxe, as this will
introduce lightening and other negative factors. Some versions of PhotoDeluxe will also save the file as a
uniquely PhotoDeluxe TIFF that SmartScore Lite (and MIDIScan Import) cannot recognize.

To import MIDIScan or SmartScore files

See File/Import/MIDIScan.

1786

Score Conversion
Finale has the ability to import files created in Score, a notation program created by the San Andreas
Press. Like importing Encore and Rhapsody files, the simpler the Score file, the fewer 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. Though you can batch-open as many Score files as you like, it is recommended to
limit batch conversion to twenty. If you choose to open twenty or more files at once, you will see the
following warning:

Click Yes to continue with conversion or No to dismiss the dialog box. For more information on importing
Score files, see To import Score files.
After importing one or several Score files, Finale will generate a list of changed or lost data you can use
as a guide to make corrections in the resulting Finale document. This list will be saved as a text file to the
Finale folder with the extension *.log. The name as the log file will be the same as the imported Score file.
Here are some known issues specific to documents converted from Score files and how to resolve them
in Finale.

Note Durations
Finale will read the precise note durations as they were entered in the Score file. Finale will not evaluate
beam extensions and other figures that change the visual representation of the note duration in the Score
file. See Simple Entry or Speedy Entry for information on editing note durations.

Layers
You may find the converted file contains notes in several layers. See Document Options-Layers, Simple
Entry and Speedy Entry for information regarding layers and how to edit notes in different layers.

Optimized Systems
While importing multiple files, instruments that return after being optimized out can appear on the wrong
staff. To avoid this problem, import the Score files individually.

Slurs
You may find slurs across system breaks do not import properly, or at all. To add or edit slurs, use the
Slur Smart Shape. See Slurs.

Tuplets
Sometimes, tuplets brackets and definitions will be lost or changed in Score conversion. Use the Tuplet
Tool to edit or create tuplet definitions. See Tuplets.

Beaming
You may find beaming problems in the generated Finale document. These include missing beams over
rests, missing secondary beam breaks and vertical placement of beams in cross-staff notation. To edit
beaming, use the appropriate tool in the Special Tools Palette. See Special Tools Tool.

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Chord Fretboards
Finale will not convert fretboard diagrams from a score file. Enter fretboards to your score with the Chord
Tool. See Fretboard diagrams.

Clefs
Finale will not import forced clefs (clefs that appear after an identical clef without a clef change in
between). To add a forced clef, click the Clef Tool and click the measure to open the Change Clef dialog
box. Choose the clef, select Always in the Show Clef section, and click OK. For more information, see
Change Clef dialog box.

Hairpins
Hairpins may import off the right side of the page or simply misplaced. To edit hairpins, use the
SmartShape Tool. See Smart Shape Tool.

Cross-Staff Notation
Cross-staff notation may not import properly into Finale from a Score document. To easily create crossstaff notation, use the Cross Staff plug-in. Or, you can use the NoteMover and Special Tools Tool
manually create cross-staff notation. See Cross-staff notes for more information.

Articulations
You may find some misplaced and colliding articulations in the imported Score file. For information on
editing articulations, see Articulation Tool.

Staff Names
Sometimes, staff names can import as text blocks. Create and edit staff names with the Staff Tool. See
Staff Attributes dialog box.

Time Signatures
To add missing or remove extra cautionary time signatures see Document Options-Time Signatures.
Composite time signatures also may not import properly (specifically, if p12=1 in the original Score
document, Finale interprets the time signature as not being composite and ignores p8 and p9). Use the
Time Signature Tool to edit any incorrect time signature definitions. See Time Signature Tool.

Key Signatures
Nonstandard key signatures will not import from a Score file. For information on creating nonstandard key
signatures, see Nonstandard key signatures.

Text
Text enclosures will not import from a Score file. For information on adding enclosures to a text block,
see Custom Frame dialog box. You can also create an enclosed expression in place of the text. Make
sure to use expressions for any rehearsal letter/number indications. See Expression Designer dialog box.

Expressions
Expressions sometimes collide with notes and articulations in imported Score files. Use the Expression
Tool to edit the positioning of Expressions. See Expressions.

Repeats
You may find that some repeat barlines extend over extra staves after Score conversion. Use Break
Repeat Barlines Between Staves in the Staff Attributes dialog box to fix this problem in your score. You
may also find the repeat text is too small. You can edit the size of repeat text in the Repeat Selection
dialog box.

Trills
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Trills with alterations (sharp, flat or natural) appear as regular (unmarked) trills after Score conversion.
You can choose the appropriate trill figure in the Smart Line Selection dialog box.

Tremolos
Unbeamed tremolos import as full note values. For example, a two-half note tremolo should take up two
beats, but it takes up four after conversion. For information on entering tremolos, see Easy Tremolos
Plug-in.

Blank Pages
If one of the score files in a group does not contain any music, Finale will ignore the blank page. Use the
Page Layout Tool to enter blank pages after importing score files. See Insert Blank Pages dialog box.

Page Order
If you let Finale choose the file order, there is a chance the page order will not be correct. If this is the
case, choose to Specify the File Order in the Import Score File Options dialog box while importing
multiple Score files.

Fonts
In the converted Finale file, text may appear in the default system font instead of the font specified in the
Score file. To change any font, from the Document Menu, choose Data Check, then Swap One Font for
Another. See Swap One Font For Another dialog box.

1789

Scroll View
How to get there
Choose Scroll View from the View Menu.

What it does
Scroll View is one of three Finale views of your music (the others are Page View and Studio View). In
Scroll View, you see your music as one long staff system. Scroll View can be easier to use when you
enter music. When you want to see how the page will look when it is printed, switch to Page View.

1790

Search and replace

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 in one of several ways.
For example, you can flip every occurrence of a G to its enharmonic equivalent (F ), or change two of
the notes in a recurrent theme.

To change occurrences of a note or motif (search and replace)

1.

From the Window Menu, choose Advanced Tools. Click the Note Mover Tool
. Click the
measure containing the first occurrence of the note you want to change. A handle appears on
each notehead.

2.

Select the notes to be changed. Select one note by clicking, additional notes by shift-clicking, a
group of notes by drag-enclosing, and additional groups of notes by shiftdrag-enclosing. Note that
you can select nonadjacent notes, as long as theyre in the same measure.

3.

Choose Search and Replace from the Note Mover Menu. The Search and Replace dialog box
appears, letting you further specify criteria for the search-and-replace process. If you want Finale to
look for the selected notes only in their original octave, select In Selected Octave Only. If you want to
search for the selected notes in any octave, select In All Octaves. Furthermore, you can confine the
search-and-replace process to notes with the same rhythmic values by checking Match Duration.c
With all of these options, Finale considers the selected notes scale degrees. For example, if youre
searching for a C in the key of C, Finale wont consider C in the key of F a match. Instead, it will
consider F a match in the key of F.

4.

Click OK. The Alteration for Slot dialog box appears, asking what sort of transposition you want to
apply. You can specify a different transposition for each of the selected notes; in effect, you have the
option of completely rewriting a selected motif.

5.

Click Transpose to specify a transposition option for the first selected note.
Make your selections from the drop-down list, and click OK.
Note: If youve selected several notes, all of which
are to receive the same transposition, click Set All.
The transposition you just specified will be
assigned to all selected notes. Skip to step 7.

6.

If more than one note was selected, click Next. The number in Slot (#), advances. (A slot is a
selected note; Finale numbers them from bottom to top within a chord, and from left to right in the
measure.) Set the transposition option for this note in the same way. Continue through the selected
notes (slots), clicking Prev or Next as necessary, and setting the transposition option for each.

7.

Click OK (or press enter). A new menu, Search, appears. Its commands are Find, which finds the
next occurrence of notes matching your criteria; Replace, which modifies the currently selected notes
according to your transposition specifications; Replace then Find, which modifies the current notes
and then finds the next occurrence; and Replace All, which reads through your piece, measure by
measure, in every staff, changing all notes that meet your search criteria.

8.

Choose a command from the Search Menu. The Replace All command may take Finale some
time to complete.

9.

Choose Quit Search from the Search Menu.

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First and second endings

You can easily create a repeat with first and second endings that will playback correctly (as shown
below).

To create a repeat with first and second endings

1.

Click the Repeat Tool

; then click the first ending measure to highlight it. If the first ending
is longer than one measure, click the first measure of the first ending and the hold down Shift and
click the last measure of the first ending so all measures you want to include in the first ending are
highlighted.

2.

Right-Click the region you just highlighted and choose Create First and Second Ending. The
first ending, backward repeat barline, and second ending appear in the score. At this point during
playback (upon reaching the backward repeat bar) Finale will go back to the closest forward repeat it
finds, so well add that next.

3.

Right-Click the first measure of the repeated section and choose Create Forward Repeat. You
could also double-click the measure, and double-click the forward repeat bar graphic. This section is
automatically configured to playback correctly. Also, if any measures are inserted or removed from
within the repeated section, Finale makes the appropriate adjustments so playback continues to
jump to the correct measures as indicated by the repeat markings.
For more advanced repeat indication, such as nested repeats, to configure playback you may need
to specify the target and number of passes for backward repeat bars manually. See Backward
Repeat Bar Assignment dialog box and Create Ending dialog box.
Note: You can add the forward repeat before
creating the first and second endings. The order for
the last two steps isnt crucial.

To adjust the brackets on a repeat ending

1.

Click the Repeat Tool

each repeat bar.)

. Three handles appear on the bracket. (A single handle appears on

2.

To stretch a bracket, drag its upper handles vertically or horizontally. To delete a repeat, click
any handle and press delete. You cant stretch a bracket further than the length of one system.

To change the default bracket height for repeats (and set the
number font)
1.

From the Document Menu, choose Document Options and select Fonts. The Fonts options
appear.

2.

To change the font for the numbers that appear in a repeat bracket (for example, the 2. in a
second ending bracket), in the Text drop-down menu, choose Ending repeat, and then click
Set Font. See Document Options-Fonts for more details.

1792

3.

To change the height of any brackets in your score, choose the Repeats category, then click
the Repeat Endings button. Change the Height of Bracket number. The units are whatever
youve selected in the Document Menu for Measurement Units. See Document Options-Repeats.

To move, hide, or delete a text repeat

1.

Click the Repeat Tool

. Handles appear on all repeat markings.

2.

Drag its handle to move a text repeat; select it and press delete to remove it. Note that in terms
of its playback functions, the marking is still associated with the measure in which you originally
placed it, even if you drag it to a different measure. Repeat markings initially appear in all staves. To
assign an ending or text repeat to specific staves of your score, use the Staff List options available in
the Create/Edit Ending dialog box and Backward Repeat Bar Assignment dialog box. Also see Staff
List dialog box.

To change a backward repeats playback definition

1.

Click the Repeat Tool

; a handle appears on the barline.

2.

Double-click any handle. The Backward Repeat Bar Assignment (playback definition) dialog box
reappears. Make the desired changes, and then click OK (or press enter). (See To place a repeat in
your score, for the playback options you can specify.)

To hide the ending brackets and text repeats for a specified staff
If your score includes a piano part (for example), you normally wont want ending brackets (such as a first
ending bracket) to appear above both the treble and bass staves. Similarly, you would probably want a
Text Repeat (such as To Coda) only to appear above the treble staff, not above both. If you want to
remove these items from just one staff:
1.

Click the Staff Tool

, and double-click the staff for which you want to hide the brackets
or Text Repeats. The Staff Attributes dialog box appears.

2.

In the Items to Display section, uncheck Endings and Text Repeats. Click OK. (If you want to
assign the text repeat to a number of staves in your score use Staff Lists in theCreate/Edit Ending
dialog box and Backward Repeat Bar Assignment dialog box).

1793

Selecting music
Selecting regions of measures is required whenever you want to copy music from one place to another or
apply changes to a region of music using one of Finale's many editing functions. Although the Selection
Tool is the primary tool for selecting and editing music, regional copying and editing can be performed at
any time as long as one of the following tools is selected:

Selection Tool

Staff Tool

Measure Tool

Key Signature Tool

Time Signature Tool

MIDI Tool

Clef Tool

Repeat Tool

Mirror Tool
Note: In addition to selecting and editing regions of
measures, the Selection Tool can also be used to
select individual musical elements for moving or
editing. For details, see Selection Tool.

Finale includes two distinct types of regional selection:

Regions including full or partial measures, but not full measures in all staves. This is the most
common type of selection. Edits to these regions are generally focused on editing the entries and
items attached to entries or measures without changing the measure-specific information itself (e.g.
key signatures, barline styles, etc.). These are regions edited within the existing measure structure.
For example, copy and insert a region including partial measures (or full measures in some but not
all staves) to push subsequent music to the right the number of inserted beats. See Copying music.
Here are some examples of this type of selection:

1794

or

or

Full measures in all staves, or "Stacks." A stack selection is indicated by highlighting

between staves. Edits to these regions can also include entries and items attached to entries
or measures, but can also include measure-specific information (e.g. key signatures, barline
styles, etc.). See Edit Filter dialog box. Additionally, stacks can be treated as autonomous
units. For example, copy and insert a stack to push all subsequent measures to the right. See
Copying music. Here is an example of a stack selection:

A one measure stack is one measure as played by all the instruments in the staffin other words,
a one-measure vertical slice of a score. (Generally, the term measure in the Finale manual refers to
one measure of one staff.) A stack can include any number of full measures.
A full measure selection in a system with a single staff is also a stack selection indicated by
highlighting above and below the staff (see below).

Most of Finale's editing commands work with partial measure selections. However, if you try to use
a full-measureonly command after selecting only part of a measure, Finale will let you know; youll
have the choice of canceling the command, or applying the command to all measures that are even
partly selected.

To select a region of measures

1795

Mouse click or
keyboard command

What it does

Click a measure

Selects the full measure

Click and drag diagonally across

any measure region (partial or
whole measures)

Selects the measure region

When you select a partial measure, Finale highlights an area from the
left edge of the first selected note to the right edge of the space after
the last selected note, to help reinforce the fact that youre actually
selecting a stretch of musical time.

Shift-click and drag diagonally

across any part of a measure

Selects full measures only

Shift-click before or after a

selected region

Extends the selection to wherever you click

Hold down Shift and press the

left or right arrow keys

Expands or contracts the selected region in entry-by-entry

increments
...measure-by-measure increments if the measures are empty. Specify
you want to adjust the beginning or end of the selected region by
pressing the left or right arrow key first respectively.
Expands the selection to include full measures.

With the Selection Tool

selected, double-click any partial
measure selection
Or, Alt-click any partial measure
selection with any tool that
permits regional selection
(The selection can include any
number of measures starting
and/or ending with a partial
measure)
Expands selection to include the full stack.
With the Selection Tool
selected, double-click a full
measure
Or Alt-click any full measure
selection with any tool that
permits regional selection
Click to the left of the staff

Selects an entire staff

Shift-click to the left of a staff

Extends the selection from any other staves you've selected

From the Edit Menu, choose

Select All or press ctrl-A

Selects the entire document

Hold down Ctrl-Shift and press

the left or right arrow keys

Expand or contract the selected region by full measures

Hold down Shift and press the

up or down arrow keys

Expands or contract the selected region vertically (staff-by-staff)

Hold down the shift key and

press End, Home, PageUp, and
PageDown

Select all measures right, left, above, or below a selection

To select a large region without scrolling

1.

From the Edit Menu, choose Select Region. The Select Region dialog box appears.

2.

Enter the staff, measure, and beat with which you want to begin and end the selection. For
example, you can select the Flute staff, measure 4 beat 2, through the Bass staff, measure 10 beat

1796

1. See Select Region dialog box for more information. The important thing to remember is
that this feature lets you select music without having to scroll to it (and wait for the screen to redraw).
You can even select music thats not on the screen.
3.

Click OK (or press enter).

See Also
Selection Tool
Edit Menu

1797

Shape Designer
You can create your own shapes and symbols in Finale using the built-in Shape Designer. Youll find this
built-in graphics program as easy to use as any standard drawing program. In fact, the Shape Designer is
even better, because shapes you create in it can be musically intelligent! They can stretch along with the
score, affect playback, or appear in every staff at once.
You might create, for example, a harp pedaling diagram, or a custom barline. You can also design
rectangles to use as text enclosures when youre creating Text Blocks, block rests to serve as
multimeasure rests in extracted parts, and special shapes for use as custom stems.
Font changes are saved and read with Shape Libraries. As a result, fonts embedded in shapes created
with special characters in the Shape Designer will maintain their appearance when imported into another
file
To create a shape for use as a marking in the score, you access the Shape Designer from the
Expression Tool (see Expressions). (Various other tools access the Shape Designer, too, as described at
the end of To enter the Shape Designer.

To enter the Shape Designer

1.

Click the Expression Tool

2.

Double-click on, above, or below the note or measure to which you want to attach the
marking. The Expression Selection dialog box appears. Verify that the setting for Note-attached you
prefer is selected.

3.

Proceeding through the dialog boxes, click as follows: Shape; Create; Select; Create. You
enter the Shape Designer. (There are various other ways to enter the Shape Designer. See Shape
Designer dialog box.)

To create a shape
1.

Enter the Shape Designer. See To enter the Shape Designer.

You arrive at a graphics window with a number of drawing tools along the top edge of the screen, a
menu at the top, and coordinate boxes at the right. See Shape Designer dialog box for details.
If the shape is to be very large or very small, you can zoom in (or out) by using the View dropdown listpopup menu. Using the Shape Designer Menu, you can tell Finale to display rulers or a
grid to help you draw precisely-sized objects.

2.

Click the tool you want to draw with; then drag the mouse in the main drawing area. The kind
of line you draw is determined by the tool you click. For example, to draw a line, you click the Line
and drag in the drawing area. When you release the mouse, the line is a distinct object
Tool
whose length, thickness, and angle you can easily change at any time. See Shape Designer dialog
box for details.

3.

Use the selection tool and click on the shape. Change the way the shape looks by dragging a
position of a handle (or control point). Or, use the selection tool, click on the shape (so the
control points appear) then click and drag the shape (but dont grab any of the control points)
to reposition it relative to the origin. By editing the numbers in the H: and V: boxes you can
also change the shapes position relative to the origin. H: means the points Horizontal position,
relative to the origin (the small white circle); V: means its Vertical position. The units of measurement
are whatever you select using the Rulers and Grid command in the Shape Designer Menu.
The origin is the small 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 shapes
handle will appear once youve placed it into the score.
When you drag one of the eight bounding handles of a multiline object or polygon shape, you
resize the object. To view the individual control points that define a multiline, polygon, or bracket
shape, double-click the object. To edit a curve or slur, click once to see the three draggable

1798

shaping handles; double-click one of these handles to see the four control handles for even more
control. (Use the arrow keys to nudge a selected handle by one EVPU [1/288th inch].)
4.

Combine elements of your drawing, if you wish, by selecting them and choosing Group from
the Shape Designer Menu. To select several objects, click the Selection Tool. Then either shift-click
the objects you want, or drag-enclose them. Or, if you want to select all the objects, choose Select
All from the Edit Menu. Once grouped, the objects are locked in relation to each other, and may be
moved or resized as a unit. You can create nested groups, too, by combining groups together using
the same method. To ungroup, select a group and choose Ungroup from the menu.

5.

Create layered effects using the Send to Back and Bring to Front commands. See Shape
Designer Menu for more information.

6.

To specify the shading for an enclosed object, click the object and select the fill amount from
the Fill submenu (in the Shape Designer Menu). You can specify Black, White, or any degree of
gray.

7.

Press enter twice. If youre creating an Expression mark (as opposed to an Executable playback
shape), you arrive at the Shape Expression Designer.
If you select Allow Horizontal Stretching, Finale will permit the shape to stretch out along with the
music if the measures are widened. For example, you wouldnt want to Allow Horizontal Stretching
for a fixed-shape symbol such as a harp pedaling diagrambut you would for slurs, crescendo
hairpins, or glissando lines.

8.

Click OK or Select in each dialog box until you return to the document. Once the shape is in
the score, you can adjust its position by dragging its handle. To stretch it, double-click the shapes
handle; its eight bounding handles appear. To completely reshape the graphic, double-click a second
time. Its control-point handles appear, which you can then drag exactly as you would in the Shape
Designer.

1799

Shape Note music

In some hymnal music, each note of the scale has its own notehead, regardless of key. In Tamburo,
noteheads for these shape notes are found on the number keys 1 through 9. To set up the staff for Note
Shapes, click on the Staff Tool and double click the staff to open the Staff Attributes dialog box. For
Notation Style, click the drop-downpopup menu and select Note Shapes. See Note Shapes dialog box for
more information. You can also use the Shape Note Hymnal template. See Templates. Each number
corresponds to the appropriate scale tonethe tonic shape note is found on 1, the second shape note on
2, and so on. Since some shape note conventions differ, we offer two choices for the fourth scale degree,
one shape on 4 and the other on 9.

1800

Slashes
There are two kinds of slashes, or hash marks, used to indicate improvised chording or comping. If you
want to indicate ad lib comping, but you dont require a specific rhythm, you can let Finale fill the
measures with stemless slashes, spaced according to the time signature (four slashes in a measure,
for example, at right in the figure below). If you want to indicate a specific rhythm of comping, Finale can
turn the noteheads of any passage into slashes, still beamed and stemmed (at left in the figure below).

You can also create a passage of mixed normal notation and slash notation, and you can also turn any
individual notehead into a slash. See Guitar Notation.
To create comping slashes
1.

, and select the measures in which you want slashes to appear. See
Click the Staff Tool
Selecting music for some region-selecting shortcuts.

2.

From the Staff Menu, choose Apply Staff Styles. The Apply Staff Styles dialog box appears.

3.

Select Rhythmic or Slash Notation and click OK. Slash Notation hides all the music and replaces
it with evenly-spaced hash marks. The number of hash marks is determined by the bottom number of
the time signature. Rhythmic Notation turns the music into beamed and stemmed slashes, all on the
middle line of the staff. See Staff styles for more information.

4.

Click OK (or press return). Any music that was in the selected region is now hidden; to restore it,
choose the measures again, choose Clear Staff Styles from the Staff Menu.
To add chords above slash notation, first add notes or rests in the staff, attach the desired chord
symbols, and then apply the Slash Notation staff style to the region. For more information regarding
adding chords without notes, see To enter a chord symbol when theres no note below it. Note you
can also create slash notation using the Rhythm Generator Plug-in.

1801

Slurs
There are two ways to create a slur in Finale. The quick, easy way is to
use a Smart Shape. A Smart Shape slur expands and contracts with the
music and automatically breaks in two if it straddles a line break. A bend
(with regard to Finale behavior) is just a special case of a slur.
Note: Slurs and phrase markings technically
serve different musical purposes. However,
you use the same Finale techniques to create
both. In this discussion, the term slur refers to both
kinds of markings.
If there are times that you dont want to create a note-attached slur, choose Attach to Measures from the
Smart Shape Menu to create measure-based slurs.
Tip: if you want all note-attached slurs or bends to
be over or under, choose the slur direction without
any slurs or bends selected. This menu action sets
the default direction.
See also Engraver Slurs.

To create a note-attached slur

1.

Click the Smart Shape Tool

Shape Menu appear.

in the Main Tool palette. The Smart Shape Palette and Smart

2.

Click on the Slur Tool

in the Smart Shape palette, then position the cursor on the
slurs beginning note. Make sure that a checkmark appears next to Attach to Notes in the Smart
Shape Menu.

3.

Double-click the mouse, holding the mouse button down on the second click. The note will be
highlighted and a small slur line will appear. Continuing to hold down the button, drag the slur to the
right until you reach the note marking the end of the attachment. When Finale highlights that note, let
go of the mouse button. The new note-attached slur appears.
To create a slur spanning two consecutive notes, just double-click the mouse on the first note.
Finale places the slur on the adjacent notes.

To move, reshape, or delete Smart Shape slurs

1.

Click the Smart Shape Tool

. The Smart Shape Palette and the Smart Shape Menu appear.
A small handle appears on all existing Smart Shapes in the score.

2.

Click the handle of the slur you want to modify. You can also use the Tab key to select the
desired slur, then hit Enter to modify the slur. The slur displays several diamond handles and a
polygon connecting the handles.

1802

3.

To move the slur or change its arc or its end points, drag the appropriate handle.
You can modify the slur in a few additional ways if you press shift while dragging: shift-drag an
outer curve diamond handle to limit the direction you reshape the slur to one direction. Shift-click
an outer curve diamond handle or Bezier control handle and drag it to the right or left to reshape
the slur and change the sharpness of the slurs inset; dragging away from the center of the slur
makes the slur fatter, and dragging inward makes the slur more pointed. Shift-click a Bezier
control handle and drag it up or down to reshape the arc of the curve.
Note: Constrained dragging is temporarily disabled
while slurs are edited. If you would like to use
constrained dragging press the shift key while you
are moving the slur. See Program Options-Edit for
more information on the Constrain Dragging
option.

5.

To remove the slur from the score, press delete.

To change a note-attached slurs direction

1.

Select the slur whose direction you want to change (for instructions on selecting slurs, refer to
To move, reshape, or delete a note-attached slur).

2.

From the Smart Shape Menu, choose Direction, then select the direction (Automatic, Over,
Under) that you want Finale to place this slur. Or, you can use the keyboard shortcut ctrl-F to flip
the slur.

To define Slur Contour (height and shape) settings for noteattached slurs
1.

Click the Smart Shape Tool

. The Smart Shape Menu appears.

2.

Choose Slur Contour from the Smart Shape Menu. The Slur Contour dialog box appears.

3.

Choose the desired Slur lengthshort, medium, or long or extra long. A slur appears in the
Active display area beside a small square handle (the control point handle). The Staff display area
shows the slur in proportion to other elements in your score.

4.

Drag the control point handle vertically or horizontally to change the slurs height and inset,
respectively. If you prefer, you can enter values into the Height and Inset text boxes. The height is
displayed in the measurement unit youve selected. The inset is a percentage of the slur length. Click
Reset at any time to return the slur to Finales built-in settings.

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5.

Click OK (or press enter) when youre ready to save the new settings. Or click Cancel to discard
any changes you made to the settings.

To define Slur Placement settings for note-attached slurs

1.

Click the Smart Shape Tool

. The Smart Shape Menu appears.

2.

From the Smart Shape Menu, choose Smart Shape Placement. The Smart Shape Placement
dialog box appears.

3.

Choose Slur from the Smart Shape type drop down list in the dialog box.

4.

Select a slur from the list box. The slur appears in the Active display area.

5.

Drag the slur end point vertically and horizontally until the slur attaches to the notes the way
you want it to attach to similar types of notes in the score. Instead of using the mouse, you can
enter values into the text boxes using the measurement unit youve selected.

6.

Drag the other end-point of the slur to adjust it.

7.

Click Reset at any time to return the slur to Finales built-in settings.

8.

Click OK (or press enter) when youre ready to save the new settings. Or click Cancel to discard
any changes you made to the settings.
Note: All slurs of this type that you create from
now on (in this document) will use the Slur
Placement settings. The settings also apply to slur
end points that havent been manually adjusted in
all similar existing slurs.

To define Slur System Break settings

1.

Click the Smart Shape Tool

2.

Choose Smart Slur Options from the Smart Shape Menu. The Smart Slur Options dialog box
appears.

. The Smart Shape Menu appears.

3.

Enter a number into the Avoid Staff Lines by at Least text box to specify the desired distance
between the slur and the outside staff line closest to the slur.

4.

Enter a value into the System Start Adjustment and the System End Adjustment text boxes,
specifying where the slur should start and end in each of the staff systems spanned by the
slur.

5.

Click OK (or press enter) when youre ready to save the new settings. Or click Reset at any time
if you want to restore the original built-in settings.
Note: All slurs created from now on will use these
settings for each system break. These settings
also apply to end points of existing slurs (from one
staff to the next), if the end point hasnt been
manually adjusted.

To define Slur Thickness

1.

Click the Smart Shape Tool

. The Smart Shape Menu appears.

2.

From the Smart Shape Menu, choose Smart Slur Options. The Smart Slur Options dialog box
appears.

3.

Enter a number (in a measurement unit youve selected) into the Slur Thickness text boxes to
specify the desired line thickness and shape of all slurs. 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

1804

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.
1.

Enter a number (in a measurement unit youve selected) into the Slur Tip Width text box to
specify the desired thickness of the tip of a slur.

2.

Click OK (or press enter) when youre ready to save the new settings. Or click Reset at any time
if you want to restore the original built-in settings. Click Cancel to discard any changes you made to
the settings.
Note: All slurs you create from now on will use
these settings. Also remember that all slurs already
in the score will change to reflect these settings.

To copy Smart Shape slurs

Using the following technique, you can copy Smart Shape slurs from one place in the music to another,
or from one staff to another. See also SmartFind and Paint dialog box.
.

1.

Click the Selection Tool

2.

From the Edit Menu, choose then Copy Items. The Edit Filter dialog box appears.

3.

Click Smart Shapes (Attached to Notes). Click OK (or press enter).

4.

Select the region containing the Smart Shapes you want to copy. See Selecting music for some
region-selecting shortcuts.

5.

Drag the first source measure so that its superimposed on the first target measure. If the first
target measure is not on-screen, scroll until you see it. Then, while pressing ctrl and shift
simultaneously, click the first target measure. In either case, the Copy Measures dialog box appears
(unless youre copying to the same measure on a different staff).

6.

Type the number of times you want the Smart Shapes copied (horizontally). Click OK (or
press enter).

1805

SmartMusic
SmartMusic is a complete music practice system that features Intelligent Accompaniment, MakeMusics
patented software that listens to you sing or play into a microphone and follows your spontaneous tempo
changes. You are free to interpret the solo line of the music as you wish, free to project your personality
into the music. SmartMusic's assessment feature also offers the ability to assess a live performance and
deliver a visual representation of the accuracy.

Creating SmartMusic Accompaniments

Finale allows you to create your own solos with accompaniment, exercises and warm-ups, or assessment
files to be graded for accuracy with SmartMusics Assessment feature. You can save any Finale Notation
File or MIDI file as a SmartMusic Public Accompaniment (.SMP file) and even include the solo notation
file to be displayed in the SmartMusic interface during the performance.
Finale is capable of creating several different types of SmartMusic files. It is important to decide which
type of SmartMusic file you would like to create. Your options are:

Solo assessment file without accompaniment: Solo notation files can be saved for use with
SmartMusics assessment feature. This is the most straightforward type of assessment file, and does
not include accompaniment. In order to grade the solo performance, all assessment files include the
solo notation file for display in SmartMusic. See To create a solo assessment file without
accompaniment.

Solo assessment file with accompaniment: This is the same as a solo assessment file (described
above) with the addition of an accompaniment file. Although SmartMusic will play the
accompaniment during the assessment, Intelligent Accompaniment is not available for any
assessment file. See To create a solo assessment file with accompaniment.

Ensemble: The purpose of the ensemble file is to give the instrumentalist a canvas of parts that can
be turned on or off individually. For example, a trombone player might mute the piano and drums in a
big band chart in order to better hear how his part fits with the other horns. Intelligent
Accompaniment is not available for use with ensemble files, and notation cannot be included. To
create a SmartMusic ensemble file, see To create a new SmartMusic ensemble file.

Solo with accompaniment: This is the format of the classic SmartMusic accompaniment file. It
includes a solo line and any number of accompaniment staves. Intelligent accompaniment follows
the soloist during the SmartMusic performance and the solo notation can be included for display in
the SmartMusic interface. To create a Solo with Accompaniment, see To create a new SmartMusic
Solo with Accompaniment.

Solo assessment file generated from a Finale exercise: This is the same as a solo assessment
file (described above), but generated from Finales Exercise Wizard. See To create a solo
assessment file from a Finale exercise.

To create a solo assessment file without accompaniment

1.

Enter/edit the notation for the solo staff. There should be only one staff in the document. Some
notation elements are not compatible with SmartMusic. In order to ensure compatibility, you can
consult the SmartMusic Compatibility Guidelines. However, if there are any compatibility issues,
Finale will check the file automatically and list conflicts as part of every SmartMusic Export
procedure.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

From the File Menu, choose Export to SmartMusic. The Export SmartMusic Accompaniment Select File Type dialog box appears.

4.

ChooseSolo and click Next. The Select Solo Staff dialog box appears. The instrument staff from
the document already appears in the Solo Staff drop-down menu.

1806

5.

Click the drop-down menu for Corresponding Instrument (or closest match) in SmartMusic
and choose the instrument that most closely resembles that of the solo part. SmartMusic uses
advanced pitch recognition technology to follow the solo performance. Since each instrument
produces its own signature wave form, SmartMusic must know what type of instrument it will be
following in order to ensure the most accurate response.

6.

Click Next. The File Information dialog box appears.

7.

Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from the File Info dialog box. After you click Finish, Finale checks the file
for compatibility with SmartMusic. If there are any notation elements that SmartMusic does not
accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the
Save SmartMusic Export File As dialog box (and can skip the next step).
Changes to the title, composer, and copyright
made here do not apply to the Finale file in any
way. This information is stored for the SmartMusic
Accompaniment separately.

8.

Click each conflict to view a description on the right side of this dialog box. Click Edit to
restore focus to the document where you can resolve these conflicts on the fly. Then click
Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box.
When you have resolved the conflicts, click Done to return to the score. Then, from the File Menu,
choose Export to SmartMusic to complete the saving process.
Finale allows you to save the SmartMusic
Accompaniment without resolving all conflicts.
Review the SmartMusic Compatibility Guideline or
the description on the right side of this dialog box
for details regarding the effects of each conflict.

9.

Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the ensemble accompaniment file you've just saved.

To create a solo assessment file with accompaniment

If you want to take advantage of SmartMusics assessment feature (which is capable of evaluating a live
performance for accuracy) and wish to include accompaniment during SmartMusics assessment, do the
following.
1.

Enter/edit the notation for the solo and accompaniment staves. Some notation elements are not
compatible with SmartMusic. In order to ensure compatibility, you can consult the SmartMusic
Compatibility Guidelines. However, if there are any compatibility issues, Finale will check the file
automatically and list conflicts as part of every SmartMusic Export procedure.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

When you are ready to save the accompaniment, from the File Menu, choose Export to
SmartMusic. The Export SmartMusic Accompaniment - Select File Type dialog box appears.

4.

Choose Assessment, and click Next. The Select Staves page appears. This page displays all of
the parts in the document.

5.

Check all the parts you wish to assess. Then, ensure the appropriate corresponding
instrument is selected for each part in the drop-down menu below. Choose as many parts as
you like. You can select which one you would like to assess in SmartMusic later.

1807

Use the drop-down menu to make sure the Finale Part is assigned to the appropriate SmartMusic
instrument. Finale draws information for SmartMusic Accompaniments from the linked part
definition. To change the properties of a part, such as the name or staff assignment, click the
Manage Parts button. See Manage Parts dialog box.
6.

Click Next. The Select Accompaniment Staves page appears.

7.

Check all parts you wish to include in the accompaniment. SmartMusic will mute the solo staff
automatically during the performance.

8.

Click Next. The File Information Page appears.

9.

Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from theFile Info dialog box. After you click Finish, Finale checks the file
for compatibility with SmartMusic. If there are any notation elements that SmartMusic does not
accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the
Save SmartMusic Export File As dialog box (and can skip the next step).
Changes to the title, composer, and copyright
made here do not apply to the Finale file in any
way. This information is stored for the SmartMusic
Accompaniment separately.

10. Click each conflict to view a description on the right side of this dialog box. Click Edit to
restore focus to the document where you can resolve these conflicts on the fly. Then click
Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box.
When you have resolved all conflicts, click Done to return to the score. Then, from the File Menu,
choose Export to SmartMusic to complete the saving process.
Finale allows you to save the SmartMusic
Accompaniment without resolving all conflicts.
Review the SmartMusic Compatibility Guideline or
the description on the right side of this dialog box
for details regarding the effects of each conflict.
11. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the assessable .SMP accompaniment file you've just saved.

To create a new SmartMusic ensemble file

The steps in this section explain how to create an ensemble file for use with SmartMusic. Ensemble files
are not capable of utilizing SmartMusics Intelligent Accompaniment feature. However, you will be able to
mute instruments from playback during the SmartMusic Performance. For example, a trombone player

1808

might mute the piano and drums in a big band chart in order to better hear how his part fits with the other
horns.
1.

Enter/edit the notation for the ensemble staves.

Note that you can also save a single-staff
exercise as an assessable SmartMusic
accompaniment. To create an exercise,
see Exercise Wizard.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

From the File Menu, choose Export to SmartMusic. The Select File Type page appears.

4.

Choose Ensemble and click Next. The Select Accompaniment Staves dialog box appears.

5.

Check all the staves you wish to include in the accompaniment. This is the music you will be
playing along with in SmartMusic, and the parts you will be able to turn on and off in SmartMusic.

6.

Click Next. The File Information dialog box appears.

7.

Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from theFile Info dialog box.
Changes to the title, composer, and copyright
made here do not apply to the Finale file in any
way. This information is stored for the SmartMusic
Accompaniment separately.

8.

Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the ensemble accompaniment file you've just saved.

To create a new SmartMusic solo with accompaniment

The steps in this section explain how to create a SmartMusic solo with accompaniment capable of taking
advantage of SmartMusics Intelligent Accompaniment feature. Alternative steps are required if you would
like to create a solo with accompaniment that can be assessed and graded for accuracy by SmartMusic
(see To create a solo assessment file with accompaniment). To create a standard SmartMusic solo with
accompaniment, do the following:

1809

1.

Enter/edit the notation for the solo and accompaniment staves. Some notation elements are not
compatible with SmartMusic. In order to ensure compatibility, you can consult the SmartMusic
Compatibility Guidelines. However, if there are any compatibility issues, Finale will check the file
automatically and list conflicts as part of every SmartMusic Export procedure.

2.

Add the Appropriate SmartMusic Performance Markers. SmartMusic Performance Markers such
as pauses for fermatas are indicators used by SmartMusic to allow the soloist more control over the
performance. They can also be used to display useful information to the soloist in the SmartMusic
interface, such as a rehearsal letter. For information on adding SmartMusic Markers, see
SmartMusic Performance Markers.

3.

When you are ready to save the accompaniment, from the File Menu, choose Export to
SmartMusic. The Export SmartMusic Accompaniment - Select File Type dialog box appears.

4.

Choose Solo. If you want to display the solo notation on-screen in SmartMusic, check Display Solo
Notation.

5.

Click Next. The Select Solo Staff page appears.

6.

Click the drop-down menu under Solo Part and choose the instrument that will be performing
this solo. Finale uses information from the linked part to generate the solo. Only single-staff parts
can be used as solo parts. To change the properties of a part, click the Manage Parts button. See
Manage Parts dialog box.

7.

Click the drop-down menu for Corresponding Instrument (or closest match) in SmartMusic
and choose the instrument that most closely resembles that of the solo part. SmartMusic uses
advanced pitch recognition technology to follow the solo performance. Since each instrument
produces its own signature wave form, SmartMusic must know what type of instrument it will be
following in order to ensure the most accurate response.

1810

8.

Click Next. The Select Accompaniment Staves dialog box appears.

9.

Check all the staves you wish to include in the accompaniment. This is the music you will be
playing along with in SmartMusic.

10. Click next. The File Information page appears.

11. Confirm the Title, Composer, and Copyright and click Finish. Finale automatically populates this
dialog box with information from the File Info dialog box. After you click Finish, Finale checks the
file for compatibility with SmartMusic. If there are any notation elements that SmartMusic does not
accommodate, you will see the SmartMusic File Compatibility dialog box. If not, you will see the
Save SmartMusic Export File As dialog box (and can skip the next step).
Changes to the title, composer, and copyright made here do not apply to the Finale file in any way.
This information is stored for the SmartMusic Accompaniment separately.

1811

12. Click each conflict to view a description on the right side of this dialog box. Click Edit to
restore focus to the document where you can resolve these conflicts on the fly. Then click
Check Again to confirm they have been resolved. See SmartMusic File Compatibility dialog box.
When you have resolved all conflicts, click Done to return to the score. Then, from the File Menu,
choose Export to SmartMusic to complete the saving process.
Finale allows you to save the SmartMusic Accompaniment without resolving all conflicts. Review
the SmartMusic Compatibility Guideline or the description on the right side of this dialog box for
details regarding the effects of each conflict.
13. Name the file, choose a location, and click Save to save the SmartMusic Accompaniment. You
can now open SmartMusic and open the .SMP accompaniment file you've just saved.

To create a solo assessment file from a Finale exercise

Use the Exercise Wizard to create a single-staff exercise. Then, follow the instructions under To create a
solo assessment file without accompaniment to create the assessable Smartmusic Accompaniment.

To prepare a file for SmartMusic

A SmartMusic accompaniment file is essentially an enhanced MIDI file. Some of the tips below can help
you prepare the best possible MIDI playback (in Finale or SmartMusic) as you notate the score. Other
tips address the unique issues of the SmartMusic enhancements and limitations.
Tips for SmartMusic files

Double-check the playback of the file. To hear how the music will sound in SmartMusic, playback the
file using Finales SmartMusic SoundFont playback.

Check the Instrument List to make sure none of the tracks are muted. See Instrument List.

Remove extra or empty measures at the end of the file.

Tempos should remain within a range of 20-240 beats per minute for best following.

Ritards and accelerandos applied to the file will help the SmartMusic following create a smoother
tempo change.

Keep tempo changes conservative to allow the musician to create their own interpretation and
provide a smoother following of tempo nuances for the Intelligent Accompanist.

No Controllers except Volume (#7), Sustain (#64), Room Select (#12), Reverb (#91) and Pitch Bend
are allowed. See Continuous data.

Finale and SmartMusic understand transposing instruments and will adjust accordingly. If you wish
to double-check the sounding or concert pitch, use Display in Concert Pitch in the Document Menu.

If you intend to use Intelligent Accompaniment, you must have at least 2 staves when saving a
SmartMusic Public file from Finale: one staff for the solo or melody line and one staff for the
accompaniment.

General tips for MIDI Files

You may want to record all tracks by performing them into Finale using HyperScribe or a sequencer
and avoid step-entering notes. Performing tracks adds human variation to velocities, durations and
note placement which creates a more natural sounding accompaniment. To achieve a similar effect,
enable Human Playback (available in the Playback Settings dialog box).

If youre importing a MIDI file into Finale, make sure you save it as MIDI Type 1 (tracks become
staves), so that all of the channels or tracks are separate.

When importing a MIDI file, preserve as much of the MIDI information as possible by checking
Include Tempo Changes and Continuous Data. See also To import a MIDI file.

Check your Playback/Record Options. Make sure the four Play Recorded checkboxes are checked.
If you enable Human Playback, set up the HP Preferences to incorporate all of the User MIDI Data.
See Playback/Record Options dialog box.

Check the tempo playback. Many things can affect the tempo in Finale. Start with the base tempo in
the expanded. See Playback Settings dialog box, Expression Designer dialog box and Tempo Tool.

1812

Assigning Instruments for SmartMusic Accompaniments

To assign playback instruments (that will playback using SoundFonts), SmartMusic looks to the
instrument assigned to each staff. It is particularly important to review the instrument assigned to each
staff if you are generating a SmartMusic Accompaniment from an existing Finale file, and if the file was
setup for playback with a MIDI device other than Finales SmartMusic SoftSynth. Remember, Finale
playback with SmartMusic Softsynth chosen as the MIDI Out device in the MIDI Setup dialog box will
match playback of the .SMP accompaniment file when performed by SmartMusic.
1.

From the Window Menu, choose Instrument List. Note that SoundFont playback of .SMP files is
supported in SmartMusic 8.0, and not 7.0 or 7.1. In versions of SmartMusic earlier than 8.0, all
accompaniment staves will playback using a piano sound.

2.

Under the Instrument column, click the drop-down menu for a staff and choose New
Instrument (at the top of the list). The Instrument Definition dialog box appears. Note the channels
that are currently defined.

3.

In the Instrument Name text box, enter an instrument name. This is the name that will appear in
SmartMusic.

4.

Ensure the channel is set to one not used by any other staff.

5.

Click OK. You return to the Instrument List.

6.

Assign a new instrument for each of the remaining staves. Make sure to choose New Instrument
from the drop-down menu for each staff to enter each part name and set a unique channel for each.

When you have finished assigning instruments, be sure to play the file to review your changes before
saving.

1813

SmartMusic Compatibility
Guidelines
Some aspects of notation that can be created in Finale are not fully compatible with SmartMusic. Some of
these detract from assessment accuracy, others cause problems with navigation in SmartMusic, others
are not supported by SmartMusic altogether. Use the following guidelines to ensure your document is
properly prepared for SmartMusic before exporting the file as a SmartMusic Accompaniment (File
> Export to SmartMusic). If your file does not meet these guidelines, you will be prompted with the
SmartMusic Accompaniment File Compatibility dialog box, which scans your file, lists all of the conflicts,
and allows you to resolve them prior to saving the SmartMusic Accompaniment.
Here is a list of all the possible ways a Finale document will not be compatible with smartMusic:
Conflict

Compatibility Information

Simultaneous notes in different layers

For optimal assessment results, SmartMusic prefers to

see a single melodic line on one staff. Assessment
scores of 100% may not be possible when multiple
simultaneous notes occur.

Inconsistent pages

For optimal scrolling results in SmartMusic, use one

page size for all pages and one set of values for all page
margins.

Inconsistent system margins

For optimal scrolling results in SmartMusic, use one set

of system margin values for systems 2 thru the end.
Ideally, setting up all margins in the "Page Format for
Score" dialog box and applying a 'Redefine All Pages' to
your Finale file will ensure best scrolling results.

Hidden clefs

All clefs, even hidden ones, will be displayed in

SmartMusic.

Nonstandard keys

SmartMusic does not support non-standard key

signatures

Ossias/Mirrored Measures

SmartMusic does not support Ossias or Mirrored

measures.

Staff Usage: Distance From Top

For optimal scrolling results during playback in

SmartMuisc, set the 'Distance from Top' value to 0 in the
Staff Usage dialog box.

Page Format for Score: System Margins, Top

The top system margin should equal the top value in

systems 2-end.

1814

Hide Key Signature Staff Attribute

SmartMusic will still display the key signature. To

successfully hide a key signature in SmartMusic, create
a Staff Style that has Key Signatures unchecked in the
Staff Style Attributes dialog box.

Chromatic Transposition

Staves with a Chromatic Transposition must also have

Independent Key Signatures selected.

Independent Time Signatures

SmartMusic does not support Independent Time

Signatures

See Also:
SmartMusic

1815

SmartMusic Performance Markers

You can use SmartMusic performance markers to specify effects that are found in standard
accompaniments such as rehearsal letters, pauses for fermatas, cadenzas, cesuras, and repeats. You
can also use markers to adjust the level of Intelligent Accompaniment during the course of the
performance. You can add all of these markers using the Add SmartMusic Markers dialog box under the
Document Menu (as described in this section). After doing so, the markers appear in the score as
expressions defined for playback as the appropriate SmartMusic marker type.
Since SmartMusic markers always appear in a Finale score as (hidden) expressions, they can also be
added manually with the Expression Tool. Although the Add SmartMusic Markers dialog box is the
recommended method, some users prefer the extra control offered when entering them manually. When
you apply SmartMusic markers this way, you create expressions that contain special SmartMusic
playback data that SmartMusic can recognize while performing the accompaniment. If you decide to add
SmartMusic Markers manually, follow the same instructions for placement of each marker outlined in this
section. (We recommend always trying the Add SmartMusic Markers dialog box first while creating
performance markers. Its faster and easier.)
SmartMusic markers are added to the beat or measure you want the effect to occur, depending on the
marker type. See To add SmartMusic performance markers for details. Here is a basic description of all
performance markers.

Add an Intelligent Accompaniment marker to a beat to specify a change in the Intelligent

Accompaniment level.

Add a Rehearsal Mark to the beginning of a measure to indicate a rehearsal mark. This rehearsal
mark will display in the SmartMusic interface during the performance.

Add an Opt. Octave Up 1 or Opt. Octave Down 1 to specify the first beat of an optional octave
section (where the soloist has the option to play up or down an octave). Add an End Opt. Octave
marker to the beat following the optional octave section to specify the end of the optional octave.

Add a Reset Tempo marker to a beat to specify a return to the tempo specified in the document.
This marker eliminates tempo changes that have been applied as SmartMusics Intelligent
Accompaniment feature responded to tempo adjustments made by the soloist.

Add a pause marker (Wait for Note On, Wait for End of Note, or Wait for Foot Pedal) to the beat
you want to pause the accompaniment. Then, add a Resume marker on the beat the
accompaniment is to resume (upon hearing the note, the cutoff of a note, or a foot pedal message).

Add a Repeat marker to indicate each pass of a repeated section, or the ending of a repeated
section. (All repeat markers can also be generated automatically based on existing repeats in the
score by using the Add SmartMusic Markers dialog box.)

Add a Repeat End marker to indicate the end of a repeated section. (All repeat markers can also be
generated automatically based on existing repeats in the score by using the Add SmartMusic
Markers dialog box.)

Add a Repeat DS marker to indicate a D.S. repeat, both the first pass of the Segno, and then the
actual D.S. section. (All repeat markers can also be generated automatically based on existing
repeats in the score by using the Add SmartMusic Markers dialog box.)

Add a Repeat DC marker to indicate a D.C. repeat, both at the beginning of the piece, and then the
actual D.C. section. (Note that all repeat markers can be generated automatically based on existing
repeats in the score by using the Add SmartMusic Markers dialog box.)

Add a Small Breath Mark marker to indicate a short pause sufficient for a short breath.

Add a Large Breath Mark marker to indicate a pause sufficient for a large breath.

Add a Breath Mark End marker to indicate the end of a breath mark.

Add a Reset Measure Counter marker to reset the SmartMusic measure counter.

The Use Description Text marker is available for additional marker possibilities that may be added
to SmartMusic in the future. By choosing this option, you instruct SmartMusic to read the values
entered into the Description text box of the Expression Designer, and incorporate them into the
performance accordingly (like rehearsal marks and repeat markers).

1816

Note that several markers are sometimes added

for you automatically while using the Add
SmartMusic Markers utility. For example, Reset
Tempo is always added at the point the
accompaniment is to resume after a Wait for Note
marker has been added. (It is assumed the
performer will resume at the tempo specified in the
score).

To add SmartMusic performance markers

1.

From the Document Menu, choose Add SmartMusic Markers. The Add SmartMusic Markers
dialog box appears.

2.

Choose the type of marker you would like to add from the list on the left.

3.

Click Add. A dialog box appears relating to the type of marker you have chosen.

4.

Specify the assignment and other settings for the marker and click OK. For a description of the
options in each dialog box, see Add SmartMusic Markers dialog box.

Although the following instructions apply to all SmartMusic markers, if you intend to add them as
Expressions, you will first want to review the section To add SmartMusic Performance Markers as
expressions (below). Furthermore, additional steps are required to properly define pauses and repeats
with Expressions. See To define and add pause markers manually with the Expression Tool and To Add
Repeat Markers Manually as Expressions for details.

To add SmartMusic performance markers as expressions

The following steps are general and are required anytime you want to add a SmartMusic Performance
Marker as an expression. Remember to always try using the Add SmartMusic Marker utility (under the
Edit Menu) prior to creating expressions manually with Expressions.
.

1.

Choose the Expression Tool

2.

On the solo staff (or the top staff of an ensemble score), double-click where you would like to
place the marker. If you wish to create a note-attached expression, be sure to click directly above or
below an existing note in the solo staff. The Expression Selection dialog box appears. Some
expressions, such as the default rehearsal letters are already assigned as SmartMusic rehearsal
marks. For this example, well create a new one.
Note that if you are creating a rehearsal mark, the
expression should be aligned with the beginning of
the measure.

3.

Click Create. The Expression Designer dialog box appears.

4.

Type the markers name (if desired). You might want to enter text that describes the marker you
are about to define (e.g. Intelligent Accompaniment=50, Wait for Note On, Repeat, etc.) though you
could leave this box empty if you do not care to display any text in the score. If you do not enter any
text here, skip the next step.

5.

Highlight the text, and then from the Text Menu, choose Style > Hidden
(ctrlCommand+shift+H). Now, the expression is defined to appear in light gray in the score, and will
not print.

6.

Click the Playback tab.

7.

From the Type drop-down menu, choose SmartMusic Marker. The SMS Marker drop-down
menu appears.

8.

From the SMS Marker drop-down menu, choose the desired SmartMusic Marker. For a general
description of each marker, see SMS Marker. in the Expressions chapter.

9.

If you are creating a rehearsal mark or repeat marker, click the Text tab and enter the
rehearsal text (A, B, etc.) or repeat values in the Description field. See Repeat markers for
SmartMusic accompaniments for more information on specifying different types of repeats.

10. Click OK. You return to the Expression Selection.

11. Click Select.

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12. Shift-double-click the expression to open the Expression Assignment dialog box. Under
Begin Playback at, choose the desired option. You can choose Beginning of Measure (e.g. for
rehearsal marks), or Position in Measure.
13. Click OK to return to the document. The marker will now apply to the accompaniments
performance in SmartMusic.

To add pause markers for a SmartMusic Accompaniment

Pause markers are used to tell SmartMusic to wait for a note or cue from the soloist to resume the
accompaniment. Many musical elements including fermatas, cesuras, cadenzas, and sometimes
ritardandos and rallentandos require a pause marker for the soloist to accurately perform the musical
passage (or have freedom to interpret the music as desired). You can add a pause marker easily by
placing it on the note you wish the accompaniment to resume using the Add SmartMusic Markers dialog
box.
1.

From the Document Menu, choose Add SmartMusic Markers.

2.

Choose the type of pause marker you would like to add from the list on the left. The type of
pause depends on the cue the performer will use to resume accompaniment. In other words,
SmartMusic will wait for:
A note (Wait for Note On) - Choose this option to instruct SmartMusic to wait for a specific note
performed by the soloist as a cue to resume the accompaniment. This type of pause marker is
appropriate for a ritardando or rallentando (see To add pause markers for ritardandos or
rallentandos), rests or held notes in the accompaniment, (see To pause for accompaniment rests
or held notes), and fermatas within a piece (see To add pause markers for fermatas). A Wait for
Note marker is generally only required on the note you want the accompaniment to resume.
The release of the note (Wait for End of Note) - Choose this option to instruct SmartMusic to
hold notes in the accompaniment until the current note is released, for example, a fermata on the
last note of a piece. See step three under To add pause markers for fermatas.
A foot pedal message (Wait for Foot Pedal) - Choose this option to instruct SmartMusic to
resume the accompaniment upon receiving a foot pedal message from the soloist. This type of
pause marker is recommended for cadenzas (see To add pause markers for cadenzas), but could
also be used for fermatas, rests/held notes in the accompaniment, or even rallentandos. A Wait for
Foot Pedal marker is only required at the location you want the accompaniment to resume.

3.

Click Add. The Wait for Note, Wait for End of Note, or Wait for Foot Pedal dialog box appears
depending on your selection.

4.

Specify the location of the marker using the provided fields. Here, you can either choose an
existing rehearsal marker, a repeat marker, or you can specify a bar and beat. Remember, the pause
marker should be added to the point at which the accompaniment should resume.

5.

Click OK. You return to the Add SmartMusic Markers dialog box. You can add additional markers
without returning to the score.

6.

When you have finished adding the desired markers, click Done.
You will notice hidden text above the solo staff that indicates the markers youve added. These are
actually hidden text expressions that Finale generated for you based on your settings in the Add
SmartMusic Markers dialog box. The Add SmartMusic Markers dialog box is basically a tool that
allows you to automatically generate these expressions without having to define them manually. If
you wish, you can manually define these SmartMusic Markers using the Expression Tool as well
explain next.

To define and add pause markers manually with the

Expression Tool
If you add SmartMusic Markers manually with the Expression Tool (instead of the Add SmartMusic
Markers utility), at least two markers are required to properly define a pause; a marker that indicates the
point at which the accompaniment should pause (Wait for Note, Wait for End of Note, or Wait for Foot
Pedal) and a marker that indicates the point at which the accompaniment should resume (Resume). A
third marker, Reset Tempo, should be added at the same point as each Resume marker to tell
SmartMusic to resume at the tempo defined in the document (eliminating any tempo changes added by
SmartMusics Intelligent Accompaniment feature). If you have used the Add SmartMusic Marker dialog
box, you may have noticed Finale automatically places the Wait for... expression on the note prior to the

1818

point defined in the Add SmartMusic Markers dialog box. Actually, the Wait for... need only precede the
Resume by a tiny increment because there is almost never a need to pause the accompaniment at a
musically significant point prior to the resume point (as the accompaniment would be resting or holding
anyway).
As shown in the Add SmartMusic Markers dialog box, there are three ways SmartMusic can be cued to
resume an accompaniment; upon hearing a pitch (Wait for Note On), upon hearing the cutoff of a pitch
(Wait for End of Note), or upon receiving a foot pedal message (Wait for Foot Pedal). The cue
SmartMusic waits for depends on the marker used to indicate the point at which the accompaniment
should pause. The same marker, Resume, is always used to indicate the point at which the
accompaniment should resume. Like any expression defined for playback, SmartMusic Marker
expressions apply to the note they are attached to or the horizontal placement within the measure.
Specific placement recommendations are explained below under To add pause markers for ritardandos
or rallentandos, To pause for accompaniment rests or held notes, and To add pause markers for
fermatas.

To add pause markers for ritardandos or rallentandos

To specify this effect with the Add SmartMusic Marker utility, simply place a Wait for Note marker on the
note you want the accompaniment to resume. The Resume and Reset Tempo marker is added for you
automatically. See Wait for Note dialog box.
To assign the necessary markers manually with Expressions, add a Wait for Note On marker at the end
of a passage, and then a Resume and Reset Tempo marker on the note the accompaniment is to
resume. When the soloist plays the pitch assigned to the Resume marker, the accompaniment resumes.
This is particularly useful if an a tempo marking follows the ritardando or rallentando.
Tip: Since the accompaniment will be expected to slow for the performer, it might be a good idea to
increase the IA level for the ritardando region. The Wait for Note marker is only required imediately prior
to the return to a steady tempo.
To add a pause marker for ritardandos or rallentandos manually using expressions:
1.

Add a Wait for Note On marker just beyond the last note of the passage.

2.

Then add a Resume marker and Reset Tempo marker on the first note following the passage.
During the performance, SmartMusic will wait for the pitch following the ritardando (the F in the solo
line of the figure below) before continuing the accompaniment. If the soloist rests on the beat
following the passage, add a Foot Pedal marker instead.

To pause for accompaniment rests or held notes

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To specify this effect with the Add SmartMusic Marker plug-in, place the Wait for Note marker on the note
you want the accompaniment to resume. The Resume and Reset Tempo marker is added for you
automatically. See Wait for Note dialog box. A Wait for Note pause marker can also be used when there
is a break or held note in the accompaniment to ensure SmartMusic resumes playback along with the
performer (for a rubato or expressive section of the piece for example). Again, the entrance of the
accompaniment resumes upon hearing the designated note in the solo line.
To add a pause for accompaniment rests manually with expressions:
1.

Enter a Wait for Note On marker expression at a point during the rest or held note in the
accompaniment.

2.

Enter a Resume marker expression at the point the accompaniment is to resume. During the
performance, when the accompaniment reaches the Wait for Note On marker, SmartMusic begins
listening for the pitch under the Resume marker, and does not continue with the accompaniment until
that pitch is performed (or the spacebar is struck. Therefore, if the same pitch appears prior to the
Resume pitch, enter the Wait for Note marker after the duplicate pitch, or use a Foot Pedal marker
instead.

3.

Enter a Reset Tempo marker expression at the same point as the Resume marker. The
Reset Tempo marker erases any tempo adjustments SmartMusic acquired from the soloist prior to
reaching the Wait for Note On marker. Entering this marker ensures the accompaniment will resume
at the tempo specified in the document.
Pause for rests in accompaniment

Pause for held note(s) in accompaniment

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In SmartMusic, during the performance of the above examples, the performer will see a message
Waiting for Pitch _ until the designated pitch is performed (and the accompaniment resumes).
Note that the same procedure can be used to pause the accompaniment for cadenzas if the Resume
note is not performed during the cadenza passage. Simply place the Wait for Note On marker at a point
(preferably towards the beginning) of the cadenza. For more information on adding pause markers for
cadenzas, see To add markers for cadenzas.

To add pause markers for fermatas

Pause markers can be added to accommodate fermatas in much the same way they are added for rests
or held notes in the accompaniment (described above). The type of pause marker used depends on
whether the soloist or accompaniment resumes playback.
To specify this effect with the Add SmartMusic Marker plug-in, place the Wait for Note or Wait for Foot
Pedal marker on the note you want the accompaniment to resume. The Resume and Reset Tempo
marker is added for you automatically. See Wait for Note dialog box.
To add a pause marker for a fermata manually with expressions:
1.

If both the soloist and accompaniment resume playback simultaneously, add a Wait for Note
On marker over the held note. Then add a Resume marker and Reset Tempo marker over the
note following the fermata. SmartMusic will sustain the pitches under the fermata until it hears the
Resume pitch (in this case F) performed by the soloist. SmartMusic indicates to the performer that it
is Waiting for your note _.

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2.

If there is a rest under the fermata in the solo staff, and the accompaniment resumes on its
own, add a Wait for Foot Pedal marker over the held note. Then add a Resume marker and
Reset Tempo marker over the first note (of the accompaniment) following the fermata. During
the performance, SmartMusic will indicate that it is waiting for a foot pedal message from the soloist
to resume the accompaniment.

3.

If a fermata appears at the end of the piece, add a Wait for End of Note marker over the held
note. Then add a Resume marker and Reset Tempo marker to the right of the fermata. During
the performance, SmartMusic will release the held note along with the soloist.

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To add pause markers for cadenzas

Cadenzas are unaccompanied passages performed by the soloist. You can use a Foot Pedal marker
inserted during the cadenza, and then a Resume marker after the cadenza to ensure the accompaniment
resumes in coordination with the soloist (upon receiving a foot pedal message).
To specify this effect with the Add SmartMusic Marker plug-in, place the Wait for Foot Pedal marker on
the note you want the accompaniment to resume. The Resume and Reset Tempo marker is added for
you automatically. See Wait for Foot Pedal dialog box.
To add a pause marker for a cadenza manually with expressions:
1.

Add a Wait for Foot Pedal marker near the beginning of the cadenza.

2.

Add a Resume marker and Reset Tempo marker over the first beat following the cadenza. It is
best to place the Wait for Foot Pedal early in the cadenza to ensure the soloist does not catch up to
the accompaniment (which continues in tempo until reaching the Wait for marker, or any of the
pause markers). In this cadenza, note that the pitch C appears after the Wait for Foot Pedal marking,
which is also the pitch of the Resume note immediately after the cadenza. If there was not a C in the
cadenza, a Wait for Note On marker could be added instead of Wait for Foot Pedal so pressing the
foot pedal would not be necessary during the performance. See To pause for accompaniment rests
or held notes.

1823

1824

SMPTE and MIDI Time Code

SMPTE stands for the Society of Motion Picture Television Engineers (see www.smpte.org). This group
has defined cooperating standards called SMPTE timecode which is used to synchronize film, video, or
audio material. Finale supports the MIDI Time Code (abbreviated MTC), which is the MIDI representation
of SMPTE. For Finales purposes, MTC is primarily used to synchronize Finale playback with the
integrated Movie Window as well as external movie players and editors.
While MIDI Sync synchronizes via relative time (24 clock messages per quarter note), MTC synchronizes
via absolute time (sending Quarter Frame messages based on a SMPTE frame rate of, for example, 30
frames per second). Finale supports the sending of MTC, which means other devices capable of
recieving MTC can sync with Finale. The device to which MTC will be sent, and whether or not to send
MTC, can be set in the MIDI Setup dialog box. Whether or not to send MTC can be specified by checking
or unchecking Send MTC under the MIDI/Audio Menu. Additional MTC settings can be configured in the
Sync and Video Options dialog box under the Document Menu.

To synchronize an external MTC device with Finale

1.

Open Finale as well as the other MTC-compatable device. Some examples of products that can
be set to recieve MTC are Cubase, Pro Tools, and SoundForgeDigital Performer.

2.

In Finale, from the MIDI/Audio Menu, choose MIDI Setup.

3.

For MIDI Out, choose a driver that supports MTC. If your existing MIDI driver does not support
MTC, try using MIDI Yoke which can be found at www.midiox.com/myoke.htm.

4.

Click OK. Then go to your other MTC-compatible device, and set it to receive MTC using the
same driver you selected in Finales MIDI Setup dialog box. The location and wording of these
settings varies depending on the product. Consult the products documentation for details.

5.

In Finale, click Play. When you play, pause, stop, rewind, or fast forward using Finales Playback
Controls, the device receiving MTC responds accordingly.

1825

Snapping to grids and guides

Snap to Grid and Snap to Guide is only available in Page View.

To turn on snapping of grids and guides

Choose Snap to Grid or Snap to Guide from the Edit Menu. Choose the item again to deselect it
and turn it off.

To turn on display of grids and guides

Choose Show Grid or Show Guides from the View Menu. Choose Hide Grid or Hide Guides turn
it off.

To snap items to a grid or guide

1.

Choose Page View from the View Menu.

2.

Make sure that Snap to Grid or Snap to Guide is selected in the Edit Menu. See To set up a grid
and To set up guides for information on creating and setting up guides and grids.

3.

Select a tool (such as the Expression Tool) that is enabled in the Items to Snap to Grid or
Items to Snap to Guide dialog box.

4.

Select a handle and move the item. The item will snap to the nearest grid point or guide line when
you release the mouse button. Items will snap to a guide line only if they are moved to within the
guides gravity zone. This is set up in the Grid/Guide Options dialog box.
To temporarily override the Snap function, press ctrl while dragging the item. Guides override the
grid if both are being used and the item is dragged within the gravity zone of the guide.

To set up a grid
1.

Choose Grid/Guide Options from the View Menu. The Grid/Guide Options dialog box appears.
See Document Options-Grids and Guides.

2.

Enter the density of the grid in the Grid Line Every text box. You can select the specific units.

3.

Enter the amount of the grid you would like to show in the Display One in text box. For
example, entering a 1 would display every grid line. Entering a 2 would display every other grid line.

4.

Select the style of the grid lines from the Grid Line Style drop-down list.

5.

Click Grid Color to set up the color of the grid.

6.

Click on Items to Snap to Grid to select which items are affected by the Snap to Grid function.
See Items To Snap To Grid and Items To Snap To Guide dialog boxes for more details.

7.

Click Show Grid and Snap to Grid. This will ensure that the grid is displayed and in effect.

8.

Click OK.

To set up guides
1.

Choose Grid/Guide Options from the View Menu. The Grid/Guide Options dialog box appears.

2.

Enter the size of the gravity zone around the guide in the Gravity Zone Size text box. You can
select the specific units. The gravity zone is the space around the guide that will capture any item
dragged into it and snap it to the guide.

3.

Select the style of the grid lines from the Guide Line Style drop-down list.

4.

Click Guides Color to set up the color of the grid.

5.

Click on Items to Snap to Guide to select which items are affected by the Snap to Guide
function. See Items To Snap To Grid and Items To Snap To Guide dialog boxes for more details.

6.

Click Show Guide and Snap to Guide. This will ensure that the guides are displayed and in effect.

7.

Click OK.

1826

8.

Make sure Show Rulers and Page View are selected in the View Menu.

9.

Double-click in the ruler to create a guide. Click on the guide in the ruler and drag to move the
guide. Click on the guide in the ruler and press delete to delete guide. Ctrl-click to select multiple
guides.

1827

SoundFonts
SoundFonts are basically a collection of audio samples that have been transformed by a SoundFont
editor into MIDI instruments. SoundFonts can be used by MIDI programs such as Finale for playback.
Note: A SoundFont-compatible sound card is
required to use any SoundFont for playback.
A general MIDI SoundFont synthgms.sf2 is included with Finale. To use this SoundFont for playback in
Finale, from the MIDI/Audio Menu, choose MIDI Setup. Then, for the MIDI Out device, choose
SmartMusic SoftSynth 1. If you expand the MIDI Setup dialog box, a separate incarnation of the
SmartMusic SoftSynth can be loaded into the subsequent seven MIDI Out slots, for a total of 128 unique
channels possible. Regardless of the device chosen in the VST Instruments dialog box, the SoundFont
chosen in the SoftSynth Settings dialog box is used for all Audio files (.WAV or .MP3) and SmartMusic
Accompaniment files (.SMP) saved from Finale. (Marching percussion sounds are also included with this
SoundFont. See Marching Percussion Map Table.) To use a different General MIDI SoundFont, from the
MIDI/Audio Menu, choose MIDI Setup, click SoftSynth Settings, and then click Select to open a different
SoundFont.
You can load Finales SoundFont synthgms.sf2 into your sound cards SoundFont manager for use with
other MIDI playback programs. The procedure for doing so depends on the sound card you are using and
the accompanying software. Consult your sound cards documentation for specific instructions for loading
a new SoundFont. To use Finales Sound Font with QuickTime, copy the file synthgms.sf2, located in
the Finale\Component Files folder, to the following location: Mac HD\Library\Audio\Sounds\Banks.

1828

Split points
To specify a point at which a measure may split across a system (line) break, see To split a measure
across a system break.
Youll need to specify a different kind of split point when you use Finales real-time transcription tool to
transcribe a two-handed keyboard performance. Since the computer cant see your hands, you must tell
it how it should split your performance onto the two staves. To adjust the split point based on a defined
hand width for regions of your score, or the entire document, use the Smart Split Point plug-in.

To specify a fixed split point

To enter HyperScribe, click the HyperScribe Tool. The HyperScribe Menu appears. To enter the
Transcription window, click the Transcription Mode, then click the measure where the transcription is to
begin. See Recording with HyperScribe orTranscribing a sequence.
1.

From the Record submenu of the HyperScribe Menu choose Split into Two Staves or from the
Split Point submenu of the Transcription Menu choose Fixed. The Fixed Split Point dialog box
appears, letting you enter a number. The number refers to a specific note on your MIDI keyboard;
middle C is key number 60.

2.

Click Listen. Finale displays a message, telling you that its listening.

3.

Play the MIDI note you want to designate as the split point for your transcription. If your MIDI
equipment is set up properly, the number in the Split MIDI Note text box changes. (You can also type
a number directly into the text box.) When Finale transcribes your performance, all notes below the
note indicated will be put on the lower staff; all notes above, including the specified note, will be on
the top staff.

4.

Click OK (or press enter). If your piece has no clear split point, you may find it easiest to record the
right-hand part an octave higher than written. After Finale transcribes the piece, its a simple matter
to transpose that staff to the proper register (see Transposing: by interval).

To specify a movable split point (Transcription Mode only)

If the piece you intend to transcribe doesnt have any one split pointin other words, if the ranges of
notes played by your right and left hands during the piece arent completely distinctyou can use
Finales Moving split point feature. Finale will split a two-handed performance onto the correct staves
(usually treble and bass clef) by tracking the positions of your hands as they move up and down the
keyboard. As long as theres a discernible gap between your two hands at any given moment, Finale can
adjust the split point on a note-by-note basis automatically.
1.

From the Split Point submenu (of the Transcription Menu), choose Moving. A dialog box
appears.

2.

Click Listen, and play a one-hand-width interval on the synthesizer keyboard. Dont necessarily
play the widest interval you can reach. Instead, play the largest interval you played with one hand in
the piece; strike the two notes comprising your hand width more or less simultaneously. The number
in the Hand Width text box, measured in half steps, changes to reflect the interval you played.
(Instead of clicking Listen, you can also enter a number directly into the Hand Width text box.)

3.

Click OK. If Finale still makes a few errors in the resultant transcriptionfor example, if your hands
were, at some point, too close together for Finale to track themsee To correct split point errors.

To correct split point errors

Occasionally, because there is no clear split point, or because your hands cross, a HyperScribe or
Transcription Mode transcription will contain left-hand notes in the treble-clef staff, or right-hand notes in
the bass-clef staff. Using the Note Mover Tool, you can quickly restore the notes to the proper staves.
See Note Mover Tool.
1.

Click the Note Mover Tool

. The Note Mover Menu appears.

1829

2.

Choose Delete After Merge from the Note Mover Menu. In other words, youll delete the
incorrectly split note from its current staff, and merge it with the correct staff.

3.

Click the measure containing the incorrectly split notes. A handle appears on each notehead.

4.

Select the notes to be moved. Select one note by clicking its handle, several adjacent notes by
drag-enclosing them, or additional notes by shift-clicking (or shiftdrag-enclosing them). The handles
you select are highlighted.

5.

Drag any highlighted handle onto the target staff. Dont drag it to any particular line or space; just
drag it anywhere onto the correct staff. The notes are automatically transferred to the correct lines or
spaces of the new staff.
Note: If you are not pleased with the results check
your quantization settings in Quantization Setting
dialog box in the MIDI/Audio Menu. Also the More
Quantization Settings dialog box. See Quantization
Settings dialog box and More Quantization
Settings dialog box.

1830

Music spacing
Music spacing is automatically applied when you enter music into Finale. However, if you decide to turn
off Automatic Music Spacing, the spacing is linear; in other words, a whole note gets exactly the same
horizontal space as four quarter notes. Furthermore, this newly-entered music may contain collisions
between lyric syllables, overlapping chord symbols, and crowded 32nd notes.
One of Finales most important featuresand one not found in any other notation programis its many
customizable music spacing options. Finale can apply a sophisticated system of width allotments to each
note of your document or scale all note durations proportionally. This feature is modeled on traditional
professional music typesetting, where the engraver would consult a table of width measurements for
each note value. The result is nonlinear spacing, where notes of different duration occupy only as much
space as they need. Music Spacing Options have the added benefit of neatly adding additional space to
each measure, as necessary, to accommodate lyrics, chord symbols, and notey passages.
In Finale, the width tables used to space the music are stored in Music Spacing Libraries. Spacing tables
are width measurements, one per rhythmic value. For example, in the library called Loose Spacing, a
quarter note is given 1/3 inch of width and an eighth note is given 1/4 inch. By spacing your music with
the aid of a Music Spacing Library, you can create extremely professional-looking scores, which are
neither wider nor narrower than they need to be. See Finale Libraries for more Music Spacing Libraries.
You apply a music spacing to your music using the Music Spacing command or you can use the default
Automatic Music Spacing option that applies music spacing as you enter notes or edit your music.
This example is
spaced with Beat
Spacing. Each beat is
spaced non-linearly
first, then spaced
within the beat
linearly.
This example is
spaced with Note
Spacing. Each note is
spaced non-linearly.

This example is
spaced with Time
Signature Spacing.
Each note is spaced
linearly.

You can edit Finales Music Spacing libraries so that they distribute width differently, and you can also
create your own Music Spacing Libraries. Aside from the tables, you can use a scaling factor to smoothly
set the relationship between the different note durations in you document. The picture below illustrates
this difference between Time Signature Spacing (or a scaling factor of 2.0) and a Fibonacci scaling factor
of 1.618.

1831

For information regarding the relationship between music spacing the score and linked parts, see Music
Spacing in linked parts.

To turn off Automatic Music Spacing

From the Edit Menu, choose Program Options, then Edit. Uncheck Automatic Music Spacing.
When the checkmark is not shown, Automatic Music Spacing is not enabled. Check the box to turn it
back on.

To load an Music Spacing library into an open document

1.

From the File Menu, choose Load Library. The Open dialog box appears, letting you navigate
through the folders on your disk. Find and open the Libraries folder.

2.

Double-click the name of the desired Music Spacing Library.

To reapply music spacing over a region

1.

Click the Selection Tool

2.

Select the music you want to respace. In general, youll want to select all the staves in a system. If
you select only one staff, for example, you could get unexpected results, because the respacing
command sets the measure widths for all staves according to the spacing of the selected region.
Thus, if you select and respace measure 1 in the flute staff, which contains only a whole note, the
running eighth notes in another staffs measure 1 will be compressed and overlapping.

3.

From the Music Spacing submenu of the Utilities Menu, choose either Apply Beat Spacing or
Apply Note Spacing. If you use Beat Spacing, Finale calculates where each beat should be
positioned in the measure; any notes within the beat are spaced linearly (where an eighth note gets
half as much space as a quarter note, and so on). If you use Note Spacing, Finale uses the table of
values to determine the exact position of each note or rest in a measure. Thus, the Note Spacing
command provides more exact spacing than does the Beat Spacing command. Either command
takes time. But when done processing, youll find that your music has been carefully respaced
according to the Music Spacing Librarys specifications. Note: For a more complete discussion of
Finales spacing feature, see Document Options-Music Spacing. The final step is extremely
important:

4.

Choose Update Layout from the Options Menu. The Music Spacing commands are responsible
for laying out the notes within each measure. In doing so, Finale adjusts the widths of the selected
measures, and they may no longer fit neatly into one line of music across the page. The Update
Layout command is responsible for laying out the measures across the page; it justifies the
measures with the page margins.

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If you dont choose Update Layout after respacing your music, you may find measures at the ends of
systems in Page View that seem much too wide or too narrow. (Choosing Update Layout will solve the
problem immediately.)
Note: When Finale spaces the notes of your
document, it widens the selected measures as
necessary to make room for lyrics, if any. If you
choose Music Spacing in the Document Options
dialog box, youll discover that there are other
elements you can take into consideration when
spacing measures: chord symbols, and
accidentals, for example. Select the appropriate
checkboxes, and click OK.

To edit an existing Music Spacing library

Finales music spacing libraries were constructed by listing rhythmic valuesfrom 64th note to double
whole noteand assigning each a horizontal space measurement. Depending on your own tastes, you
may sometimes want to alter the music spacing libraries.
1.

Load an existing Music Spacing Library as described above.

2.

From the Document Menu, choose Document Options and select Music Spacing. The Music
Spacing options appear.

3.

Click Spacing Widths, select Use spacing widths table, then click Widths. The Widths dialog
box appears, displaying a durational value (measured in EDUs, 1024 per quarter note) in the top box
and its allotted horizontal width in the bottom box. (The units of the lower box are whatever youve
selected using the Measurement Units command in the Edit Menu.) Click Duration to see the closest
notated equivalent of the EDU value. If you click the Prev and Next buttons, you can step through the
various rhythmic values to see what horizontal space each has been assigned. (To help you with the
math, remember that 512 EDUs is an eighth note.) Or click Duration and click the durational value
whose allotment you want to change.

4.

Click Prev or Next until you locate the rhythmic value whose width you want to alter. Enter its
new value in the bottom text box. In the quintuplet example, youd actually want to create a new
rhythm/width pair, and insert it into the existing library.

5.

To create a new rhythm/width pair, enter the rhythm value (in EDUs) in the top box, and its
width allotment in the bottom box; then click Insert. When you do this, it will appear that youve
typed over an existing duration/allotment pairing. But in fact, when you click Insert, you merely add
your new pair to the library.

6.

Similarly, you can remove the displayed duration/allotment pairing by clicking Delete.
Note the other options in this box, by the wayby
selecting the appropriate checkboxes, you can
specify which musical elements you want Finale to
consider when calculating new measure widths:
Notes and Accidentals, Articulations, Chords,
Lyrics, Note-attached Expressions, Clefs, Unisons
and Seconds. See Document Options-Music
Spacing for details.

7.

When youre finished, click OK. Use the Music Spacing command (Utilities Menu) to apply the
new allotments to your document.

To restore a region to proportional spacing

1.

Click the Selection Tool

, and select the region you want to restore.

2.

From the Utilities Menu, choose Music Spacing, then Apply Time Signature Spacing. Finale
restores the music to proportional spacing, where a whole note is allotted the same width as four
quarter notes. Adjust the widths of the measures, if you wish (see Measures).

To create a new Music Spacing library from scratch

1833

1.

Load one of the existing libraries. Youll save time by simply modifying the allotment values of an
existing library.

2.

From the Document Menu, choose Document Options and select Music Spacing. The Music
Options appear.

3.

Click Spacing Widths, then click Widths.

4.

Type over the existing allotment value for each duration value. Insert new duration values as
needed, following the steps in To edit an existing Music Spacing Library, above.

5.

When youre finished, click OK. Use the Music Spacing command (Utilities Menu) to apply the
new allotments to your document.

To save your edited or newly created Music Spacing library

1.

Choose Save Library from the File Menu. The Save Library dialog box appears.

2.

Click Music Spacing; then click OK. Youre then asked to title the new library.

3.

Type in a new title and click Save (or press enter). The next time you need your customized
spacing, load the modified library (choose Load Library from the File Menu) and use one of the
Music Spacing commands.

To specify minimum or maximum measure widths

If, after using Finales music spacing feature, you feel that the measures in your piece that contain whole
rests (or whole notes) are too narrow or wide, you can adjust them all at once. For instructions, see To
specify minimum or maximum measure widths.

1834

Staccato marks
The staccato mark (.) is an Articulation. For complete instructions on creating and manipulating
articulation markings, see Articulations . Human Playback interprets and performs staccato marks during
playback automatically. SeeHuman Playback.
Note: To hear changes to the playback definition
of articulations, you must first set Human Playback
to None in the Playback Settings dialog box.

To define a staccato mark for playback

1.

Click the Articulation Tool

. If you havent yet placed the mark in the score, click any note.
When the Articulation Selection dialog box appears, click the desired symbol and click Edit, and then
skip to step 3.

2.

Double-click the handle. The Articulation Designer dialog box appears.

3.

From the Playback drop-down list, choose Change Duration. Select Values Are Percentages.
Enter 50 as the Top Note Value; leave the Bottom Note Value blank. Youre telling Finale that a
note affected by this mark should last only 50% as long as it normally would. You can use any
percentage you like instead of 50%just be sure Values Are Percentages is selected.

4.

Press enter to exit the dialog boxes.

To create staccato playback with the MIDI Tool

If you want to create a staccato playback effect but you dont need an actual staccato mark on each of
the affected notes, you can use the MIDI Tool to achieve the same effect by altering the Start and Stop
Times of the notes.
1.

, and select the region to be affected. Click to select one measure, shiftClick the MIDI Tool
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.

2.

If you want to edit only particular notes on a single staff, double-click the highlighted area to
enter the MIDI Tool split-window. Select the specific notes whose durations you want to edit.
Once in the MIDI Tool split-window, you can select entire regions of notes by dragging through the
graph area of the window. You can also choose specific notes to edit by selecting their handles (in
the notation display at the bottom of the window). Select one handle by clicking, additional handles
by shift-clicking, a group of handles by drag-enclosing, and additional groups by shiftdragenclosing.

3.

From the MIDI Tool Menu, choose Edit Note Durations. If youre in the MIDI Tool window, you
can click the Note Duration icon instead.

4.

Choose Percent Alter from the MIDI Tool Menu. The Percent Alteration dialog box appears, letting
you specify how much shorter you want each note to be.

5.

Enter 50 (or any other percentage). Youre telling Finale how much to shorten each note relative to
its notated full value (50% of full value, for example).

6.

Click OK. Close the MIDI split-window if its open by clicking the MIDI Tool. To restore the affected
notes to their full values, select the affected measures and press backspace or use the Selection
Tool to erase Performance Data.

1835

Staff groups
Every staff in Finale can be assigned to one or more groups. Grouped staves have several important
characteristics. First, you can control how barlines are drawn for the staves in a group (see Barlines).
Second, you can add a bracket to grouped staves (see Brackets: Staves). Third, when youre extracting
parts, the Extract Parts command gives you the option of extracting groups as well as staves, making it
possible for pairs of staves (piano, for example) to be extracted together, along with a solo part.
Groups in linked parts are completely independent, although new linked parts can inherit the groups as
they exist in the Manage Parts dialog box. See Groups in linked parts.

To group staves
1.

Click the Staff Tool

. The Staff Menu appears.

2.

Select all the staves you want included in the group, then choose Add Group and Bracket
from the Staff Menu. The Group Attributes dialog box appears.

3.

Select a staff from the Staff and Through drop-down lists to set the starting and ending
staves for the group. All staves in between will also be part of the group.

4.

Use the settings in the Group Attributes dialog box to set the group name, bracket, and
barline for the new group. For more information, see Barlines, Brackets: Staves, and Group
Attributes dialog box.

5.

Click OK to confirm your changes.

Note: You can also group and ungroup staves in
optimized systems in Page View if you need to
change the definition of a group on a system-bysystem basis. For information on optimizing, see
Optimizing systems.

To remove a group
1.

Click the Staff Tool

2.

Click a group handle to select the group.

. The Staff Menu appears.

3.

Choose Remove Group from the Staff Menu, or press delete. Finale removes the group definition
for the staves in the selected group.

To change the attributes of a group

1.

Click the Staff Tool

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also
double-click a group handle or choose Edit Group Attributes from the Staff Menu without selecting a
group. The Group Attributes dialog box appears. To display the attributes of another group, click the
arrow controls to select another Group ID number.

. The Staff Menu appears.

3.

Use the Group Attributes dialog box to change and reposition the group name, add and
reposition the bracket, and choose a barline style for the group barline. For details, see Group
Attributes dialog box.

4.

Click OK to confirm your settings.

To add staves to a group

1.

Click the Staff Tool

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also
double-click a group handle or choose Edit Group Attributes from the Staff Menu without selecting a

. The Staff Menu appears.

1836

group. The Group Attributes dialog box appears. To display the attributes of another group, click the
arrow controls to select another Group ID number.
3.

Add staves to a group by choosing different staff names from the Staff and Through dropdown lists. All staves in between will also be part of the group. For details, see Group Attributes
dialog box.

4.

Click OK to confirm your settings.

To remove staves from a group

To exclude a currently grouped staff from its group, youll need to change the staves that are included in
the group.
1.

Click the Staff Tool

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu. You may also
double-click a group handle or choose Edit Group Attributes from the Staff Menu without selecting a
group. The Group Attributes dialog box appears. To display the attributes of another group, click the
arrow controls to select another Group ID number.

3.

Adjust which staves are included in a group by choosing different staff names from the Staff
and Through drop-down lists. All staves in between will also be part of the group. For details, see
Group Attributes dialog box.

4.

Click OK to confirm your settings.

. The Staff Menu appears.

To configure a multiple-staff part to optimize like a single staff.

1.

Click the Staff Tool

. The Staff Menu appears.

2.

Click a group handle, then choose Edit Group Attributes from the Staff Menu.

3.

Click the drop-down next to Group Optimization and choose Only Remove if All Staves
Empty.

4.

Click OK. Now, when you optimize your score, Finale will only remove the staves in the group you
selected if all staves in the group are empty. For more information on optimization, see Optimizing
systems.
Note: After a system has been optimized, edits to
groups and brackets only apply to that system. To
edit groups and brackets on optimized systems en
mass, use the Update Groups and Brackets plugin.

1837

Staff handles
Staff Tool: Staff Handles in Page View
When you click the Staff Tool in Page View, Finale automatically displays one or two handles on each
staff. Drag the top staff handle (or single handle, if only one appears) to adjust the staff's global position:
Finale adjusts the spacing for every staff system in the piece. If Special Part Extraction is off (unchecked
in the Document Menu), Finale adjusts the position of the staff in Scroll View as well. If Special Part
Extraction is on (checked in the Document Menu), Finale only adjusts the position of the staff in Page
View, leaving the positioning of the staves in Scroll view untouched.
If you've optimized a staff system, two handles appear on each staff in the optimized staff system. Drag
the bottom handle to adjust the position of the staff in the current staff system only.

Selecting Staves
You can select more than one handle at once by holding the shift key and clicking the handles. You can
also drag-select any visible handles in Page View, selecting either all the top or all the bottom handles as
desired. In staff systems displaying more than one handle, you will notice that drag-selecting around
several staves tends to select the top handles only. If you position the mouse carefully so that your
selection includes just the bottom handle, you can drag-select around as many bottom handles as you
wish.

Dragging Staves
If you're not sure which staff systems will be affected by dragging the handles, select a handle, then
select Staff Usage from the Staff Menu to display the Staff Usage List dialog box. If you selected the top
handle, Finale displays Global or Special Part at the top of the Staff Usage List dialog box. Any
changes you make when Global appears will affect all the staff systems in Page View, and the
placement of the staves in Scroll View as well. If Special Part appears, the changes will affect each staff
system in Page View, but will not change the placement of the staves in Scroll View. A second handle
appears below the main handle if a staff system has been optimized. Select the bottom handle, then
select Staff Usage from the Staff Menu to display the Staff Usage List dialog box. Staff System (and the
current system number) appears at the top of the dialog box. Any changes you make will affect this staff
system only.

Working with Staff Groups

You can remove group assignments on staves by selecting the group name handle then pressing the
delete key. To check on the status of a staff and its grouping, ctrl-click its handle to display the Group
Attributes dialog box. A staff can belong to more than one group. If you want to change the group
attributes of a group, double-click on the group handle. Do not create a group on a global basis after the
staves have been optimized because the group will not appear. First remove the optimization then add
the group. You can add or edit groups on a system by system basis.

Grouping and Bracketing Optimized Staves

If you have optimized a staff system and wish to add a staff group to that system only, highlight the lower
staff handles to be included in the group. Then ctrl-click on a handle or choose Add Group and Bracket
from the Staff Menu. Notice, in the Group Attributes dialog box that appears, that the Staff List will be
Staff System __ instead of Staff List:Global.
If you have first added a group to several systems and then optimized those staff systems and wish to
edit the staff grouping of one system, double-click on the group handle, or highlight the handle and
choose Edit Group Attributes from the Staff Menu. Notice, in the Group Attributes dialog box that
appears, that the Staff List will be Staff System __ instead of Staff List:Global. Changes you make in this
dialog box will affect the staff group of this staff system only.

1838

Staff lines
A staff can have as many as 100 staff lines, or
you can create a staff with no lines. You can
also set the thickness of staff lines.
If youre interested in making the staff lines
closer together or farther apart, use the Resize
Tool to change the overall size of the music, as
described in To reduce or enlarge all the music
on a page (or the entire piece). Once thats done, make the notes themselves smaller (or larger) relative
to the staff by choosing Fonts in the Document Options dialog box (under the Document Menu), clicking
the Music button, and specifying a slightly smaller (or larger) point size for the music font in which theyre
displayed.

To specify the number of lines for a staff

1.

Click the Staff Tool

, and double-click the staff handle you want to modify. The Staff
Attributes dialog box appears. Choose Other from the Staff drop-down list.

2.

Select Custom from the Staff Setup dialog box.

3.

Select the number and position of the staff lines in the Staff Setup window. Click the handles to
hide or show staff lines.

4.

If you want to specify just the number of staff lines, select Staff Lines and type the number of lines
into the Staff Lines text box. See Staff Setup dialog box for more details.

5.

Click OK (or press enter) twice.

To set the staff line thickness

1.

From the Document Menu, choose Document Options and select Lines and Curves. The Line
and Curve options appear. The units are whatever youve selected using the Measurement Units
command (Edit Menu).

2.

Enter a new value in the Staff Lines text box. Click OK (or press enter).

1839

Staff names
You can actually specify two names for every staff in a document: a full
name (such as Trumpet 1 in B ), which appears in the first system of the
document, and a second name (often abbreviated, such as Tpt. 1), which
appears on all subsequent systems.

To create or edit a staff name

Finale always displays handles on each staff name you enter. If you dont enter a staff name, but want all
staff name handles to appear, make sure that Show Default Staff Names is selected (a checkmark
appears next to the command) in the Staff Menu. If Show Default Staff Names is not selected, no staff
name handles will appear for unnamed staves. When the command is selected, Finale displays handles
on all staff names including a staffs default, non-printing name, which is enclosed in square brackets.
1.

Click the Staff Tool

2.

Ctrl-click a full or abbreviated staff name handle. The Edit Text window appears.
Note: You can also access the Edit Text window
by clicking the Edit buttons for full or abbreviated
staff names in the Staff Attributes dialog box. For
more information, see Staff Attributes dialog box.

3.

Type a new staff name in the window, or make changes to an existing staff name. Change
fonts and styles using Finales text editing; see Text and Edit Text window for details.

4.

Click OK to confirm the name.

. The Staff Menu appears.

To reposition staff names (globally)

These instructions show you how to set the default position for all full and abbreviated staff names,
except for those names that have been positioned individually. You can override the default positions on
a staff-by-staff basis. See To reposition staff names (individually).
1.

Click the Staff Tool

2.

Choose Full Staff Names or Abbreviated Staff Names from the Set Default Name Positions
submenu of the Staff Menu. The Position Full Staff Name--Default or Position Abbreviated Staff
Name--Default dialog box appears, depending on your menu selection.

3.

Specify the alignment of the staff name by choosing Left, Right, or Center from the Alignment
drop-down list. Finale automatically selects the matching setting (Left, Right or Center) from the
Justification drop-down list.

4.

Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or
Forced Full from the Justification drop-down list. You may need to change the justification for
multi-line names.
Note: choosing Full justification will currently have
the same effect as choosing Left justification, since
each line is treated as the end of a paragraph.

5.

Drag the name in the display area to adjust its position, or enter new positioning numbers
into the H: and V: text boxes, then click OK. In the currently-selected measurement units, the H:
value determines the horizontal distance between the beginning of the staff name and the left edge
of the staff. The V: value determines the vertical distance between the top of the staff name and the
top line of the staff.
Tip: If your changes dont appear to take effect,
display the Staff Attributes dialog box and make
sure that the Position checkbox is not selected. Or,

. The Staff Menu appears.

1840

select the staff name handles and press

backspace.

To reposition staff names (individually)

The instructions in To reposition staff names (globally). show you how to set the position for all staff
names at once. You also have control over the position of each individual staff name.
Tip: You can create a group for an instrument that
uses two staves, then Finale will automatically
center the group name between the two staves.
For details, see GroupsTo group staves.
1.

Click the Staff Tool

. The Staff Menu appears.

2.

Drag the handle of a full or abbreviated staff name to reposition the staff name on-screen.

3.

To specify the exact positioning of a staff name, click the staff name handle, then choose Full
Staff Name or Abbreviated Staff Name from the Position Names submenu of the Staff Menu.
(Or, ctrl-shift-click the staff name handle.) Finale displays the Position Full Staff Name or the Position
Abbreviated Staff Name dialog box.

4.

Specify the alignment of the staff name by choosing Left, Right, or Center from the Alignment
drop-down list. Finale automatically selects the matching setting (Left, Right or Center) from the
Justification drop-down list.

5.

Optional: Specify the justification for multi-line names by choosing Left, Right, Center, or
Forced Full from the Justification drop-down list. You may need to change the justification for
multi-line names.
Note: Choosing Full justification will currently have
the same effect as choosing Left justification, since
each line is treated as the end of a paragraph.

6.

Drag the name in the display area to adjust its position, or enter new positioning numbers
into the H: and V: text boxes. The H: value determines the horizontal distance between the
beginning of the staff name and the left edge of the staff. The V: value determines the vertical
distance between the top of the staff name and the top line of the staff.

7.

Click OK when you have entered the position settings.

Tip: To revert the position of the full or abbreviated
staff name to its default position, select the staff
name handle and press backspace. (Or, make
sure that Position is not selected in the Staff
Attributes dialog box.)
Note: You can also position an individual staff
name from the Staff Attributes dialog box. Click the
Position button for the full or abbreviated staff
name to display the appropriate Position dialog
box. For information about the Position settings in
the Staff Attributes dialog box, see Staff Attributes
dialog box.

To set the initial font for staff names

1.

From the Document Menu, choose Document Options and select Fonts to set the initial font
for new names that you create. The Fonts options appear, listing various elements for which you
can set the default font.

2.

Choose Staff Names (Full) from the Text drop-down list.

3.

Click the Set Font button next to the Text drop-down list. The FontFont dialog box appears.

4.

Set the initial font, size, and style to use when creating full staff names. Click OK to confirm the
changes.

1841

5.

Repeat this process for abbreviated staff namesChoose Staff Names (Abbreviated) from the
Text drop-down list.

6.

Click OK to confirm your changes.

To set the font for staff names (globally)

See Change Fonts Plug-in and Global Staff Attributes.

To hide a staff name (full score)

1.

Click the Staff Tool

2.

Select a staff, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click a staff, a
staff handle, or a staff name.) Or, choose Edit Staff Attributes from the Staff Menu without selecting a
staff. The Staff Attributes dialog box appears. To display the attributes of another staff, choose the
staff from the Staff Attributes for drop-down list. (Or, use the arrow controls to select another staff.)

. The Staff Menu appears.

3.

In the Items to Display section, click Staff Name in Score to deselect it, then click OK. Finale
remembers the staff name, but hides it until you click the Staff Name in Score checkbox again. This
setting controls whether the staff names you enter will appear on your printed score. Default names
enclosed in square brackets only display on-screen; they never appear on your printed score.

4.

Click OK to confirm your changes.

1842

Staff size
Any staff within any system can be larger or smaller than the other staves. For specific information on
creating a cue staff, see Cue notes. For information on staff line alterations (such as how many, their
thickness, and their distance apart), see Staff lines.

To reduce or enlarge a staff

You must be in Page View to reduce or enlarge a staff.
.

1.

Click the Resize Tool

2.

Click just to the left of the staff you want to resize or right-click on the staff and select Resize
Staff from the contextual menu. The Resize Staff dialog box appears.

3.

Enter the desired reduction or enlargement percentage. Specify the region of systems you
want to resize, and click OK. To restore the staff to normal size, click the Resize Tool, and then
click to the left of the staff. When the dialog box appears, type 100 (%).

1843

Staff styles
Staff styles are named sets of staff attributes that can be applied to a region. Everywhere the same staff
style is applied, the same staff attributes apply. If a staff style is changed, it changes everywhere in the
document the staff style is applied. Staff styles can be used to create transpositions, change the number
of staff lines, or the notation style for the selection region. A number of staff styles have already been
created for you in the default file.
For information regarding staff styles in scores with linked parts, see Linked parts.
Note: While most staff styles can be layered on top
of each other (i.e. 1-bar repeat and a saxophone
transposition), some styles conflict (i.e. 1-bar
repeat and blank notation). Finale will alert you to
this conflict when you apply or copy a staff style. It
will not, however, warn you if you create conflicting
styles by editing a layered style.

To create a staff style

1.

Click the Staff Tool

2.

Choose Define Staff Styles from the Staff Menu. The Staff Styles dialog box appears.

. The Staff Menu appears.

3.

Click New and type in the style name in the Style Name text box.

4.

Select the items you wish to include in your staff style. See Staff Styles dialog box for details.
Remember that a checkbox can be selected, unselected or grayed out which means to leave it as it
is.
Tip: choose Copyable to allow the staff style to be
copied with the Selection Tool.

5.

Click OK. You are now ready to apply the staff style you created.

To edit a staff style

1.

Click the Staff Tool

. The Staff Menu appears.

2.

Choose Define Staff Styles from the Staff Menu. The Staff Styles dialog box appears.

3.

Select the staff style you wish to change from the Available Styles drop-down list.

4.

Make any changes you require in the Staff Styles dialog box.

5.

Click OK. Any changes you have made will be applied to the everywhere that style is used.

To apply a staff style

1.

Click the Staff Tool

. The Staff Menu appears.

2.

Select the region you want to affect. See Selecting music for hints on selecting shortcuts.

3.

While pressing the number or letter corresponding to the Metatool, (for example, S for Slash
Notation) click a measure. Finale applies the staff style over the range or measures you selected.
See the Staff Style library in the Appendix for a listing of metatool assignments in the default file. If
you dont know the metatool, use the steps below.

4.

Choose Apply Staff Styles from the Staff Menu. You can also select Apply Staff Styles from the
contextual menu by right-clicking in the staff. The Apply Staff Style dialog box appears.

5.

Select the staff style you wish to apply from the

6.

Click OK.

1844

To clear staff styles from a measure region

To remove the full duration of a staff style or multiple staff styles, see To clear a staff style.
. The Staff Menu appears.

1.

Click the Staff Tool

2.

Under the Staff Menu, ensure Show Staff Styles is checked. All Staff Styles are indicated by
horizontal bars above the music.

3.

Select the region you want to affect. See Selecting Music.

4.

Choose Clear Staff Styles from the Staff Menu. You can also select Clear Staff Styles from the
contextual menu by right-clicking in the staff. The staff styles will be removed from the selected
region.

To clear a staff style

To remove all staff styles from a specific region of measures, see To clear a staff styles from a measure
region. To delete a staff style definition from the Staff Styles dialog box, see To delete a staff style.
1.

Click the Staff Tool

2.

Under the Staff Menu, ensure Show Staff Styles is checked. All Staff Styles are indicated by
horizontal bars above the affected regions of a staff.

3.

Click the horizontal staff style bar you would like to clear. The staff style bar changes color to
red indicating it is selected. Hold down Shift and click additional staff style bars to add to the
selection.

4.

Press the Delete key. Alternatively, right-click a selected staff style bar and choose Clear Selected
Staff Styles. The selected staff style is removed.

. The Staff Menu appears.

To delete a staff style

These instructions demonstrate how to delete a staff style definition. To remove all staff styles from a
specific region of measures, see To clear a staff style from a measure region. To remove the full duration
of a staff style or multiple staff styles, see To clear a staff style.
1.

Click the Staff Tool

. The Staff Menu appears.

2.

Choose Define Staff Styles from the Staff Menu. The Staff Styles dialog box appears.

3.

Select the staff style you wish to delete from the Available Styles drop-down list.

4.

Click Delete.

5.

Click OK. The staff style will be deleted from the list and the document.

To create a staff style metatool

1.

Click the Staff Tool

2.

Press shift and a number key or a letter. Finale displays the Apply Staff Style dialog box.

. The Staff Menu appears.

3.

Select the staff style you wish to assign from the drop-down list.

4.

Click OK.

To apply a staff style metatool

1.

Click the Staff Tool

2.

Select the region you want to affect. See Selecting music for hints on selecting shortcuts.

. The Staff Menu appears.

3.

Press the number or letter corresponding to the Metatool you programmed. Finale applies the
staff style over the range or measures you selected. See Finale Libraries in the Appendix for a listing
of Staff Style metatool assignments in the default file.

To load a staff style library

1845

1.

From the File Menu, choose Load Library.

2.

Navigate to the folder containing the desired library. The default libraries are found in the
Libraries folder in the Finale folder.

3.

Select the library and choose Open.

To save a staff style library

1.

Create only the staff styles you want to move. Delete redundant staff style if needed.

2.

From the File Menu, choose Save Library. The Save Library dialog box appears.

3.

Click Staff Styles and click OK.

4.

Name the library and click Save. The library is now available to load into other files.

To display a staff differently in one part than another

A common case would be using the same score staff for both bass clef baritone and treble clef baritone
parts. In these steps you will create a new part and apply a staff style to show it in a different clef and with
a different transposition.
1.

From the Document Menu, choose Manage Parts. The Manage Parts dialog box appears. If the
score does not yet contain parts, click Generate Parts to create them based on the existing score
staves.

2.

Click New Part. The dialog box expands and a new part appears in the list above.

3.

Click Edit Part Name to open the Edit Text dialog box. Enter the name of the part and click
OK.

4.

Click the staff you want to use for the part in the right column. Then click Add to Part to add it
to the middle column.

5.

Click OK. You have just added a part containing the same score staff as another part. Now, you can
use a staff style to apply a different transposition, clef, or other notation style to this part. Notation
(and other) changes to this staff in the score will apply to this part as well as the original part.

6.

From the Document Menu, choose Edit Part, and then the part you just created.

7.

Choose the Staff Tool.

8.

From the Edit Menu choose Select All (or press Ctrl-A) to select all measures in the part.

9.

From the Staff Menu, choose Apply Staff Style. If the style you need is here, choose it and click
OK and youre done - the part is now displayed in the new style. If the style is not in the list, click
Define. The Staff Styles dialog box appears. Move ahead to step 10.

10. Click New. Replace (New Staff Style) with a new name. Then, make the desired changes. For
example, to create a B flat baritone part, click the Select button next to the clef, choose the treble
clef, and click OK. Then, click the Select button next to transposition and from the Key Signature
drop-down menu, choose Bb treble clef. Click OK. For more details, see Staff styles.
11. Click OK to return to the Apply Staff Styles dialog box. The style you just created is highlighted.
12. Click OK. The part is now displayed in the staff style you just defined.
See Also:
Staff Tool

1846

Start and Stop Times

See also Swing.
Start Times and Stop Times, which you can edit directly with the MIDI Tool, essentially refer to the attack
and release of a note. They dont refer to the notated durations of the notes; instead, they relate those
notated values to the captured MIDI data. Captured MIDI data is the MIDI information generated by your
original performance in HyperScribe, before its quantized and transcribed into notation.
The terms Start Time and Stop Time refer specifically to the difference between the quantized duration of
a note (that is, its starting and ending points when given its full notated value) and your actual attack and
release of the note in your performance. In the figure below, the indicated Start Time is a positive number
(because the note was played slightly after the beat), and the Stop Time is a negative number (because
the note was released slightly before the next beat):

The Start Time is the difference between the actual (performed) attack point and the notated, quantized
attack point. The Stop Time is the difference between the actual (performed) release point and the
notated, quantized release point. These differences can be either positive or negative; Stop Time (a),
above, is a negative numberbecause the note was released earlybut Stop Time (b) is positive.
Start and Stop Times are measured in very small rhythmic increments called EDUs (ENIGMA Durational
Units), of which there are 1024 per quarter note. (A full table of EDU equivalents appears in the
Equivalents section of the Appendix, see Equivalents.) If you hold down each note you play for precisely
its notated value, with 1024th-beat accuracy, the Start and Stop Times will both be zero, with no
difference between the quantized and the actual attack point of the note. Of course, no human can play
that precisely.
For a more complete discussion of Start and Stop Times and the MIDI Tool, see Chapter 6: Playback in
the Installations & Tutorials.

To edit the start and stop times of selected notes

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
, and select the
region whose playback data you want to edit. 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.

2.

If the region you wish to edit is on one staff, double-click the highlighted area to enter the
MIDI Tool split-window. Select the specific notes whose Start and Stop Times you want to
edit. Once youre in the MIDI Tool split-window, you can select entire regions of notes by dragging
through the graph area of the window. You can also select specific notes to edit by selecting their
handles (in the notation display at the bottom of the window). Select one handle by clicking,

1847

additional handles by shift-clicking, a group of handles by drag-enclosing, and additional groups by

shiftdrag-enclosing.
3.

From the MIDI Tool Menu, choose Note Durations. If youre in the MIDI Tool window, you can
click the Note Durations icon (second from the top) instead. Once youve selected the notes to be
affected, you can apply one of the MIDI Tools Menu commands:

4.

Choose the desired command from the MIDI Tool Menu. Each command brings up a dialog box
in which you can specify how the selected notes are to be altered. Set To allows you to give every
note in the selected region the same Start or Stop Time. In this way, you can shorten or delay all
notes by the same amount. Scale gradually shortens (or lengthens) the Start or Stop Times of the
selected notes from one value to another. Add alters every selected notes Start or Stop Time by a
positive or negative value you specify. Percent Alter increases or decreases the selected notes
durations by a percentage of their current valuesideal for creating a staccato effect for the selected
music. Limit lets you set a maximum and minimum Start Time and Stop Time value for the selected
notes, in effect pulling the beginning and ending of each note closer to the beat. You can think of the
Limit command as a form of quantizing.

5.

Enter the desired degree of Start or Stop Time modification, and click OK.

6.

Close the MIDI Tool split-window by clicking the MIDI Tool.

To erase Start and Stop Time editing done with the MIDI Tool
1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Menu appears. Make sure Note Durations is still selected in the menu.

. The MIDI Tool

2.

Select the region in which you edited Start and Stop Times, and press BackSpace. Or, use the
Selection Tool to clear Continuous Data.

To copy Start and Stop Time editing done with the MIDI Tool
1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Menu appears. Make sure Note Durations is selected in the menu.

. The MIDI Tool

2.

Select the region in which you edited Start and Stop Times.

3.

Drag the first source measure so that its superimposed on the first target measure. If the first
target measure is not on-screen, scroll until you see it. Then, while pressing ctrl and shift
simultaneously, click the first target measure.
In either case, the Copy MIDI Data dialog box appears. (This dialog box does not appear if you
copy to the same measure in a different staff).

4.

Type the number of times you want to copy the material (horizontally). Click OK. The Start and
Stop times are copied onto the notes which fall on the same rhythmic location as source notes.

To create a legato playback

1.

From the Window Menu, choose Advanced Tools. Click the MIDI Tool
Menu appears.

. The MIDI Tool

2.

Select the region you want to sound more legato. See Selecting music for more information.

3.

From the MIDI Tool Menu, choose Note Durations.

4.

From the MIDI Tool Menu, choose Percent Alter. The Percent Alter dialog box appears.

5.

Enter 105 for Stop Times and click OK.

1848

Staves
This entry contains information on adding, moving, spacing, deleting, hiding, and recovering staves. See
also: Staff lines; Staff names; Groups; Staff size.
When selecting a staff, you can either click the staffs handle or the body of the staff itself (to the right of
the clef, time and key signature). Drag-enclose or shift-click to select as many staff handles as you want.
(You can also shift-click selected staves to remove them from the selection.)

To add or insert a single staff

1.

Click the Staff Tool

. The Staff Menu appears and handles appear on every staff.

2.

To add a new staff, from the Staff Menu choose New Staves, then click OK. A staff appears
below the existing staves. Or, in Scroll View double-click in the where you want to add the
staff. If you wish to use the Setup Wizard to add staves, choose New Staves (with Setup
Wizard). To insert a new staff between two staves, select the staff handle that you want the new
staff placed above, then choose New Staves and click OK (or, double-click between the staves in
Scroll View). Finale moves the existing staves down to make room for the new staff.

To move staves
1.

Click the Staff Tool

. The Staff Menu appears and handles appear on every staff.

2.

Select the staff or staves to be moved.

3.

To move a staff or staves, drag the handle of one of the selected staves. Finale adjusts the
staves differently, depending on whether youre in Scroll or Page View, whether Special Part
Extraction is selected in the Edit Menu, and whether the staff systems were optimized using Page
Layout Tool. For details, see Staff Tool.
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 in Page
View. Drag the bottom staff handle to adjust the
staffs position only in the current staff system in
Page View (drag the top handle to adjust the
position of the staff in all staff systems in Page
View). The position of the staff in Scroll View is
unchanged.

To delete staves
1.

Click the Staff Tool

. The Staff Menu appears and handles appear on every staff.

2.

Select the handles of the staff or staves to be deleted. Ensure no measures or portions of
measures are selected.

3.

To remove selected staves without adjusting the position of the remaining staves, choose
Delete Staves from the Staff Menu. To delete the selected staves and reposition any remaining
staves, choose Delete Staves and Reposition from the Staff Menu. Finale deletes the selected
staves, and places the top staff of the remaining staves in the former position of the top staff that was
deleted, followed by any other staves.

4.

To restore the deleted staves, immediately choose Undo from the Edit Menu.

To add evenly spaced staves

1.

Click the Staff Tool

. The Staff Menu appears.

1849

2.

To add staves, choose New Staves from the Staff Menu. Or, select the staff handle you want the
new staves to be placed above, then choose New Staves from the Staff Menu. The New Staves
dialog box appears.

3.

Enter the number of new blank staves into the Number of Staves text box.

4.

To place the new staves closer to or farther apart than those already in the score, enter a
value (in measurement units) into the Topline to Topline Distance text box (the distance
between the top lines of each added staff). Youll usually enter a negative number, because
youre measuring down from the top line of the previous staff.

5.

Click OK. Finale adds the specified number of new blank staves below the bottom staff, or inserts
blank staves below the top selected staff in the score, using the distance specified in the New Staves
dialog box, and adjusting the staves below to make room for the newly inserted staves.

To space existing staves evenly

1.

Click the Staff Tool

2.

Choose Respace Staves from the Staff Menu. The Respace Staves dialog box appears.

. The Staff Menu appears.

3.

Leave Keep Current Position selected if you dont want to move the top staff. To place the top
staff a fixed distance from the top of the screen, click to select Top Staff Position: Set to, then enter
the distance (in measurement units) into the Set to text box. To reposition the top staff by a
percentage of its current position, click Top Staff Position: Scale to, then enter a percentage into the
Scale to text box. For example, to place the staff twice as far down, enter 200 (%) in the text box.

4.

To maintain a fixed distance between the remaining staves, click to select Distance Between
Staves: Set to, and enter the distance (in measurement units) into the Set to text box. To place
staves closer together or farther apart proportionally, click to select Distance Between Staves: Scale
to, then enter a percentage into the Scale to text box. This will preserve the relative distance
between each staff. For example, if you created a larger-than-usual gap between the woodwind
staves and the strings, and you entered 50 (%) in the text box, Finale would make extra space, but
both the gap and the distances between staves within the woodwind or string sections would be half
as large.

5.

Click OK to confirm your changes.

To hide staves
See Hiding staves.

To hide (or show) staff-related items

Finale gives you staff-by-staff control over the display of such staff-associated items as measure
numbers, clefs, repeat brackets, and so on. For example, you probably dont need measure numbers to
appear in both the top and bottom staves of your piano part, so you can hide the measure numbers on
one staff. See also Global Staff Attributes, where you can set the staff attributes for a number of staves at
one time.
1.

Click the Staff Tool

2.

Select a staff handle, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click
a staff handle, or a staff name handle.) Or, choose Edit Staff Attributes from the Staff Menu
without selecting a staff. The Staff Attributes dialog box appears. To display the attributes of another
staff, choose a staff from the Staff Attributes for drop-down list. (Or, use the arrow controls to select a
staff from the Staff Attributes for drop-down list.)

3.

Change the settings in the Staff Attributes dialog box to show or hide items for the staff. In
the Items to Display section, select or deselect as many checkboxes as you wish. For details, see
Staff Attributes dialog box.

4.

Click OK to confirm your settings.

. The Staff Menu appears.

To recover deleted staves

1850

Once you delete a staff, you can restore it by choosing Undo (as many times as necessary) from the Edit
Menu, or choose Undo List from the Edit Menu and highlight Staff/Group delete and click OK. Actions
done after the staff was deleted will also be undone. See Undo for more information.

To set the attributes for a staff

See also Global Staff Attributes, where you can set the staff attributes for a number of staves at one time.
1.

Click the Staff Tool

2.

Select a staff handle, then choose Edit Staff Attributes from the Staff Menu. (Or, double-click
a staff handle, or a staff name.) Or, choose Edit Staff Attributes from the Staff Menu without
selecting a staff. The Staff Attributes dialog box appears. If you didnt select a staff before entering
this dialog box, choose a staff from the Staff Attributes for drop-down list. (Or, use the arrow controls
to select a staff from the Staff Attributes for drop-down list.)

3.

Change settings in the Staff Attributes dialog box to define the staffs characteristics. For
details, see Staff Attributes dialog box.

4.

Click OK to confirm your settings.

. The Staff Menu appears.

1851

Stemless notes
Music with stemless notes (noteheads only) appears in plainchant and some
hymn scores. In Finale, the stems can be hidden either globally or on a note-bynote basis. See also Stems. Note that you can apply stem settings from the Staff
Attributes dialog box to regions of your document using Staff styles.

To create stemless notes globally

1.

From the Document Menu, choose Document Options and select Stems. The Stem options
appear.

2.

Enter zero (0) in both the Normal and Shortened Stem Length boxes. Click OK (or press
enter). No stems appear anywhere in the document.

To create stemless notes, note-by-note

1.

Click the Special Tools Tool

, and click the measure in question.

2.

Click the Custom Stem Tool

. A handle appears on each note.

3.

Double-click the handle of the desired note. The Shape Selection dialog box appears.

4.

Click Create. The Shape Designer appears.

5.

Click OK, then Select (or press enter twice). In effect, youve selected a stem that consists of
nothing.

To restore the original stem, click the modified notes handle and press delete. If you have several
measures requiring stemless notes, you can copy the no-stem information onto other notes; see
Stems To remove custom stemming from a region.Stems To copy custom stemming to other
measures. See also

1852

Stems
This entry contains information on stem direction, length, position, thickness, and shape. See Stemless
notes.

To flip a stem
1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Click the note whose stem you want to flip. (Or use the arrow keys to position the insertion bar.)
Make certain youre in the correct layer (if youve entered music in Layers) and the correct voice (if
youre using the Voice 1/Voice 2 feature). Press shift- (apostrophe) to change layers; press the
apostrophe key to change voices.

3.

Press the L key to freeze the stem in the opposite direction. When a stem is frozen up or
down, its no longer free to change directions if it gets transposed. To restore a stem to its floating
status, position the insertion bar on the note and press ctrl-L.

To flip all stems in a region in one direction

1.

Click the Selection Tool

and select the region to be affected. See Selecting music for
some region-selecting shortcuts.

2.

From the Utilities Menu, choose Stem Direction > Up (or Down). All stems in the selected region
are now frozen in the direction you specified.

To change frozen stems back to variable-direction stems

1.

Click the Selection Tool

and select the region to be affected. See Selecting music for
some region-selecting shortcuts.

2.

From the Utilities Menu, choose Stem Direction > choose Use Default Direction.

To change stem lengths, note by note

1.

Click the Special Tools Tool

, and click the measure in question.

2.

. A handle appears on every unbeamed stem. If you select the

Click the Stem Length Tool
Beamed Stem Length Tool P, then the handles appear on all beamed stems.

3.

Drag the desired handle up or down. As you drag, the stem length changes. Press shift as you
drag to constrain the cursor to vertical movements, and moving the stem left or right. To restore the
original stem length, click the handle and press delete.

To change stem lengths globally

1.

From the Document Menu, choose Document Options and select Stems. The Stem options
appear.

2.

Change the numbers in the Normal Stem Length and Shortened Stem Length boxes. The
numbers in these two text boxes set the lengths of note stems, measured in the currently selected
measurement units. See Document Options-Stems for details.

3.

Click OK (or press enter).

To change the position of the stem relative to its notehead

If you want to change the position of a single stem, use the Stem Length Tool or Beamed Stem Length
Tool (Special Tools Tool) to move the stem left or right.

1853

Or, you may want to globally change the way a stem attaches to its note, especially when youre working
with alternate noteheads (slashes, diamonds, and so on). See Stem Connections dialog box.

To change the thickness of stems

1.

From the Document Menu, choose Document Options and select Stems. The Stem options
appear.

2.

Enter a new number in the Stem Lines text box. The units are whatever youve selected in the
Measurement Units submenu (Edit Menu). (The default setting for stems is half a point.)

3.

Click OK (or press enter).

To draw completely new shapes for stems

You dont have to use a simple vertical line for a stem; you can customize stems by using any shape you
can draw in Finales Shape Designer. This feature is particularly useful in creating splayed stemming for
note clustersfor example, you might have a stem with three spokes extending to a C , C, and C
struck at the same time.
1.

Click the Special Tools Tool

, and click the measure in question.

2.

Click the Custom Stem Tool

. A handle appears at the base of each stem.

3.

Double-click the handle of the stem you want to change; in the dialog box that appears, click
Create. The Shape Designer dialog box appears.

4.

Draw the new stems shape. For instructions on using the Shape Designer, see Shape Designer.
As you draw, remember that the small white dot you see in the Shape Designerthe originwill
appear at the base of the notehead, where the stem is normally connected.

5.

When youre finished, exit the Shape Designer by pressing enter twice. To restore the original
stem, click the modified notes handle and press delete. Once youve created custom stems in a
measure, you can copy the stem information to other measures.

To create a double or split stem

A double stem is a second stem, pointing in the opposite direction from the notes original stem. A note
with a double stem often signifies two voices in unison.

1.

Click the Special Tools Tool

2.

Click the Double/Split Stem Tool

. A handle appears on every notehead in the measure;
another appears above the staff, and another below.

3.

To create a double stem, click the handle below any note or chord. A second stem appears on
the note you clicked, no matter which way the original stem pointed. To restore the note to its original
single-stemmed status, click the lower handle again so that its no longer highlighted.

, and click the measure in question.

Once youve created a chord with a double stem, you can create split stemming within the chord,
giving the effect of a separate inner voice.
4.

To create a split stem, click the handle of each notehead that you want to attach to the upper
stem only. Each notehead you click joins the upper stem. The remaining notes are attached to the
lower stem. To restore a note to its original stem, click the split stem handle again so that its no
longer highlighted.

To create reverse stems

1854

A reverse stem is one thats drawn on the wrong side of its notehead. Its encountered most frequently
in conjunction with cross-staff notes. See Reverse stems.

To copy custom stemming to other measures

1.

Click the Selection Tool

2.

Choose Edit Filter from the Edit Menu. A dialog box appears.

3.

Click Stem and Beam Alterations. Click OK (or press enter).

4.

Select the source measures (the ones containing the custom stems).

5.

Drag the first source measure so that its superimposed on the first target measure. Unless
youre dragging to a measure directly above or below the source measure, the Copy Measures
dialog box appears.

6.

Specify how many times you want the stemming information copied. Click OK.

To remove custom stemming from a region

1.

Click the Selection Tool

2.

Choose Clear Items from the Edit Menu.

, and select the measures in which the modified stems appear.

3.

Proceeding through the dialog boxes, click as follows: Only Selected Items; Entries; Beam
and Stem Alterations. Click OK (or press enter) twice.

1855

Studio View

How to get there

From the View Menu, choose Studio View.

What it does
Studio View is one of three ways to view your music in Finale (the others are Scroll View and Page View).
By default, this is the view Finale presents you with when you open a new document. If you would like to
change this setting when you open new documents, see Program Options-New. Like Scroll View, Studio
View displays your music as one long staff system. As its name suggests, this view is designed for
optimal viewing and real-time control while auditioning playback. This is also the view used to add an
audio track, load audio files, or record audio (see Audio Files).
The scroll format offers the most complete, streamlined view of your music, and the most efficient use of
computer resources. Real-time control is offered through Finales Staff Controls which always appear on
the left side of the screen in Studio View. Each staff is automatically spaced adjacent to its corresponding
set of controls, which are the same as those found in Finales Mixer. They include controls for volume,
pan, program change, as well as, mute, solo and record commands. These can be adjusted in real-time
as you listen to Finales performance, and apply to staves as well as a document's audio track. See Staff
Controls. (All Staff Controls are dynamically linked to the Mixer and Instrument List window - changes to
one apply to all uniformly).
In Studio View you will also notice a TempoTap Staff above the top staff. This staff displays (by default)
the current main beat duration specified by the time signature. It can be edited with the Simple or Speedy
Entry Tool to optimize accuracy for recording a tempo with TempoTap. See TempoTap.

1856

Swing
For a discussion of creating playback with a swing feel, see Swing in the Installation & Tutorials.
The most common convention is to notate swung eighth notes as standard eighth notes, with the word
Swing above the score (usually on the first page, with the tempo marking). Finale follows this convention
in transcribing real-time performances. Note the Jazz Human Playback style applies a swing feel to your
score. See Playback Settings dialog box.

To notate swing performances (HyperScribe)

1.

From the MIDI/Audio Menu, choose Quantization Settings. The Quantization Settings dialog box
appears.

2.

Select a Smallest Note Value. See Quantization Settings dialog box for more information.

3.

Select Space Notes Evenly in Beat. Finale will notate swung eighth notes as normal eighth notes,
but will accurately notate triplets if you play them.
Note: Its a good idea to tell Finale beforehand
exactly how you want the triplets notatedwhether
or not they should have a bracket or slur, and so
on. Instructions for defining the default tuplet
appearance can be found under Document
Options-Tuplets.

4.

Click More Settings. The More Quantization Settings dialog box appears.

5.

Select Soften Syncopations. See More Quantization Settings dialog box for more information.

6.

Click OK twice.

7.

Record your performance. See Recording in HyperScribeTo record into one or two staves .
Note: For other ways to create a swing
performance see Swing Playback.

To notate swing performances (Transcription Mode)

You can also transcribe swing performances with the Transcription Mode. The process is roughly the
same, but the steps are slightly different.
1.

Click the HyperScribe Tool

and select Transcription Mode from the HyperScribe Menu.
Click the measure at which you want the transcription to begin. You enter the Transcription
window.

2.

Record your performance in the usual way. See To record a performance, above.

3.

Click the Quant Settings button in the Transcription window. The Quantization Settings dialog
box appears.

4.

Select Space Notes Evenly in Beat. Finale will notate swung eighth notes as normal eighth-note
pairs, but will accurately notate any triplets that occur. See More Quantization Settings dialog box for
more information. Note: Again, you can tell Finale beforehand exactly how you want the triplets
notatedwhether or not they should have a bracket or slur, and so on. Instructions for defining the
default tuplet appearance can be found under Tuplets.

5.

Click OK.

6.

Continue the transcription process in the usual way. Again, see To transcribe a performance,
above.

1857

Swing Playback
To create swing playback (for the entire piece)
This method is for generating swing feel from an otherwise straight score. (If youve used HyperScribe
to record a performance, you can capture the swing feel. Make sure Retain Note Durations is checked
in More Quantization Settings and Play Recorded Note Durations is checked in Playback/Record Options
(see Document Menu). When you playback, youll hear the music with your original feel, including swing,
played back.)
Note that you can also apply a Swing feel using the Jazz Human Playback Style which can be configured
in the Playback Settings dialog box.
Swing is not available with all Human Playback styles.
1.

From the Window Menu, choose Playback Controls. Playback Controls appears.

2.

Click the Playback Settings button. The Playback Settings dialog box appears Controls expands,
offering additional controls.

3.

From the Swing drop-down list, choose Standard.

4.

Click on Play.

To create swing playback (for sections of the piece)

Use the Apply Human Playback plug-in to apply Human Playbacks swing interpretation to a region of
your score. To define swing manually with the Selection Tool, do the following:
1.

Choose the Selection Tool

2.

Select a region of measures.

3.

From the Plug-ins Menu, choose Playback, then Apply Human Playback. The Apply Human
Playback dialog box appears.

4.

From the Apply a Defined Style, choose Jazz (or another style that incorporates swing).

5.

Choose Apply Specific Elements and click the Select button. The More Settings dialog box
appears.

6.

From the Swing drop-down menu, select the desired swing percentage.

7.

Click OK and then Apply. Swing playback has been applied to the selected region. Playback the
score to review the results.

To create swing playback (for sections of the piece) Expression

Tool method
Note: In order to apply swing playback with an
expression, Human Playback must be set to None.
1.

Click the Expression Tool

. If you havent yet placed the marking in the score, double-click
any note or measure. When the Expression Selection dialog box appears, click the desired marking,
click Edit, and then skip to the instruction marked by the asterisk (*).

2.

Click the measure or note to which the tempo marking was attached. Its handle appears.

3.

Ddouble-click the handle. The Expression Designer dialog box appears.

4.

Click the Playback/Record Options. The playback options appear.

5.

From the Type drop-down list, choose Swing; then enter a number in the Set to Value box or
select a choice from the Swing drop-down list. The number you type into the box indicates a
percentage of swing. The larger the percentage of swing, the more delay before the second note.

6.

Click OK (or press enter). Any time Finale encounters the expression youve just defined when it
plays back your score, the playback will change to reflect the expressions swing definition.

1858

To create swing playback (for sections of the piece) MIDI Tool

method
Note: In order to apply swing playback with the
MIDI Tool, Human Playback must be set to None.
1.

Click the MIDI Tool

. Select the region where you want the playback to have a swing
feel. You can select one measure by clicking, additional measures by shift-clicking, a screenful by
drag-enclosing, an entire staff by clicking to the left of it, or the entire piece by choosing Select All
from the Edit Menu.

2.

From the MIDI Tool Menu, choose Note Durations.

3.

From the MIDI Tool Menu, choose Alter Feel. Type 171 into the Backbeats By text box. If you
enter a number larger than 171, your swing effect approaches a dotted-eighth/sixteenth feel, which is
useful in slower swing tempos; if you enter a number smaller than 171, the swing effect approaches
an even-eighth-note feel, which might be better at faster tempos.

4.

Click OK (or press enter). When you play back the selected region, youll hear genuine swing
Finale is playing the second eighth note of every eighth-note pair slightly late, just as a jazz player
would.

Note: These instructions assume that the time signature is

, or

; the backbeats that Finale

, however, the backbeats are every

delays are, therefore, every other eighth note. If the meter is
quarter note, so the swing playback you get may seem erratic if you were expecting traditional eighthnote swing. To solve the problem, change the time signature to a quarter-notebased one before using
the MIDI Tool.
Note: Do not use both MIDI Tool Swing and Swing
from the Playback Controls, as these effects are
additive.

1859

Syncopation
When Finale transcribes a real-time performance, you can specify how it should handle syncopation. For
example, depending on the circumstances, you might prefer each of the following notations of the same
syncopation:

Left: Tied syncopation notation. Right: Softened syncopation notation.

Finale decides how to notate such syncopations based on two factors: the time signature and the Soften
Syncopations setting in the More Quantization Settings dialog box.

To eliminate tied-note syncopations

If the current meter is based on the quarter note (the time signature has a 4 on the bottom), you can ask
Finale to write eighth note syncopations as eighth-quarter-eighth rhythms (as shown at right in the
example above) instead of two tied eighth note pairs (at left, above). You must follow these steps before
you record, however.
1.

From the MIDI/Audio Menu, choose Quantization Settings. The Quantization Settings dialog box
appears.

2.

Click More Settings. The More Quantization Settings dialog box appears.

3.

Select Soften Syncopations. Click OK twice. Youve just told Finale to soften syncopations of
every even beat (second and fourth beats).
If the time signature has a 4 as its bottom half, you can use the same principle to soften quarter
note syncopationsto play a quarter-half-quarter rhythm.
Change the meter to cut time (or another half-note-based meter) before recording; see Time
signatures for full instructions. Finale will then notate both eighth-note and quarter-note
syncopations in the softened form (as shown in the example above.) When youre finished
transcribing, you can change the meter back to its original quarter-note-based time signature, if
necessary. Alternatively, using the Use a Different Time Signature for Display option (in the Time

Signature dialog box), you can make Finale display

, even though the actual meter is cut time.
Once again, the program will automatically soften both eighth and quarter note syncopations.

1860

System (line) break

Finale automatically chooses the most logical measure at which to create system breaks. You can,
however, create any system breaks you wish, even if they occur in the middle of a measure.See
Measures per line for more information on locking and unlocking systems.

To create a system break

You can specify any measure to begin a new system, no matter what the measure layout may be in other
systems.
1.

Click the Measure Tool

2.

Double-click the measure you want to appear at the beginning of a new system. The Measure
Attributes box appears.

3.

Select Begin a new staff system. Click OK (or press enter).

4.

From the Edit Menu, choose Update Layout. The measure you specified now begins a new

. A handle appears on each barline.

system and displays a non-printing Begin New System icon

in Page View to indicate that the
measure must appear at the start of a system (if Show Page layout Icons is activated under the View
Menu). The measure will always begin a new system, no matter how the page layout may change.
Be careful how you use this technique, however; it could result in unusual measure widths preceding
the affected measure (for example, the preceding single measure could stretch across the entire
system).

To move a measure to the previous (or next) system

See To move a measure to the previous (or next) system.

To split a measure across a line break

See MeasuresTo split a measure across a line break.

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Systems
A system is one line of music across the page, including all the staves that constitute the staff system.
This entry contains instructions for spacing, indenting, moving, or resizing systems. See Page layout for
information on setting initial system position and size settings. See System (line) break , Measure
layout, or Page turns for further instructions on laying out the measures that constitute systems.
For instructions on compacting staff systems by omitting empty staves (when printing orchestral scores,
for example), and varying the number of staves in each system by removing blank staves, see Optimizing
systems.

To indent or move a system

Its common practice to indent the first system of a piecenot only for aesthetic reasons, but often to
allow room for staff names to be written out in full. The following instructions show you how to indent or
move a single system; if you want to indent all systems, a better method would be to simply increase the
page margin. See Margins for full instructions.
1.

Click the Page Layout Tool

2.

Go to the page containing the system you want to change.

3.

To indent a system, drag its upper-left handle. To move a system, click within the staff lines and
drag.

4.

Instead of dragging, you can enter values directly into the number boxes. See Edit System
Margins dialog box for more information.

5.

When youre viewing Staff Systems, youll notice a boldface number to the right of each
system. The numbers on the systems (the first system is number 1) help you identify each system,
so youll be aware if the system layout has shifted.

6.

From the Edit Menu, choose Update Layout.

. Each system is surrounded by a dotted-line rectangle.

To force a system onto the next page

Use the following technique if youre laying out the pages of your piece and find that you need to force
the last system on one page to the top of the next page. If you want the system to always appear at the
top of a new page, see Page Turns.
1.

Click the Page Layout Tool

. Each system appears, surrounded by a dotted-line.

2.

Go to the page containing the system you want to move.

3.

Click to select the system.

4.

From the Page Layout Menu, choose Systems, then Edit Margins.

5.

Enter a larger number in the Distance Between Systems text box. Make sure the Distance
checked is the only box checked.

6.

Click Apply. If the system doesnt move to the next page, continue increasing the Distance Between
Systems and clicking Apply until it moves.

7.

Click Close.

8.

From the Edit Menu, choose Update Layout.

To reduce or enlarge a system

You must be in Page View to reduce or enlarge a system.
1.

Click the Page Layout Tool

2.

From the Page Layout Menu, choose Resize Staff Systems. A dialog box appears, asking how to
resize the system. Click Hold Margins if you want to reduce (or enlarge) the music itself but not the
system margins, thus increasing (or decreasing) the number of measures that fit on a line. Click

. Each system appears, surrounded by a dotted-line.

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Resize Vertical Space if you want to tighten up (or expand) the space between this system and the
next, proportional to the reduction (or enlargement).
3.

Enter the desired reduction or enlargement percentage. Specify the region of systems you
want to affect and click OK. The measure widths will probably appear uneven at first.

4.

From the Edit Menu, choose Update Layout. To restore a system to its original size, click on the
Page Layout Menu and select Resize Staff Systems again. When the dialog box appears, enter 100
(%).

To omit empty staves from a system (Optimizing)

See Optimizing systems.

To create variable-distance systems

See To create variable-distance systems.

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Tab Slides
To create a tab slide
1.

Click the Smart Shape Tool

. The Smart Shape Palette appears.

2.

Click the Tab Slide Tool

3.

Double-click where you want the tab slide to begin; on the second click, hold the button down
and drag diagonally. Release the mouse when the tab slide has the length and angle you want.

. Move the cursor until the tiny arrow points to the starting note.

To create a tab slide between two consecutive notes, just double-click the mouse on the first note. Finale
places the tab slide on the adjacent notes.
If the Smart Line Selection dialog box appears, you may need to create a tab slide. See Custom lines for
creating Custom Line Smart Shapes.

To define Tab Slide Placement settings

1.

Click the Smart Shape Tool

. The Smart Shape Menu appears.

2.

Choose Smart Shape Placement from the Smart Shape Menu. The Smart Shape Placement
dialog box appears.

3.

Choose Tab Slide from the Smart Shape type drop down list in the dialog box.

4.

Drag the tab slide end point vertically and horizontally until the tab slide attaches to the notes
the way you want it to attach to notes of that type in the score. Instead of using the mouse, you
can enter values into the text boxes using the measurement unit youve selected.

5.

Drag the other end-point of the tab slide to adjust it.

6.

Click Reset at any time to return the tab slide to Finales built-in settings.

7.

Click OK (or press enter) when youre ready to save the new settings. Or click Cancel to cancel
any changes you made to the settings.
Note: All tab slides that you create from now on
will use the Tab Slide Placement settings. The
settings also apply to tab slide end points that
havent been manually adjusted in all existing tab
slides.

To change which tab slide is assigned to the palette icon

1.

Click the Smart Shape Tool

2.

Choose Smart Shape Options from the Smart Shape Menu. The Smart Shape Options dialog box
appears.

3.

Select Tab Slide from the Line Style drop-down list.

4.

Click Select next to the Line Style drop-down list. The Smart Line Selection dialog box appears.

5.

Select the Smart Shape to be used when clicking the Tab Slide Tool. You can also type the
number of the Smart Shape into the text box next to the Select button in the Smart Shape Options
dialog box to change the selection.

6.

Click OK.

1864

Tablature
Many of Finales capabilities are dedicated specifically to notation of fretted instruments. For example, a
specialized tablature staff allows for easy tablature notation. Fret numbers can be added and edited with
the Simple Entry Tool or Speedy Entry Tool, and a library of guitar markings are available, including tab
slides and bends, with the Smart Shape Tool. You can now even enter music directly into a tablature staff
with a MIDI guitar.
Tablature is a special kind of notation for plectrum instruments, that usually consists of two staves; the
top staff displays the notes in standard notation, and the bottom staff has a staff line for each string of the
instrument and displays small numbers instead of noteheads (to indicate fret numbers).

A tablature score usually appears as an upper, notation staff and a lower staff whose lines correspond to
the strings of the plectrum instrument.

To create tablature notation

1.

Notate the instruments music on a standard notation staff (transposed for guitar) as you
would normally. Use the Setup Wizard to create a properly transposed guitar staff (written an
octave up). If a TAB staff already exists below the standard staff, skip ahead to step 6.

2.

Click the Staff Tool

and from the Staff Menu, choose New Staves (with Setup Wizard).
For these steps, well add a pre-defined TAB staff. To create a customized TAB staff, see To create
a tablature staff from scratch.

3.

In the left column, choose the Fretted Instruments category.

4.

In the middle column, double-click the desired TAB staff to add it to the right column. All TAB
staves contain the text [TAB] following the instrument name.

5.

Click Finish. A TAB staff appears at the bottom of the score.

6.

and select all of the measures of the notation staff. See Selecting
Click the Selection Tool
music for some region-selecting shortcuts.

7.

Click and drag the highlighted region down to the tablature staff. You should see the Lowest
Fret dialog box. For now, well leave these settings alone.

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8.

Click OK. The music will translate into corresponding fret numbers in the tablature staff. To copy a
portion of your music into a tablature staff, simply highlight a smaller region of the standard staff
before drag-copying it down. You can also use the Selection Tool to copy music from a tablature
staff into a standard staff and Finale will translate the fret numbers into notes accordingly. See also
To enter directly into a tablature staff.

To enter directly into a tablature staff (Simple Entry)

1.

Click the Simple Entry Tool

. The Simple Menu appears.

2.

From the Simple Menu, choose Simple Entry Options, and then check Select Tablature Notes
on Entry (if it isnt already checked).

3.

Click OK.

4.

Choose a rhythmic value from the Simple Entry Palette.

5.

Click in the tablature staff. You will see a 0 on the line you clicked (or the number of the default
lowest fret specified in the Tablature Staff Attributes). It should already be selected.

6.

Type the fret number on the numeric keypad. You can also hold down Ctrl-Shift and type the
number on your QWERTY keyboard. Note: The QWERTY keyboard is the letter keys and the
numbers above them. The Numeric Keypad is the set of number keys on the right side of a standard
desktop keyboard. In addition to entering tablature by clicking, you can also use the Simple Entry
Caret.

7.

From the Simple Menu, choose Simple Entry Options. Ensure Use Simple Entry Caret is
selected and click OK. The Simple Entry Caret appears in the score. If not, press Return.

8.

Move the caret to the tablature staff. Use the left and right arrow keys to move the caret
horizontally. Hold down Ctrl and press the up and down arrows to move the caret between staves.
To activate the caret at a specific location, Ctrl-click a fret number to select it and press Enter (or
Option-click an empty measure). For detailed information on navigation using the Simple Entry
Caret, see Simple Entry.

9.

Choose a rhythmic duration. Either click a duration icon in the Simple Entry Palette or hold down
Ctrl and Alt and type the desired rhythmic duration number on the numeric keypad. Or, hold down
Ctrl-Alt-Shift and type the duration on the QWERTY keyboard.

10.

On the QWERTY keyboard, type the string number. For example, on a standard 6-string guitar
tab staff, type 1 to move the caret to the top E string.

11. Type the fret number on the numeric keypad. Hold down Ctrl to add a fret number greater than 9
(for example, type Ctrl-numpad 2 to add 12). The caret moves to the right in preparation for the next
entry.
12. To add a fret number with the caret, you can also press Enter to add a fret number (0) on the
chosen string, and then hold down Ctrl-Shift and type the number on your QWERTY
keyboard. Do this if your computer keyboard does not have a numeric keypad.
13. To change the number of the fret number you just entered, hold down Ctrl and type the new
number on the numeric keypad. Or, hold down Ctrl-Shift and type the number on your QWERTY
keyboard.
14. To change the duration of the fret number you just entered hold down Ctrl and Alt and type
the desired rhythmic duration in the QWERTY keyboard.
15. To change the string of the fret number you just entered, hold down Alt and press the up and
down arrows.
16. To add another fret number to the previous entry, hold down Alt and type the string number
in the QWERTY keyboard. Then, while holding down Alt, type the fret number in the numeric
keypad. (Or, hold down Ctrl-Shift and type the number on your QWERTY keyboard.) For a list
of Simple Entry Tablature commands and their associated keystrokes, from the Simple Menu,
choose Tab Specific Commands.

To edit guitar tablature

1.

To move fret numbers to a different string, click the Simple Entry Tool

1866

2.

Ctrl-Click a fret number and drag to the appropriate string. You can also use the up and down
arrows to move selected fret numbers between strings. If the fret number turns orange after selection
is cleared, it is outside the range of the string. Either change the string, fret number, number of frets,
or string tuning so that the fret number is in the range of the string. For information on customizing
the string tuning, see the Fretboard Instrument Definition dialog box.

3.

To edit the fret, Ctrl-Click a fret number to select it, and then in the numeric keypad, type the
new number. You can also hold down Ctrl-Shift and type the number on your QWERTY keyboard.
Note: The QWERTY keyboard is the letter keys and the numbers above them. The Numeric Keypad
is the set of number keys on the right side of a standard desktop keyboard.

4.

To add a fret number to the entry on the same beat, Ctrl-Click a fret number to select it, hold
down Alt and then, in the QWERTY keyboard, type the new string number. Then, on the
numeric keypad, type the fret number. You can also hold down Ctrl-Shift and type the number
on your QWERTY keyboard.
For a list of Simple Entry Tablature commands and their associated keystrokes, from the Simple
Menu, choose Tab Specific Commands. Note: You can also enter and edit tablature with the
Speedy Entry Tool. See Tablature with Speedy Entry.

To create a tablature staff manually

The following steps show you how to construct and use a tablature staff. Keep in mind, however, that you
can easily begin a new TAB document by selecting a fretted instrument and corresponding TAB staff with
the Document Setup Wizard. See To create tablature notation for details. For instructions on how to edit
your guitar tablature, see To edit guitar tablature.
and from the Staff Menu, choose New Staves.

1.

Click the Staff Tool

2.

In the New Staves dialog box, leave Number of Staves at 1 and click OK. A standard notation
staff should appear below the existing staff.

3.

Double click the staff you just created to open the Staff Attributes dialog box.

4.

Click the drop-down list next to Notation Style and choose Tablature.

5.

Click the Select button (to the right of Notation Style). You should now see the Tablature Staff
Attributes dialog box. Here you can choose or define a fretted instrument, lowest fret, as well as
other parameters specific to TAB staves. See Tablature Staff Attributes dialog box for details.

6.

Check On OK, Reset Staff Attributes To Tablature Defaults. This will tell Finale to configure the
Staff Attributes for TAB staff settings.

7.

Click OK. Notice items such as rests and ties are deactivated in the Items to Display subsection as
they are not needed in TAB notation.

8.

Click OK. You should now see the tablature staff appear in the score.

To add stems and beams to tablature

1.

Click the Staff Tool

2.

Double click a tablature staff. The Staff Attributes dialog box opens.

3.

In the Items to Display section, check Stems.

4.

Click OK. You return to the document with default beams and stems on the tablature staff. You can
adjust the vertical or horizontal stem offsets or stem direction in the Staff Stem Settings dialog box.
For more information on customizing stems, see the Staff Stem Settings dialog box.

To change the lowest fret of a region

1.

Click the Selection Tool

and select a region of the tablature staff. See Selecting music for
some region-selecting shortcuts.

2.

From the Utilities Menu, Choose Change and then Lowest Fret. The Change Lowest Fret dialog
box appears.

1867

3.

For Specify Lowest Fret, enter a fret number. This will tell Finale to place all fret numbers on the
fret specified or above.

4.

Click OK. Finale recalculates the fret numbers and places them on appropriate strings, all on the
fifth fret or above. You can also specify the lowest fret while dragging music from a standard staff
into a tablature staff.

Time signatures on tablature staves

Generally, a time signature is only used on a tablature staff if it is not accompanied by a notation staff. By
default, Finale leaves time signatures off of tablature staves. If you are creating a document with a
tablature staff only, you might want to add a time signature to the tab staff. Heres how:
1.

Click the Staff Tool

2.

Double click a tablature staff. The Staff Attributes dialog box opens.

3.

In the Items to Display section, check Time Signatures.

4.

Click OK. You return to the document. Notice the time signature is a bit small and not centered on
the tab staff, so it will need to be adjusted.

5.

From the Document Menu, choose Document Options and select Time Signatures. The Time
Signature options appear.

6.

After Units:, click the drop-down menu and choose EVPUs. Well use EVPUs as our
measurement units.

7.

In the Vertical Adjustment section, for Abbreviated Symbol, enter -20, Top Symbol, -16
and Bottom Symbol, -20.

8.

Click Apply.

9.

Click the Fonts category on the left side of the Document Options dialog box. The Fonts
options appear.

10. Click the drop-down menu for Notation and choose Time.
11. Click the Set Font button for Notation. The Font dialog box appears.
12. Set the Size to 36.
13. Click OK to return to the Fonts options and OK. Your time signature is now enlarged and
centered on the staff. Make further adjustments to the placement and size by entering your own
values in the Time Signature and Font options as needed. For example, if you want to place the time
signature between the second and fourth tab line, in the Time Signature options, for Top Symbol,
use -28 and Bottom Symbol, -10. Then in the Fonts options, set the font for Time to 26.
See also:
Guitar notation
Guitar bends

1868

Tempo (for playback)

This entry includes information on setting actual tempos for playback. To create metronome marking
tempo indications
(

), see Metronome markings. See also Tempo markings.

To easily record, or conduct, a unique tempo change for any region, use TempoTap.
For information regarding tempo fluctuations while recording or transcribing a real-time performance in
the Transcription Mode of HyperScribe, see also Playback and Transcribing a sequence .
Human Playback automatically interprets tempo markings and applies them to playback. If Human
Playback is turned on in the Playback Settings, use the Human Playback Preferences dialog box to
customize Human Playbacks interpretation.

To set the initial playback tempo

The tempo you set with this procedure is the default starting tempo Finale uses when it plays back your
score by reading the notated, quantized music. If your score is a transcription of a performance you
recorded with the Transcription Mode, however, you also have the option of hearing a playback with the
actual tempo of the original performance, including any fluctuations. For a complete discussion of this
process (capturing MIDI data), see To specify playback parameters.
1.

From the Window Menu, choose Playback Controls. Playback Controls appears.

2.

Click the expand arrow. The Playback Controls expands, offering additional controls.

3.

Enter the starting tempo in the Tempo text box. The number you type here is the standard
metronome setting (beats per minute). Use the drop-down list to set the note valuequarter note, for
example.
Note: Expressions defined to set the playback
tempo (such as those created with the Create
Tempo Marking plug-in), override the tempo set in
the playback controls.

To modify the playback tempo

At any point in the score, you can insert a functional tempo marking (such as Presto or Adagio) that will
actually change the tempo during playback (see Tempo markings). For gradual tempo changes, see
TempoTap.

1869

Tempo markings
A tempo marking in Finale can be purely
graphic or it can be defined for playback.
Several of these markings have been
predefined and stored in a Text
Expressions Library. If you load such a
library (or if your Maestro Font Default
file, which already contains these
markings, is in place), you wont have to
create the markings anew. See also
Engraver Font characters.
Note that you can easily generate full-featured metronome marking expressions with the Create Tempo
Marking plug-in. See Create Tempo Marking Plug-in.
Once these Text Expressions have been loaded into your document (or created), you can place them into
the score as expressions.

To place a tempo marking in the score

1.

Click the Expression Tool

2.

Double-click on, above, or below the note or measure to which you want to attach the
marking. The Expression Selection dialog box appears.

3.

Click Create. The Expression Designer dialog box appears.

4.

Type the text for the tempo marking. You can enter Allegro, Moderato, or whatever marking you
want. The font, size, and style is applied automatically based on your settings for tempo marks in the
Category Designer dialog box. Use the Font drop-down menu to mix music characters with regular
test.

5.

Click OK or Select in each dialog box until you return to the document. The tempo indication
appears in the score.

To move or delete a tempo marking

1.

Click the Expression Tool

2.

Drag the handle to move the tempo marking. Select it and press the arrow keys to nudge it
for fine positioning; select it and press delete to remove it.

To define a tempo marking for playback

1.

Click the Expression Tool

. If you havent yet placed the marking in the score, double-click
any note or measure. When the Expression Selection dialog box appears, click the desired marking,
click Edit, and then skip to step 3.

2.

Ctrl-double-click the handle. The Expression Designer dialog box appears.

3.

Click the Playback tab to display the playback options. The dialog box expands.

4.

From the Type drop-down list, choose Tempo; then enter a number in the Set to Value box.
The number you type into the box is a standard metronome setting. (This setting is measured in
quarter notes per minute, but you can change it to half notesor any other valueusing the Tempo
drop-down list.) Youve just defined the Expression to change the playback tempo to this setting
whenever the marking appears in the score.

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5.

Click OK (or press enter). Any time Finale encounters the expression youve just defined when it
plays back your score, the tempo will change to reflect the expressions playback definition.
Note: To easily record, or conduct, a unique
tempo change for any region, use TempoTap.

1871

TempoTap
TempoTap is a feature exclusive to Studio View, and can be used to tap, or conduct a tempo
adjustment using an external MIDI device or your computer keyboard. This is the preferred method for
specifying a tempo change manually. Note that Human Playback interprets rit., accel., and other
tempo indications automatically. Tempo changes applied manually with TempoTap will apply to playback
with HP because the Human Playback Preferences dialog box is configured to incorporate tempo change
data by default.

To record tempo changes with TempoTap

1.

From the View Menu, choose Studio View. The TempoTap staff is only available in Studio View.

2.

Indicate the beats you wish to tap by notating durations into the TempoTap staff with the
Simple Entry Tool
(or Speedy Entry Tool
). If you want to specify a rallentando
passage, for example, which slows drastically in a short amount of time, you may want to tap eighth
notes instead of quarter notes to indicate the gradual change in tempo for the duration of the
passage. To do so, simply enter durations into the TempoTap staff as you would any other staff.
Notes snap to the line automatically. For details regarding note entry, see Simple Entry and Speedy
Entry.

3.

Click the HyperScribe Tool

4.

Click the measure, in the TempoTap staff, you wish to begin specifying the tempo. When you
click a measure, a green scroll bar appears which tells you Finale is waiting for your signal to start
recording a tempo. The first beat you tap is the signal to start recording. Therefore, to prepare for
recording a tempo, consider counting off a measure or two, stopping short of pressing the spacebar
before recording the first beat.

5.

Tap the tempo using the spacebar or a note on your MIDI device. The scroll bar advanced at
your speed as you tap the tempo. Each tap corresponds to the note duration shown directly above in
the TempoTap staff.

6.

When you are finished, simply stop tapping. Then, click the score. The Last Recorded Tempo
dialog box displays the tempo you ended with. This tempo is assigned from the point you stopped
recording the tempo to the next tempo change.

7.

Click OK. Playback the score to review the tempo change.

Note: For additional options for defining a tempo,
see Accelerando and Rallentando.

1872

Text
You can place text, in any font and size, anywhere in a Finale score. Different tools, however, are ideal
for different kinds of text. The table below will help you find instructions for creating the kind of text youre
looking for.

To create these

Use this tool

and see this entry

Lyrics

Lyrics Tool

Lyrics Tool

Page numbers

Text Tool

Page numbers

Notes to the conductor

Text Tool

Text blocks

Titles

Text Tool

Titles

Copyright notices

Text Tool

Copyright notices

Text expressions (arco, etc.)

Expression Tool

Expressions

Explanatory text

Text Tool

Text Tool

Chord symbols

Chord Tool

Chord symbols

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Text blocks
A text block can be almost any piece of text: a note to the conductor, a page of dialogue, performance
instructions, or an extra verse of lyrics, for example. You can place block text, in any font and size,
anywhere in the score.
Text blocks created in Scroll View and text blocks created in Page View are treated differently. Finale
assigns a text block to a measure if you are in Scroll View when the text block is created. To create a
page-assigned text block, you must be in Page View.

To create text in a frame that automatically expands as you type

1.

Click the Text Tool

2.

Double-click the document window where you want to place text. The editing frame appears,
with a flashing cursor to indicate the insertion point.

. The Text Menu appears.

3.

Type the text directly into the score without dragging to create a frame. Press enter (type a
carriage return) to start a new line. The frame expands horizontally and vertically to accommodate
the text you enter.

A single dashed line indicates that the frame will expand vertically and /or horizontally as you type.

To create text within a fixed-size frame

1.

Click the Text Tool

2.

Double-click the document window, and drag to create a rectangle to accommodate your text.
An editing frame of the size you create appears, with a flashing cursor to indicate the insertion point.
The placement of the insertion pointleft, center, or rightdepends on the justification options
selected in the Text Menu.

. The Text Menu appears.

3.

Enter the text you want displayed. The placement of the text within the frameleft, center, or
rightdepends on the justification options selected in the Text Menu. The words wrap when you
reach the side of the frame.

4.

To resize the frame to accommodate additional text, drag the side of the frame to the desired
size.

A double dashed line indicates that the frame is a fixed size; it will not expand as you type.

To edit text on-screen

1.

Click the Text Tool

. The Text Menu appears.

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2.

Double-click a text block handle. The editing frame appears around the text.

3.

Click within the selected text block to edit the text. The insertion point appears where you click.
Select some text, then use the Text Menu to change the character or text block settings for the
selected text.

4.

Use the Alignment submenu of the Text Menu or Frame Attributes dialog box to change a text
blocks attributes, such as whether it is assigned to a measure or a page or pages, how its
positioned, and so on.

To resize a text block on-screen

If a standard frame is set for a text block (Standard Frame is selected in the Text Menu), you can resize
the text block on-screen by dragging its frame. If youre using a custom frame for a text block (Custom
Frame is selected in the Text Menu), see To resize a custom frame next for instructions.
1.

Click the Text Tool

. The Text Menu appears.

2.

Double-click a text block handle. The editing frame appears around the text.

3.

To change the text blocks shape or size on-screen, drag any side of the frame to stretch the
shape.

To resize a custom frame

1.

Click the Text Tool

. The Text Menu appears.

2.

Click a text block handle, then choose Custom Frame from the Text Menu. The Custom Frame
dialog box appears.

3.

Click Select. If a shape was already selected for the custom frame, the Shape Designer appears. If
no shape was selected, click Create in the Shape Selection dialog box.

4.

Resize the shape in the Shape Designer. For details, see Shape Designer dialog box.

5.

Click OK or Select until you return to the Custom Frame dialog box, where you can see how
the text flows into the selected shape. When the text flows into the frame the way you want it to,
click OK to return to the document.
Note: As in previous versions, custom shapes may
be used for more than one text block in the score.
If the shape is used elsewhere, changing the
shape for one text block will change all
occurrences of the shape in the score.

To assign a text block to one or more pages

1.

Click the Text Tool

2.

Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shift-doubleclick a text block. The Frame Attributes dialog box appears.

. The Text Menu appears.

3.

Click to select Attach to: Page, if it isnt already selected.

4.

Select an item from the drop-down list. Choose Single Page to show the text block on one page;
choose All Pages to show it on every page; or choose Left Pages or Right Pages to show it on left or
right pages.

5.

Set the page range. Enter the numbers of the pages where the text block will appear (youd select
Left Pages and 6 Through 10 to show the text block on every left page between pp. 610, for
instance). To show the text block on a single page, enter the page number in the first page text box.
To display the text block through the end of the piece, enter zero in the second text box, or leave the
text box empty. For example, to show the text block on every page, starting at page 6, youd select
All Pages and enter 6 Through 10, or enter 6 and leave Through blank.

6.

Use the other settings in the Frame Attributes dialog box to adjust the text blocks position in
the score, then click OK to return to the document.

To assign a text block to a measure

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1.

Click the Text Tool

. The Text Menu appears.

2.

Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shift-doubleclick a text block handle. The Frame Attributes dialog box appears.

3.

Click to select Attach to: Measure and then, into the text box, type the number of the measure
you want the text block assigned to.

4.

From the Staff drop-down list, choose the name of a staff you want associated with the
measure-assigned text block. Finale will align and position the text block in relation to this staff.

5.

Use the other settings in the Frame Attributes dialog box to adjust the text blocks position in
the score, then click OK to return to the document.

To position text blocks on-screen

1.

Click the Text Tool

. The Text Menu appears.

2.

Drag a text blocks handle to adjust its placement in the score. Drag-enclose or shift-click
additional text block handles to select them. You can drag multiple text blocks on the score to
position them.

To position page-assigned text blocks (Text Menu)

1.

Choose Page View from the View Menu, if it isnt already selected.

2.

Click the Text Tool

. The Text Menu appears.

3.

Click a page-assigned text block handle, then choose Frame Attributes from the Text Menu.

4.

Position the text block from the page margin or the page edge using the Placement submenu.
Choose Position from Page Edge or Position from Page Margin from the Placement submenu of the
Frame Menu to align the text block from the page edge or from the page margin, respectively.

5.

Position the text block horizontally. Choose Left to place the text block on the left edge or margin
of the page; choose Center Horizontally to center it between the left and right edges or margins; or
choose Right to align it on the right edge or margin.

6.

Position the text block vertically. Choose Top (Header) to place the text block on the top edge or
margin of the page; choose Center Vertically to center it vertically between the top and bottom edges
or margins; and choose Bottom (Footer) to align it on the bottom edge or margin.
Note: When you change the horizontal or vertical
placement, Finale clears any manual positioning
that was done in the score, and resets the H: or the
V: positioning settings, respectively, in the Frame
Attributes dialog box to the new position.

To position page-assigned text blocks (Frame Attributes dialog

box)
1.

Choose Page View from the View Menu, if it isnt already selected.

2.

Click the Text Tool

3.

Click a text block handle, then choose Frame Attributes from the Text Menu. Or, shift-doubleclick a text block handle. The Frame Attributes dialog box appears.

4.

Use the Alignment and Positioning settings to position the text block.
Note: The Horizontal, Vertical, and Position from
options in the Alignment and Positioning group box
are only available when you select Attach to: Page.
When Attach To: Measure is selected, these
options are not available, because a text block
assigned to a measure only appears on the page
containing that measure.

. The Text Menu appears.

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5.

Position the text block horizontally. Choose Left from the Alignment and Positioning: Horizontal
drop-down list to place the text block on the left edge or margin of the page; choose Center to center
it between the left and right edges or margins; or choose Right to align it on the right edge or margin.

6.

Position the text block vertically. Choose Top (Header) from the Alignment and Positioning:
Vertical drop-down list to place the text block on the top edge or margin of the page; choose Center
to center it between the top and bottom edges or margins; and choose Bottom (Footer) to align it on
the bottom edge or margin.
Note: When you change the horizontal or vertical
page alignment, Finale clears any manual
positioning that was done in the score, and resets
the H: or V: settings, respectively, to the new
position.

5.

Use the Position from drop-down list to position the text block from the page margin or the
page edge. Choose Page Margin from the Position from drop-down list to have Finale calculate the
text blocks position starting from the page margin. Choose Page Edge to have Finale measure the
text blocks position starting from the edge of the page.

6.

Set the positioning distance. Enter values into the H: and V: text boxes in the Alignment and
Positioning group box for the distance to position the text block horizontally and vertically on the
page, based on the other settings in the Alignment and Positioning group box.

7.

Click OK to confirm your settings and return to the document.

To position measure-assigned text blocks (Frame Attributes dialog

box)
1.

Choose Scroll View from the View Menu, if it isnt already selected.
. The Text Menu appears.

2.

Click the Text Tool

3.

Click a measure-assigned text block handle, then choose Frame Attributes from the Text
Menu. Or, shift-double-click a measure-assigned text block handle. The Frame Attributes dialog box
appears.

4.

Set the positioning distance. Enter a value in the H: text box in the Alignment and Positioning
group box for the distance to position the text block horizontally from the upper-left of the staff
associated with the measure. A larger value moves text to the right; a smaller value to the left. Enter
a value in the V: text box for the distance to position the text block vertically from the upper-left of the
staff associated with the measure. A larger value moves text down; a smaller value up.

5.

Click OK to confirm your settings and return to the document.

To position page-assigned text blocks on left- and right-facing

pages (Frame Attributes dialog box)
If youre using running headers or footers in your score, you might want to position a text block in the
header or footer near the outside edges or margins (the left or right edges, respectively) of each leftfacing (even-numbered) or right-facing (odd-numbered) page, as opposed to always positioning the text
block in the same place on every page. This is easily done using special positioning settings for rightfacing pages in the Frame Attributes dialog box; follow the steps outlined here.
1.

Choose Page View from the View Menu, if it isnt already selected.
. The Text Menu appears.

2.

Click the Text Tool

3.

Click a page-assigned text block handle, then choose Frame Attributes from the Text Menu.
Or, shift-double-click a page-assigned text block handle. The Frame Attributes dialog box appears.

4.

Use the Alignment and Positioning settings in the Frame Attributes dialog box to position the
text block on every page in the selected page range. See To position page-assigned text blocks
(Frame Attributes dialog box) earlier in this section.

5.

Click Use Right Page Positioning to place the text block differently on right-facing (oddnumbered) pages.

1877

6.

Position the text block horizontally on right-facing pages. Choose Left from the Right Page
Alignment and Positioning: Horizontal drop-down list to place the text block on the left edge or
margin of the right-facing page; choose Center to center it between the left and right edges or
margins; or choose Right to align it on the right edge or margin. (Finale resets the Right Page
Alignment and Positioning: H: setting to zero so the left, right, or center of the text block is aligned
horizontally with the page edge or margin.)

7.

Set the positioning distance. Enter values into the H: and V: text boxes in the Right Page
Alignment and Positioning group box for the distance to position the text block horizontally and
vertically on right-facing pages, based on the Right Page Alignment and Positioning: Horizontal
setting, and the Vertical and Position from selections in the Alignment and Positioning group box.

8.

Click OK to confirm your settings and return to the document.

To delete a text block

Select a text block handle or drag-enclose to select a group of handles. Press delete.

To specify a default font for text blocks

1.

From the Edit Menu, choose document Options and select Fonts. The FontType Style options
appear.

2.

From the Text drop-down list, choose Text Block and click the corresponding Set Font
button. The Font dialog box appears in which you can select the font you want to use for your text
blocks.

3.

Click OK twice. You return to the document. Now any new text you create with the Text Tool will
use the font you selected.

1878

Ties
Finale uses three available tie spansshort, medium, and longwhose lengths you can separately
define to best suit your document. Other global settings for each tie span allow you to tailor their overall
appearance and placement in the score. You can further position and shape ties in the score individually.

To add or remove a tie (Simple Entry Tool)

1.

Click the Simple Entry Tool

. The Simple Entry Palette appears.

2.

Double-click the Tie Tool

on the Simple Entry Palette, then click the first note to be tied.
If the first note is selected, press T. If the second note is selected, press shift-T. A tie appears.
If you click the stem of a chord, a tie appears on every note in the chord; if you click a single
notehead, only that note receives the tie. Remove a tie by clicking the note or chord again.

To add or remove a tie (Speedy Entry Tool)

1.

Click the Speedy Entry Tool, and click a measure. The editing frame appears.

2.

Click to position the cursor on the first note of the tied pair, or press the arrow keys to move
the cursor. If you are adding a tie to a single note of a chord, use the up or down arrows to position
the crossbar squarely on the notehead; to tie every note in a chord, position the crossbar on any line
or space not containing a notehead.

3.

Press the equal sign (=) key or T to add a tie. A tie appears. If the insertion point bar was on a line
or space not containing a notehead, a tie appears on every note in the chord; if the crossbar was on
a single notehead, only that note receives the tie. Remove tie by pressing the equal sign key again.

To add a tie backwards (Speedy Entry Tool)

1.

Click the Speedy Entry Tool, and click a measure. The editing frame appears.

2.

Click the note where the tie end will appear. You can also press the arrow keys to position the
cursor. If only a single note of a chord is to be tied, use the up or down arrows to position the
crossbar squarely on its notehead; to add a tie end to every note in the chord, position the crossbar
on any line or space not containing a notehead.

3.

Press the ctrl and the equal sign (ctrl-=) keys or press shift-T. A tie going to the previous note or
chord appears. If the insertion point bar was on a chord stem, a tie appears on every note in the
chord; if the crossbar was on a single notehead, only that note receives the tie. Remove a tie by
pressing the ctrl-= sign key again.

To change the direction of a tie (Simple Entry or Speedy Entry Tool)

1.

Click the Speedy Entry Tool, and click the measure containing the tie. Click on first note of
the tie.

2.

Or, click the Simple Entry Tool. Ctrl-click on first note of the tie.

3.

Press ctrl-F to reverse the direction of the tie. In Speedy Entry, choose Automatic (or press ctrlshift-F) from the Tie Direction submenu of the Speedy Menu to have Finale automatically set the ties
direction based on the position of the tied notes on the staff (Automatic is default). Choose Over to
set the tie over notes, Under to place the tie under tied notes.

To change the direction of a tie (Special Tools Tool)

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure containing a tie to adjust.

2.

Click the Tie Tool

3.

Select a handle of a tie whose direction you are changing.

, then

. Three handles appear on each tie in the measure.

1879

4.

Choose Flip from the Tie Direction submenu of the Special Tools Menu (or press ctrl-F) to
reverse the direction of the tie. Choose Automatic (or press ctrl-shift-F) to have Finale
automatically set the ties direction based on the position of the tied notes on the staff (Automatic is
default). Choose Over to always place the tie over the notes, Under to always place tie under the tied
notes.

To adjust the direction of ties on chords globally

1.

From the Document Menu, choose Document Options, then select Ties. The Tie options
appear.

2.

Make a selection from the Chords drop-down list to set the direction of ties on the inside
notes of chords (the top and bottom ties always curve in opposite directions). Choose Stem
Reversal to set tie direction based on the tied notes position above or below the stem reversal point
(set in the Staff Setup dialog box). Choose Split Evenly to divide ties evenly over and under the
notes. Outside/Inside is provided only for compatibility with previous versions. SeeStaff Setup dialog
box.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To adjust the direction of ties on opposing seconds globally

1.

From the Document Menu, choose Document Options, then select Ties. The Tie options
appear.

2.

Click on the Opposing Seconds checkbox to allow ties to flip in opposite directions for
opposing seconds. Deselect this checkbox to ignore opposing seconds for tie direction.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.
Note: This setting is mainly for chords which have
more than 3 notes. If there are only 2 notes which
are an interval of a second apart (and no other
layers are present) ties on seconds will still be
opposing.

To adjust the direction of ties with mixed stems globally

1.

From the Document Menu, choose Document Options, then select Ties. The Tie options
appear.

2.

Make a selection from the Mixed Stems drop-down list to set the direction of ties on the
inside notes of chords (the top and bottom ties always curve in opposite directions). Select
from Over, Under or Opposite First Stem which will set the tie over or under depending on the
direction of the stem of the first note in the tie.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To adjust the direction of ties in a region

1.

Click the Selection Tool

on how to do this.

and select a region of music. See Selecting music for more details

2.

From the Utilities Menu, choose Change, then Ties.

3.

Check the box for any tie options you wish to change for the selected region.

4.

To have Finale automatically set the ties direction, click the Automatic radio button. To
always keep the tie over the tied notes, click Over. Click Under to keep the tie under the tied notes.

5.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

1880

To change an individual ties shape and placement by dragging it

on the score
1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure containing a tie to adjust.

, then

2.

Click the Tie Tool

3.

Use the mouse to drag any of the handles, adjusting the ties start and end position, height
and inset until it is positioned to your liking. Double-click the middle handle and two handles
appear allowing you to change the inset for the left and right side of the tie arc.

4.

To remove any positioning, select a handle and type backspace or shift-delete.

. Three handles appear on each tie in the measure.

To adjust placement of ties globally

1.

From the Document Menu, choose Document Options, then Ties. The Tie options appear.

2.

Select the variation of tie for which you would like to adjust the placement settings. There are
a number of selections in the drop-down list. There are separate settings for ties that are inside
chords, and ties that are the outermost ties on chords (noteside and stemside). Each of these have
separate settings for ties over notes and ties under notes.
Note: When you are adjusting these settings
remember that the notes tied together may not use
the same choice from the drop-down list. For
example, ties with mixed stems may use different
outer placement settings. To have Outer
placement settings take effect, the Use Outer
Placement checkbox must be selected.

3.

Set the horizontal and vertical starting position for the selected tie variation. Enter a number
(in measurement units) into the Start H: text box to specify the ties starting position horizontally from
the inside edge of the first tied note. A larger number moves the tie to the right; a smaller number
(including negative numbers) moves it to the left. Enter a number (in measurement units) into the
Start V: text box to specify the ties starting position vertically from the inside edge of the first tied
note. Type a larger number to move the tie up, a smaller number (including negative numbers) to
move it down.

4.

Set the horizontal and vertical ending position for the selected tie variation. Enter a number (in
measurement units) into the End H: text box to specify the ties ending position horizontally from the
inside edge of the second tied note. A larger number moves the tie to the right; a smaller number
(including negative numbers) moves it to the left. Enter a number (in measurement units) into the
End V: text box to specify the ties ending position vertically from the inside edge of the second tied
note. Type a larger number to move the tie up, a smaller number (including negative numbers) to
move it down.

5.

Enter a number (in measurement units) into the System Start Adjustment text box to specify
the ties distance from the start of the new system. Type a larger number to move the tie to the
right; type a smaller number (including negative numbers) to move the tie to the left.

6.

Enter a number (in measurement units) into the System End Adjustment text box to specify
the ties distance, measured backwards from the end of the system. Type a larger number to
move the tie to the right; type a smaller number (including negative numbers) to move the tie to the
left.

7.

Select additional tie variations from the drop-down list and change as desired. All tie variations
will be updated when you exit the dialog box by clicking OK.

8.

Click OK to save all of your changes. Click Cancel to dismiss the dialog box and discard any
changes.

To adjust the placement of an individual tie

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure containing a tie to adjust.

, then

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2.

Click the Tie Tool

. Three handles appear on each tie in the measure.

3.

Double-click the left or right handle of the tie. The Tie Alterations dialog box appears.

4.

Set the horizontal starting position of the tie in relation to the first tied note. Enter a value (in
measurement units) into the Start H: text box to position the tie horizontally away from the inside
edge of the note. A larger number moves the tie to the right; a smaller number (including negative
numbers) moves it to the left.

5.

Set the vertical starting position of the tie in relation to the first tied note. Enter a value (in
measurement units) into the Start V: text box. Type a larger number to move the tie up, a smaller
number (including negative numbers) to move it down.

6.

Set the horizontal ending position of the tie in relation to the second tied note. Enter a value
(in measurement units) into the End H: text box to position the tie horizontally away from the inside
edge of the note. A larger number moves the tie to the right; a smaller number (including negative
numbers) moves it to the left.

7.

Set the vertical ending position of the tie in relation to the second tied note. Enter a value (in
measurement units) into the End V: text box. Type a larger number to move the tie up, a smaller
number (including negative numbers) to move it down.

8.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To adjust the placement of a tie after a system break

See To adjust the placement of an individual tie in the score.

To adjust the shape of ties globally

1.

From the Document Menu, choose Document Options, then Ties. The Tie options appear.

2.

Click the Tie Contour button to display the Tie Contour dialog box.

3.

Select the tie style whose settings you want to adjust from the Style drop-down list. Select
Short, Medium, Long or Tie End (tie after a system break). To set more than one style, just select
another style from the list before you click OK to apply your changes. To change the settings for
Short Medium and Long, enter values (in measurement units) into the Short, Medium, or Long Span
text boxes. These lengths will allow you to specify different height and insets for short, medium and
long length ties.

4.

To change the height of the left and right sides of the arc of the selected tie style, enter
values (in measurement units) into the Left: Height and Right: Height text boxes, respectively.
A larger number increases the height of the arc; a smaller number decreases it.
Note: The Height setting is actually the height of a
control point, an imaginary point that Finale uses to
calculate the arcs curve. Finale draws the actual
height of the arc a little less than the value you
specify for Height.

5.

Choose an Inset Style. Click Inset percent to specify Inset as a percentage of the ties length. Click
Inset Fixed to specify Inset as an unchanging amount for all tie spans, regardless of a ties length.
This has been provided for compatibility.

6.

Specify the shape of the left and right endpoints of short, medium, and long ties. Finale uses
the Left and Right Inset settings to shape the left and right tie ends, giving them a more rounded or
hooked appearance depending on the Inset value. If you selected Inset percent as the Inset Style,
enter a number into the Left and Right Inset text boxes that is a percentage of the tie length for each
span. Increase the percentage to flatten the tie ends; use a smaller percentage to make the ends
more hooked. If Inset fixed is the selected Inset Style, enter a number (in measurement units) into
the text box that appears for all spans. A larger number flattens to tie ends; a smaller number hooks
the ends.

7.

Set how to determine the height of ties that fall between the specified short and medium, or
medium and long spans. Click Interpolate height between short and long span to have Finale
automatically calculate a proportional height based on the defined Span and Height settings. Click
Use medium height between short and long span to always use the Medium Height setting for ties
whose lengths fall between the specified spans.

1882

8.

Set the thickness of the left side of the arc for all ties. Enter a value (in measurement units) into
the Left text box. The larger the number, the thicker the arc.

9.

Set the thickness of the right side of the arc for all ties. Enter a value (in measurement units) into
the Right text box. The larger the number, the thicker the arc.

10. To avoid staff lines, select the checkbox Avoid Staff Lines By. Enter a different number if you
want to change the default of 8 EVPUs. 12 EVPUS is equivalent to centering the tie between staff
lines. The only viable range for this text box is 2-12 EVPUs.
11. Click OK to save your changes and return to the Tie options. Click OK to return to the
document. Click Cancel to return to the Tie options without making any changes.

To adjust the shape of an individual tie

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure containing a tie to adjust.

, then

2.

Click the Tie Tool

3.

Double-click the starting or ending handle of the tie. The Tie Alterations dialog box appears.

4.

Set the Height of the ties arc. Enter values (in measurement units) into the Height: Start and
Height: End text boxes to set the height of the left and right control points of the ties arc,
respectively. A larger number increases the height of the arc. A smaller number decreases the
height.
Note: The Height setting is actually the height of a
control point, an imaginary point that Finale uses to
calculate the arcs curve when creating a tie. Finale
draws the actual height of the arc a little less than
the value you specify for Height.

5.

Set the tie Inset. Enter values into the Left: Inset and Right: Inset text boxes to set the amount of
hook of the left and right end of the tie. Inset is a percentage of the tie length. Enter a lower
percentage to hook the end of the tie more, curving it more sharply. A higher percentage will flatten
the ends of tie.

6.

To avoid staff lines select the checkbox, Avoid Staff Lines By. Finale uses the Avoid Staff Lines
By: global setting in Document Options-Ties to position the arcs of ties in the region.

7.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

. Three handles appear on each tie in the measure.

To set tie thickness

See To adjust the shape of ties globally.

To horizontally adjust ties over system breaks

See To adjust placement of ties globally.

To use outer placement setting for outer ties on chords and single
tied notes globally
1.

From the Document Menu, choose Document Options, then Ties. The Tie options appear.

2.

Click Use Outer Placement.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To change the outer placement setting for an individual tie

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure containing the tied chord.

, then

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2.

Click the Tie Tool

. Three handles appear on each tie in the measure.

3.

Double-click the starting or ending tie handle. The Tie Alterations dialog box appears.

4.

Select a desired setting from the Outer Placement drop-down list.

5.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To avoid staff lines with ties over a region

1.

Click the Selection Tool

on how to do this.

and select a region of music. See Selecting music for more details

2.

From the Utilities Menu, choose Change, then Ties.

3.

Click the Avoid Staff Lines checkbox. Finale uses the Avoid Staff Lines By: global setting in
Document Options-Ties to position the arcs of ties in the region.

4.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To break ties across time and key signature changes globally

1.

From the Document Menu, choose Document Options, then Ties. The Tie options appear.

2.

Enter a number (in measurement units) into the Left Gap text box to specify the ties distance
backwards from the time signature. Type a smaller number to move the tie to the left, away from
the time signature; type a larger number to move the tie to the right, closer to the time signature.

3.

Enter a number (in measurement units) into the Right Gap text box to specify the ties
distance forward from the time signature. Type a larger number to move the tie to the right, away
from the time signature; type a smaller number to move the tie to the left, closer to the time
signature.

4.

Click OK to confirm your changes. Click Cancel to dismiss the dialog box without making any
changes.

To break ties in a region at time or key signature changes

1.

Click the Selection Tool

on how to do this.

and select a region of music. See Selecting music for more details

2.

From the Utilities Menu, choose Change, then Ties.

3.

Choose On from the Break for Time or Key Signature drop-down list. Finale will always break
ties in the region at a time or key signature change, regardless of the Tie options global setting. To
never break at key or time signatures Choose Off.

4.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To break an individual tie at a time or key signature change

1.

From the Window Menu, choose Advanced Tools. Click the Special Tools Tool
click the measure containing a tie you want to edit.

, then

2.

Click the Tie Tool

3.

Double-click the starting or ending handle of the tie you want to edit. The Tie Alterations dialog
box appears.

4.

Choose On from the Break for Time or Key Signature drop-down list. Finale will always break
this tie at a time or key signature change, regardless of the Tie options global setting. To never break
at key or time signatures Choose Off.

5.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

. Three handles appear on each tie in the measure.

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To adjust ties for augmentation dots

1.

From the Document Menu, choose Document Options and select Ties. The Tie options appear.

2.

Click Start After Single Dot to start ties after notes with a single dot. Click Start After Multiple
Dots to start ties after notes with more than one dot.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To shift ties for intervals of a second

1.

From the Document Menu, choose Document Options and select Ties. The Tie options appear.

2.

Click Shift For Seconds to have all the ties on chords shift in for the interval of a second.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To avoid accidentals for single ties

1.

From the Document Menu, choose Document Options and select Ties. The Tie options appear.

2.

Click End Before Single Accidental to have single ties avoid accidentals.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To remove manual positioning over a region

1.

Click the Selection Tool

on how to do this.

and select a region of music. See Selecting music for more details

2.

From the Utilities Menu, choose Change, then Ties.

3.

Click Remove Manual Positioning. This will remove any individual position of ties in the selected
region and return the settings to match your global settings.

4.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

To set a minimum space between tied notes

1.

From the Document Menu, choose Document Options, then select Music Spacing.

2.

Enter a value (in measurement units) into the Minimum Distance Between Notes With Ties
text box to set a minimum distance to leave between tied notes. Enter zero if you do not want
any minimum spacing limit applied.

3.

Click OK to save your changes. Click Cancel to dismiss the dialog box without making any
changes.

1885

Tiling pages for printing

If you want to print a full-size score (11 by 17 inches, for example) and dont have a printer capable of
printing on 11 by 17 inch paper, you have a dilemma. You could print your score on letter or legal-size
pages using your printer and then photocopy these pagesusing an enlarging copying machineonto
11-by-17-inch paper; the disadvantage is that enlarging your output in this way reduces the clarity of the
original printout.
Or, you could use Finales tiling pages feature. Finale can automatically tile the pagesin other words,
print out several standard-size pages with a portion of the full score page on each, so that you can then
tape them together (and, if you wish, photocopy the result onto large single pages).

To tile pages with the Print dialog box

1.

Set the page size of your score to the proper size. For example, 11 X 17 portrait. Use either the
Page Format for Score command in the Document Menu or the Page Layout Tool. (See Page layout
or Page size.)

2.

Choose Update Layout from the Edit Menu.

3.

From the File Menu, choose Page Setup. Choose Landscape for the orientation, Letter for the
page size and click OK. Be sure Use Finales Page Orientation Instead of the Printers Page
Orientation is unchecked in Program Options-Save.

4.

Select Print from the File Menu. In the dialog box select Tile Pages. Specify the page range on
which youll be printing. Some printer drivers will allow you to specify the size of the component
pages (Letter or Legal) here. Other printer drivers store this information in the Page Setup dialog
box.

5.

Type the amount of overlap you want in the Tile Overlap text box. This amount is specified in
the units you have selected in the Measurement Units submenu of the Edit Menu.

6.

Click Print.

To tile pages (with Compile Postscript Listing)

Note, you must have a Postscript Printer to perform these steps.
1.

Set the page size of your score to the proper size. Use either the Page Format for Parts
command in the Document Menu or the Page Layout Tool. (See Page layout or Page size.) When
entering the final, taped-together page dimensions, the key is to subtract one inch for each page that
will be side-by-side with another. If your score is to be 11 by 16 inches, for example, it will be
composed of two letter-size pages taped together. Therefore, set the page height to 10 inches (not
11). For the width, enter 15 inches (remember, youre subtracting one inch for each page that will be
side-by-side).
By subtracting one inch from each dimension in this way, you provide for a half-inch margin of
overlap on each page, so that the resultant pages will be easier to tape together.

2.

Choose Update Layout from the Edit Menu.

3.

Choose Compile PostScript Listing from the File Menu. The Compile PostScript Listing dialog
box appears.

4.

Click Tile Pages. Specify the page range and the size of the component pages (Letter or
Legal) on which youll be printing. Click Center Music on Page if you want the printed image of the
full score page to be centered on the taped-together physical page; if you dont specify this option,
the music will appear beginning in the upper-left corner of each full-size page, requiring you to cut off
the extra paper on the right and bottom margins, if necessary.
If you also select Include All Fonts in Listing, Finale will embed the actual music fonts into the
PostScript file. The resulting file will be larger, but you wont have to worry that your music fonts
arent installed on the computer that will ultimately be doing the printing.

5.

Click Compile. To print the resultant compiled file, youll need a downloading program such as the
LaserWriter Font Utility. For more information, see PostScript. For best results, have a paper cutter

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on hand to trim the default quarter-inch margins created by a PostScript printer on each page that
youll be taping together.

1887

Time signatures
See also Hiding time signatures; Cut time; Compound meters.

To change the time signature

1.

Click the Time Signature Tool

, and double-click the measure where the time will change.
The Time Signature dialog box appears. See Document Options-Time Signatures for more details.

2.

Click the scroll bar arrows for the upper and lower numbers until the window displays the
desired time signature. The upper scroll bar governs the upper number (beats per measure) of the
time signature; the lower one governs the bottom number (the basic rhythmic value) of the time
signature.
The way you define your meter is important, because it also governs beaming. In the case of cut
time, for example, you should set the scroll bars so that the display shows two half notes, meaning
that the eighth notes will be beamed together in groups of four. This is particularly important when
youre working in time; if you spell the time signature as a string of six eighth notes, Finale
wont perform any automatic eighth-note beaming, as shown below (top example). If you spell it
as two dotted quarter notes, however, Finale will beam eighth notes in groups of three (bottom
example).

If you wish, you can tell Finale to beam according to one time signature, but to display a different
signature. Click Options to expand the Time Signature dialog box. Select Use a Different Time
Signature for Display, and create the meter you want to appear in the score. See Beaming for more
important information on time signatures and beaming patterns.
Unless you tell it otherwise, (see Cut time and Common time) Finale displays the common-time

symbol

instead of

, and the cut-time symbol

instead of

If youre building a composite meter, click the Composite button. A dialog box appears, where you
can create a composite numerator (such as 3 + 2 + 2) or denominator (such as 4 + 8). For further
details, see Composite Time Signature dialog box.
3.

Specify the range of measures you want to be affected by the meter change.

4.

Click OK (or press enter) to confirm your changes.

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Title page
This entry contains instructions for creating a separate title page with no music on it. If you want the title
to appear at the top of the first page of music instead, see Titles.

To create a title page

1.

Scroll to the beginning of the piece. Click the Page Layout Tool

2.

Choose Insert Blank Pages from the Page Layout Menu.

3.

For Insert, enter 1. Choose Before Page and enter 1 (these are the default values). Then click OK.

4.

Click the Text Tool

5.

Double-click where you want the first piece of text. The text editing frame appears.

6.

Select font, size and style from the Text Menu. Skip this step if the default Text Block settings are
the ones you want to use. See Document Options-Fonts.

7.

Select Title from the Inserts submenu of the Text Menu. If you havent defined a title in the File
Information dialog box, either select File Info from the File Menu and fill in the appropriate
information, or just type in the title you want to use.

8.

Select Frame Attributes from the Text Menu. The Frame Attributes dialog box appears.

9.

Select Page. Choose Single Page from the drop-down list and type 1 in the first text box.
(These should be the default settings).

. Youre about to create the first piece of text (title) information.

10. Select the alignment and positioning options from the alignment and positioning drop-down
lists.
11. Click OK. Repeat the process with any other information that you want to appear on the title page,
selecting various Text Inserts from the Text Inserts submenu of the Text Menu, or typing in text that
is needed. See Titles, for information on moving and deleting titles.

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Titles
A title is created and positioned with the Text Tool. If you want to create the title on a page of its own, see
Title page.

To create extra room at the top of the page

Depending on the format of your piece, you may want the music on the first page to begin slightly lower
on the page to allow room for a title space.
1.

Scroll to the beginning of the piece. Click the Page Layout Tool
. Finale displays the
systems on the first page, representing each as a rectangle with handles at the upper-left and lowerright.

2.

Click in the middle of the first staff system and drag it downwards. When you drag the top
system down, all subsequent systems move down on the page as well. If you want more precision,
try this: Choose Edit Margins from the Systems submenu of the Page Layout Menu. Click the top
systems handle, and then enter a larger value in the topmost text box at the right side of the screen.
These numbers represent the system margins.

3.

Click the upper left handle of the first staff system and drag it upwards until it overlaps the
top page margin. If you later use Space Systems Evenly, Finale will adjust the Distance Between
Systems value. Because we dont want the space for the title to be considered in this spacing, we
needed to adjust the top margin of the system.

To add a title
1.

Click the Text Tool

2.

Select Page View from the View Menu.

3.

Double-click where you want the title. The text editing frame appears.

4.

Select font, size and style from the Text Menu. Skip this step if the default Text Block settings are
the ones you want to use. See Document Options-Fonts.

5.

Select Title from the Inserts submenu of the Text Menu. If you havent defined a title in the File
Information dialog box, either select File Info from the File Menu and fill in the appropriate
information, or just type in the title you want to use.

6.

Select Frame Attributes from the Text Menu. The Frame Attributes dialog box appears.

7.

Select Page. Choose Single Page from the drop-down list and type 1 in the first text box.
(These should be the default settings).

8.

Select the alignment and positioning options from the alignment and positioning drop-down
lists.

9.

Click OK (or press enter).

To move or delete a title

1.

Click the Text Tool

, if its not already selected. A handle appears on each title.

2.

Drag the titles handle to move it; select the handle and press delete to remove it.

To specify a default font for titles

The default font for titles is the same as the default font for all text blocks. See Text blocksTo specify a
default font for text blocks.

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Transcribing a sequence
To record a performance
1.

Create an empty score; establish the meter, key signature, and configuration of staves. You
can transcribe onto one or two staves at a time.

2.

Click the HyperScribe Tool

and select Transcription Mode from the HyperScribe Menu.
Click the measure at which the transcription will begin. You enter the Transcription window.

3.

Click Wait Till. Finale is in pause mode. The recording begins with the first note you play (or any
other MIDI signalbe careful not to use the sustain pedal until youre ready to record).

4.

Play your piece. Click anywhere (except on a button) to stop recording. When you stop
recording, youll see your music expressed as a sort of horizontal bar graph; the length of the bars
indicate the notes durations, and their relationship to the piano keyboard indicates their pitch.
Tip: if your performance begins with a pickup
measure, fill the first part of the measure with
dummy beats; the Transcription window always
transcribes on the assumption that the first note is
beat 1.

5.

If you want to preserve your performance as a sequence, choose Save As from the File Menu.
Note that as far as Finale is concerned, the Transcription window is a different program. The File
Menus commands (New, Open, Save As) no longer refer to the Finale document (notation) you
currently have open. They refer instead to the performance, or sequence, you just recorded. If you
choose New from the File Menu, for example, youre specifying a new sequence; youre not creating
a new Finale (notation) document.
When you save your Transcription window performance, you create a special Finale file called a
Note File. When you exit Finale and return to the desktop, youll notice that your note file has a
different icon. You can open this file any time youre in the Transcription window; you can, for
example, record a piece today, save it, and transcribe it tomorrow.

6.

To play your performance back, choose Select All from the Edit Menu. The display area is
highlighted.

7.

Under the word Keyboard, click Play; then click Start. Finale plays back your performance.

To hear a click track while recording in the Transcription Mode

In the Transcription Mode, a click track is nothing more than playback of Time Tags that Finale has
placed automatically. You can specify various characteristics of the click: its pitch, MIDI channel, length,
and so on.
1.

Click the HyperScribe Tool

and select Transcription Mode from the HyperScribe Menu.
Click a measure in the score. The measure you click will be the first measure of the transcription
when you transcribe the performance. You enter the Transcription window.

2.

Click the word In at the lower-right corner of the Transcription window, and enter the time, in
hours, minutes, seconds, and thousandths of a second, at which you want the click track to
begin. If you want the click track to begin immediately at the beginning of your recording, leave the
indicator set at 00:00:00:000. (Instead of typing numbers, you can also specify the appropriate point
in the music by clicking in the display area.)

3.

Click the word Out at the lower-right corner of the Transcription window, and enter the time,
in hours, minutes, seconds, and thousandths of a second, at which you want the click track
to stop. In other words, if you guess that your performance will last two minutes, type 2:00:000.
(Instead of typing numbers, you can also specify the appropriate point in the music by clicking in the
display area.)
Instead of entering numbers with the In: and Out: indicators, you may prefer to simply drag the
mouse through the keyboard display area (marked by a piano keyboard at the left side). The In:
and Out: numbers will change to accurately record the width of the highlighted area.

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4.

Enter the tempo in the Set to text box. The number you enter here is a standard metronome
marking (beats per minute), and allows you to specify the tempo of the click track. (You set the
rhythmic value of this metronome settingusually quarter notes per minuteusing the First Tag
submenu of the Time Tag Menu.)

5.

Choose Click Output from the Time Tag Menu. The Click Output Type dialog box appears.

6.

Specify the sound of the click track by clicking Listen and playing the appropriate note. Finale
automatically takes note of the MIDI channel you used to generate the sample click.
You might want to use a rim shot or other short percussive sound on a drum machine, or a very
high note on your MIDI keyboard. If you like, you can change the duration of the click sound by
changing the Duration number; the default duration is a half second.

7.

Click OK (or press enter). You return to the Transcription window.

8.

Click Wait Till. When you click Wait Till, Finale places a set of Time Tag note icons across the top of
the selected Keyboard region; when you begin to play, it will play each of these back as one click of
the metronome.
Finale is now in pause mode, awaiting the first note of your performance. Make sure that the
Record at End radio button is selected (under the word Keyboard) and that Play is selected (under
the words Time Tag).

9.

Record your performance as usual. As you play, Finale will record your performance while
generating a click track of the tempo, sound, and duration you specified.

To transcribe a sequence from a sequencer using the Transcription

Mode
If youre interested in notating a performance thats currently stored in a hardware or software sequencer,
you have several options. If your sequence is stored in a sequencing program (software), you can usually
transfer it to Finale by saving it as a standard MIDI file; read your sequencers instructions, then seeTo
import a MIDI file for instruction on converting a MIDI file to standard notation.
If the sequence is stored in a physical (hardware) sequencer, or if you have a second computer equipped
with its own MIDI interface, you can plug the sequencer (or extra computer) into your computer and play
the sequence into the Transcription Mode window. As far as Finale is concerned, the MIDI signals its
receiving in this way are no different from the ones you produce when you play your synthesizer. The
Transcription Mode can record tracks simultaneously from as many MIDI channels as you like, and then
transcribe up to four channels at a time.
1.

Create the empty score, including meter, key signature, and staff configuration. You can
transcribe onto one or two staves at a time.

2.

Click the HyperScribe Tool g and select Transcription Mode from the HyperScribe Menu. Click
the measure at which the transcription will begin. You enter the Transcription window. If the
sequence is capable of providing a MIDI click track, or if you can add a separate track consisting
solely of quarter-note (or some other value) clicks on a single pitch, youll save time in the long run,
because Finale will be learning where the beats fall at the same time as its hearing the music. If your
sequence does not contain a click track, skip to the instruction marked by the asterisk (*).

3.

Choose Click Input from the Time Tag Menu. Specify the incoming MIDI signal that will serve
as the click. The easiest way to enter the click description is to click Listen, and then play the click
itself. Note that if the click itself is to be a pitch, make sure its either a very high or very low pitch
one that wont be mistaken for a note in your sequence.

4.

Click Ignore First Data Byte (so that its no longer selected). This checkbox essentially tells
Finale whether or not it should be particular about the MIDI signal its interpreting as Time Tag
informationin other words, whether or not to consider any key (or controller) to be a Time Tag. You
dont want this option selected, because youre going to record both Time Tags and keyboard notes
simultaneously.

5.

Click OK (or press enter). If the clicks will be tapping any duration other than a quarter note, be
sure to let Finale know by choosing the correct duration value from the First Tag is submenu of the
Time Tag Menu.

6.

Click Record under the words Time Tag. If the sequence wont be providing a click track, leave
Play selected under the words Time Tag; you can add the Time Tags separately after youve
recorded the sequence.

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7.

Click Wait Till. Finale is now in pause mode, where it will remain until it receives the first MIDI
signal from the external sequencer.

8.

Play the sequence. Click anywhere (except on a button) to stop recording. When you stop
recording, youll see your music expressed as a sort of scrolling horizontal bar graph; the lengths of
the bars indicate the durations of the notes, and their position in relation to the piano keyboard (left
side of the screen) indicates their pitch. If you recorded the Time Tags (click track) as the sequence
played, youll also see note icons at the top of the screen, indicating the placement of the beats.

9.

To play your performance back, choose Select All from the Edit Menu; under the word
Keyboard, click Play; then click Start. You hear the sequence played back. Note that Finale
records the MIDI channel information from the sequence, too; when it plays back, it will transmit the
MIDI signals over the same channels on which they were received. Keep this in mind if youre having
trouble hearing all the tracks in the sequence when you play it back.

10. If the sequence didnt contain a click track, add Time Tags. See To transcribe a sequence.
11. Select the MIDI channel and pitch information to be transcribed by choosing Transcription
Filter from the Transcription Menu. The Transcription Filter dialog box appears, in which you can
specify the range of notes within each MIDI channel you want transcribed.
For example, if your sequence contained tracks recorded on several different MIDI channels, you
can now transcribe them onto individual staves, one at a time; if the flute and clarinet were both on
channel 2, for example, enter 2 in the first MIDI channel text box. Then, to make sure you only
transcribe the flute part, enter the highest and lowest notes of the flutes register in the Key Range:
High and Low text boxes. (To enter this information by playing it, click Listen; play the lowest note,
and then the highest note of the range you want to specify.)
You can also use this high note/low note filter in reverse. If, for example, you specify a Low note
thats higher than the High note, youll have defined a range of notes you want to omit from the
transcription; only notes lower or higher than the specified range will be transcribed.
12. Click Use Filters. Youve just told Finale, in terms of MIDI channel and range of notes, what it
should extract from the complete sequence for notation onto its own staff. When youre finished
transcribing this element, you can return to the Transcription window, choose Transcription Filter
again, and specify the next MIDI channel setting to extract the next track out of the sequence, and
so on, until youve filtered out each individual track from the sequence.
13. Choose Assign Measure Tags from the Time Tag Menu. For each downbeat, Finale automatically
puts a tiny M above the other Time Tags in the Time Tag display area, according to the time
signatures in the score itself.
14. If youre transcribing onto two staves, choose a split option (Fixed or Moving) from the Split
Point submenu of the Transcription Menu. If you choose Fixed, a dialog box appears. Enter the
number of a synthesizer key whose pitch you want to designate as the dividing point between upper
staff (usually treble clef) notes and lower staff (usually bass clef) notes. (Or, if you prefer, click Listen
and play the key.)
If you choose Moving, Finale will split a two-handed performance onto the correct staves (treble
clef or bass clef) by tracking the positions of your hands as they move up and down the keyboard.
Enter (or, by clicking Listen, play the interval of) the largest hand span (in half steps) that occurs in
the sequence. As long as theres a discernible gap between your two hands, Finale can track a
changing split point automatically. Click OK to exit either Split dialog box.
15. Click Quant Settings in the Transcription window. The Quantization Settings dialog box appears.
16. Choose a smallest note value and type of quantization. Choose the smallest predominant note
value in the piece. Select either Mixed Rhythms, Space Evenly (for a swing feel) or No Tuplets. See
Quantization Settings dialog box for more information.
17. Click More Settings. The More Quantization Settings dialog box appears.

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18. If you like, click Key Velocities, Note Durations.

19. Click OK twice.
20. If you like, click Save Continuous Data, and Save Tempo Changes. When the dialog box
appears (when you click Save Tempo Changes), press enter.
These four options tell Finale to remember the precise feel of the original performance, and to keep
this data handy for playback when you dismiss the dialog box. If you dont choose these options,
then when you play back the transcribed music from the score, Finale will simply play back the
sheet musicmechanically reproducing the notes, but without expression or feelinginstead of an
exact re-creation of your original performance.
21. Click the Transcribe button. If the results arent perfect, remember that your performance is still
intact, in the Transcription window. Click the first measure of the transcribed notation to switch back
into the Transcription Mode, where you can correct any split point or quantization settings; then click
Transcribe again.
If you still dont get good results and you cant figure out whats wrong, read the section called
Quantization Settings Guide in the Appendix. If you discover occasional split-point errors in the
transcription (where a right-hand note was notated on the left-hand staff, for example), see
Recording with HyperScribeQuantization Guide To correct split point errors and.

To transcribe a performance
1.

Record the music. See To record a performance, above.

2.

Choose Select All from the Edit Menu. The display area is highlighted.

3.

Choose a rhythmic value for your taps from the First Tag is submenu of the Time Tag Menu. If
you plan to tap even rhythmic values (all quarter notes, for example), also choose Record Equal
Durations from the Time Tag Menu. (If you dont select Record Equal Durations, you can actually
vary the rhythmic value of your tapsometimes eighths, sometimes quartersand Finale will
attempt, by interpolating and extrapolating, to assign the Time Tags correctly.)

4.

Under the word Keyboard, click the Play option. There are two distinct layers of MIDI information
in the Transcription Mode: the Keyboard layer, which records every aspect of your synthesizer
performance, and the Time Tag layer, which records only your beat taps. You want the Keyboard
layer to play while you record the Time Tags.

5.

Under the words Time Tag, click Record. If youre about to generate Time Tag taps on any
channel other than MIDI channel 1, choose Click Input from the Time Tag Menu. Click Listen to
MIDI, and play the note (or MIDI controller) youll be tapping. Click OK.

6.

Click the Wait Till button. Finale goes into pause mode, where it will remain until you touch a key
or pedal on the synthesizer.

7.

Tap any key in time to the music. Click anywhere (except on a button) to stop recording. If you
need to start over, choose Select All from the Edit Menu and repeat the last four steps. When the
music ends, Finale automatically stops recording, and you should see small note symbols (Time
Tags) across the top of the screen.

8.

Choose Align Tags to Notes from the Time Tag Menu. This command quantizes your taps to
the nearest notes. A small dialog box appears, asking you to specify the search width. The number
in this text box, in thousandths of a second, 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 a Time Tag inadvertently
to the note after the one with which it should align, for example). In most cases, however, you can
simply keep the default search width setting (200 thousandths of a second).

9.

Click OK (or press enter).

10. Choose Assign Measure Tags from the Time Tag Menu. Finale automatically puts a tiny M at the
beginning of every measure, according to the time signature (or time signatures) youve already
established in the score itself. If your piece has several different time signatures but you havent
already established them in the score, choose Measure from the Time tag Menu and repeat the
tapping process, but this time tap at each downbeat. When youre finished, choose Convert to Time
Signatures from the Time Tag Menu; this will automatically create time signature changes in the
correct measures in your score.
11.

If youre transcribing onto two staves, choose a split option (Fixed or Moving) from the Split
Point submenu of the Transcription Menu. If you choose Fixed, a dialog box appears. Enter a

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synthesizer key number at which to split the performance into two staves. (Click Listen, if you prefer,
and play the key.) If you choose Moving, a dialog box appears in which you can enter (or, by clicking
Listen, play) the largest hand span that occurs in your performance (in half steps). This doesnt
necessarily mean the widest interval you can play with one hand; rather, it means the widest interval
you played in the piece. When transcribing, Finale will attempt to split your two-handed performance
onto the correct treble- and bass-clef staves by tracking the positions of your hands as they move up
and down the keyboard. As long as theres a discernible gap between your two hands during the
performance, Finale can track a changing split point automatically.
12. Click OK to exit either dialog box.
13. Choose a smallest note value and type of quantization. Choose the smallest predominant note
value in the piece. Select either Mixed Rhythms, Space Evenly (for a swing feel) or No Tuplets. See
Quantization Settings dialog box for more information.
14. Click More Settings. The More Quantization Settings dialog box appears.
15. Select Include Voice Two if desired. If there are few places where youll be needing an inner voice,
however, dont select this option. This will prevent Finale from creating secondary voices where you
didnt intend themfor 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 MIDI/Audio Menu to correctly place Voice 1 and
Voice Two in the few places you want them. See Retranscription.
16. If you like, click Key Velocities, Note Durations.
17. Click OK twice.
18. If you like, click Save Continuous Data, and Save Tempo Changes. When the dialog box
appears (when you click Save Tempo Changes), press enter. These options tell Finale to remember
the precise feel of your original performance, and to keep this data handy for playback when you
dismiss the dialog box. Save Key Velocities tells Finale to retain key velocity information (see Key
velocity). Save Note Durations preserves Start and Stop Time data, such as rolled chords and swing
(seeStart and Stop Times); Save Continuous Data retains continuous data (pedal, pitch bend, and so
on); and Save Tempo Changes captures your tempo fluctuations, including ritards and accelerandi. If
you dont choose these options, then when you play back the transcribed music from the score,
Finale will simply play back the sheet musicmechanically reproducing the notes, but without
expression or feelinginstead of exactly re-creating your original performance.
19. Click the Transcribe button. If the results arent perfect, remember that your performance is still
intact, in the Transcription window. Click the first measure of the transcribed notation to switch back
into the Transcription Mode, where you can correct any split point or quantization settings; then click
Transcribe again. If you still dont get good results and you cant figure out whats wrong, read the
section called Quantization Settings Guide in the Appendix. If you discover occasional split point
errors in the transcription (where a right-hand note was notated on the left-hand staff, for example),
you can either change the split point settings in the Transcription window and try again, or simply go
to the score and fix the wrong notes manually. See Recording with HyperScribeMore Quantization
Settings dialog box ,Quantization Settings dialog box . See alsoQuantization Guide To correct split
point errors and and Retranscription.

To edit Time Tags

Sometimes you need to change the durational value of a Time Tag, or move the Time Tag so that it
aligns with a note, or to add or remove a Time Tag completely. The following instructions assume youve
already recorded a performance and entered Time Tags, as described in To record a performance ,
above. They also assume that youre still in the Transcription window.To transcribe a sequence and
1.

Click the words Time Tag. The words become highlighted. Youve just indicated that youll be
editing Time Tags only. For better control, you can zoom in by choosing View Resolution from the
Transcription Menu. In the dialog box that appears, enter a smaller value to enlarge the display50,
for example; click OK.

2.

To insert a new Time Tag, double-click in the Time Tag display area. The Time Tag display area
is the top strip of the display window, where the Time Tags appear (in a line with the small
metronome icon). When you double-click, a new tag appears, whose duration is determined by the
First tag is setting in the Time Tag Menu.

3.

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), you can drag any one notehead to move them all.

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4.

To change the duration of a Time Tag, carefully double-click its notehead; on the second
click, hold the button down. Drag it to the left or right. As you drag, the Time Tags cycle through
the durational values: sixteenth notes, eighth notes, quarter notes, and half notes. Drag to the right
for larger values, to the left for smaller values. By selecting a range of tags (by either dragging or by
choosing Select All from the Edit Menu), you can use this technique to effectively renotate an entire
piece at once. You could change a piece to cut time, for example, by changing quarter note Time
Tags to eighth note Time Tags; youre effectively telling Finale that every quarter note is now an
eighth note. (If you try this, however, dont forget to choose Assign Measure Tags again from the
Time Tag Menu before clicking Transcribe.)

To edit keyboard notes

While its much easier to edit your performance once its been transcribed into standard notation, you
can, if you wish, edit notes directly in the Transcription window.
1.

Click the word Keyboard. The word becomes highlighted. Youve just indicated that youll be
editing notes only. For better control, you can zoom in by choosing View Resolution from the
Transcription Menu. In the dialog box that appears, enter a smaller value to enlarge the display50,
for example; click OK.

2.

To delete notes, drag through their starting point and press delete.

3.

To insert a new note, double-click in the Keyboard area. The Keyboard area is the bottom threequarters of the display window, where the other notes appear. When you double-click and drag to
the right, 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.
Technical note: The notes initial duration is 15
units; the value of a unit is determined by the
number in the View Resolution dialog box. In other
words, if the View Resolution (the unit) is 100 (in
thousandths of a second), the note produced by a
double-click is 1500 thousandths of a second
longwhich is 1.5 seconds. If you hold the mouse
button down on your second click, you can drag
backward (to the right) to increase the duration of
the note.

4.

To move the attack (or release) of the note, carefully double-click the line; on the second
click, keep the mouse button down and drag the first (or second) half of the line right or left.

1896

Transcription Mode
Note: It is no longer necessary to use
Transcription Mode to record continuous data.
Continuous data (sustain pedal, pitch bends, etc)
can be recorded in a standard HyperScribe
session. See Record Continuous Data dialog box.

What it does
The Transcription Mode is another real-time transcription mode; you use it to record a live keyboard
performance, which you can then turn into notation.
The Transcription Mode differs from the rest of HyperScribe, however, in that after youve played your
piece, it retains your performance in a graphic sequencer-like window. (You can even save these
performances as separate files on your hard disk and open them later.) See To transcribe a
sequence.Quantization Guide . See also
The Transcription Mode borrows certain elements from a sequencer, but it exists for the purpose of
notating your performances. Unlike the rest of HyperScribe, in which you provide a tempo reference by
tapping as you play or use a metronome, the Transcription Mode lets you provide these taps after youve
recorded the performance (or before or during, for that matter). While Transcription Modes gratification
isnt instant, it offers you the chance to try various transcription settings, quantization levels, and so on,
without ever having to rerecord your original performance. See Quantization Settings dialog box.
If you havent worked with a sequencer before, you may encounter some terms that are new to you; one
example is quantization. Finales sense of rhythm is much finer than ours; it perceives subdivisions of
rhythm down to 1024ths of a quarter note. Because Finales sense of time is so precise, the program can
round off, or quantize, your performance to the nearest eighth note, quarter note, or whatever rhythmic
value you specify. If it didnt, your transcription would be much too accurateit would be filled with 128th
rests, hundreds of ties, and a forest of 64th notes.
Controllers are devices on your MIDI device that modify the music in some way: volume and sustain
pedals, pitch and modulation wheels, and breath controllers are some examples. You can record any of
this data when you use the Transcription Mode to transcribe your music; furthermore, using the MIDI
Tool, you can graphically edit these controllers. See Continuous data.

1897

Special mouse clicks

Click any measure in the score to enter the Transcription window, where you can record a
performance. When you turn your performance into notation, the transcription will begin in the
measure you clicked.

Click a measure after recording a performance to transcribe a single measure if youve selected
Transcribe in Measures in the Transcription window. This feature allows you to transcribe a measure
at a time from your performance, so that the transcription can appear in non-consecutive measures.

Ctrl-click a measure in the score to re-enter the Transcription window if youve been transcribing a
performance one measure at a time, using the Transcribe in Measures option.

1898

Transposing: by interval
This entry discusses the transposition of the music in selected measures up or down. If youre interested
in transposing the key of a section, see Transposing: changing key. If you want to find out about
transposing instruments, see Transposing instruments.

To transpose a region
1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

Choose Transpose from the Utilities Menu. The Transposition dialog box appears.

3.

Specify the desired transposition, including Up or Down. If you want to transpose the selected
region by more than an octave, enter the number of octaves Finale should add to the specified
smaller interval transposition. (For example, the interval of a tenth is a third plus one octave.) If
youre performing a chromatic transposition, choose Chromatically from the upper-right radio
buttons. Youll notice that the Interval drop-down list changes to list chromatic intervalsMinor Sixth,
Diminished Fifth, and so on. See Transposition dialog box for more information.

4.

Click OK (or press enter). To undo the transposition, choose Undo from the Edit Menu (or press
ctrl-Z).

1899

Transposing: changing key

This entry provides instructions for transposing the key of a piece (or part of a piece). If you want to
transpose a passage without changing the key signature itself, see Transposing: by interval. If you want
to find out about transposing instruments, see Transposing instruments.

To transpose a piece (Key Signature Tool)

To transpose an entire piece or a region, see Key signatures.

To transpose chord symbols

See To transpose chord symbols.

To enter pre-transposed music onto a transposing staff (step time)

You might wonder how Finale handles notes you input on a transposing staffdoes it consider the notes
youre entering to be the concert pitches or the written ones? When youre using the step-time music
entry tools (the Simple Entry and Speedy Entry tools), its up to you.
The following instructions show you how to specify that the notes youre entering have already been
transposedfor example, if youre copying an existing score.

Choose Display in Concert Pitch from the Document Menu if there is a checkmark next to it.
Youll see by the key signatures that Finale is displaying the transposing staves in their transposed
form. In this mode, any new notes you enter with either step-time input tool are considered already
transposed. In other words, if you play a C on the MIDI keyboard, it appears as a C on the
transposed staff, even though it will play back as some other note, because youve just entered a
written C. If you want to enter the concert pitches, choose Display score in Concert Pitch again from
the Document Menu (so that the checkmark appears next to the menu item). Finale displays the
contents of transposing staves at concert pitches. Any music you enter with either step-time input
tool is now considered at concert pitch; when you turn Display in Concert Pitch off, it will be
appropriately transposed.

1900

Transposing instruments
Any staff can be defined to have any instrument transposition; for example, a trumpet staff can be
notated up a whole step, yet Finale will still play the music at concert pitch. While youre working on the
document, you can be looking at the instrumental staves either in their transposed or concert-pitch forms.
For steps to create two transpositions in the same staff, such as a saxophone switching to flute for a few
bars, see To define a staff with a double transposition.

To define a staff transposition

1.

Click the Staff Tool

, and double-click the staff handle to be transposed. The Staff
Attributes dialog box appears.

2.

Select the Transposition; click Select. The Staff Transpositions dialog box appears.

3.

Specify the desired transposition. See Staff Transposition dialog box for details on settings.

4.

Click OK (or press enter). You return to the Staff Attributes dialog box. If theres another staff for
which you want to set the transposition, simply choose it from the Staff drop-down list at the top of
the dialog box.

5.

Click OK (or press enter).

To transpose a staff chromatically

1.

Click the Staff Tool

, click the staff handle you want to transpose, then choose Edit Staff
Attributes from the Staff Menu (or double-click the staff). The Staff Attributes dialog box
appears.

2.

Click Transposition. Click Select. The Staff Transpositions dialog box appears.

3.

Click Chromatic and choose the desired transposition from the drop-down list. Or choose
Other to create your own instrument transpositions for less common instruments.

4.

To choose a different clef for the transposed staff, click Set to Clef to select it, then click the
desired clef.

5.

Click OK. You return to the Staff Attributes dialog box.

6.

Click OK to dismiss the dialog box. Accidentals appear on all altered notes.

To display a score in concert pitch (or in transposed form)

Once youve established the transpositions for your instrumental staves as described in To define a staff
transposition, above, you can tell Finale whether or not it should display the full score in its transposed
form.

From the Document Menu, choose Display score in concert pitch. If this option is selected, all
music appears in its untransposed form (concert pitch) and a checkmark appears next to the menu
item. When this option isnt selected, any staff youve defined as a transposing staff will appear in its
transposed form, just as it will when the part is extracted.

To define a staff with a double transposition

1.

Define the primary instruments transposition, as described in To define a staff transposition,

above.
Tip: If youre using one of MakeMusics templates
or created your score with the Wizard, the
transposition is already set correctly.

2.

Click the Staff Tool

3.

Select the region that will have the second instrument. See Selecting music for hints on
selecting shortcuts.

. The Staff Menu appears.

1901

4.

From the Staff Menu, choose Apply Staff Styles. You can also select Apply Staff Styles from the
contextual menu by right-clicking in the staff. The Apply Staff Style dialog box appears.

5.

Select the appropriate transposition from the drop-down list of available Staff Styles. If you
dont see the desired transposition, see Staff Styles for instructions on how to create a new Staff
Style.

6.

Click OK. The transposition will be applied to the selected region. You can assign a metatool to a
Staff Style to make applying a quicker process. See Staff Styles for details.

1902

Tremolos
A tremolo marking, usually used to indicate either the rapid restriking of a note or a rapid alternation
between notes, can be either measured (where each note is struck every eighth note or sixteenth note,
for example) or unmeasured (where the notes are played as fast as possible, out of time).
There are several ways to create a tremolo marking in Finale, depending on the effect you want to create.
See also Easy Tremolos plug-in.

To place a tremolo marking

, or

(Articulation)

You can place one of these markings on a note stem (for a string tremolo, for example) or above or below
a note. You can also place one between two stems to indicate a rapid alternation between the two
pitches.

For full instructions, see Articulations.

To create a measured or unmeasured tremolo marking

Another form of tremolo often connects two longer valuesfor example, whole notes, as shown here:

In this section, youll learn how to use the Easy Tremolo plug-in to easily create tremolo markings. Its
customary to notate the tremolo duration twiceonce for each part of the tremolo. First, enter two
notes/chords that combined equal the desired duration of the tremolo. For example, to create a whole
note tremolo like the one pictured above, first enter two half notes. To create a half note tremolo like the
one seen below, enter quarter notes.

Then continue with the following instructions.

1.

Click the Selection Tool

1903

2.

Highlight the measure(s) containing the notes you want to include in the tremolo.

3.

From the Plug-ins Menu, choose TGTools and then Easy Tremolos. The Easy Tremolos dialog
box appears.

4.

In the text box, enter the total number of beams desired. You can also choose to avoid
accidentals on notes with stems and define the tremolo for playback. For a description of these
settings, see Easy Tremolo plug-in.

5.

Click Go. Tremolo markings appear on all notes in the selected region according to your settings.

To remove the tremolo marking, from the Edit Menu, choose Undo (or, press Ctrl-Z). If the Undo
command is not available (created in an earlier Finale session), or you have added additional entries that
you do not want to undo, use the Selection Tool to clear the entries out of the measure and re-enter the
notation.
Human Playback interprets and performs tremolos during playback automatically. See Human Playback.
To hear manual changes to the MIDI playback definition of tremolos (such as those applied with the Easy
Tremolo plug-in), you must first set Human Playback to None in the Playback Settings dialog box.

1904

Trills
A trill is often notated with two symbols: the
indication and a wavy extension line (~) that
indicates the length of the trill. Both components of a trill are available as Smart Shapes and Articulations.
If youve loaded an Articulations library into your file (or if your Maestro Font Default file is in place), you
dont have to create the markings anew. See also Engraver Font - "Trill to Noteheads and Smart
Playback.

To create a trill or trill extension line (wavy line)

1.

Click the Smart Shape Tool

. The Smart Shape Palette appears. (If the palette does not
appear, choose Smart Shape Palette from the Window Menu to place a checkmark by it.)

2.

Click the Trill Tool

or

3.

Position the cursor in the measure where you want the trill or wavy line to begin.

4.

Double-click the mouse; on the second click, hold the button down and drag to the right until
the trill or wavy line is the desired length. As long as you hold the button down, you can keep
moving the end of the trill or wavy line.

To create a small accidental on a trill marking

To let the player know which notes are to be trilled, a small accidental, sometimes in parentheses, is

often placed next to the symbol

. (This tells the player to raise or lower the written pitch by a half
step for the trill.) This symbol, too, is an Articulation; see Articulations. See also Engraver Font - "Trill to
Noteheads.

To define a trill marking for playback

Trills defined with one of the default trill articulations playback automatically if Human Playback is
enabled in the Playback Settings dialog box. See Playback Settings dialog box for details. If Human
playback is disabled, you can apply playback to trills using the TGTools Smart Playback plug-in.

1905

Tuplets
You can also change Tuplets over a region. Instead of selecting the Tuplet Tool, select the Selection Tool
and choose Change Tuplets from the Change submenu of the Utilities Menu. The settings in the Change
Tuplets dialog box are the same as in the Tuplet Definition dialog box.
You can also create tuplets during entry with the Simple and Speedy Entry Tools. See Tuplets (Simple
Entry) and Speedy Entry.

To turn normal notes into a tuplet group

1.

Click the Tuplet Tool

2.

Click the first note to be included in the tuplet group. The Tuplet Definition dialog box
appears.

3.

Specify the rhythmic composition of the tuplet. On the top part of the screen Finale is asking,
How many notes of what rhythmic value are to fit in the space normally allotted to how many of what
value? Enter the number of each rhythmic value in the text boxes. Specify the rhythmic value itself
by selecting the rhythmic-value from the drop-down list.
For example, to define a standard quarter note triplet, you could fill out the values either as 3
(quarters) in the space of 2 (quarters), or 3 (quarters) in the space of 1 (half).

4.

Specify the visual appearance of the tuplet. Finale lets you specify various aspects governing the
visual appearance of your tuplets. See Tuplet Definition dialog box. You can always change the
angle or position of the bracket or slur once its in the score. If you want the 3 (or whatever number
appears over the tuplet) to appear in the middle of the slur or bracket (if youre using one) instead of
being above or below it, be sure to choose Break Slur/Bracket. If youre creating a complex tuplet,
you can also choose Use Ratio for Number; instead of placing a simple digit above the tuplet (like 3,
for example), Finale will express the tuplet as a ratio (such as 3:2, using the numbers you entered in
the __ in the space of __ text boxes).

5.

Click OK (or press enter).

To adjust, move, or delete a tuplet

1.

Click the Tuplet Tool

; then click the first note of the tuplet. Handles appear on the tuplets
bracket (or slur, or number).

2.

To reposition the entire tuplet, drag the main handle (which is unshaded).

3.

To change the length of the hook, drag the left or right hook handle. If you selected Match
Length of Hooks in the Tuplet Definition dialog box, Finale automatically adjusts the other hook to the
same length as you drag.

4.

To move the shape closer to or away from the notes, drag the shape handle up or down.

5.

To change the angle of the shape, drag the slope handle.

6.

To move the number closer to or away from the notes, drag the number handle.

7.

To delete the tuplet definition (and restore the notes to normal), click any handle and press
delete.

1906

To enter tuplets with the Simple Entry Tool

1.

Click the Simple Entry Tool

. The Simple Entry Palettes appear.

2.

Click the icon representing the desired notes duration. Click any accidental tools, if desired.

3.

Click the Simple Tuplet Tool

4.

Click the staff. A note appears where you clicked with rests filling out the rest of the triplet. By
default, the triplet will use the duration of the first note to define the triplet. If there isnt enough room
to create the full tuplet or you click within an already existing tuplet, Finale will enter a note of the
duration you selected.

5.

While entering with the Simple Entry Caret, press 9 (or numpad 9) to begin a tuplet.

on the Simple Entry Palette.

To enter tuplets with the Speedy Entry Tool

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

If MIDI is not being used, place the cursor on the correct pitch.

3.

Press ctrl-number in the number keypad. You can press any number between 2 and 8 to specify
the tuplet value that youre about to enter. When you do so, the number you pressed appears in the
upper right corner of the editing frame, telling you that Finale is ready to group the next notes you
enter as a tuplet defined by that number. If you need to enter a more complex tuplet (or want to
specify a particular bracket or slur configuration), press ctrl1, and the Tuplet Definition dialog box
will appear (see Tuplet Definition dialog box).

4.

Enter the notes of the tuplet. The value of the first note you enter tells Finale whether youre
entering an eighth-note tuplet, quarter-note tuplet, and so on. Finale automatically groups them and
brackets them according to the default visual tuplet settings (see To predefine the appearance of
tuplets, below). To enter many tuplets in a row, see To enter many notes of the same value (handsfree MIDI method).

To create a nested tuplet

To nest tuplets, simply create one, then the other, as described in To turn normal notes into a tuplet
group, above. It makes no difference whether you create the outer or inner tuplet first.

To transcribe tuplets from a real-time performance

1907

For full instructions on the use of Finales real-time transcription tool, HyperScribe, see Recording with
HyperScribe and Transcribing a sequence. However, you may find these supplementary instructions
helpful.
1.

Choose Quantization Settings from the MIDI Menu. If youve just recorded a performance in the
Transcription Mode, choose Quant Settings from the Transcription window. These settings are used
when importing a MIDI file, and transcribing with the HyperScribe Tool.

2.

Select your smallest note duration. If you will be playing nothing smaller than eighth note triplets,
choose the sixteenth note.
Tip: If your real-time transcriptions consistently
transcribe durations that are too large, lower the
smallest note duration, or choose More Settings
from the Quantization Settings dialog box. Place a
check beside Sensitivity and choose the next
smallest duration to your smallest note duration.
For example, if your smallest note duration is a
sixteenth note, set Sensitivity to a thirty-second
note.

4.

Click either Mixed Rhythms or Space Notes Evenly. If your music will have a combination of
dotted rhythms and tuplets, choose the former. If your music will have only tuplets and evenly
spaced rhythms, choose the later.

5.

Click OK (or press enter). Continue with the transcription in the usual way.

To predefine the appearance of tuplets

If you create tuplets with any of the methods described above, you dont have to redefine the visual
appearance of each tuplet each time you create one. Instead, you can set the visual appearance
including whether or not to include a slur, bracket, and so onin advance. See Document OptionsTuplets.

1908

Tuplets (Simple Entry)

The word tuplet describes a class of irregular note divisions such as triplets, quintuplets, or septuplets.
Simple triplets are easy in Simple Entry Tool. If you want to do duplets, septuplets or other tuplets, youll
need the Simple Entry Tuplet Definition dialog box. For more complex tuplets, such as ratios or nested
tuplets, see the Tuplet Tool.
Brackets in the Simple Entry Tuplet Tool follow several rules. If the notes are beamed, such as eighth
note triplets, no bracket will appear. If you wish to override this rule, use the Tuplet Tool to turn off Auto
Bracket. See Tuplet Definition dialog box. Brackets follow the first note in the tuplet or the beam (if you
override Auto Bracket). To edit the bracket, see To adjust, move, or delete a tuplet in the Tuplet Tool
chapter.

To enter a triplet
1.

Click the Simple Entry Tool

2.

In the Simple Entry Palette, click the icon representing the desired notes duration. Click any
accidental tools, if desired.

. The Simple Entry Palettes appear.

3.

Click the Simple Tuplet Tool

4.

Click the staff. A note appears where you clicked with rests filling out the rest of the triplet. By
default, the triplet will use the duration of the first note to define the triplet. If there isnt enough room
to create the full tuplet or you click within an already existing tuplet, Finale will enter a note of the
duration you selected.

5.

After entering a note or rest with the caret, press 9 (or numpad 9) to begin a triplet on the note
just entered. Finale adds rests to complete the triplet. Then, enter the next two notes to replace the
rests.

on the Simple Entry Palette.

To remove a tuplet
1.

Double-click the Simple Tuplet Tool

2.

Click on the first note in the tuplet. The tuplet is removed and the notes are restored to full value.
If there is not enough room in the measure for the full value of the tuplet notes, nothing will happen.
Remove the extra notes first, then remove the tuplet definition.

on the Simple Entry Palette.

To enter a duplet, septuplet or other tuplet

By default, the triplet will use the duration of the first note to define the triplet. If you want to create an
eighth note triplet starting with a quarter note, youll need to use the below technique.
1.

Double-click the Simple Tuplet Tool

on the Simple Entry Palette. Only the Simple Entry
Tuplet Tool is selected in the Simple Entry Palette.

2.

Click the note duration that you wish to use in this tuplet passage. Now, both the Simple Entry
Tuplet Tool and the desired note duration tool are selected in the Simple Entry Palette.

3.

Shift-click on the first note in the tuplet (or where you would like to add one). The Simple Entry
Tuplet Definition dialog box appears.

4.

Specify the rhythmic composition of the tuplet. Finale is asking, How many notes of what
rhythmic value are to fit in the space normally allotted to how many of what value? Enter the number
of each rhythmic value in the text boxes. Specify the rhythmic value itself by selecting the rhythmicvalue from the drop-down list.
For example, to define a standard eighth note duplet, you could fill out the values as 2 (eighths) in
the space of 3 (eighths).

5.

Click OK. A note appears where you clicked with rests filling out the rest of the tuplet.

1909

6.

After entering a note with the caret, hold down Ctrl and press 9 (or numpad 9) to open the
Simple Entry Tuplet Definition dialog box. Define the tuplet as described above and click OK.
A tuplet appears based on your settings.

Using a MIDI device with Simple Entry.

Using a MIDI keyboard for entry is an alternative to clicking notes onto the staff or typing them with your
computer keyboard. To use an external MIDI device for entry, ensure you have properly configured a
MIDI Input device in the MIDI Setup dialog box. For MIDI setup instructions refer to the Installation &
Tutorials manual.
1.

Click the Simple Entry Tool 4. The Simple Entry Caret appears in the score. If it does not, from the
Simple Menu, choose Simple Entry Options, check Use Simple Entry Caret and click OK. Then
ensure a rhythmic duration is chosen in the Simple Entry Palette.

2.

From the Simple Menu, choose check Use MIDI Device for Input (if it is not checked already).

3.

Activate the caret at the desired point of entry. Use the left and right arrow keys to move the
caret left and right. Hold down Ctrl and press the up and down arrows to move the caret up and
down between staves.

4.

Click a duration tool in the Simple Entry Palette, or type the corresponding keystroke in the
numeric keypad (1-8). Note that if you are using a notebook computer, as an alternative, you can
turn off Num lock and press a number 1-8 on the QWERTY keyboard. You can also choose other
tools, such as the Tuplet or Tie tool to specify other properties for the note(s) you are about to enter.

5.

Play the desired note or chord on your MIDI keyboard or other MIDI input device. The notes
appear on the staff and the caret moves to the right.

After entering a note or chord, use any of the available modifier keystrokes to change the entry. To see a
complete list of commands, from the Simple Menu, choose Simple Edit Commands.

1910

Undo
Multiple Undo and Redo are available from the Edit Menu. Every action taken that modifies your music
can be undone sequentially, in the reverse order in which you took action. The amount of changes that
can be undone is only limited by the free disk space on your computer. This space is freed up when you
quit Finale. These actions are also available from the Edit Menu Toolbar.

To undo the last change or a series of changes to your document

1.

Choose Undo from the Edit Menu or type ctrl-Z. You cannot select Undo if you have not
performed any actions that modified the current document.

2.

To continue undoing changes, choose Undo from the Edit Menu or type ctrl-Z repeatedly.

To undo a series of changes up to a specified point

1.

Choose Undo/Redo Lists from the Edit Menu or type ctrl-shift-Z. The Undo/Redo Lists dialog
box appears.

2.

Select the last change that you want to undo from the list on the left. Finale will highlight all the
actions that will be undone from the point you selected.

3.

Click OK. Finale will undo all the highlighted actions in the list.

To re-apply changes to your document using redo

You cannot redo an action unless you have already selected Undo.
1.

Choose Redo from the Edit Menu or type ctrl-Y.

2.

To continue redoing changes, choose Redo from the Edit Menu or type ctrl-Y repeatedly.

To redo a series of changes up to a specified point

1.

Choose Undo/Redo Lists from the Edit Menu or type ctrl-shift-Z. The Undo/Redo Lists dialog
box appears.

2.

Select the last change that you want to redo from the list on the right. Finale will highlight all the
actions that will be redone from the point you selected.

3.

Click OK. Finale will redo all the highlighted actions in the list.

To allow undo actions previous to saving a file

1.

Choose Program Options from the Edit > Preferences Submenu Menu and select Edit. The
Program Options dialog box appears with the Edit Options available.

2.

Select Allow Undo Past Save. This will allow Finale to continue tracking undo actions even though
you have saved your document.

3.

Click OK. You return to the document.

1911

Using Grids and Guides

You can use grids and guides to accurately align and position expressions, text, or any item in your
document. The grid represents horizontal and vertical lines which appear at regular intervals on the page,
just like graph paper. Set apart at any distance you like, they make a great reference for aligning items
relative to each other or from the page edge. Guides are reference lines, horizontal or vertical, that can
be set anywhere on the page. Unlike gridlines, guides can be positioned at will, and are particularly
useful for fine positioning of items to be aligned between lines of the grid.
You can also tell Finale to automatically snap certain items to the closest grid intersection or to a guide
line.

To show the grid

1.

From the View Menu, choose Page View.

2.

From the View Menu, choose Show Grid. The grid appears on the page. To set the distance
between gridlines, see Document Options-Grids and Guides.

To create a guide
1.

From the View Menu, choose Page View.

2.

From the View Menu, choose Show Guides. Notice rulers appear above and to the left of the
page.

3.

Right-click the ruler and choose New Guide. The New Vertical/Horizontal Guide dialog box
appears, which displays the guide location.

4.

Click OK. The guide line appears. To move the line, click the arrow at the top or left end of the line.

To snap to grids and guides

1.

In Page View, from the View Menu, choose Show Grid or Show Guides.

2.

From the Document Menu, choose Document Options, and then select Grids and Guides.

3.

Check Snap To Grid or Snap To Guide.

4.

Choose Items to Snap To Grid or Items to Snap To Guide. The Items to Snap To Grid or Items to
Snap To Guides dialog box appears. See Items To Snap To Grid and Items to Snap to Guide dialog
boxes.

5.

Check the items you want to snap to grids and/or guides.

6.

Click OK. Selected items now snap to the nearest grid intersection and to nearby guide lines. To see
how close you can move an item to a guide line without snapping to the guide, Right-click the guide
arrow and choose Show Gravity Zone.

1912

Vocal music
See also Choral music; Hymns; Lyrics.
One convention used in opera or art song notation is beaming to lyrics. In this practice, eighth notes and
sixteenth notes are never beamed together in the vocal line except when a syllable is sustained through
more than one note (as in a melisma).

To beam according to lyric syllables

1.

Click the Selection Tool

shortcuts.

and select a region. See Selecting music for some region-selecting

2.

From the Utilities Menu, choose Rebeam, then Rebeam to Lyrics. The Rebeam to Lyrics dialog
box appears.

3.

Specify the type of lyric you want rebeamed. You can specify an individual Verse,Chorus, or
Section, if you wish, by selecting the lyric type, and entering the Verse, Chorus, or Section number.

4.

If you want beams broken at each beat, click Also Break Beams at Each Beat in the Time
Signature. In other words, Finale will begin a new beam at each beat even if a lyric melisma is still
continuing. If you dont use this option, the melisma beam will continue all the way through the
measureas long as the melisma lasts.

5.

Click OK.

1913

Volume
See also Key velocity; Continuous data.
When youre working with MIDI music information, there are two ways to control the volume of playback.
The most common way is to control the key velocity of each notethat is, how hard it is struck when its
played by the computer. Usually (but not always), MIDI keyboards respond to key velocity information the
same way a piano does: the harder the note is struck, the louder it sounds. See Key velocity for more
information.
Key velocity has one limitation, however: it cant control the volume of a note after its been struck. For
piano music, this is no problem. But imagine a long note played by a trumpetthe player can swell and
diminuendo within the same note. To create this kind of effect, you can use a second volume-control
method: MIDI volume controller information. MIDI Volume is controller number 7; see Continuous data for
instructions on creating and editing this and other controller data.

1914

VST
Steinberg's Virtual Studio Technology (VST) is an interface for integrating software audio synthesizer
plug-ins such as Finale's included Aria Player for Finale with Garritan sounds. Finale supports all
VST instrument (VSTi) plug-ins. VST and similar technologies use Digital Signal Processing to simulate
traditional recording studio hardware with software. Thousands of plugins exist, both commercial and
freeware.
You can assign instruments included in VST plug-ins to Finale channels using the VST Instruments
dialog box.
To manage VST plug-ins, use the Manage Audio Units dialog box.

1915

Whole rests
To save you extra work, Finale automatically places a default whole rest in every blank measure. Its
important to understand the difference between one of these default whole rests and a real whole rest
that youve entered yourself using any of Finales music input methods.
For example, a chord or a lyric syllable may be attached to a real whole rest (although Finale
automatically skips rests when assigning lyrics by itself). Only a real whole rest can be moved up or down
with the Speedy Entry Tool.
Finale considers a real whole rest an entrysomething you placed in the scorejust like a note or
another kind of rest. Therefore, a real whole rest will not be part of a multimeasure block rest in a part; it
will be placed in a measure by itself. Furthermore, a real whole rest counts as music when you optimize
staves (suppress the display of blank staves within a given system to produce a more compact and
readable full score). Even though a staff appears to be empty, Finale wont hide it if it contains a real
whole resta fact you can use to your advantage if you want to force an otherwise empty staff to
appear in a certain system when youre optimizing systems. Just add a real whole rest, and Finale wont
hide the staff.
Default whole rests are always centered between barlines.

To add a real whole rest

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Press the 7 key. Unless Use MIDI Device has been turned off in the Speedy Menu, a whole rest
appears. (If not, a whole note appears; click it and press backspace or shift-delete to turn it into a
whole rest.)

To move a real whole rest

1.

Click the Speedy Entry Tool

appears.

, and click the measure in question. The editing frame

2.

Drag the rest up or down. You can drag the whole rest to any line or space. It always appears with
a short staff line segment when drawn in the score, so it wont be confused with a half rest.

To turn off the default whole rests for a staff

If you prefer blank measures to be completely empty instead of displaying the default whole rest, follow
these steps:
1.

Click the Staff Tool

appears.

2.

Click Display Rests in Empty Measures to de-select it. If you want to perform this operation on
other staves, click the up and down arrows to scroll through the staff attributes for each.

3.

Click OK (or press enter).

, and double-click the desired staff. The Staff Attributes dialog box

To fill measures with rests

1.

Click the Selection Tool

, and select the region of music to fill with rests. Refer to
Selecting music for different methods of selecting regions.

2.

From the Utilities Menu, choose Check Notation, then Fill With Rests. Finale scans each
measure in the selected region, and automatically fills incomplete measures by adding the correct
number of rests. Note that Finale does not convert empty measures to measures with actual whole
rests.

1916

To change the character for default measure rests

1.

From the Document Menu, choose Document Options then select Notes and Rests.

2.

Select Default Measure Rest from the Rests Characters drop-down list and click on Select.

3.

Select the rest symbol you would like to use from the Symbol Selection dialog box. Any
characters selected other than rests will be ignored.

4.

Click Select.

5.

Click OK. All your default rests are now displayed using the selected character.

1917

Working with the Instrument List

To assign staves to MIDI channels and instruments
1.

From the Window Menu, choose Instrument List. The Instrument List window appears. Down the
side of the screen you see the names of the staves in your document. At the right side of the screen,
you can see the Instrument each staff is assigned to (and the MIDI channel that Instrument uses).

2.

To change the MIDI channel for a staff, click in the Chan column across from its name, and
type a new channel number. Keep in mind that youre now changing this Instruments channel; if
any other staves share the same Instrument, their MIDI channel numbers will change, too.
You can also change the channel for an individual Layer of a staff. To do so, click the triangle to the
left of the staff name; Finale displays new rows of information that correspond to the staffs Layers.
Change any Layers Instrument assignment, using the Instrument drop-down list across from its
name, or just edit its Channel. If you want the Layers to have different MIDI channels, remember to
assign them to different Instruments first.

3.

Click the staff names upward-pointing arrow to collapse (hide) the list of layers.
If you plan to re-use a typical patch/channel configuration, consider defining it, and naming it, as an
Instrument. To do so, choose New Instrument from the Instrument drop-down list across from any
staff name. Enter the patch and channel numbers, and click OK. Then, the next time you want to
re-create a particular channel and patch configuration for a particular staff, your new Instrument's
name will appear in the drop-down list for quick access.

To load an Instrument Library

One of the advantages of Finales Instrument List is that, with a single command, you can configure a
score with an elaborate MIDI setup, complete with channels, patch numbers, and their specific program
names (Breathy Winds. for example).
1.

Choose Load Library from the File Menu. The Open Library dialog box appears.

2.

Navigate to your Libraries folder. Double-click the Instrument library you want to open. Weve
provided Instrument libraries for several popular MIDI instruments. You can, of course, create your
own.
Once youve loaded a library, open the Instrument List. When you click the Instrument drop-down
list (in the Instrument column across from a staff name), youll see a list of a dozen or more
Instruments, each set up to match the names and patch information on your MIDI Instrument.
Simply choose a program name to assign it to a staff. (You can view the choices more clearly if you
select the View by Instruments button.)

If you customize a MIDI configuration, or own a MIDI instrument for which we havent provided a library,
its easy to create your own. Using the New Instrument command in the Instrument drop-down list you
can create several Instrument name/channel/patch setups. When youre finished, choose Save Library
from the File Menu, select Instruments, and click OK. Load this library the next time you want a quick way
to assign channels and sounds to the staves of a score (see Save Library dialog box for a more complete
discussion of libraries).

1918

Zoom in/Zoom out

To zoom in and out

Press Ctrl-+ and Ctrl--(minus) keystrokes at any time to zoom in and out. There is no need to
select the Zoom tool.

Or,
.

1.

Click the Zoom Tool

2.

Click the music. Finale enlarges the spot you clicked. To zoom out, press ctrl and click (or, if you
havent switched to the Zoom Tool, press ctrl-shift) and click the right-button. Finale stops at the
following view percentages when zooming in and out: 10, 25, 50, 75, 100, 125, 150, 200, 300, 400,
500, 600, 700, 800, 900, 1000.

To enlarge a selected area

This technique works only in Page View.
1.

Click the Zoom Tool

2.

Drag across the music, creating a dotted-line rectangle. When you release the mouse, Finale
enlarges the enclosed portion of the display, just enough to fill your monitor.

To zoom in/out by a specific percentage

Choose Zoom from the View Menu. In the resulting submenu you can choose a preset percentage, or set
any percentage from 5 to 1000 by choosing Other from the submenu (or pressing Ctrl-0). See Keyboard
Shortcuts-View Menu.

1919

Index
1
15ma (quindicima) see 8va/8vb, 1369,
1511
1-bar repeats, 37

Accidental Octave Placement dialog box,

12
Accidental Order dialog box, 14
Accidental Settings dialog box, 16
Accidentals
Adding or changing an accidental, 1372

2
2-up printing, 501
3
3-Beam Groups dialog box, 9

Cautionary Accidentals plug-in, 907

Changing an accidental to its enharmonic
equivalent (Simple Entry), 1514
Correcting accidentals on tied notes,
1372
Courtesy accidentals, 1468
Hiding (or showing) an accidental, 1372
Maestro Font, 1324

4
4-Beam Groups dialog box, 10
6
6/8 meter

Minimum vertical space between

accidentals, 142
Moving an accidental, 1372
Speedy Entry, 1372
Add Bookmark dialog box, 17
Add Continuous Data dialog box, 19

see Compound meters, 1449

8

Add Cue Notes plug-in, 893

Add Dots To Slashes In Compound
Meters, 37
Add Key Velocities dialog box, 20

8va, 1369, 1511

Add Note Durations dialog box, 22

8va/8vb, 1369, 1511

Creating an 8va or 15ma marking, 1369,
1511
Maestro Font, 1329
Moving or reshaping an 8va or 15ma
marking, 1369, 1511
8vb see 8va/8vb, 1369, 1511

Add SmartMusic Markers dialog box, 23

Add Tempo dialog box, 25
Adding
Brackets, 1416
Measures, 1650
Staves, 1849
Adding measures dialog box, 21

A
A 2 see Expressions, 1518
About Finale, 11
About the FINALE.INI file, 1099
About the FINMIDI.INI file, 1099
Accelerando, 1370

Additional PostScript Information dialog

box, 26
Adjust Lyric Baselines dialog box, 27
Adjust Page Range dialog box, 31
Adobe PDF documents, 1374
Aftertouch, 1030
see Channel Pressure, 1422

1920

see Continuous data, 1450

Creating an Articulation Metatool, 1382

Align Time Tags To Note Starts dialog box,

32

Defining an articulation for playback,

1379

Align/Move Dynamics plug-in, 894

Designing an articulation, 1378

Alla Breve see Cut time, 1492

Engraver Articulation Library, 1204

Allow Vertical Positioning, 16

Engraver Font, 1130

Alter Feel - Key Velocities dialog box, 33

Erasing articulations from a region, 1381

Alter Feel - Note Durations dialog box, 29

Fermatas, 1527

Alteration, 35

Fingering numbers, 1530

Alternate notation dialog box, 37

Harmonics, 1579

Alternative music fonts, 1100

Jazz Articulations, 1204

Alto clef see Clefs, 1437

Libraries, 1204

Ambience see Garritan Ambience dialog

box, 308

Maestro Font, 1327

Anacrusis see Pickup measures, 1738

Mordents, 1677

Apply Articulation dialog box, 39

Mutes, 1692

Apply Human Playback plug-in, 896

Pedal markings, 1726

Metatools, 1655

Apply Human Playback Preferences

dialog box, 41

Putting one articulation mark in the score,

1378

More Settings dialog box, 429

Apply Music Spacing dialog box, 43

Removing an articulation from the list,

1383

Apply Staff Style dialog box, 45

Rolled chords, 1781

Approximate pitch

Staccato marks, 1835

see Headless notes, 1581

Tremolos, 1903

see Note shapes, 1702

Trills, 1905

Aria Player for Finale, 46

Artificial harmonics see Harmonics, 1579

Arpeggio see Rolled chords, 1781

ATM, 1537

Arrowhead, 48

Attack and release

Arrows
Custom lines, 1490

see Articulations, 1377

see Rolled chords, 1781

Arrows see Shape Designer, 1798

see Start and Stop Times, 1847

Articulation Assignments dialog box, 75

see Transcribing a sequenceTo edit

keyboard notes, 1896

Articulation Designer dialog box, 49

Articulation Selection dialog box, 55
Articulations, 1377
Applying to a region, 1380

Audio, 56, 58
To export an audio file, 1385
To import an audio file, 1385

Articulation Shapes Library, 1204

Audio Units, 1915

Articulations, 1377

Augmentation, 1387

Breath marks, 1419

Change Note Durations dialog box, 84

Centering and repositioning existing

articulations, 1381

Doubling the rhythmic values in a

passage, 1387

Contextual menu, 753

Copying articulations, 1381

Augmentation Dot
Maestro Font, 1321
1921

Author credits see Text blocks, 1874

Drawing the barline on a group, 1390

Auto Launch Frame, 644

Final barline, 1529

Auto Slur Melismas Plug-in, 899

Auto-Dynamic Placement plug-in, 897

Hiding all barlines (No-barline music),

1391

Automatic Barlines plug-in, 900

Hiding one barline, 1391

Automatic Check for Updates, 60

Inserting a false or custom barline, 1392

Automatic Music Spacing, 175, 822

Maestro Font, 1331

Automatic Update Layout, 508

Moving a barline, 1391

Avoid Staff Lines, 628

Baroque ornaments, 1377

Barre, 292

B
B flat baritone transposition
See To display a staff differently in one
part than another, 1846
Backbeats, 1388
Altering the durations of backbeats, 1857
Altering the key velocity of backbeats,
1388
Copying or erasing MIDI Tool editing,
1667
Backward Repeat Bar Assignment, 61
Band-in-a-Box Auto-Harmonizing plug-in,
901
Bank Select, Bank Change Table, 1105
Bar count
see Count Items plug-in, 931
Baritone parts
To display a staff differently in one part
than another, 1846

Bars
see Barlines, 1390
see Measures, 1650
Bass clef see Clefs, 1437
Batch Printing, 1394
Beam angles, 1395
Allowing only flat beams on a single staff,
1396
Changing a beam from the default angle
to flat, 1396
Changing or restoring the angle of a
beam, 1395
Changing the angle of secondary beams,
1403
Limiting the steepness of beams, 1396
Patterson Beam plug-in, 993
Removing angle modifications from a
selected region, 1395
Setting the beam angle style globally,
1395

Barline, 310

Beam breaking, 575

Barlines, 1390

Beam Extension Selection dialog box, 64

Automatic Barlines plug-in, 900

Beam Extension Tool, 64

Breaking a barline between grouped

staves, 1390

Beam Over Barline plug-in, 903

Changing barlines for groups, 1391

Changing barlines in a selected region
(or at regular intervals), 1391
Changing the thickness of barlines in a
document, 1392
Correcting barline display, 1392
Creating one double, dotted, final, or
other barline, 1390
Double barlines, 1504

Beam thickness, 1397

Changing the thickness of beams
globally, 1397
Changing the thickness of beams
individually, 1397
Beaming, 65, 1398
Beam grace notes, 1556
Beaming across barlines, 1401
Beaming eighth notes in quarter note
groups, 1399
1922

Beaming over rests, 1402

see Count Items plug-in, 931

Breaking (or creating) a beam, 1398

Birds eye see Fermatas, 1527

Changing the height of stems in

secondary beams, 1405

Bitmapped graphics, 762

Classic Eighth Beams plug-in, 921

Blank Page, 361

Creating custom beaming patterns when

changing the time signature, 1399

Blank pages, 1408

Feathered beaming, 1403

Flat Beams (Remove) plug-in, 970
Flat Beams plug-in, 970

Blank Notation, 37

Adding a blank page anywhere in your

document, 1408
Deleting a blank page anywhere in your
document, 1408

Patterson Beams plug-in, 993

Blank score paper, 1641

Preventing Finale from beaming

automatically (Speedy Entry), 1399

Block rests see Multimeasure rests, 900

Rebeaming a selected region, 1398

Boomwhackers tuned percussion tubes,

1412

Secondary beams, 1404

Breaking secondary beams, 1404
Changing a broken beams direction,
1404

Booklets, 1409

Border, 231
Enclosure Designer dialog, 231
Bowing, 1377

Changing the angle of secondary

beams, 1395

Bowing marks see Articulations, 1377

Changing the distance between beams,

1404

Bracket, 68

Changing the height of stems in

secondary beams, 1405
Beaming across barlines, 1401

Braces see Piano Braces, 180

Bracket Style dialog box, 70
Brackets, 1416

Beaming Chart dialog box, 65

Adding and Creating Brackets see

Brackets-Staves, 1416

Beaming over rests, 1402

Horizontal lines, 1414

Creating (or removing) half-stems on

beamed rests, 1402
Globally beam over rests on the outside
of beam groups, 1402
Beams, 802
Beat Chart dialog, 770
Beat positions, 1406
Creating a beat chart in one measure,
1406
Moving a beat, 1406

Drawing a horizontal line, 1414

Moving, reshaping, or deleting a Smart
Shape line, 1414
Notes, 1415
Creating a note bracket, 1415
Staves, 1416
Correcting bracket display, 1416
Creating, 1417
Creating additional (nested) brackets,
1417

Beat Source, 115

Deleting a bracket from a group, 1417

Beats see Beat positions, 1406

Bend hats, 1407

Modifying brackets on a system-bysystem basis, 1417

Bends

Moving or stretching a bracket, 1416

Guitar bends, 1571

see Pitch wheel, 1739
Billing methods (for copyists)

Moving, stretching or deleting a floating

bracket, 1418
Placing a bracket on grouped staves,
1416
1923

Breath Mark dialog box, 71

Check Repeats dialog box, 100

Breath marks, 1419

Choirs (Instrument choirs) see Groups,

1569, 1836

Breves see Double whole notes, 1505

Choral music, 1424

C
Cadenzas, 1420
Caesuras
See Cesuras, 1421
Canonic Utilities plug-in, 904
Capo, 819
Categories (Expressions), 1518
Category Designer dialog box, 72
Cautionary accidentals
Cautionary Accidentals plug-in, 907
see Courtesy accidentals, 1468
Cautionary Accidentals plug-in, 907
Cautionary key changes see Courtesy key
signatures, 1470
Cautionary time changes see Courtesy
time signatures, 1472
Cesuras, 1421
Change Chord Assignments dialog box, 77
Change Clef dialog box, 81
Change Fonts plug-in, 909
Change Note Durations dialog box, 84
Change Noteheads dialog box, 89
Change Noteheads plug-in, 910
Change Ties dialog box, 90
Change to Default Whole Rests plug-in,
911
Change to Real Whole Rests plug-in, 912
Change Tuplets dialog box, 92
Channel Pressure, 1422

see Hymns, 1589

see Lyrics, 1630
Chord, 755
Chord Analysis Plug-in, 916
Chord Definition dialog box, 103
Chord Menu, 818
Chord Morphing plug-in, 917
Chord Realization plug-in, 918
Chord Reordering plug-in, 919
Chord Splitting plug-in, 920
Chord Suffix Editor dialog box, 107
Chord Suffix Selection dialog box, 110
Chord Suffixes, 110, 559, 818
Chord symbols, 1425
Changing chord symbol fonts, 1434
Chord symbols, 1425
Copying chords from one region to
another, 1432
Creating or loading a Chord Suffix
Library, 1433
Editing a chord suffix, 1429
Editing chords (Manual Input), 1429
Editing chords (Type Into Score), 1428
Editing or deleting a learned chord, 1431
Entering a chord symbol manually by
typing numbers, 1428
Entering a chord symbol manually with
MIDI data input, 1429
Entering a chord symbol when theres no
notes below it, 1432

Copying or Erasing controller data, 1667

Entering a chord using a Metatool, 1433

Editing Channel Pressure data, 1422

Entering chord symbols automatically,

1425

Retaining Channel Pressure data for

score playback, 1422
Character names, 1423
see Expressions, 1518

Entering chords (Type Into Score), 1426

Erasing chords from a region, 1432
Figured bass, 1528

Check Graphics dialog box, 98

Figured Bass Library, 1214

Check Range plug-in, 913

Fretboard diagrams, 1546

Check Region for Durations plug-in, 915

Lead sheets, 1604

1924

Left-justifying chord symbols above the

notes, 1434

Metatools, 757

Maestro Font, 1332

Specifying the location of key-signature

accidentals in a nonstandard clef, 1440

Moving and deleting chord symbols,

1431
Preventing chord symbols from playing
back, 1433
Programming a chord symbol Metatool,
1433
Teaching Finale learned chords, 1430
Transposing chord symbols, 1431
Chords, 1436
Adding notes to (or removing notes from)
a chord, 1436
Changing the enharmonic spelling of a
chord, 1436
Changing the pitch of a chord, 1436
Rearranging the noteheads of a cluster
chord, 1436
see Chord symbols, 1425
Chords & Fretboards library, 1214
Chromatic Spellings, 222
Classic Eighth Beams plug-in, 921
Clear Lyric Positioning plug-in, 923
Clear Measure # Positioning plug-in, 924
Clear Pickups dialog box, 480
Clear see Erasing, 1516
Clef Designer dialog box, 112
Clef Selection dialog box, 114
Clef Size, 81
Clefs, 1437
Changing a clef youve inserted in midmeasure, 1438

Setting the starting clef for a staff, 1437

Click and Countoff, 1441

Setting up countoff measures and the
metronome click (for Playback and
HyperScribe recording), 1441
Click Assignment, 117, 217, 766
Placing lyrics into the score (click
assignment), 1632
Click Input dialog box, 119
Click Output dialog box, 121
Click track, 1441
see Click and Countoff dialog box, 1441
Clip files see Copying music, 1452
Closed Symbols see Articulations, 1377
Cluster noteheads see Engraver Font,
1542
Coda, 1444
Create Coda System plug-in, 932
Maestro Font, 1330
Color dialog box, 123
Colored Noteheads, 179
Command Line plug-in, 925
Commas see Breath marks, 1419
Common Time, 194, 1446
Common Tone Transposition plug-in, 929
Compile PostScript Listing dialog box, 124
Comping, 1801
Composer credits see Text blocks, 1874
Composers Assistant plug-ins, 930

Changing the default clef, 1438

Composite, 126

Changing the horizontal positioning of

starting clefs, 1439

Composite time signatures, 1447

Courtesy clef changes, 1469

Creating a composite meter, 1447

Removing a composite meter, 1447

Custom shape clef, 1439

Compound meters, 1449

Designing a new clef, 1438

Con sordino see Mutes, 1692

Globally changing the position and size

of inserted clefs, 1440

Concert Pitch, 665

Hiding a clef, 1438

Conductors score

Inserting a clef change, 1437

Maestro Font, 1330

Conducting symbols, 1540

see Imploding music, 1591
see Optimizing systems, 1707
1925

see Piano Reduction plug-in, 996

Combining files with Score Merger, 1462

Configuring Ensembles.txt, 1109

Combining two files, 1462

Configuring Instrument.txt, 1110

Copying across documents, 1461

Configuring MacSymbolFonts.txt, 1112

Copying and inserting by dragging, 1457

Configuring Pagesizes.txt, 1113

Copying and inserting stacks, 1458

Contents Terms and Symbols, 1036

Copying and inserting using the

clipboard, 1456

Contextual menus, 803

Articulations, 754

Copying and pasting by dragging, 1453

Chords, 277, 756, 948

Copying and pasting stacks, 1454

Expressions, 760

Copying and pasting using the clipboard,

1456

Key Signature, 764

Lyrics, 766
Measure, 770
Note Mover, 776
Ossia, 778
Page Layout, 779
Repeats, 782
Resize, 784

Copying markings based on a rhythmic

match, 1464
Copying multiple passages of music to
another document (using Clip Files),
1461
Copying score markings based on a
rhythmic match, 1464
Copying time signatures, 1460

Selection Tool, 786

Copying to another place in the

document (by dragging), 1453

Simple Entry, 796

Making a copy of a document, 1461

Smart Shapes, 800

Staves, 806

Merging part files into a score with Score

Merger, 1463

Text, 810

Mirroring, 1675

Time Signatures, 812

specifying what you want to copy, 1459

Tuplets, 815
Continuous Data, 19, 383, 563, 590, 740,
833, 1450
Copying or erasing continuous data,
1667
Editing continuous data, 1451
Retaining continuous data for score
playback, 1450
To specify which continuous data you
want to record for with HyperScribe, 1450
To specify which continuous data you
want to record in Transcription Mode,
1450

Copying Tempo Data, 1461

Copyright notices, 1466
Count Items plug-in, 931
Countoff, 115
Courtesy accidentals, 1468
Cautionary Accidentals plug-in, 907
Courtesy clef changes, 1469
Globally preventing courtesy clefs from
displaying, 1469
Preventing courtesy clefs from displaying
in a single measure., 1469
Courtesy key signatures, 1470

Controllers (MIDI controllers) see

Continuous data, 1450

Forcing the display of the key signature

in a measure, 1470

Copy, 1452

Hiding the end-of-line courtesy key

change (globally), 1470

Copy and paste see Copying music, 1452

Copying measures, 204, 469
Copying music, 1452

Hiding the end-of-line courtesy key

change (in one place), 1470
Courtesy time signatures, 1472
1926

Create Coda System plug-in, 932

Custom Frame dialog box, 132

Create Handbells Used Chart plug-in, 934

Custom Line, 614

Create Tempo Marking plug-in, 936

Custom lines, 1490

Creating a note bracket, 1415

Changing which custom line is assigned

to the palette icon, 1490

Creating Parts, 265, 1622

Creating a custom line, 1490

Credit lines see Text blocks, 1874

Placing a custom line, 1490

Creating a Document Style, 1119

Crescendo/Decrescendo, 614, 1481

Customize Toolbars, 134, 1491

Aligning hairpins, 1482

Customize Toolbars dialog box, 134, 1491

Changing the default opening and

thickness of Smart Shape hairpins, 1482

Customized Speedy Keymap, 1114

Creating a playback crescendo or

decrescendo with the MIDI Tool, 1482
Creating a Smart Shape (graphic)
crescendo or decrescendo marking, 1481
Creating a Text Expression (such as,
1483
Moving or deleting a crescendo (Text or
Shape Expression), 1483

Cut time, 1492

Changing the cut-time display, 1492
Mixing abbreviated and non-abbreviated
cut and common time signatures, 1492
Cutaway scores, 1493
Hiding a portion of a staff, 1493
Masking a portion of the score using the
graphics tool, 1644

Moving, reshaping, or deleting a Smart

Shape crescendo, 1481

Crossed hands, 1484

D.C, 698

Cross-staff beaming see Cross-staff notes,

1485

D.C., 1496

Cross-staff notes, 1485

Creating a functional, 1444

Creating cross-staff notation, 1485

Moving or deleting the D.C. marking,

1496

Cross-staff plug-in, 938

Placing a D.C marking in the score, 1496

Restoring cross-staff notes to their

source staff, 1487
Restoring cross-staff notes to their
source staff temporarily, 1487
Cross-staff plug-in, 938
Cue notes, 1488
Add Cue Notes plug-in, 893
Creating a cue staff, 1488
Creating cue notes on a full-size staff,
1488

D.S., 1507
Maestro Font, 1330
Placing a coda marking into the score,
1507
Placing a D.S. marking into the score,
1508
D.S. al Coda, 1507
Placing a coda marking into the score,
1507
Placing a D.S. marking into the score,
1508

Preventing attached lyrics and chord

symbols from shrinking, 1489

Da capo see D.C., 1496

Restoring a cue staff to full size, 1489

Dal segno see D.S., D.S. al Coda, 1507

Smart Cue Notes plug-in, 1011

Dash Length, 135

Cue staves see Cue notes, 1488

Dashed Line dialog box, 135

Custom Arrowhead Selection dialog box,

130

Dashed lines, 1494

Custom barline, 397

1927

Drawing a Smart Shape dashed line,

1494

Changing the distance between staves,

1498

Moving, reshaping, or deleting a Smart

Shape dashed line, 1494

Changing the page and system margins,

1642, 1862

Dashes see Dashed lines, 1494

Date stamps, 1495

Making all staves equidistant, 1850

Divisi, 1500
see Expressions, 1518

Changing the date format for date

stamping, 1495

Document - information, 267

Creating a time or date stamp, 1495

Document Menu, 820

Decrescendo see
Crescendo/Decrescendo, 1481
Default Fonts library, 1204
Define Keyboard Shortcut dialog box, 136
Delete Blank Pages dialog box, 137
Delete Element dialog box, 138
Delete Measures, 831
Deleting

Document Options - Lyrics, 170

Document Options dialog box, 140
Document options Grids and Guides, 163
Document Options Piano Braces, 180
Document Options_Lines and Curves, 168
Document Options-Accidentals, 142
Document Options-Alternate Notation, 144

Articulations, 1381

Document Options-Augmentation Dots,

146

Brackets, 1417

Document Options-Barlines, 148

Chords, 1431

Document Options-Beams, 150

Lyrics, 1635

Document Options-Chords, 153

Measures, 1650

Document Options-Clefs, 155

Pages, 1408

Document Options-Flags, 157

Staves, 1849

Document Options-Fonts, 159

Designing shapes see Shape Designer,

1798
Dialogue see Text blocks, 1874
Diamond noteheads see Note shapes,
1702
Diatonic Instrument Definition dialog box,
139

Document Options-Grace Notes, 161

Document Options-Key Signatures, 164
Document Options-Layers, 166
Document Options-Multimeasure Rests,
172
Document Options-Music Spacing, 174

Diminuendo see Crescendo/Decrescendo,

1481

Document Options-Notes and Rests, 177

Diminution, 1497

Document Options-Stems, 184

Document Options-Repeats, 182

Halving the rhythmic values in a

passage, 1497

Document Options-Text, 189

Rhythmic Subdivisions plug-in, 1004

Document Options-Time Signature, 194

Displaying music, 857

Distances, 1498
Changing clef, key, and meter distances,
1498
Changing the distance between notes,
1498
Changing the distance between staff
systems, 1862

Document Options-Ties, 191

Document Options-Tuplets, 196
Document Styles, 1119
Documents - displaying, 858
Documents - opening and saving, 825
Doits, 1501
Dot Offsets dialog box, 199
Dots see Dotted notes, 1502
1928

Dotted lines see Dashed lines, 1494

Auto-Dynamic Placement plug-in, 897

Dotted Notes, 199, 1502

Defining for playback, 1510

Adding a dot to a note (Simple Entry),

1502

Designing a dynamic marking, 1509

Adding a dot to a note (Speedy Entry),

1502

Inserting a dynamic marking into the

score, 1509

Adjusting ties for augmentation dots,

1885

Jazz Dynamics library, 1204

Changing the position of a single dot,

1502
Changing the position of all dots, 1502
Removing a dot from a note, 1502
Undoing individual dot positioning, 1502

Engraver Font, 1130

Maestro Font, 1326

Moving or deleting a dynamic marking,
1510
see Crescendo/Decrescendo, 1481
see Key Velocity, 1600

Dotted slurs see Slurs, 1802

Double barlines, 1504

Double stems see StemsTo create a
double or split stem, 1854

Early music, 1100

Double strokes see Cesuras, 1421

Creating diamond noteheads see Note

shapes, 1702

Double whole notes, 1505

Fonts see Fonts, 1537

Maestro Font, 1321

Four-line staff see Staff Lines, 1839

Substituting a notehead on a note-bynote basis, 1702

No barlines see Barlines, 1391

Substituting one notehead for another

notehead globally, 1505
Doubling note values see Augmentation,
1387
Downbeats, 1506

Easy Harmonics plug-in, 942

Easy Measure Numbers plug-in, 943
Easy Tremolos plug-in, 944
Edit Bookmarks, 202
Edit Filter, 204

Altering the attack points of downbeats,

1506

Edit Frame, 209

Altering the key velocity of downbeats,

1506

Edit Learned Chords, 215

Moving a single downbeat graphically,

1406

Edit Major and Minor Key Spellings dialog

box, 223

Moving all downbeats graphically, 1506

Edit Measure Attributes, 397

Down-bow, 1377
Downbows see Articulations, 1377
Drum Groove plug-ins, 940

Edit Group Attributes, 310

Edit Lyrics, 217

Edit Menu, 822

Edit/Enharmonic Spelling

Drum Rolls see Tremolos, 1903

Edit Major and Minor Key Spellings,

222

Duration Allotments, 200

Edit Modal or Chromatic Spellings, 222

Durations

Edit/Measurement Units, 822

see Note values (durations), 1706

Edit MIDI Modifiers dialog box, 219

see Start and Stop Times, 1847

Edit MIDI Note dialog box, 221

Dynamics, 1509
Align/Move Dynamics plug-in, 894

Edit Page Margins dialog box, 224

Edit Page Offset dialog box, 464

1929

Edit Page Size dialog box, 466

Text Fonts, 1544

Edit Split Points dialog box, 315

The Alternate Notehead Sets, 1540

Edit System Margins dialog box, 225

Edit Text, 226
Editing music, 84, 87, 462
EDU, 1031

Trill To Noteheads, 1542

Engraver Slurs, 1515
Defining Engraver Slurs, 1515
Enharmonic Spelling dialog box

EDUs, 1174

Major/Minor, 223

Eighth notes see Note values (durations),

1706

Modal/Chromatic, 222

Elapsed Time, 1512

Encapsulated PostScript, 251
Encapsulated PostScript (EPS), 1513
Creating an EPS file, 1513
Enclosure Designer dialog box, 231
Encore Conversion, 1128
Additional pedal indicators, 1129
Beaming over barlines, 1129
Bend Tools, 1129
Chord Symbols, 1128
Cross-staff beaming, 1129
Eight Layers, 1128
Large wavy line, 1129
MIDI Conversion, 1128
Parenthesis from Tools palette, 1129
Reversed Dal Segno mark, 1128
Rounded rectangle graphical marks,
1128
Slurs, 1129
Spacing, 1128
Stem Direction, 1128
Encore or Rhapsody files, 1592
Ending barlines see Final barline, 1529
Ending Repeats dialog box, 539
Endings
Final barline, 1390
see First and second endings, 1531,
1792
Engraver Font
Articulations, 1543
Conducting symbols, 1543
Dynamics, 1543
Engraver Text Expressions Library, 1204

Enharmonics, 1514
Changing a chords enharmonic spelling,
1514
Changing all occurrences of a note
(search and replace), 1514
Edit Major and Minor Key Spellings
dialog box, 223
Enharmonics in Linked Parts, 1627
Enharmonics in Linked Parts, 1627
Enigma Duration Unit, 1031
Enigma Transportable File, 1031
Enlarging see Reducing/Enlarging, 1770
Ensembles.txt, 1109
Entry Modifications dialog box, 233
EPS, 250
EPS files
see Encapsulated PostScript (EPS),
1513
Equivalents, 1174
Erasing, 1516
Erasing a note from a chord, 1516
Erasing a note, rest, or chord, 1516
Erasing everything from a selected
region, 1516
Erasing selected elements from a
selected region, 1516
EVPUs, 1174
Executable Shape Designer dialog box,
236
Executable Shape Selection dialog box,
239
Executable Shapes, 598
Exercise Wizard, 241
Exercise Wizard Instrument Ranges, 1178
Exercises, 241
Explode Music, 246
1930

Exploding music, 1517

Libraries

Export Pages, 250

Executable Shapes, 1217

Export Selection dialog, 250

Harp Diagram, 1217

Export Selection dialog box, 250

Shape Expressions, 1220

Exporting, 250

SMS Markers, 1220

Lyrics, 946

Text Expressions, 1222

MIDI files, 1670

Metronome markings, 1660

Transporting files across platforms, 1592

Mutes, 1692

Expression Designer, 256, 696

Note Expressions see Articulations, 1377

Expression Designer Playback, 260

Number Repeated Measures plug-in, 991

Expression Designer-Note Positioning, 258

Pedal markings, 1726

Expression Menu, 824

Pizzicato, 1742

Expression Selection, 254

Rallentando, 1760

Expression Tool, 759

Rehearsal letters, 1772

Expressions, 1518

see Articulations, 1377

8va/8vb, 1369, 1511

see Crescendo/Decrescendo, 1481

Accelerando, 1370

see Slurs, 1802

Align/Move Dynamics plug-in, 894

Shape Designer, 1798

Aligning, 258

Shape Designer menu, 847

Auto-Dynamic Placement plug-in, 897

Tempo markings, 1870

Brackets

To add an expression, 1519

Notes, 1415
Character Names, 1423
Copying expressions, 1521
Create Tempo Marking plug-in, 936
Creating a shape, 1798

To add using a metatool, 1520

To adjust the vertical positioning of
expressions, 1523
To assign the default positioning for an
expression, 1523

Creating an expression, 1520

To move expressions assigned to staff

lists, 1521

Creating Expression Metatools, 1523

To move or delete an expression, 1520

Crescendo/Decrescendo, 1481

Trills, 1905

Dashed lines, 1494

Expressions - playback, 487

Defining for playback, 1521

Extract Lyrics plug-in, 946

Divisi, 1500

Extract Parts dialog box, 265

Dynamics, 1509

Extracting Parts, 1525

Engraver Text Expressions Library, 1204

Erasing expressions from a region, 1521
Expression Selection, 254
Expression Tool, 759
Flutter-tongue, 1535
Grace notes, 1556
Grand Pause, 1558

Extracting parts into individual

documents, 1525
Printing parts directly from the score,
1628
Process Extracted Parts, 997
Special Part Extraction, 998
Temporarily viewing an, 998

Jazz Dynamics library, 1204

Jazz Rehearsal Letters library, 1204
1931

F
Facing pages see Page layoutTo apply a
different page layout to selected pages,
1713

Menu commands, 949

Mouse clicks, 955
Other commands, 965
Page layout commands, 962

Fall-offs, 1526

Playback, 967

FAQs (Frequently Asked Questions), 1357

Radio button commands, 950

Feathered beaming see BeamingFeathered beaming, 1403

Report font, 957

Fermatas, 1527
Moving or deleting a fermata, 1527
Fibonacci, 200
Figured bass, 1528
Figured Bass Library, 1204
File Extensions, 1200
File Info dialog box, 267
File Integrity Test Results dialog box, 269
File Maintenance dialog box, 271
File Menu, 825
File Statistics dialog box, 273
Files - saving, 454
Fill dialog box, 274
Fill With Rests, 605, 644

Script Editor dialog box, 276

Script Syntax Coloring, 277
Selecting a tab, 953
Selecting and Deleting Measures, 962
Selecting from drop-down menus, 953
Selecting windows, 954
Simulating keystrokes, 954
Sliders, 955
Smart Shapes, 966
Source and destination folders, 956
Stop and pause, 957
Text search and replace, 965
Tgtools, 957
To Create a New Script, 949

Filter Channels dialog box, 275

To print in Booklet form using

FinaleScript, 1409

Final barline, 397, 1529

Tool commands, 962

Finale 2009 Menu Reference Chart, 1181

Typing text and numbers, 951

Finale and Explorer, 1192

Utilities menu commands/misc., 963

Finale File Icons, 1200

View commands, 962

Finale Notation File, 454

FinaleScript commands, 949

FINALE.INI, 1099

Find Parallel Motion plug-in, 968

FinaleScript

Find Range plug-in, 969

Check box commands, 950

Clef tool commands, 963

Fingerboard diagrams see Fretboard

diagrams, 1546

Copy and paste document options, 961

Fingering numbers, 1530

Dialog Box commands, 950

see Articulations, 1377

Document options handling, 959

Fingerings, 1377

Edit menu commands, 964

FINMIDI.INI, 1099

Expect command, 951

First and second endings, 1531, 1792

File menu commands, 965

Fit Music dialog, 279

Font commands, 967

Fit to Time dialog box, 281

General commands, 959

Fixed Size, 608

Helpers, 958

Fixed Split dialog box, 282

Keyboard shortcuts, 956

Fixed Split Point dialog, 284

1932

Flags, 1533
Adjusting the placement of Horizontal
and Angled Straight Flags, 1534
Changing the character assignment for a
flag, 1533
Maestro Font, 1323
Using Straight Flags, 1533

Forced accidentals see Courtesy

accidentals, 1468
Forced key and time signatures
see Courtesy key signatures, 1470
see Courtesy time signatures, 1472
Formatting
see Measure layout, 1645

Flat Beams (Remove) plug-in, 970

see Music Spacing, 1688, 1831

Flat Beams plug-in, 970

see Page layout, 1711

Flats

Forward Repeat, 542

see Accidentals, 1372

Frame Attributes dialog box, 289

see Key signatures, 1599

French Horn, 664

Flutter-tongue, 1535
Font Annotation, 1536

Frequency Modulation Chord Generator

plug-in, 971

Fonts

Fret numbers, 1865

ATM, 1537

Fretboard, 103, 292, 294, 296, 298, 300,

302, 547

Change Fonts plug-in, 909

Fretboard diagrams, 1546, 1801

Alternative music fonts, 1100

Changing every occurrence of a font to a

different size, 1539

Creating or showing fretboard diagrams

globally, 1546

Changing every occurrence of one font to

another, 1538

Custom fretboard diagrams, 1546

Changing music fonts, 1538

Moving the fretboard diagrams up or

down, 1547

Changing the music font of noteheads on

a staff by staff basis, 1539

Regional Fretboard Styles or capo

settings, 1547

Cross-platform compatibility, 1540

Removing all fretboard diagrams, 1546

Default Fonts library, 1204

Show or hide fretboards for a region,

1546

Double whole notes, 1505

Eliminating dimmed font names from a
documents font lists, 1539
Engraver Font, 1130

Showing and hiding fretboards on

individual chords (Manual Input), 1546
Fretboard Editor dialog box, 292

Flags, 1533

Fretboard Instrument Definition dialog box,

294

Globally changing a musical elements

font, 1537

Fretboard Selection dialog box, 296

Identifying font types, 1537

Fretboard Shape Selection dialog box, 298

Jazz Default Fonts library, 1204

Fretboard Style Fonts & Shapes dialog

box, 300

Jazz Text Font, 1261

Fretboard Styles dialog box, 302

Maestro Font, 1321

PostScript, 1537

Fretboards, 78, 104, 292, 294, 296, 298,

302, 547, 559

Shape Note music, 1800

FTM, 1032

TrueType, 1537

Fugues, 1548

Unknown Font dialog box, 738

Full Measure dialog box, 304

Where are the fonts installed?, 1537

Full scores

1933

see Extracting parts, 1525

see Optimizing systems, 1707
see Tiling pages for printing, 1886
G

Adding a slash to beamed grace notes,

1556
Adding or removing the slashes from
grace notes globally, 1556
Adding or removing the slashes from
individual grace notes, 1556

G clef see Clefs, 1437

Beam grace notes, 1556

G.P. see Grand Pause, 1558

Changing the size of grace notes, 1556

G_Pitch Wheel, 1033

Creating a grace note, 1556

G_Simple_Entry_Caret, 1034

Creating a graphic only, 1557

Garritan Instrument Setup

Eliminating grace notes from a

transcription, 1557

For new scores, 1549

Garritan Personal Orchestra Finale Edition
Auto Load message, 1551
GPO Finale Edition Instrument Details,
1241
Plr# vs. Solo Instruments, 1551
To add Keyswitches as Expressions,
1551
To load a GPO Instrument into the
Kontakt Player for Finale, 1550
To use a metronome click with Native
Instruments AU, 1765

Maestro Font, 1321

Slash Flagged Grace Notes (Remove)
plug-in, 1010
Slash Flagged Grace Notes plug-in, 1010
Grand Pause, 1558
Forcing a break in a multimeasure rest,
1558
Moving or deleting the G.P. marking,
1558
To create a G.P. marking, 1558
Graphic Attributes dialog box, 305

General MIDI, 476, 1235, 1236, 1553

Graphic Backward Repeats, 542

General MIDI Patch Set Groupings, 1235

Graphics, 98, 250, 454, 598, 762, 827,

1559

General MIDI Percussion Map Table, 1236

General MIDI Table, 1238
Glissando, 1554
Glissando Placement dialog box, 617
Glissandos, 1554

Assigning a graphic to a measure, 1561

Assigning a graphic to one or more
pages, 1561
Exporting a selected region of music as a
graphic (Page View), 1559

Changing which glissando is assigned to

the palette icon, 1554

Exporting full pages of music as graphics

(Page View), 1559

Creating a glissando, 1554

Graphics menu, 827

Creating a playback glissando, 1555

Placing graphics into the score, 1560

Defining Glissando Placement settings,

1554

Placing graphics into the Shape

Designer, 1560

Moving, reshaping, or deleting a Smart

Shape glissando, 1554

Positioning measure-assigned graphics,

1563

Smart Playback plug-in, 1015

Positioning page-assigned graphics,

1562

GPO
see Garritan Personal Orchestra Finale
Edition, 1549
Grace Note, 161, 432, 793
Grace notes, 1556

Positioning page-assigned graphics on

left- and right-facing pages, 1563
Positioning placed graphics on-screen,
1562
Printing with imported EPS files, 1513
1934

Scaling a placed graphic proportionally,

1561

Repositioning group names (individually),

1567

Shape Designer, 1798

Setting the initial font for group names,

1567

Graphics - Opening, 454, 598

Graphics - Opening & Display, 762

Group Style Definition dialog box, 975

Graphics - Positioning & Display, 305, 827

Groups, 1569, 1836

Graphics - saving, 250

Adding staves to a group, 1569, 1836

Graphics - scaling, 305, 762

Barlines, 1390

Graphics - usage, 98

Brackets, 1416

Graphics menu, 827

Changing the attributes of a group, 1569,

1836

Gregorian chant
see Staff lines, 1839
see Note shapes, 1702
Gregorian chant see Medieval plug-in,
1100
Grid, 557
Grid and guides
Grid/Guide Options dialog box, 134, 1491
Setting up a grid, 1826
Setting up guides, 1826
Show (Hide) Grid, 857
Show (Hide) Guides, 857
Snapping items to a grid or guide, 1826

Group names, 1566

Grouping staves, 1569, 1836
Measures see Measure layout, 1645
Removing a group, 1569, 1836
Removing staves from a group, 1570,
1837
Gruppettos see Mordents, 1677
Guide Items, 375
Guide Placement, 544
Guitar, 313, 688
Guitar Bend Options, 313
Guitar bends, 1571

Snapping to grids and guides, 1826

Guitar charts see Fretboard diagrams,

1546

Turning on display of grids and guides,

1826

Guitar markings, 1251, 1573, 1865

Turning on snapping of grids and guides,

1826

Guitar parts, 1577

see Fretboard diagrams, 1546

Grid Items, 374

see Slashes, 1801

Gridline, 557

Tablature, 1865

Grids and Guides

To create a guide, 1912

Guitar slashes
see Slashes, 1801

To show the grid, 1912

H

To snap to grids and guides, 1912

Using Grids and Guides, 1912
Group Attributes dialog box, 310
Group names, 1566
Change Fonts plug-in, 909
Changing the font for group names
(globally), 909
Creating or editing a group name, 1566

Hairpins see Crescendo/Decrescendo,

1481
Half notes see Note values (durations),
1706
Half rests
see Rests-Simple Entry, 1776
see Rests-Speedy Entry, 1777

Hiding a group name (full score), 1568

Half stems, 1402

Positioning group names (globally), 1566

Half-stems
1935

Over Rests, 1402

Halving note values

Holds see Fermatas, 1527

Human Playback, 1587

see Diminution, 1497

Apply Human Playback plug-in, 896

see Rhythmic Subdivisions, 1004

GPO and Human Playback, 1587

Hand Grabber, 763

GPO Keyswitch Triggers, 1249

Hand Width Split, 315

Human Playback Dictionary, 1258

Handbells

Instrument Techniques and Effects

Create Handbells Used Chart plug-in,

934
Handle Positioning dialog box, 316

Technique Types per Instrument, 336

Types of Actions, 335
Technique Types per Instrument

Handles see Staff handles, 1838

Brass techniques, 338

Hard space see Creating invisible syllables

when typing lyrics, 1654

Harp techniques, 339

Harmonic, 1377
Harmonics, 1579
Maestro Font, 1332
Harp pedal diagrams, 1580
Harp Pedaling, 1545

String techniques, 337

Sustaining instruments, 337
Timpani techniques, 339
Woodwind techniques, 338
Working with Instrument Techniques and
Effects, 331

Hash marks, 1801

Human Playback Custom Style, 317

Headless notes, 1581

Hymns, 1589

Removing all noteheads, 1581

Removing all noteheads in a region,
1581
Removing the head of a single note,
1581
Help, 828
Troubleshooting, 1357
Help Menu, 828
Hiding key signatures, 1582
Hiding notes and rests, 1583

Creating variable-distance systems, 1589

HyperScribe, 284, 351, 352, 407, 432, 481,
523, 690, 692, 768, 829
Recording with HyperScribe, 1763
HyperScribe Menu, 829
HyperScribe Options, 352
HyperScribe Tool, 768
Hyphens, 1590
Preventing a hyphen from ending a
syllable, 1590

Hiding a note or rest, 1583

Notes and Rests (Hide) plug-in, 990
Notes and Rests (Show) plug-in, 990
Hiding staves, 1584

I
Implode Music, 354

Hiding staves for editing (Scroll View

only), 1584

Imploding music, 1591

Hiding staves for ossia measures or

special playback, 1584

Import From OpenMusic plug-in, 1002

Hiding staves for printing, 1584

Playing back only selected staves, 1746

Import Score Files - Options dialog box,

359

Showing hidden staves, 1585

Import Score Files - Order dialog box, 360

Hiding time signatures, 1586

Hold Margins, 553

Import, 275, 282

Import MIDI File Options dialog box, 356

Importing, 1592
Encore Files, 1128
1936

Import MIDI File Options dialog box, 356

see Swing, 1857

Importing a MIDI file, 1670

Jazz Clefs library, 1204

Importing text, 1592

Jazz Default Fonts library, 1204

MIDISCAN or SmartScore files, 1592

Jazz Font, 1032

Articulation Library, 1217

Score Files, 1787

Indenting systems see SystemsTo indent
or move a system, 1862

Document Options Library, 1217

Inner voices see Multiple voices, 1685

Measure Rest Library, 1218

Insert, 822

Rehearsal Letters Library, 1222

Insert Staff Systems dialog box, 362

Spacing Widths library, 1221

Inserting

Dynamics Library, 1204

Text Repeats Library, 1223

Blank measure see Measures, 1650

Jazz Page Format library, 1218

Inserting music into an existing score see

Copying music, 1452

Jazz scores

Lyrics see Lyrics, 1630

Inside Slurs, 49
Instrument Definition dialog box, 363
Instrument doubling, 1901
Instrument List, 367

slashes-with-cues drum notation, 1733

Jazz Staff Styles library, 1218
Jazz Stem Connections library, 1218
Jazz Tempos library, 1218
Jazz Text Font, 1261

Instrument lists, 1597, 1918

Assigning staves to MIDI channels, 1597,
1918
Loading an Instrument Library, 1597,
1918
Instrument names see Staff names, 1840
Instrument Techniques and Effects, 1587
Instrument transpositions see Transposing
instruments, 1901
Instrument.txt, 1110
International keyboards, 1114
Internet, 1598
Interval, 373

K
Key changes see Key signatures, 1599
Key pressure
see Channel Pressure, 1422
see Continuous data, 1450
Key Signature Attributes dialog box, 641
Key Signature Tool, 1599
Key Signatures, 164, 376, 378, 397, 447,
560, 681, 764, 1033, 1599
Breaking an individual tie at a time or key
signature change, 1884
Breaking ties across time and key
signature changes globally, 1884

Inversion
Canonic Utilities plug-in, 904
Invisible rests
see Hiding notes and rests, 1583
see Whole rests, 1916
Invisible syllables see Creating invisible
syllables when typing lyrics, 1654
J
Jazz, 1032

Breaking ties in a region at time or key

signature changes, 1884
Changing the key, 1599
Courtesy key signatures, 1470
Forcing the display of the key signature
in a measure, 1470
Hiding key signatures, 1582
Key Signature Tool, 1599
Minor keys, 1674
Multiple key signatures, 1681

see Chord symbols, 1425

1937

Neutral key, 1695

see Titles, 1890

Nonstandard key signatures, 1696

Key Signatures - Nonstandard, 12, 14,
378, 447, 641, 714

Ledger lines, 1605

Ledger Lines (Hide) plug-in, 979
Ledger Lines (Show) plug-in, 979

Key Velocities, 20, 33, 384, 565, 591, 1032

Ledger Lines (Hide) plug-in, 979

Key velocity, 1600

Ledger Lines (Show) plug-in, 979

Affecting key velocity with Text

Expressions or Shape Expressions,
1481, 1509

Left Barlines, 397, 1606

Auto-Dynamic Placement plug-in, 897

Legal-size paper, 1607

Copying or erasing key velocity data,

1667

Legati, 1377

Editing key velocity with the MIDI Tool,

1600

Lesson File, 454

Recording key velocity information, 1601

Limit - Tempo, 386

Keyboard Shortcuts, 213, 860

Keyswitches
To add Keyswitches as Expressions,
1551
Kodly Stick Notation and Solfge, 1602

Creating a double left barline, 1606

Legato, 1377, 1848

Libraries, 1204
Limiting MIDI data, 1608
see Continuous Data, 1450
Line breaks see System (line) Breaks,
1861
Line Spacing dialog box, 387
Line Thickness, 388

Linear Key Format, 14

Landscape Orientation, 1032, 1603, 1749

Lines, 168, 388, 614, 798

Laptop, 879

Lines - dashed, 135

Last Recorded Tempo dialog box, 1891

Linked Parts

Latency, 1362

Articulations, 1613

Latinin Percussion plug-in, 977

Baseline Positioning, 1627

Launch Window, 381

Baseline context menus, 1627

Layers, 166, 1032

in a part, 1627

Entering multiple voices using layers,

1685

in the score, 1627

Chords, fretboards, and lyrics, 1622

Fixing overlapping noteheads in different

layers, 1640

Clefs, 1623

Moving music from one layer to another,

1686

Creating linked parts, 1611

Layers - moving, 235, 435

Layout
Measures see Measure layout, 1645
Pages see Page layout, 1711
Lead sheets, 1604
see Chord symbols, 1425
see Lyrics, 1630
see Measures per line, 1653

Context menus, 1610

Divisi, 1721
Groups, 1622
Lead sheets, 1623
Linking Details for Linked Parts, 1308
Measure expressions
Repositioning measure expressions,
1613
Show/hide setting for measure
expressions, 1613

1938

Measure Numbers, 1624

Tuplets, 1618

Measure-attached graphics, 1618

Listen dialog box, 389

Measure-attached text, 1614

Listen to Tempo dialog box, 390

Multimeasure Rests, 1626

Lock, 279

Music Spacing, 1626

Locks, 857

Navigating, 1611

Locks see Show Page Layout icons, 857

Note Expressions, 1612

Override key, 1610

Looping see Repeats (barlines and text

indications), 1774

Page Attached Ossia measures, 1625

Lowest Fret, 391

Page layout, 1625

LSN, 454

Page-attached graphics, 1616

Luftpause see Breath marks, 1419

Multiple page-attached graphics, 1618

Page-attached text, 1614
Multiple-page-attached text blocks,
1616
Single-page-attached text blocks, 1615
Part Names, 1628

Lyrics, 27, 117, 217, 529, 603, 643, 766,

830, 1630
Adjusting the position of word extension
underlines, 1638
Auto Slur Melismas plug-in, 899
Change Fonts plug-in, 909

Part Voicing, 1721

Changing alignment and justification of

syllables for individual notes, 1636

Printing linked parts, 1628

Changing fonts within a lyric, 1634

Relinking part items to the score, 1628

Choral music, 1424

Repeats, 1620

Clear Lyric Positioning, 923

Repositioning ending brackets, 1621

Copying lyrics, 1636

Repositioning text repeats, 1621

Copying lyrics with cloning, 1636

Show/hide setting for text repeats and

ending brackets, 1622

Correcting misaligned lyrics, 1633

Smart Shapes, 1619

Correcting overlapping lyrics, 1633

Measure-attached smart shapes, 1620

Creating invisible syllables when typing

lyrics, 1654

Note and Notehead-attached Smart

Shapes, 1619

Drawing a word extension underline,

1637

Special mouse clicks and keyboard

shortcuts, 1610
Staff Attributes, 1622
Staff Lists, 1624
Staff Styles, 1622
Tacit, 1629
Time Signatures, 1628
To apply page layout settings to multiple
parts, 1625

Editing lyrics already in the score, 1632

Erasing lyrics, 1635
Exporting to text file, 946
Hymns, 1589
Hyphens, 1590
Lyrics menu, 830
Melisma, 1654
Moving or deleting a syllable, 1635

To display a staff differently in one part

than another, 1846

Placing lyrics into the score (click

assignment), 1632

To hide an item in the score (and leave it

showing in parts), 1611

Preparing lyrics in a separate window,

1631

To reposition an item in the score without

moving it in parts, 1612

Setting alignment and justification of

syllables globally, 1636
1939

Setting the baseline (vertical position) for

lyrics graphically, 1635
Setting the baseline (vertical position) for
lyrics numerically, 1634

Major keys see Key signatures, 1599

Major seconds (in different voices and
layers), 1640
Make Horizontal, 614

Setting the font for lyrics globally, 1634

Manage Parts dialog box, 392

Shifting lyrics to the right or left, 1654

Manuscript paper, 1641

To add word extensions on specific

syllables only, 1638

Marching Percussion Map Table, 1318

Typing lyrics directly into the score, 1630

Vocal music, 1913
Word extensions, 1637
Lyrics - adding, 117, 217, 830
M

Margins, 1642
Changing default page margins, 1642
Changing page margins, 1642
System see Systems, 1862
Mark, 537
Markings, 40, 49, 54, 75, 87, 252, 254,
256, 316, 559, 651, 696, 753, 759

MacSymbolFonts.txt, 1112

Mart, 1377

Maestro Font, 1321

Martelate, 1377

Accent, 1333

Martellato, 1377

Accidentals, 1324

Masks, 1643

Alternate Notation, 1330

Masking a portion of a staff, 1643

Articulations, 1327

Moving, reshaping, or deleting a Shape

Expression mask, 1643

Augmentation Dot, 1321

Barlines, 1331
Chord Symbols, 1332
Clefs, 1330
Closed Parenthesis, 1333
Dot, 1333
Dynamics, 1326
Equal Sign, 1333
Flags, 1323
Harmonics, 1332
Multimeasure Rest numbers, 1331
Noteheads, 1322
Notes, 1321
Percussion Notation, 1332
Repeats, 1330
Rests, 1325
Smart Shapes, 1329

Measure Attributes, 397

Measure Expressions and Staff Lists, 1181
Measure grouping, 279
Measure Items, 204
Measure Layout, 1645
Creating a system break, 1646
Forcing selected measures into one
system, 1645
Moving a measure to the previous (or
next) system, 1645
Removing measure groups for individual
systems, 1646
Removing measure groups through the
end of the piece, 1646
Specifying a number of measures per
system, 1653
Splitting a measure across a line break,
1651

Staves, 1331

Measure Menu, 831

Time Signature numbers, 1331

Measure Number Style, 403

Main Tool Palette, 753, 755, 757, 759,

764, 766, 768, 769, 773, 775, 776, 777,
779, 781, 784, 793, 798, 804, 806, 809,
810, 812, 815

Measure Numbers, 231, 400, 498, 769,

1647

1940

Adding a measure number to an existing

region, 1648

Measures - alternate display, 37

Creating measure numbers, 1647

Measures - mirrored (or copies), 423, 580

Easy Measure Numbers plug-in, 943

Measures - moving layers, 235, 435

Moving a measure number, 1648

Measures per line, 1653

Measures - information about, 209

Removing measure numbers from a

single staff, 1648

Removing measure groups from a

selected region, 1653

Reshaping or removing a measure

numbers enclosure, 1648

Removing measure groups from the

current page to the end, 1653

Measure repeat signs, 1649

Maestro Font, 1330
Number Repeated Measures plug-in, 991
Measure Tool, 769
Measure Widths, 21
Measurement Units
Equivalents, 1174
Measures, 397, 702, 769, 831, 1650
Adding blank measures at the end of the
document, 1650
Adjusting measure widths in a system,
1651
Arranging measures on a page, 1645

Specifying a number of measures per

line (within a region), 1653
Medieval music, 1100
Melisma, 1654
Creating invisible syllables when typing
lyrics, 1654
Drawing a word extension underline,
1637
see Slurs, 1802
see Vocal music, 1913
Shifting lyrics to the right or left, 1633
Melismas
Auto Slur Melismas plug-in, 899

Beat positions, 1406

Melismatic, 529

Cadenzas, 1420

Melodic Morphing plug-in, 980

Changing one measures width, 1650

Mensurstriche, 975

Changing the widths of many measures,

1651

Menu Shortcuts plug-in, 985

Deleting a measure from a single staff,

1650

Merging music, 1591

Double barlines, 1504

Erasing or removing measures, 1650
Final barline, 1529
Inserting blank measures within a
document, 1650

Merge Measures Plug-in, 981

Merging scores, 570
Metatool, 1032
Metatools, 1639, 1655
Apply Beat Spacing, 1658
Apply Note Spacing, 1658

Measure numbers, 1647

Articulations, 1377

Measure Tool, 769

Chord symbols, 1433

Measures per line, 1653

Clefs, 1437

Pickup measures, 1738

Elapsed Time, 1658

see Measure layout, 1645

Explode Music, 1658

Specifying minimum or maximum

measure widths, 1651

Expressions, 1523

Splitting a measure across a line break,

1651

Staff styles, 807

System (line) break, 1861

Implode Music, 1657

Transpose, 1658
Meters see Time signatures, 1888
1941

Metronome markings, 1660

Creating a metronome marking, 1660
Creating complex metronome markings,
1662
Defining for playback, 1662
Moving or deleting the marking, 1662
Metronome Sound, 115, 481
MiBAC Jazz Rhythm Section Generator
plug-in, 982
MicNotator, 58, 1664
Setup, 1664
Microphone, see MicNotator, 1664
Microtonal tunings see Nonstandard key
signatures, 1696
MIDI, 115, 219, 248, 355, 367, 773, 832,
833, 1667
Assigning a staff to more than one MIDI
channel, 1668

To specify the MIDI device, 1668

Volume, 1914
MIDI - editing, 19, 20, 22, 29, 33, 383, 384,
385, 418, 471, 472, 474, 525, 526, 563,
565, 566, 590, 591, 592, 740
MIDI - playback, 115, 367, 414, 475, 526,
582
MIDI - setup, 115, 411, 820, 832
MIDI Channels for Tablature dialog box,
687
MIDI Event, 407
MIDI files, 1670
Exporting a MIDI file of the entire
document, 1670
Import MIDI File Options dialog box, 356
Importing a MIDI file, 1670
Percussion, 1735

Backbeats, 1388

MIDI Files - saving and transcribing, 248,

355, 408, 825

Changing a MIDI channel in mid-staff,

1668

MIDI Files - transcribing, 275, 282, 315,

355, 356, 444, 680, 716, 719

Channel Pressure, 1422

MIDI In, 411

Continuous data, 1450

MIDI Input Filter, 409

Copying or erasing captured (or edited)

MIDI data, 1667

MIDI Instrument lists, 1597, 1918

Correcting erratic MIDI playback, 1746

MIDI Menu, 832

Creating swing playback, 1858

MIDI Note to Pitch Table, 1334

Downbeats, 1506

MIDI Out, 412

FINMIDI.INI, 1099

MIDI Setup, 411

Import MIDI File Options dialog box, 356

MIDI Sync, 1672

Key velocity, 1600

Limiting MIDI data, 1608
MIDI files, 1670
MIDI Sync, 1672
MIDI Terminology, 1336
MIDI Tool Menu, 833
More on MIDI, 1340
Moving or deleting the channel-change
expression, 1668
Patches, 1723
Pedal markings, 1726
Pitch wheel, 1739
Sending an, 1668
Start and Stop Times, 1847

MIDI lock see MIDI, 1667

Receiving MIDI Sync data while playing

back a Finale score, 1672
Transmitting MIDI Sync data while
playing back a Finale document, 1672
Transmitting MIDI Sync data while
recording in the Transcription Mode,
1672
Transmitting Song Pointer data during
playback, 1673
Using the MIDI Sync signal to provide
the, 1673
MIDI Terminology, 1336
Finale Instruments and Channels, 1337
Input Device and Output Device, 1338
MIDI channels, 1337
1942

MIDI Channels and Patches, 1337

Mordents, 1677

MIDI Interface, 1336

More on MIDI, 1340

MIDI Setup, 1336

More Quantization Settings, 431

MIDI System, 1336

More Settings dialog box, 429

Sequencing, 1336

Motif see Mirroring, 1675

MIDI Thru, 414

Move Groups dialog box, 434

MIDI Thru Table, 416

Move Rests plug-in, 989

MIDI Tool, 19, 20, 22, 29, 33, 221, 383,

384, 418, 471, 472, 474, 525, 526, 563,
565, 566, 588, 590, 591, 592, 740, 773

Movie Window, 437

Legato, 1848
MIDI Tool Menu, 833
MIDI Tool split window, 418
MIDIScan, 1784
Midline Stem Direction plug-in, 987
Mid-Measure Clef, 405
Mid-measure Clef dialog, 757
Mid-Measure Repeats plug-in, 986
Minor keys, 1674
Establishing a minor key system, 1674
Mirror Attributes, 423
Mirror Attributes dialog, 65
Mirrored measures, 423, 580, 710, 775
Mirroring

Moving measures across systems, 1645

Moving Split, 438
Moving Split Point dialog box, 1763
MP3 files
see Audio Files, 1385
MTC
see SMPTE and MIDI Time Code, 1825
Multiline shape, 600
Multimeasure Rest dialog box, 440
Multimeasure rests, 265, 900, 1678
Breaking a multimeasure rest, 1679
Creating a multimeasure rest, 1679
Displaying a measure number range for a
multimeasure rest., 1680
Displaying symbols for multimeasure
rests, 1678

Creating a composite mirror, 1675

Editing the appearance of a

multimeasure rest, 1680

Creating a mirror (intelligent copy), 1675

Jazz Measure Rests library, 1204

Entering multiple voices using layers,

1685

Maestro Font, 1331

Entering multiple voices using V1/V2,

1686

Multimeasure rests, 1678

Fugues, 1548

Setting up the appearance of

multimeasure rests, 1678

Converting mirrored measures into, 1675

Measure Rest Library, 1204

Multimeasure rests in Linked Parts, 1626

Identifying mirrored measures in the

score, 1675

Multiple Endings, 1682

Multiple voices, 1685

Multiple key signatures, 1681

Rebeaming or editing an existing mirror,

1676

Multiple measure rests see Multimeasure

rests, 900

Mirrors, 483
Mixer

Multiple meters see Multiple time

signatures, 1684

Special mouse clicks, 426

Multiple Passes, 442

To use real-time mixer controls, 1745

Multiple Splits, 444

Modify Rests plug-in, 988

Multiple time signatures, 1684

Mordent, 1377

Multiple voices, 1685

1943

MUS, 1033
Music - altering entry items while copying,
233

Nested repeats see Repeats (barlines and

text indications), 1774
Nested tuplets see Tuplets, 1757, 1906

Music - exploding (copying) into other

staves, 246

Neutral key, 1695

Music - formatting, 31, 460, 462, 534, 578

Nonlinear key signatures see Nonstandard

key signatures, 1696

Music - imploding (merging) into one staff,

354
Music input

New Staves, 446

Non-Standard, 1033
Nonstandard key signatures, 1696

see Importing-Importing a MIDI file, 1670

see Recording with HyperScribe, 1763
see Transcribing a sequence, 1891
Music Spacing, 66, 174, 200

Creating nonstandard key signatures,

1696
Notation - editing, 460, 462, 802
Notational Defaults, 1225

Automatic Music Spacing, 507

Note bracket, 1415

Creating a new Music Spacing library

from scratch, 1690, 1833

Note Durations, 22, 29, 385, 526, 566

Editing an existing Music Spacing library,

1690, 1833
Fixing overlapping noteheads in different
layers, 1640
Jazz Spacing library, 1204
Libraries, 1204
Loading an Music Spacing library into an
open document, 1689, 1832
Music spacing in Linked Parts, 1626

Note durations see Note values

(durations), 1706
Note Expression Assignments, 87, 252
Note Expressions see Articulations, 1377
Note Mover, 836
Note Mover menu, 836
Note Mover Tool, 776
Note positioning, 1701
Note shapes, 1702

Reapplying music spacing over a region,

1689, 1832

Changing all notehead shapes of a

specified duration and pitch, 1702

Restoring a region to proportional

spacing, 1690, 1833

Changing the shape of a notehead, 1702

Saving your edited or newly created

Music Spacing library, 1691, 1834
Setting a minimum space between tied
notes, 1885
Specifying minimum or maximum
measure widths, 1651
Turning off Automatic Music Spacing,
1689, 1832
Mutes, 1692

Copying individual notehead changes to

other measures, 1702
Shape Note music, 1800
Note Shapes dialog box, 452
Note Size, 86, 1704
Reducing or enlarging selected notes (or
noteheads), 1704
Reducing or enlarging the notes (but
retain staff size), 1704
Restoring a region of modified notes to
their original size, 1704

N
Nashville, 755
Naturals
see Accidentals, 1372
see Key signatures, 1599
Navigating Linked Parts, 1611

Note values (durations), 1706

Augmentation, 1387
Diminution, 1497
Maestro Font, 1321
Notehead, 89, 549
Notehead Settings, 450
1944

Noteheads, 89, 802, 1705

Engraver Font, 1130
Invisible see Headless notes, 1581

Creating a floating (ossia) measure, 1709

Moving, editing, or deleting a floating
measure, 1710

Maestro Font, 1322

Ossia measure, 777

Removing all noteheads in a region,

1581

Ossia Measure Designer, 68

Shapes see Note shapes, 1702

Ossia Tool, 68, 777

Ossia Measures, 396, 457, 459, 777

Ottava (8va) see 8va/8vb, 1369, 1511

Notes
Maestro Font, 1321
Notes - changing, 35, 572

Ottava Bassa (8vb) see 8va/8vb, 1369,

1511

Notes - different shapes, 89

P

Notes - entering see HyperScribe, 1763

Notes - resizing, 86, 548, 549

Page Assignment, 459

Notes - selecting durations, 84, 585

Page Format, 460, 462

Notes and Rests (Hide) plug-in, 990

Page Format Library, 1204

Notes and Rests (Show) plug-in, 990

Page Layout, 31, 137, 279, 361, 460, 462,

533, 550, 578, 637, 779, 857, 1711

Number Repeated Measures plug-in, 991

O
Offbeats see Backbeats, 1388
One-Bar Repeat, 37
Opaque see Masks, 1643
Open Symbols
Harmonics see Harmonics, 1579
see Articulations, 1377
Operas
see Lyrics, 1630

Applying a different page layout to

selected pages, 1713
Blank pages, 1408
Changing the default page layout (Page
Format for Score dialog box), 1713
Changing the distance between systems,
1711
Changing the page layout, 1712
Changing the page margins, 1712
Configuring Pagesizes.txt, 1113
Cutaway scores, 1493

see Optimizing systems, 1707

Distances, 1498

see Vocal musicTo beam according to

lyric syllables, 1913

Margins, 1642

in Linked Parts, 1625

Optimize Staff Systems, 536

Measure layout, 1645

Optimizing systems, 1707

Measures per line, 1653

Optimizing a single system, staff by staff,

1707

Optimizing systems, 1707

Optimizing all (or specified) systems,

1707

Page size, 1716

Removing staff optimization from all (or

specified) systems, 1707

Pickup measures, 1738

To remove staves from a single system,

1708

Page Layout menu, 838

Page turns, 1717
see Measure layout, 1645
see Systems, 1862

Orchestral reductions see Piano

reductions, 1737

Setting the page size, 1712

Ossia, 68, 396, 459, 777, 1709

Systems, 1862

System (line) break, 1861

1945

Title page, 1889

Patterson Beams plug-in, 993

Page Layout Menu, 838, 1711

PDF documents, 1374

Page Margins see Margins, 1642

Pedal markings, 1726

Page Number, 464

Page numbers, 1715
Adding a page number, 1715
Changing the page number offset, 1715
Moving or deleting a page number, 1715
Page Setup, 465
Page Size, 466, 1716
Changing the page size (Document
menu), 1713
Setting the page size for all pages, 1716
Page turns, 1717
Fitting an additional system onto one
page, 1717
Pushing a system onto the next page,
1717
Smart Page Turn plug-in, 1013
Page View, 1718
Parentheses, 1383, 1720

Creating playback pedaling using the

MIDI Tool, 1727
Drawing a pedal on/off diagram (Smart
Shape method), 1726
Engraver Font-Harp Pedaling, 1545
Harp pedal diagrams, 1580
Pedal markings, 1726
To create playback pedaling using the
MIDI Tool, 1727
Percent Alter, 471, 472, 474
Percent Alter - Tempo, 473
Percussion, 1218, 1729
Adjusting stem connections on
noteheads, 1732
Creating a percussion staff, 1730
Creating a percussion staff with a
customized percussion map, 1731
Entering percussion notes using Simple
and Speedy Entry, 1733

Add or remove parentheses around an

accidental (Speedy Entry), 1720

How to use Percussion Notation, 1730

Placing parentheses around a note or

rest, 1720

Loading a percussion library, 1730

Importing a MIDI file, 1735

Part extraction see Extracting parts, 1525

Maestro Font, 1332

Part names in linked parts, 1628

Marching Percussion Map Table, 1318

Part Voicing, 1721

Note Entry, 1729

Partial Measure Selection, 470

Percussion Library, 1729

Pasting

Percussion Maps, 1729

see Copying music, 1452

Percussion Tones, 1736

see Edit menu, 822

Saving a percussion library, 1730

Patch Changes, 586

To create slashes-with-cues drum

notation, 1733

Patches, 1723
Chasing patch changes before playback,
1724

Percussion clef see Percussion, 1729

Percussion Map, 475

Copying or erasing patch change data

created with the MIDI Tool, 1667

Percussion Map Designer, 475

Establishing the initial program settings

for each staff, 1723

Percussion Map Selection, 478

Setting up a patch change on playback,

1723
Setting up patch changes using the MIDI
Tool, 1724

Percussion Map Library, 1204

Petrucci Font
see also Fonts, 1537
Phrase markings see Slurs, 1802
Piano Braces, 70

1946

Piano music, 996, 1485

Tempo, 1869

Piano Reduction plug-in, 996

To use real-time mixer controls, 1745

Piano reductions, 1737

Using the Playback Controls, 1744

Creating a piano reduction for the entire

piece, 1737

Playback - swing, 29, 489, 588

Creating a piano reduction over a region,

1737

Playback and/or Click, 481

Piano Reduction plug-in, 996

see Imploding music, 1591
Pickup Measures, 480, 483, 775, 1738
Creating a pickup measure at the
beginning of a piece, 1738
Creating a pickup measure within a
piece, 1738

Playback (and MIDI Playback), 414

Playback Controls, 485, 809
Playback Data Dump, 487
Playback Settings dialog box, 491
Playback/Record Options, 489
Plr# v. Solo instruments (Garritan), 1551
Plug-in filenames, 1343
Plug-ins, 840

Pitch bends see Pitch wheel, 1739

Add Cue Notes plug-in, 893

Pitch wheel, 1739

Align/Move Dynamics plug-in, 894

Copying or erasing pitch wheel data,

1667

Auto Slur Melismas plug-in, 899

Creating a pitch bend (as an expression),

1740

Automatic Barlines plug-in, 900

Editing pitch wheel data, 1739

Pizzicato, 1742
Placeholder, 483
Plainchant
see BarlinesTo hide all barlines (nobarline music), 1390
see Melisma, 1654
see Stemless notes, 1852
Plainchant see Medieval plug-in, 1100
Playback, 115, 230, 236, 363, 367, 481,
485, 489, 560, 561, 582, 588, 694, 809,
846, 858, 1743

Auto-Dynamic Placement plug-in, 897

Band-in-a-Box Auto-Harmonizing plug-in,
901
Beam Over Barlines plug-in, 903
Canonic Utilities plug-in, 904
Cautionary Accidentals plug-in, 907
Change Fonts plug-in, 909
Change Noteheads plug-in, 910
Change to Default Whole Rests plug-in,
911
Change to Real Whole Rests plug-in, 912
Check Range plug-in, 913
Check Region for Durations plug-in, 915

Audio spot-checking music, 1748

Chord Analysis plug-in, 916

Correcting erratic MIDI playback, 1746

Chord Morphing plug-in, 917

Instrument lists, 1597, 1918

Chord Realization plug-in, 918

Making the music scroll during playback,

1748

Chord Reordering plug-in, 919

Mixer, 426

Classic Eighth Beams plug-in, 921

Playing back a score, 1744

Clear Lyric Positioning plug-in, 923

Playing back selected staves, 1746

Clear Measure # Positioning plug-in, 924

see MIDI, 1667

Command Line plug-in, 925

Sending an, 1746

Common Tone Transposition plug-in, 929

Specifying playback parameters, 1747

Composers Assistant plug-ins, 930

Staff Controls, 649

Count Items plug-in, 931

Chord Splitting plug-in, 920

1947

Create Coda System plug-in, 932

Smart Cue Notes plug-in, 1011

Create Handbells Used Chart plug-in,

934

Smart Page Turns plug-in, 1013

Create Tempo Marking plug-in, 936

Smart Split Point plug-in, 1017

Cross-staff plug-in, 938

Split Measure plug-in, 1019

Drum Groove plug-in, 940

Split Point plug-in, 1022

Easy Harmonics plug-in, 942

TGTools plug-ins, 844

Easy Measure Numbers plug-in, 943

Tie Common Notes plug-in, 1023

Easy Tremolos plug-in, 944

Update Group and Brackets plug-in,

1024

Extract Lyrics plug-in, 946

Smart Playback plug-in, 1015

FinaleScript plug-in, 947

Group Style Definition dialog box, 975

Find Parallel Motion plug-in, 968

Move Groups dialog box, 434

Find Range plug-in, 969

Position Groups dialog box, 496

Flat Beams (Remove) plug-in, 970

Flat Beams plug-in, 970
Frequency Modulation Chord Generator
plug-in, 971
Import from OpenMusic plug-in, 1002
Latin Percussion plug-in, 977

Update Groups and Brackets plug-in,

1024
Vertical Collision Remover plug-in, 1026
Virtual Fundamental Generator plug-in,
1029
Voice 2 to Layer plug-in, 1030

Ledger Lines (Hide) plug-in, 979

Plug-ins menu, 840

Ledger Lines (Show) plug-in, 979

Point Size, 608

Melodic Morphing plug-in, 1002

Polyphony see Multiple voices, 1685

Menu Shortcuts plug-in, 982

Port, 1336

Merge Measures plug-in, 981

Portrait orientation, 1603, 1749

Midline Stem Direction plug-in, 987

Position, 498

Mid-Measure Repeats plug-in, 986

Position Groups dialog box, 496

Modify Rests plug-in, 988

PostScript, 26, 124, 250, 762, 1537, 1750

Move Rests plug-in, 989

PostScript listing, 124

Notes and Rests (Hide) plug-in, 990

Preset Arrowhead Selection, 499

Notes and Rests (Show) plug-in, 990

Printing, 26, 125, 460, 465, 501, 825, 1751

Number Repeated Measures plug-in, 991

Batch Printing, 1394

Patterson Beams plug-in, 993

Booklets, 1409

Piano Reduction plug-in, 996

Process Extracted Parts plug-in, 997
Rhythm Generator plug-in, 1002
Rhythm Section Generator plug-in, 982
Rhythmic Subdivisions plug-in, 1004
Score System Divider plug-in, 1006
Single Pitch plug-in, 1009
Slash Flagged Grace Notes (Remove)
plug-in, 1010
Slash Flagged Grace Notes plug-in, 1010

To print in Booklet form using

FinaleScript, 1409
Landscape orientation, 1603, 1749
Legal-size paper, 1607
Portrait orientation, 1603, 1749
Printing a score, 1751
Printing large scores, 1751
Printing linked parts, 1628, 1751
Tiling pages for printing, 1886
Process Extracted Parts plug-in, 997
Program changes see Patches, 1723
1948

Program Options dialog box, 503

Rebarring music, 1768

Program Options-Display Colors, 505

Rebeam, 529, 530

Program Options-Edit, 507

Rebeaming, 530

Program Options-Folders, 510

Program Options-New, 512

see BeamingTo rebeam a selected

region, 1398

Program Options-Open, 514

Record Continuous Data, 531

Program Options-Palettes and

Backgrounds, 516

Recording with HyperScribe

Correcting split point errors, 1829

Program Options-Save, 518

HyperScribe menu, 829

Program Options-View, 520

HyperScribe Tool, 768

Program Preferences, 503

Quantization Settings Guide, 1347, 1753

Pull-offs, 1571

Recording into one or two staves, 1763

Punch In PreRoll, 522

see Transcribing a sequence, 1891

Punch in/Punch out, 1752

Split points, 1829

Swing, 1857

Q
Quantization Settings, 523
Quantization Settings Guide, 1347, 1753
Quarter notes see Note values, 1706
Quarter-tone scales, 1699
QuickTime
Percussion Tones, 1736

Using multitrack recording, 1764

Redefine Pages, 533
Redefine Selected Pages, 534
Redo
Allowing undo actions previous to saving
a file, 1911
Re-applying changes to your score using
redo, 1911

Quindicesima (15ma) see 8va/8vb, 1369,

1511

Redoing a series of changes up to a

specified point, 1911

Quintuplets

see Undo, 1911

see also Tuplets, 1757, 1906

R
Railroad tracks
see Articulations, 1377
see Cesuras, 1421
Rallentando, 236, 1760
Defining for playback, 1760
Moving or deleting a Rall. marking, 1760
Randomize, 525, 526
Randomize Note Durations, 526
Real-Time Entry
see HyperScribe Tool, 768
see Transcription Mode, 1897
Rebar Options, 527
Rebarring, 527

Redraw, 1769
Moving the screen picture diagonally,
1769
Reducing/Enlarging, 1770
Cue notes, 1488
Piano reductions, 1737
Preventing certain items from shrinking,
1771
Reducing or enlarging a staff or system,
1770
Reducing or enlarging all the music on a
page (or the entire piece), 1770
Reducing or enlarging cue notes, 1488
Reducing or enlarging individual notes,
1704
Resize Tool, 784
Rehearsal letters
Creating a rehearsal letter, 1772
1949

Jazz Rehearsal Letters library, 1204

Moving or deleting a rehearsal letter,
1773

Moving, hiding or deleting a text repeat,

1532, 1793
Multiple Endings, 1682

Rehearsal marks see Rehearsal letters,

1772

Repeats (barlines and text indications),

1774

Rehearsal piano parts see Piano

reductions, 1737

To adjust the brackets on a repeat

barline, 1531, 1792

Releases

To change a backward repeats playback

definition, 1532, 1793

Recording with HyperScribe, 1763

see Articulations, 1377
see Rolled chords, 1781
see Start and Stop Times, 1847

To create a repeat with first and second

endings, 1531, 1792
To create multiple endings, 1682

Relink In All Parts, 1610

To create multiple passes for a repeat

ending, 1682

Relink To Score, 1610

To delete a repeat barline, 1774

Remove Empty Staves, 536

To place a basic repeat in your score,

1774

Repeat, 698
Repeat Assignment, 698
Repeat barline, 61, 542, 781
Repeat Designer, 537
Repeat dots, 655

To place a text repeat in your score,

1775
Replace, 572, 776
Reposition Guide, 544

Repeat marking, 537, 543, 698

Resize Fretboards, 547

Repeat measure symbols see Measure

repeat signs, 1649

Resize Notehead, 549

Resize Noteheads plug-in, 1000

Repeat Menu, 781, 845

Resize Notes, 86, 548

Repeat Selection, 542

Resize Staff, 552

Repeats, 61, 128, 537, 542, 560, 698, 781

Resize Staff System, 553

Repeats (barlines and text indications)

Resize Tool, 548, 549, 550, 552, 553, 784

Breaking a repeat barline that connects

staves, 1774
Changing the default bracket height for
repeats (and set the number font), 1531,
1792
Coda, 1444
D.C., 1496

Resize Vertical Space, 553

Resizing, 548, 549, 550, 552, 553, 742,
752, 784
Respace Staves, 555
Respell Notes, 855
Rests, 793, 804

D.S., 1507

Change to Default Whole Rests plug-in,

911

D.S. al Coda, 1507

Change to Real Whole Rests plug-in, 912

First endings, 1531, 1792

Hiding default rests, 1641

Hiding the ending brackets and text

repeats for a specified staff, 1532, 1793

Maestro Font, 1325

Jazz Text Repeats library, 1204

Maestro Font, 1330
Measure repeat signs, 1649
Mid-measure Repeats plug-in, 986

Move Rests plug-in, 989

Simple Entry, 1776
Adding a rest, 1776
Changing a note to a rest, 1776
Changing a rest to a note, 1776
1950

Changing a rests duration, 1776

Save As Audio File, 558

Moving a rest vertically, 1776

Save Library, 559

Speedy Entry, 1777

Adding a rest, 1777
Changing a rest to a note, 1778

Save Tempo Changes, 561

Saving
Backup files, 503

Changing a rests duration, 1778

Scale, 563, 566

Changing a single note to a rest, 1778

Scale Fonts, 569

Moving a rest vertically or horizontally,

1777

Scale Key Velocities, 565

To fill measures with rests, 1916

Scale Note Durations, 566

Scale Tempo, 567

Retranscription, 1779

Scale View, 752

Retrograde

Scaling, 742, 752

Canonic Utilities plug-in, 904

Reverse stems, 1780
Creating a reverse stem, 1780
Temporarily displaying reverse-stemmed
notes with normal stems, 1780

Scanning, 1784
Choosing the best scanner for
SmartScore, 1784
Importing scanned TIFF files, 1786

Rhapsody files, 1592

Scanning and importing sheet music,

1785

Rhythm Generator plug-in, 1002

SmartScore Lite dialog box, 630

Rhythm Section Generator, 982

Using your scanner's software to scan

sheet music for Finale import, 1785

Rhythmic Notation, 37, 1801

see Guitar parts, 1577

Score, 825

Rhythmic Subdivisions plug-in, 1004

Score Conversion, 1787

Rhythmic values see Note values

(durations), 1706

Score System Divider, 1006

Ritards see Rallentando, 1760

Screen Display, 857

Rolled 8ths see Swing Playback, 1858

Screen redraw see Redraw, 1769

Rolled chords, 1781

Script Editor dialog box, 276

Adjusting, moving, or deleting the rolled

chord marking, 1781
Copying rolled chord markings (and other
articulations), 1377
Creating the rolled chord marking, 1781
Defining for playback, 1781

ScoreMerger, 101, 365, 570

Scroll View, 1790

Scrubbing Playback see To "Audio spotcheck" music, 1748
Search, 572, 776
Search and replace

Rolls, 1781

Changing occurrences of a note or motif

(search and replace), 1791

Rolls see also Tremolos, 1903

Text Search and Replace, 700

Rulers, 557

Secondary Beam Break Selection, 574

Running headers, 1783

Secondary Beam Break Tool, 574

Select Region, 576

S
SATB parts see Choral music, 1424
Save As, 248

Select Staff Systems, 578

Selecting Music, 469, 470, 576, 822, 855
Selection Overview, 579
Selection Tool, 785
1951

Selective Mirror, 580

Flattening a beam, 1396

Send MIDI Value, 582

Hiding a note or rest, 1583

Septuplets see Tuplets, 1757, 1906

Hiding an accidental, 1372

Sequencers see MIDI filesTo import a

MIDI file, 1670

Laptop Key Commands, 879

Set Distances, 584

Ledger Lines (Show) plug-in, 979

Set Duration, 585

Set Key Velocities, 591

Major seconds (in different voices and

layers), 1640

Set Patch To, 586

Percussion Notation, 1733

Set Pickups, 480

Rests, 1776

Set Placeholder, 587

Simple Menu, 846

Set Swing Ratio, 588

Tuplets, 1909

Ledger Lines (Hide) plug-in, 979

Set To, 590, 592

Simple Entry Keyboard shortcuts, 874

Set To - Tempo, 593

Simple Entry Laptop Set, 879

Setup Wizard, 594

Simple Entry Options, 605

Shape Designer, 135, 274, 388, 557, 598,

1798

Simple Entry Palette, 793

Simple Entry Tools, 793

Creating a shape, 1798

Simple Entry Tuplet Definition, 607

Entering the Shape Designer, 1798

Simple Menu, 846

Harp pedal diagrams, 1580

Shape Designer menu, 847
Shape Designer Menu, 598, 847
shape expressions, 1798
Shape Note music, 1800
see Note shapes, 1702
Shape Selection, 601
Shapes, 559, 579, 601, 614, 798, 847
Shapes - around text, 231, 810, 847
Shapes - drawing, 557, 598, 847
Shapes - filling, 274, 847
Shapes - for playback, 236, 239
Sharps
see Key signatures, 1599
Shift Lyrics, 603
Show
Hidden object shading, 521
Simile see Expressions, 1518
Simple Entry, 607, 846, 1377

Simple/TAB Specific Commands

Simple/TAB Specific Commands/Move
To String/7, 632
Simultaneous key signatures see Multiple
key signatures, 1681
Simultaneous meters see Multiple time
signatures, 1684
Single page-attached graphics, 1617
Single Pitch plug-in, 1009
Sixteenth notes
see Beaming, 1398
see Note values (durations), 1706
Size, 608
Sizes
see Fonts, 1537
see Note size, 1704
see Page size, 1716
see Text menu, 853
Slash Flagged Grace Notes (Remove)
plug-in, 1010

Adding a dot a note, 1502

Slash Flagged Grace Notes plug-in, 1010

Adding or removing a tie, 1879

slash notation, 1801

Changing a rest to a note, 1776

Slashes, 1801

Check Region for Durations plug-in, 915

Creating comping slashes, 1801

1952

Maestro Font, 1330

Maestro Font, 1329

Slash Flagged Grace Notes (Remove)

plug-in, 1010

Slides, 1864

Slash Flagged Grace Notes plug-in, 1010

Tab slides, 1864

Smart Shape Menu, 848

Slashes-with-cues drum notation, 1733

Smart Shapes Palette, 798, 848

Slides see Glissando, 1554

Smart Slur Options, 627

Slur Contour, 609

Smart Slurs, 627

Slur System Breaks, 627

Smart Split Point plug-in, 1017

Slur Thickness, 627

SmartFind and Paint, 632

Slur Tip Width, 629

SmartMusic, 1473, 1806

Slurs, 1802
Changing a note-attached slurs
direction, 1803

Assigning instruments for SmartMusic

Accompaniments, 1480, 1813
SmartMusic accompaniment markers

Copying Smart Shape slurs, 1805

To add pause markers, 1818

Creating a note-attached slur, 1802

Defining Engraver Slurs, 1515

To add pause markers for cadenzas,

1823

Defining Slur Contour (height and shape)

settings for note-attached slurs, 1803

To add pause markers for fermatas,

1821

Defining Slur Placement settings for

note-attached slurs, 1804

To add pause markers for ritardandos

or rallentandos, 1819

Defining Slur System Break settings,

1804
Defining Slur Thickness, 1804

To define and add pause markers

manually with the Expression Tool,
1818

Moving, reshaping, or deleting Smart

Shapes slurs, 1802

To pause for accompanimnet rests or

held notes, 1819

Slurs - drawing, 609, 617

SmartMusic performance markers, 1816

Smart Cue Notes plug-in, 1011

To add SmartMusic Accompaniment

markers, 1817

Smart Line, 131, 493, 798

Smart Line Selection, 612
Smart Line Style, 611
Smart Page Turns plug-in, 1013
Smart Playback plug-in, 1015
Smart Shape, 798
Smart Shape Menu, 848
Smart Shape Options, 614

To add SmartMusic Accompaniment

markers as Expressions, 1817
To create a new SmartMusic
Accompaniment, 1476, 1809
To create a solo assessment file from a
Finale exercise, 1479, 1812
To create a solo assessment file with
accompaniment, 1474, 1807

Smart Shape Placement, 617

To create a solo assessment file without

accompaniment, 1473, 1806

Smart Shapes, 130, 609, 611, 614, 617,

798, 848

To prepare a file for SmartMusic, 1479,

1812

Crescendo/Decrescendo, 1481

SmartMusic Compatibility Guidelines, 1814

Custom lines, 1490

SmartMusic SoftSynth

Dashed lines, 1494

Flutter-tongue, 1535

General MIDI Orchestral Percussion Map

Table, 1233

Glissandos, 1554

Latin Percussion Map Table, 1306

1953

Marching Percussion Map Table, 1318

Other SmartMusic SoftSynth Patches,
1342

Ties, 1879
Special Tools Menu, 849
Specify Current Lyric, 643

SmartScore Lite dialog box, 630

Speedy, 850

SMPTE and MIDI Time Code, 1825

Speedy Entry

To synchronize an external MTC device

with Finale, 1825
Snapping to grids and guides, 1826
Soft Synth, 636

Accidentals, 1372
Adding a tie backwards, 1879
Adding or removing a tie, 1879

Solfge, 1602

Adding or removing the slashes from

individual grace notes, 1556

Solfeggio, 755

Beam grace notes, 1556

Song pointer data see MIDI Sync, 1672

Beaming, 1398

Song titles see Titles, 1890

Beaming across barlines, 1401

Sound Fonts

Changing the direction of a tie, 1879

See also Garriton Personal Orchestra

Finale Edition, 1549
SoundFonts, 1828
Space Systems Evenly, 637
Spacing see Music spacing, 1688, 1831
Spacing Widths dialog box, 639
Special Key Signature Attributes, 641
Special Part Extraction, 998
Special Tools, 704, 802

Check Region for Durations plug-in, 915

Chords, 1436
Courtesy accidentals, 1468
Creating a grace note, 1556
Dotted notes, 1502
Entering multiple voices using V1/V2,
1686
Entering tuplets with the Speedy Entry
Tool, 1758, 1907

Accidentals, 1372

Erasing, 1516

Adjusting the placement of an individual

tie, 1881

Grace notes, 1556

Beam angles, 1395

Ledger Lines (Hide) plug-in, 979

Beam thickness, 1397

Ledger Lines (Show) plug-in, 979

Beaming, 1398
Feathered beaming, 1403

Major seconds (in different voices and

layers), 1640

Secondary beams, 1404

Note positioning, 1701

Hiding notes and rests, 1583

Beaming across barlines, 1401

Notes and Rests (Hide) plug-in, 990

Beaming over rests, 1402

Notes and Rests (Show) plug-in, 990

Breaking an individual tie at a time

signature change (Tie Alterations dialog
box), 1884

Parentheses, 1720

Changing the direction of a tie, 1879

Dotted notes, 1502
Headless notes, 1581
Note shapes, 1702
Noteheads, 1705
Reverse stems, 1780
Special Tools menu, 849

Percussion Notation, 1733

Rests, 1777
Speedy menu, 850
Superimposing Staves, 1687
Ties, 1879
Whole rests, 1916
Speedy Entry Tool, 804, 850
Speedy Keymap, 1114
Speedy Menu, 850
1954

Speedy Options, 644

Split Measure plug-in, 1019
Split Point plug-in, 1022
Split points, 1829
Correcting split point errors, 1829
Smart Split Point plug-in, 1017

Repositioning staff names (individually),

1841
Setting the font for staff names (globally),
1841
see Change Fonts plug-in, 909
Setting the initial font for staff names,
1841

Specifying a fixed split point, 1829

Staff see Staves, 1849

Specifying a movable split point

(Transcription Mode only), 1829

Staff Sets

Split Point plug-in, 1022

Split stems see StemsTo create a
double or split stem, 1854

Programming, 1584
Staff size, 1843
Reducing or enlarging a staff, 1843

Splitting music, 1517

Staff Sizing, 553

Staccatissimo, 1377

Staff Stem Settings, 658, 674

Staccato, 1377

Staff Style dialog, 656

Staccato marks, 1835

Staff Styles, 45, 560, 656, 1844

Creating staccato playback with the MIDI

Tool, 1835

Applying a staff style, 1844

Defining for playback, 1835

Clearing a staff style, 1845

see Articulations, 1377

Clearing a staff style from a region, 1845

Applying a staff style metatool, 1845

Staff Attributes, 646

Creating a staff style, 1844

Staff Controls, 649

Creating a staff style metatool, 1845

Staff handles, 1838

Deleting a staff style, 1845

Dragging Staves, 1838

Editing a staff style, 1844

Grouping and Bracketing Optimized

Staves, 1838

Loading a staff style library, 1845

Selecting Staves, 1838

Working with Staff Groups, 1838

To display a staff differently in one part

than another, 1846
Staff System Extra Space, 660

Staff Height, 553

Staff System Optimization, 661

Staff lines, 1839

Staff systems see Systems, 1862

Setting the staff line thickness, 1839

Staff Tool, 806

Specifying the number of lines for a staff,

1839

Staff Transpositions, 663

Staff List, 651

Staff transpositions see Transposing

instruments, 1901

Staff Menu, 806, 851

Staff Usage List, 666

Start/Stop Times, 592

Staff names, 1840
Change Fonts plug-in, 909
Creating or editing a staff name, 1840

Stage directions see Text blocks, 1874

Standard Frame, 668
Start and Stop Times, 1847

Hiding a staff name (full score), 1842

Copying Start and Stop Time editing

done with the MIDI Tool, 1848

Repositioning staff names (globally),

1840

Editing the start and stop times of

selected notes, 1847
Erasing Start and Stop Time editing done
with the MIDI Tool, 1848
1955

see Swing, 1857

Start Times, 22, 566, 592
Staves, 310, 446, 493, 553, 555, 584, 647,
654, 663, 666, 806, 851, 1849

Creating stemless notes, note-by-note,

1852
Stems, 617, 672, 802, 1853
Changing, 1853

Adding evenly spaced staves, 1849

Changing stem lengths globally, 1853

Adding or insert a single staff, 1849

Changing stem lengths, note by note,

1853

Barlines, 1390
Brackets, 1416
Deleting staves, 1849

Changing the height of stems in

secondary beams, 1404

Group names, 1566

Changing the position of the stem relative

to its notehead, 1853

Groups, 1569, 1836

Changing the thickness of stems, 1854

Hiding (or showing) staff-related items,

1850

Copying custom stemming to other

measures, 1855

Hiding staves, 1584

Creating a double or split stem, 1854

Maestro Font, 1331

Creating reverse stems, 1780

Moving staves, 1849

Percussion, 1729

Drawing completely new shapes for

stems, 1854

Recovering deleted staves, 1850

Flipping a stem, 1853

Setting the attributes for a staff, 1851

Flipping all stems in a region in one

direction, 1853

Spacing existing staves evenly, 1850

Staff handles, 1838
Staff lines, 1839
Staff names, 1840
Staff size, 1843
Staff styles, 1844
Transposing instruments, 1901
Whole rests, 1916
Staves - adding & deleting, 446, 806, 851
Staves - barlines, 310, 397, 646
Staves - brackets, 310
Staves - deleting, 806, 851
Staves - editing, 646
Staves - groups of, 310, 397, 646, 851

Freeze Stems Down, 855

Midline Stem Direction plug-in, 987
Removing custom stemming from a
region, 1855
Step-time music entry - by clicking, 793
Step-time music entry - by typing, 804
Stick Notation, 1602
Stop Times, 22, 566, 592
Strum see Rolled chords, 1781
Studio View, 1856
Suffix Keynumber Offsets, 676
Superimposing Staves, 1687
Superscript, 678

Staves - names, 228, 493, 646

Suppressing staves see Optimizing

systems, 1707

Staves - positioning, 555, 666

Suspended mallet (handbells), 1377

Staves - transposing, 646, 663

Sustain pedal see Pedal markings, 1726

Staves -positioning, 584

Swap Fonts, 679

Stem Connection Editor, 670

Swap One Fonts For Another, 679

Stem Connections, 672

Sweep Track, 680

Stem positions, 618

Swing, 1857, 1858

Stemless notes, 1852

Swing Playback, 1858

Creating stemless notes globally, 1852

Symbol List, 681

1956

Symbol Selection, 682

Setting the initial playback tempo, 1869

Symbols, 1037

To record tempo changes with

TempoTap, 1872

Sync and Video Options, 685

Syncopation, 1860

Tempo Adjustment, 694

System, 553

Tempo markings

System (line) break, 1861

Create Tempo Marking plug-in, 936

Moving a measure to the previous (or

next) system, 1645

Defining for playback, 1870

Splitting a measure across a line break,

1651

Moving or deleting a tempo marking,

1870

Jazz Tempos library, 1204

System Scaling, 463

see Metronome markings, 1660

Systems, 1862

Tempo markings, 1870

Forcing a system onto the next page,

1862

To place a tempo marking in the score,

1870

Indenting or moving a system, 1862

Tempo Tool, 561, 809

Omitting empty staves from a system

(Optimizing), 1707

TempoTap, 1872

Reducing or enlarging a system, 1862

T
Tab Slide, 614, 618
Tab Slide Placement, 617
Tab slides, 1864
Changing which slide is assigned to the
palette icon, 1864

Last Recorded Tempo dialog box, 380

To record tempo changes with
TempoTap, 1872
Tems-M, 1072
Tenor clef see Clefs, 1437
Tenor parts see Choral music, 1424
Terms A, 1048
Terms-B, 1049
Terms-C, 1051

Creating a slide, 1864

Terms-D, 1054

Defining Tab Slide Placement settings,

1864

Terms-E, 1057

Tablature, 688, 1578, 1865

Terms-F, 1060
Terms-G, 1062

Break Tablature Lines at Numbers, 688

Terms-H, 1065

Edit TAB As Standard Notation, 850

Terms-I, 1066

Guitar parts, 1577

Terms-J, 1067

Tablature Staff Attributes dialog box, 688

Terms-K, 1068

Tablature Staff Attributes dialog box, 688

Terms-L, 1069

Tacet parts, 1629

Terms-N, 1076

Tacit

Terms-O, 1078

see Tacet parts, 1629

Terms-P, 1079

Tap Source, 690

Terms-Q, 1082

Tap States, 692

Terms-R, 1083

Templates, 1228

Terms-S, 1086

Tempo, 390, 561, 1869

Terms-T, 1091

Copying Tempo Data, 1461

Terms-U, 1093

Modifying the playback tempo, 1869

Terms-V, 1095
1957

Terms-W, 1097

Positioning text blocks on-screen, 1876

Terms-Z, 1098

Resizing a custom frame, 1875

Text, 63, 96, 132, 228, 267, 287, 289, 387,

464, 608, 668, 678, 721, 853, 1873

Resizing a text block on-screen, 1875

Change Fonts plug-in, 909

Running headers, 1783

Copyright notices, 1466

Specifying a default font for text blocks,

1878

Date Stamps, 1495

Titles, 1890

Engraver Text Fonts, 1544

Text menu, 853

Page numbers, 1715

Text Search and Replace, 700

Running headers, 1783

Text Search and Replace Syntax, 700

Text blocks, 1874

Text Tool, 63, 96, 132, 608, 810, 853

Text menu, 853

Textbooks see Text blocks, 1874

Title page, 1889

TGTools

Text - borders & surrounding shapes, 132,

668, 853

Modify Rests plug-in, 988

Text - creating & editing, 810, 853

Smart Split Point plug-in, 1017

Text - formatting, 96, 387, 608, 668, 678,

721, 853
Text - headers & footers, 289, 810, 853
Text - inserts, 267, 464, 853

Process Extracted Parts plug-in, 997

TGTools plug-ins, 844
Th Time Only, 537
The Alternate Notehead Sets, 1537

Text - positioning & display, 289, 853

There Are Too Many Beats in This

Measure, 702

Text - resizing, 810, 853

Tie Alterations, 704

Text - titles, 289, 810

Tie Common Notes plug-in, 1023

Text block, 132

Tie Contour, 706

Text blocks, 1874, 1889

Ties, 90, 704, 706, 802, 1879

Assigning a text block to a measure,

1875

Adding a tie backwards (Speedy Entry

Tool), 1879

Assigning a text block to one or more

pages, 1875

Adding or removing a tie (Simple Entry

Tool), 1879

Copyright notices, 1466

Adding or removing a tie (Speedy Entry

Tool), 1879

Creating text in a frame that

automatically expands as you type, 1874

Adjusting global placement of ties, 1881

Creating text within a fixed-size frame,

1874

Adjusting the direction of ties in a region,

1880

Date Stamps, 1495

Adjusting the direction of ties on chords

globally, 1880

Deleting a text block, 1878

Page numbers, 1715

Adjusting the direction of ties on

opposing seconds globally, 1880

Positioning measure-assigned text

blocks, 1877

Adjusting the direction of ties with mixed

stems globally, 1880

Positioning page-assigned text blocks,

1876

Adjusting the placement of a tie after a

system break see Adjusting the
placement of an individual, 1881

Editing text on-screen, 1874

Positioning page-assigned text blocks on

left- and right-facing pages, 1877

Adjusting the placement of an individual

tie, 1881
1958

adjusting the shape of a tie globally, 1882

Time Signature dialog box, 712

Adjusting the shape of an individual tie,

1883

Time Signature Tool, 812

Adjusting ties for augmentation dots,

1885

Time Signatures, 126, 530, 713, 813, 1888

Beaming, 1398

Avoiding accidentals for single ties, 1885

Breaking an individual tie at a time or key

signature change, 1884

Avoiding staff lines with ties over a

region, 1884

Breaking and continuing ties across time

signature changes, 1884

Breaking an individual tie at a time or key

signature change, 1884

Breaking ties across time and key

signature changes globally, 1884

Breaking and continuing ties across time

signature changes, 1884

Breaking ties in a region at time or key

signature changes, 1884

Breaking ties across time and key

signature changes globally, 1884

Changing the time signature, 1888

Breaking ties in a region at time or key

signature changes, 1884

Composite time signatures, 1447

Common time, 1446

Changing an individual ties shape and

placement by dragging it on the score,
1881

Compound meters, 1449

Changing the direction of a tie (Special

Tools Tool), 1879

Hiding time signatures, 1586

Changing the direction of a tie (Speedy

Entry Tool), 1879

Courtesy time signatures, 1472

Cut time, 1492
Maestro Font, 1331
Multiple time signatures, 1684

Changing the outer placement setting for

an individual tie, 1883

Rebarring music, 1768

Horizontally adjusting ties over system

breaks, 1883

Time signatures, 1888

Removing manual positioning over a

region, 1885
Setting a minimum space between tied
notes, 1885
Setting tie thickness, 1883
Shifting ties for intervals of a second,
1885
Using outer placement setting for outer
ties on chords and single notes globally,
1883
Ties - drawing, 704, 706
TIFF, 250, 762, 827, 1034

Time Signature Tool, 1888

Time stamps see Date stamps, 1495
Time Style, 709
Time Tag Menu, 1892
Title page, 1889
Titles, 1890
Adding a title, 1890
Creating extra room at the top of the
page, 1890
Moving or deleting a title, 1890
Specifying a default font for titles, 1878
To Coda, 537, 542

Tile Pages, 502

To create a quarter-tone scale or key

signature, 1699

Tiling Pages, 124

To import an audio file, 1385

Tiling pages for printing, 1886

Tone Center, 714

Tiling pages (with Compile Postscript

Listing), 1886
Tiling pages with the Print dialog box,
1886
Tilting Mirror, 710

Tone-cluster see Engraver Font, 1542

Tools, 753, 755, 757, 762, 764, 766, 768,
769, 774, 775, 776, 778, 779, 781, 784,
785, 793, 798, 802, 804, 806, 809, 810,
812, 814
1959

Track/Channel Mapping, 716

Track/Channel Mapping to Staves, 719
Tracking, 721, 1035
Transcribing a sequence
Correcting split point errors, 1829
Editing keyboard notes, 1896

Displaying a score in concert pitch (or in

transposed form), 1901
Entering pre-transposed music onto a
transposing staff (step time), 1900
Transposing a staff chromatically, 1901
Transposing music, 373, 663, 731

Editing Time Tags, 1895

Transposing parts see Transposing

instruments, 1901

Grace notes, 1556

Transposition, 731

Hearing a click track while recording,

1891

Traverse stems see Cross-staff notes,

1485

Moving Split Point dialog box, 1763

Treble clef see Clefs, 1437

Notating swing performances, 1857

Tremolando see Tremolos, 1903

Punch in/Punch out, 1752

Tremolos, 1903

Quantization Settings Guide, 1347, 1753

Recording a performance, 1891
see Recording with HyperScribe, 1763
Special mouse clicks, 1898
Specifying a movable split point, 1829
Split points, 1829
Transcribing a performance, 1894
Transcribing a sequence from a
sequencer, 1892
Transcription Mode, 1897
Transcribing in real-time, 768
Transcription, 32, 119, 121, 284, 351, 409,
438, 522, 561, 722, 729, 742, 768

Creating a measured or unmeasured

tremolo marking (Shape Expression),
1903
Easy Tremolos plug-in, 944
Placing a tremolo marking (Articulation),
1903
Tremulants see Tremolos, 1903
Trill Extension, 614
Trills, 1905
Creating a small accidental in
parenthesis, 1905
Creating a trill or trill extension line (wavy
line), 1905

Transcription Filters, 729

Defining for playback (easy method),

1905

Transcription Menu

Easy Tremolos plug-in, 944

View Resolution, 742

Engraver Font, 1130

Transcription Mode, 1897

Maestro Font, 1329

Transcription see Transcribing a

sequence, 1891

see Articulations, 1377

Transposing, 1899
by changing key, 1900
Entering pre-transposed music onto a
transposing staff (step time), 1900

Triplets see Tuplets, 1757, 1906

Troubleshooting, 1357
TrueType, 1537
Tuplet, 607, 733

Transposing a piece (Key Signature

Tool), 1599

Tuplet Definition, 733

Transposing chord symbols, 1431

Tuplets, 92, 607, 733, 804, 814, 1035,

1757, 1906

by interval, 1899
see Transposing instruments, 1901
Transposing instruments, 1901
Defining a staff transposition, 1901

Tuplet Tool, 814

Adjusting, moving, or deleting a tuplet,

1757, 1906
Change Tuplets, 92
Creating a nested tuplet, 1758, 1907
1960

Entering tuplets with the Speedy Entry

Tool, 1758, 1907
Predefining the appearance of tuplets,
1759, 1908

V
Velocity see Key velocity, 1600
Verse, 766

Transcribing tuplets from a real-time

performance, 1758, 1907

Vertical Collision Remover plug-in, 1026

Tuplet Definition, 733

View Menu, 857

Turning normal notes into a tuplet group,

1757, 1906

View Resolution dialog box, 742

View Continuous Data, 740

Tuplets (Simple Entry), 1909

Virtual Fundamental Generator plug-in,

1029

Turn, 1378

Vocal music, 1913

Turns see Mordents, 1677

Tutorial 1a: Simple Entry
Saving Your Work, 1691, 1834
Two voices see Multiple voices, 1685

Beaming according to lyrics syllables,

1913
see Choral music, 1424
see Hymns, 1589
see Lyrics, 1630

Two-Bar Repeat, 38

Voice 2 to Layer plug-in, 1030

U
Underlines (in lyrics) see LyricsTo draw
a, 1637
Undo, 1911
Allowing undo actions previous to saving
a file, 1911
Re-applying changes to your score using
redo, 1911

Voices see Multiple voices, 1685

Voicing
Part Voicing, 1721
Voicing for Staff in Part dialog box, 743
Volume, 1914
see Continuous data, 1450
see Key velocity, 1600
VST, 1915

Redo, 822
Redoing a series of changes up to a
specified point, 1911
Undoing a series of changes up to a
specified point, 1911
Undoing the last change or a series of
changes to your score, 1911
Undo/Redo Lists, 736
Unknown Font, 738

W
Wavy lines
see Glissandos, 1554, 1864
see Trills, 1905
What's New in Finale 2008, 1
White-out see Masks, 1643

Unknown Font dialog box, 1100

Whole notes see Note values (durations),

1706

Up bow see Articulations, 1377

Whole rests, 1916

Upbeat see Pickup measures, 1738

Adding a real whole rest, 1916

Up-bow, 1377
Update Available, 739

Change to Default Whole Rests plug-in,

911

Update Groups and Brackets plug-in, 1024

Change to Real Whole Rests plug-in, 912

Using Document Styles, 1119

Changing the character for default

measure rests, 1917

Utilities Menu, 855

Moving a real whole rest, 1916

To fill measures with rests, 1916
1961

Turning off the default whole rests for a

staff, 1916
Window Menu, 858

X
Xylophone parts see Note shapes, 1702

Windows Metafiles, 762, 827

WMF, 827
Word Extensions dialog box, 750

Zoom Tool, 817

see LyricsTo draw a, 1637

1962