Jason, you really put me through a mental workout with this video! I watched under ROKU on my TV so, I could NOT slow down your speech. But I must admit to you, that as complicated as if turned out to be throughout this really outstanding presentation, I was able to perceive, 99% of what you explained - and I am confident that I will be able to perform these operations on my own. The only part which comprised that 1% was the pesky staff styles work-around for which I will have to watch this video again. I am proud to proclaim that you CAN teach an old dog (me at 65), new tricks! THANK YOU. ♥♥♥♥
Aww! Well thanks for the kind words. And congratulations to you for absorbing a huge chunk of complicated information with these Voiced Parts in Finale. This is certainly a tricky topic, so it’s no small feat to understand 99% of it!! I made the video and I’m still not sure I understand 99% of it!! Lol
What a great tutorial ! I have a little question : imagine a concert band score, I go to manage parts and create a new part called Bb Euphonium, based on the notes of the C Euphonium. But when I want to transpose the new part, it transposes the C Euphonium as well. Is there a way of doing this, without using extracting parts ? Thanks
Great video, thank you very much! - However, it should mention what is NOT possible when using linked parts, especially when using a "flute 1, 2" system for 2 parts. E.g. ties will very often be in the wrong direction and there is no way to edit them in the part. This is also true for accidentals, which become a major PITA when dealing with transposing instruments. I would like to mention that this idea of not having the pat automatically updated is actually not THAT important, because once you've finished a score, it is usually very, very rare that you need to go back and change that much. (Mostly after a premiere I guess...) So coming from that perspective I would certainly recommend your very last approach of having additional systems that are force-hidden in the score. That is the most flexible way to handle parts in Finale.
“Very, very rare”?? Lol. You’ve never worked on a musical, I’m guessing! In Musical Theater it would be EXTREMELY rare to have a song that’s already been orchestrated that DOESN’T get revised a dozen times or more before opening night! On the other hand, MT scores generally don’t use orchestras that are large enough to require instruments needing to share staves so…. But, yes, your point is well taken. The Voiced Staff feature can be very problematic. My advice is always to only use it if the two parts are simple enough and don’t require these types of manipulations with enharmonics or stem direction, positioning etc…
@@ConqueringFinale I did work on many musicals. But once on the stage, they never needed revisiting again. (Or maybe they needed, but the money wasn't there.) So I understand what you mean (which is during the creation process); My point was leaning towards once a score is finished, the revisiting happens really not very often... Chances are that there is a new composition coming around... 🙂
This is a powerful tool, but I've found one issue with it that's hard to get around: Multi-layer cue notes are out. I can use one layer and reduce the size just fine, but if I want whole rests in my cues -- normally in a different layer -- I'm out of luck. Well, I actually created a workaround for that, which is to create an expression that that looks like a whole rest, and make sure it's hidden in the score along with the music using a staff style. But if your cue line stops in the same measure the music starts, it gets ever more complicated. Unless there's an amazing workaround I don't know of, it seems that if I want parts with lots of cues, I might be better off just using the "hidden staves" method.
Yeah, it does have its limitations to be sure! Depending on the complexity and density of the music, sometimes I won't even bother trying to use Voiced Parts, I'll just go right to the hidden staff method... save myself the mental strain trying to work out all the workarounds! lol
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
Boy that was great, I really never knew how to separate layers. You explained it all. A little complicated in a way but it works.
Jason, you really put me through a mental workout with this video! I watched under ROKU on my TV so, I could NOT slow down your speech. But I must admit to you, that as complicated as if turned out to be throughout this really outstanding presentation, I was able to perceive, 99% of what you explained - and I am confident that I will be able to perform these operations on my own. The only part which comprised that 1% was the pesky staff styles work-around for which I will have to watch this video again. I am proud to proclaim that you CAN teach an old dog (me at 65), new tricks! THANK YOU. ♥♥♥♥
Aww! Well thanks for the kind words. And congratulations to you for absorbing a huge chunk of complicated information with these Voiced Parts in Finale. This is certainly a tricky topic, so it’s no small feat to understand 99% of it!! I made the video and I’m still not sure I understand 99% of it!! Lol
@@ConqueringFinale (chuckle) ♥
Finally realized this: THIS is why I studied ALGEBRA! 🤣and still have a problem! I'm glad I didn't choose the Physics career path now!
What a great tutorial !
I have a little question : imagine a concert band score, I go to manage parts and create a new part called Bb Euphonium, based on the notes of the C Euphonium.
But when I want to transpose the new part, it transposes the C Euphonium as well.
Is there a way of doing this, without using extracting parts ?
Thanks
Great video, thank you very much! - However, it should mention what is NOT possible when using linked parts, especially when using a "flute 1, 2" system for 2 parts. E.g. ties will very often be in the wrong direction and there is no way to edit them in the part. This is also true for accidentals, which become a major PITA when dealing with transposing instruments. I would like to mention that this idea of not having the pat automatically updated is actually not THAT important, because once you've finished a score, it is usually very, very rare that you need to go back and change that much. (Mostly after a premiere I guess...) So coming from that perspective I would certainly recommend your very last approach of having additional systems that are force-hidden in the score. That is the most flexible way to handle parts in Finale.
“Very, very rare”?? Lol. You’ve never worked on a musical, I’m guessing! In Musical Theater it would be EXTREMELY rare to have a song that’s already been orchestrated that DOESN’T get revised a dozen times or more before opening night! On the other hand, MT scores generally don’t use orchestras that are large enough to require instruments needing to share staves so….
But, yes, your point is well taken. The Voiced Staff feature can be very problematic. My advice is always to only use it if the two parts are simple enough and don’t require these types of manipulations with enharmonics or stem direction, positioning etc…
@@ConqueringFinale I did work on many musicals. But once on the stage, they never needed revisiting again. (Or maybe they needed, but the money wasn't there.) So I understand what you mean (which is during the creation process); My point was leaning towards once a score is finished, the revisiting happens really not very often... Chances are that there is a new composition coming around... 🙂
This is a powerful tool, but I've found one issue with it that's hard to get around: Multi-layer cue notes are out. I can use one layer and reduce the size just fine, but if I want whole rests in my cues -- normally in a different layer -- I'm out of luck. Well, I actually created a workaround for that, which is to create an expression that that looks like a whole rest, and make sure it's hidden in the score along with the music using a staff style. But if your cue line stops in the same measure the music starts, it gets ever more complicated. Unless there's an amazing workaround I don't know of, it seems that if I want parts with lots of cues, I might be better off just using the "hidden staves" method.
Yeah, it does have its limitations to be sure! Depending on the complexity and density of the music, sometimes I won't even bother trying to use Voiced Parts, I'll just go right to the hidden staff method... save myself the mental strain trying to work out all the workarounds! lol