Finale User Manual

Finale 2010 for Windows

 Table of Contents
What's New in Finale 2010 .................................................................. 2 
Encyclopedia
8va/8vb ................................................................................................ 17 
Accelerando ....................................................................................... 18 
Accidentals (Simple Entry) ............................................................... 21 
Accidentals (Speedy Entry) .............................................................. 22 
Adobe PDF documents ..................................................................... 24 
Arrows ................................................................................................ 26 
Articulations ....................................................................................... 27 
Attack and release ............................................................................. 38 
Audio ................................................................................................... 39 
Augmentation ..................................................................................... 41 
Backbeats ........................................................................................... 42 
Barlines ............................................................................................... 44 
Batch Printing .................................................................................... 49 
Beam angles ....................................................................................... 50 
Beam thickness.................................................................................. 52 
Beaming .............................................................................................. 53 
Beaming across barlines .................................................................. 56 
Beaming over rests............................................................................ 58 
Beaming: feathered beaming ............................................................ 59 
Beaming: Secondary beams ............................................................. 60 
Beat positions .................................................................................... 62 
Bend hats ........................................................................................... 64 
Blank pages ........................................................................................ 65 
Booklets .............................................................................................. 66 
Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™ Instruments
............................................................................................................. 70 
Brackets: Horizontal lines ................................................................. 72 
Brackets: Notes.................................................................................. 73 
Brackets: Staves ................................................................................ 74 
Breath marks ...................................................................................... 78 
Cadenzas ............................................................................................ 79 
Cesuras ............................................................................................... 81 
Channel Pressure .............................................................................. 82 
Character names ................................................................................ 84 
Choral music ...................................................................................... 85 
Chord symbols ................................................................................... 86 
Chords .............................................................................................. 101 
Clefs .................................................................................................. 103 
Click and Countoff ........................................................................... 109 
Closed symbols ............................................................................... 111 
Coda .................................................................................................. 112 
Common time ................................................................................... 114 
Composite time signatures ............................................................. 115 
Compound meters ........................................................................... 117 
Continuous data............................................................................... 118 
Copying music ................................................................................. 121 
Copyright notices ............................................................................ 139 
Counting measures ......................................................................... 140 
Courtesy accidentals ....................................................................... 141 
Courtesy clef changes ..................................................................... 142 
Courtesy key signatures ................................................................. 143 
Courtesy time signatures ................................................................ 145 
Crescendo/Decrescendo ................................................................. 146 
Crossed hands ................................................................................. 150 
Cross-staff notes ............................................................................. 151 
Cue notes ......................................................................................... 155 
Custom lines .................................................................................... 158 
Cut time ............................................................................................ 159 
Cutaway scores................................................................................ 161 
Dashed lines ..................................................................................... 162 
Date stamps ..................................................................................... 164 
D.C..................................................................................................... 165 
Diminution ........................................................................................ 167 
Distances .......................................................................................... 168 
Divisi ................................................................................................. 170 
Document Styles .............................................................................. 171 
Doits .................................................................................................. 173 
Dotted notes ..................................................................................... 174 
Double barlines ................................................................................ 176 
Double whole notes ......................................................................... 177 
Downbeats ........................................................................................ 178 
D.S., D.S. al Coda ............................................................................. 180 
Dynamics .......................................................................................... 183 
8va/8vb .............................................................................................. 186 
Elapsed time ..................................................................................... 187 
Elisions ............................................................................................. 188 
Encapsulated PostScript (EPS) ...................................................... 189 
Enharmonics .................................................................................... 190 
Engraver slurs .................................................................................. 192 
Erasing .............................................................................................. 194 
Exploding music .............................................................................. 196 
Expressions ..................................................................................... 198 
Extracting parts................................................................................ 209 
Fall-offs ............................................................................................. 210 
Fermatas ........................................................................................... 211 
Figured bass..................................................................................... 212 
Final barline ...................................................................................... 213 
Fingering numbers .......................................................................... 214 
First and second endings ............................................................... 215 
Flags ................................................................................................. 218 
Flutter-tongue................................................................................... 221 
Font Annotation ............................................................................... 222 
Fonts ................................................................................................. 223 
Fretboard diagrams ......................................................................... 233 
Fugues .............................................................................................. 235 
Garritan Personal Orchestra Finale Edition .................................. 236 
General MIDI ..................................................................................... 241 
Glissandos ....................................................................................... 242 
Grace notes ...................................................................................... 244 
Grand Pause ..................................................................................... 248 
Graphics ........................................................................................... 249 
Grids and guides.............................................................................. 258 
Group names .................................................................................... 260 
Staff groups ...................................................................................... 264 
Guitar bends ..................................................................................... 267 
Guitar markings ............................................................................... 268 
Guitar notation ................................................................................. 272 
Harmonics ........................................................................................ 275 
Harp pedal diagrams ....................................................................... 276 
Headless notes................................................................................. 277 
Hiding key signatures ...................................................................... 279 
Hiding notes and rests .................................................................... 280 
Hiding staves ................................................................................... 281 
Hiding time signatures .................................................................... 284 
Human Playback .............................................................................. 285 
Hymns ............................................................................................... 288 
Hyphens ............................................................................................ 289 
Recording with HyperScribe ........................................................... 291 
Imploding music .............................................................................. 292 
Importing .......................................................................................... 293 
Indenting systems ........................................................................... 298 
Working with the Instrument List ................................................... 299 
Internet .............................................................................................. 300 
Key signatures ................................................................................. 301 
Key velocity ...................................................................................... 302 
Landscape and Portrait orientation................................................ 305 
Lead sheets ...................................................................................... 306 
Ledger lines ...................................................................................... 307 
Left barlines ..................................................................................... 308 
Legal-size paper ............................................................................... 309 
Limiting MIDI data ............................................................................ 310 
Linked Parts ..................................................................................... 311 
Lyrics ................................................................................................ 342 
Macros .............................................................................................. 356 
Major seconds (in different voices and layers) ............................. 357 
Manuscript paper ............................................................................. 358 
Margins ............................................................................................. 359 
Masks ................................................................................................ 360 
Measure layout ................................................................................. 363 
Measure numbers ............................................................................ 366 
Measure repeat signs ...................................................................... 370 
Measures .......................................................................................... 371 
Measures per line............................................................................. 375 
Melismas ........................................................................................... 376 
Metatools .......................................................................................... 377 
Metronome markings....................................................................... 383 
MicNotator ........................................................................................ 387 
MIDI ................................................................................................... 392 
MIDI files ........................................................................................... 397 
MIDI Sync .......................................................................................... 400 
Minor keys ........................................................................................ 403 
Mirroring ........................................................................................... 404 
Mordents ........................................................................................... 407 
Multimeasure rests .......................................................................... 408 
Multiple key signatures ................................................................... 412 
Multiple passes and endings .......................................................... 413 
Multiple time signatures .................................................................. 416 
Multiple voices ................................................................................. 417 
Music spacing .................................................................................. 421 
Mutes ................................................................................................ 427 
Neutral key ....................................................................................... 428 
Nonstandard key signatures ........................................................... 429 
Note positioning............................................................................... 436 
Note shapes ..................................................................................... 437 
Note size ........................................................................................... 440 
Noteheads ........................................................................................ 442 
Note values (durations) ................................................................... 443 
Optimizing systems ......................................................................... 444 
Ossia ................................................................................................. 447 
Page layout ....................................................................................... 449 
Page numbers .................................................................................. 455 
Page size .......................................................................................... 457 
Page turns ........................................................................................ 458 
Page View ......................................................................................... 459 
Parentheses ..................................................................................... 462 
Part Voicing ...................................................................................... 463 
Patches ............................................................................................. 466 
Pedal markings ................................................................................ 470 
Percussion ....................................................................................... 475 
To setup an external MIDI device for percussion input & playback478 
Percussion tones ............................................................................. 486 
Piano reductions .............................................................................. 488 
Pickup measures ............................................................................. 489 
Pitch wheel ....................................................................................... 491 
Pizzicato ........................................................................................... 496 
Playback ........................................................................................... 497 
Landscape and Portrait orientation................................................ 505 
PostScript ......................................................................................... 506 
Printing ............................................................................................. 507 
Punch in/Punch out ......................................................................... 508 
Quantization Guide .......................................................................... 510 
Rallentando ...................................................................................... 515 
Recording with HyperScribe ........................................................... 519 
Rebarring music............................................................................... 527 
Redraw .............................................................................................. 528 
Reducing/Enlarging ......................................................................... 529 
Rehearsal marks .............................................................................. 532 
Repeats (barlines and text indications) ......................................... 535 
Rests (Simple Entry) ........................................................................ 537 
Rests (Speedy Entry) ....................................................................... 539 
Retranscription ................................................................................ 542 
Reverse stems.................................................................................. 543 
Rolled chords ................................................................................... 544 
Running headers.............................................................................. 546 
Scanning ........................................................................................... 547 
Scroll View ........................................................................................ 552 
Search and replace .......................................................................... 553 
Selecting music................................................................................ 555 
Shape Designer ................................................................................ 559 
Shape Note music ............................................................................ 562 
Simple Entry ..................................................................................... 563 
Slashes ............................................................................................. 569 
Slurs .................................................................................................. 570 
SmartMusic® .................................................................................... 575 
SmartMusic Compatibility Guidelines ............................................ 587 
SmartMusic Performance Markers ................................................. 589 
Repeat markers for SmartMusic accompaniments ....................... 600 
SMPTE and MIDI Time Code ........................................................... 613 
Snapping to grids and guides......................................................... 614 
SoundFonts ...................................................................................... 616 
Speedy Entry .................................................................................... 617 
Split points ....................................................................................... 624 
Music spacing .................................................................................. 626 
Staccato marks ................................................................................ 628 
Staff groups ...................................................................................... 630 
Staff handles .................................................................................... 631 
Staff lines .......................................................................................... 633 
Staff names ...................................................................................... 634 
Staff size ........................................................................................... 638 
Staff styles ........................................................................................ 639 
Start and Stop Times ....................................................................... 644 
Staves ............................................................................................... 647 
Stemless notes................................................................................. 651 
Stems ................................................................................................ 652 
Studio View ...................................................................................... 656 
Swing ................................................................................................ 658 
Syncopation ..................................................................................... 660 
System (line) break .......................................................................... 661 
Systems ............................................................................................ 662 
Tab Slides ......................................................................................... 664 
Tablature ........................................................................................... 666 
Tempo (for playback) ....................................................................... 672 
Tempo markings .............................................................................. 673 
TempoTap ......................................................................................... 675 
Text ................................................................................................... 677 
Text blocks ....................................................................................... 678 
Ties.................................................................................................... 685 
Tiling pages for printing .................................................................. 696 
Time signatures ............................................................................... 698 
Title page .......................................................................................... 700 
Titles ................................................................................................. 701 
Transcribing a sequence ................................................................. 703 
Transcription Mode.......................................................................... 713 
Transposing: by interval ................................................................. 715 
Transposing: changing key ............................................................ 716 
Transposing instruments ................................................................ 717 
Tremolos ........................................................................................... 719 
Trills .................................................................................................. 721 
Tuplets .............................................................................................. 722 
Tuplets (Simple Entry) ..................................................................... 726 
Undo.................................................................................................. 729 
Using Grids and Guides .................................................................. 731 
Vocal music ...................................................................................... 733 
Volume .............................................................................................. 734 
VST .................................................................................................... 735 
Whole rests ...................................................................................... 736 
Zoom in/Zoom out............................................................................ 738 
Reference ......................................................................................... 739 
Appendix .......................................................................................... 740 
About the FINMIDI.INI file ................................................................ 741 
Alternative music fonts ................................................................... 742 
Bank Select - Bank Change Table .................................................. 750 
Configuring Ensembles.txt ............................................................. 755 
Configuring Instrument.txt .............................................................. 756 
Configuring MacSymbolFonts.txt................................................... 758 
Configuring Pagesizes.txt ............................................................... 759 
Customized Speedy Keymap .......................................................... 760 
Document Settings and Program Settings .................................... 767 
Equivalents ....................................................................................... 777 
Ethnic Percussion MIDI Map Table................................................. 779 
Exercise numbers in the Exercise Wizard ..................................... 782 
Exercise Wizard Instrument Ranges .............................................. 785 
Finale and Explorer.......................................................................... 788 
Finale File Extensions ..................................................................... 800 
Finale Libraries ................................................................................ 806 
Finale Notational Defaults ............................................................... 825 
Finale Score Templates ................................................................... 828 
General MIDI Patch Set Groupings................................................. 833 
General MIDI Percussion MIDI Map Table ...................................... 834 
General MIDI Orchestral Percussion MIDI Map Table ................... 836 
General MIDI Table........................................................................... 838 
Garritan Finale Edition Instrument Details .................................... 842 
Guitar markings ............................................................................... 854 
Harmony Presets ............................................................................. 858 
Human Playback Dictionary ............................................................ 862 
Jazz Fusion Percussion MIDI Map Table ....................................... 866 
Latin Percussion MIDI Map Table ................................................... 869 
Linking Details for Linked Parts ..................................................... 872 
Marching Percussion MIDI Map Table ............................................ 885 
MIDI Note to Pitch Table .................................................................. 889 
MIDI Terminology ............................................................................. 891 
More on MIDI .................................................................................... 896 
Other SmartMusic SoftSynth Patches ........................................... 899 
Percussion MIDI Maps ..................................................................... 901 
Plug-in filenames ............................................................................. 902 
Quantization Guide .......................................................................... 906 
TapSpace Instruments & Percussion MIDI Maps .......................... 911 
Troubleshooting............................................................................... 912 
Dialog Boxes .................................................................................... 930 
3-Beam Groups dialog box ............................................................. 931 
4-Beam Groups dialog box ............................................................. 933 
About Finale ..................................................................................... 934 
Dialog Box
Accidental Octave Placement dialog box ...................................... 935 
Accidental Order and Amount dialog box ..................................... 937 
Accidental Settings dialog box ....................................................... 940 
Add Bookmark dialog box .............................................................. 942 
Add - Continuous Data dialog box ................................................. 944 
Add - Key Velocities dialog box...................................................... 946 
Add Measures dialog box ............................................................... 948 
Add - Note Durations dialog box .................................................... 949 
Add SmartMusic Markers dialog box ............................................. 951 
Add Tempo dialog box .................................................................... 953 
Additional PostScript Information dialog box ............................... 954 
Adjust Lyric Baselines dialog box.................................................. 955 
Alter Feel - Note Durations dialog box ........................................... 958 
Adjust Page Range dialog box ....................................................... 961 
Align Time Tags To Note Starts dialog box ................................... 962 
Alter Feel - Key Velocities dialog box ............................................ 963 
Alteration for Slot dialog box .......................................................... 966 
Alternate Notation dialog box ......................................................... 968 
Apply Articulation dialog box ......................................................... 971 
Apply Human Playback Preferences dialog box ........................... 973 
Apply Music Spacing dialog box .................................................... 975 
Apply Staff Style dialog box............................................................ 977 
Aria Player for Finale ....................................................................... 979 
Arrowheads dialog box ................................................................... 982 
Articulation Designer dialog box .................................................... 983 
Articulation Selection dialog box ................................................... 990 
Audio Clip Attributes dialog box .................................................... 994 
Audio Setup dialog box ................................................................... 996 
Automatic Check for Updates dialog box ...................................... 998 
Backward Repeat Bar Assignment dialog box .............................. 999 
Baseline Shift dialog box .............................................................. 1002 
Beam Extension Selection dialog box ......................................... 1003 
Beaming Chart dialog box ............................................................ 1005 
Beat Chart dialog box .................................................................... 1007 
Bracket dialog box ......................................................................... 1010 
Bracket Style dialog box ............................................................... 1012 
Breath Mark dialog box ................................................................. 1013 
Category Designer dialog box ...................................................... 1014 
Change Articulation Assignments dialog box............................. 1018 
Change Chord Assignments dialog box ...................................... 1020 
Change Chord Suffix Fonts dialog box ........................................ 1023 
Change Clef dialog box ................................................................. 1025 
Change Lowest Fret dialog box .................................................... 1027 
Change Note Durations dialog box .............................................. 1028 
Change Note Size dialog box ........................................................ 1030 
Change Expression Assignments dialog box ............................. 1031 
Change Note Types dialog box..................................................... 1033 
Change Noteheads dialog box...................................................... 1034 
Change Ties dialog box ................................................................. 1036 
Change Tuplets dialog box ........................................................... 1038 
Character Settings dialog box ...................................................... 1043 
Check Graphics dialog box ........................................................... 1045 
Check Repeats dialog box ............................................................ 1047 
Choose Junction for Staff dialog box .......................................... 1048 
Chord Definition dialog box .......................................................... 1051 
Chord Suffix Editor dialog box ..................................................... 1057 
Chord Suffix Selection dialog box................................................ 1061 
Clef Designer dialog box ............................................................... 1064 
Clef Selection dialog box .............................................................. 1067 
Click and Countoff dialog box ...................................................... 1068 
Click Assignment dialog box ........................................................ 1071 
Click Input dialog box .................................................................... 1073 
Click Output Type dialog box ....................................................... 1076 
Color dialog box............................................................................. 1078 
Compile PostScript Listing dialog box ........................................ 1079 
Composite Time Signature dialog box ......................................... 1082 
Create/Edit Ending dialog box ...................................................... 1084 
Custom Arrowhead Selection dialog box .................................... 1087 
Custom Frame dialog box ............................................................. 1089 
Customize Toolbar dialog box ...................................................... 1091 
Dashed Line dialog box ................................................................. 1092 
Define Keyboard Shortcut ............................................................. 1093 
Delete Blank Pages ........................................................................ 1095 
Delete Element dialog box ............................................................ 1097 
Diatonic Instrument Definition dialog box ................................... 1098 
Document Options dialog box ...................................................... 1099 
Document Options-Accidentals dialog box ................................. 1101 
Document Options-Alternate Notation dialog box ...................... 1104 
Document Options-Augmentation Dots dialog box .................... 1106 
Document Options-Barlines dialog box ....................................... 1108 
Document Options-Beams dialog box ......................................... 1111 
Document Options-Chords dialog box ........................................ 1115 
Document Options-Clefs dialog box ............................................ 1117 
Document Options-Flags dialog box ........................................... 1120 
Document Options-Fonts dialog box ........................................... 1122 
Document Options-Grace Notes dialog box ................................ 1125 
Document Options-Grids and Guides dialog box ....................... 1127 
Document Options-Key Signatures dialog box ........................... 1129 
Document Options-Layers dialog box ......................................... 1132 
Document Options-Lines and Curves dialog box ....................... 1135 
Document Options-Lyrics dialog box .......................................... 1137 
Document Options-Multimeasure Rests dialog box ................... 1139 
Document Options-Music Spacing dialog box ............................ 1142 
Document Options-Notes and Rests dialog box ......................... 1146 
Document Options-Piano Braces and Brackets dialog box ....... 1150 
Document Options-Repeats dialog box ....................................... 1152 
Document Options-Staves dialog box ......................................... 1155 
Document Options-Stems dialog box .......................................... 1157 
Document Options-Text dialog box ............................................. 1161 
Document Options-Ties dialog box.............................................. 1163 
Document Options-Time Signatures dialog box ......................... 1168 
Document Options-Tuplets dialog box ........................................ 1171 
Dot Offsets dialog box ................................................................... 1176 
Duration Allotments dialog box .................................................... 1177 
Edit Bookmarks dialog box ........................................................... 1180 
Edit Filter/Clear Selected Items dialog box ................................. 1182 
Edit Frame dialog box ................................................................... 1189 
Edit Keyboard Shortcuts dialog box ............................................ 1195 
Edit Learned Chords dialog box ................................................... 1197 
Edit Lyrics dialog box .................................................................... 1200 
Edit MIDI Modifiers dialog box ...................................................... 1202 
Edit MIDI Note dialog box .............................................................. 1204 
Edit Modal or Chromatic Spellings dialog box ............................ 1205 
Edit Major and Minor Key Spellings dialog box .......................... 1207 
Edit Page Margins dialog box ....................................................... 1209 
Edit System Margins dialog box ................................................... 1211 
Edit Text dialog box ....................................................................... 1213 
Edit Text limited dialog box .......................................................... 1215 
Elapsed Time dialog box ............................................................... 1217 
Enclosure Designer dialog box .................................................... 1218 
Erase Layer dialog box .................................................................. 1221 
Executable Shape Designer dialog box ....................................... 1222 
Executable Shape Selection dialog box ...................................... 1226 
Exercise Wizard dialog box .......................................................... 1228 
Explode Music dialog box ............................................................. 1233 
Extract Lyrics dialog box .............................................................. 1236 
Export MIDI File Options dialog box ............................................ 1237 
Export Selection/Pages dialog box .............................................. 1239 
Expression Assignment dialog box ............................................. 1242 
Expression Selection dialog box .................................................. 1244 
Expression Designer-Main dialog box ......................................... 1247 
Expression Designer-Positioning dialog box .............................. 1251 
Expression Designer-Playback dialog box .................................. 1254 
Extract Parts dialog box ................................................................ 1262 
File Info dialog box ........................................................................ 1265 
File Integrity Test Results dialog box .......................................... 1267 
File Maintenance dialog box ......................................................... 1269 
File Statistics dialog box ............................................................... 1271 
Fill dialog box ................................................................................. 1273 
Filter Channels dialog box ............................................................ 1275 
FinaleScript Editor dialog box ...................................................... 1277 
Fit Measures dialog box ................................................................ 1280 
Fit to Time dialog box .................................................................... 1282 
Fixed Split dialog box .................................................................... 1283 
Fixed Split Point dialog box .......................................................... 1285 
Font dialog box .............................................................................. 1287 
Font Annotation dialog box .......................................................... 1289 
Font Utilities dialog box ................................................................ 1291 
Frame Attributes dialog box ......................................................... 1294 
Fretboard Editor dialog box .......................................................... 1298 
Fretboard Instrument Definition dialog box ................................ 1300 
Fretboard Selection dialog box .................................................... 1302 
Fretboard Shape Selection dialog box ......................................... 1304 
Fretboard Style Fonts and Shapes dialog box ............................ 1306 
Fretboard Styles dialog box .......................................................... 1308 
Full Measure dialog box ................................................................ 1310 
Graphic Attributes dialog box....................................................... 1311 
Garritan Ambience dialog box ...................................................... 1316 
Group Attributes dialog box ......................................................... 1319 
Guitar Bend Options dialog box ................................................... 1324 
Hand Width Split dialog box ......................................................... 1326 
Handle Positioning dialog box...................................................... 1328 
Human Playback Custom Style dialog box.................................. 1330 
Human Playback Preferences dialog box .................................... 1341 
Human Playback Preferences - Dynamics & Volume dialog box1344 
Human Playback Preferences - Instrument Techniques & Effects dialog
box .................................................................................................. 1347 
Human Playback Preferences - Garritan Specials dialog box ... 1360 
Human Playback Preferences Glissandi & Bends dialog box ... 1362 
Human Playback Preferences - MIDI Data dialog box ................ 1364 
Human Playback Preferences - Ornaments & Tremolos dialog box1366 
Human Playback Preferences - Tempo Variations dialog box ... 1368 
Hyperlink ........................................................................................ 1370 
HyperScribe dialog box ................................................................. 1371 
HyperScribe Options dialog box .................................................. 1373 
Implode Music dialog box ............................................................. 1375 
Import MIDI from Clipboard dialog box ........................................ 1377 
Import MIDI File Options dialog box ............................................. 1378 
Import Score Files - Options dialog box ...................................... 1382 
Import Score Files - Order dialog box .......................................... 1384 
Insert Blank Pages dialog box ...................................................... 1386 
Insert Staff Systems dialog box.................................................... 1388 
Instrument Definition dialog box .................................................. 1389 
Instrument Junction dialog box.................................................... 1391 
Instrument List dialog box ............................................................ 1393 
Instrument Name Assignments dialog box ................................. 1400 
Intelligent Accompaniment dialog box ........................................ 1402 
Interval dialog box ......................................................................... 1403 
Items to Snap to Grid dialog box .................................................. 1404 
Items to Snap to Guide dialog box ............................................... 1405 
Key Signature dialog box .............................................................. 1407 
Key Step Map dialog box .............................................................. 1410 
Last Recorded Tempo dialog box ................................................ 1413 
Launch Window ............................................................................. 1414 
Limit - Continuous Data dialog box.............................................. 1416 
Limit - Key Velocities dialog box .................................................. 1418 
Limit - Note Durations dialog box................................................. 1420 
Limit - Tempo dialog box .............................................................. 1422 
Line Spacing dialog box ................................................................ 1423 
Line Thickness dialog box ............................................................ 1425 
Listen dialog box ........................................................................... 1426 
Listen to Tempo dialog box .......................................................... 1427 
Lowest Fret dialog box .................................................................. 1428 
Manage Parts dialog box ............................................................... 1429 
Manage VST Plug-ins .................................................................... 1432 
Measure Assignment for Ossia Measure dialog box .................. 1434 
Measure Attributes dialog box...................................................... 1436 
Measure Number dialog box ......................................................... 1441 
Measure Number Style dialog box ............................................... 1446 
Mid-Measure Clef dialog box ........................................................ 1448 
MIDI Event dialog box .................................................................... 1451 
MIDI Input Filter dialog box ........................................................... 1452 
MIDI Setup dialog box ................................................................... 1454 
MIDI Thru dialog box ..................................................................... 1458 
MIDI Thru Table dialog box ........................................................... 1460 
MIDI File Status dialog box ........................................................... 1462 
MIDI Tool window dialog box ........................................................ 1463 
Mirror Attributes dialog box .......................................................... 1470 
Mixer ............................................................................................... 1474 
More Settings dialog box .............................................................. 1478 
More Quantization Settings dialog box ........................................ 1481 
Move Groups dialog box ............................................................... 1485 
Move/Copy Layers dialog box ...................................................... 1486 
Movie Window ................................................................................ 1488 
Moving Split Point dialog box ....................................................... 1490 
Multimeasure Rest dialog box ...................................................... 1492 
Sample List for Executable Shape dialog box............................. 1494 
Multiple Splits dialog box .............................................................. 1496 
New Category dialog box .............................................................. 1498 
New Staves dialog box .................................................................. 1499 
Nonstandard Key Signature dialog box ....................................... 1501 
Notehead Settings dialog box....................................................... 1505 
Note Shapes dialog box ................................................................ 1507 
Open File dialog box...................................................................... 1509 
Optional Octave Region dialog box ............................................. 1511 
Ossia Measure Designer dialog box ............................................ 1512 
Page Assignment for Ossia Measure dialog box ........................ 1515 
Page Format for Parts dialog box................................................. 1517 
Page Format for Score dialog box................................................ 1520 
Page Offset dialog box .................................................................. 1523 
Page Setup dialog box .................................................................. 1524 
Page Size dialog box ..................................................................... 1525 
Part Creation Preferences dialog box .......................................... 1527 
Paste Multiple dialog box .............................................................. 1529 
Partial Measure Selection dialog box........................................... 1531 
Percent Alteration-Continuous Data dialog box ......................... 1532 
Percent Alteration Key Velocities dialog box .............................. 1534 
Percent Alteration Tempo dialog box .......................................... 1536 
Percent Alteration Note Durations dialog box............................. 1537 
Percussion Layout Designer dialog box ...................................... 1539 
Percussion Layout Selection dialog box ..................................... 1542 
Percussion Input Maps dialog box ............................................... 1545 
Percussion MIDI Map Editor dialog box ....................................... 1547 
Pickup Measure dialog box ........................................................... 1549 
Playback and/or Click dialog box ................................................. 1550 
Placeholder dialog box .................................................................. 1552 
Playback Controls dialog box ....................................................... 1554 
Playback Data Dump dialog box................................................... 1557 
Playback/Record Options dialog box ........................................... 1559 
Playback Settings dialog box ....................................................... 1562 
Position dialog box ........................................................................ 1565 
Position Groups dialog box .......................................................... 1568 
Position Measure Number dialog box .......................................... 1571 
Preset Arrowhead Selection dialog box ...................................... 1573 
Print dialog box .............................................................................. 1575 
Program Options dialog box ......................................................... 1578 
Program Options-Display Colors dialog box............................... 1580 
Program Options-Edit dialog box ................................................. 1582 
Program Options-Folders dialog box ........................................... 1587 
Program Options-New dialog box ................................................ 1589 
Program Options-Open dialog box .............................................. 1591 
Program Options-Palettes and Backgrounds dialog box ........... 1594 
Program Options-Save dialog box ............................................... 1596 
Program Options-View dialog box ............................................... 1598 
Punch In PreRoll dialog box ......................................................... 1601 
Quantization Settings dialog box ................................................. 1602 
Randomize Key Velocities dialog box.......................................... 1605 
Randomize Note Durations dialog box ........................................ 1606 
Rebar Options dialog box ............................................................. 1608 
Rebeam to Lyrics dialog box ........................................................ 1610 
Rebeam to Time Signature ............................................................ 1612 
Record Continuous Data dialog box ............................................ 1614 
Redefine Pages dialog box ........................................................... 1616 
Redefine Selected Pages dialog box............................................ 1617 
Rehearsal Mark dialog box (in Add SmartMusic Markers) ......... 1619 
Rehearsal Mark Sequence dialog box.......................................... 1621 
Remove Staff dialog box ............................................................... 1622 
Repeat Designer dialog box .......................................................... 1623 
Repeat Endings dialog box ........................................................... 1625 
Repeat Marker dialog box ............................................................. 1627 
Repeat Selection dialog box ......................................................... 1629 
Reposition Guide dialog box ........................................................ 1632 
Reset Measure Marker dialog box ................................................ 1633 
Reset Tempo Marker dialog box ................................................... 1634 
Resize Note dialog box .................................................................. 1635 
Resize Notehead dialog box ......................................................... 1636 
Resize Page dialog box ................................................................. 1637 
Resize Staff dialog box .................................................................. 1639 
Resize Staff System dialog box .................................................... 1640 
Respace Staves dialog box ........................................................... 1643 
Rulers and Grid dialog box ........................................................... 1645 
Save As Audio File dialog box ...................................................... 1647 
Save Library dialog box ................................................................ 1649 
Save Tempo Changes dialog box ................................................. 1652 
Scale Continuous Data dialog box ............................................... 1654 
Scale Key Velocities dialog box ................................................... 1656 
Scale Note Durations dialog box .................................................. 1658 
Scale - Tempo dialog box .............................................................. 1660 
Score Merger dialog box ............................................................... 1662 
Search and Replace dialog box .................................................... 1664 
Secondary Beam Break Selection dialog box ............................. 1666 
Select Region dialog box .............................................................. 1668 
Select Staff Systems dialog box ................................................... 1670 
Selection Overview ........................................................................ 1671 
Selective Mirror dialog box ........................................................... 1672 
Send MIDI Value dialog box .......................................................... 1674 
Set Distances dialog box .............................................................. 1676 
Set Duration dialog box ................................................................. 1677 
Set Patch To dialog box ................................................................ 1678 
Set Placeholder dialog box ........................................................... 1679 
Set Swing Ratio dialog box ........................................................... 1680 
Set To - Continuous Data dialog box ........................................... 1682 
Set To - Key Velocities dialog box................................................ 1683 
Set To - Start/Stop Times dialog box ........................................... 1684 
Set To - Tempo dialog box ............................................................ 1686 
Setup Wizard .................................................................................. 1687 
Shape Designer dialog box ........................................................... 1694 
Shape Selection dialog box .......................................................... 1699 
Shift Lyrics dialog box .................................................................. 1701 
Simple Entry Options dialog box.................................................. 1703 
Simple Entry Tuplet Definition dialog box ................................... 1706 
Size dialog box ............................................................................... 1708 
Slur Contour dialog box ................................................................ 1709 
Smart Line Designer dialog box ................................................... 1712 
Smart Line Selection dialog box................................................... 1714 
Smart Shape Options dialog box.................................................. 1716 
Smart Shape Placement dialog box ............................................. 1719 
Smart Slur Options dialog box ..................................................... 1733 
SmartScore Lite dialog box........................................................... 1737 
SmartFind and Paint dialog box ................................................... 1739 
SmartMusic Accompaniment File Compatibility ......................... 1741 
SoftSynth Settings dialog box ...................................................... 1743 
Space Systems Evenly dialog box ............................................... 1745 
Spacing Widths dialog box ........................................................... 1747 
Special Key Signature Attributes dialog box............................... 1749 
Specify Current Lyric dialog box .................................................. 1751 
Speedy Options dialog box ........................................................... 1752 
Staff Attributes dialog box ............................................................ 1754 
Staff Controls ................................................................................. 1759 
Score Lists and Staff List dialog box ........................................... 1761 
Staff Setup dialog box ................................................................... 1765 
Staff Styles dialog box .................................................................. 1768 
Staff Stem Settings dialog box ..................................................... 1770 
System Space Before/After Music dialog box ............................. 1772 
Staff System Optimization dialog box .......................................... 1774 
Staff Transpositions dialog box ................................................... 1777 
Staff Usage List dialog box ........................................................... 1782 
Standard Frame dialog box ........................................................... 1784 
Stem Connection Editor dialog box ............................................. 1786 
Stem Connections dialog box....................................................... 1788 
Staff Stem Settings dialog box ..................................................... 1790 
Suffix Keynumber Offsets dialog box .......................................... 1792 
Superscript dialog box .................................................................. 1794 
Sweep For Channels Present In A Track dialog box .................. 1795 
Swing Playback .............................................................................. 1797 
Symbol List dialog box .................................................................. 1800 
Symbol Selection dialog box ........................................................ 1802 
Sync and Video Options dialog box ............................................. 1804 
Tablature MIDI Channels dialog box ............................................ 1806 
Tablature Staff Attributes dialog box ........................................... 1807 
Tap Source dialog box .................................................................. 1809 
Tap States dialog box .................................................................... 1811 
Tempo Adjustment dialog box...................................................... 1813 
Expression Designer-Main dialog box ......................................... 1816 
Text Repeat Assignment dialog box ............................................ 1820 
Text Search and Replace dialog box............................................ 1823 
There Are Too Many Beats In This Measure ................................ 1825 
Tie Alterations dialog box ............................................................. 1827 
Tie Contour dialog box .................................................................. 1830 
Time Style dialog box .................................................................... 1833 
Tilting Mirror dialog box ................................................................ 1834 
Time Signature dialog box ............................................................ 1836 
Tone Center(s) dialog box ............................................................. 1839 
Track/Channel Mapping dialog box.............................................. 1841 
Track/Channel Mapping to Staves dialog box ............................. 1845 
Tracking dialog box ....................................................................... 1848 
Transcription dialog box ............................................................... 1849 
Transcription Filters dialog box ................................................... 1857 
Transposition dialog box .............................................................. 1859 
Tuplet Definition dialog box .......................................................... 1861 
Undo/Redo Lists dialog box.......................................................... 1866 
Unknown Chord Suffix dialog box ............................................... 1867 
Unknown Font dialog box ............................................................. 1869 
Update Available dialog box ......................................................... 1871 
View Continuous Data dialog box ................................................ 1872 
View Resolution dialog box .......................................................... 1874 
Voicing for Staff in Part dialog box .............................................. 1876 
VST Instruments dialog box.......................................................... 1878 
Wait for End of Note dialog box.................................................... 1880 
Wait For Foot Pedal dialog box .................................................... 1881 
Wait for Note dialog box ................................................................ 1882 
Word Extensions dialog box ......................................................... 1884 
Zoom dialog box ............................................................................ 1886 
Interface Changes .......................................................................... 1887 
Finale 2010 Interface Changes...................................................... 1888 
Finale 2009a Interface Changes.................................................... 1890 
Finale 2009 Interface Changes...................................................... 1891 
Finale 2008 Interface Changes...................................................... 1895 
Glossary ......................................................................................... 1906 
Keyboard Shortcuts and Special Mouse Clicks .......................... 1914 
Character Sets................................................................................ 1967 
Engraver Font................................................................................. 1968 
Jazz Font ........................................................................................ 1994 
Broadway Copyist Font ................................................................. 2037 
Maestro Font .................................................................................. 2060 
Maestro Times Font ....................................................................... 2073 
Menus
Chord menu .................................................................................... 2074 
Chord/Manual Input ....................................................................... 2076 
Chord/Allow MIDI Input ................................................................. 2081 
Chord/One-Staff Analysis ............................................................. 2082 
Chord/Two-Staff Analysis ............................................................. 2083 
Chord/All-Staff Analysis ................................................................ 2084 
Chord/Chord Style ......................................................................... 2085 
Chord/Left-Align Chords ............................................................... 2086 
Chord/Italicize Capo Chords ......................................................... 2087 
Chord/Show Fretboards ................................................................ 2088 
Chord/Position Chords .................................................................. 2089 
Chord/Position Fretboards ........................................................... 2090 
Chord/Simplify Spelling ................................................................ 2091 
Chord/Substitute Symbols ............................................................ 2092 
Chord/Edit Learned Chords .......................................................... 2093 
Chord/Change Chord Suffix Fonts ............................................... 2094 
Chord menu/Enable Chord Playback ........................................... 2095 
Document menu ............................................................................. 2096 
Document/Edit Score ..................................................................... 2097 
Document/Edit Part........................................................................ 2098 
Document/Manage Parts ............................................................... 2099 
Document/Page Format ................................................................. 2100 
Document/Special Part Extraction ............................................... 2101 
Document/Data Check ................................................................... 2102 
Document/Display In Concert Pitch ............................................. 2103 
Document/Display Expressions and Repeats for Parts ............. 2104 
Document/Show Active Layer Only.............................................. 2105 
Document/Playback/Record Options ........................................... 2106 
Document/Sync and Video Options ............................................. 2107 
Document/Category Designer....................................................... 2108 
Document menu/Edit Measure Number Regions ........................ 2109 
Measure menu/Edit Measure Number Regions ........................... 2110 
Document/Pickup Measure ........................................................... 2111 
Document/Set Default Music Font ................................................ 2112 
Document/Document Options ...................................................... 2113 
Edit menu ....................................................................................... 2115 
Edit/Undo ........................................................................................ 2117 
Edit/Redo ........................................................................................ 2118 
Edit/Undo/Redo Lists ..................................................................... 2119 
Edit/Select All ................................................................................. 2120 
Edit/Select Region ......................................................................... 2121 
Edit/Cut ........................................................................................... 2122 
Edit/Copy ........................................................................................ 2123 
Measure/Insert................................................................................ 2124 
Edit/Paste ....................................................................................... 2125 
Edit/Use Filter ................................................................................. 2126 
Edit/Paste Multiple ......................................................................... 2127 
Edit/Edit Filter................................................................................. 2128 
Edit/Move/Copy Layers ................................................................. 2129 
Edit/Clear All Items ........................................................................ 2130 
Edit/Use Filter ................................................................................. 2131 
Edit/SmartFind and Paint .............................................................. 2132 
Edit/Text Search and Replace ....................................................... 2133 
Edit/Add Measures......................................................................... 2134 
Edit/Insert Measure Stack ............................................................. 2135 
Edit/Delete Measure Stack ............................................................ 2136 
Edit/Multimeasure Rests ............................................................... 2137 
Edit/Edit Measure Attributes ......................................................... 2138 
Edit/Enharmonic Spelling ............................................................. 2139 
Edit/Measurement Units ................................................................ 2140 
Edit/Program Options .................................................................... 2142 
Expression menu ........................................................................... 2143 
Expression menu/Adjust Above Staff Baseline .......................... 2144 
Expression menu/Adjust Below Staff Baseline ........................... 2145 
Expression/Favor Attachment to Active Layer............................ 2146 
Expression/Edit Rehearsal Mark Sequence ................................ 2147 
File menu ........................................................................................ 2148 
File/Launch Window ...................................................................... 2149 
File/New .......................................................................................... 2150 
File/Open ........................................................................................ 2151 
File/Close ........................................................................................ 2152 
File/Close All .................................................................................. 2153 
File/Save ......................................................................................... 2154 
File/Save As .................................................................................... 2155 
File/Extract Parts............................................................................ 2156 
File/Export to SmartMusic ............................................................. 2157 
File/Export to Audio File ................................................................ 2158 
File/Post at Finale Showcase ........................................................ 2159 
File/Revert ...................................................................................... 2160 
File/ScoreMerger ............................................................................ 2161 
File/MusicXML ................................................................................ 2162 
File/Scanning SmartScore Lite ..................................................... 2163 
File/Load Library ............................................................................ 2164 
File/Save Library ............................................................................ 2165 
File/File Info .................................................................................... 2166 
File/Page Setup .............................................................................. 2167 
File/Print ......................................................................................... 2168 
File/Compile PostScript Listing .................................................... 2169 
File/Save Preferences .................................................................... 2170 
File/Exit ........................................................................................... 2171 
Graphics menu ............................................................................... 2172 
Graphics/Export Selection ............................................................ 2173 
Graphics/Export Pages ................................................................. 2174 
Graphics/Place Graphic ................................................................ 2175 
Graphics/Alignment ....................................................................... 2176 
Graphics/Attributes ....................................................................... 2178 
Graphics/Check Graphics ............................................................. 2179 
Graphics/Assign New Graphics to Measure ................................ 2180 
Graphics/Assign New Graphics to Page ...................................... 2181 
Help menu ...................................................................................... 2182 
Help/User Manual ........................................................................... 2183 
Help/Finale Tutorials...................................................................... 2184 
Help/QuickStart Videos ................................................................. 2185 
Help/Shortcuts & Character Maps ................................................ 2186 
Help/Shortcuts & Character Maps/Keyboard Shortcuts ............. 2187 
Help/Shortcuts & Character Maps/Engraver Character Map ...... 2188 
Help/Shortcuts & Character Maps/Broadway Copyist Character Map 2189 
Help/Shortcuts & Character Maps/Maestro Character Map ....... 2190 
Help/Finale Website ....................................................................... 2191 
Help/Authorize Finale .................................................................... 2192 
Help/Check for Finale Updates ..................................................... 2193 
About Finale ................................................................................... 2194 
HyperScribe menu ......................................................................... 2195 
HyperScribe/Beat Source .............................................................. 2196 
HyperScribe/Record Mode ............................................................ 2197 
HyperScribe/HyperScribe Options ............................................... 2198 
HyperScribe/Record Continuous Data ......................................... 2199 
HyperScribe/Transcription Mode.................................................. 2200 
Lyrics menu .................................................................................... 2201 
Lyrics/Edit Lyrics ........................................................................... 2202 
Lyrics/Export Lyrics ...................................................................... 2203 
Lyrics/Adjust Syllables .................................................................. 2204 
Lyrics/Click Assignment ............................................................... 2205 
Lyrics/Clone Lyric .......................................................................... 2206 
Lyrics/Edit Word Extensions ........................................................ 2207 
Lyrics/Shift Lyrics .......................................................................... 2208 
Lyrics/Type Into Score .................................................................. 2209 
Lyrics/Alignment ............................................................................ 2210 
Lyrics/Justification ........................................................................ 2211 
Lyrics/Specify Current Lyric ......................................................... 2212 
Lyrics/Adjust Baselines ................................................................ 2213 
Lyrics/Lyric Options ...................................................................... 2214 
Measure menu ................................................................................ 2215 
Document menu/Edit Measure Number Regions ........................ 2216 
Measure menu/Edit Measure Number Regions ........................... 2217 
Measure/Add Measure Number Enclosures ................................ 2218 
Measure/Show Measure Numbers ................................................ 2219 
Measure/Hide Measure Numbers.................................................. 2220 
Measure/Restore Measure Number Defaults ............................... 2221 
Measure/Show Measure Spacing Handles .................................. 2222 
MIDI/Audio menu............................................................................ 2223 
MIDI/Audio/Play Finale Through VST ........................................... 2224 
MIDI/Audio/Play Finale Through MIDI .......................................... 2225 
MIDI/Audio/Instrument Setup ........................................................ 2226 
MIDI/Audio Track............................................................................ 2227 
MIDI/Audio/Human Playback......................................................... 2228 
MIDI/Audio/Device Setup ............................................................... 2229 
MIDI/Audio/MIDI File Options ........................................................ 2230 
MIDI/Audio/MIDI Clipboard ............................................................ 2231 
MIDI/Send MIDI Value .................................................................... 2232 
MIDI/All Notes Off........................................................................... 2233 
MIDI/Set Panning............................................................................ 2234 
MIDI/Retranscribe .......................................................................... 2235 
MIDI/Click and Countoff ................................................................ 2236 
MIDI/Audio/Quantization Settings ................................................ 2237 
MIDI Tool menu .............................................................................. 2238 
MIDI Tool/Key Velocities ............................................................... 2240 
MIDI Tool/Note Durations .............................................................. 2241 
MIDI Tool/Continuous Data ........................................................... 2242 
MIDI Tool/Set To ............................................................................. 2243 
MIDI Tool/Scale .............................................................................. 2244 
MIDI Tool/Add ................................................................................. 2245 
MIDI Tool/Percent Alter ................................................................. 2246 
MIDI Tool/Limit ............................................................................... 2247 
MIDI Tool/Alter Feel ....................................................................... 2248 
MIDI Tool/Randomize ..................................................................... 2249 
MIDI Tool/Clear ............................................................................... 2250 
MIDI Tool/Edit MIDI Note ............................................................... 2251 
MIDI Tool/Play ................................................................................ 2252 
MIDI Tool/Show Selected Notes.................................................... 2253 
MIDI Tool/Dragging Copies Music ................................................ 2254 
MIDI Tool/Dragging Copies MIDI Data .......................................... 2255 
Mirror menu .................................................................................... 2256 
Mirror/Dragging Copies Music ...................................................... 2257 
Mirror/Dragging Mirrors Measures ............................................... 2258 
Note Mover menu ........................................................................... 2259 
Note Mover/Copy and Replace ..................................................... 2260 
Note Mover/Copy and Merge......................................................... 2261 
Note Mover/Delete After Replace.................................................. 2262 
Note Mover/Delete After Merge ..................................................... 2263 
Note Mover/Cross Staff ................................................................. 2264 
Note Mover/Insert Before .............................................................. 2265 
Note Mover/Append After .............................................................. 2266 
Note Mover/Search and Replace .................................................. 2267 
Page Layout menu ......................................................................... 2268 
Page Layout/Insert Blank Pages................................................... 2269 
Page Layout/Delete Page Break ................................................... 2270 
Page Layout/Insert Staff Systems ................................................ 2271 
Page Layout/Delete Staff Systems ............................................... 2272 
Page Layout/Redefine Pages ........................................................ 2273 
Page Layout/Optimize Staff Systems ........................................... 2274 
Page Layout/Fit Measures ............................................................. 2275 
Page Layout/Space Systems Evenly ............................................ 2276 
Page Layout/Avoid Margin Collision ............................................ 2277 
Page Layout/Update Page Format For Score .............................. 2278 
Page Layout/Systems .................................................................... 2279 
Page Layout/Page Margins ........................................................... 2280 
Page Layout/Page Size .................................................................. 2281 
Page Layout/Resize Pages ............................................................ 2282 
Page Layout/Resize Staff Systems............................................... 2283 
Plug-ins menu ................................................................................ 2284 
Repeat menu .................................................................................. 2291 
Repeat/Create Simple Repeat ....................................................... 2292 
Repeat/Create First and Second Ending ...................................... 2293 
Repeat/Create Ending .................................................................... 2294 
Repeat/Create Forward Repeat Bar .............................................. 2295 
Repeat/Create Backward Repeat Bar ........................................... 2296 
Repeat/Align Brackets ................................................................... 2297 
Repeat/Reset Bracket to Default................................................... 2298 
Repeat/Delete ................................................................................. 2299 
Repeat/Check Repeats .................................................................. 2300 
Repeat/Repeat Options ................................................................. 2301 
Simple menu................................................................................... 2302 
Simple/Simple Entry Options ........................................................ 2303 
Simple/Use MIDI Device for Input ................................................. 2304 
Simple/Simple Edit Commands .................................................... 2305 
Simple/Simple Navigation Commands ......................................... 2309 
Simple/TAB Specific Commands.................................................. 2310 
Shape Designer menu ................................................................... 2313 
Shape Designer/Show ................................................................... 2314 
Shape Designer/Send to Back ...................................................... 2315 
Shape Designer/Bring to Front ..................................................... 2316 
Shape Designer/Group .................................................................. 2317 
Shape Designer/Ungroup .............................................................. 2318 
Shape Designer/Select Font ......................................................... 2319 
Shape Designer/Line Style ............................................................ 2320 
Shape Designer/Line Style ............................................................ 2321 
Shape Designer/Arrowheads ........................................................ 2322 
Shape Designer/Fill........................................................................ 2323 
Shape Designer/Bracket Style ...................................................... 2324 
Shape Designer/Rulers and Grid .................................................. 2325 
Smart Shape menu ........................................................................ 2326 
Smart Shape/Slur Contour ............................................................ 2327 
Smart Shape/Smart Shape Placement ......................................... 2328 
Smart Shape/Smart Shape Options.............................................. 2329 
Smart Shape/Smart Slur Options ................................................. 2330 
Smart Shape/Guitar Bend Options ............................................... 2331 
Smart Shape/Attach to Measures ................................................. 2332 
Smart Shape/Attach to Notes........................................................ 2333 
Smart Shape/Attach to Noteheads ............................................... 2334 
Smart Shape/Direction .................................................................. 2335 
Special Tools menu ....................................................................... 2338 
Special Tools/Show Handles ........................................................ 2339 
Special Tools/Update..................................................................... 2340 
Special Tools/Show Crosshairs.................................................... 2341 
Special Tools/Tie Direction ........................................................... 2342 
Speedy menu ................................................................................. 2343 
Speedy/Speedy Options ................................................................ 2344 
Speedy/Use MIDI Device for Input ................................................ 2345 
Speedy/Playback............................................................................ 2346 
Speedy/Jump to Next Measure ..................................................... 2347 
Speedy/Create New Measures ...................................................... 2348 
Speedy/Check Beaming ................................................................ 2349 
Speedy/Check Accidentals ........................................................... 2350 
Speedy/Check for Extra Notes ...................................................... 2351 
Speedy/Use Five Line Staff ........................................................... 2352 
Speedy/Edit TAB as Standard Notation ....................................... 2353 
Speedy/Auto Freeze Accidentals.................................................. 2354 
Speedy/Insert Notes or Rests ....................................................... 2355 
Speedy/Speedy Edit Commands .................................................. 2356 
Speedy/Speedy Navigation ........................................................... 2359 
Speedy/Tie Direction ..................................................................... 2361 
Staff menu ...................................................................................... 2362 
Staff/New Staves ............................................................................ 2363 
Staff/New (With Setup Wizard) ...................................................... 2364 
Staff/Delete Staves......................................................................... 2365 
Staff/Delete Staves and Reposition .............................................. 2366 
Staff/Edit Staff Attributes .............................................................. 2367 
Staff/Respace Staves..................................................................... 2368 
Staff/Sort Staves ............................................................................ 2369 
Staff/Auto Sort Staves ................................................................... 2370 
Staff/Staff Usage ............................................................................ 2371 
Staff/Define Staff Styles ................................................................ 2372 
Staff/Clear Staff Styles .................................................................. 2373 
Staff/Apply Staff Styles ................................................................. 2374 
Staff/Reset Staff Styles to Score .................................................. 2375 
Staff/Show Staff Styles .................................................................. 2376 
Staff/Show Staff Style Names ....................................................... 2377 
Staff/Add Group and Bracket ........................................................ 2378 
Staff/Edit Group Attributes ........................................................... 2379 
Staff/Remove Group ...................................................................... 2380 
Staff/Set Default Name Positions ................................................. 2381 
Staff/Position Names ..................................................................... 2382 
Staff/Show Default Staff Names.................................................... 2384 
Staff/Show Default Group Names ................................................. 2385 
Text menu ....................................................................................... 2386 
Text/Font ......................................................................................... 2388 
Text/Size ......................................................................................... 2389 
Text/Style ........................................................................................ 2391 
Text/Baseline Shift ......................................................................... 2392 
Text/Superscript............................................................................. 2393 
Text/Tracking.................................................................................. 2394 
Text/Character Settings ................................................................. 2395 
Text/Inserts ..................................................................................... 2396 
Text/Hyperlink ................................................................................ 2399 
Text/Edit Page Offset ..................................................................... 2400 
Text/Standard Frame ..................................................................... 2401 
Text/Custom Frame ....................................................................... 2402 
Text/Justification ........................................................................... 2403 
Text/Alignment ............................................................................... 2406 
Text/Frame Attributes .................................................................... 2407 
Text/Line Spacing .......................................................................... 2408 
Text/Word Wrap ............................................................................. 2409 
Text/Edit Text ................................................................................. 2410 
Text/Assign To Measure ................................................................ 2411 
Text/Assign To Page...................................................................... 2412 
Utilities menu ................................................................................. 2413 
Utilities/Transpose ......................................................................... 2414 
Utilities/Respell Notes ................................................................... 2415 
Utilities/Fit Measures ..................................................................... 2416 
Utilities/Lock Systems ................................................................... 2417 
Utilities/Unlock Systems ............................................................... 2418 
Utilities/Music Spacing .................................................................. 2419 
Utilities/Update Layout .................................................................. 2421 
Utilities/Update Smart Word Extensions and Hyphens .............. 2422 
Utilities/Rebar ................................................................................. 2423 
Utilities/Rebeam ............................................................................. 2424 
Utilities/Explode Music .................................................................. 2425 
Utilities/Implode Music .................................................................. 2426 
Utilities/SmartMusic Markers ........................................................ 2427 
Utilities/Apply Articulation ............................................................ 2428 
Utilities/Check Notation ................................................................. 2429 
Utilities/Stem Direction .................................................................. 2430 
Utilities/Change .............................................................................. 2431 
View menu ...................................................................................... 2432 
View/Scroll View............................................................................. 2433 
View/Page View .............................................................................. 2434 
View/Page View Style .................................................................... 2435 
View/Studio View ........................................................................... 2436 
View/Zoom ...................................................................................... 2437 
View/Bookmarks ............................................................................ 2439 
View/Select Staff Set...................................................................... 2440 
View/Select Layer........................................................................... 2441 
View/Redraw Screen ...................................................................... 2442 
View/Grid/Guide ............................................................................. 2443 
View/Show ...................................................................................... 2444 
View/Select Display Colors ........................................................... 2445 
Window menu................................................................................. 2446 
Window/Instrument List ................................................................ 2447 
Window/Mixer ................................................................................. 2448 
Window/Movie Window ................................................................. 2449 
Window/Playback Controls ........................................................... 2450 
Window/Main Tool Palette ............................................................. 2451 
Window/Advanced Tools Palette .................................................. 2452 
Navigational Tools Palette ............................................................ 2453 
Window/Simple Entry Palette........................................................ 2454 
Window/Simple Entry Rests Palette ............................................. 2455 
Window/Smart Shape Palette........................................................ 2456 
Window/Special Tools Palette ...................................................... 2457 
Window/Customize Palettes ......................................................... 2458 
Window/menu Toolbars ................................................................ 2459 
Window/Status Bar ........................................................................ 2460 
Window/Cascade ........................................................................... 2461 
Window/Tile Vertically ................................................................... 2462 
Window/Tile Horizontally .............................................................. 2463 
Window/Arrange Icons .................................................................. 2464 
Window/New Window .................................................................... 2465 
Window/Close Window .................................................................. 2466 
Plug-ins ........................................................................................... 2467 
Add Cue Notes Plug-in .................................................................. 2468 
Align/Move Dynamics Plug-in ....................................................... 2470 
Apply Human Playback plug-in .................................................... 2472 
Auto-Dynamic Placement Plug-in................................................. 2474 
Auto Slur Melismas Plug-in .......................................................... 2476 
Automatic Barlines Plug-in ........................................................... 2477 
Band-in-a-Box Auto-Harmonizing Plug-in ................................... 2479 
Beam Over Barlines Plug-in .......................................................... 2483 
Canonic Utilities Plug-in ................................................................ 2484 
Cautionary Accidentals Plug-in .................................................... 2489 
Change Fonts Plug-in .................................................................... 2491 
Change Noteheads Plug-in ........................................................... 2492 
Change to Default Whole Rests Plug-in ....................................... 2493 
Change to Real Whole Rests Plug-in ........................................... 2494 
Check Range Plug-in ..................................................................... 2495 
Check Region for Durations Plug-in ............................................ 2498 
Chord Analysis Plug-in ................................................................. 2499 
Chord Morphing Plug-in ................................................................ 2501 
Chord Realization Plug-in ............................................................. 2503 
Chord Reordering Plug-in ............................................................. 2505 
Chord Splitting Plug-in .................................................................. 2506 
Classic Eighth Beams Plug-in ...................................................... 2508 
Clear Lyric Positioning Plug-in ..................................................... 2510 
Clear Measure # Positioning Plug-in ............................................ 2511 
Command Line Plug-in .................................................................. 2512 
Common Tone Transposition Plug-in .......................................... 2517 
Composer’s Assistant Plug-ins .................................................... 2518 
Count Items Plug-in ....................................................................... 2519 
Create Coda System Plug-in ......................................................... 2520 
Create Handbells Used Chart Plug-in .......................................... 2522 
Cross Staff plug-in ......................................................................... 2524 
Drum Groove plug-in ..................................................................... 2526 
Easy Harmonics Plug-in ................................................................ 2528 
Easy Tremolos Plug-in .................................................................. 2529 
FinaleScript™ plug-in .................................................................... 2531 
FinaleScript Commands ................................................................ 2535 
Find Parallel Motion Plug-in .......................................................... 2559 
Find Range Plug-in ........................................................................ 2560 
Flat Beams Plug-in, Flat Beams (Remove) Plug-in ..................... 2561 
Frequency Modulation Chord Generator Plug-in ........................ 2562 
Global Staff Attributes plug-in ...................................................... 2565 
Group Style Definition dialog box ................................................ 2567 
Latin Percussion plug-in ............................................................... 2569 
Ledger Lines (Hide) Plug-in, Ledger Lines (Show) Plug-in ........ 2571 
Melodic Morphing Plug-in ............................................................. 2572 
Merge Measures Plug-in ................................................................ 2574 
menu Shortcuts Plug-in ................................................................ 2575 
Mid-Measure Repeats Plug-in ....................................................... 2577 
Midline Stem Direction Plug-in ..................................................... 2578 
Modify Rests Plug-in ..................................................................... 2579 
Move Rests Plug-in ........................................................................ 2580 
Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in2581 
Number Repeated Measures Plug-in............................................ 2582 
Patterson Beams Plug-in .............................................................. 2585 
Piano Reduction Plug-in ............................................................... 2590 
Process Extracted Parts plug-in ................................................... 2591 
Resize Noteheads Plug-in ............................................................. 2595 
Rhythm Generator Plug-in ............................................................ 2597 
Rhythmic Subdivisions Plug-in .................................................... 2599 
Score System Divider Plug-in ....................................................... 2601 
Single Pitch Plug-in ....................................................................... 2604 
Slash Flagged Grace Notes Plug-in, Slash Flagged Grace Notes (Remove)
Plug-in............................................................................................. 2605 
Smart Cue Notes Plug-in ............................................................... 2606 
Smart Page Turns plug-in ............................................................. 2609 
Smart Playback Plug-in ................................................................. 2612 
Smart Split Point plug-in ............................................................... 2615 
Split Measure Plug-in .................................................................... 2618 
Split Point Plug-in .......................................................................... 2621 
Tie Common Notes Plug-in ........................................................... 2622 
Update Groups and Brackets plug-in........................................... 2623 
Vertical Collision Remover plug-in............................................... 2625 
Virtual Fundamental Generator Plug-in ....................................... 2628 
Voice 2 to Layer Plug-in ................................................................ 2630 
Tools 
Articulation Tool ............................................................................ 2633 
Chord Tool ...................................................................................... 2636 
Clef Tool ......................................................................................... 2639 
Expression Tool ............................................................................. 2641 
Graphics Tool ................................................................................. 2645 
Hand Grabber Tool ........................................................................ 2647 
Key Signature Tool ........................................................................ 2648 
Lyrics Tool ...................................................................................... 2651 
HyperScribe Tool ........................................................................... 2654 
Measure Tool .................................................................................. 2655 
MIDI Tool ......................................................................................... 2661 
Mirror Tool ...................................................................................... 2663 
Note Mover Tool ............................................................................. 2665 
Ossia Tool ...................................................................................... 2667 
Page Layout Tool ........................................................................... 2670 
Repeat Tool .................................................................................... 2673 
Resize Tool ..................................................................................... 2677 
Selection Tool ................................................................................ 2679 
Simple Entry Tool .......................................................................... 2690 
Smart Shape Tool .......................................................................... 2698 
Special Tools Tool ......................................................................... 2704 
Speedy Entry Tool ......................................................................... 2706 
Staff Tool ........................................................................................ 2708 
Tempo Tool .................................................................................... 2713 
Text Tool ......................................................................................... 2714 
Time Signature Tool ...................................................................... 2717 
Tuplet Tool ..................................................................................... 2720 
Zoom Tool ...................................................................................... 2724 
Worksheets .................................................................................... 2725 
What's New in Finale 2010
• Easier Percussion Entry. Entering percussion has been greatly simplified
with on-screen feedback that displays the percussion instrument you are
about to enter. See Entering Percussion for a tutorial. See also Percussion.
• New Percussion Layouts. Assigning the staff position and notehead for
percussion instrument staves has never been easier with Finale's new
percussion layouts. See Percussion Layout Designer dialog box.
• Percussion MIDI Maps. To assign the appropriate MIDI notes to your
percussion parts automatically when you change the playback instrument,
use the Perc. Map column of the Instrument List. See also To setup
playback for a percussion staff.
• Beat-attached Chord Symbols. Chord symbols are now beat-attached,
and no longer require a host note or rest. Notes beneath chords can be
edited autonomously. See Chord Symbols.
• Improved Chord Playback. Chord symbols now play for the duration of
the measure, or to the next chord symbol. Simply type "N.C." (for no chord)
to interrupt chord playback. See Chord menu/Enable Chord Playback.
• Improved Chord Input. Type-in and/or Play-in chords without changing
modes. See To type-in chord symbols. and To play-in chord symbols
• Chord scaling. Chord symbols resize with the page automatically. Chords
and fretboards can be scaled for a whole document in Document Options-
Chords, or for a region using the Change Chord Assignments dialog box.
• Automatic Rehearsal Marks. Adding, deleting, and ordering rehearsal
marks is now simple and completely automatic. See Rehearsal Marks.
• Measure Numbering Enhancements. Now, you can specify separate
measure number settings for the score and parts. Also, benefit from more
font and positioning options based on context, for example, independent
positioning for multimeasure rests. See Measure Numbers.
• Alternate Notation. Finale now offers more control over what elements are
shown or hidden when you apply alternate notation. See Alternate Notation
dialog box.
• Music Education Worksheets. Finale now includes hundreds of ready-
made, educator-approved, music education worksheets. See Worksheets.
• Improved Graphic Support. Finale now supports more graphic file types
for import AND export. New import support includes JPEG, PNG, BMP, and
GIF while new export support includes JPEG and PNG. See Graphics.
• Broadway Copyist Handwritten Music Notation Font. Finale 2010
includes the new Broadway Copyist music notation font, created by Robert
Piechaud, designer of the esteemed November and Medieval music fonts.

2
 Inspired by the golden era of handwritten Broadway scores, the Broadway
Copyist font offers a lighter appearance. See Broadway Copyist character
set.
• Audio and Playback Enhancements (including support of VST/AU
Effects Plug-ins). Finale 2010 now supports VST/AU effects plug-ins,
includes the Garritan Ambience reverb plug-in, and offers expanded
volume control. See VST Instruments dialog box.
• Export Lyrics. Finale’s Lyrics Tool makes it easy to export all or part of
your lyrics to a word-processing document, and offers new controls to edit
your lyrics (adding verse/chorus designations not found in your score, for
example) before you export to the clipboard. See Export Lyrics dialog box.
• Improved Scanning/SmartScore Lite Enhancements. Finale now
includes SmartScore Lite version 5, offering the best music scanning ever.
A new interface lets you specify the instrumentation of the scanned staves,
ensuring transposing instruments are translated correctly. See To scan and
import sheet music and Instrument Name Assignments dialog box.
• Improved Help. Not only is Finale easier to use, finding help when you
need it is easier too! You will notice a cleaner Help Menu, convenient User
Manual welcome screen, and improved topic organization. Powerful filters
allow for targeted searches, which allow you to eliminate clutter and quickly
identify the content you need. See How to use the Finale 2010 User
Manual.
• Transparent Handles. Finale's selection handles make it easy to move
anything in your score with great accuracy. In Finale 2010 we've made
them transparent, so they never obscure what you're trying to edit. See
Program Options-View.
• Smoother On-Screen Appearance. Finale's on-screen display now
features anti-aliasing for smoother on-screen appearance (curves in
particular) and more accurate on-screen representation of your final output.
• Hyperlink Support. Easily add Hyperlinks to your Finale score. Clickable
links appear when viewing your files in other Finale family notation products
(including the free Finale Reader) as well in exported SmartMusic
accompaniments. See Hyperlink dialog box.

For the following feature lists, items that have changed as of the Finale 2010
(or earlier) release marked with an *.
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

3
 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-2104854722.

• 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 2009’s open VST abilities, and additional fixes and
improvements. Plus Human Playback options are now found in Finale’s
MIDI/Audio 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.

4
 • 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.
What's New in Finale 2009a

• Staff Assignment Lists for Expressions. Apply dynamics and other

expressions to multiple staves simultaneously using Finale's new
Assignment Lists. See To add an expression to multiple staves and
Expression Selection dialog box.
• Expression Assignment Shortcuts. Finale now includes several
additional shortcuts for expression assignment. For example, select an
expression and press Ctrl-up/down arrow to add the expression to adjacent
staves. See Keyboard Shortcuts - Expression Tool.
• Layer Assignment Improvements for Expressions. In measures with
multiple layers, you can now assign expressions to the active layer or all
layers using a new option under the Expression menu. See Edit/Favor
Attachment to Active Layer. You can now apply layer colors to expressions
by checking Layer Colors Apply To All Layer Items in Program Options-
Display Colors.
• Improved Category Designer. The Music Font and all positioning options
are now available for all categories. See Category Designer.
• Expanded Score Lists. The number of Score Lists (previously called “Staff
Lists”) has been increased from 4 to 8. See Category Designer dialog box.
• Score Lists can now be renamed. See Score List dialog box.
• Maintain Expression Attachment when Dragging/Nudging. This new
option, in Program Options-Edit, allows you to lock an expression's
attachment point while dragging or nudging without using a modifier key.
See Program Options-Edit.
• Improved SmartScore Lite Scanning with support for triplet recognition
and improved results while scanning polyphonic music. See_Ref-1070180788
SmartScore Lite dialog box.
• Improved MusicXML. Finale’s updated MusicXML capabilities include
enhanced recognition of chord symbols and fretboards. See
File/MusicXML.

5
 • Graphic Export Settings are now preserved between Finale sessions.
See Export Selection/Pages dialog box.
• Clearing Staff Styles is Now Easier. With the Staff Tool selected,
pressing the Backspace key now clears any existing Staff Styles in the
selected region. (Press Backspace twice to clear the music.) See Staff
Tool.
• Improved Cross-Platform Font Handling. Finale now offers the option to
reset the list of recognized symbol fonts, or update the document based on
Finale's list of symbol fonts. See Font Utilities.
• Show Items Attached to Notes is now available for all Alternate Notation
Styles in the Alternate Notation dialog box.

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 Microsoft’s
latest operating system.
• Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™
Instruments - Ready with colored noteheads and an accompanying

6
 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 2010
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

7
• 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 Finale’s 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.

8
 • 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. Finale’s 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 Finale’s 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 View’s 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 Finale’s 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 GPO’s 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).

9
• 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. Finale’s 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. You’ve never been able to do so much so fast!
• Copy and Paste Measure and Entry Items Simultaneously using
Finale’s 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 Finale’s 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 Finale’s 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.

10
• 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.* (Now Selection Tool 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 Finale’s 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. It’s 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 Plug-in. 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 Mid-Measure 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 plug-in. 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.

11
 • 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 Finale’s 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 Playback’s
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.

12
• New Launch Window. Get up and running quickly with Finale’s 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 Finale’s 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 Finale’s 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.

13
 • 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.
What’s 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 double-sharp 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. Finale’s 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.

14
• 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 Finale’s 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 plug-in.
• 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.

15
 • 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.* (SmartScore (*.fin) Import
no longer supported).
• 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.

16
8va/8vb
To create an or marking

1. Click the Smart Shape Tool . The Smart Shape Palette appears.

2. Click the or Tool. The marking usually goes beneath the

music it affects.
3. Position the cursor in the measure where the marking is to begin so
that the cursor arrow points to the staff to which you’re attaching it.
4. Double-click and drag to the right. Your double-click marks the side
of the marking; as you drag, you increase the length of the dashed-line
bracket. Release the mouse when you’ve positioned the right end where
you want it. If you double-click below the staff the marking will be used
instead (unless you have specified another symbol to use). markings
affect playback.

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.

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

17
Accelerando
The word accel. or accelerando is a Text Expression, which you put into your
score with the Expression Tool.
See also Beaming: feathered beaming.
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 Assign 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: Finale’s 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.

18
1. Click the Expression Tool . If you haven’t 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. You’re
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.

You’ve 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 you’d 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 OK to return to the Executable Shape Designer dialog box.

8. In the Level Scale boxes, enter 8:1. You probably wouldn’t even be able
to perceive the accelerando if it only sped up by four points during a half
note. By changing the Level Scale, you’re multiplying the degree of
accelerando. If you enter 8:1, the tempo will change by 32 points—a 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).

19
9. Click OK, Select, and Assign to return to the score. Listen to the
accelerando and see how it works. If it doesn’t 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.)

20
Accidentals (Simple Entry)
You can add and edit accidentals with the Simple Entry Tool.
To add a sharped or flatted note

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Click the icon representing the desired note’s duration.

3. Click the Sharp Tool or Flat Tool .

4. Click the staff. A sharped or flatted note appears where you clicked. Also,
after entering a note, press the left arrow key to select it. Then, use a
keystroke to apply an accidental. Press + to specify a sharp, - to specify a
flat and N to specify a natural.
5. After entering a note with the caret, press + to add a sharp or - to add
a flat.

To raise or lower a note

1. Double-click the Half Step Up Tool or Half Step Down Tool; then click
the note. Use the same technique to add accidentals that raise or lower a
note by two half steps (that is, to double-flat or double-sharp a note).
2. Ctrl click a note or enter a note with the caret, and then press numpad
+ to increment up a half step or numpad - to increment down a half
step.

To add parentheses around accidentals

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click the note with an accidental, or enter a note with the caret.
The note is selected.
3. Type P. To remove the parentheses, type P again.

To hide or show an accidental

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click the note or enter a note with the caret. The note is selected.
3. Type Ctrl-Shift--(hyphen). To toggle between hiding or showing the
accidental, hit Ctrl--(hyphen) again.

21
Accidentals (Speedy Entry)
Accidentals (such as sharps, flats, and naturals) appear automatically if you’ve
entered the music from a MIDI keyboard.
To hide (or show) an accidental

1. Click the Speedy Entry Tool . Click the measure containing the
accidental. The editing frame appears.
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 note’s pitch, however, doesn’t 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 . Click the measure containing the
accidental.
2. Position the insertion bar and crossbar on the notehead in question.
Use the arrow keys or the mouse.
3. Press the plus (+) key to raise the note’s 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 hasn’t correctly notated notes that are tied across a
barline—and 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
doesn’t show the accidental, but any notes of the same pitch in the second
measure do repeat the accidental, as shown below.

22
1. Click the Selection Tool , and select the region whose tied-
accidental notes you want to 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.

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 you’ve made the handles invisible (by deselecting
Show Handles), drag the accidental itself. If you want to undo any
accidental repositioning you’ve done, click the accidental’s handle and
press delete. To drag the handle vertically, double-click on the handle and
check Allow Vertical Positioning.

23
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. We’ve 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 Adobe’s
website at www.adobe.com.
In addition to Adobe Acrobat, third party products such as PDF995
(www.pdf995.com) are also capable of generating PDF files.
To create a PDF document from a Finale file
There’s 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, you’ll need to switch the printer back to your
regular printer when you’re 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 (you’ll 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

24
For complete information, see your Adobe Acrobat 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: I’m using my PostScript printer instead of the Distiller driver. Now I’m
getting a Finale-Dict error.
Solution: Some drivers seem to require an additional setting for Finale’s 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: I’m using my PostScript printer instead of the Distiller driver. I’m still
getting a Finale-Dict error, even though I’ve tried Optimize for Portability.
Solution: Some drivers seem to require an additional setting for Finale’s mixed
graphics and fonts, but the driver doesn’t 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.) 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.

25
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.

26
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 or Simple Entry
Tool , but can also be applied to notes with the Selection Tool . You
can also use the Selection Tool to quickly and easily move or delete
articulations.
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; you’ll 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, you’ll want to use Finale’s 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 can’t 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

and dynamics , are added with different tools (see Slurs and
Expressions respectively).

Working with articulations globally (by document)

27
 • Designing an articulation
• Defining an articulation for playback
• Creating an articulation metatool
• Articulations in linked parts
• Removing an articulation from the list

Working with articulations by region

• To apply an articulation to every note in a region

• To copy markings based on a rhythmic match
• To center and reposition existing articulations
• To erase articulations from a region
• To copy articulations

See Also
Articulation Tool
Articulation Selection
Articulation Designer
Symbol Selection
Handle Positioning
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.)

28
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 articulation’s 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. Click the Articulation Tool , and click a note in the score. It makes
no difference what note you click; the symbol you’re about to design won’t
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.

29
How you use these options depends upon the type of music you’re notating,
and your own preferences. If you make these settings carefully, you’ll save an
immense amount of time when you place articulations into your scores,
because Finale’s articulations don’t merely snap into place on a note—when a
note’s stem direction changes, its marking even flips to the other side, and, as
in the case of a fermata , even turns upside down automatically.
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, it’s standard practice to place certain
markings consistently above the staff, regardless of stem direction. If that’s 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 note’s stem direction. In that case, choose
either On note side or On stem side from the Position drop-down list.Finally,
you’ll find some additional placement options in the form of checkboxes. Click
Avoid Staff Lines if you don’t 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
symbol’s handle so that it doesn’t 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 symbol’s 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
they’re 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 marking’s 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 Flipped button and select the flipped
character. Some symbols, such as are supposed to appear inverted
when below a note. Finale can’t turn a symbol upside down; instead,
Maestro and other music fonts contain both the normal and inverted

30
 versions of each such symbol. When a note’s 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 necessary—if you’ve set the marking up that way. Once you’ve
placed an articulation on a note, of course, you’re 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 haven’t 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.
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
time—a useful option for producing rolled chord effects.

Choose Change Duration to affect the note’s length by changing its

release point—to 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

31
 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 you’re 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, it’s 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 you’re creating a Change
Duration marking, the numbers in these text boxes are, once again,
1024ths of a quarter note. Generally, however, you wouldn’t use the
Change Duration setting to lengthen or shorten a note’s notated value by
a fixed amount. Instead, you’d want an articulation to change a note’s
duration by a percentage—a staccato mark should shorten a note’s
playback duration by 50%, for example, regardless of whether it’s a
quarter note or an eighth note. Therefore, click the Values Are
Percentages checkbox, so that the numbers represent percentages of the
note’s written value. You’ll usually want to leave the Bottom Note Value
blank, so that the Top Note Value affects the entire chord to which it’s
attached.Finally, if you’ve 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 you’re 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 note’s 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 you’ve just made affect all
occurrences of this Articulation, even those you’ve 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 you’re done! See To create an Articulation
Metatool.
2. Click Select. The Articulation Selection dialog box appears.
3. Double-click the symbol you want.

32
 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 marking—for example, you might want the articulations to
appear only on eighth notes and quarter notes; you’d 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, doesn’t
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 marking’s usual distance from the notehead. See
Apply Articulation dialog box for more information.

4. Click OK (or press enter). You return to the document, where Finale
places the marking on every selected note.

To erase articulations 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, you’re free to drag it into a new position.
To restore the markings’ original positions, eliminating any hand-positioning
you’ve 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 they’re attached.

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, 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.

33
 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. You’re 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 you’ve 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 articulation’s 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
You can copy any musical elements—such as articulations—from 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). You’ve 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.

34
5. Drag the selected region so that it’s 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. 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.
5. Check the box for the markings you want to copy.

If you’ve 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

35
 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. 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.
8. When you’re finished, click Cancel or Close. You return to the
document.

To create an articulation metatool

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 .While pressing shift, press the letter or
number key you wish to use for your metatool.

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
isn’t 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. You’ve 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.
Here’s how to place the marking in the score:

36
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.

37
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

38
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, and is not
in a compressed (MP3)format.
See Also:
To record an audio track
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.

39
3. From the MIDI/Audio 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 document’s 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 Finale’s MIDI
performance manually (instead of
using Human Playback), you can use
the MIDI or Expression Tool. See
MIDI Tool and Expressions.
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

40
Augmentation
Augmentation refers to the process of doubling a motif’s 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 note’s 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 re-bar 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 you’ve entered a “real” whole
rest doesn’t count as empty in this
context.) That is, the command will
double the values of all notes and
rests you’ve entered, but it won’t
create a second completely empty
measure.

41
Backbeats
In Finale, a backbeat is the second half of the beat (in duple meters); thus the

second eighth note of every beat in or time (or the second quarter note

in time) is the backbeat. In triple meters, the last two 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
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 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 you’re 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

42
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, 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 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 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 copy or erase MIDI Tool editing

See MIDI —To copy or erase captured (or edited) MIDI data.

43
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 you’re in Scroll View before you begin; if you’re not, choose Scroll
View from the View menu (in case staves have been hidden due to
optimization).

1. Click the Staff Tool . The Staff menu appears.

2. If you haven’t 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.

To break a barline between grouped staves

There are several ways to draw or break barlines between every staff in a
group. If you don’t want to draw the barlines through any staff on a group, use

44
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 . The Staff menu appears.

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.

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; that’s 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.

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).

45
1. Click the Measure Tool , and select the region you want to affect.
See Selecting music for 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
you’re changing all barlines, leave a 1 in this text box.)

If you’re 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 top handle of the barline
you want to hide (there may be more than one handle). You’re about to
hide the right-hand barline.
2. Click the invisible barline type.
3. 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 you’re 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 . A handle appears on each barline.

2. Drag the top handle of the desired barline horizontally (there may be
more than. The measure becomes wider or narrower. If you move a
barline in Page View, you don’t 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

46
 page layout. (You can adjust all measures in a system except the last one
with this method.)

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 shape—curved, 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

you’ve 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. Click the Line Tool . Begin drawing on the origin (the small white
circle at point 0,0). While pressing shift, drag in the drawing area,
straight down, until the V: text box says -24. You’ve just drawn a vertical
line (the shift key constrains your mouse to perfectly vertical or horizontal
lines) that’s exactly the height of a staff.
7. Click OK to return to the Expression Designer.
8. Click Allow Horizontal Stretching to deselect the checkbox. You’ve just
told Finale that the Shape Expression you’ve 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 Assign. 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.

47
2. Enter a new value in either the Heavy Line Thickness or the Thin Line
Thickness text box. The units are whatever you’ve 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 doesn’t
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 . The Staff menu appears.

2. Choose Sort Staves from the Staff menu to restore their appearance,
based on the new staff order.

To create a double left barline

See Left barlines.

48
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.

49
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.

The determining note or notes are marked with an X.

3. Click OK (or press enter).

To change or restore the angle of a beam (Special Tools)

1. From the Window menu, choose Advanced Tools. Click the Special
Tools Tool , and click the measure in question.

2. Click the Beam Angle Tool . A handle appears at the beginning and
the end of the beam.
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.

To remove angle modifications from a selected region

50
1. Click the Selection Tool and select a region. See Selecting music
for some region-selecting shortcuts.
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.
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

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 plug-in. 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

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.

51
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 , and click the measure in question.

2. Click the Beam Width Tool . A handles appears on each beam.

3. Drag either handle to adjust the width of the selected beam. To restore
the beam width, select its handle and press delete.

52
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 Finale’s 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 plug-in.

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 , and control-click the note at the
end of the desired beam.
3. Press the slash key (/). If the note was beamed to the previous note, the
beam breaks. If the note wasn’t beamed to the previous note, two notes are
now beamed together. Press the slash key again to restore the beam to its
previous form.

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 you’ve entered music, the beaming
patterns changes unless you have deselected the Rebar music checkbox in
the Time Signature dialog box. In such a case, it’s 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 that’s completely
unrelated to the time signature—for example, to beam eighth notes in groups
of 3, 3, and 2 in a meter, follow these steps:

53
1. Click the Selection Tool , and select a region. See Selecting music
for some region-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

you’re 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).

Note that 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 To create custom beaming patterns.
To create custom beaming patterns

Normally, Finale beams 16th notes (and notes of smaller value) according to

the time signature. In , they’re grouped in quarter-note units; in , they’re

grouped in half-note units. Eighth notes are beamed 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 More Choices. 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

54
 score. If you’ve specified a “beaming signature” using the upper scroll
bars, you could enter as the display meter. Or if you’ve specified a

beaming pattern of , 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 groupings in , half note groupings in , and so on)

when you’re entering notes in step time using the Speedy Entry Tool. You can,
if you wish, turn off this feature.

1. Click the Speedy Entry Tool . The Speedy menu appears.

2. Choose Check Beaming from the Speedy menu, so that the check
mark no longer 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.
3. Click OK (or press enter).

55
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 isn’t 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. Don’t 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 , and click the measure. If the Note Position tool isn’t
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.

To extend a beam across a barline (Beam Extension Method)

This method creates cross-barline beaming that plays back correctly.

1. From the Window menu, choose Advanced Tools. Click the Special
Tools Tool , and click the measure containing the beam you want
to extend.

56
2. Click the Beam Extension Tool. 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.

57
Beaming over rests
In normal circumstances, Finale doesn’t 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.

58
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 , and click the measure in question.

2. Click the Secondary Beam Angle Tool . Handles appear at both

ends of secondary beams.
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.

59
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.

1. From the Window menu, choose Advanced Tools. Click the Special
Tools Tool , and click the measure in question.

2. Click the Beam Break Tool . A handle appears over every note
grouped by a 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.

To change a broken beam’s direction

Depending on the meter, it’s sometimes useful to override Finale’s 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).

1. From the Window menu, choose Advanced Tools. Click the Special
Tools Tool and click the measure in question.

2. Click the Broken Beam Tool . Handles appears on each broken

beam in the measure.

60
3. Click the top/bottom handles to alternate the direction of the
secondary beam.

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.

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 and click the measure in question.

2. Click the Beamed Stem Length Tool . Handles appears on each

beamed stem in the 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. Don’t forget that you can select more than
one handle at a time.

61
Beat positions
When using Finale, beats are positioned according to nonlinear spacing—in
other words, the positioning of beats in a measure that contains a half note and
four eighth notes won’t be the same as in a measure with four eighths and a
half note—even 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 won’t 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. Click the Measure Tool , and double-click the barline handle of a

measure. The Measure Attributes dialog box appears.
2. From the Position Notes drop-down list, choose Using Beat-Chart
Spacing. Click OK. To copy the positioning mode you’ve just established
to other measures, you’ll 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 you’ve already modified so that it’s 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 won’t 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 . Two stacked handles appear on each

barline.
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

62
 (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.

When you click on the bottom barline handle, a beat chart appears. The
top row of handles indicates the positions of the beats as they’d fall with
linear spacing, and the bottom row of handles allows you to move beat
positions by dragging them.

3. Drag the desired beat’s 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.

63
Bend hats
A bend hat in Finale is just a special kind of slur. See also Slurs.

1. Click the Smart Shape Tool in the Main Tool palette. The Smart
Shape Palette and Smart 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 in the Smart Shape palette, then
position the cursor on the 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.

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.

64
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.

65
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 FinaleScript > FinaleScript Palette. The FinaleScript Palette
appears.
3. Scroll down and double-click “Print Booklet”.

4. Double-click the Script Editor button . The FinaleScript Editor

appears.
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 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

66
 Number Page numbers to type
of
pages
with
music

3 4,1,2,3

4 4,1,2,3

5 6,5,4,1,2,3

6 6,7,7,5,4,1,2,3

7 8,1,2,7,6,3,4,5

8 8,1,2,7,6,3,4,5

9 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.

67
Double-page originals (print twice)

Number Page numbers to Page numbers to type for second side

of type for first side
pages
with
music

3 4,1 2,3

4 4,1 2,3

5 6,5, 4,1 2,3 (Do not place paper with page 5 in

printer second time)

6 6,7,4,1 7,5,2,3

7 8,1,6,3 7,2,4,5

8 8,1,6,3 2,7,4,5

9 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)

14 14,15,12,1,10,3,8,5 15,13,2,11,4,9,6,7

Blank pages are in bold

68
 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.

69
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.
See Also:
Staff Tool
Simple Entry
To create a new Boomwhackers® Percussion Tubes or Chroma-
Notes™ 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 "Chroma-Notes(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.

70
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.

71
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
doesn’t, 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 you’re
attaching it. This is particularly important when you’re working in orchestral
scores; if you accidentally attach a Smart Shape to the wrong staff, it won’t
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 . The Smart Shape palette appears.
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 line’s length. Drag
the square handle to move the line. Hint: It’s 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.

72
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 . The Smart Line Designer dialog box
appears.
3. Click Create.
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.

73
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 Finale’s Setup Wizard automatically generates brackets based on
your staff selection. Brackets are also pre-defined in Finale’s 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, there’s an
easy way to do so. See “To create additional (nested) brackets, below.”

1. Click the Staff Tool . The Staff menu appears.

2. If you haven’t 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.) 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 bracket’s ends evenly
with the top and bottom lines of the group, enter a value of zero. A positive
number for either option moves the bracket’s end upward.
6. Click OK to add the bracket and dismiss the dialog box.

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To move or stretch a bracket

1. Click the Staff Tool . Handles appear on every group bracket in the
document.
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.
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 doesn’t
appear to be drawn correctly, you can usually solve the problem with this
technique.

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, 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.
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.

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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 don’t 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), you’ll 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 Groups—To 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:

1. Click the Expression Tool .

2. Double-click where you would like to attach the bracket. The
Expression Selection dialog box appears.

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3. Click the Miscellaneous category on the left. You could choose any
category you like, but this bracket is unlike most other figures you would
add as an expression, so we will add it to the Miscellaneous category.
4. Click Create Misc. Expression, and then click the Shape radio button.
5. Click Create. You arrive at the Shape Designer dialog box.
6. Choose Bracket Style from the Shape Designer menu, and double-
click the bracket style you want.

7. Click the Bracket Tool , and then click in the drawing area. A
bracket appears. To adjust its height or width, click the Selection (arrow)
Tool, click the bracket, and drag its bounding handles.
8. Click OK, OK, Assign to return to the score. You can stretch or move
the bracket as needed.

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.

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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 it’s attached to.

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Cadenzas
A cadenza—an unmeasured, free, often improvisatory solo passage—presents
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.

See Also
Time Signature
Measure Tool
Measure Attributes
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 , and double-click the cadenza

measure. The Time 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. Click the Measure Tool ; double-click the barline handle of the

cadenza measure. The Measure Attributes dialog box appears.
5. From the Time Signature drop-down list, choose Always Hide.
6. Click OK (or press enter). Repeat for the measure after the cadenza.

Alternatively, you can enter the notes as you would normally and hide the extra
barlines. See To hide one barline.
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.

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1. Click the Measure Tool ; double-click the barline handle of the
cadenza measure. The 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 you’ve 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).

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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,
you’ll 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 it’s attached to.

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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 it’s
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 can’t 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 Finale
Tutorials.
To retain Channel Pressure data for score playback
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 split-window. 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

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 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.

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Character names
Character names (opera, musical theater) are Text Expressions entered into
your score as expressions. Once you’ve 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.
You may save time, when adding character names to your score, if you assign
each name to a Metatool (a one-key shortcut); see Metatools.

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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 document—in your Templates folder), or one of your own
design. This way, you’ll 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 Finale’s 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 music—where all voices sing the
same rhythms and same words—use 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.)

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Chord symbols
Finale’s 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 (or instrument
transposition), they’ll be transposed when you paste them. Even Finale’s guitar
fretboard diagrams, which can be created automatically, transpose according
to the key.
If you’re going to add chord symbols to your score, note that you can change
chord suffix fonts either globally, by region, or one by one; see the appropriate
sub-entries. See also 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 encounters—major, minor,
augmented, diminished, suspended,
sevenths, ninths, elevenths, and so
on, even with alternate bass notes.
Occasionally, however, you’ll want to create a chord that Finale doesn’t
ordinarily recognize, such as C V/11, or you’ll 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 Finale’s second system of
creating chords: you can create a learned chord, a symbol that you’ve defined
to represent a particular pattern of notes. Once you’ve 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 won’t
recognize F6 or G6 in the key of C. 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, it’s sometimes helpful to define the same learned chord for
several different scale degrees within a single key—such as C6, F6, and G6 in
the key of C.

86
See also:
Chord Tool
To enter chord symbols automatically
All three methods of adding chord symbols automatically depend on Finale’s
intelligence in recognizing patterns of notes. Occasionally, you may encounter
a dialog box telling you that Finale doesn’t recognize the chord you just played
(or the chord it just analyzed).
If you click the I’ll Do It button, Finale displays the Chord Definition dialog box;
construct the chord as described in To define and enter a chord symbol
manually. 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 don’t care for Finale’s labeling of a
chord (for example, if it calls a chord “Gm7” but you prefer “G–7”), you can edit
the chord suffix (see To edit a chord suffix).
If, however, you disagree with Finale’s analysis of a chord (for example, if it
calls a chord Am7/C but you prefer C6), remove the chord symbol from the
score. Then teach Finale how you’d 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.

1. Click the Chord Tool . The Chord menu appears.

2. Ensure Manual Input is checked under the Chord menu.
3. If you want to add chord symbols to the score by playing them, one
by one, on a MIDI keyboard, choose Allow MIDI Input from the Chord
menu, and then click a beat in the score. The blinking cursor appears.
Play a chord, in any register, on your synthesizer; Finale places the chord
symbol into the score, aligned with the baseline (controlled by the four
triangles at the left side of the screen). If you don’t play the chord in root
position, Finale writes it as a chord-slash-bass note, as in “Am/E.” (You can
use this same blinking cursor to type chords into the score. See To type-in
chord symbols.)

Press a single note within an octave above Middle C to advance the

cursor to the next note/beat. Press a single note within an octave below
Middle C to move to the previous note. Play a single note above/below
middle C to advance forward/backward by full measures. Play middle C
when an existing chord is highlighted to move the cursor up.

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4. If you want Finale to analyze a chord notated in the score, choose
One-Staff Analysis, Two-Staff Analysis, or All-Staff Analysis from the
Chord menu (depending on which notes you want to analyze), 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 or
beat for which you want a chord symbol to appear.

To type-in chord symbols

1. Click the Chord Tool . The Chord menu appears.

2. From the Chord menu, Choose Manual Input.
3. Click the note or beat on which you want the chord to appear. A cursor
appears above the staff, 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. Alternatively, 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. See keystroke table for a list of keyboard shortcuts you can
use to quickly enter chord symbols.

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 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), you’d
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, you’d 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.

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7. Press enter to accept the change. Or, press spacebar, or shift-right arrow
to move to the next entry. Press tab to move to the next measure, or click
the next beat on which you want a chord to appear. To move to the
previous entry, press shift-spacebar or shift-left arrow. To move to the
previous measure, press shift-tab.

If Finale doesn’t 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. See Chord/Manual Input
for tips, additional keyboard shortcuts, and more information regarding
typing-in chord symbols.

To play-in chord symbols (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 . Check both Manual Input and Allow
MIDI Input under the Chord menu.
2. Click the beat on which you want the chord to appear. A blinking cursor
appears.
3. Play the chord on your MIDI keyboard. Finale inserts the chord played,
taking into account the alternate bass, and moves the cursor to the next
beat.
4. Play a note within the octave above/below middle C to move the
cursor forward or backward a beat.

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5. Play a note higher/lower than an octave above/below middle C to
move the cursor forward or backward full measures. Play middle C
when an existing chord is highlighted to move the cursor up.

To edit chords directly in the score

1. Click the Chord Tool . The Chord menu appears.

2. Choose Manual Input from the Chord menu.
3. Double-click on the chord symbol you want to change.
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, or shift-right
arrow to move to the next entry. Press tab to move to the next
measure, or click the next beat on which you want a chord to appear.
To move to the previous entry, press shift-spacebar or shift-left arrow.
To move to the previous measure, press shift-tab.

If Finale doesn’t recognize the suffix a dialog box appears in which you
can choose to add the suffix to the chord suffix library.
To define and enter a chord symbol manually

1. Click the Chord Tool . From the Chord menu, choose Manual
Input.
2. Double-click the beat on which the chord symbol is to be attached.
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 there’s 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.
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
that’s out of the key and Simplify Spelling is turned on in the Chord menu.
Suppose, for example, that you’re in the key of A, but you want an A flat
chord symbol. You might assume that entering a scale degree of 1 (A)

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 and an Alteration of –1 would do the trick—but in fact, you’d 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 inTo create or load a Chord Suffix Library.

If you don’t want the chord symbol to play back, uncheck the appropriate
Play box.

9. Click OK (or press enter).

To edit chords (Manual Input)

1. Click the Chord Tool . The Chord menu appears.

2. Choose Manual Input from the Chord menu.
3. Right-click the chord symbol you want to edit (or select the handle
and press Enter) and choose Edit Chord Definition. The Chord
Definition dialog box appears.
4. 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.
5. 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. Right-click the chord symbol you want to edit and choose Edit Chord
Definition. The Chord Definition dialog box appears.
3. Click Edit 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.
4. 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

92
 Symbol box, you can simply click Symbol, and you’ll see the complete
palette of characters for the selected font.

Note that you can prefix any chunk in the suffix box with a +, -, or
character: click Prefix With and select the appropriate button.

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 you’ve selected using the Measurement Units command (Edit
menu). (The numbers you type, however, won’t affect the display until you
click the Update box.)

If you’re having trouble positioning a character because the square handle

obscures it, de-select the Show Handles checkbox. The handles become
invisible but are still draggable—just 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 it’s
still listening; now play the suffix itself. Finale enters the appropriate
numbers in the text boxes. See Suffix 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 root—you 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 you’re entering
chord symbols; when Finale displays its Unknown Chord Suffix“Finale cannot

93
find a match” dialog box, click I’ll 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 you’ll 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. Click the Chord Tool , and choose Edit Learned Chords from the
Chord menu. The Edit 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 isn’t the correct one for
the music to which you’ll 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 don’t 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.
4. Construct the chord symbol in the usual way. Click OK (or press
enter). See To define and enter a chord symbol manually 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 Finale’s automatic (MIDI or note-analysis) methods, Finale will
recognize the chord you’ve just taught it, and it will display the chord
symbol you’ve told Finale to use. (Finale will also recognize the learned
chord in other keys—but 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 F—but it won’t recognize Fsus2 in the key of C, unless
you teach it that chord too.)

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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 doesn’t 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 you’re finished editing, click OK (or press enter).

To move chord symbols up or down

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 symbols—the line against which the bottoms of the chord symbols
align. (Make sure Position Chords is selected in 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 doesn’t move any
existing chord symbols; instead, it sets the position for the next one you
enter.

To transpose chord symbols

Finale’s 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.

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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.
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 erase chords from a region

1. Click the Selection Tool and select a region. See Selecting music
for some region-selecting shortcuts.
2. Choose Clear Selected Items from the Edit menu. The Clear Selected
Items dialog box appears.
3. Click the None button to uncheck all, then check "Chords and
Fretboards."
4. Click OK (or press enter) . 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.

1. Click the Selection Tool . Choose Edit Filter from the Edit menu.
The Edit Filter dialog box appears.
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 it’s 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.

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

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To prevent all chord symbols from playing back, from the Chord menu,
uncheck Enable Chord Playback. However, you can also prevent chord
playback individually, and for specified staves...
When you create a chord symbol, the Play checkboxes in its Chord Definition
window are initially selected—in 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 it’s a technique best
used on a case-by-case basis. To prevent all chord symbols in a staff 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 M column. The chord symbols
are now muted for 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 define and enter a chord symbol manually 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. See To enter
a chord symbol using a 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, rest, or beat. The chord symbol appears. Using
this method, you can rapidly click fully-formed chord symbols into your
score.

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To create or load a Chord Suffix Library
Once you’ve 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.

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). You’re 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. You’re about to choose a
typeface for the root portion of all chord symbols in the piece—that 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
. You’re now going to be changing the font for the suffix—for 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 suffixes—such as the size—select 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

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 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 it’s
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 it’s
attached.
To move chord symbols individually

1. Click the Chord Tool . Chord handles appear.

2. Drag the chord's handle to move the chord. Select it and press the
arrow keys to “nudge” it for fine positioning. The chord's attachment
indicator line extends to the attached beat.

Fretboards accompany chord symbols when dragged or nudged

individually. Drag or nudge a fretboard handle to reposition the fretboard
diagram relative to its chord symbol.
To define a chord symbol manually with MIDI input

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1. Click the Chord Tool . Choose Manual Input from the Chord menu.
2. Double-click the beat 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 suffix—in
other words, if it matches a suffix definition in its Chord Suffix Library. (If no
library has been loaded, or if Finale doesn’t find a match, nothing happens.)
6. Click OK (or press enter).

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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 , and click the measure in question.
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.
3. Press enter or double-click (to add a note where none exists), or press
backspace or shift-delete (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 . A handle appears on every

notehead.

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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.

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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.

1. Click the Staff Tool , and then double-click the desired staff. The
Staff Attributes dialog box 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. Click the Clef Tool . Double-click the measure where you want the
clef to change. The 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.

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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 and/or ends where you would like to change back to
the original clef. If the selected region begin/ends at a barline, a mid-
measure clef is not required and Finale adds the clef change to the left of
the barline. See Selecting Music.
3. Double-click the highlighted region (or press Enter). The Change Clef
dialog box appears. Notice the numbers in parentheses to the upper left of
every clef.These are clef metatools. After highlighting a region, you can
simply press one of these letters to apply the corresponding clef. See To
use a clef metatool.
4. Choose the new clef and click OK. You return to the document with the
clef—which now has a handle—at the beginning of the staff. Drag the clef’s
handle right or left to position it as desired. The notes before and after it will
be renotated automatically.

To change a clef you’ve 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.

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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

You’re 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, you’ll 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 don’t 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 isn’t quite the same as the

105
 baseline for regular text. For example, the baseline of the treble clef isn’t
the bottom of the character—it’s 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.
7. If you’re 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, you’ll 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) you’ve created. If
you want to use this clef in other documents, see Save Library dialog box.

To design a shape clef

You’re not limited to a shape found in a font; you can combine font characters,
draw free-hand or mix-and-match shapes. Each document you create can
have eighteen clefs; in order to create your own, therefore, you’ll 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 isn’t quite the same as the
baseline for regular text. For example, the baseline of the treble clef isn’t
the bottom of the character—it’s 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),

106
 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.
You’ll 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, you’ll 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) you’ve 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.
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 you’ve 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

107
When the clef for a staff changes in mid-score, it’s customary to print that
inserted clef at a slightly reduced size. Depending on the symbol and font
you’re using, you may also need to adjust the reduced clef’s 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). Here’s 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.

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Click and Countoff
Use the settings in the Click and Countoff dialog box to define the metronome
click played when you’re 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 you’re 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 don’t want any countoff, 1 if you want one measure counted off, 2 to
hear two measures, and so on. If you’re only playing back, Finale uses the
time signature of the first measure that you’re playing back to determine the
time signature of the countoff measure. If you’re recording, Finale uses the
beat duration set in HyperScribe’s 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 you’re 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 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

109
 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 Device Setup > 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.
7. For the second MIDI OUT slot (below Hide Advanced Settings), select
the driver for your computer speakers (often with the word Synth in
its name.)
8. Set the base channel to 17. Click OK.

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.

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Closed symbols
See Articulations.

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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 musician’s cue to jump to the coda is often marked by a
marking like “To coda ,” and the coda itself often displays a notation like “
Coda.”

You can place such markings into your score very easily if you’re 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 sign, and a “to coda” sign in the score

1. Click the Repeat Tool . Double-click the measure in which you want
the coda sign to appear. The Repeat Selection dialog box appears. If
you’ve loaded a Text Repeat Library—or if the Finale Maestro Font Default
file is in place—you should see the sign.
2. If you don’t 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. Double-click the sign. You arrive at the Text Repeat Assignment dialog
box. If you are not 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). You’ll need to remember this
number for a moment.
4. Click Never Jump (Mark). You’ve just defined this text repeat to be a
mark—in 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 you’ve created a
coda symbol and designed it for playback, you must now place the “To

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 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. Click the Repeat Tool . Double-click the last measure to be played

before jumping to the coda. The Repeat Selection dialog box appears. If
the “To coda” mark doesn’t 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 itself—in 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. If this is a standard D.S. al Coda, in which the music up to the
“To Coda” mark is played a total of two times, type 2 into the Jump on
Passes text box.
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 Finale’s templates, or the default file, enter 7). Because you’ve
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 measure—
even a measure that precedes the “To Coda ” marking—and Finale will
still direct the playback to it correctly.
10. Click OK (or press enter). You return to the document, where the “To
Coda ” mark appears in every staff.

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Common time
Common time, also known as time, is a meter with four quarter-note beats
per measure. It’s often symbolized by the common-time symbol: . For
general information on time signatures, see Time signatures. For details on
Finale’s 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 there’s 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).

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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
you’ve created a custom “beaming signature” in this way, you can even select
a time signature to appear in the score that’s different from the underlying
beaming signature; see To create custom beaming patterns.)
To create a composite meter

1. Click the Time Signature Tool . A handle appears on each barline.

2. Double-click the measure in which you want the new meter to begin.
The Time Signature dialog box appears.
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 time signature type the 3 in the first text box and the
2 in the second text box.
5. 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, there’s no such
thing as a “third note,” so you can’t 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

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 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.

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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,
you’d 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.

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Continuous data
Continuous data is MIDI information that’s 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, from the MIDI/Audio menu, choose
Human Playback > 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 don’t 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.

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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. It’s 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. As you tap each pedal or wiggle each
wheel, Finale records their continuous data numbers in the four text boxes.
Be sure to also play a note or two, to tell Finale that it should record notes,
as well. Any continuous data types you don’t specify in this dialog box won’t
be recorded.
3. Click OK (or press enter). Proceed with your recording. 2.

To retain continuous data for score playback in Transcription Mode

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 you’ll 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.
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 you’ve 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.

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4. Click OK (or press enter).
5. Select the measures whose continuous 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. 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
controller’s 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.

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 • 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:

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 anywhere—either 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 can’t, 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.)

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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
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.)

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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. Click and drag the source music so that it’s 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).

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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:

• 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.

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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):

126
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. 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. 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).

128
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 copy—such as chord symbols or articulations—with or without affecting
the notes themselves. (To learn about selecting measure regions, see

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Selecting music). You can easily choose any number of entry and measure
items by doing the following:

1. Click the Selection Tool .

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 everything—music, lyrics, measure widths, expression marks, and
all—no 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.

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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.

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.

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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 view multiple documents simultaneously on your screen, from the Window
menu, choose Tile Vertically/Horizontally.
To make a copy of a document
These instructions assume that you’re running Finale. To duplicate a Finale
document when you’re 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), Finale’s
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 document—a 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. Select the region you would like to copy. See Selecting music.
2. 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.
3. 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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4. 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.
5. Choose Open from the File menu, and select the target document (if
it’s not already open).
6. 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 you’ve
created. Double-click the name of the desired Clip File.
7. If you want the copied music to replace (overwrite) the music in the
target document, select the beginning of the target region.
8. While pressing ctrl, choose Paste from Clip File from the Edit menu. A
list box appears, displaying the names of the Clip Files you’ve 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, Score 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.

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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.

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

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 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.

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.

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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.

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 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.
7. Check the box for the markings you want to copy. If you’ve 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 you’re 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.

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Courtesy accidentals
A courtesy accidental, also called a cautionary or reminder accidental, is one
that, according to the rules of accidental occurrence, isn’t 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 with Simple Entry

1. Click the Speedy Entry Tool .

2. Ctrl-click to select the desired note. Notes just entered are selected
automatically.
3. Press P. Finale adds a parenthesized courtesy accidental. Press P again
to remove the parenthases.

To create a courtesy accidental with Speedy Entry

1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
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, it’s now hidden. Press the asterisk key again to restore it.)

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Courtesy clef changes
When a clef change occurs at the beginning of a new line, it’s 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. Click the Measure Tool , and double-click the handle on the

measure where the courtesy clef change occurs. The Measure
Attributes dialog box appears.
2. Select Hide Cautionary Clefs, Key and Time Signatures.
3. Click OK.

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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, it’s 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 wouldn’t 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
it’s 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 you’re working on, see To hide the end-of-line courtesy
key change (globally).
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.

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 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 . Select the first measure of the next line.
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.

4. Click the Key Signature Tool ; then double-click the measure. The
Key Signature dialog 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 . The Staff menu appears.

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 . Double-click the measure. The Measure
Attributes dialog box appears.
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.

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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.

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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, Finale’s Human Playback automatically
interprets hairpins. See Human 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 don’t 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.

2. Click the Crescendo Tool or Decrescendo 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 you’re
attaching it. This is particularly important when you’re working in orchestral
scores; if you accidentally attach a Smart Shape to the wrong staff, it won’t
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.

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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.

1. Click the Smart Shape Tool . The Smart Shape palette appears.
2. Click the handle of the shape you want to modify. The shape displays
handles:

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.

1. Click the Smart Shape Tool . The Smart Shape palette appears.
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.

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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.
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 .

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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 playback, click the Playback tab (see
Expression Designer-Playback). Note that Human Playback automatically
recognizes and performs dynamic markings. Human Playback.
8. Click OK.
9. Click Assign 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.

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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.

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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 clef—its 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 manually

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 . The Note Mover menu appears.
3. From the Note Mover menu, choose Cross Staff.
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.

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6. Drag any selected handle to the desired target staff. As you drag the
single handle, all selected handles move simultaneously. You don’t need to
drag the handles to any particular pitch on the new staff—simply release
the mouse button when the cursor is directly on the target staff, and you’ll
find that the notes have now moved to the new staff. Their beams and
stems, however, still originate in the source staff.

If you have a relatively simple cross-staff notation, you’re 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 , and click the measure in question.

8. Click the Reverse Stem Tool . A handle appears above and below
each note or chord.
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.

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10. Click the Beam Angle Tool . 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.

To restore cross-staff notes to their source staff

1. From the Window menu, choose Advanced Tools. Click the Note
Mover Tool . The Note Mover menu appears.
2. Click the source measure. Don’t 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.

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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 you’re 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 Cross-staff 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.

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Cue notes
Cue notes are reduced-size notes in a score that a player under normal
circumstances isn’t meant to play. Usually they indicate musical material being
played by other instruments, and are used as an aid for keeping track of one’s
place in the music, especially during long rests. Or they may appear in one
player’s part for him or her to play in case the primary instrument or player isn’t
available.
To introduce cue notes using content from another staff automatically, see
Add Cue Notes Plug-in.

.
In addition to the method described here, you can reduce note sizes in several
other ways—only the notehead, for example. See Note size for more
information.

See Also
Resize Staff System dialog box
Selecting music
Resize Tool
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.

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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 you’re not in Page View, choose Page
View from the View menu.

2. Click the Resize Tool , and click on the desired staff (not on a note
or other element). The Resize Staff dialog box 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 on a staff, click between two staves. You’ll be offered two
extra options: Hold Margins (to ensure that the horizontal dimension of the
system doesn’t 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.
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 from shrinking

When you shrink notes, Finale automatically shrinks anything attached to them
proportionally—lyrics, articulations, 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.

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1. Enter the cue notes in Layer 2, 3, or 4. If you’ve already entered them in
Layer 1, use the Move/Copy Layers command in the Edit menu to put them
into another layer. If you’ve already attached the lyrics or other elements to
the cue notes, remove them; you’ll 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, they’ll be invisible. Make sure they
match the rhythm of the cue notes.
3. Attach your lyrics 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 layer—but they appear to be attached to the cue notes.

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Custom lines
To create a custom line

1. Click the Smart Shape Tool . The Smart Shape Palette appears.

2. Ctrl-click the Custom Line Tool . The Smart Line Selection dialog
box appears.
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 you’ve selected line, you can set the thickness, and the dash
settings for a dashed line. If you’ve 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.

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Cut time
Cut time, also known as or alla breve, is a meter with two half-note beats
per measure. It’s often symbolized by the cut-time symbol: . For general
information on time signatures, see Time signatures. For details on Finale’s
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 there’s a check in the checkbox, Finale

will display the cut-time symbol. If not, Finale will display . (You can also
specify any other symbol you want by clicking the Select button.)
3. 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 that’s the range
you want, you don’t 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.

159
4. Click Options. The Time Signature dialog box expands to show the display
options.
5. Click Use a Different Time Signature for Display. (If it’s already selected,
don’t 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 , just deselect Abbreviate
by unchecking the checkbox.
7. 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.

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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.

It’s 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 Finale’s 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 don’t 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.

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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 Dash Space text boxes. If you’re creating
an or marking, you’ll notice that there are 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 you’re 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 line’s length.
Release the mouse button when you’ve 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

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If the line is already selected, it displays diamond editing handles. If so, skip to
step 3.

1. Click the Smart Shape Tool . The Smart Shape Palette appears.
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.

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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.

164
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, you’ll create a functional text repeat that directs
the playback of your score to the beginning of the piece. If the D.C. marking
doesn’t 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 don’t 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. That’s
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 isn’t 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 staff’s handle. In the dialog

165
 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.

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Diminution
Diminution refers to the process of halving a motif’s 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 note’s 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 you’ve entered a “real” whole rest doesn’t count as empty
in this context.) That is, it will double the values of all notes and rests
you’ve entered, but it won’t create a second completely empty measure.

167
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 page and system margins
See Margins; Systems.
To change the distance between staves

1. Click the Staff Tool .

2. 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 they’re highlighted). If you have
many staves, you can move all except one or two as follows: Choose
Select All from the Edit menu to highlight all staves’ handles.Then shift-click
the staves you don’t want to move; when any staff is selected, a shift-click
“deselects” it. Then, as before, drag any selected staff to move all selected
staves at once.
To make all staves equidistant
After you’ve experimented with dragging staves up and down, you may want to
restore them to even spacing. See Staves—To 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

168
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 you’ve 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, or Time Signatures.

169
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 up—one 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.

170
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,
Score 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.

171
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

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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. These are usually added as
articulations. See Articulations. You can create the word “doit” as an
expression (see Expressions,Slurs; for information on creating an adjustable
line in the score, see Shape Designer), and the line itself as a second
expression (in this case, a Shape Expression). For instructions on creating a
custom shape, see Creating a shape.

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 Finale’s
Broadway Copyist Font. (The
Broadway Copyist Font is included
with Finale 2010.) See Fonts.

173
Dotted notes
See also Augmentation Dots and Simple Entry.
To dot a note

1. Click the Simple Entry Tool . Click the measure you want to edit.
The editing frame appears.
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, you’ll 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 you’re
finished editing this measure, turn off Jump to Next Measure in the Speedy
menu by choosing it.)

See Also
Speedy Entry
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
you’ve 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 . The Special Tools Palette appears.

2. Click the Dot Tool .

174
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.
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 you’ve 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.

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.

175
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.

176
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 notehead globally

Follow these instructions if you want Finale to use the default notehead
for the double whole note.

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 notehead. You return to the dialog box.

4. Click OK.

To substitute the notehead on a note-by-note basis

See Note shapes—To change the shape of a notehead.

177
Downbeats
You can control both aspects of Finale’s 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 you’re using Finale for playback, you can alter the velocity and durational
values for some, or all, downbeats by using the MIDI Tool.
To move a single downbeat graphically
See Beat positions—To move a beat
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 alter the key velocity of downbeats

1. From the Window menu, choose Advanced Tools. Click the MIDI Tool
, and choose Key Velocities from the MIDI Tool menu.
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, can’t 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
, and choose Note Durations from the MIDI Tool menu.
2. Select the region you want to affect.

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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 downbeat’s attack forward or
backward in time, depending on the number you enter here.

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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 that’s marked by the symbol. If the marking says
D.S. al Coda, then the player is supposed to play from the 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 you’re 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
functional—that 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 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 you’ve loaded a Text Repeat
Library—or if the Maestro Font Default file is in place—you should see the
sign. If you don’t 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 don’t 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.”

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 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). You’ll need to remember this number for a moment.

4. Click Never Jump (Mark). You’ve just defined this text repeat to be a
mark—in other words, a marker to which other text repeats (“D.S.,” in this
example) will direct playback.
5. Click OK (or press enter). The sign appears in all staves. See
“ Repeats –To move, hide, or delete a text repeat.” Click in the measure
and drag the handle to reposition.

To place a “D.S.” marking into the score

If you’ve 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. Click the Repeat Tool . Double-click the last measure to be played

before jumping to the . The Repeat Selection dialog box appears. If you
don’t 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 don’t 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 you’ve 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

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 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.

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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 playback—but feel free to modify them, as described below.) If your
synthesizer is velocity (touch) sensitive, you’ll hear Finale respond to these
dynamic markings as the music plays back.
If you want to create dynamics for playback only, and don’t 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 . Double-click any note or measure. The

Expression Selection 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, lower-case f is

the marking, capital F is the marking, and so on (in the default

music 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 Assign to enter the expression.

To insert a dynamic marking into the score

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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.
6. Hold down a metatool key, click and drag over multiple staves to add
the expression multiple times.

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. Alternatively, right-click the expression and choose Delete.

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 hasn’t 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 marking’s handle. The Expression Selection dialog box
appears.
3. Click Create. The Expression Designer dialog box appears.

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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 you’re editing a dynamic that came with
Finale, you’ll notice that a velocity value has already been defined; feel free
to change it. The changes you make apply throughout this document only,
although you can store this document’s 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).

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8va/8vb
To create an or marking

1. Click the Smart Shape Tool . The Smart Shape Palette appears.

2. Click the or Tool. The marking usually goes beneath the

music it affects.
3. Position the cursor in the measure where the marking is to begin so
that the cursor arrow points to the staff to which you’re attaching it.
4. Double-click and drag to the right. Your double-click marks the side
of the marking; as you drag, you increase the length of the dashed-line
bracket. Release the mouse when you’ve positioned the right end where
you want it. If you double-click below the staff the marking will be used
instead (unless you have specified another symbol to use). markings
affect playback.

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.

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

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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 and select a region. See Selecting music
for some region-selecting shortcuts.
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).

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Elisions
An elision is when two or more syllables are sung under the same note, such
as in a folk song, chant or foreign language. Because Finale will advance to
the next note if you enter a space, you’ll need to add an invisible syllable or
hard space between the two real syllables. You can also use this method to
place verse numbers with the first syllable. If you prefer a slur instead of a
space between the syllables, see To create an elision slur between lyrics.
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. If you prefer, choose Type into Score. Type the lyrics in the usual
way, up to the elision.
3. Type the first syllable. Next type alt+0160.To type an alt character, hold
down the alt key, and while holding it down, type 0160 on the calculator
keypad on the side of your computer keyboard. Finale inserts a hard space.
Continue by typing the next syllable, which will be attached to the syllable
before it. Complete the remaining lyrics.
4. Click OK. When you enter these lyrics using the Control–Click Assignment
method (see Lyrics), Finale distributes the syllables you just created to the
corresponding notes of the melody, but treats the elision as a single
syllable.

To create an elision slur between 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 elision.
3. Type the first syllable. Without adding a space, type a capital I, then the
second syllable.
4. Drag to select the I. From the Text menu, choose Font. Choose
EngraverFontSet then click OK., choose Set Font, then choose
EngraverFontSet. Complete the remaining lyrics.
5. Click OK. When you enter these lyrics using the Control–Click Assignment
method (see Lyrics), Finale distributes the syllables you just created to the
corresponding notes of the melody, but treats the elision as a single
syllable. A slur will appear between the two syllables.

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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 it’s pasted into another program. If you’re 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 2010 folder with Notepad. In the
[Settings] section, add the following line, without quotes, “OwnPS=0”.
Save and exit Notepad.

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Enharmonics
There are several ways to change a note to its enharmonic equivalent: note by
note, chord by chord, or even globally.
Note that 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 (Speedy Entry)

1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
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, you’ll 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 chord’s enharmonic spelling

1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
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)

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You can change every occurrence of a note to its enharmonic equivalent—
changing every G sharp to an A flat, for example. See Search and replace.

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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 you’re
using a MakeMusic font, such as Maestro or Broadway Copyist, we’ve already
provided font annotation files. If you’re 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 edit Engraver slurs
See To move, reshape, or delete Smart Shape slurs.
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.

1. Click the Smart Shape Tool . The Smart Shape menu appears.
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 you’re ready to save the new settings.
Or click Cancel if you want to discard changes.

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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.

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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 and select a region. See Selecting music
for some region-selecting shortcuts.
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, double-click until the full measure
stack is selected and press the delete key. Pressing the Delete key without
a full stack selection erases the music without deleting the measures
themselves).

To erase a note, rest, or chord (Simple Entry)

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 . Click the measure in question.

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 , and click
directly on the notehead to be erased.

To erase selected elements from a selected region

1. Click the Selection Tool and select a region. See Selecting music
for some region-selecting shortcuts.
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.

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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.)

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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 you’re
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 and select a region. See Selecting music
for some region-selecting shortcuts.
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).

196
 If you’re exploding a triadic passage onto staves for violin (treble), viola
(alto), and cello (bass), for example, you’d 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 clef—the treble clef, unless you’ve 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 you’ve 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.

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Expressions
If you upgraded to Finale 2010 from
Finale 2008 or earlier, 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 marks. (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 Example
Type
Dynamics

Tempo
Marks

Tempo
Alterations
Expressive
Text
Technique
Text
Rehearsal
Marks

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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 you’re scoring a big band piece, you may
want to create a library full of fall-off, bend, and “doit” markings—but you
certainly won’t 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 you’re 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.
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, it’s important that you
assign each to a Metatool (see To create Expression Metatools for full
instructions) before placing them in the score. Otherwise, you’ll find that the
shapes aren’t individually reshapable; if you change one, they all change.
To create a shape
See Shape Designer.
See also Articulations; Crescendo/Decrescendo; Dynamics; Slurs.
To assign an expression to a staff
These steps demonstrate how to assign a expression (dynamic, tempo
marking, style markings, and performance practice indicator) to you score. (To
add an auto-sequenced rehearsal mark, see To define and add custom
rehearsal marks).

1. Click the Expression Tool .

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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 adjacent
staves, click and drag a box around those staves. The Expression
Selection dialog box appears.
3. Choose the desired 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).
For example, 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.

4. Click Assign (or double-click the expression) to add it to the score.

Any expression that is not a tempo mark, tempo alteration, or rehearsal
mark (see Score List) can be assigned to any number of staves. Click the
drop-down arrow next to the Assign button to choose a list of specific
staves for assignment. Or click Assign to Specific Staves to define a new
list. See Assign to Staves dialog box. See To assign an Expression to
Multiple Staves (Assignment Lists). Finale assigns the expression
according to positioning settings defined for the category in the Category
Designer. An attachment indicator line displays the expression's attachment
point. 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

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 The same category settings also apply to expressions added with
metatools...
To add an expression to multiple staves (Score Lists)
Some expressions always apply to the performance of the full score (every
staff) including tempo marks, tempo alterations, and rehearsal marks.
Whenever you add an expression in one of these categories, they appear on
staves selected in its category's Score List. See Category Designer.
To assign an expression to multiple staves (Assignment Lists)
Expressions that apply to single staves, including dynamics, technique text,
and expressive text, can be added to multiple adjacent staves simultaneously
using metatools (see To add an expression using metatools below). They can
also be added to all staves, or a selection of specific staves using the Assign
drop-down menu in the Expression Selection dialog box. Assignment Lists can
be defined in the Assign to Staves dialog box.

1. Click the Expression Tool .

2. Double-click on, above, or below the note or measure to which you
want to attach the marking. Or, double-click the handle of an existing
expression. The Expression Selection dialog box appears.
3. Choose the Dynamics, Expressive Text, or Technique Text category
from the list on the left. Assignment Lists are only available for categories
not compatible with Score Lists._Ref-891099525
4. Click the drop-down list next to the Assign button and choose the
desired Assignment List. Finale adds the expression to the staves
specified in the list. If you originally double-clicked an existing expression,
Finale replaces the existing expression(s) with the newly assigned ones.
5. To create a new list, click Assign to Staves to open the Assign to Staves
dialog box where you can define a new Assignment List.

You can also change the staff assignment of an existing expression by right-
clicking the expression and choosing Assign to Staves. See Expression Tool
contextual menus.
Additional expression assignment keyboard shortcuts

• Select an expression handle and press Ctrl-Up arrow or Ctrl-Down arrow to

add the expression to the staff above or below (respectively).

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 • Select an expression handle and press Ctrl-Home or Ctrl-End to add the
expression to all staves above or below (respectively).
• Select an expression handle and press Ctrl-Alt-Enter to add the expression
to all staves.

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.
Alternatively, right-click the expression and choose Delete.

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.

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 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. If you are creating a rehearsal mark, and would like to use Finale's
auto-sequencing rehearsal marks, check Auto Sequencing. See also
To define and add custom rehearsal marks.
9. Click OK. The expression appears in the Expression Selection dialog box.
10. Click Assign to add it to the score. If the expression is not a tempo mark,
tempo alteration, or rehearsal mark (see Score List) it can be assigned to
any number of staves using assignment lists. Click the drop-down arrow
next to the Assign button to choose a list of specific staves for assignment.
Or click Assign to Specific Staves to define a new list. See Assign to Staves
dialog box.
11. 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.
12. Shift-double-click an expression's handle (or select an expression's
handle and press shift-enter) to open the Expression Assignment dialog
box where you can specify positioning changes, staff assignment, and
playback options for the expression.

Expressions that always apply to the full score, such as tempo marks and
rehearsal marks, can be assigned to more than one staff using a Score List.
You can apply a Score List to a category in the Category Designer. For more
information, see Score 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 the
full measure 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.

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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 full measure stack.
4. Select the source measures. See Selecting music for some selecting
shortcuts.
5. Drag the first source measure so that it’s 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 score lists

Three of Finale's default expression categories include score lists: Tempo
Marks, Tempo Alterations, and Rehearsal Marks. Score 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 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.

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1. Click the Expression Tool . If you haven’t 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 you’d 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 you’ve entered a value into the Set To
Value box, you’re finished defining the shape for playback. The rest of
these steps deal with creating playback definitions that change over time—
for 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. You’re 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 note’s duration.
9. Draw the Executable Shape. Again, see Shape Designer. You’re 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 note’s duration, and each
horizontal gridline represents one change in value. If you’re creating a
crescendo, the volume will increase an equal amount each time your shape
crosses a horizontal gridline. If you’re creating a rallentando, the tempo will
decrease each time your shape crosses a horizontal gridline. In a later
step, you’ll learn how to determine the rhythmic value of these gridlines—
specifying, for example, whether the volume increases every eighth note or

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 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 it’s 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 ratio—formed by a
combination of the two text boxes—is 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 you’re 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 note—if 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 Shape’s
effect will last, the Level Scale determines how much change you’ll hear (in
the MIDI parameter you’ve 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 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 or Assign 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 you’re 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).

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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
don’t place them into the score using Metatools, you’ll find that the shapes
aren’t 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.

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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...

1. While pressing shift, press any letter or number key. The key you press
is the Metatool key to which you’re assigning the marking. When you do
this, the selection box appears. If the marking isn’t 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. You’re 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.

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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 part’s
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.

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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.
If you are using the Broadway Copyist or Jazz Font, you can select fall-off
articulations in the Articulation Selection dialog box.

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Fermatas
The fermata, or hold ( or ), is an Articulation. For complete instructions
on creating, positioning, and moving articulations, see Articulations. If you’ve
loaded an Articulation library into your file (or started your document with the
Setup Wizard, a template, or new default document), you won’t have to create
the symbol anew. 1.
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.

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Figured bass
You can create figured bass symbols with the same Finale tools you’d 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. See Chord
Symbols. 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 doesn’t appear in the chord symbol.
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. 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 Lyrics. See also the Figured Bass
Library in the Chord Suffixes Library folder for a starting point.

If you’re 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.

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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 the automatic final barline at the end of the document

1. From the Document menu, choose Document Options, then select

Barlines.
2. Uncheck Final Barline at End of Piece.
3. Click OK.

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Fingering numbers
Numbers that are added to a part to indicate fingerings are
Articulations; see Articulations 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; you’ll be able to quickly and
accurately place one number after another.
See Metatools.

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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 we’ll 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 isn’t crucial.

To adjust the brackets on a repeat ending

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1. Click the Repeat Tool . Three handles appear on the bracket. (A
single handle appears on each repeat bar.)
2. To stretch a bracket, drag its upper handles vertically or horizontally.
To delete a repeat, click any handle and press delete. You can’t 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.
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 you’ve 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 repeat’s 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 won’t 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

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(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).

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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 Finale’s Maestro font or Adobe’s 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.
3. Click Set Font, and choose Maestro Percussion.
4. Switch to the Flags category.
5. Click the Straight Flags radio button to select it.

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6. Choose Straight Upstem Flag from the Music Charactersdrop-down
list, 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.
7. Choose Straight Downstem Flag from the Music Characters drop-
down list, 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 you’re using Horizontal Straight Flags, use the flag character on R (slot
number 114) in the Maestro Percussion 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 Positioning drop-down menu in the Flags
category of 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.

Angled Slot Key

Straight Flag number Cap

Straight 115 S
Upstem Flag

Straight 83 shift-
Downstem S
Flag

Horizontal Slot Key

Straight Flag number Cap

Straight 114 R
Upstem Flag

Straight 114 R
Downstem
Flag

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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.

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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.

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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. We’ve 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 you’ve just made, you would need to quit and
restart Finale.

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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 don’t resize smoothly on the computer’s 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, Broadway Copyist, 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 root directory (usually c:\). If, when you open Finale,
large text symbols like & and Ï appear instead of clefs and notes, Windows is
unable to locate the Maestro font. You can restore your music fonts by doing
the following:

1. Close Finale.
2. Go to www.finalemusic.com/store/search.aspx and type "Font Pack"
in the Download Name text box.
3. Follow the on-screen instructions to download and install the font
pack for your operating system.
4. Restart Finale.

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To globally change a musical element’s 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.

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, you’ll 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, Broadway Copyist, 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, you’ll 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 Finale’s default fonts, Maestro or Broadway
Copyist, 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 you’ve 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 Font Utilities. The
Font Utilities 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

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 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 . The Chord menu appears.

9. From the Chord menu, choose Change Chord Suffix Fonts.
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 Finale’s Data Check submenu to change every occurrence of one
font and size to another, no matter where they occur—in symbol libraries, in
text, in chord symbols, and so on. See also Change Fonts plug-in.

1. From the Document menu, choose Data Check, then Font Utilities. 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 that’s
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. From the Document menu, choose Data Check, then Font Utilities. In
the dialog box that appears, you can instruct Finale to search for a specific

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 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 document’s default
notehead font. Then, take advantage of Finale’s 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 document’s 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, it’s 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 document’s font selection
boxes.

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From the Data Check submenu of the Document menu, choose Check
Document Fonts Against System Fonts.
Transporting files across platforms
Starting with Finale 2002a, files can be transferred across platforms while
maintaining correct higher ASCII text characters, such as è, ö, 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
The following characters are available in the Engraver Font Set and Engraver
Font Extras Only.
“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 Only

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Also included are the two “let ring” symbols for input with the articulation tool.

Alt- Alt-
0105 0073

“Double-stopped unison” Noteheads

Engraver Font Set and Engraver Font Extras Only

sh-Q

sh-H

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“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.
Engraver Font Set and Engraver Font Extras Only

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.
Engraver Font Set and Engraver Font Extras Only.

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Indeterminate

Determinate

Dynamics
Type away! Make whatever dynamic possible.
(Engraver Font Set and Engraver Font Extras Only)

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 and before any marking with a .
Articulations
Engraver Font Set

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Engraver Font Extras

Engraver Text Fonts

Tempos

231
Harp Pedaling

232
Fretboard diagrams
Creating guitar-fretboard chord diagrams is easy in Finale; they’re 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 haven’t yet added chord symbols, add them as described in Chord
symbols; as you add each chord, its fretboard diagram will also appear.
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.

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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

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. You’ve 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 you’re
affecting).
Dragging the rightmost triangle doesn’t move any existing fretboards;
instead, it sets the position for the next one you enter.
To move the fretboard diagrams individually

1. Click the Chord Tool . Handles appear on all chord symbols and
fretboards.
2. Click the fretboard handle and drag (or press arrow keys to nudge)
the fretboard diagram. The fretboard moves relative to the chord symbol.

Click the chord symbol's handle and drag to move both the chord symbol
and fretboard uniformly. See To move and delete chord symbols.

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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 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 another’s. 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.

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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.

See Also:
Garritan Personal Orchestra and Human Playback Tutorial
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.

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3. From the Instrument Set drop-downmenu, choose Garritan
Instruments for Finale 2010. 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 drop-down 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 instrument’s 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.
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 cross-platform. 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

237
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 2010’s 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 2010 (if it’s 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

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 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 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) an“Auto
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.

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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 , and Double-Click the document. The

Expression Selection 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.
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 instrument’s
range, it will not sound.
10. Click OK, OK, Assign to add the Expression. The performance style will
change upon reaching this point during playback.

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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 MIDI Map Table

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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 . Move the cursor until the end points to the
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.

To move, reshape, or delete a Smart Shape glissando

1. Click the Smart Shape Tool . The Smart Shape Palette appears.
2. Click the Glissando’s handle. The shape displays diamond editing
handles.
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

242
 in the score. Instead of using the mouse, you can enter values into the text
boxes using the measurement unit you’ve selected.
5. Drag the other end-point of the glissando to adjust it.
6. Click Reset at any time to return the glissando to Finale’s built-in
settings.
7. Click OK (or press enter) when you’re 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 .

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.

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Grace notes
To create a grace note (Simple Entry)
by clicking-in with the mouse

1. Click both the Grace Note Tool and the duration of the desired
grace note in the Simple Entry Palette.
2. Click to enter the grace note where desired. Alternatively, double-click
the Grace Note Tool (so no other tools in the Simple Entry Palette are
selected) and click an existing note to change it to a grace note.

by typing-in with the Simple Entry Caret

1. Enter as a normal note. See Using your computer keyboard to enter

music.
2. Press Alt-G to change the note you just entered to a grace note.

Note: You can also choose the Grace

Note Tool (Ctrl-g) and then enter the
note as you would normally. After
entering the grace note(s), press Ctrl-
g again to de-select the Grace Note
Tool.

To create a grace note (Speedy Entry)

1. Enter the grace notes as “normal” notes.

2. Click the Speedy Entry Tool and click the measure in question.
The editing frame appears.
3. Using the arrow keys, position the cursor on the note you want to
change to a grace note, and press the semicolon (;) or the G key. The
note becomes a grace note. On playback, the grace note will play just
ahead of the beat—even if there are many grace notes together, forming a
run. To change a grace note to a normal note, repeat the above procedure.

To create a grace note (Simple Entry)

1. Click the Simple Entry Tool , and Ctrl-click the note you would like
to hide. Or, simply make sure the note you would like to change to a grace
note is selected (notes are automatically selected immediately after entry).

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2. Press Alt-G key. The note changes to a grace note. Press Alt-G again to
add a slash to the grace note, and again to change it back to a regular
note.

To beam grace notes

1. Click the Speedy Entry Tool and click the measure. Or, click the
Simple Entry Tool .
2. Position the cursor on (Speedy), or select (Simple) 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. (In Simple Entry Ctrl-click to select a note.)

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.

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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. It’s
possible, however, to add slashes to beamed grace notes.

1. Click the Expression Tool ; then click the grace note. The
Expression Selection dialog box appears.
2. Choose the Miscellaneous category and click Create Misc.
Expression. The Expression Designer dialog box appears.
3. Click Shape, then Create. You are now in the Shape Designer. The
following instructions give measurements in points (1/72 inch). If you’ve
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 you’re 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 you’re using HyperScribe to notate real-time performances, you may
find grace notes in the transcription. The problem is one of quantization—
Finale is transcribing too precisely. Fortunately, there’s a simple solution.

1. From the MIDI/Audio menu, choose Quantization Settings. The

Quantization Settings dialog box appears.
2. If you’re 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 you’ve
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

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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.

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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 doesn’t 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 or Assign 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 , and select the G.P. measure and the
measure before it.
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.

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Graphics
With the Graphics Tool you can place the following graphic formats into any
Finale document:

• EPS
• TIFF
• JPEG
• PNG
• BMP
• GIF
• WMF

The following graphics formats can be exported from Finale:

• EPS
• TIFF
• JPEG
• PNG

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 Page-attached 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.

See Also:
Graphics menu
Graphics Tool
To export a selected region of music as a graphic

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1. From the Window menu, choose Advanced Tools. Click the Graphics
Tool . The Graphics menu appears.
2. Double-click and drag to enclose the area you want to export as a
graphic. It's a bit touchy. If it doesn't work the first time, try it again keeping
the mouse as still as possible before dragging. The selection will stick if
done properly.
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, JPEG, PNG, 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. Select Generate Names From and enter the file’s 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 . The Graphics 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, JPEG, PNG, or TIFF file. If you select EPS or
TIFF, the PostScript Options or TIFF Resolution settings will be available,

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 respectively. For details about these settings, see Export Selection and
Export Pages dialog boxes.
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 file’s 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 . The Graphics menu appears.
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 BMP, GIF, EPS, JPEG, PNG, WMF, 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

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 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 double-click the score. Choose
the Miscellaneous category and then click Create Misc. Expression.
Click Shape, then Create. The Shape Designer dialog box appears.

2. Click the Graphics Tool in the Shape Designer dialog box.

3. Click in the Shape Designer display area. The Place Graphic dialog box
appears, listing the available graphic formats in a drop-down list; BMP, GIF,
EPS, JPEG, PNG, WMF, or TIFF files.
4. 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.
5. 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.

To assign a graphic to one or more pages

1. Choose Page View from the View menu if it isn’t already selected.
2. From the Window menu, choose Advanced Tools. Click the Graphics
Tool . The Graphics 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 isn’t 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. 6–10). To show the graphic on one
page, choose Single Page from the Page drop-down list menu and enter

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 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, you’d 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 graphic’s position in the score, then click OK.

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 . The Graphics menu appears.
2. Click to select the graphic, then choose Attributes from the Graphics
menu. Or, double-click the graphic you’re adjusting. The Graphic Attributes
dialog box appears.
3. Click to select Attach to: Measure, if it isn’t 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 you’re 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 graphic’s position in the score, then click OK.

To scale a placed graphic proportionally

1. From the Window menu, choose Advanced Tools. Click the Graphics
Tool . The Graphics menu appears.
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.

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3. Drag a handle to resize the graphic horizontally or vertically.

4. To retain the aspect ratio while resizing, hold down shift and drag one
of the corner handles.
5. 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.
6. 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.
7. Click OK to confirm your settings.

To position placed graphics on-screen

1. From the Window menu, choose Advanced Tools. Click the Graphics
Tool . The Graphics menu appears.
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 isn’t 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

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 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 graphic’s

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 . The Graphics menu appears.
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 graphic’s

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

255
 from drop-down list to have Finale calculate the graphic’s position starting
from the page margin. Choose Page Edge to have Finale measure the
graphic’s 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 . The Graphics menu appears.
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 you’re 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 . The Graphics menu appears.

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3. Click to select a page-assigned graphic, then choose Attributes from
the Graphics menu. Or, double-click a page-assigned graphic.
4. Use the Alignment and Positioning settings to position the graphic on
every left-facing (even-numbered) 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 (odd-numbered) 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.

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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.

See Also:
View menu
To show the grid

1. From the View menu, choose Page View.

2. From the View menu, choose Grid/Guide > Show Grid.
3. 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 Grid/Guide > 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 Grid/Guide > 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.

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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.

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Group names
You can specify two names for every group in a document. For example if
you’ve 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 haven’t yet created the group you’re 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 . The Staff menu appears.

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.

260
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.
6. Click OK when you have entered the position settings.
7. Tip: If your changes don’t 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.

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.

261
 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.

262
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 names—choose Group
Names (Abbreviated) from the Text drop-down list.
6. Click OK to confirm your changes.

To change the font for group names (globally)

See Change Fonts Plug-in and Global Staff Attributes.
To hide a group name (full score)

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.) To display the attributes of
another group, use the arrow controls to change the Group ID number.
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.

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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 you’re 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-
by-system basis. For information on
optimizing, see Optimizing systems.

To remove a group

1. Click the Staff Tool . The Staff menu appears.

2. Click a group handle to select the group.
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 . The Staff menu appears.

264
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. 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 . The Staff menu appears.

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. Add staves to 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.

To remove staves from a group

To exclude a currently grouped staff from its group, you’ll need to change the
staves that are included in the group.

1. Click the Staff Tool . The Staff menu appears.

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.

To configure a multiple-staff part to optimize like a single staff

1. Click the Staff Tool . The Staff menu appears.

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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 plug-in.

266
 Guitar bends
To create guitar bends:

1. Click the Smart Shape Tool in the Main Tool palette. The Smart
Shape Palette and Smart Shape menu appear.

2. Click on the Guitar Bend Tool in the Smart Shape palette.

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.

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

267
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 Predefine

d Metatool

Bend Arrows B

TAB Slide X

Vibrato E

Bend Hat 6

Hammer-on H

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Hammer-on 2
for use above
a slur or tie

Pull-off P

Pull-off for use 3

above a slur
or tie

Bend U

Bend for use 4

above a slur
or tie

Release R

Release for 5
use above a
slur or tie

Artificial A
Harmonic
(A.H./A.H)

Artificial --
Harmonic/A.H
.

269
Natural N
Harmonic
(N.H/N.H.)

Natural --
Harmonic/N.H
.

Pick Harmonic --
(P.H./P.H.)

Pick --
Harmonic/P.H
.

Palm Mute M
(P.M./P.M.)

Palm --
Mute/P.M.

Let Ring --

Hold Bend --

270
 Up Pick --

Down pick --

See also:
Guitar notation

271
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 there’s 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 that’s done, you can change the appropriate noteheads to
slashes with the Special Tools Tool. See“To create pitched slashes (note-by-
note method).

See also
Slashes
Tablature
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 . You
should now see the 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.
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

272
 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 . You’re 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 you’ll want a slash, enter any pitch; we’ll 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 Define Staff Styles. The Staff Styles dialog
box appears.
5. For Available Styles, choose Rhythmic Notation.
6. Click the Select button next to Alternate Notation. The Alternate
Notation dialog box appears.
7. Make sure Rhythmic Notation is selected, for Apply to, choose Layer 2,
then check all the boxes in the Other Layers section.
8. Click OK twice to return to the score. See Staff styles for more
information.
9. Now, choose Layer 1 and enter the regular notation as required.

To create pitched slashes (note-by-note method)

1. Create the part on a single staff. For each note that’s going to be a slash,
enter a normal note.

2. Click the Special Tools Tool , and click the first measure you want
to contain slashes.

3. Click the Note Shape Tool . Double-click the handle of the first
notehead you want to be a slash. Finale displays a palette containing
every symbol in the Maestro music font.

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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 don’t
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.

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/Audio menu) and choose the appropriate
MIDI IN driver. For more information on MIDI setup in the Finale 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/Audio
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 interface’s 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.

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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 also Easy Harmonics Plug-in.

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Harp pedal diagrams
You can create a pedal diagram easily, using the Shape Designer. See also
Harp Pedaling in the Finale Engraver Font.

You’ll 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 and double-click anywhere on the

score. The Expression Selection dialog box appears.
4. Choose the Miscellaneous category. Notice the two new shapes harp
pedal diagrams.
5. Click Cancel to return to the document. It’s important to place each
harp-pedal shape into the score using Metatools. See To create Expression
Metatools. Otherwise, you won’t be able to adjust the pedals independently
on each diagram.

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 Expression—the 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.

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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 , and click the measure in question.

2. Click the Note Shape Tool . A handle appears on each notehead.

3. Double-click the desired notehead’s 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 , and select a region. See Selecting music
for some region-selecting shortcuts.
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.

277
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.

278
Hiding key signatures
It’s 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 don’t
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.

279
Hiding notes and rests
A hidden note or rest in Finale may still takes up horizontal space, but it
doesn’t 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 (Simple Entry)

1. Click the Simple Entry Tool , and Ctrl-click the note you would like
to hide. Or, simply make sure the note you would like to hide is selected
(notes are automatically selected immediately after entry).
2. Press the letter H key. To show the note or rest again, press H again.

To hide a note or rest (Speedy Entry)

1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
2. Click the desired note or rest. The pitch crossbar doesn’t 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.

280
Hiding staves
If you’re interested in hiding staves to print a full score (so that empty staves
are omitted from each system), see Optimizing systems.
If you’re interested in hiding staves temporarily, use the Hide Staves checkbox
in the Staff Attributes dialog box. Do not delete the staves—a 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 play back only selected staves
See To play back selected staves.
To hide staves for editing (Scroll View)
By hiding staves using Staff Sets you can view a selected number of staves on
your screen for convenient editing. For example, in a full concert band score, if
you would like to view your flute part and the percussion staves on-screen at
once, you could assign these staves to a Staff Set to view them while hiding all
the other staves. ote also that when you change the position of a staff in a staff
set, it changes positions for all staff sets.

1. Click the Staff Tool . Shift-click the staves you don’t want to hide.
You can also select 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). You’re
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). 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.

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 don’t want printed; for example, staves
containing notes for playback only, such as written-out trills, turns, or doubled
parts.

1. Click the Staff Tool . The Staff menu appears.

281
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 staff’s name in
the list.

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:

1. Click the Staff Tool . The Staff menu appears.

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 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 show hidden staves

If you’ve 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.

1. Click the Staff Tool . The Staff menu appears.

2. Click the handle on a hidden staff, then choose Edit Staff Attributes
from the Staff menu. If you can’t find staff handles in your score, or if
you’re 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

282
 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 you’re done.

283
Hiding time signatures
It’s 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.

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Human Playback
Finale’s Human Playback feature, (developed by Robert Piéchaud), 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 "zurückhaltend". (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 Playback’s 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 Playback’s interpretation. The
score is processed, and performs the score based on Human Playback’s
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

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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.

See Also:
Human Playback Preferences dialog box
Human Playback Dictionary
GPO and Human Playback
Human Playback includes enhanced capabilities when used with Finale’s
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
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:

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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, Garritan Instruments for Finale, 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.

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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 there’s 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.

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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 2010 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 font’s
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 you’re not already in the Edit Lyrics window, click the Lyrics Tool
and from the Lyrics menu, choose Edit Lyrics. The Edit Lyrics
window appears.

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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.

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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 you’re 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.

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Imploding music
To implode music onto a single staff

1. Click the Selection Tool and select a region. To implode music,

you’ll 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 you’ve selected a large amount of music, this process may
take time.
4. Click OK.

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Importing
You can import files from MIDIScan and SmartScore into Finale, as well as
MusicXML files. You can import various elements into your Finale documents
from other programs.
To import a MIDI file
See MIDI files.
To Import MusicXML files
See MusicXML.
To import graphics
See Graphics.
To import text
Finale won’t 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 you’re creating text blocks (see Text blocks).

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 version’s
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

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 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:

• If you use bitmapped fonts, converted files may display text items at a
different point size than the original file. Finale 2002’s 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

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 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:

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 • 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 on-screen 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.
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.

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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
you’ve created in the new Shape Designer.

To transport files across platforms

You don’t 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 > Data Check > Font Utilities. Choose the Advanced
tab and then check Convert Text for Windows and click OK.

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Indenting systems
To indent a system:

1. Click the Page Layout Tool . A dashed line borders every staff
system on the page. A handle 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

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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 you’re now changing this Instrument’s channel; if any other staves
share the same Instrument, their MIDI channel numbers will change, too.
3. To change the MIDI channel for a staff independently, click the
Instrument column drop-down menu across from its name, and select
New Instrument. Name your new instrument and assign it to a unique
channel. See Instrument Definition dialog box. (Note that if you use an
existing instrument name, when you return to the Instrument List, all other
staves set to that channel will also update to use that instrument.)

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 staff’s Layers. Change any Layer’s
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 name’s 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.

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Internet
Finale Reader 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
Reader. Finale Reader is available for download free of charge at
http://finalemusic.com/Reader/.
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 Finale’s 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.

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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 you’ve 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 you’re now creating.

5. Click OK (or press enter).

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Key velocity
Key velocity, also called note velocity, is the MIDI data that describes how hard
a key was struck. A note’s 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 copy or erase key velocity data
See MIDI —To copy or erase captured (or edited) MIDI data.
To affect the key velocity of a single note (Articulations) or
Expressions
See Articulations; Crescendo/Decrescendo; Dynamics.
To edit key velocity with the MIDI Tool
1. From the Window menu, choose Advanced Tools. Click the MIDI Tool
. Choose Key Velocities from the MIDI Tool menu, if it’s not already
selected.
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 note’s handle, or shift-click additional handles, or drag-enclose
groups of handles—or even shift–drag-enclose additional groups.

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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 note’s velocity by a value you specify. Percent
Alter alters a note’s 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 backbeat”—in 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. It’s important to understand that you’re 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 you’re 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 you’d see (and be able to edit) the actual key
velocities of the notes as you originally played them.

6. When you’re 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, you’ll hear the score
played back using the performance data—in other words, you’ll hear the
effects of your velocity editing whenever you play back your score.

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 performance—

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even 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).

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Landscape and Portrait orientation
Under normal circumstances, Finale prints your pages in portrait orientation—
with 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.

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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.

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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 you’re 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 you’ve 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).

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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. Click the Measure Tool ; then double-click the measure you want
to begin with a double 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.

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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 Printing,Page size and Page layout ). Second, make sure you’ve
created a Finale score with the appropriate dimensions (see).

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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.

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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.
• 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 printed en masse from the main project file. See
Print dialog box.

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• 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 to ) in the 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 expression/articulation, or altering a smart
shape,C:\Documents and Settings\markjohnson.CODA\My Documents\My
Projects\Finale\Content\Finale\Linked_Parts.htm - FNH_2etc.) 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 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 marking’s show/hide setting in a part breaks only its
show/hide link with the score. Changing an item’s 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
Finale’s 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

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 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, we’ll 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).
• Hold down the Ctrl key to override Finale’s default linking behavior for
that item. This key reverses Finale’s 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 Ctrl-Alt-Shift-U.
• Press Ctrl-Alt-> to move to the next part and Ctrl-Alt-< to move to the
previos part.
Contextual menus

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 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

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:

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 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 2010 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.

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)

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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

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 • 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

Repositioning (nudge, drag, Positioning

or H: V: values)

Remove Manual Positioning

Adjustments

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 in linked parts
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

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 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 in linked parts
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, Positioning

or H: V: values) including
repositioning of second
handle using “Copy the Main
Symbol)

Remove Manual Positioning Positioning

(Backspace key)

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,

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 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 articulation’s 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, Positioning

or H: V: values)

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 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.
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, Positioning

or H: V: values)

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

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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.

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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 page-
attached 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.

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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, Positioning

or H: V: values)

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.

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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:

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 Property changed Link type
broken

Repositioning (nudge, drag, Positioning

or H: V: values)

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, Positioning

or H: V: values)

Bracket direction Direction

(Over/Under/Flip)

Editing the slope or hook Positioning

length of a tuplet bracket

Hide/Show setting Hide/Show

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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 hasn’t
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:

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 Property changed Link type
broken

Engraver Slur setting Positioning

(On/Off/Automatic)

Slur direction Direction

(Over/Under/Flip)

Position of primary and Positioning

secondary handles

Show/Hide setting Show/Hide

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 hasn’t 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

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 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:

• 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.

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 • 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-1485234332

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, Positioning

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

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

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 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 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

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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.
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

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 broken

Repositioning (nudge, drag, Positioning

or H: V: values) Includes
chord symbol and fretboard.

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 Cho rds/Fr etboards:

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 L yr ics

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.

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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.
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. Here, you can
choose to display measure numbers identically between the score and parts,
or define one collection of settings for your score and another for all linked
parts.
The following table lists properties of measure numbers that are broken if
changed in a part:

Property changed Link type

broken

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 Repositioning (nudge, drag, Positioning
or H: V: values)

Hide/Show setting Hide/Show

Whether a measure number is shown or hidden for a measure is first

determined by settings for that measure number’s 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 (see below).
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:

• Select a region of measures and choosing the Measure menu > Show
Measure Numbers to force-show 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

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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 Positioning

for Ossia Measure

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

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 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).
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 lin ked 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, Finale’s 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.

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 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
you’ve explicitly designated to break such a multimeasure rest. See the Break
a Multimeasure Rest option, in the Measure Attributes dialog box for more
information.
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.

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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

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 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 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

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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 haven’t 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 you’d 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 p art s

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
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 Finale’s Page Format for Score and
Page Format for Parts dialog boxes), ensure Use Finale’s Page Orientation
Instead of the Printer’s Page Orientation is checked in Program Options -
Save and Print_Ref-896283032. 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.

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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 also Text Tool.

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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 music—a
feature called Type Into Score.
Or you may prefer the faster
Click Assignment method—
where you type the lyrics in
Finale’s 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 sections—verse and chorus, for example. For
that reason, Finale provides three different lyric types—Verse, Chorus, and
Section. These types are identical in every respect—you can write the verse of
a song and define it as a Chorus, if you want to—except 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 don’t specify a type, your first lyrics will be a
Verse.
2. If you’re 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 cursor—the

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 insertion point—jumps 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 you’ve 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. It’s 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 score—and vice versa.

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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.

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 Tip: if you want a quick MIDI audio
check of the notes you’re 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

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 you’ve
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 you’re 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 you’re 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 note—not 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

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 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 Control–Click-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 control–click-assign again.
To edit lyrics already in the score
The method described below is useful for making small changes to lyrics
you’ve already placed in the score—correcting 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 . The Lyrics menu appears.

2. If you’re 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.
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 you’ve 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.

To correct misaligned lyrics

You may discover that your lyrics don’t “scan” after Control–Click-Assigning
(that is, they don’t correspond correctly to the melodic notes). You may have
entered too many syllables, failed to remember a melisma, or skipped a word.

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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 l tn
i gyouspecfiythedriecto
i nandrangeoftheylrci shfityour’eabouto
produce.
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 doesn’t have a syllable
attached to it. Subsequent syllables will remain where they are.

The Rotate syllables option is only useful if you’ve 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 left—but 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 note—not 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.

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To correct overlapping lyrics
You’ll often discover that some of your lyric syllables overlap—or 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, you’ll 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 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, you’ll 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 you’d prefer to specify a fixed size for the lyrics, so the text won’t vary
with the size of the notes, select the Fixed Size checkbox.

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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 it’s 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 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 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 you’ve 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
system—and 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. and Next buttons
beside the Staff and Staff System boxes. If you just want to move the

349
 baseline for the entire piece at once, you don’t 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 you’ve selected using the
Measurement Units command (Edit menu).

For example, to set the baseline half an inch below the center line, you’d
type –.5 (inches) in the Piece box. It’s a negative number because you’re
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,
you’d set the Staff System counter to 3 (by clicking the Next button twice),
and you’d 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 you’re affecting).
6. Drag the rightmost triangle up or down to set the baseline for the next
syllable, before it’s entered. This option is useful when you’re 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.

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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.
Don’t 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 doesn’t
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 and select a region. See Selecting music
for some region-selecting shortcuts.
2. From the Edit menu, choose Choose Items to Clear. The Clear Selected
Items dialog box appears.
3. Under Entry Items, click None to deselect all items, then select Lyrics.
4. Click OK.

To copy lyrics

1. Click the Selection Tool and select a region. See Selecting music
for some region-selecting shortcuts.
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 it’s superimposed on the first
target measure. If the first target measure isn’t on the screen, scroll to it,
and then ctrl–shift-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.

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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 it’s superimposed on the first
target measure. If the first target measure isn’t on the screen, scroll to it,
and then ctrl–shift-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 . The Lyrics menu appears.

2. From the Lyrics menu, choose Adjust Syllables.
3. Click on the staff at the position of the syllables in question. Don’t 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 menu–Alignment for more
details.
6. Choose from the Justification submenu to change the position of the
syllables relative to each other. See Lyrics menu–Alignment 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

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 (relative to the note) to Center or set both the alignment and justification to
Left.
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 syllable’s 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 syllable’s baseline position.

Note: Old documents (those created

in Finale version 2003 or earlier) that
contain lyrics retain all word extension
positioning information when

353
 converted to Finale 2010 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.
4. Drag the syllable’s 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

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 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 you’ve
selected using the Measurement Units command (Edit menu). See Word
Extensions dialog box.
4. Click OK (or press enter).

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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 Finale—Metatools. 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 don’t
have to wander through all those dialog boxes—the macro takes care of the
navigation.

356
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 you’ve turned off Automatic Music Spacing, Finale
won’t adjust these for you until you take the following steps.
To fix overlapping noteheads in different layers

1. Click the Selection Tool , and select the measures you want to
edit. See Selecting music for more information.
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 Options-Music Spacing for more
information on different types of music spacing.

357
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.

358
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 you’ll 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 you’ve 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.

359
Masks
To mask a portion of a staff, you’ll 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. It’s 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 don’t, you’ll be resizing
all occurrences of the shape any time you resize or reshape any one of them.
For full instructions, see Expressions—To 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. You’re about to
draw a mask that’s the height of a standard staff and two inches wide.

The following instructions give measurements in points (1/72 inch). If

you’ve been working in different units, choose Rulers and Grid from the
Shape Designer menu and select Points.

3. Click the Rectangle Tool . Note the origin, the small white circle.
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. You’ve
just drawn a rectangle.

5. Click the Selection Tool , and select the rectangle. From the Shape
Designer menu, 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.

360
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

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 and then, from the View menu, choose
Page View.
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 you’re 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.
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.

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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 you’d 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 examples–incipits for example.
See Graphics 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.

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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 you’re fine-
tuning a piece’s 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 won’t 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 specify a number of measures per system
See Measures per line.
To split a measure across a line break
See To split a measure across a system break.
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 you’re in Page View, be
sure to choose Update Layout while you’re viewing the first page, since Update
Layout only affects the region from the current page to the end of the piece.)

1. If you’re not in Page View, choose Page View from the View menu.

2. Click the Selection Tool , and click the measure to be moved. If

you want to move more than one measure to the next system—the last two
on a line, for example—click 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.

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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
you’d chosen Update Layout from the Edit menu.

What you’ve just done is to create a measure group, Finale’s 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 won’t be affected by future
measure-rearranging 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 it’s useful to say: “I want these three measures,
and only these, in one system.”

1. If you’re not in Page View, choose Page View from the View menu.

2. Click the Selection Tool , and select the measures you want to
group. To select the first measure of the group, click it; then shift-click the
last measure of the group. You may also drag-enclose 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.

To remove measure groups through the end of the piece

This process will undo the procedures above, restoring all measures to
“floating” status—in 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. Shift–Update Layout works exactly like
the normal Update Layout command in one respect: it only affects the
pages of your piece from the page you’re viewing to the last page. If
you’ve carefully created measure groups on the first page, for example,
you won’t disturb them if you perform a shift–Update Layout command
while viewing page 2. See Program Options-Edit.

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To remove measure groups for individual systems
This process will undo the procedures above, restoring all selected systems to
“floating” status—in 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.

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Measure numbers
Measure numbers are defined as measure number regions in the Measure
Number dialog box. Each measure number region can be defined to display
measure numbers in one (or more) of three ways:

• At the beginning of each staff system (Show Measure Numbers at Start

of Staff System)
• At a specific measure interval (Show Every _ Measures Beginning with
Measure _)
• As a measure range for multimeasure rests (Show on Multimeasure
Rests)

Each of these options are available for each region in the Measure Number
dialog box. Each can be set to its own font and positioning settings, and are
designed to automatically resolve any conflicts that can occur. For example, if
a measure number is defined to appear on every fifth measure (Show Every _
Measures Beginning with Measure _), and the fifth measure happens to start a
new staff system (and Show Measure Numbers at Start of Staff System is also
checked), Finale will defer to the "Start of Staff System" option and use its font
and positioning settings (which allow it to be positioned differently—to the left
of the staff). Furthermore, if this is a linked part, a multimeasure rest happens
to begin on the fifth measure, and Show on Multimeasure Rests is checked,
Finale will display the font, positioning, and bracket settings for measure
numbers on multimeasure rests. In this way, all three of the above cases can
be selected and defined in the Measure Numbers dialog box, and Finale will
apply them properly to the score.
Measure number settings can only conflict with each other if an enclosure is
defined for either "Show Measure Numbers at Start of Staff System" or "Show
Every _ Measures Beginning with Measure _," "Show On Multimeasure Rests"
is checked, and the number is defined to appear on a measure beginning a
mutimeasure rest. In this case, Finale displays both the enclosed measure
number and the multimeasure rest number/number range. To hide one or the
other, right-click the measure number's handle and choose Always Hide
Number.
Note that in addition to the options for a single region, you can also create
different regions of measure numbers in your piece, each with its own font,
positioning, and numbering scheme.
If you want measure numbers to occur only at specific places in the score to
serve as rehearsal letters or numbers, see Rehearsal letters.
For information regarding measure numbers in scores with linked parts, see
Measure Numbers in linked parts.

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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 you’re going to call them. For example, if the piece begins
with a pickup measure, you’ll 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, you’d 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, you’d 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 drop-down list menu. If you don’t see one you like,
click Edit Enclosure and the Enclosure Designer dialog box appears. See
Enclosure Designer dialog box.

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 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 number’s 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 don’t 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.
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 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.

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 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 add a measure number to an existing region

1. Click the Measure Tool .

2. Ctrl-click a measure which is part of a region, but is not 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 number’s 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 isn’t 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 number’s 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.

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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 symbols—if you don’t want the
symbol centered in the measure, for example—you can also insert a
measure repeat symbol as an expression. See Expressions.

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Measures
To arrange measures on the page
See Measure layout.
To add blank measures at the end of the document

1. Double-click the Measure Tool . Or, to add more measures at

once, from the Edit menu, choose Add Measures.
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 Edit menu, choose Insert Measure Stack or, if the Selection
Tool or Measure Tool is selected, you can right-click the measure 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 , and click the next measure after the
measure you want to 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

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 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 it’s 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).

To change one measure’s 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.

To adjust measure widths in a system

It’s useful to remember that you can adjust the relative widths of the measures
in any particular system.

1. Go to Page View, if you’re 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 . A handle appears on every barline.

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.)

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 you’ve 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

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 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
you’ve 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 you’ve selected, to make sure they’re
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 it’s 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
measure’s 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 want to provide
additional permissible split points. To remove a split point handle, click it
and press delete.

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5. Choose Update Layout from the Edit menu. You won’t 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 you’ve specified more than
one split point, Finale breaks the
measure at the first designated split
point, regardless of whether you press
up or down.)

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Measures per line
Finale can automatically lay out a certain number of measures per system for
you—either 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 you’re not already there.

2. Click the Selection Tool , and select the range of measures for
which you want to 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
don’t 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”
status—in 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 , and select the system for which you
want to remove measure groups.
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.

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Melismas
See also Slurs; Vocal music—To 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 you’re 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 syllable—with
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 Ctrl–Click 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 Lyrics—To correct misaligned lyrics.

Note: To anayze the score and slur

melismas appropriately, use the Auto
Slur Melismas plug-in.

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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.

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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.

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 expression’s 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 a Score List).
For information regarding Finale 2010's new expression design, see Finale
2010 Interface Changes under Measure Expressions and Score Lists.

Important note: If you use a Metatool

to place a Shape Expression into the

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 score, you create a duplicate of that
shape. This gives you an important
advantage when you’re placing
several of the same Shape
Expression into a score, because it
means that you can reshape or resize
each copy individually. If you didn’t
use a Metatool to place Shape
Expressions into the score—and
placed them instead by selecting them
from the selection box directly—you
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.

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

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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
program-specific, 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

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 tool that allows regional selection.
(Ctrl-1, 2, and 3 are used to change
the view percentage.)

Metato Predefined effects

ol

1 Implode Music (displays the Implode Music dialog

box)

I Drag-Implode Music for multiple staves (displays

the Implode Music dialog box)

2 Explode Music (displays the Explode Music dialog

box)

E Drag-Explode Music for multiple staves (displays

the Explode Music dialog box)

3 Show elapsed time based on current tempo

(displays the Elapsed Time“Time at the Beginning
of...” dialog box)

4 Respace notes, lyrics, and accidentals (Apply Note

Spacing command) using the settings in Document
Options-Music Spacing

5 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

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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, double-click 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 number you pressed (or, if
the text repeat you want doesn’t 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.

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Metronome markings
Because a metronome marking generally appears in all parts, it’s best to
create it as an expression, which allows you to specify in which staves it will
appear. Metronome markings added as expressions can also be defined to
affect the playback tempo.
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 don’t 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 alt–characters

Lower-case e, then alt+0200, then alt–characters

Lower-case q, then alt+0200, then alt–characters

Lower-case q, then lower-case k, then alt+0200,

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then alt–characters

Lower-case h, then alt+0200, then alt–characters

Lower-case w, then alt+0200, then alt–characters

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;

alt–0200 creates the equal sign; and the small numbers are produced using alt
characters according to the table below.

Keystroke Resultant Keystroke Resultant

marking: marking:

alt+0193 alt+0164

alt+0170 alt+0166

alt+0163 alt+0165

alt+0162 alt+0187

alt+0176 alt+0188

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

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 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.

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 haven’t 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, OK, Assign.

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 can’t handle sophisticated tempo indications like these:

In these cases, you can use Finale’s Shape Designer to create metronome
indications as complex as you wish.

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We’ve 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. Click OK then Assign to return to the score. The shape expression
appears.

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.

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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 you’re 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, shirt above the stomach

English Horn

Clarinet, Soprano Sax shirt above the stomach

Alto and Bass Clarinet music stand

Alto, Tenor and neck strap

387
 Baritone Sax

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 you’ve set up the MicNotator for your instrument.
See Setting Up MicNotator. You’ll 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.
2. Press caps lock; then press the number key on the computer
keyboard corresponding to the value you want to enter. In other words,
you’re 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. It’s
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 you’ve set up the MicNotator for your instrument. See Setting Up
MicNotator. You’ll 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.

388
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. It’s 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 you’ve 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.

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 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 . The HyperScribe menu appears.

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 you’d rather provide the tap or tempo
yourself, see Tap Source dialog box.
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 don’t
want to use a signal to start recording—Finale 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 that’s
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
isn’t 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.

390
17. When you’re 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 Finale’s
quantization feature.
18. Click anywhere on the screen to stop recording. If the quantization or
split point settings weren’t 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 Finale’s

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.

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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 the
Finale Tutorials. If you’re interested in some of the technical aspects of MIDI,
see the More on MIDI.
Dozens of Finale features make use of MIDI. If you’re 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 you’re 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 Finale’s 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 you’ve 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 you’re 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, you’re erasing variations from the default value of
the particular MIDI data you’re editing. For example, if you erase Key Velocity
data from a region, you’re 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, you’re erasing the difference between the notated attacks
and releases of the notes and the actual attack and release points (as

392
recorded in HyperScribe or edited with the MIDI Tool). In short, you’re restoring
the playback of the selected region to a straightforward, “perfect” rhythmic feel.

1. From the Window menu, choose Advanced Tools. Click the MIDI Tool
. 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 it’s 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 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 you’re working with a very “notey” score, you may at times find that your
computer gets overwhelmed by the amount of MIDI data it’s 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.

393
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 staff’s MIDI channel within a piece, you create an expression
that’s 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, don’t 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 , and click the note to which the
expression was attached. Its handle appears.
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 staff’s contents transmitted on more
than one channel—for example, if you want to mix the sounds from two
different patches. To create this arrangement, you have to create an

394
expression (which can be invisible, if you like) defined for playback. This
marking’s 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 staff’s 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 you’ve 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 staff’s 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 you’re creating, it will reroute the
playback to the MIDI channels you’ve just specified.
9. Click OK or Select or Assign 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
you’ve 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 don’t want to change

395
 at this point, enter the code $FE.
Example: Your first Data Dump
expression added channels 5 and 6 to
the staff’s 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 you’ve 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 staff’s 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 “don’t 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 programs—even 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 sequencer’s instructions. There’s no need
to quantize the sequence; however, you’ll probably find Finale’s quantization
powers to be more effective than your sequencer’s.

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.

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10. Choose Key and Time Signature options. Most MIDI files contain key
and time signature information already, so you usually won’t have to
change the default selection (Use the File’s).
11. If you’ll 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 weren’t quite right, you can close
the new Finale document and try again—the original MIDI file is unaffected
by Finale’s 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, 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 you’ve 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 don’t 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

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 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 that’s 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 you’re playing back music in
the Transcription window, or when you’re 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.

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5. Click Play. Finale will wait for the MIDI Sync data from the other MIDI
device before playing the music.

To transmit MIDI Sync data while recording in the Transcription

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 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 you’re transcribing music in HyperScribe, you tap a key or
pedal to provide Finale with a tempo reference. If you’re 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.

1. Click the HyperScribe Tool . The HyperScribe menu appears.

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

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 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.

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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 you’re 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, you’ll notice two significant changes in
Finale’s 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 you’re
transcribing music using HyperScribe or the Transcription Mode, you’ll
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).

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Mirroring
To create a mirror (intelligent copy)
You can only make mirrors in measures that are currently empty.

1. Click the Mirror Tool , and from the Mirror menu, choose Dragging
Mirrors Measures.
2. Select the music that will serve as the source of the copies.
3. Drag the selection so that it’s 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 you’re doubling a violin line in the cellos, you’d probably want to
transpose the mirror (the cello copy) down an octave or two. In this case,
you’d choose Down, Diatonically, and Octave from the drop-down lists
menus.
5. Specify any elements of the source music that you don’t want to
appear in the copy. To do so, click Don’t Draw, and then click the
elements you don’t 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 . A mirror icon appears on any measure that’s a mirror of a
“normal” measure.

To convert mirrored measures into “normal” measures

1. Click the Selection Tool and select a region. See Selecting music
for some region-selecting shortcuts.
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

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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 double-click 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, you’ll see the contents of each
measure you view, adjusted for the target measure’s clef. (If you move your
“view” to another mirrored measure, it appears blank in this window.)
3. When you’re 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 you’re
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 (Don’t Draw), as needed.

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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 , and shift-double-click the mirrored measure. The Mirror
Attributes window appears.
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 haven’t 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 you’re
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 don’t 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 you’re 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 can’t define the
Articulation mordent for playback. You can, however, create a mordent
marking as an expression and define it for playback.

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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 menu’s 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 appears—as when using the new

408
 symbolic rest style, for example—enter 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

1. From the Document menu, choose Document Options and select

Multimeasure Rests.
2. Select Use Symbols for Less Than ___ Measures. Finale’s 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 Finale’s 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.)

409
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 you’ve 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 .

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, you’ll 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 you’re 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.

410
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.

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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 isn’t 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 instruments—for
which Finale correctly changes the key signature automatically—see
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, don’t 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 you’ve
“enabled” to have an independent key signature. To change the key
signature for an “independent key signature” staff, click the Key Signature
Tool, and then double-click a measure of the staff. The dialog box appears
so that you can set the key in the usual way.

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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.

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 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.

1. Click the Repeat Tool ; and highlight the measure(s) in which you
want to place the first 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.
10. When defining the final ending, for Target, click the drop-down menu
and select Never Skip Ending. Then, uncheck “Create Backward
Repeat Bar”.

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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.

415
Multiple time signatures
With the following technique, you can create a score in which each staff has a
different time signature. The staves won’t 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, don’t 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 you’ve “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.

416
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. You’ll probably find it easiest and
quickest to work with the Layer system, which treats each staff as four
transparent layers, if you’re 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/stems-down 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 you’re 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, you’ll 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 present…and so on. Furthermore, you’ll probably want ties
to flip the “wrong way”—in other words, if there are notes in Layer 2, you’ll
want ties in Layer 1 to flip upward, even though the Layer 1 stems are
upward.

Therefore, you’ll 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

417
 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 you’re notating.
In addition, you may wish to specify that the placement of rests in one
layer is such that they don’t “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, you’d 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, don’t worry—
you 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 lower-left 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).
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, you’ll copy whichever layer or layers are showing. To copy
Layer 1 only, for example, choose Show Active Layer Only from the View

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 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 music—for 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 they’re called in the Speedy Entry editing frame).

1. Click the Speedy Entry Tool and click a measure in which you
want to enter music. Unlike the layer mechanism, in which it doesn’t
matter which musical line you notate first, you must enter Voice 1 first when
working with the V1/V2 mechanism. In general, it’s best to enter the longer
note values first.
2. Enter the notes of the first voice (Voice 1). “First” doesn’t 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 it’s been “launched”
from an existing Voice 1 note. Indeed, you can have several “launches”
within a measure (although you can’t 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 you’re now editing a second voice.
5. Enter the notes of the second voice (Voice 2). You may notice that the
note stems don’t always flip in the proper directions.

419
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, it’s 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.

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.

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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 Finale’s most important features—and one not found in any other
notation program—is 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.

421
 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 Finale’s 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.

Scaling factor of 2.0

Scaling Factor of
1.618
Fibonacci spacing

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

422
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, you’ll 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 staff’s 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, you’ll find that your music has been
carefully respaced according to the Music Spacing Library’s specifications.
Note: For a more complete discussion of Finale’s 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.

If you don’t 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, you’ll

423
 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

Finale’s music spacing libraries were constructed by listing rhythmic values—
from 64th note to double whole note—and 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
you’ve 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, you’d 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 you’ve 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 way—by selecting the appropriate
checkboxes, you can specify which
musical elements you want Finale to
consider when calculating new
measure widths: Notes and

424
 Accidentals, Articulations, Chords,
Lyrics, Note-attached Expressions,
Clefs, Unisons and Seconds. See
Document Options-Music Spacing for
details.

7. When you’re 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

1. Load one of the existing libraries. You’ll 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 you’re 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. You’re 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 Finale’s music spacing feature, you feel that the measures in
your piece that contain whole rests (or whole notes) are too narrow or wide,

425
you can adjust them all at once. For instructions, see To specify minimum or
maximum measure widths.

426
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.

427
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 trumpet—Finale 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 Finale’s 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, don’t use the Staff Tool to
create an automatic staff transposition.

2. Click the Selection Tool ; then click to the left of the staff. The
entire staff is highlighted.
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 you’re working on a trumpet part, you’d specify
Up a Second Diatonically as the transposition interval.
5. Click OK (or press enter).

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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 don’t 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, you’ll find only a
summary of the steps for creating a nonstandard key signature in this entry. In
some of the steps, you’ll 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. Click the Key Signature Tool , and double-click the measure in

which the key will 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 you’ll 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 format—in Finale, it’s 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 that’s 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, you’ll find that only the ClefOrd and Attribute icons [two of the
five icons whose associated dialog boxes define the key format] are

429
 operational. Once you’ve 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 format’s
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 there’s no “circle of fifths”; in
fact, there’s 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:

Note White/Black

C (scale white
tone)

black
C /D
(accidental)

D (scale white
tone)

white
D /E
(scale
tone)

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 E black
(accidental)

F black
(accidental)

white
F /G
(scale
tone)

G (scale white
tone)

black
G /A
(accidental)

A (scale white
tone)

white
A /B
(scale
tone)

B black
(accidental)

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
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

431
 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 Amount

Level

6 -1
1: B

2 -1
2: E

3 1
3: F

4: C 0 0

4: D 1 0

4: G 4 0

4: A 5 0

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 Octave

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 0 -2
1: 1: B
B

1 -1
2: 2: E
E

1 -1
3: 3: F
F

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 you’re 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.

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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 you’ve chosen.

For example, if you’re using the Maestro Percussion font to create an

symbol, you’ll see a capital L in this box. Characters will appear in the
proper font when you return to the document.

Alter Character to Character in

Amount enter Maestro
Percussion font

3 l (lowercase
l)

2 m (lowercase
m)

1 L (Shift-L)

0 n (lowercase
n)

-1 j (lowercase
j)

-2 b (lowercase
b)

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 -3 J (Shift-J)

9. 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 C-quarter tone sharp.

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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 signature—a 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 you’ve
loaded (the default file already has one)—a table of width measurements for
notes of various rhythmic values. For a full discussion, see Document Options-
Music 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 it—in other words, to move the position of the beat itself—see Beat
positions.
To move a note

1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
2. Drag the note to the left or right. If you want the note you’re dragging to
move only horizontally, press shift as you drag (so that you won’t
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 you’re dragging to
move only vertically, press shift as you drag (so that you won’t accidentally
drag it to the left or right).

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Note shapes
A notehead can be any shape in Finale, including X,
diamond, square, circle, slash—you 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 , and click the measure in question.

2. Click the Note Shape Tool . A handle appears on each notehead.

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.

To copy individual notehead changes to other measures

If you require a more global note shape configuration that can’t 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 it’s superimposed on the

first target measure. If the target measure isn’t visible on the screen, scroll
until it’s visible, then ctrl–shift-click it. Unless the target measures are
directly above or below the source measures, the “How many times?” box
appears.

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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).

You can assign a different notehead shape to each step of the scale.

1. Click the Staff Tool ; then double-click the staff in question. The
Staff Attributes dialog box 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 note values), the half
notehead , the whole notehead , and the double whole note . For
each 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.

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 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 won’t have to repeat
the process the next time you need to create alternate note shapes.

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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
Finale’s music font (Maestro) is 24 point.
5. Click OK. If you chose a size that’s 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 Stems—
To 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 group—the note or chord, stem, flag, lyric, articulations,
and any notes beamed to it—click the stem (of the first note in the
group). The Resize dialog box appears.

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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.

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Noteheads
For information on changing the shapes of noteheads (to X’s, 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 horizontally—for
example, to “restack” the notes of a cluster chord.

1. From the Window menu, choose Advanced Tools. Click the Special
Tools Tool , and click the measure in question.

2. Click the Notehead Position Tool . A handle appears on each

notehead.
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.

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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 note’s 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 menu—200% to double each note’s 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 you’ve entered a “real” whole rest doesn’t count as empty in this
context.) That is, it will double the values of all notes and rests you’ve entered,
but it won’t create a second completely empty measure.

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Optimizing systems
In published full scores, it’s 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 it’s 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, you’ll find that the Staff Tool
works in Page View, too, letting you vary the positioning and spacing of staves
as they’ll 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 Finale’s done, look at the staves in Page
View. You’ll 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 it’s been optimized), the staff won’t reappear. If you want to edit,
reformat, enlarge, or reduce your music, remove optimization before you do
it, and reapply optimization when you’re finished. For this reason, it’s 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 .

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2. From the Page Layout menu, choose Optimize Staff Systems. A dialog
box appears, letting you specify the range of systems from which you want
to remove optimization. If you only want to remove optimization from some
of the systems, enter their numbers in the text boxes. You could also drag-
select the systems before entering the Optimize Staff Systems dialog box,
and Finale will display your selected systems. If you click on Whole
Document, Finale will remove optimization from all 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.
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. You’ll be
removing the staves individually later.
4. Click OK (or press enter).

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5. Click the Staff Tool . Two handles will appear on each staff.
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.

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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 measure’s 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, you’ll 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 don’t know a staff’s number, click the Staff
Tool and select the staff’s 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;

447
 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 don’t 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 you’re 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 you’re in Page View, you can drag the measure’s
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

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 . A handle appears on the floating measure.

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.

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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 document’s 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, don’t immediately affect
existing pages—only 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 Finale’s page layout tools is to specify how much music
should fit on a page—how many measures per line, for example, or how many
systems on a page. It’s 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 you’re 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 you’ve 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, don’t 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.

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See Also:
Main Tool Palette
Page Layout menu
To change the distance between systems

1. Click the Page Layout Tool . Dotted-line margins appear around each
system.
2. From the Page Layout menu, choose Systems, then Edit Margins. The
Edit System Margins dialog box appears.
3. In the Change section, click Select All. In other words, you want the
change you’re about to make to affect every system in the piece. Make
sure Distance Between Systems is checked and uncheck all other boxes.
We don’t 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. You’ve 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 won’t 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

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

450
 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 you’re 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 doesn’t matter which page you’re on. If you’re
unsure about your changes, and you don’t 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.

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 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 won’t let you drag one system on
top of another one. Ctrl-drag to prevent other systems from moving.
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
you’re viewing Staff Systems, you’ll 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 you’ll 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 you’ll 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.

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2. Enter new values in the text boxes. The units are whatever you’ve
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 you’ve 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 page layout to one existing page, click the Page
Layout Tool ; go to the 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 changes—the Page
Layout Tool and the Page Format for Score dialog box—gives 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.
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).

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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.

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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. See Frame Attributes dialog box for details.
To use the left and right facing pages feature see Text blocks–To 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 . A handle appears on the page number.

455
2. Drag the number’s handle to move it. Select the handle and press delete
to remove it.

456
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
imagine—but some printers are limited in the sizes of paper they can handle.

Note: If you plan to print on any size

paper larger than 8.5 by 14 inches,
see Printing for special instructions.
For other instructions on mixing and
matching page size layouts, and a
more complete discussion of page
layout, see Page layout.

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 layout—To change the default page layout.

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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 process—first,
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, you’re going to reduce the space beneath each
system on this page.
3. Drag the lower–right handle of the first system slightly upward. If this
step didn't solve the problem, drag the second system’s lower-right handle
slightly upward, too (preferably by the same amount—watch the number
boxes in Edit System Margins dialog box if you wish; they show how much
you’re 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 won’t fit
without overlapping the existing systems, you’ll 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.

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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

459
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).
• 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

460
Zoom Keyboard Shortcuts
View menu

461
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 , and click the measure in question.
The editing frame appears.
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 you’re 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.

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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.

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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, let’s 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 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

464
 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.

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Patches
In the world of MIDI music, there doesn’t 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, we’ll
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 Finale’s 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 that’s one off, remember to change the
numbers accordingly by adding 1. (If your MIDI instrument isn’t responding to
the program changes, make sure that program changes have been “enabled,”
for those synthesizers having such a control.)
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 copy or erase patch change data created with the MIDI Tool
See MIDI —To copy or erase captured (or edited) MIDI data.
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

466
 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 Playback and 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 don’t 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 you’ve 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).
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 or Assign 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 you’re 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

467
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 Measure Measure 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
. The MIDI Tool menu appears.
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. It really doesn’t 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 staff’s
playback to switch to. Click OK (or press enter). You return to the MIDI
Tool split-window. Part of the graph area is now black. That’s because
you’ve just inserted a patch change that’s in effect from the point you
selected to the end of the piece. Repeat the entire process at other points

468
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 you’ve 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.

469
Pedal markings
A pedal marking involves two separate symbols—one where the pedal is to be
depressed ( ), and another where it’s to be released ( ). 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 you’ll 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 (pedal up) markings (Smart

Shape method)
Smart Shape pedal markings will playback if Human Playback is on in the
Playback Settings dialog box.

1. Click the Smart Shape Tool . The Smart Shape Palette appears.

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.
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.

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10. While pressing alt, type 0161 on the numeric keypad. In the Maestro
music font, alt–0161 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:

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. Click the Smart Shape Tool . The Smart Shape Palette appears.

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.

471
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 don’t 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 . The MIDI Tool menu appears.

2. Double-click the measure in which you want the pedal to be
“pressed.” The MIDI Tool split-window 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 values—in this case, sustain pedal values—
from 0 (pedal up) to 127 (pedal down). The sustain pedal is called a
noncontinuous controller, because its value can’t change smoothly over
time (like pitch wheel data can). You’ve either pressed the pedal (value
127) or released it (value 0). Unless you’ve 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.

Pedaling will appear in this window in bar graph form. In the example
below, the pedal was depressed just after the second beat of measure 1,
and released just after the fourth beat:

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Controller information is independent of the actual notes being played—you
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 doesn’t 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 pedal’s MIDI value to 127.
7. Type 127. Click OK. You return to the MIDI window. Suddenly the entire
graph area is black. That’s because you’ve just inserted a “pedal down”

473
 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 isn’t 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 don’t 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 you’ve
created one complete usage of the pedal, as you’ve just done, you don’t
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.

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Percussion
Whether you are creating music for drum set, orchestral percussion, or a drum
line, Finale allows you to easily create, notate, and playback percussion parts.
Staves configured for percussion entry can be added with the Document Setup
Wizard or the Staff Setup Wizard (Staff menu). These staves automatically
ignore key signatures and transpositions, and are configured for intuitive entry
whether you are using a mouse, computer keyboard, or MIDI keyboard for
entry. See Percussion note entry.
Finale’s percussion notation offers a great deal of flexibility and control through
the use of percussion layouts. A percussion layout is a list of defined
percussion instruments available for use in a staff. This definition includes staff
position, notehead style, and note type (snare drum, cymbols, etc.). The same
percussion layout can be used for multiple staves and can be edited in the
Percussion Layout Designer dialog box. See also To edit percussion layouts.
If you are using an external MIDI device for entry (like a MIDI keyboard), Finale
can be setup to input and playback using any percussion patch. See To setup
an external MIDI device for percussion input & playback.
To ensure your percussion notation is configured properly for your playback
instrument, select the appropriate Percussion MIDI Map in the Instrument List.
See Configuring Percussion Playback for details.
Orange percussion notes indicate notes that are not assigned to a percussion
layout in the Percussion Layout Designer dialog box. This may occur, for
example, if you have opened a file that includes notes that were not used (not
"highlighted") in the previous Finale version's Percussion Map Designer. These
notes will look and playback correctly, but do not conform to Finale 2010's new
Percussion Layout paradigm. To assign these notes, you can create the
desired Note Type in the Percussion Layout Designer dialog box, then drag or
nudge the orange notes into place with the Simple Entry Tool or Speedy Entry
Tool.
Note that if your original percussion map was not one of the General MIDI
maps, the wrong note types may have been assigned as your file was
converted to the Finale 2010 format. You can reconvert Note Types to the
Finale 2010 standard using the Change Note Types dialog box.
Percussion note entry
All notes available for entry on a staff are defined in the Percussion Layout
Designer dialog box. If you began using the Setup Wizard, these notes will be
setup for you. To setup or edit these notes, see To edit percussion layouts.
To use an external MIDI device for percussion input, see To setup an external
MIDI device for percussion input & playback.

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To enter percussion with Simple Entry, see Entering Percussion.
To enter percussion with Simple Entry

1. Click the Simple Entry Tool .

2. Use the mouse or caret to enter notes as you would regularly. See
Simple Entry. All instruments available in the staff's percussion layout will
be available for entry. See Percussion Layout Designer dialog box.

If your percussion layout includes more than one

instrument on a single staff position (e.g. snare and
side stick both on the fourth pace), you will be able to
scroll between them by dragging up or down with the
mouse or using the up and down arrow keys. Refer to the visual cue that
displays the note you are about to enter.
To enter percussion with Speedy Entry

1. Click the Speedy Entry Tool .

2. Enter notes as you would regularly. See Speedy Entry. All instruments
available in the staff's percussion layout will be available for entry. See
Percussion Layout Designer dialog box.

If your percussion layout includes more than one

instrument on a single staff position (e.g. snare
and side stick both on the fourth pace), you will be
able to scroll between them by dragging up or
down with the mouse or using the up and down
arrow keys. Refer to the visual cue that displays the note you are about to
enter.
To enter percussion with HyperScribe
1. From the MIDI/Audio menu, choose Device Setup > MID Setup. The
MIDI Setup dialog box appears.
2. Ensure the desired MIDI Input device is chosen under the Input Device
column, and click OK.
3. From the MIDI/Audio menu, choose Device Setup > Percussion Input
Maps. The Percussion Input Maps dialog box appears.
4. Choose a percussion MIDI map for input. If you are using one of
Finale's included sound banks for playback, choose Match Input Map
to Output Map. If you do not see the desired percussion MIDI map, you
can define one specifically for use with your external MIDI device. See To
setup an external MIDI device for percussion input & playback.
5. Click OK to return to the score.

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6. If you are using your external MIDI device as a controller only (and do
not wish to use its sounds), from the MIDI/Audio menu, choose Device
Setup and ensure MIDI Thru is checked so Finale performs the
percussion sounds designated for the staff in the Instrument List
during entry.

7. Click the HyperScribe Tool .

8. Enter the music as you would normally. See Recording with
HyperScribe.

To setup playback for a percussion staff

Every MIDI note in a non-pitched percussion sound library represents a
different percussion instrument. Different percussion sound libraries map
instruments to MIDI notes differently. Therefore, if you change your playback
device (e.g. from SoftSynth, a General MIDI percussion bank, to a Garritan
percussion set), your score's percussion staves may playback using incorrect
instruments. See Configuring Percussion Playback for more information.
After you change your playback device, do the following to configure
percussion playback.

1. From the Window menu, choose Instrument List. The Instrument List
appears.
2. Under the Perc. Map column, for each channel assigned to non-
pitched percussion, select the map designed for your playback
device. If you are using VST for playback, consult the VST Instruments
dialog box (referring to the instrument assignment in the Aria Player (or
your player)) to identify the percussion sound set. If the playback device
you are using is not available under the Percussion MIDI Map column, skip
to step 4.
3. Playback the score. Your percussion staves play back correctly. If not,
you can re-assign MIDI notes to percussion instruments manually...
4. From the MIDI/Audio menu, choose Device Setup > Edit Percussion
MIDI Maps. The Percussion MIDI Map Editor dialog box appears. Here,
you can specify a MIDI note for each percussion instrument.
5. Click the Map drop-down menu and choose a map to edit. Rename it
as desired. This should be a map you a unlikely to use in the future.
6. Assign the appropriate MIDI note to each percussion instrument. See
Percussion MIDI Map Editor dialog box. To identify the MIDI Note for each
instrument of your sound bank, consult the device's documentation.
7. Repeat steps 1-3, choosing the map you edited from the Instrument
List.

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To setup an external MIDI device for
percussion input & playback
You can input and playback percussion using an external MIDI device's
percussion sounds, such as a percussion patch on a MIDI keyboard. To do so,
configure a percussion MIDI map to correspond with your external MIDI
device's MIDI note to instrument mapping for the desired percussion patch.
Once you have done this, you can easily choose the percussion MIDI map
whenever you wish to use the those sounds for either input or playback. (To
setup an external MIDI device with Finale, see Setting up your MIDI system.)

1. Close Finale and navigate to the "Finale 2010/Finale MIDI Devices"

folder on your hard drive. First, you need to make a copy of one of
Finale's included percussion MIDI maps. (Alternatively, you could simply
overwrite one of the existing percussion MIDI maps you do not intend to
use. If you would like to do this instead, skip to step 3.)
2. Make a copy of the file General MIDI.xml and save it to this folder.
Give it a name that corresponds to the external MIDI device and
percussion sound you would like to use.
3. Launch Finale. Then, from the MIDI/Audio menu, choose Device Setup
> Edit Percussion MIDI Maps. The Percussion MIDI Map Editor dialog box
appears.
4. Click the Map drop-down menu, select the map you named, and
choose "General MIDI." Or, choose the map you would like to overwrite.
5. In the Name text box, enter a name that corresponds to the
percussion sound you would like to use.
6. In the Note Type list, double-click the number to the right of Bass
Drum so a text box opens and highlight the number. Now, you will tell
Finale which MIDI note on your external MIDI device corresponds to the
bass drum sound.
7. Play the bass drum note on your external MIDI device. Notice the
number changes to the MIDI note performed.
8. If you do not see the desired instrument in the list, click the Select a
Note Type to Add drop-down menu and choose the new note type,
then click the Add Note Type button to add it to the list. Then, select its
number and play the corresponding percussion sound on your eternal MIDI
device.
9. Repeat steps 6-8 for every percussion instrument you would like to
use, then click OK. Now, you need to assign the percussion MIDI map to
your selected MIDI input device.
10. From the MIDI/Audio menu, choose Device Setup > Percussion Input
Maps. The Percussion Input Maps dialog box appears.

478
11. Click the drop-down menu of the bank of Finale channels that your
device is configured to use for input, and choose the percussion MIDI
map you just defined. The bank of Finale channels configured for
MIDI input is listed under MIDI In in the MIDI Setup dialog box.
12. Click OK to return to the score. You are now ready to enter percussion
using your external MIDI device using any of Finale's entry methods. See
Percussion note entry.
13. To use this these percussion sounds for playback, simply select the
percussion MIDI map you have defined under the Perc. MIDI Map
column on the Instrument List for the desired percussion staves.

To load a percussion library

We’ve provided a library that contains percussion layouts with note definitions
already configured for you. You can either use the percussion layouts as they
are, or edit them for use with percussion staves in your document.

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
Layouts.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 layouts contained in the library will
appear in the Percussion Layout 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 Layouts.
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 layouts in your document to
the percussion library, then returns you to the music.

To create a percussion staff manually

1. Click the Staff Tool .

2. Click to the left of the staff. The every measure of the staff is selected.
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 layout. If more in-depth
information about percussion staves, see To edit percussion layouts.

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To edit percussion layouts
Percussion layouts are sets of percussion instruments used in a staff along
with their staff position and notehead style. To edit these layouts, and therefore
the appearance of percussion notation on a staff, do the following:

1. Click the Staff Tool .

2. Double-click the staff. The Staff Attributes dialog box appears.
3. Next to Notation style, make sure Percussion is selected, then click
the adjacent Select button. The Percussion Layout Selection dialog box
appears.
4. Choose the desired Percussion Layout and click Edit. The Percussion
Layout Designer dialog box appears.
5. Choose a note type from the list on the left and then use the options
on the right to edit the note's staff position, note type, and notehead.
Click the + button to the lower right of the list box to add a new
percussion instrument. See Percussion Layout Designer dialog box for
complete information.
6. Click OK, Select, and OK to return to the score. Now, when you choose
the Simple Entry Tool or Speedy Entry Tool, these notes will be available
for entry. See Percussion note entry.

If Finale displays your percussion notes with the wrong noteheads and you’re
sure the percussion layout 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.)
To create a percussion staff with a customized percussion layout

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 you’re 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 it’s 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

480
 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, it’s
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 it’s 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 layout
containing note definitions for a percussion staff. Most likely you’ll want
to edit an existing layout that appears in the list box. If so, click the
percussion layout, then click Edit. In either case, the Percussion Layout
Designer dialog box appears.
11. Select the note you want to edit from the list on the left. Or, click the +
button in the lower right to add a new note.
12. For Note Type, click the drop-down list and choose the desired Note
Type. Each Note Type represents a percussion instrument.
13. Enter a Staff Position, counted in steps from middle C, for your
percussion notehead. You can click and drag the handle to choose
the staff position.
14. Click the Select button next to Closed/Half/Whole/Double-Whole
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. Do the same for half, whole or double whole
notes.
15. Continue selecting and editing notes in the list box until you've made
all the changes that you want.

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 Layout Designer dialog
box. Simply select different notes from
the list box, then drag them so they
share the same Staff Position.

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14. Click Done. Finale returns you to the Percussion Layout Selection dialog
box.
15. Click Select and OK. Any notes that appeared in the staff will be
remapped. For percussion MIDI playback, see To setup playback for a
percussion staff.

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 font’s 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 section of
the Document Options dialog box.
Refer to Stem Connection Editor
dialog box for more details about
setting stem connections.

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.

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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.

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:

483
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).

To import a MIDI file with a standard percussion track

To create the MIDI file, follow your sequencer’s instructions. There’s no need
to quantize the sequence; however, you’ll probably find Finale’s quantization
powers to be more effective than your sequencer’s. Note: Finale uses the
Maestro Default File as a template when importing MIDI files. If you don’t see
all of your percussion layouts, try loading the percussion layout 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

484
 its contents on two staves. See Import MIDI File Options dialog box for
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 Layout. The Percussion Layout Selection dialog box appears.
For most percussion staves, you’ll want to choose the General MIDI Entry
and Playback. If you’re using a specific instrument, you may wish to select
the percussion layout with your instrument’s 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 won’t have to
change the default selection (Use the File’s).
12. If you’ll 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 weren’t quite right, you can close
the new Finale document and try again—the original MIDI file is unaffected
by Finale’s 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.

485
Percussion tones
Here’s 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.

Note Percussion Tone Note Percussion Tone

Number Number

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 80 Mute Triangle

(patch 1 only) (patch 1 only)

486
56 Cowbell 81 Open Triangle
(patch 1 only)

60 High Bongo

487
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 Finale’s Implode Music feature, you can condense the musical material
from several staves onto a single staff—or, 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 shift-clicking 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 you’ve 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.
Don’t 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.

488
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
(below).

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 measure—including the invisible rest before the pickup
measure. If you’ve 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.

489
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.

490
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 you’ve 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 the Finale
Tutorials.
To copy or erase pitch wheel data
See MIDI —To copy or erase captured (or edited) MIDI data.
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, it’s useful to remember
that when the pitch wheel is at rest, its value is 0; when it’s as far down as it
can go, its value is -8192; and when it’s at the top of its range of movement,
its value is 8191.

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 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, you’ll 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, you’d 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 wheel’s “at rest” value) and 8191 (the pitch wheel’s
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. You’ll see the effects of the pitch bend you just programmed in the
graph area of the MIDI Tool split-window—and you’ll hear it when you
choose Play from the MIDI Tool menu.
If you create a pitch bend that isn’t quite calculated correctly, you may
discover that, during playback, the pitch of your MIDI keyboard never fully
returns to normal. That’s 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.
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 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 note—from the pitch
wheel’s at-rest position to its top position and back down again. It’s 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).

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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 that’s in your Libraries folder, because this library already
contains the expression you’re 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 you’ve 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. You’re 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 wheel’s value when it’s “at rest” is 0.

Because these values are so large, you’ve just reduced the Shape
Designer display so that you’ll 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.) You’re about to design an Executable Shape—a shape whose
contour governs the effects of the pitch bend. For more on Executable
Shapes, see To define an expression for playback.

7. Click the Multiline Tool . To use the Multiline tool, you drag to create
the first line segment, 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

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 course, you can always drag individual points into position, using the
Selection Tool, after you’ve drawn the shape.)
8. Draw the shape as shown:

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 wheel’s
actual “maximum” value is 8191. By multiplying the height of the shape you
drew by 128, you’re telling Finale to make the pitch bend 128 times more
pronounced; if you didn’t, you probably wouldn’t 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.

494
12. Click OK and Assign 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.

495
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,
you’ll also have to create a second expression (like arco)—which can be
invisible, if you prefer—to 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.
See Keyswitches for information of triggering a pizzicato keyswitch with HP.

496
Playback
Finale can play your score in one of three ways: as recorded during a
Hyperscribe or Transcription Mode session, using Finale’s 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 back—nuance for nuance—at any time. However, if a score
was not recorded from a live performance, you can still listen to Finale’s
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

497
 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 you’ve 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 it’s 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 aren’t
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), you’ll hear it
played with your original “feel”—volume, tempo, pedaling, and so on. Yet you
can edit the transcription by changing notes, transposing, adding dynamics or
other playback expressions—and you’ll 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.
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 doesn’t 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 Spacebar

open)

498
Begin playing from the current measure Spacebar–click in staff

Begin playing from current measure in the Shift-spacebar–click in staff

current staff only

Begin playing from current measure in the Spacebar–click in between

global staff list staves

Begin playing from measure one in the Spacebar–click to the left of a

global staff list staff system

Begin playing from measure one in the Spacebar-click to the left of a

current staff only 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 computer’s
resources. You can disable GPO at
any time by unchecking Play Finale
through VST under the MIDI/Audio
menu. To use Finale’s 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 use Playback Controls

Playback Controls reside on a movable/dockable window. They give you
several additional controls over the way your score plays back—for example,
they contain Play, Stop, Rewind, and Fast Forward buttons. They also let you
listen to any portion of the score, even if you’re viewing a different section on
the screen.

499
1. From the Window menu, choose Playback Controls. Playback Controls
appears.

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 button (Rewind to
Beginning) enters 1 in the Measure text box. The and buttons
quickly decrease or increase the number in the Measure text box, and the
button (Fast Forward to End) puts the last measure’s number in the text
box.
3. Click Play. The music plays. To Stop, click Stop; to pause, press the space
bar again (or click Pause); when you’re ready to go on, click Pause again.

If, while you’re listening, you catch something you’d 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 , (Rewind to
Beginning), and (Forward to End) buttons at any time during playback.

4. 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 aren’t on the

500
 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 you’ve 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 Finale’s performance using Finale’s 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 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).

501
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, it’s 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

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

502
MIDI Tool’s Randomize command to offset the notes’ attacks (Start Times)
slightly from each other—not enough to hear, but enough so that your MIDI
system doesn’t 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 computer’s resources. You can
disable GPO at any time by unchecking Play Finale through VST under the
MIDI/Audio menu. To use Finale’s 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 Finale’s 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 you’re 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 you’ve interrupted playback at a certain spot, and now want to
continue using the expression settings in effect when you stopped

503
 playback. Click Ignore Repeats if you want Finale to play through repeat
barlines (and text repeats) as though they didn’t exist. Select Reset
Repeats if you want such repeats to be “set to zero” each time you begin
playback again. If you don’t specify Reset Repeats, Finale will remember
how many times each repeat has been “activated.” If you’re 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 won’t 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).

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 you’re 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.

504
Landscape and Portrait orientation
Under normal circumstances, Finale prints your pages in portrait orientation—
with 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.

505
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. Finale’s 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 screen—the 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 it’s printed. When you click the mouse, the display returns to
normal.

506
Printing
To print a score
Portrait orientation is the usual setup—the 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
you’ve just specified. See Page size for instructions.
3. Click OK (or press enter). If you’re in Page View, go to page 1.
4. Choose Update Layout from the Edit menu. By choosing Update Layout,
you’re 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.

507
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
you’ve 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 Finale’s 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 clicking—click 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 you’ve
located the exact places in the music
where you want to punch in and out.

• Under the word Keyboard, click Punch In/Out.

508
• Choose Punch In Preroll from the Transcription menu. You’ll 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 you’ll begin to play the new music).
• Enter the number of seconds of preroll you want. Click OK (or press
enter). You’re 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.

509
Quantization Guide
Yur success at creating notation with the HyperScribe Tool depends largely on
o
the settings you make in 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
you’ve 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 values—such as sixteenth notes—into chord
clusters with larger values, such as eighth notes, or (2) Finale isn’t quantizing
enough—in other words, you’re finding that eighth notes are being notated as
sixteenth notes separated by sixteenth rests, for example, or (3) Finale isn’t
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 you’re 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 Duration—that is, the rhythmic value of your tap—in
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 Rhythm Time Smallest Type of

(Tap) Note Quantization

510
Space Notes
Evenly

Space Notes
Evenly

Space Notes
Evenly

Space Notes
Evenly

Mix Rhythms

511
Mix Rhythms

Mix Rhythms

Space Notes
Evenly

Mix Rhythms

512
 Space Notes
Evenly

Mix Rhythms

Space Notes
Evenly

32nd Space Notes

note Evenly

513
Mix Rhythms

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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: Finale’s 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 where you would like to add the marking. The Expression
Selection dialog box appears.
3. Choose the Tempo Alterations category from the list on the left. If the
marking already appears in the list, click it and skip to the step 6.
4. Click Create. The Expression Designer dialog box appears.
5. Type “Rall.” or “Rallentando.” Highlight the text, then from the Text
menu, choose Font to change the type style (to italic type, for example).
6. Click OK or Select or Assign 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.

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1. Click the Expression Tool . If you haven’t 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. You’re 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 note’s duration; each
horizontal line represents a tempo change of one beat per minute.

7. Click the Line Tool . You’re about to draw a graph of the rallentando’s
effect on playback. To use the Line Tool, you drag it across the drawing
area. To make your shape match the one pictured 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
line’s height, 5, represents the number of beats per minute the tempo will
be slowed by this rallentando—at the moment, that’s not much of a tempo
change. You’ll have a chance to adjust both of these effects.

8. Click OK then Select to return to the Executable Shape Designer

dialog box.

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 9. In the Level Scale boxes, enter 8:1. You probably wouldn’t even be able
to perceive a rallentando that only slowed down by five beats per minute.
By changing the Level Scale, you’re multiplying the degree of rallentando. If
you enter 8:1, the tempo will change by 40 beats per minute—a 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 or Assign in each dialog box until you return to the
document. Listen to the rallentando in playback and see how it works. If it
doesn’t 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. Choose the Tempo Alterations category from the list on the left.
4. Click Create Tempo Alteration. The Expression Designer dialog box
appears.
5. Type “a tempo.” Highlight the text, then from the Text menu, choose Font
to change the type style (to italic type, for example).
6. Click the Playback tab to display the playback options. From the Type
drop-down list, choose Tempo.
7. Choose the note duration that is your time signature’s 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.

517
8. Select Set to Value and enter the tempo you want it to playback.
9. Click OK and then Assign to add the marking to the score.

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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 you’re 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 . The HyperScribe menu appears.

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 don’t
want to use a signal to start recording—Finale will immediately start
recording (after playing the countoff if one was specified); choose Any MIDI

519
 Data for Finale to start recording upon receiving any MIDI signal that’s
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.
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 you’re sending information on an
alternate channel. Change other settings as needed, then click OK. See
HyperScribe Options dialog box for more information.
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
isn’t 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.

520
15. When you’re 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 Finale’s
quantization feature.

Note: If you stop in the middle of a

measure, Finale automatically fills the
rest of the measure with rests. If
you’re HyperScribing over an existing
passage and accidentally play
partway into an existing measure that
you wanted to preserve, ctrl-click to
end the recording; Finale won’t
transcribe the new notes you’ve
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 weren’t 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 can’t 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).

To use multitrack recording (HyperScribe)

When you’re using multitrack recording, remember to specify the recording
options in the Instrument List window, otherwise Finale won’t 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.

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 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 don’t
want to use a signal to start recording—Finale 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 that’s
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 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 isn’t 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 staff’s 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 isn’t already
selected. See Playback Settings dialog box.

522
15. In the Measure text box, enter a new measure number to indicate
where to start you transcribing.
16. When you’re 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 you’re 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 Finale’s
quantization feature.

Note: If you stop in the middle of a

measure, Finale automatically fills the
rest of the measure with rests. If
you’re HyperScribing over an existing
passage and accidentally play
partway into an existing measure that
you wanted to preserve, ctrl-click to
end the recording; Finale won’t
transcribe the new notes you’ve
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 weren’t 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 can’t 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).

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.

523
2. Click the 1-16 drop-down menu and choose Instruments for Finale
2010 (if it’s 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. Close the 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 . At this point the steps are basically
the same as recording a HyperScribe session.
5. From the HyperScribe menu, choose Beat Source, then Playback
and/or Click. Click the drop-down 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

524
 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

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. Click the Simple Entry Tool . Then press Enter to place a note on
the first beat of the document. This is our reference point. Any note or
chord is fine, as long as it rests on the first beat of the document.
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 drop-down 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/Audio menu, choose Device Setup > Audio Setup. The
Audio Setup dialog box appears.

525
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.

526
Rebarring music
Finale’s 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
manually—when 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 doesn’t 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 you’re in 4/4 time, and you enter two quarter notes
(and no rests) in each of two measures, when you rebar the music, you’ll 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 Utilities menu, choose Rebar > Rebar Options. 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.

527
Redraw
In order to speed up your work with Finale, you may want to limit the number of
times Finale redraws the screen picture—a 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 bars—for example, if you want to
move diagonally across the page—which 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 Grabber—
regardless of which tool is highlighted on the palette—by pressing the right-
button while dragging.

528
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 fretboards
See Document Options-Chords and Change Chord Assignments dialog box.
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 on a staff (to resize the staff), or between any two staves in a
system (to resize the system).Right-click to choose the element you
would like to resize from a context menu. The Resize Staff (or Staff
System) dialog box appears, asking you how you want to resize the staff or
system.

If you’re 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 you’re reducing or enlarging a system, you’ll 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 on the staff or system with the Resize Tool. When
the dialog box appears, enter 100 (%) and click OK.

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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. Or,
right-click and choose Resize Page. 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.
(See Resize Staff System dialog box for details.)
4. Specify the pages you want to resize.
5. Click OK. As always, whenever you perform an operation that changes the
measure widths, you should update the measure layout.
6. Choose Update Layout from the Edit menu.

To reduce or enlarge fretboards

See Document Options-Chords and Change Chord Assignments dialog box.
To prevent certain items from shrinking
When you shrink notes, Finale automatically shrinks anything attached to them
proportionally—lyrics, 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.

530
3. Choose Set Font.
4. Select Fixed Size. This will prevent your item from shrinking when you use
the Resize Tool.

531
Rehearsal marks
Rehearsal marks (letters or numbers) are added as expressions using the
Rehearsal Marks category of the Expression Selection dialog box. Using
Finale's Auto-Sequencing feature, all rehearsal marks can be added with the
same expression, and each will appear consecutively in the score (A, B, C...1,
2, 3...etc.). See To add rehearsal marks. Rehearsal marks added this way also
update to accommodate deleted, added, or reordered rehearsal letters
automatically. Additionally, rehearsal marks are defined to display on the top
staff of the score and on every part (See Score List dialog box for more
details).
To add rehearsal marks

1. Click the Expression Tool .

2. Hold down the m key and click a measure. Finale adds the rehearsal
mark in the correct sequence (A, B, C, etc.). Alternatively, double-click a
measure to open the Expression Selection dialog box where you can
choose the desired rehearsal mark expression.

Finale's default auto-sequenced rehearsal mark expression looks like this:

If the document you are using was created in a version of Finale prior to
Finale 2010, the m metatool key will not be assigned to rehearsal marks,
and your existing expressions will not be setup for auto-sequencing. You
will need to define a new rehearsal mark expression to benefit from this
feature. See To define and add a custom rehearsal mark in order to create
automatically sequenced rehearsal marks.

Note: To easily add a rehearsal mark

to your score while in Simple Entry,
press the X key with a note selected
and then press the m key. See Simple
Entry Tool.

To define and add custom rehearsal marks

1. Click the Expression Tool .

2. Double-click on or above the measure at which the rehearsal mark is
to appear. The Expression Selection dialog box appears.
3. Choose the Rehearsal Marks category.

532
 4. To create a new rehearsal mark definition, click
Create Rehearsal Mark. Or, select Finale's auto-
sequenced rehearsal mark and click Duplicate, then
Edit to leave Finale's original rehearsal mark expression intact.
5. Check Use Auto-Sequencing Style.
6. Choose the desired letter/number style from the adjacent drop-down
menu.
7. Check Hide Measure Numbers if you want to hide measure numbers
in favor of rehearsal marks where added.
8. 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 the
measurement unit chosen (see Measurement Units). (You can also use a
different shape enclosure here by selecting it from the Shape drop-down
menu.

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.

7. Click OK to exit the Enclosure dialog box. You return to the Expression
Selection dialog box.
8. Press Shift-m if you want to assign the m metatool key to rehearsal marks
(as they are defined in Finale's templates and default document). Of
course, you can assign any expression to any metatool key. See To create
expression metatools.
9. If you want to display the rehearsal mark in specific staves, click the
Edit Categories button to open the Category Designer dialog box.
10. Here, you can use the Score List options to select or define the
desired Score List. See Score List dialog box for more information.
11. Click OK and then Assign to add the rehearsal mark. See To add
rehearsal marks.

533
 Choose the same expression for all other rehearsal marks in your score
and Finale will sequence them for you automatically (and even update
after you insert, delete, or reorder them).
To move or delete a rehearsal mark

1. Click the Expression Tool .

2. Drag the handle, or select the handle and use the arrow keys to
nudge, to move the mark; select it and press delete to remove it.

To restart rehearsal mark numbering

Occasionally it is necessary to restart rehearsal mark numbering, for example,
when multiple movements exist in a single document whose rehearsal marks
start over with each movement. Or, multiple movements contained in separate
documents may require rehearsal marks to continue through all movements.
To restart rehearsal mark numbering:

1. Click the Expression Tool .

2. Right-click the rehearsal mark's handle and choose Edit Rehearsal
Mark Sequence. The Rehearsal Mark Sequence dialog box appears. This
must be a rehearsal mark set to use Auto Sequencing. See To add
rehearsal marks.
3. Choose the Restart Sequence radio button and type (or use the
spinner arrows to select) the desired number or letter in the adjacent
text box.
4. Click OK. Finale re-sequences rehearsal marks in the document based on
your settings.

534
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 also
right-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

535
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, it’s 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. Click the Staff Tool , and double-click the staff that’s just below
the space where you want to omit the barline. The Staff Attributes dialog
box appears.
2. Select Break Repeat Barlines Between Staves. Click OK.

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.

536
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 . The Simple Entry Palettes appear.
2. Ctrl-click and drag the rest. You can also use the up and down arrow
keys.
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 . The Simple Entry Palettes appear.
2. Click the icon representing the desired rest’s duration on the Simple
Entry Rest Palette. Or, hold down Ctrl and type the number of desired
rest’s 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 you’re 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.
3. With the caret active, type 0 to enter a rest of the duration chosen in
the Simple Entry Palette..

To change a rest’s 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.

537
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 . The Simple Entry Palettes appear.
2. Ctrl-click a note or enter a note with the caret. The note is selected.
3. Type R. The note turns into a rest.

To hide a rest (Simple Entry)

1. Click the Simple Entry Tool . The Simple Entry Palettes appear.
2. Ctrl-click a note or enter a note with the caret. The note is selected.
3. Type H. The rest changes to a lighter shade indicating it is hidden. It will
not appear on the printed page.

538
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 you’ve created a separate voice in each layer, make sure you’re 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 it’s where you want it, press zero (0)
to exit the editing frame. If you want to make sure you don’t inadvertently
drag the rest horizontally, press shift as you drag.

Note that if you’re 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 To produce Press To produce

this key this rest this key this rest

539
 1 5

2 6

3 7

4 8

(If a note appears instead of a rest, even though you’re using MIDI, it’s
because Use MIDI device isn’t 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 rest’s 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 ; click the target measure. The editing
frame appears.
2. Click the note. You can also use the arrow keys to move the cursor.
3. Press backspace (or press shift-delete). The note becomes a rest of the
same duration.

540
 Note: To change a chord to a rest,
place the cursor on the stem of the
chord.

To hide a rest (Speedy E

1. Click the Speedy Entry Tool ; click the target measure. The editing
frame appears.
2. Click the note. You can also use the arrow keys to move the cursor.
3. Press H. The rest changes to a lighter shade indicating it is hidden. It will
not appear on the printed page.

541
Retranscription
To retranscribe a region

1. Choose Quantization Settings from the MIDI/Audio 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.

542
Reverse stems
A reverse stem is one that’s drawn on the wrong side of its notehead; it’s
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 , and click the measure in question.

2. Click the Reverse Stem Tool . A handle appears above and below
each note or chord.
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 stem’s direction.

To temporarily display reverse-stemmed notes with normal stems

Once you’ve 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.
(You might want to turn off Display Cross-staff Notes in Original Staff at the
same time you deselect Display Reverse Stemming, so that all notes are
temporarily drawn without their unusual beaming configurations.)

543
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 you’ve loaded an Articulation library into your file (or started with the Setup
Wizard, a template, or new Default Document), you don’t 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 (#103). If you have trouble finding it, scroll to
slot 103 and 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.

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.

544
 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 haven’t 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.
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 late—in other words, the chord roll will begin on
the beat.)

5. Press enter twice to exit the dialog boxes.

545
Running headers
A running header is a piece of text appearing at the top of every page of a
score—a 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. Also see
Text blocks.

546
Scanning
All you need is a scanner properly set up with your computer to take
advantage of Finale’s 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, doesn’t 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.

547
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
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 auto-resolution, 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, high-quality 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 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.

548
 3. Adjust settings as desired and click Scan. For more information
regarding the settings in the SmartScore Lite dialog box, see SmartScore
Lite 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. The Instrument Name Assignments dialog box
appears, which allows you to configure instrument transpositions, staff
names, and the MIDI instruments. It is important to apply this information to
ensure your staves are transposed properly. See Instrument Name
Assignments dialog box.
9. Click OK. 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 Using you scanner's software to scan sheet music for
Finale import below).
10. Save the file with a new name.
11. 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.
12. 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.
13. 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

549
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, chooseSelect Scanner and choose your scanner.

2. Scan in grayscale or black and white at a resolution of 300 to 400 dpi.
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.
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

550
versions of PhotoDeluxe will also save the file as a uniquely PhotoDeluxe TIFF
that SmartScore Lite (and MIDIScan Import) cannot recognize.

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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.

552
Search and replace
Note: To search and replace text, see
Text Search and Replace dialog box.
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 shift–drag-enclosing. Note that you can select
nonadjacent notes, as long as they’re 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 you’re searching for a C in the key of C, Finale
won’t 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 (or click Enharmonic to flip the note to its enharmonic
equivalent). If you click Transpose, a dialog box appears, in which you can
specify the precise transposition that you want to apply to the note. Make
your selections from the drop-down list, and then click OK.

553
 Note: If you’ve 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.

554
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:

555
 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 staff—in 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).

556
 Most of Finale's editing commands work with partial measure selections.
However, if you try to use a full-measure–only command after selecting
only part of a measure, Finale will let you know; you’ll have the choice of
canceling the command, or applying the command to all measures that
are even partly selected.
See Also
Selection Tool
Edit menu
To select a region of measures

Mouse click or keyboard command What it does

Click a measure Selects the full measure

Click and drag diagonally across any Selects the measure region
measure region (partial or whole measures) 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 you’re actually
selecting a stretch of musical
time.
Shift-click and drag diagonally across any Selects full measures only
part of a measure
Shift-click before or after a selected region Extends the selection to
wherever you click
Hold down Shift and press the left or right Expands or contracts the
arrow keys 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
With the Selection Tool selected, include full measures.
double-click any partial measure selection

557
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
With the Selection Tool selected, the full stack.
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 Selects the entire document
press ctrl-A
Hold down Ctrl-Shift and press the left or Expand or contract the
right arrow keys selected region by full
measures
Hold down Shift and press the up or down Expands or contract the
arrow keys selected region vertically
(staff-by-staff)
Hold down the shift key and press End, Select all measures right, left,
Home, PageUp, and PageDown 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 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 that’s not on the screen.
3. Click OK (or press enter).

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Shape Designer
You can create your own shapes and symbols in Finale using the built-in
Shape Designer. You’ll 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 you’re 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 where you would like to attach the marking. The
Expression Selection dialog box appears.
3. Choose the desired category on the left and then click the "Create..."
button at the bottom of this dialog box. The Expression Designer dialog
box appears.
4. Click the Shape radio button, then click Edit or Create to enter the
Shape Designer. Alternatively, click Select, choose a shape, and click Edit
to edit an existing shape in 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 drop-down listpopup menu. Using the Shape Designer
menu, you can tell Finale to display rulers or a grid to help you draw
precisely-sized objects.

559
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 Tool and drag in the
drawing area. When you release the mouse, the line is a distinct object
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 don’t 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 shape’s
position relative to the origin. H: means the point’s 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 shape’s handle will
appear once you’ve 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 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.

560
7. Press enter twice. If you’re 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 wouldn’t want to Allow Horizontal Stretching for a fixed-
shape symbol such as a harp pedaling diagram—but 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 shape’s 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.

561
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 tone—the 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.

562
Simple Entry
Using the Simple Entry method, you can enter notes quickly and accurately
with a mouse, computer keyboard, or with a MIDI keyboard. While using any of
these methods, keyboard shortcuts are available to select tools from the
Simple Entry Palette previous to each entry, as well as keystrokes you can use
to edit the note you just entered, or any note in the score. These keystrokes
also offer the capability to efficiently enter articulations and clef, key signature,
and time signature changes. See Simple Entry Tool for a list of these
keystrokes. You can also customize these keystrokes to your own preference
in the Edit Keyboard Shortcuts dialog box.
Note: Finale provides several methods for entering music quickly and
accurately, one note or chord at a time. Another option, Speedy Entry, can be
also be used to quickly enter notes with or without a MIDI keyboard. See
Speedy Entry.
For a hands-on Simple Entry tutorial, see EntryExercise.MUS.
Using a mouse to enter music

1. Click the Simple Entry Tool . The Simple Entry Palettes appear. (If
they don’t, you’ve probably hidden the palette by double-clicking its control-
menu box. Choose Simple Entry Palette and Simple Entry Rests Palette
from the Window menu.) See Simple Entry Palette for more information on
moving and resizing the palette.
2. Click the desired note (rhythmic value) icon in the palette. Click
additional tools as needed, such as Sharp, Flat, Grace, Tuplet, Dot or
Tie. Click the staff. A note appears at the pitch you clicked. To build a
chord, click another pitch above or below the first note.
If you want to enter a tuplet (a triplet, quintuplet, etc.), click the Tuplet Tool
on the Simple Entry Palette and the duration of the tuplet (an eighth note
tuplet or a half note tuplet, regardless of the duration of the first note). In
any of these instructions, you can press one of the shortcut keys on your
keyboard to switch tools instead of clicking an icon (for example, press a
number on the numeric keypad 1-8 to select a duration tool - 64th through
double-whole note).

Consult your Quick Reference Guide (or Simple Entry Tool) for a complete list
of Simple Entry keyboard shortcuts.

• To change the rhythmic value of a note, click the icon representing

the new value; then click the note.
• To change the rhythmic value of a rest, select the desired rhythmic-
value icon on the Rests palette, and then click the rest.

563
• To change a note to a rest, Ctrl-click the note to select it. Type R. The
note turns into a rest.

• To delete a note, click the Eraser ; then click the note. The note
disappears. If you click on a notehead that’s part of a chord, only that note
disappears. If you click a rest, it disappears.
• To move a note vertically, click and drag the note up or down. To
move a rest, Ctrl-click the rest to select it, then drag it up or down. If
you want to move a whole chord up or down, Ctrl-click the chord, then
press Ctrl-A.
• To hide a note or rest, Ctrl-click the note to select it then press the
letter H key. Press the H key again to display the note or rest again. See
also Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in.
• To flip a stem, Ctrl-click the note to select it then press the L key. This
process freezes the stem up or down, so that it’s no longer free to flip if, for
example, it gets transposed. To restore the note to its “flippable” status,
press shift-L.

• To make a note sharp, flat or natural, click the Sharp Tool , Flat
Tool , or Natural Tool ; then click the note. A sharp, flat or natural
appears next to the note, if needed by the key signature.
• To raise or lower a note by a half step, double-click the Half Step Up
or Half Step Down icon; then click the note. The note is raised or
lowered a half step. If appropriate for the key signature, an accidental
will appear or change.

• To remove any accidentals from a note, click the Eraser Tool ; then
click the accidental.
• To hide a courtesy accidental, Ctrl-click the note to select it then
press Ctrl-Shift--(hyphen). If no accidental is displayed, Ctrl-Shift--
(hyphen) forces a courtesy accidental to appear; for parentheses, press the
P key.

• To tie a note to the next one, double-click the Tie icon ; then click
the notehead. To tie every note of a chord, click its stem. Click the
notehead (for a single note) or the stem (for a chord) to remove the
tie.
• To flip a tie, press Ctrl-F.

• To dot a note, double-click the Dot icon ; then click the note. Click
again to add another dot (you can add up to ten dots). To remove the dots,
click the Eraser Tool ; then click the dot. All of the dots are removed.

564
 • To change a note to a grace note, double- click the Grace Note icon
, then click the note. Click the note again to restore it to full size. Press
Alt-G when the grace note is selected to toggle between grace note and full
size. If “Always Slash Flagged Grace Notes” in unchecked in Document
Options-Grace Notes, press Alt-G to cycle between full size, grace note
unslashed, and grace note slashed.
• To create or break a beam, Ctrl-click the note to select it then press
the / key. If the notes were flagged separately, they’re now beamed. If they
were beamed, the beam is broken (and the notes are individually flagged, if
they’re not beamed to any other notes). Use Shift-/ to restore the beaming
to the defaults found in the Document Options-Beams.
• To flatten a beam, Ctrl-click the note to select it then press Alt-/. If the
beam was angled, it will now be flattened. If the beam was already
flattened, the beam will now return to the default angle. See Flat Beams
Plug-in, Flat Beams (Remove) Plug-in.

• To enter a tuplet, click the Simple Tuplet Tool and the desired
rhythmic duration icon, then click the staff. For more complicated
tuplets, shift-click the staff to display the Simple Entry Tuplet Definition
dialog box.

Using your computer keyboard to enter music (Simple Entry)

All of the functionality that exists for entering notes with a mouse, and more, is
available using your computer keyboard, and the Simple Entry Caret. The
Simple entry Caret works much like the cursor in a word processing program.
While using your computer keyboard with Simple Entry, the Caret allows you to
specify pitches, rhythms, and other entry items before entering.

You can also use modifier keystrokes to edit the note you just entered. In this
section, you’ll first learn how to specify the next note to be entered using the
Simple Entry Caret, and then how to modify the previously entered note. The
following instructions describe entry for standard notation staves. For
information regarding entry into a tablature staff, see To enter directly into a
tablature staff (Simple Entry).

565
1. Click the Simple Entry Tool . The Simple Entry Palettes appear. (If
they don’t, you’ve probably hidden the palette by double-clicking its control-
menu box. Choose Simple Entry Palette and Simple Entry Rests Palette
from the Window menu.) See Simple Entry Palette for more information on
moving and resizing the palette. Though the Simple Entry Palettes do not
need to be visible to enter notation with the Simple Entry Caret, it’s a good
idea to display them at first until you have become familiar with the
corresponding keyboard shortcuts and modifiers.
2. From the Simple menu, choose Simple Options, and then ensure Use
Simple Entry Caret is checked. Then click OK. When this option is
checked, a vertical line appears. The caret also displays a note of the
duration selected in the Simple Entry Palette, as shown in the above image.
Accidentals, ties, dots, and tuplets can also be indicated on the caret before
entering the note. If you do not see the caret, select one of the duration
tools in the Simple Entry Palette.
3. To choose the desired rhythmic duration for the next entry, click a
duration tool in the Simple Entry Palette, or type the corresponding
keystroke in the numeric keypad (1-8). The caret displays the chosen
rhythmic duration. See the numeric keyboard diagram above (under Using
a mouse to enter music), or refer to the diagram on your Quick Reference
Guide. Note that if you are using a notebook computer, as an alternative,
you can hold down Ctrl-Alt-Shift and press a number on the 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 specify the pitch before entering, you can use the up and down
arrows on the computer keyboard until the caret displays the desired
pitch. The note moves up and down in the staff diatonically. You can move
the caret up an octave by pressing Shift-up arrow, or down an octave by
pressing Shift-down arrow.
5. Select a tool, or a combination of tools, in the Simple Entry Palette to
specify additional properties of the next note to be entered. For
example, to specify a dot and a sharp, click the Dot icon , and the Sharp
icon , or press the corresponding keystrokes for these tools to select
them. The tools selected in the Simple Entry Palette tell Finale what to add
to the next note when entered. The mouse cursor displays this information
as well.
6. Press the Enter key to enter the note. The note appears on the staff and
the caret moves to the right. The note you just entered is selected

566
 automatically, so you can use modifier keystrokes to edit it (explained
below). Notice the tools chosen in the Simple Palette are still selected, and
will apply to the next note if you were to hit the Enter key again. To select a
single tool (like any of the duration tools), and deselect all others, double-
click the icon on the palette, or double-press the corresponding keyboard
shortcut. For example, press the 5 key on the numeric keypad twice if you
want to choose only the Quarter Note 5 Tool for the next entry.
7. Press 0 (or Tab) to enter a rest of the chosen duration.
8. Hold down the Ctrl key and press a duration keystroke to specify a rest
of that duration for the next entry.
9. Type the letter name of a pitch, A through G, to enter it. The pitch
appears in the staff of the chosen duration, along with any other items
selected in the Simple Entry Palette. The caret moves to the right.
10. To add additional notes above the previous entry, type the interval (1
through 8 or Ctrl-Shift 9) on your QWERTY keyboard. For example, to
add a third to the note you just entered, type 3. To enter a fifth, type 5. The
interval entered is automatically selected, so, to enter a triad, you would
type 3 for the first third, and then 3 again for the second. To enter an
interval lower than the note you just entered, hold down the Shift key and
type the interval (2-9).
11. Also, you can hold down the Shift key and type the letter name of a
note to add it to the note you just entered. To add a note a fifth or more
higher than the note you just entered, hold down the Shift key and press
the up arrow, and then type the note letter. To add a note a fifth or more
lower than the note you just entered, hold down the Shift key and press the
down arrow, and then type the note letter. Note that the caret position
changes, and will apply to the next note entered as well. Use Shift-up/down
arrow to move it to the desired octave in preparation for the next entry.

Note: The following shortcuts also

apply to any selected note. (After
entering a note, it is selected
automatically.)

12. After entering a note or rest, hold down Alt and press a number (1-8)
to change the duration of the note or rest you just entered (64th
through double-whole note).
13. After entering a note, you can use additional modifier keystrokes to
add a dot, tie, accidental, to the note you just entered. Or, even
change it to a grace note, flip the stem or break/add beams. To see a
list of modifier keystrokes, from the Simple menu, choose Simple Edit
Commands, and then Modify Entry.
14. After entering a note, to move it up or down in the staff, hold down the
Alt key and press the up and down arrows. Hold down Alt and Shift

567
 and press the up or down arrow key to move the note up or down an
octave.
15. After entering a note, use the up and down arrows to adjust the caret
pitch. Then, hold down Ctrl and press Enter to add a note to the previous
entry.
16. After entering a note, press 9 to change it to the first note of a tuplet.
17. Hold down Shift and click the score to open the Simple Entry Tuplet
definition dialog box where you can specify more complicated tuplets.
See Simple Entry Tuplet Definition dialog box.
18. To move the selection forward or back a note, press the right and left
arrow keys. To move selection forward or back a measure, hold down Ctrl
and press the right or left arrow key respectively.
19. To activate the caret on an existing selected entry, press Enter.
20. To move selection up or down in a chord or to the staff above or
below, hold down Ctrl and press the up or down arrow key.

21. To change the pitch of existing notes, choose the Repitch Tool .
Then, activate the caret and type the new note letters (or play pitches on a
MIDI keyboard) to alter the pitch without changing rhythmic values.
22. With the caret active, press * (asterisk) and then an Articulation
metatool key to add an articulation. Or, click the Select button to choose
the desired articulation from a list. Instead of *, press x to trigger the same
options for Expression entry. Press Alt-c for clef, Alt-t for time signature, or
Alt-k for key signature. See Keycuts-Simple Entry for more details.

568
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 don’t
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. Click the Staff Tool , and select the measures in which you want
slashes to appear. See Selecting music for some region-selecting
shortcuts.
2. From the Staff menu, choose Apply Staff Styles. The Apply Staff Styles
dialog box appears. Alternatively, right-click the highlighted area to display
the context menu.
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.

569
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 don’t 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 in the Main Tool palette. The Smart
Shape Palette and Smart Shape menu appear.

2. Click on the Slur Tool in the Smart Shape palette, then position
the cursor on the slur’s 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

570
 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.

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 slur’s 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

571
 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 slur’s 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 note-

attached 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 length—short, 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
slur’s 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 you’ve selected. The inset is a percentage of the slur
length. Click Reset at any time to return the slur to Finale’s built-in settings.
5. Click OK (or press enter) when you’re 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.

572
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 you’ve selected.
6. Drag the other end-point of the slur to adjust it.
7. Click Reset at any time to return the slur to Finale’s built-in settings.
8. Click OK (or press enter) when you’re 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 haven’t been manually
adjusted in all similar existing slurs.

To define Slur System Break settings

1. Click the Smart Shape Tool . The Smart Shape menu appears.
2. Choose Smart Slur Options from the Smart Shape menu. The Smart
Slur Options dialog box 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 you’re 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 hasn’t 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 you’ve selected) into the Slur
Thickness text boxes to specify the desired line thickness and shape

573
 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 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 you’ve 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 you’re 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 it’s 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 you’re 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).

574
SmartMusic®
SmartMusic is an interactive, computer-based practice tool for musicians.
Challenging exercises, instant feedback tools, and more than 30,000
accompaniments make SmartMusic an essential part of your practice
sessions.
A SmartMusic subscription provides free access to the world's largest
accompaniment library. Hundreds of new ensemble titles are being added
every year, each with pre-authored assignments for every part. You can also
create custom assignments from skill-building exercises, method books, jazz
improvisation studies, musicals, or from a vast library of solo accompaniments.
For more information about
SmartMusic, or to acquire a
SmartMusic subscription, visit
www.smartmusic.com.

Creating SmartMusic Accompaniments

Finale allows you to create your own assessment files to be graded for
accuracy with SmartMusic’s Assessment feature. Finale also allows you to
create solos with accompaniment, exercises, and warm-ups. 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 SmartMusic’s 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

575
 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
Finale’s 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.
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

576
 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 Guidelines
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 SmartMusic’s assessment feature (which is
capable of evaluating a live performance for accuracy) and wish to include
accompaniment during SmartMusic’s 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

577
 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.

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

578
 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 Guidelines
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 SmartMusic’s
Intelligent Accompaniment feature. However, you will be able to mute
instruments from playback during the SmartMusic Performance. 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. (Note that you can also
save a single-staff exercise as an assessable SmartMusic accompaniment. To
create an exercise, see Exercise Wizard.)

1. Enter/edit the notation for the ensemble staves.

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

579
 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 the File Info
dialog box.
8. 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.

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 new SmartMusic solo with accompaniment

580
The steps in this section explain how to create a SmartMusic solo with
accompaniment capable of taking advantage of SmartMusic’s 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:

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.

581
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.

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.

582
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.

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.

583
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 Finale’s 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

584
 • 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 you’re 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.
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 Finale’s 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.

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.

585
When you have finished assigning instruments, be sure to play the file to
review your changes before saving.

586
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.

587
Nonstandard keys
Ossias/Mirrored Measures
Staff Usage: Distance From Top
Page Format for Score: System Margins,
Top
Hide Key Signature Staff Attribute
Chromatic Transposition
Independent Time Signatures
See Also:
SmartMusic
SmartMusic does not support non-
standard key signatures
SmartMusic does not support Ossias or
Mirrored measures.
For optimal scrolling results during
playback in SmartMuisc, set the 'Distance
from Top' value to 0 in the Staff Usage
dialog box.
The top system margin should equal the
top value in systems 2-end.
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.
Staves with a Chromatic Transposition
must also have Independent Key
Signatures selected.
SmartMusic does not support
Independent Time Signatures
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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. It’s
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 SmartMusic’s 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).

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 • 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).

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.

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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, we’ll 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 marker’s 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.

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 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 Assign.
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
accompaniment’s 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

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 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
you’ve 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 we’ll 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
SmartMusic’s 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 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

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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.

594
To pause for accompaniment rests or held notes
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

595
 Pause for held note(s) in accompaniment

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.

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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 _”.

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.

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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.

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:

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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.

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Repeat markers for SmartMusic
accompaniments
In SmartMusic, the number and iteration of each repeated section is displayed
on the main interface window during the SmartMusic performance as shown
below:

You can add markers in Finale to indicate these repeated sections for display
during the performance, including repeats with multiple endings, as well as DS
and DC repeats.
To Add Repeat Markers Automatically
In most cases, the following steps are not necessary to incorporate repeats
into your SmartMusic accompaniment. However, you can preview the
automatically generated repeat markers prior to saving your file by following
these steps.

1. Add repeat barlines and text indications as described in the Repeat

Tool chapter. Add any type of repeat you like, first and second endings,
D.S. al Coda, etc.
2. From the Document menu, choose Add SmartMusic Markers. The Add
SmartMusic Markers dialog box appears.
3. From the List on the left, choose Repeats.
4. Click Create/Update Repeat Markers. The score is scanned for all repeat
indications. The list of repeat markers appears in the main window.
5. Click Done. All repeat markers have been added to your score
automatically based on the repeat barlines and markings.

If you want more control over SmartMusic Repeat Markers, or want to edit the
ones created for you automatically, you can also add/edit them manually with
the Expression Tool as described below.
To Add Repeat Markers Manually as Expressions
Repeat markers can be added to the Finale score as expressions like the other
SmartMusic markers. Unlike other markers, these require additional

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parameters to specify the number of the repeat (i.e. the first, second, third, etc.
repeated section in the score), the iteration of te repeat and the measure
number. For general information on adding SmartMusic markers, see To add
SmartMusic Performance Markers.
If repeats are already defined in a score for playback, you can easily convert
the file to a through composed format by exporting it as a MIDI file, and then
importing the generated MIDI file back into Finale. Repeated sections are then
written out sequentially. Since all playback data is saved with MIDI files,
information relevant to SmartMusic accompaniment creation is not lost in this
conversion. See MIDI files for details. If you do this, ensure the solo staff is
assigned to a different channel than the accompaniment staff(ves) in the
Instrument List window.
Here is a list of the types of repeat markers, where to add them, and how they
are defined for different types of repeated sections. To use pre-defined repeat
marker expressions, load the SMS Markers library.From the File menu, choose
Load Library, and then double-click “SMS Markers”.
An expression defined as a Repeat marker is required to mark the beginning
of each iteration (or pass) of a repeated section of music. Additional numbers
are then added to the Description text box in the Expression Designer to
indicate the following:
r,t,m
r = Repeat number (starting with 1 on the first repeat pair and increasing by 1
for each successive pair).
t = Time through the repeat. 1 for first iteration, 2 for second, etc.
m = Measure number of the repeat in the original score. This number should
be the same for each iteration of a repeat (even though the measure number in
the through composed Finale document may differ).
Example:

This Repeat marks the location in the Finale document of the third repeated
section, beginning at the second iteration. This appears at the beginning of
measure 12 in the original Finale score. An expression containing this
SmartMusic marker would appear at a later measure in the modified (through
composed) Finale document.
If there are multiple endings in a repeated section (first ending, second ending
etc.), an expression defined as a Repeat Ending marker is required to mark
the beginning of each ending. For these markers, the following parameters are
then added to the Description text box in the Expression Designer to indicate
the following:

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r,m
r = Repeat number.
m = Measure number of the ending in the original score.
Example:

This Repeat Ending marks the location in the Finale document of an ending for
the first repeat. This appears at the beginning of measure 3 in the original
Finale score. (The ending number is not required).
If there is a Dal Segno repeat in the original score, an expression defined as a
Repeat DS marker is required to mark the first pass of the Segno (sign), the
actual D.S. section, and the end of the D.S. section. For these markers, the
following parameters are then added to the Description text box in the
Expression Designer to indicate the following:
d,f,m
d = Dal Segno number (starting with 1 for the first D.S. and increasing
sequentially for each D.S section.
f = Flag to denote whether this marks the location of the Segno (sign) going by
the first time (f=1), the actual beginning of the D.S. section (f=2), or the end of
the D.S. section (f=E)
m = Measure number of the location in the original score.
Example:

This Repeat DS marks the location in the Finale document of the ‘actual
beginning’ of the first DS section. This appears at the beginning of measure 3
in the original Finale score.
If there is a D.C. repeat in the original score, an expression defined as a
Repeat DC marker is required to mark the beginning of the score, the ‘actual
beginning’ of the D.C. section, and the end of the D.C. section. For these
markers, the following parameters are then added to the Description text box in
the Expression Designer to indicate the following:
d,f,m
d = D.C. number.

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f = Flag to denote whether this marks the location of the beginning D.C. (f=1),
the actual beginning of the D.C. section (f=2), or the end of the D.C. section
(f=E)
m = Measure number of the location in the original score.
Example:

This Repeat D.C. marks the location in the Finale document of the ‘actual
beginning’ of the first DS section. This appears at the beginning of measure 3
in the original Finale score.
On the first beat following the last iteration, an expression defined as a Repeat
End marker is required to mark the completion of the repeated section and
establish the measure to continue from in SmartMusic. The following entries
are required in the Description section of the Expression Designer for a Repeat
End marker to indicate the following:
r,E,m
r = Repeat number (starting with 1 on the first repeat pair and increasing by 1
for each successive pair). This should be the same “r” value used for each of
the prior iterations.
m = Number of the measure, in the original score, following the repeated
section.
Example:

This Repeat End marks the location in the Finale document of the ending of
the fourth repeated section. This appears at the first beat of measure 16 in the
original Finale document. This marker would appear at the first beat following
the last iteration of the fourth repeat in the modified (through composed) Finale
document.
To add markers for repeats without endings as expressions
1. Open the Finale document. If it already contains repeat bars, text
repeats, or other repeat indications that apply to playback, remove
them. If the music is through composed already, skip to step 3.

Tip: To remove all repeats in a

document at once, select the
Selection Tool. From the Edit menu,
choose Select All (or press Ctrl-A).
Then, from the Edit menu, choose

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 Clear Items. Select Only Selected
Items, choose Measures, check
Repeats, and then click OK back to
the score.

2. Copy and insert music to reproduce the flow of the original playback.
See Copying music for details.

3. Choose the Expression Tool .

4. On the solo staff (or the top staff of an ensemble score), double-click
the first note of the first iteration of the repeat. If there is not a note on
the first beat of the section in the top/solo staff, double-click the measure.
The Expression Selection dialog box appears.
5. Click Create. The Expression Designer dialog box appears.
6. Type “Repeat 1” (optional). This text will appear in the score as a
reminder, 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.
7. Highlight the text, and then from the Text menu, choose Style >
Hidden. Now, the expression is defined to appear in light gray in the score,
and will not print.
8. Click the Playback tab.
9. From the Type drop-down menu, choose SmartMusic Marker. The
SMS Marker drop-down menu appears.
10. From the SMS Marker drop-down menu, choose Repeat Start.
11. Choose the Text tab in the upper left.
12. In the Description text box, separated by commas, type the values for
r, t, and m. For example, if this is the first repeat pair in the score, first time
through, starting on the first measure, you would enter the following:

3. Click OK. You return to the Expression Selection dialog box.

4. Click Select. The Expression Assignment dialog box appears.

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 5. If you are assigning the marker as an Expression, in the Expression
Assignment dialog box, under Begin Playback at, choose Beginning
of Measure.
6. Click OK. The expression appears above the score. Now, we’ll add
another expression to indicate the beginning of the second iteration of the
repeat.
7. On the solo staff (or the top staff of an ensemble score), double-click
the first note of the second iteration of the repeat. If there is not a note
on the first beat of the section in the top/solo staff, double-click the
measure. The Expression Selection dialog box appears.
8. Click the expression you created for the first iteration and then click
Duplicate. Since we just need to make a few changes to this expression, it
is easiest to duplicate the one we’ve already made. The duplicate
expression in highlighted automatically.
9. Click Edit. The Expression Designer dialog box appears. Here, in the main
text editor, you can change the text if desired to indicate this is the second
pass. For example, you might type “Repeat 1 pass 2.”
10. In the Description text box, separated by commas, type the values for
r, t, and m. For example, if this is the first repeat in the score, second time
through, starting on the third measure*, you would enter the following:

Note*: The measure number (third entry in the description field) for the first and
second iteration should always be the same, even though the measure number
in the Finale score will be different (since the piece is through composed). This
instructs SmartMusic’s measure counter to return to the first measure of the
repeated section. To adjust Finale’s measure numbering to correspond to the
repeated sections, you might want to adjust the measure number regions for
your own reference. This can be particularly useful if there are many repeated
sections. See Measure numbers.

21. Click OK. You return to the Expression Selection dialog box.
22. Click Assign. The expression appears above the score. A repeat marker
should now appear at the beginning of each iteration.

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.
The image above shows a repeated section of music duplicated for
compatibility with SmartMusic. A repeat marker expression appears on the first
beat of each iteration. The numbers in parentheses show the values for r, t,
and m (as if this example begins on measure 1).

25. On the solo staff (or the top staff of an ensemble score), double-click
the first note following the final iteration of the repeat. If there is not a
note on the first beat of the section in the top/solo staff, double-click the
measure. The Expression Selection dialog box appears.
26. Type “Repeat End 1” (optional). This text will appear in the score as a
reminder, 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
two steps.
27. Highlight the text, and then from the Text menu, choose Effects >
Hidden. Now, the expression is defined to appear in light gray in the score,
and will not print.
28. Click the Playback tab.
29. From the Type drop-down menu, choose SmartMusic Marker. The
SMS Marker drop-down menu appears.
30. From the SMS Marker drop-down menu, choose Repeat End.
31. Choose the Text tab in the upper left.
32. In the Description text box, separated by commas, type the values for
r, and m (as described above under Repeat markers for SmartMusic
accompaniments). For example, if this is the end of the first repeat, that
continues on measure 3 of the original Finale score, you would enter the
following:

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33. Click OK. You return to the Expression Selection dialog box.
34. Click Assign. The expression appears above the score.

You have completed defining a basic repeat for transfer to SmartMusic. Now,
follow the instructions under SmartMusic to create the accompaniment SMP
file. To create markers for repeats containing multiple endings, see To add
markers for Ending repeats. To create markers for DS or DC repeats, see To
add markers for D.S. and D.C. repeats.
To add markers for repeats with endings as expressions
The same basic procedure for creating basic repeats also applies to the
creation of repeats with a first and second ending, only an additional Repeat
Ending marker is required to mark the first beat of each ending. You can define
as many endings as you like. Ending repeats do not appear in the Repeat
window of the SmartMusic interface, but are required to accurately display the
appropriate measure number in SmartMusic’s measure counter.

1. Open the Finale document. If the document is already through composed

without repeat markings, skip the next two steps.
2. If the repeats are marked in the score, copy music from the opening
repeat through the measure prior to the first ending. Insert this music
before the first measure of each ending (as shown below).See Copying
music for details.
3. Remove the repeat bars and endings. The repeated section should now
be through composed (to playback as if the repeats were still there).

Tip: To remove all repeats in a

document at once, select the
Selection Tool. From the Edit menu,
choose Select All (or press Ctrl-A).
Then, from the Edit menu, choose
Clear Items. Select Only Selected
Items, choose Measures, check
Repeats, and then click OK back to
the score.

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 4. If it already contains repeat bars, text repeats, or other repeat
indications that apply to playback, remove them.
5. Choose the Expression Tool y and add an expression defined as a
Repeat marker on the first beat of each iteration. Add the Repeat End
marker on the beat following the final ending. See To add markers for
repeats without endings for instructions.
6. On the solo staff (or the top staff of an ensemble score), double-click
the first note of an ending (start by clicking the first ending). If there is
not a note on the first beat of the ending in the top/solo staff, double-click
the measure. The Expression Selection dialog box appears.
7. Type any desired text in the text editor window (e.g. “First Ending”)
(optional). This text will appear in the score as a reminder, though you
could leave this box empty if you do not care to display any text in the
score. If this was the second ending, you might type “Second Ending.” If
you do not enter any text here, skip the next two steps.
8. Highlight the text, and then from the Text menu, choose Effects >>
Hidden. Now, the expression is defined to appear in light gray in the score,
and will not print.
9. Click the Playback tab.
10. From the Type drop-down menu, choose SmartMusic Marker. The
SMS Marker drop-down menu appears.
11. From the SMS Marker drop-down menu, choose Repeat Ending.
12. Choose the Text tab in the upper left.
13. In the Description text box, separated by commas, type the values for
r, and m (as described under Repeat markers for SmartMusic
accompaniments). For example, if this is the first ending of the first repeat,
that starts on measure 3 of the original Finale score, you would enter the
following:

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 For the second ending of the repeat, add the number of measures in the
first ending to establish the m value for the second ending. For this
example, if the first ending defined above were one measure long, you
would type the following for the second ending. (This should be
consistent with the original Finale document)

14. Click OK. You return to the Expression Selection dialog box.
15. Click Assign. The expression appears above the score.
16. Double-click the first note of the second ending, and then follow the
last 12 steps for the second, third, or any additional endings.

A repeat with a first and second ending properly defined for export as a
SmartMusic accompaniment. The repeat and ending expressions are defined
as Repeat markers and the final expression in the last measure is defined as a
Repeat End marker. The values in parentheses are those that would appear in
the Description text box of the Expression Designer.
Now, follow the instructions under SmartMusic to create the accompaniment
SMP file.
To add markers for D.S. and D.C. repeats as expressions
1. Open the Finale document.
2. Copy and insert music to reproduce the flow of the original playback.
In the image below, the D.S. section, up to the fine, is inserted after the last
measure. For a D.C., music from the beginning up to the fine marking
would be inserted after the last measure. If there are sections enclosed in
repeat bars, duplicate them first. See Copying music for details.

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3. If the score contains repeat bars, text repeats, or other repeat
indications that apply to playback, remove them.
4. Choose the Expression Tool y and add Repeat markers for any repeat
bars or endings. Add Repeat End markers at the conclusion of each
repeat. See To add markers for repeats without endings and To add
markers for repeats with endings for instructions.
5. Add an expression defined as a Repeat DS marker on the first beat of
the Segno (first time through). Or, add a Repeat DC marker at the
beginning of the score. In the Description text box of the Expression
Designer, enter the appropriate d, f and m values (as described for
Repeat DS and Repeat DC under Repeat markers for SmartMusic
accompaniments). For example, if this is the first D.S., first pass, that starts
on measure 3 of the original Finale score, you would enter the following:

If a Repeat DC or Repeat DS marker is required at the same point as a

normal Repeat marker (that begins a repeat), place the Repeat DC/DS
marker just to the left of the Repeat. To offset a marker by less than a
beat, position the expression in the score accordingly, and then, in the
Expression Assignment dialog box, for Begin Playback at, choose
Position in Measure.

6. Add an expression defined as a Repeat DS marker on the first beat of

the actual Segno (that appears in the measure after the D.S. marking).
Or, for a D.C., add a Repeat DC marker on the first beat of the second
iteration of the music (that was copied earlier). In the Description text
box of the Expression Designer, enter the appropriate d, f and m
values. For example, if this is the first D.S., second pass, that starts on
measure 3 of the original Finale score, you would enter the following:

610
7. Add an expression defined as a Repeat DS marker on the first beat of
the measure following the Segno section. Or, for a D.C., add a Repeat
DC marker after the last beat of the music. In the Description text box
of the Expression Designer, enter the appropriate d, f and m values.
For example, if this is the end of the first D.S., that ends on measure 5 of
the original Finale score, you would enter the following:

If the last measure of the Segno section is the last measure of the score,
enter an expression just to the right of the last beat of the measure.
If a Repeat DS/DC end is required at the same point as a Repeat End
marker, place the Repeat DS/DC marker just to the right of the Repeat
End.
The image below shows an example of a D.S. repeat with the
appropriate SmartMusic Performance Markers. The values in
parentheses are those that should appear in the Description text box of
the Expression designer.

Repeated sections are marked on the D.S. or D.C. even if the repeats
are not played (for sections marked “repeat first time only” for example).
In these cases, the Repeat marker should be set to “0” for the t (time)
value in the Description text box of the Expression designer to signify
that this is the only time through.
The following chart shows an example of a D.C. al Fine. The top portion
shows an outline of the original file. The bottom portion shows the
through composed sequence and the correct positioning of repeat
marker expressions for the D.C. al Fine.

611
612
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 Finale’s 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 SoundForge.
2. In Finale, from the MIDI/Audio menu, choose Device Setup > 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 Finale’s MIDI Setup
dialog box. The location and wording of these settings varies depending
on the product. Consult the product’s documentation for details.
5. In Finale, click Play. When you play, pause, stop, rewind, or fast forward
using Finale’s Playback Controls, the device receiving MTC responds
accordingly.

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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
• From the View menu, choose Grid/Guide > Snap to Grid or Snap to
Guide. Choose the item again to deselect it and turn it off.

To turn on display of grids and guides

• From the View menu, choose Grid/Guide > Show Grid or Show
Guides. 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 under View
the menu > Grid/Guides. 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.

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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. From the View menu, choose Grid/Guide > Grid/Guide Options. 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.
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.

615
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 MIDI 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 Finale’s SoundFont “synthgms.sf2” into your sound card’s
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 card’s documentation for specific
instructions for loading a new SoundFont. To use Finale’s 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.

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Speedy Entry
With the Speedy Entry Tool, you can enter music in step-time very efficiently,
using the synthesizer to specify the pitch of each note and the computer
keyboard to specify the duration.
To enter music in step time using MIDI

• Click the Speedy Entry Tool . Check to make sure Use MIDI Device
for Input is selected in the Speedy menu.
• Click the first measure into which you want to enter music. The
Speedy Entry editing frame appears.
• To enter a note or chord, hold down the desired key (or keys) on the
synthesizer and press a number key on the computer keypad
corresponding to the desired rhythmic value. If you press a number key
without holding down any synthesizer keys, a rest of the specified value
appears. If you want to insert a note, chord, or rest before the insertion bar,
press shift as you press the number key. Press the period key to dot the
note (you can add up to ten dots by repeating this action).

If the next few notes you want to enter are part of a tuplet (a triplet,
quintuplet, etc.), press ctrl-number, where 3 means triplet, 5 means
quintuplet, and so on. Finale places a small “3” (or whatever number you
pressed) in the upper right corner of the editing frame; the next notes you
enter will automatically be grouped into a tuplet. (If you want to create an
uncommon tuplet—such as 11 in the space of 2—press ctrl-1. The Tuplet
Definition dialog box appears, in which you can specify exactly what kind
of tuplet you’re about to create.)
• To change the rhythmic value of a note or rest, position the insertion
bar on it and press the number key corresponding to the desired
value. The following diagram shows which keys correspond to which note
values.

Speedy Entry Keyboard Commands

617
618
Move the insertion bar either by pressing the right or left arrow keys or by
clicking the desired note. If Finale presents the There Are Too Many Beats In
This Measure dialog box when you change a note’s value, press enter to
eliminate the dialog box. If you choose Jump to Next Measure from the Speedy
menu, so that a check mark no longer appears, this dialog box will only appear
when you exit the editing frame of a measure with too many beats.
• To add a note to a chord, position the crossbar at the desired pitch,
and press enter. You can also double-click where you want the new note
to appear.
• To remove a note, chord or rest, position the insertion bar on it and
press delete. To remove a single note from a chord, position both the
insertion bar and the pitch crossbar) on the notehead and press backspace
or shift-delete.
• To change a rest to a note, position the insertion bar on it, position
the crossbar at the desired pitch, and press enter. This method can

619
 also be used to add a note to an existing chord. You can change a single
note (not a chord) to a rest by pressing backspace.
• To change a note to a different note or chord without changing the
duration, position the crossbar on the note, hold down the desired note
or chord on the MIDI keyboard, and press enter.
• To move a note or rest horizontally, drag it to the left or right. Press
the shift key as you drag to prevent you from accidentally dragging the note
or rest up or down.
• To move a rest vertically, drag it up or down.
• To move a note vertically, drag it up or down. Press the shift key as you
drag to prevent you from accidentally dragging the note or rest horizontally.
If you want to move a whole chord up or down, double-click it; on the
second click, keep the mouse button pressed and drag up or down.
• To hide a note or rest, position the insertion bar on it and press the
letter O or H key. Press the O key again to display the note or rest again.
See also Notes and Rests (Hide) Plug-in, Notes and Rests (Show) Plug-in.
• To flip a stem, press the L key. This process freezes the stem up or
down, so that it’s no longer free to flip if, for example, it gets transposed. To
restore the note to its “flippable” status, press ctrl-L.
• To raise a note by half steps, position both the insertion bar and the
crossbar on it and press the plus (+) key. The minus (–) key lowers the
note by half steps; both keys only apply accidentals to an existing note, and
won’t actually move the note higher or lower on the staff. You can add up to
seven sharps or flats to a note. Press ctrl-plus or minus, to apply the
accidental through the rest of the measure. Use S to add a sharp, F for a
flat and N for a natural.
• To change a note to its enharmonic equivalent, position both the
insertion bar and the crossbar on it and press the 9 key. With the
insertion bar on a note, press ctrl-9, to change the spelling of a note
through the rest of the measure. If the pitch crossbar isn’t squarely on a
notehead, Finale changes the “spelling” of all notes in the chord each time
you press 9.
• To hide an accidental, position both the insertion bar and the
crossbar on it and press the asterisk (*) key. If no accidental is
displayed, the asterisk key forces a courtesy accidental to appear; for
parentheses, press the P key. If you’ve hidden an accidental, press the
asterisk key again to display it again.
• To create or break a beam, position the insertion bar on the second
note of the pair and press the slash (/) or B key. If the notes were
flagged separately, they’re now beamed; if they were beamed, the beam is
broken (and the notes are individually flagged, if they’re not beamed to any
other notes). Use Shift-B to restore the beaming to the defaults found in
Document Options-Beams.

620
 • To flatten a beam, position the insertion bar in the beam group and
press the backslash (\) or M key. If the beam was already flattened in
Speedy Entry the beam will now return to the default angle. See Flat
Beams Plug-in, Flat Beams (Remove) Plug-in.
• To tie notes, position the insertion bar on the first note and press = or
T. To tie the previous notes, press ctrl-= or ctrl-T.
• To add a dot to a note, position the insertion bar on the note and
press . (period).
• To switch layers (from Layer 1 to Layer 2, for example), press shift-’
(apostrophe). To switch voices (from Voice 1 to Voice 2, for example),
press the apostrophe key alone. For a more complete discussion of
multiple voice mechanisms, see Multiple voices.
• To advance to the next measure, press the right bracket (]) key.
Pressing the left bracket ([) key moves the editing frame to the previous
measure. Press shift-down arrow to move down a staff, or shift-up arrow to
move up a staff.

To enter many notes of the same value (hands-free MIDI method)

1. Click the Speedy Entry Tool , and click a measure. The editing
frame appears.
2. Press caps lock; then press the number key on the computer
keyboard corresponding to the value you want to enter. In other words,
you’re now telling Finale what the note values are going to be before you
specify the pitches. Use ctrl-number to enter a series of tuplets.
3. The number you press appears in the lower-left corner of the editing
frame. The tuplet number, if any, appears in the top-right corner of the
editing frame.
4. Play the notes on your MIDI keyboard. Each note you play appears in
the score; if Jump to Next Measure is checked in the Speedy menu, the
editing frame advances automatically as soon as you fill each measure. It’s
safe to outplay Finale, too; it will remember up to 500 notes (and continue
to notate them as fast as your computer allows). To enter rests, play a
three-note cluster, in other words, three notes each a half-step apart.

To enter music in step time without MIDI

You can also use the Speedy Entry Tool to enter music in step-time without
using a MIDI device. Use the number keys on your keypad to specify the
durations of notes, just as you normally do. But to specify the pitches, you can
use the arrow keys or the alphabet keys to move the pitch crossbar instead of
using the MIDI device. With practice, this method of “typing in the music” can
become extremely quick and precise.

621
1. Click the Speedy Entry Tool . The Speedy menu appears.
2. Make sure no checkmark appears beside Use MIDI Device for Input in
the Speedy menu. Otherwise, choose the command to make the
checkmark disappear.
3. Click the first measure in which notes are to appear. The editing frame
appears.
4. Use the arrow keys to place the cursor on the desired pitch. Press a
number key (corresponding to a rhythmic value) to create a note. Hold
down Control, shift and a number key to create a rest. You can also
use the method below to specify the pitch.
5. Hit the Caps Lock key, then press a letter key on your computer
keyboard to specify a pitch. Press a number key (corresponding to a
rhythmic value) to create a note. Hold down Control, shift and a
number key to create a rest. The alphabet keys on your keyboard have
been assigned pitch values in three octaves, as shown:

If you want to access a lower register, press the letter I key, which shifts the
entire alpha-key pitch mapping down an octave. Press the comma (,) key to
shift the entire keyboard up an octave. In either case, you can restore the
alphabet keys to their original octave by pressing the K key. To help you
remember, think of it this way: press a key (I, K, or comma) to designate the
row of letter keys you want to contain middle C.
For a diagram showing the assignment of rhythmic values to the number keys,
see To enter music in step time using MIDI, above.
To insert a note or a rest in a measure

1. Click the Speedy Entry Tool . The Speedy menu appears.

2. Position the cursor on the entry before which you want the note
inserted.
3. From the Speedy menu, choose Insert Notes or Rests. Press the
number (using the keyboard, not the number pad) representing the

622
 note duration you are inserting. If you are holding down a key on your
MIDI device, you will insert a note. Otherwise, you will insert a rest. For
non-MIDI, press a number to insert a note, or ctrl-shift and a number to
insert a rest.

See Also:
Speedy Edit Commands Submenu
Speedy menu
Speedy Tool

623
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.
You’ll need to specify a different kind of split point when you use Finale’s real-
time transcription tool to transcribe a two-handed keyboard performance. Since
the computer can’t “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 or Transcribing a sequence.

1. From the Record Mode 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 it’s 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, it’s 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 doesn’t have any one split point—in other
words, if the ranges of notes played by your right and left hands during the
piece aren’t completely distinct—you can use Finale’s 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 there’s a discernible gap between
your two hands at any given moment, Finale can adjust the split point on a
note-by-note basis automatically.

624
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. Don’t 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 transcription—
for example, if your hands were, at some point, too close together for Finale
to track them—see 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.
2. Choose Delete After Merge from the Note Mover menu. In other words,
you’ll 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 shift–drag-enclosing them). The handles you select are
highlighted.
5. Drag any highlighted handle onto the target staff. Don’t 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.

625
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 Finale’s most important features—and one not found in any other
notation program—is 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.

626
 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 Finale’s 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.

Scaling factor of 2.0

Scaling Factor of
1.618
Fibonacci spacing

For information regarding the relationship between music spacing the score
and linked parts, see Music Spacing in linked parts.

627
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. See
Human 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 haven’t 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. You’re 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 don’t 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. Click the MIDI Tool , and select the region to be affected. 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 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

628
 of handles by drag-enclosing, and additional groups by shift–drag-
enclosing.
3. From the MIDI Tool menu, choose Edit Note Durations. If you’re 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). You’re 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 it’s 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.

629
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 you’re 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.

630
Staff handles
When you click the Staff Tool , staff handles appear on the left side of each
staff. Refer to the following topics for information regarding editing staves using
these 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

631
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.

632
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 you’re 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 that’s 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 they’re 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 you’ve selected using the Measurement Units command (Edit
menu).
2. Enter a new value in the Staff Lines text box. Click OK (or press
enter).

633
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 don’t 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 staff’s default, non-
printing name, which is enclosed in square brackets.

1. Click the Staff Tool . The Staff menu appears.

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 Finale’s text editing; see Text
and Edit Text window for details.
4. Click OK to confirm the name.

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 . The Staff menu appears.

2. Choose Full Staff Names or Abbreviated Staff Names from the Set
Default Name Positions submenu of the Staff menu. The Position Full

634
 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 don’t appear to

take effect, display the Staff Attributes
dialog box and make sure that the
Position checkbox is not selected. Or,
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 Groups—To 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.

635
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

636
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.
5. Repeat this process for abbreviated staff names—Choose Staff
Names (Abbreviated) from the Text drop-down list.
6. Click OK to confirm your changes.

To hide a staff name (full score)

1. Click the Staff Tool . The Staff menu appears.

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.)
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.

637
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 on 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 on the staff. When the
dialog box appears, type 100 (%).

638
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.
See Also:
Staff Tool
To create 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. 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

639
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 don’t 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.

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.

1. Click the Staff Tool . The Staff menu appears.

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.

640
1. Click the Staff Tool . The Staff menu appears.
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.

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 . The Staff menu appears.

2. Press shift and a number key or a letter. Finale displays the Apply Staff
Style dialog box.
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 . The Staff menu appears.

2. Select the region you want to affect. See Selecting music for hints on
selecting shortcuts.
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.

641
To load a staff style library
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 you’re done - the part is now displayed in

642
 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.

643
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 don’t 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 it’s 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 number—because the note was released early—but
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.

644
For a more complete discussion of Start and Stop Times and the MIDI Tool,
see Chapter 6: Playback in the Finale 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
you’re 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, additional
handles by shift-clicking, a group of handles by drag-enclosing, and
additional groups by shift–drag-enclosing.
3. From the MIDI Tool menu, choose Note Durations. If you’re in the MIDI
Tool window, you can click the Note Durations icon (second from the top)
instead. Once you’ve selected the notes to be affected, you can apply one
of the MIDI Tool’s 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 note’s 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 values—ideal 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.

The Alter Feel command changes the Start and Stop Times of
Downbeats, Other Beats, and Backbeats. (Backbeats are defined as the
half beats [in a duple meter] or the second and third offbeats [in a triple
meter]. For some interesting uses of the Alter Feel command, see Swing.)
Finally, Randomize alters the selected notes’ durations by a random
amount, giving the music a less quantized, more human feeling. You
might enter an EDU value of 1/16 (or less) of the predominant rhythmic
values in the music; to subtly soften the rhythmic precision of an eighth

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 note (512 EDUs) passage, for example, you might type 32 into the Start
and Stop Times boxes.

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
. The MIDI Tool menu appears. Make sure Note Durations is still
selected in the menu.
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
. The MIDI Tool menu appears. Make sure Note Durations is selected
in the menu.
2. Select the region in which you edited Start and Stop Times.
3. Drag the first source measure so that it’s 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
. The MIDI Tool menu appears.
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.

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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 staff’s 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 hide staves
See Hiding staves.
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 you’re
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 staff’s position only in the
current staff system in Page View
(drag the top handle to adjust the

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 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.

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). You’ll usually enter a negative number, because you’re
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 . The Staff menu appears.

2. Choose Respace Staves from the Staff menu. The Respace Staves
dialog box appears.
3. Leave Keep Current Position selected if you don’t want to move the
top staff. To place the top staff a fixed distance from the top of the screen,

648
 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 (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 don’t 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 . The Staff menu appears.

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.

To recover deleted staves

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

649
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 . The Staff menu appears.

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 didn’t 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 staff’s
characteristics. For details, see Staff Attributes dialog box.
4. Click OK to confirm your settings.

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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-by-note 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, you’ve selected a
stem that consists of nothing.

To restore the original stem, click the modified note’s 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.

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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 , and click the measure in question.
The editing frame appears.
2. Click the note whose stem you want to flip. (Or use the arrow keys to
position the insertion bar.) Make certain you’re in the correct layer (if you’ve
entered music in Layers) and the correct voice (if you’re 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, it’s 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 a stem

1. Click the Simple Entry Tool .

2. Ctrl-click a note to select it. Notes just entered are selected
automatically.
3. Press the L key (press twice if necessary) to freeze the stem in the
opposite direction. When a stem is “frozen” up or down, it’s 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.

652
To change stem lengths, note by note

1. Click the Special Tools Tool , and click the measure in question.

2. Click the Stem Length Tool . A handle appears on every unbeamed

stem. If you select the Beamed Stem Length Tool , 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.
Or, you may want to globally change the way a stem attaches to its note,
especially when you’re 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
you’ve 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 don’t have to use a simple vertical line for a stem; you can customize
stems by using any shape you can draw in Finale’s Shape Designer. This
feature is particularly useful in creating “splayed” stemming for note clusters—
for example, you might have a stem with three spokes extending to a C , C,
and C struck at the same time.

653
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 stem’s 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 Designer—the origin—will appear at the
base of the notehead, where the stem is normally connected.
5. When you’re finished, exit the Shape Designer by pressing enter
twice. To restore the original stem, click the modified note’s handle and
press delete. Once you’ve 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
note’s original stem. A note with a double stem often signifies two voices in
unison.

1. Click the Special Tools Tool , and click the measure in question.

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 it’s no longer highlighted.

Once you’ve 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
it’s no longer highlighted.

654
To create reverse stems
A reverse stem is one that’s drawn on the “wrong” side of its notehead. It’s
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 it’s superimposed on the first
target measure. Unless you’re 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 , and select the measures in which the
modified stems appear.
2. Choose Clear Selected Items from the Edit menu.
3. Proceeding through the dialog boxes, click as follows: Only Selected
Items; Entries; Beam and Stem Alterations. Click OK (or press enter)
twice.

655
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 Finale’s 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 Finale’s
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 Finale’s 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).

656
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.

657
Swing
For a discussion of creating playback with a swing feel, see Creating swing
playback in the Finale 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: It’s a good idea to tell Finale

beforehand exactly how you want the
triplets notated—whether 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 HyperScribe–To 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.

658
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 notated—whether 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.

659
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. You’ve 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 syncopations—to 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 you’re 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.

660
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 . A handle appears on each barline.

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 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 Measures—To split a measure across a line break.

661
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 omit empty staves from a system (Optimizing)
See Optimizing systems.
To create variable-distance systems
See To create variable-distance systems.
To indent or move a system
It’s common practice to indent the first system of a piece—not 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 . Each system is surrounded by a dotted-

line rectangle.
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 you’re viewing Staff Systems, you’ll 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 you’ll be aware if the
system layout has shifted.
6. From the Edit menu, choose Update Layout.

To force a system onto the next page

Use the following technique if you’re 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

662
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 doesn’t 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 . Each system appears, surrounded by a

dotted-line.
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 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 (%).

663
Tab Slides
Tab slides are lines that indicate the finger should remain on the string and
slide from one note to the next. In Finale, these are added as note-attached
Smart Shapes you can add with the Tab Slide Tool (in the Smart Shape
Palette). See the topics below for information regarding how to add and edit
tab slides.
To create a tab slide

1. Click the Smart Shape Tool . The Smart Shape Palette appears.

2. Click the Tab Slide Tool . Move the cursor until the tiny arrow points
to the starting note.
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.

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 you’ve 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 Finale’s built-in
settings.
7. Click OK (or press enter) when you’re 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

664
 Placement settings. The settings also
apply to tab slide end points that
haven’t 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.

665
Tablature
Many of Finale’s 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.

See also:
Guitar notation
Guitar bends
To create tablature notation
1. Notate the instrument’s music on a standard notation staff
(transposed for guitar) as you would normally. Use the Setup Wizard to

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 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, we’ll 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. Click the Selection Tool and select all of the measures of the
notation staff. See Selecting 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, we’ll leave these settings
alone.
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 isn’t 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.

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 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
.
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

668
 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.

1. Click the Staff Tool and from the Staff menu, choose New Staves.
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

669
 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.
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. Here’s 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. We’ll 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.

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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.

671
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 Playback’s
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. Enter the starting tempo in the Tempo text box (next to the speaker
icon). The number you type here is the standard metronome setting (beats
per minute). Use the drop-down list to set the note value—quarter 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.

672
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 won’t have to create the markings anew. See also
Engraver Font characters.
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. Choose the Tempo Marks category from the list on the left.
4. If the tempo marking you would like to add appears in the list, double-
click it to add it and return to the score. If not, click the Create Tempo
Mark button. The Expression Designer dialog box appears.
5. 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.
6. Click OK then assign to 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

673
1. Click the Expression Tool . If you haven’t yet placed the marking in
the score, double-click where you would like to add the marking. When the
Expression Selection dialog box appears, choose Tempo Marks, 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 notes—or any other value—using the Tempo
drop-down list.) You’ve just defined the Expression to change the playback
tempo to this setting whenever the marking appears in the score.
5. Click OK (or press enter). If you just defined a new expression, click
Assign to add it to the score. Any time Finale encounters the expression
you’ve just defined when it plays back your score, the tempo will change to
reflect the expression’s playback definition.

Note: To easily record, or ‘conduct,’ a

unique tempo change for any region,
use TempoTap.

674
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

675
 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.

676
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 you’re looking for.

To create these… Use this …and see this entry

tool…

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 Expression Expressions

(arco, etc.) Tool

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 . The Text menu appears.

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.
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 . The Text menu appears.

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 point—left, center, or right—depends on the justification options
selected in the Text menu.

678
A double dashed line indicates that the frame is a fixed size; it will not expand
as you type.

3. Enter the text you want displayed. The placement of the text within the
frame—left, center, or right—depends 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.

To edit text on-screen

1. Click the Text Tool . The Text menu appears.

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 block’s attributes, such as whether it is
assigned to a measure or a page or pages, how it’s 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
you’re 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 block’s shape or size on-screen, drag any side of
the frame to stretch the shape.

To resize a custom frame

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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 . The Text menu appears.

2. Click a text block handle, then choose Frame Attributes from the Text
menu. Or, shift-double-click a text block. The Frame Attributes dialog box
appears.
3. Click to select Attach to: Page, if it isn’t 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 (you’d select Left Pages and 6 Through 10 to show the text
block on every left page between pp. 6–10, 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, you’d 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 block’s position in the score, then click OK to return to the
document.

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To assign a text block to a measure

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-double-click 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 block’s 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 block’s 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 isn’t 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:

681
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 isn’t already selected.

2. Click the Text Tool . The Text menu appears.

3. Click a text block handle, then choose Frame Attributes from the Text
menu. Or, shift-double-click 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.

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.
7. 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 block’s
position starting from the page margin. Choose Page Edge to have Finale
measure the text block’s position starting from the edge of the page.
8. 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.
Click OK to confirm your settings and return to the document.

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 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.

To position measure-assigned text blocks (Frame Attributes dialog

box)
1. Choose Scroll View from the View menu, if it isn’t already selected.

2. Click the Text Tool . The Text menu appears.

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 you’re 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 left-facing (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 right-facing pages in the Frame Attributes
dialog box; follow the steps outlined here.

1. Choose Page View from the View menu, if it isn’t 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. 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.

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5. Click Use Right Page Positioning to place the text block differently on
right-facing (odd-numbered) pages.
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

1. Choose the Text Tool .

2. 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.

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Ties
Finale uses three available tie spans—short, medium, and long—whose
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 adjust the placement of a tie after a system break
See To adjust the placement of an individual tie in the score.
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 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)

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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 ctrl-shift-F) from the Tie Direction submenu of the
Speedy menu to have Finale automatically set the tie’s 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 , then click the measure containing a tie to adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Select a handle of a tie whose direction you are changing.
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 tie’s
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

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 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. See Staff 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 and select a region of music. See

Selecting music for more details on how to do this.
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.

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4. To have Finale automatically set the tie’s 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.

To change an individual tie’s shape and placement by dragging it

on the score
1. From the Window menu, choose Advanced Tools. Click the Special
Tools Tool , then click the measure containing a tie to adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Use the mouse to drag any of the handles, adjusting the tie’s 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.

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 tie’s 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 tie’s starting

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 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 tie’s 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 tie’s 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 tie’s 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 tie’s 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 , then click the measure containing a tie to adjust.

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.

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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 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 arc’s 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 tie’s length. Click Inset Fixed to specify Inset as an
unchanging amount for all tie spans, regardless of a tie’s 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

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 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.
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 , then click the measure containing a tie to adjust.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
3. Double-click the starting or ending handle of the tie. The Tie Alterations
dialog box appears.
4. Set the Height of the tie’s 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 tie’s 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 arc’s curve when
creating a tie. Finale draws the actual

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 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.

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 , then click the measure containing the tied chord.

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 and select a region of music. See

Selecting music for more details on how to do this.
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.

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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 tie’s 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 tie’s 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 and select a region of music. See

Selecting music for more details on how to do this.
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 , then click the measure containing a tie you want to
edit.

2. Click the Tie Tool . Three handles appear on each tie in the measure.
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.

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5. Click OK to save your changes. Click Cancel to dismiss the dialog box
without making any changes.

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 and select a region of music. See

Selecting music for more details on how to do this.
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.

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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.

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Tiling pages for printing
If you want to print a full-size score (11 by 17 inches, for example) and don’t
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 pages—using an enlarging copying machine—onto 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 Finale’s tiling pages feature. Finale can automatically tile the
pages—in 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 Finale’s
Page Orientation Instead of the Printer’s 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 you’ll 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

696
 inches (remember, you’re 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 you’ll 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 don’t 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
won’t have to worry that your music fonts aren’t installed on the computer
that will ultimately be doing the printing.

5. Click Compile. To print the resultant compiled file, you’ll need a

downloading program such as the LaserWriter Font Utility. For more
information, see PostScript. For best results, have a paper cutter on hand
to trim the default quarter-inch margins created by a PostScript printer on
each page that you’ll be taping together.

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Time signatures
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 you’re working in time; if you “spell” the time signature
as a string of six eighth notes, Finale won’t 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 .

698
 If you’re 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.

See also Hiding time signatures; Cut time; Compound meters.

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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 . You’re about to create the first piece of text (title)
information.
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 haven’t
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).
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.

700
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 lower-right.
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 system’s 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 don’t 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 haven’t
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).

701
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 it’s not already selected. A handle appears
on each title.
2. Drag the title’s 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 blocks–To specify a default font for text blocks.

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Transcribing a sequence
The following topics describe how to record music into the score using the
Transcription Mode of HyperScribe.
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 signal—be careful not to use the
sustain pedal until you’re ready to record).
4. Play your piece. Click anywhere (except on a button) to stop
recording. When you stop recording, you’ll 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 menu’s 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, you’re specifying a new sequence; you’re 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, you’ll notice that your note file has a different icon. You can
open this file any time you’re in the Transcription window; you can, for
example, record a piece today, save it, and transcribe it tomorrow.

703
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.

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
setting—usually quarter notes per minute—using 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.

704
 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 you’re interested in notating a performance that’s 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 sequencer’s instructions, then
see To 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 it’s 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 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, you’ll save time in the long run, because Finale will be learning where
the beats fall at the same time as it’s hearing the music. If your sequence

705
 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 it’s either a very high or very low
pitch—one that won’t be mistaken for a note in your sequence.
4. Click Ignore First Data Byte (so that it’s no longer selected). This
checkbox essentially tells Finale whether or not it should be particular about
the MIDI signal it’s interpreting as Time Tag information—in other words,
whether or not to consider any key (or controller) to be a Time Tag. You
don’t want this option selected, because you’re 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 won’t be
providing a click track, leave Play selected under the words Time Tag; you
can add the Time Tags separately after you’ve recorded the sequence.

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, you’ll 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, you’ll 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 you’re having trouble hearing all the tracks in the sequence
when you play it back.

706
10. If the sequence didn’t 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
flute’s 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 that’s higher than the High note, you’ll 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. You’ve 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 you’re 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 you’ve 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 you’re 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 there’s a discernible gap between your
two hands, Finale can track a changing split point automatically. Click OK
to exit either Split dialog box.

707
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.
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 don’t choose these options, then when you play
back the transcribed music from the score, Finale will simply play back the
sheet music—mechanically reproducing the notes, but without expression
or feeling—instead of an exact re-creation of your original performance.

21. Click the Transcribe button. If the results aren’t 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 don’t get good results and you can’t figure out what’s wrong,
read the Quantization Settings Guide. 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 C:\Documents and
Settings\markjohnson.CODA\My Documents\My
Projects\Finale\Content\Finale\Split_points.htm - HT_To_correct_split_pointTo correct
split point errors.
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.
You’re about to tapao
l ngwtihyourmusci astipa
l ysback,provd
in
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i ae
l wtihatempopon
i tofreference. These taps are
called Time Tags.
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 don’t select Record Equal Durations, you can actually
vary the rhythmic value of your tap—sometimes eighths, sometimes

708
 quarters—and 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 you’re 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) you’ll 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) you’ve already established in the
score itself. If your piece has several different time signatures but you
haven’t 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 you’re 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 you’re 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 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

709
 your performance (in half steps). This doesn’t 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 there’s 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 you’ll
be needing an inner voice, however, don’t select this option. This will
prevent Finale from creating secondary voices where you didn’t intend
them—for 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 (see Start 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 don’t choose these
options, then when you play back the transcribed music from the score,
Finale will simply play back the sheet music—mechanically reproducing the
notes, but without expression or feeling—instead of exactly re-creating your
original performance.
19. Click the Transcribe button. If the results aren’t 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 don’t get good results and you can’t figure
out what’s wrong, read the section called Quantization Settings Guide in

710
 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 HyperScribe, Quantization Settings dialog
box. See also Quantization 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 you’ve already recorded a
performance and entered Time Tags, as described in To record a
performance, above. They also assume that you’re still in the Transcription
window.

1. Click the words Time Tag. The words become highlighted. You’ve just
indicated that you’ll 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 display—50,
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.
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; you’re effectively telling Finale
that every quarter note is now an eighth note. (If you try this, however, don’t
forget to choose Assign Measure Tags again from the Time Tag menu
before clicking Transcribe.)

To edit keyboard notes

711
While it’s much easier to edit your performance once it’s 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. You’ve just
indicated that you’ll 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 display—50, 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 three-quarters 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 note’s 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 long—which 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.

712
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 you’ve 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.
See also Quantization Guide.
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
you’ve recorded the performance (or before or during, for that matter). While
Transcription Mode’s gratification isn’t 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 haven’t worked with a sequencer before, you may encounter some terms
that are new to you; one example is quantization. Finale’s sense of rhythm is
much finer than ours; it perceives subdivisions of rhythm down to 1024ths of a
quarter note. Because Finale’s 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 didn’t, your transcription
would be much too accurate—it 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.

713
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 you’ve 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
you’ve been transcribing a performance one measure at a time, using the
Transcribe in Measures option.

714
Transposing: by interval
This entry discusses the transposition of the music in selected measures up or
down. If you’re 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 and select a region. See Selecting music
for some region-selecting shortcuts.
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 you’re
performing a chromatic transposition, choose Chromatically from the upper-
right radio buttons. You’ll notice that the Interval drop-down list changes to
list chromatic intervals—Minor 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).

715
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 staff—
does it consider the notes you’re entering to be the concert pitches or the
written ones? When you’re using the step-time music entry tools (the Simple
Entry and Speedy Entry tools), it’s up to you.
The following instructions show you how to specify that the notes you’re
entering have already been transposed—for example, if you’re copying an
existing score.

• Choose Display in Concert Pitch from the Document menu if there is a

checkmark next to it. You’ll 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 you’ve 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.

716
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 you’re 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
there’s 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 you’ve 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.

717
 • 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
isn’t selected, any staff you’ve 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 instrument’s transposition, as described in “ To
define a staff transposition, above.

Tip: If you’re using one of

MakeMusic’s templates or created
your score with the Wizard, the
transposition is already set correctly.

2. Click the Staff Tool . The Staff menu appears.

3. Select the region that will have the second instrument. See Selecting
music for hints on selecting shortcuts.
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 don’t 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.

718
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 values—for example, whole
notes, as shown here:

In this section, you’ll learn how to use the Easy Tremolo plug-in to easily create
tremolo markings. It’s customary to notate the tremolo duration twice—once 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.

719
Then continue with the following instructions.

1. Click the Selection Tool .

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.

720
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 you’ve loaded an
Articulations library into your file (or if your Maestro Font Default file is in
place), you don’t 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.

721
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 it’s 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 you’re using one) instead of being above or below it, be sure to
choose Break Slur/Bracket. If you’re 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 tuplet’s bracket (or slur, or number).
2. To reposition the entire tuplet, drag the main handle (which is
unshaded).

722
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.

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 note’s duration. Click any
accidental tools, if desired.

3. Click the Simple Tuplet Tool on the Simple Entry Palette.

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 isn’t 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.

To enter tuplets with the Speedy Entry Tool

723
1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
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 you’re 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 ctrl–1, 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 you’re 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 (hands-free 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. It makes no difference whether you create
the outer or inner tuplet first.
To transcribe tuplets from a real-time performance
For full instructions on the use of Finale’s 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/Audio menu. If you’ve 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

724
 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 don’t 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 on—in advance. See Document Options-
Tuplets.

725
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, you’ll 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 . The Simple Entry Palettes appear.
2. In the Simple Entry Palette, click the icon representing the desired
note’s duration. Click any accidental tools, if desired.

3. Click the Simple Tuplet Tool on the Simple Entry Palette.

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 isn’t 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.

To remove a tuplet

1. Double-click the Simple Tuplet Tool on the Simple Entry Palette.

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.

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, you’ll need
to use the below technique.

726
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 rhythmic-
value 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.
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.

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.

727
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.

728
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.

729
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.

730
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 Grid/Guides > 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 Grid/Guides > 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

731
without snapping to the guide, Right-click the guide arrow and choose
Show Gravity Zone.

732
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 and select a region. See Selecting music
for some region-selecting shortcuts.
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 don’t use
this option, the melisma beam will continue all the way through the
measure—as long as the melisma lasts.
5. Click OK.

733
Volume
See also Key velocity; Continuous data.
When you’re 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 note—that is, how hard it is “struck” when it’s 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 can’t control the volume of a note
after it’s been struck. For piano music, this is no problem. But imagine a long
note played by a trumpet—the 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.
To control the overall volume of playback, see Mixer.

734
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.

735
Whole rests
To save you extra work, Finale automatically places a default whole rest in
every blank measure. It’s important to understand the difference between one
of these default whole rests and a real whole rest that you’ve entered yourself
using any of Finale’s 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 entry—something you placed in the
score—just 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 won’t hide it if it contains a real whole rest—a fact you can use to
your advantage if you want to “force” an otherwise empty staff to appear in a
certain system when you’re optimizing systems. Just add a real whole rest,
and Finale won’t hide the staff.
Default whole rests are always centered between barlines.
To add a real whole rest

1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
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.) Also use 7
to specify a duration of a whole rest in Simple Entry.

To move a real whole rest

1. Click the Speedy Entry Tool , and click the measure in question.
The editing frame appears.
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 won’t 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:

736
1. Click the Staff Tool , and double-click the desired staff. The Staff
Attributes dialog box 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).

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.

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.

737
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 haven’t 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.

738
Reference
The Finale Reference includes descriptions of all menu items, dialog box
commands, and other information regarding Finale's functions.

739
Appendix
This appendix includes additional information about MIDI, percussion, libraries,
templates, and other topics relevant to general Finale usage.

740
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.

741
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)
Finale’s 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 Engraver’s 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 was the premiere hand written music font prior to Finale 2010,
and includes handwritten text, percussion and guitar symbol fonts as well.
The Broadway Copyist Font (included with the purchase of Finale or Finale
PrintMusic)
The Broadway Copyist Font, Finale's premiere hand written music font, comes
with handwritten text, percussion and guitar symbol fonts as well.

742
November by Robert Piéchaud ($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
Piéchaud ($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,
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 graphic-oriented 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, Machaut´s 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)

743
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)

744
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.

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

745
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

*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

746
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).

747
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.

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)

748
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 pre-
built 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

749
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 drop-down 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 Patch drop-down list menu

Method selection

Alesis QS6 Controller 0 Bank Select 0, Program Change

Only

Alesis Quadra Synth Plus Controller 0 Bank Select 0, Program Change

Only

Casio CT-470 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Creative Labs, Sound Controller 0 Bank Select 0, Program Change

Blaster AWE-32 Only

E-MU Classic Keys Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

E-MU Proteus FX Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Ensoniq KS-32 Patch Program Change, Program

100..127 Change

Ensoniq SQ1 Patch Program Change, Program

100..127 Change

Ensoniq TS-10 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

750
Ensoniq VFX Patch Program Change, Program
100..127 Change

GeneralMusic, S Controller 0 Bank Select 0, Program Change

MusicProcessor Only

GeneralMusic, WX/SX Controller 0 Bank Select 0, Program Change

Series Only

Kawai K-11 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Korg 01/W Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Korg 03R/W Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Korg 05R/W Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Korg i3 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Korg T3 Patch Program Change, Program

100..127 Change

Korg Wavestation Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Korg X3 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Korg X5DR Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Kurzweil 1000PX A/B Patch Program Change, Program

100..127 Change

Kurzweil K1000 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

751
Kurzweil K2000 Controller 0 Bank Select 0, Bank Select 32,
and 32 Program Change

Kurzweil K2500 Controller 32 Bank Select 32, Program Change

Only

Kurzweil MASS Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Kurzweil PC-88mx Controller 32 Bank Select 32, Program Change

Only

Oberheim 1000 Controller 32 Bank Select 32, Program Change

Only

Peavey Spectrum Bass Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland D-20 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland D-70 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland GR-1 Controller 0 Bank Select 0, Program Change

Only

Roland GS Controller 0 Bank Select 0, Program Change

Only

Roland GS mkII Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland GS SC-55 Controller 0 Bank Select 0, Program Change

Only

Roland GS SC-88 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland JD-990 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

752
Roland JV-1080 Controller 0 Bank Select 0, Bank Select 32,
and 32 Program Change

Roland JV-880 Controller 0 Bank Select 0, Program Change

Only

Roland JV-90 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland Super JV-1080 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland U-220 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Roland XP-50 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Technics KN1000 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Technics PR307 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Yamaha SY-35 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Yamaha SY-77 Patch Program Change, Program

100..127 Change

Yamaha SY-85 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Yamaha SY-99 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Yamaha TG-100 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Yamaha TG-300 Controller 0 Bank Select 0, Program Change

Only

753
Yamaha TG-33 Controller 0 Bank Select 0, Bank Select 32,
and 32 Program Change

Yamaha TG-500 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Yamaha TX-7 Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

Yamaha W5/7 Controller 0 Bank Select 0, Program Change

Only

Yamaha XG Controller 0 Bank Select 0, Bank Select 32,

and 32 Program Change

754
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>

755
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, you’d type B^flat() Clarinet.
Finale 2010 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= Don’t 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

756
 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)
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.

757
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 MacSymbolFonts text
file, you should quit Finale, then open the MacSymbolFonts file in a text editor
such as WordPad or SimpleText.
Each Symbol Font name appears in the font list within Finale, followed by a
carriage return.
Example:
EngraverFontExtras
EngraverFontSet

See Also
Font Utilities

758
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

759
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

760
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
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

761
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
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

762
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

763
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
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

764
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
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

765
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

766
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

Document menu/Show Active Layer MIDI Setup dialog box

Only

Document menu/Display in Concert MIDI Thru dialog box

Pitch

767
Document Options-Accidentals Special Tools menu/Tie
Direction

Document Options-Alternate MIDI Thru Table dialog box

Notation

Document Options-Augmentation Import MIDI File Options dialog

Dots 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

768
Document Options-Multimeasure Measure menu/Dragging
Rests 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

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

769
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 Fixed Split Point dialog box
box

Position Abbreviated Staff Name Moving Split Point dialog box

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 Layout Selection dialog Click Input dialog box

box

Percussion Layout Designer dialog Click Output dialog box

box

Symbol Selection dialog box Expression menu/Show All

Handles

Extract Parts dialog box Expression menu/Metatool

Attachment

Tablature dialog box Chord menu/Input Method

770
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 Note Mover Function

Staff Names

Staff menu/Set Default Rebar Options dialog box

Names/Abbreviated Staff Names

Staff menu/Set Default Names/Full Special Tools menu/Show

Group Names Handles

Staff menu/Set Default Special Tools menu/Update

Names/Abbreviated Group Names

Position Full Staff Names dialog box Quantization Settings 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

771
Accidental Order and Amount dialog
box

Tone Center(s) dialog box

Accidental Octave Placement dialog

box

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

772
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

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

773
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

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

774
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

Ossia Measure Designer dialog box

Ossia Measure Assignment dialog

box

Ossia Page Assignment dialog box

Tempo Adjustment dialog box

775
Set Swing dialog box

Duration dialog box

Document menu/Special Part

Extraction

File Info dialog box

Click and Countoff dialog box

Assign to Staff dialog box

776
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 engraver’s unit of measurement - the
distance between two staff lines.)

EVPUs Spaces Inches CM MM Points Picas

24 1 .083 .212 2.12 6 .667

1 .042 .0035 .009 .09 .25 .042

288 12 1 2.54 25.4 72 6

113 4.708 .392 1 10 28.25 2.3622

(.997)

11 .458 .038 .1 1 2.75 .2362

(.097)

4 .167 .014 .035 .35 1 .083

48 2 .167 .423 4.23 12 1

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 EDUs Rhythmic EDUs Rhythmic EDUs

value value value

double 8192 quarter 1024 dotted 192

whole 32nd

dotted 6144 dotted 768 triplet 171

whole eigth sixteenth

777
whole 4096 triplet 683 32nd 128
quarter

dotted 3072 eighth 512 dotted 96

half 64th

half 2048 dotted 384 64th 64

sixteenth

dotted 1536 triplet 341 dotted 48

quarter eighth 128th

half note 1365 sixteenth 256 128th 32

triplet

778
Ethnic Percussion MIDI 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). For information
regarding how this map is used for input and playback, see Percussion MIDI
Maps. You can view or edit MIDI notes in the Percussion MIDI MIDI Map Editor
dialog box.
Tip: To see the relationship between
MIDI Note numbers and pitches on a
piano keyboard see the MIDI Note to
Pitch Table.

MIDI Name MIDI Name

Note Note
Number Number

36 Bata Macho 66 Super Tumba

Low Muff

37 Bata Macho 67 Super Tumba

Muff Slap

38 Bata Macho 68 Surdu Open

Slap

39 Bata Itotele 69 Surdu Muff

Low

40 Bata Itotele 70 Lo Timbales

Muff Open

41 Bata Itotele 71 Hi Timbales

Slap Open

779
42 Bata Onkokolo 72 Lo Timbales
Low Stick Rim

43 Bata Onkokolo 73 Tumba Low

Muff

44 Bata Onkokolo 74 Tumba Muff

Slap

45 Low Bongo 75 Tumba Open

Open

46 Low Bongo 76 Tumba Slap

Muff

47 Low Bongo 77 Udu Low

Slap

48 Hi Bongo 78 Udu High

Open

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 84 Maraccas Hi

Tone Shake

780
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 94 Shekere Hi

Center Tone Skake

65 Super Tumba
Open

781
Exercise numbers in the Exercise
Wizard
Scales (1-1999) Twisters (5000-5999)

Exercise Exercise Exercise Exercise

Family numbers Family numbers

Major 1-99 Major 5000-

Triad 5199

Natural 100-199 Natural 54200-

Minor Minor 5399

Harmonic 200-299 Harmonic 5400-

Minor Minor 5599

Melodic 300-399 Melodic 5600-

Minor Minor 5799

Chromatic 400-499

Whole 500-599
Tone

Pentatonic 600-699

Diminished 700-799

Intervals (2000-3999) Rhythms (6100-6999)

Exercise Exercise Exercise Exercise

Family numbers Family numbers

Seconds 2000- Simple 6100-

2199 Time 1 6199

782
Thirds 2200- Simple 6200-
2399 Time 2 6299

Fourths 2400- Simple 6300-

2599 Time 3 6399

Fifths 2600- Compound 6400-

2799 Time 1 6499

Sixths 2800- Compound 6500-

2999 Time 2 6599

Sevenths 3000-
3199

Octaves 3200-
3399

Mixed 3600-
3799

Arpeggios (4000-4999)

Exercise Exercise
Family numbers

Major Triad 4000-

4099

Minor Triad 4100-

4199

Diminished 4200-
Triad 4299

Augmented 4300-
Triad 4399

Major 4400-
Seventh 4499

783
Minor 4500-
Seventh 4599

Dominant 4600-
Seventh 4699

784
Exercise Wizard Instrument Ranges

785
786
787
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.

788
 -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.
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]

789
[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

790
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.
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=

791
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 on-screen 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 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=

792
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

793
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=
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

794
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

795
Track=TRK
AutoSave=ASV
PlugIn=FXT

[Program Options]
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.

796
[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.
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)

797
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 Palette is positioned

anchor relative to
is

0 top left of application

window

1 top right of application

window

2 bottom left of
application window

3 bottom right of
application window

4 top left of screen

5 top right of screen

6 bottom left of screen

7 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]

798
This section includes settings that are controlled in the Folders portion of the
Program Options dialog box.
MusicDir=
LibDir=
BackupDir=
AutoSaveDir=
ExtensionDir=
TemplateDir=
DocuDir=
TempFileDir=
Set in Finale. Use the folders portion of the Program Options dialog box to
specify the folders.

799
Finale File Extensions
Finale creates a number of different types of files; each has its own extension.
In the table below, you’ll find a description of each kind of file you may
encounter while working with Finale.

File Extension Description How to Make How to Open

One One

This is the Finale There’s only one Double-click to

Finale.EXE program itself of these start Finale.
Finale
application
(program)

This is a standard Choose Save As Double-click.

.MUS Finale (notation) from the File
document file. menu.
Finale file

A Finale library Choose Save From the File

.LIB may contain a set Library from the menu, choose
of symbols (such File menu. Load Library.
Finale library as Chords or
Articulations),
markings (such as
Text
Expressions), or
settings (such as
Document
settings or
Spacing Widths

This file contains From the File From the File

.LSN a grouping of menu, choose menu, choose
exercises and an New, Exercise Open; Select
Lesson file ensemble of Wizard. Lesson File and
instruments. double-click the
one you want to
open.

800
 This is a standard Choose Save As From the File
.MID MIDI sequencer from the File menu, choose
file. It can be read menu select the Open; Select
MIDI file by most File Type “MIDI MIDI File and
sequencer File.” Name the double-click the
programs. file and click OK. one you want to
open.

This is a When you are In SmartMusic,

.SMP SmartMusic ready to save a from the File
Public SmartMusic menu, choose
SmartMusic Accompaniment Accompaniment, Open
Public file. from the File SmartMusic
Accompaniment menu, choose Accompaniment.
file Export to Choose Finale
SmartMusic®. Family
Generated Files.
Navigate to the
.SMP file and
double-click.

This file contains Choose Open From the File

.TRK sequencer from the File menu, choose
track/channel-to- menu; select the Open; select the
Track/Staff Finale staff File Type “MIDI File Type “MIDI
Mapping file information for File.", and File." , and
use when you double-click the double-click the
open a MIDI one you want to one you want to
sequencer file open. Click open. Click
with Finale. Track-to- Staff Track-to-Staff
List; create a List and click
track/staff Load. Double-
configuration and click the one you
click Save. See want to open.
Track/Channel
Mapping to
Staves dialog
box.

This file contains Click the Click the

.NOT the MIDI HyperScribe HyperScribe
information you’ve Tool, select Tool, select
Note file recorded in the Transcription Transcription
Transcription Mode and click a Mode and click a
window. measure. Click measure.

801
 Wait Till and Choose Open
perform your from the File
piece. Choose menu. Double-
Save As from the click the Note file
file menu. Name you want to
the file and click open.
OK.

This file contains Click the Click the

.CLP a motif, passage, Selection Tool; Selection Tool;
or section of select a region of select a region of
Clip File music you’ve measures. While measures. While
copied from a pressing ctrl, pressing ctrl,
Finale document. choose Cut or choose Insert or
Copy from the Replace Entries
Edit menu. Name from the Edit
the file and click menu. Double-
OK. See Copying click the Clip file
music you want to
open.

This special text Choose Compile You can’t open

.PS file contains the PostScript Listing these files. You
complete from the File need a special
PostScript file PostScript menu and click downloading
description of your OK; name the file program to send
document; by and click OK. this file to the
downloading it to printer. See
a PostScript PostScript
printer, you can
print without using
the Finale
program itself.

This special text Choose Compile Select Place

.EPS file contains the PostScript Listing Graphic from the
Encapsulated from the File Graphics menu
Encapsulated PostScript menu or Export or start another
PostScript file description of one Page from the page layout or
page of your Graphics menu graphics
document. This or double-click to program and use
file can be used in select an area its Open or Place
Finale or in other and choose command.
programs that Export Selection Double-click the
import graphics. from the name of the EPS

802
 Graphics menu. file. Click in the
Enter a page score to place
number in the the EPS file.
“EPS file of
page:” text box if
needed, and click
OK; name the file
and click OK.

This graphic file Double-click to Select Place

contains a PICT select an area to Graphic from the
graphic which can export in the Graphics menu
be used in Finale Graphics Tool or start another
PICT file
or in other and select Export page layout or
programs that Selection from graphics
import graphics. In the Graphics program and use
OS X, this icon menu, or just its Open or Place
may appear as a select Export command.
thumbnail of the Pages from the Double-click the
image. Graphics menu. name of the
Select PICT from PICT file. Click in
the Type popup the score to
menu. Click Save place the PICT
file.

This graphic file Double-click to Select Place

.TIF contains a TIFF select an area to Graphic from the
graphic which can export in the Graphics menu
TIFF file be used in Finale Graphics Tool or start another
or in other and select Export page layout or
programs that Selection from graphics
import graphics. the Graphics program and use
menu, or just its Open or Place
select Export command.
Pages from the Double-click the
Graphics menu. name of the TIFF
Select TIFF from file. Click in the
the Type drop- score to place
down list. Click the TIFF file.
OK.

803
 This is the Finale Finale creates Finale uses this
Finale.INI Preferences file, this file file each time the
which contains automatically and program is
Preferences file settings such as places it in your started.
those made in the Finale folder.
Program Options
dialog box and the
Windows menu.

This a plug-in, Finale comes You can’t open

.FXT which is a small with a number of these files.
program that runs plug-ins already Finale loads all
Plug-in only in Finale to installed in your the plug-ins
applications allow you to Finale folder. If available each
enhance Finale’s you are time the program
abilities. interested in is started.
making your own
Plug-in programs
please visit our
website for
details.

This is one of The temporary You can’t open

.TMP Finale’s temporary file exists only these files.
files; under normal while your
Finale circumstances, working in Finale
Temporary file you never see (or after the
them. computer is
turned off without
quitting Finale
properly).

.BAK This is a backup These files are In Finale, choose

of a standard created when File, then Open.
notation document Make Backups Select Files of
file. When Saving Type, All Files.
Files is selected Double-click on
in the Program the file.
Options dialog
box.

.ASV This is an These files are In Finale, choose

automatically created when File, then Open.
saved backup of a Auto Save Files Select Files of
standard notation Every X Minutes Type, All Files.

804
document file. is selected in the Double-click on
Program Options the file.
dialog box.

805
 Finale Libraries
Finale’s libraries contain reusable sets of musical elements: expression
markings, for example, or chord-symbol suffixes. A basic set came with your
Finale package; they’re in a folder called Libraries within your Finale folder.
You add a library’s 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.

Finale’s 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 Finaleto substitute if
the note’s stem direction changes.

Here’s a listing of Finale’s default articulations, and how their automatic

positioning and playback features have been set up:

Main Symbol Flipped Default Handle Playback Auto- Metatool

Symbol Vert. Pos. Effect Positioning
Pos. M(H,V)/F(H,V) Options

16 0,–4/0,0 Duration Center, S

40% Note side,
Avoid staff
lines, Inside
Slurs

806
16 0,-8/0, - Duration Center, X
32 30% Note side,
Outside
Staff

14 0,–4/0,– Velocity Center, A

23 125% Note side,
Outside
Staff

19 0,0/0,–35 None Center, Z

Note side,
Outside
Staff

16 0,–8/0,– None Center, V

32 Above
Note,
Outside
Staff

16 0,–8/0,– None Center, G

34 Above
Note,
Outside
Staff

14 0,0/0,-16 Duration Center, E

105% Note side,
Avoid staff
lines, Inside
Slurs

16 0,–2/0,– Duration Center, W

21 75% Note side,
Avoid staff
lines, Inside
Slurs

807
 None 0,0/0,-30 Duration Center, Q
125% Note side,
Outside
Staff

23 None None Center, F

Note side,
Outside
Staff

36 None None Above, T

Outside
Staff

24 None None Above,

† †
Outside
Staff

24 None None Above,

† †
Outside
Staff

24 None None Above,

††† † †
Outside
Staff

None None None Copy(H), Y

Manually,
Outside
Staff

808
36 0,-13/0,- None Center, M
13 Note side,
Outside
Staff

36 0,-13/0,- None Center, K

13 Note side,
Outside
Staff

48 0,10/0,0 None Center, J

Above
Note,
Outside
Staff

12 None None Center, U

Above
Note,
Outside
Staff

12 None None Center, D

Above
Note,
Outside
Staff

14 None None Center, O

Note side,
Avoid staff
lines

23 None None Center, H

Note side,
Avoid staff
lines

23 None None Center, I

Note side,
Avoid staff
lines

809
 16 0,-4/0/0 None Center, 1
Above note,
Avoid staff
lines

16 0,-4/0/0 None Center, 2

Above note,
Avoid staff
lines

16 0,-4/0/0 None Center, 3

Above note,
Avoid staff
lines

16 0,-4/0/0 None Center, 4

Above note,
Avoid staff
lines

16 0,-4/0/0 None Center, 5

Above note,
Avoid staff
lines

60 0,–48/0,0 None Center, P

Below Note,
Outside
Staff

60 0,-48/0,0 None Center, L

Below Note,
Outside
Staff

None None Attack Copy R

(0/–256) Vertically,
Manually

810
–48 12,–12/– None Center, 6
12,–16 Stem side

–48 12,–12/– None Center, 7

12,–16 Stem side

–48 12,–12/– None Center, 8

12,–16 Stem side

12 36,– None Above, C

36/0,0 Outside
Staff

36 24,8/0,0 Duration Above note, B

50% Outside
Staff

None None None Manually N

None -26,- None Center, 9

21/0,0 Note side

None 26,-21/0,0 None Center, 0 (zero)

Note side

811
 None None None Center,
Stem side

NA (For TAB) None None Duration Center,

40% Above
Note,
Outside
Staff

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 Center,

††††† 125% Above

Note,
Outside
Staff

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

812
 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

18 20,10/20,- None Center,

† † 10 Note Side,
Outside
Staff

18 18,0/10,- None Center,

† † 18 Note Side,
Outside
Staff

24 18,0/10,- None Center,

† † 24 Note Side,
Outside
Staff

12 10,0/10,-2 None Center,

† † Note Side,
Outside
Staff

813
 14 8,4/8,-4 None Center,

† † Note Side,
Outside
Staff

14 8,4/8,-4 None Center,

† †
Note Side,
Outside
Staff

8 2,0/2,0 None Center,

† † Note Side,
Outside
Staff

6,0/6,0 None Center,

† † Note Side,
Outside
Staff

10 -15,0/- None Center,

† † 15,0 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

24 4,6/4,-24 None Center,

† † Note Side,
Outside
Staff

814
 24 4,6/4,-24 None Center,
Note Side,

† †
Outside
Staff

See Staccato marks, an_Ref2014316318d_Ref2014316318 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. More
Libraries of like font type and design can be loaded together to expand the
number of available suffixes and fretboards. So, if you’re working in a 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 won’t 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 don’t add additional suffixes). After loading this library, you’ll
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.

815
Slot Suff Slot Suffi Slot Suffix Slot Suffi
Num ix Num x Num Num x
ber ber ber ber

1 Maj 22 min6 43 m11 64

2 min 23 6 44 m13 65
9

3 aug 24 6 45 m(maj7 66
min 9 )

4 dim 25 m 46 m9(maj 67
7)

5 7 26 M7 47 m7(ad 68
d4)

6 min 27 m7 48 m7(ad 69
7 d11)

7 sus 28 M6 49 7sus4 70
4

8 Maj 29 m6 50 71 13
6

9 30 (add 51 72
9)

10 aug 31 (add 52 73 7sus

7 2) 2

11 32 53 74 13su
s

816
12 33 54 9sus4 75

13 Maj 34 55 76
7

14 9 35 56 77

15 13 36 57 13sus4 78

16 37 M13 58 79

17 38 M13( 59 80
5)

18 39 60 81

19 11 40 m(ad 61 82
d2)

20 41 m(ad 62 6
d9)
†

21 dim 42 m9 63 M9
7

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 don’t 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 you’re in, as long as they’re built on the same scale tones as these
original learned chords.
• Clefs. This library contains eighteen standard clefs.

817
• 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 Finale’s 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. More
If you look at these shapes in the Executable Shape Selection dialog box,
you’ll 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 diagram—the “skeleton” and the “pedals”—described in
Harp pedal diagrams. See that entry for full instructions for placing and
using this diagram.
• Handwritten Default.This library includes all the markings in the Broadway
Copyist font.
• Instrument Libraries. The General MIDI library is designed to work with
most synthesizers’ built-in sounds.

818
• 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.
• 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 Layouts. This library contains all of the percussion layouts
that you have created as well as default percussion layouts.
• 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

819
 usage in Finale—including instructions for the creation of this particular
pitch bend expression—see 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 won’t be able to play normally and still get an accurate
transcription of your playing, because—for example—the C# key on your
MIDI keyboard will correspond to a C-quarter 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 it’s 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 line-type 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 Metatool
Assignment

Slash Notation S

Rhythmic Notation R

Blank Notation: B
Layer 1

820
Blank Notation: K
Layer 4

Blank Notation: All A

Layers

Normal Notation M

One-Bar Repeat O

Two-Bar Repeat T

Standard 5-line F
staff

1-line Staff: Full N

Barline

1-line Staff: Short N

Barline

Hide Staff H

Percussion: 1-line P
Staff

Percussion: 5-line C
Staff

Note Shapes X

Flute Transposition 1

2
Bb Clarinet
Transposition

3
Eb Alto Saxophone
Transposition

821
 4
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 titles indicate the relative spacing of the
entries in a measure; music that’s 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.) More
This library also contains some sample rehearsal letters. The playback-
defined expressions in this library are as follows:

Expression Playback Value

effect

Key velocity 10

Key velocity 23

Key velocity 36

Key velocity 49

Key velocity 62

822
 Key velocity 75

Key velocity 88

Key velocity 101

Key velocity 114

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 repeats—

textual 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.)
More
The text repeats in this library are as follows:

823
 D.C. al To Coda #
Fine

D.C. al Fine
Coda

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 number
sign. (The result might be, for example, “To Coda .”) And if you place
the “Go to Measure #” marking into the score, Finale will replace the
number sign with the measure number to which you direct this marking’s
playback. (The result might be, for example, “Go to Measure 44.”)

824
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

825
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
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.

826
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.
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%.

827
Finale Score Templates
In your Finale folder, you’ll find a folder called Templates. In this folder you’ll
find nearly fifty blank Finale documents, each with staves in a particular
instrumental configuration. These templates can save you time—just 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 Options-New).
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 One staff, uses Jazz Font

Font).FTM

Lyrics and Single one-line staff with rests.

Chords.FTM Lyrics and chords Staff Style

Piano Grand Two staves (piano staff)

828
Staff.FTM

Big Note Bells.FTM One staff (enlarged), landscape

orientation

Instrumental Three staves (piano and a reduced-

Solo.FTM size solo staff)

Rhythm Section One Staff, 100 measures, slash

Generator notation

Band Templates
Template title System setup

Small Concert Nine staves

Band.FTM

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 18 staves, landscape orientation,

Font).FTM 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 4 staves
Quartet.FTM

Brass Trio.FTM Three staves (Trumpet, Trombone,

French Horn)

829
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 Seven staves

Piano.FTM

Chamber 20 staves
Orchestra.FTM

Full Orchestra.FTM 27 staves

Choral Templates
Template title System setup

Barbershop Two staves (Sopr, Lead, Alto, Alto)

Female.FTM

Barbershop Male.FTM Two staves (Tenor, Lead, Bari,

Bass)

Vocal Solo with Three staves (piano and vocal)

Piano.FTM

Two Part with Four staves

830
Piano.FTM

SSA with Piano.FTM Five staves (SSA plus Piano)

SAB with Piano.FTM Five staves (SAB plus Piano)

SATB (Four Staff) with Six staves (SATB plus Piano)

Piano.FTM

SATB w Piano, Bass & Eight Staves (SATB + 4)

Perc.FTM

TTBB w Piano.FTM Six staves (TTBB plus Piano)

SATB (Two Staff) with Four staves (SA on Treble, TB on

Piano.FTM 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 Two staves with note shapes

Hymnal.FTM

Education Templates
Template title System setup

2-Measure Two staves, five systems moved to

Examples.FTM right side of page - Space for
questions on left

4-Measure Two Staves, four systems

Examples.FTM

831
Boomwhackers-R Grand Staff with colored noteheads
Tubes Grand for Boomwhackers® Percussion
Staff.FTM Tubes / Chroma-Notes™
Instruments

Boomwhackers-R Treble clef staff with colored

Tubes Treble noteheads for Boomwhackers®
Staff.FTM Percussion Tubes / Chroma-
Notes™ Instruments

Full System, No Eight systems - One measure per

Barlines.FTM system, no barlines

Blank Manuscript.FTM Eight systems - One measure per

system, no barlines or clefs

Worksheet Examples and procedures for

Example.MUS 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- Single TAB staff, lute tuning with

English.FTM letters

832
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

833
General MIDI Percussion MIDI 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). Refer to the Percussion MIDI Map Editor
dialog box for additional percussion MIDI Note mappings.

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

834
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
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

835
General MIDI Orchestral Percussion
MIDI 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 Name Note Name

Number Number

27 Closed Hi 44 Timpani Gs
Hat

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 49 Timpani Cs
Bass Drum

38 Concert 50 Timpani D
Snare drum

39 Castenets 51 Timpani Ds

40 Concert 52 Timpani E

836
 Snare Drum

41 Timpani F 53 Timpani F

42 Timpani Fs 57 Concert
Cymbal 2

43 Timpani G 59 Concert
Cymbal 1

837
 General MIDI Table
This list contains all the General MIDI Patch Numbers and Patch Names.
Finale’s 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.

Patch Name Patch Name Patch Name

Number Number Number

1 Acoustic 16 Dulcimer 31 Distortion

Grand Piano Guitar

2 Bright 17 Drawbar 32 Guitar

Acoustic Organ Harmonics
Piano

3 Electric 18 Percussive 33 Acoustic

Grand Piano Organ Bass

4 Honky-tonk 19 Rock Organ 34 Electric

Piano Bass
(finger)

5 Electric 20 Church 35 Electric

Piano 1 Organ Bass (pick)

6 Electric 21 Reed Organ 36 Fretless

Piano 2 Bass

7 Harpsichord 22 Accordion 37 Slap Bass

1

8 Clavi 23 Harmonica 38 Slap Bass

2

9 Celesta 24 Tango 39 Synth Bass

Accordion 1

838
10 Glockenspiel 25 Guitar 40 Synth Bass
(nylon) 2

11 Music Box 26 Acoustic 41 Violin

Guitar (steel)

12 Vibraphone 27 Electric 42 Viola

Guitar (jazz)

13 Marimba 28 Electric 43 Cello

Guitar
(clean)

14 Xylophone 29 Electric 44 Contrabass

Guitar
(muted)

15 Tubular 30 Overdriven 45 Tremolo

Bells Guitar Strings

46 Pizzicato 74 Flute 102 FX 6

Strings (goblins)

47 Orchestral 75 Recorder 103 FX 7

Harp (echoes)

48 Timpani 76 Pan Flute 104 FX 8 (sci-fi)

49 String 77 Blown Bottle 105 Sitar

Ensemble 1

50 String 78 Shakuhachi 106 Banjo

Ensemble 2

51 SynthStrings 79 Whistle 107 Shamisen

1

52 SynthStrings 80 Ocarina 108 Koto

2

53 Choir Aahs 81 Lead 109 Kalimba

839
 1(square)

54 Voice Oohs 82 Lead 2 110 Bag Pipe

(sawtooth)

55 Synth Voice 83 Lead 3 111 Fiddle

(calliope)

56 Orchestra 84 Lead 4 (chiff) 112 Shanai

Hit

57 Trumpet 85 Lead 5 113 Tinkle Bell

(charang)

58 Trombone 86 Lead 6 114 Agogo

(voice)

59 Tuba 87 Lead 7 115 Steel

(fifths) Drums

60 Muted 88 Lead 8 116 Woodblock

Trumpet (bass+lead)

61 French Horn 89 Pad 1 (new 117 Taiko

age) Drum

62 Brass 90 Pad 2 118 Melodic

Section (warm) Tom

63 SynthBrass 91 Pad 3 119 Synth

1 (polysynth) Drum

64 SynthBrass 92 Pad 4 (choir) 120 Reverse

2 Cymbal

65 Soprano 93 Pad 5 121 Guitar Fret

Sax (bowed) Noise

66 Alto Sax 94 Pad 6 122 Breath

(metallic) Noise

840
67 Tenor Sax 95 Pad 7 (halo) 123 Seashore

68 Baritone Sax 96 Pad 8 124 Bird Tweet

(sweep)

69 Oboe 97 FX 1 (rain) 125 Telephone

Ring

70 English Horn 98 FX 2 126 Helicopter

(soundtrack)

71 Bassoon 99 FX 3 (crystal) 127 Applause

72 Clarinet 100 FX 4 128 Gunshot

(atmosphere)

73 Piccolo 101 FX 5
(brightness)

841
Garritan Finale Edition Instrument
Details
Instrument Ranges

The following table lists ranges for each GPO instrument included with Finale.
Pitches notated outside of an instrument’s 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

842
 Bb Clarinet Plr2 D2-G5

Bb Clarinet Plr3 D2-G5

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

843
 Tuba Solo E0-G3

Glockenspiel G4-C7

Marimba G#1-C6

Xylophone F3-C7

Harp KS - Range C0-G6

(pluck):

Harp KS - Range C2-C6

(harmonics):

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

844
 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

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

845
 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

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

846
 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 cc#19 (pitchbend on=0;

controller as a suppliment to pitchbend off=127)
cc#20 portamento control to
help with the slide simulation.
This controller is only active
for tongued notes.
Switchable pitchbend:

General controllers for all strings

Volume/timbre: cc#1 (continuous 0-127;

default=0)

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;

847
 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 cc#64

response. (for Glockenspiel,
Marimba, and Xylophone)

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 cc#20 (continuous 0-127;

strength default 10)

Controllers for Pipe Organ:

848
 (The pipe organ features these controllers for creating custom
timbre variations)

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

5 Pizzicato

7 Tremolo

Keyswitches for Harp

0 Open Pluck

1 Hand stopped
pluck

2 Open
harmonics

849
 3 Hand stopped
harmonics

Keyswitches for Timpani

0 Full ring

2 Hand damped

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

850
 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)

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 HP’s
interpretation. The following are a list of triggers that can be used to change
the playback sound of any GPO instrument that supports keyswitches.

851
 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 - Garritan Instruments for

Finale

Instrument Keyswitch MIDI Trigger Text

Name #

Timpani • l.v. 0 • Unmarked note

• Hand- • Expression or
dampened 2 Smart Shape line
w/text: "damped",
"damp.",
"dampen",
"étouffé",
"étouffés",
"étouffées",
"étoufféz",
"dämpfen",
"velare", "coprire"

852
Harp • Open pluck 1 • Unmarked note
(ordinaro)
• Hand-stopped • Expression or
pluck 2 Smart Shape line
w/text: "damped",
"damp", "dampen",
"stopped",
"étouffé",
"étouffés", "sons
étouffés",
"étoufféz",
"dämpfen",
"velare", "coprire",
"sec", "secco", ,
• Open harmonic , ;
articulation:
• Hand-stopped • , ,
harmonic
• Articulation; ,
3
• "dampen" etc.
0 plus harmonic
articulation

All "KS • Arco 0 • Expression:

Solo "arco", "ord.",
"ordin.", "natural",
Strings and "nat.", "normal",
Section "normale",
Strings "coll’arco", "con
• Pizzicato l’arco", "col arco",
Bog.", "Bogen"

5 • Expression:
• Tremolo "pizz.", "pizzicato",
"pizzicati"

7 • Articulation:

853
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 Predefine

d Metatool

Bend Arrows B

TAB Slide X

Vibrato E

Bend Hat 6

Hammer-on H

854
Hammer-on 2
for use above
a slur or tie

Pull-off P

Pull-off for use 3

above a slur
or tie

Bend U

Bend for use 4

above a slur
or tie

Release R

Release for 5
use above a
slur or tie

Artificial A
Harmonic
(A.H./A.H)

Artificial --
Harmonic/A.H
.

855
Natural N
Harmonic
(N.H/N.H.)

Natural --
Harmonic/N.H
.

Pick Harmonic --
(P.H./P.H.)

Pick --
Harmonic/P.H
.

Palm Mute M
(P.M./P.M.)

Palm --
Mute/P.M.

Let Ring --

Hold Bend --

856
 Up Pick --

Down pick --

See also:
Guitar notation

857
 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 Four Part Five Part Six Part

Part

Guitar 3rds Guitar Jazz Piano Jazz Piano Guitar

& 6ths

3rds & 6ths Drop 2 Guitar Drop Drop Two Big Band Brass
Below 2 (SuperSax)

3rd Below Drop 2 - Swing Guitar Swing Male Choir

8vb Woodwinds

6th Below 6ths Super Brass Close Vocal Country Vocal

Above &
Below

3rds & 6ths Two Strings Female Choir Three Below

Above Below #1 8va & 8vb

3rd Above Two Strings 8va Male Choir 3rd Above 8va
Below #2 & 8vb

6th Above Two Strings 8vb Four Below 6th Above 8va
Below #3 & 8vb

Octave One Barbershop 3rd Above 8vb Alt Above 8va

Below Above #1 Close & 8vb

Octave One Barbershop 6th Above 8vb Two Above 8va

Below Above #2 Open & 8vb #1
(Long
Notes)

Two One Drop 2 Alt Above 8vb Two Above 8va

Octaves Above #3 & 8vb #2

858
Below

Octave Two Drop 3 Two Above 8vb Two Above 8va

Above Above #1 #1 & 8vb #3

Two Three Below Two Above 8vb Two Above 8va

Above #2 #1 #2 & 8vb #4

Two One Above Two Above 8vb Three Above

Above #3 #1 #3 8va & 8vb

3rds & One Above Three Above Four Above 8va

6ths #2 8vb
Below 8vb

3rd Below Two Above Three Below

8vb #1 8va

6th Below Two Above 6th Above 8va

8vb #2

3rd Above Three Above Alt Above 8va

8vb

6th Above 3rd Above Two Above 8va

8vb 8vb #1 #1

3rds & 3rd Above Two Above 8va

6ths 8vb #2 #2
Above 8va

3rd Above 6th Above Three Above

8va 8vb #1 8va #1

6th Above 6th Above Three Above

8va 8vb #2 8va #2

3rd Below Alt Above Three Above

8va 8vb #1 8va #3

6th Below Alt Above Two Below 8va

8va 8vb #2 & 8vb #1

859
 Octaves Two Above Two Below 8va
8va & 8vb 8vb #1 & 8vb #2

Two Above Two Below 8va

8vb #2 & 8vb #3

Two Above 3rd Above 8va

8vb #3 & 8vb

Two Above 6th Above 8va

8va #1 & 8vb

Two Above Alt Above 8va

8va #2 & 8vb

6th Above Two Above 8va

8va #1 & 8vb #1

6th Above Two Above 8va

8va #2 & 8vb #2

3rd Above Two Above 8va

8va #1 & 8vb #3

3rd Above
8va #2

Alt Above
8va #1

Alt Above
8va #2

Two Below
8va #1

Two Below
8va #2

Two Below
8va #3

860
3rd Below
8va & 8vb

6th Below
8va & 8vb

3rd Above
8va & 8vb

6th Above
8va & 8vb

861
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 Playback’s 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 acc, accel, accelerando, accelerato,

affretando, incalzando, ristringendo,
("rall", "acc.") stringendo, string, stretto, en
pressant, pressez, en accélérant,
faster, beschleunigend, eilend,
drängend, belebend, rall, rallentando,
calando, rit, ri, ritar, riten,
ritenuto, ritenente, ritardando,
slargando, morendo, ritardo,
allargando, allarg, retenu, rallentir,
en retenant, en cédant, cédez,
zurückhaltend, breiterwerdend,
breiter, a tempo, tempo, on time, au
mouvement, zeitmass, zeitmaß

862
 Dynamics cresc, crescendo, en augmentant,
augmentez, erhebend, aufschlagend,
dim, dimin, diminuendo, decrescendo,
decresc, decr, perdendosi, smorzando,
smorz, en diminuant, en s’éloignant,
en atténuant, 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 à peu, nach und nach, little by little, sempre,
toujours, always, immer, molto, moltissimo, moltiss, très,
beaucoup, much, un poco, poco, pochissimo, poch, un peu,
légèrement, etwas, a little
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,

such as , will be recognized and performed. For this example, you would
simply add the characters 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 coulé, 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.):

863
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.

Gruppetti: Gruppetti (Music Font char. 84), d (November Extra char.

100) or g (November Extra char. 103) are tracked by HP.
Baroque Ornaments (articulations): Popular ornaments are lower mordent

(char #77) and trillo (=upper mordent) (short trill, char#109),

(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.
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:

864
865
Jazz Fusion Percussion MIDI Map
Table
The Jazz Fusion Percussion MIDI 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). For information regarding how this map
is used for input and playback, see Percussion MIDI Maps. You can view or
edit MIDI notes in the Percussion MIDI Map Editor dialog box.

Tip: To see the relationship between

MIDI Note numbers and pitches on a
piano keyboard see the MIDI Note to
Pitch Table.

MIDI Name MIDI Name

Note Note
Number Number

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 65 Sizzle Cymbal 2

866
 Hi Hat (nylon tip)

41 Low Floor 66 Sizzle Cymbal 2

Tom (mallet)

42 Closed Hi Hat 67 Sizzle Cymbal 2

LH (finger)

43 Closed Hi Hat 68 Sizzle Cymbal 2

RH (wood tip BS)

44 Half Open Hi 69 Cymbal Scrape

Hat 1

45 Mid Tom 70 Cymbal Scrape

2

46 Open Hi Hat 71 Cymbal Scrape

3

47 Hi Hat Crash 72 Cymbal Scrape

4

48 High Tom 73 Cymbal Scrape

5

49 Crash Cymbal 74 Garbage Can

1 Lid (stick)

50 Ride Cymbal 75 Garbage Can

1 Lid (mallet)

51 Ride Cymbal 76 Garbage Can

2 Lid (hard mallet)

52 Crash Cymbal 77 Garbage Can

2 Lid (rubber
mallet)

867
53 Ride Bell 1 78 Garbage Can
Lid (car keys)

54 Ride Bell 2 79 Garbage Can

Lid (hand)

55 Ride Cymbal 80 Radial Saw

3 Blade

56 Crash Cymbal
3

57 Sizzle Cymbal
1

58 Stagg Crash
Cymbal 4

868
Latin Percussion MIDI Map Table
The Latin Percussion sounds included with Finale were designed for use with
the Latin Percussion plug-in. 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.

For information regarding how this map is used for input and playback, see
Percussion MIDI Maps. You can view or edit MIDI notes in the Percussion
MIDI MIDI Map Editor dialog box.

MIDI Name MIDI Name

Note Note
Number Number

869
36 Heel Quinto 74 Timbales
Macho Rimshot

38 Fingertips 76 Fiberblock
Quinto

40 Slap Quinto 77 Timbales

Cáscara
Hembra

41 Open Tone 79 Timbales

Quinto Cáscara Macho

43 Heel Conga 81 Mambo Bell

Neck

45 Fingertips 83 Mambo Bell

Conga Mouth

47 Slap Conga 84 Cha-Cha Bell

Neck

48 Open Tone 86 Cha-Cha Bell

Conga Mouth

50 Heel Tumba 88 Ride Cymbal

52 Fingertips 89 Crash Cymbal

Tumba

53 Slap Tumba 91 Campana Neck

55 Open Tone 93 Campana

Tumba Mouth

57 High Tone 95 Güiro Motion D-

Macho U
Bongos

870
59 Fingertips 96 Güiro Down
Macho Long
Bongos

60 Thumb Macho 98 Güiro Up Short

Bongos

62 Open Tone 100 Güiro Down

Macho Short
Bongos

64 Open Tone 101 Güiro Up Long

Hembra
Bongos

65 Bass Drum 103 Claves

Standard

67 Timbales 105 Claves Afro

Hembra Open
Stick

69 Timbales 107 Maracas Macho

Hembra Open (Right Hand)
Hand

71 Timbales 108 Maracas

Hembra Hembra (Left
Muffled Hand Hand)

72 Timbales
Macho Open

871
 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 Never Linked Linked until

Linked changed in part
(inteligently linked)

Articulations

Articulation X
Selection dialog box

Articulation X
Designer dialog box

Reposition an X
articulation

Show/hide an X
articulation

Delete an X

872
articulation in part

Delete an X
articulation in score

New articulation in X
part

Clear manual X
positioning*

Chords

Chord Suffix Editor X

dialog box

Chord Suffix X
Definition dialog
box

Reposition a chord X

Show/hide a chord X

Show/hide fretboard X

Delete a chord X

New chord in part X

Fretboard Editor X

Resize Fretboards X

Chord baselines Triangles 3 Triangles 1 and 2

(triangles) and 4

873
Clefs

Clef Change dialog X

box

Mid-measure clefs X

Change clef size X

Document menu

Display in concert X
pitch

Clef Designer X
dialog box

Repeat dialogs X

Playback/Record X
Options dialog box

Page Format for X (only applied

Score dialog box to score)

Page Format for X (only applied

Parts dialog box to parts)

Page Setup for X (only applied

Score dialog box to score)

Page Setup for X (only applied

Parts dialog box to parts

Expressions

874
Expression X (except
Selection dialog box for H: and
V: values)

Expression X
Designer dialog box

Shape Expression X
Designer dialog box

Reposition X
expression

Show/hide X
expression

Delete expression X
in part

Delete expression X
in score

New expression in X
part

Expression Triangles 3 Triangles 1 and 2

baselines (triangles) and 4

Shape Expression: X
change size

Expression X
playback

Expression: Show X
On

875
Expression X
assignment: Allow
Individual Edits Per
Staff setting

Clear manual X
positioning*

Expression X
playback

Graphics

Add/delete graphic X
in score

Graphic added to X
part

Graphic deleted X
from part

Reposition graphic X

Instrument List/Mixer/Staff Controls

Volume X

Pan X

Reverb X

Room Size X

Channel X

876
Program X

Key Signatures

Key Signature X
dialog box

Key signature X
change

Measures

Position notes X

Measure Attributes X
(except for measure
width check boxes
and values)

Measure Number X
Regions

Lyrics

Document Options - X
Lyrics

Adjust Lyric X
Baselines

Lyric Text X

Lyric Font X

Lyric Size X

877
Lyric Style X

Baseline Triangles 3 Triangles 1 and 2

Positioning and 4

Adjust syllables X

Edit word extension X

Utilities menu

Mirrored measures X

Music spacing X

MIDI/Audio menu

VSTSetup dialog X
box

Play Finale Through X

VST

Note Mover

Cross-staff notes X

Search and replace

Notes

Pitches X

Enharmonic X
changes

878
Cautionary X
accidentals

Rhythms X

Beaming X

Parenthetical X
accidentals

Tuplet definitions X

Tuplet Positioning X

Ossia

Ossia Measure X
Designer dialog box

Ossia Positioning X

Page Layout

Add blank pages X

Page breaks X

Optimization X

Fit Measures X

Edit system X
margins

Edit page margins X

879
Page size and X
orientation

Playback

Playback Controls X

Repeats

Document Options - X
Repeats

Backwards Repeat X
Bar Assignment
dialog box

Create Edit Ending X

dialog box

Repeat Options X
dialog box

Create new repeat X

Delete repeat X

Reposition repeat X
endings/text
repeats

Resize

Resize Page X

Resize System X

880
Resize Staff X

Resize Note X

Resize Notehead X

Smart Shapes

Smart Shape X
Placement dialog
box

Smart Shape X
Options dialog box

Smart Slur Options X

dialog box

Guitar Bend X
Options dialog box

Add or Delete smart X

shapes

Show/hide smart X
shapes

Change slur shape X

Smart shape X
direction

Measure Attached X
Smart Shape
Horizontal
Positioning

881
Measure Attached X
Smart Shape
Vertical Positioning

Hairpin Positioning X

Special Tools

Note Positioning X

Notehead X
Positioning

Note Shape X

Accidental Mover X

Stem Length X

Broken Beam X
Direction

Double/Split Stem X

Reverse Stem X

Custom Stem X

Beam Angle X

Secondary Beam X
Break

Beam Extension X

882
Secondary Beam X
Angle

Tie X

Dot X

Beam Width X

Beam Stem Adjust X

Text

Text X

Font X

Size X

Style X

Reposition text X
block

Justification X

Alignment X

Frame Attributes X (except

for H:; and
V: values)

Line Spacing X

Word Wrap X

883
View menu

View Percentage 1 view % for

score
1 view % for
(all) parts

Staff Sets X

Grid/Guide Options X
dialog box

Show Grid X

Show Guides X

Show Rulers X

Layer Selection X

Shoe Active Layer X

Only

* 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.

884
Marching Percussion MIDI 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.
Finale’s 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
MIDI map to easily enter marching percussion sounds and appropriate
noteheads. See also Percussion Layouts.
For information regarding how this map is used for input and playback, see
Percussion MIDI Maps. You can view or edit MIDI notes in the Percussion
MIDI MIDI Map Editor dialog box.

Tip: To see the relationship between

MIDI Note numbers and pitches on a
piano keyboard see the MIDI Note to
Pitch Table.

Note Name Note Name

Number Number

36 Bass Drum 69 Tenors - Drum

5 3

37 Bass Drum 70 Tenors - Drum

Rims 3 Rim Shot

38 Bass Drum 71 Tenors - Drum

4 3 Buzz Roll

39 Bass Drum 72 Tenors - Drum

Unison 2

885
40 Bass Drum 73 Tenors - Drum
3 2 Rim Shot

41 Bass Drum 74 Tenors - Drum

2 2 Buzz Roll

42 Bass Drum 75
Buzz Roll

43 Bass Drum 76 Tenors - Drum

1 1

44 Cymbal 77 Tenors - Drum

Smash 1 Rim Shot

45 Crash 78 Tenors - Drum

Cymbals 1 Buzz Roll

46 Hi Hat 79 Tenors - Drum

Choke Spock Drum

47 Crash 80 Tenors - Drum

Choke Spock Drum
Rim Shot

48 M_Snare - 81 Tenors -Hi Rims

LH

49 M_Snare - 82 Tenors -Lo

LH Rim Rims
Shot

50 M_Snare - 83 Tenors - Drum

RH Side Click

51 M_Snare - 84 Crash Cymbal

RH Rim w/stick
Shot

886
52 M_Snare - 85 Chinese
Gok (both Cymbal
hands rim
shot)

53 Short Guz 86 Cowbell

54 Long Guz 87 Lo Agogo

55 M_Snare - 88 Hi Agogo
LH Rim

56 M_Snare - 89 Claves
RH Rim

57 M_Snare - 90 Vibra Slap

Cross Shot

58 M_Snare - 91 Tambourine
Stick Shot

59 M_Snare - 92 Cabasa
Stick Click

60 M_Snare - 93 Hi Muted Conga

Buzz Roll

61 Ride 94 Hi Open Conga

Cymbal Bell

62 Ride 95 Lo Open Conga

Cymbal

63 Open Hi Hat 96 Concert Bass

Drum

64 Closed Hi 97 Muted Triangle

Hat

887
65 Tenors - 98 Open Triangle
Drum 4

66 Tenors - 99 Short Whistle

Drum 4 Rim
Shot

67 Tenors - 100 Long Whistle

Drum 4
Buzz Roll

68 101 Gong

888
MIDI Note to Pitch Table
The following diagram shows the relationship between MIDI Note numbers and
pitch names.

889
890
MIDI Terminology
Sequencing
Technically speaking, Finale isn’t 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.
You’ll 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, it’s 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 using captured
MIDI data. Captured MIDI data is the actual, unquantized MIDI “recording” of a
performance you created using HyperScribe Tool, including your key velocity
information, your ritards, and your pedaling. What’s even more useful is that
once you’ve 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, you’ll 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.

891
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 interface’s 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 port—if 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 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
player’s part.
An Instrument is usually one staff in your score, but it doesn’t have to be. For
example, you’ll probably want to write a piano part on two staves, but those
two staves are considered just one Instrument (and thus they’ll 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.

892
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, you’ll find that Finale’s
Instrument List window gives you a lot of power and control with very little
effort. As a matter of fact, we ’ ve included Instrument Libraries—
preconfigured instrument, channel, and patch setups—for 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
device’s documentation for a reference to its patches.
Finale Instruments and Channels

893
There are 64 Finale channels available for MIDI output. Since each instrument
in Finale’s 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, 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 staff’s information and furthermore, which of the
device’s 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, Finale’s 64
channels are mapped to each of the four devices and their 16 MIDI channels.

Finale MIDI channels on the

Channels connected instrument

1-16 Device One’s

channels 1-16

17-32 Device Two’s

channels 1-16

33-48 Device Three’s

channels 1-16

49-64 Device Four’s

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 Finale’s 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.

894
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 1–16
go directly to channels 1–16 of the specified Input or Output device. The
remaining three sets of Finale channels are mapped to channels 1–16 of the
specified Output or Input device for that set of channels. For example:

Finale MIDI channels on the connected

channels 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.

Note: You can’t 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.

895
More on MIDI
MIDI stands for Musical Instrument Digital Interface. It’s 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 instrument—or 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
transmitted—a note being struck, the pedal being released, and so on—and
what MIDI channel it’s 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 Parameters described by data

status byte 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 MIDI key number and amount of

pressure) pressure applied

Controller Controller number and its value

(see next table)

Patch Change Patch number

896
 Monophonic Aftertouch Amount of pressure applied after
(channel pressure) note is struck

Pitch Bend Position of pitch wheel

System Codes Variable

In a few Finale dialog boxes you’ll 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, you’ll 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.)
While the events in the table above are described by MIDI status bytes, there’s
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 you’ll encounter the term MIDI controller. Controller
data is usually produced by a MIDI device that affects the MIDI notes you’re
playing—pedals, 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.

Controller Controller Controller Controller

number number

1 Modulation 64 Sustain
Wheel (or
Lever)

2 Breath 65 Portamento
Controller

897
 4 Foot Controller 66 Sostenuto

5 Portamento 67 Soft Pedal

time

7 Main volume 91 External

Effects Depth

8 Balance 92 Tremolo Depth

10 Pan 93 Chorus Depth

11 Expression
Controller

Armed with these controller numbers, you can use Finale’s Expression or MIDI
tools to add this kind of data to the playback of your scores.

898
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 isn’t 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.
Percussion Layouts (libraries)
Finale includes many percussion layout libraries that can be loaded into any
document. If you start a new score with the Document Setup Wizard, many of
these are already available in your document. Their purpose is to get you
started and to provide some common approaches to notating percussion
staves. Although users notate percussion in many different ways, Finale’s
libraries are based on one increasingly accepted standard (the Percussive Arts
Society (PAS) standard).
However, since no single standard exists for all percussion notation, you’ll
probably want to create your own custom layouts or edit Finale’s to match your
needs. Once you've created the layouts, save them into your own percussion
layouts 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 layouts are ready for
use in new documents. For a list of percussion layout libraries, see Percussion
Layout Libraries under Finale Libraries in the Appendix.

899
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 Finale’s 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.)
You can review the definition for all of Finale's percussion layouts, as well as
the ones you have defined yourself, in the Percussion Layout Designer dialog
box. (Select the percussion layout you want to reference in the Percussion
Layout Selection dig box.)

900
Percussion MIDI Maps
A Percussion MIDI Map is simply a list that matches each percussion
instrument in a sound library with a particular MIDI note number (e.g. bass
drum = 36, snare drum = 38, etc.). These maps are required to properly assign
the same percussion notation to various playback devices, and are also used
to accommodate the many different percussion sound banks that can be used
for input with an external MIDI device.
PLAYBACK: To playback your percussion parts using the correct instrument
sounds, ensure the appropriate Percussion MIDI Map is selected under the
Percussion Map column of the Instrument List. See To setup playback for a
percussion staff.
INPUT: To designate sounds performed by an external MIDI device so that
they are recorded to the appropriate instrument sounds in Finale, define the
MIDI notes to percussion sounds in the Percussion MIDI Map Editor dialog
box, then choose this Percussion MIDI Map in the Percussion Input Map dialog
box. Note that the same percussion MIDI map can be used for both MIDI input
and playback. Choose MIDI Thru under MIDI/Audio menu > Device Setup to
audition the percussion sounds Finale interprets if you want to use your
MIDI keyboard for input and not for playback.
If you converted your document from an older version of Finale, and you find
that the note types assigned to a converted percussion layout do not represent
your desired sounds, use the Change Note Types dialog box to reconvert note
types based on a different mapping.

901
Plug-in filenames
Plug-in Name Filename

Add Cue Notes Cuenotes.FXT

Apply Human Playback ApplyHumanPlayback.FXT

Auto-Dynamic Autody32.FXT
Placement

Auto-Slur Melismas AutoSlurMelismas.FXT

Automatic Barlines Autobr32.FXT

Band-in-a-Box Auto- BIABAutoHarmonizer.FXT

Harmonizing

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 DefaultRests.FXT

Whole Rests

Check Range Chkrng32.FXT

Check Region for CHKDUR32.FXT

Durations

Chord Analysis ChordAnalysis.FXT

902
Chord Morphing ChordMorphing.FXT

Chord Realization ChordRealization.FXT

Chord Reordering ChordReordering.FXT

Chord Splitting ChordSplitting.FXT

Classic Eighth Beams CEBeams.FXT

Clear Lyric Positioning ClearLyricPos.FXT

Clear Measure Number MeasNumPos.FXT

Positioning

Command Line CommandLine.FXT

Common Tone CommonToneTransp.FXT

Transposition

Count Items Cntitm32.FXT

Create Coda System CreateCodaSystem.FXT

Create Tempo Marking CreateTempoMarking.FXT

Drum Groove DrumGroove.FXT

Export To OpenMusic OMExport.FXT

FinaleScript FinaleScript.FTX

Find Parallel Motion ParallelMotion.FXT

Find Range Fndrange.FXT

Flat Beams / Flat flatbm.FXT

Beams Remove

Frequency Modulation FMChordGenerator.FXT

903
Chord Generator

Global Staff Attributes Gstfatt.FXT

Import From OpenMusic OMImport.FXT

Ledger Lines - Hide & Hsledg32.FXT

Show

Mid-Measure Repeats MidMeasureRepeats.FXT

MusicXML MusicXMLLight.FTX
Import/Export

Melodic Morphing MelodicMorphin.FXT

menu Shortcuts TGToolsLE2002.FXT

Midline Stem Direction MidlineStemDirections.FXT

Move Rests MoveRests.FXT

Notes and Rests - Hide flatbm.FXT

& Show

Number Repeated NUMRPT32.FXT

Measures

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

904
Single Pitch SinglePitch.FXT

Slash Flagged Grace flatbm.FXT

Notes (Remove)

Smart Cue Notes SmartCueNotes.FTX

Smart Page Turns PageTurns.FTX

Split Measure SplitMeasure.FXT

Split Point MoveSplitPoint.FXT

Tie Common Notes TieCommonNotes.FXT

TGTools: Align/Move TGToolsLe.FXT

Dynamics, Cross Staff,
Easy Harmonics, Easy
Tremolos, Handbells
Used, Modify Rests,
Process Extracted
Parts, Smart Playback,
Smart Split Point

Virtual Fundamental Virtfund.FXT

Generator

Voice 2 to Layer Voice2toLayer.FXT

905
Quantization Guide
Yur success at creating notation with the HyperScribe Tool depends largely on
o
the settings you make in 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
you’ve 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 values—such as sixteenth notes—into chord
clusters with larger values, such as eighth notes, or (2) Finale isn’t quantizing
enough—in other words, you’re finding that eighth notes are being notated as
sixteenth notes separated by sixteenth rests, for example, or (3) Finale isn’t
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 you’re 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 Duration—that is, the rhythmic value of your tap—in
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 Rhythm T Smalles Type of

(Tap i t Note Quantization
) m
e

906
Space Notes
Evenly

Space Notes
Evenly

Space Notes
Evenly

Space Notes
Evenly

Mix Rhythms

907
Mix Rhythms

Mix Rhythms

Space Notes
Evenly

Mix Rhythms

908
 Space Notes
Evenly

Mix Rhythms

Space Notes
Evenly

32nd Space Notes

note Evenly

909
Mix Rhythms

910
TapSpace Instruments & Percussion
MIDI Maps
Finale includes a library of more than 100 TapSpace Virtual Drumline
instrument sounds.
When you choose the TapSpace Instruments for Finale 2010 Instrument Set in
Finale's Setup Wizard, Finale loads the TapSpace sound libraries into the Aria
Player automatically and assigns the staff to the corresponding percussion
MIDI map.
To assign TapSpace Instruments to an existing staff, note the staff's channel in
the Instrument List. Then, open the Aria Player to assign the desired
TapSpace Instrument to that channel. Then, apply the corresponding
percussion layout to the staff. Finale includes percussion layouts designed for
TapSpace Instruments accessible from the Percussion Layout Selection dialog
box. Review the Percussion Layout Designer dialog box to reference the
specific instrument mapping for each sound.
For more information, including details regarding mapping instrument sounds
using percussion MIDI maps, see To setup playback for a percussion staff.
All MIDI Note-to-instrument mappings are listed in the Percussion MIDI Map
Editor dialog box.
TapSpace Instrument Sets
Each TapSpace Instrument Set (as it appears in the Setup Wizard) is listed
below. The MIDI Pitch indicates the pitch you would play on MIDI Keyboard to
add the sound (middle C = 60 C4). See MIDI Note to Pitch Table.

911
Troubleshooting
For the most up-to-date information, see our Knowledge Base at
http://finalemusic.com/support.aspx. If you’re 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 2010 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. I’m 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

912
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.
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

913
 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 file’s
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.

914
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 2010 in
Finale 2007.
The following alert will appear when Finale cannot determine a file’s
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 2010 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

915
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)
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:

916
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 can’t add instruments in the Setup Wizard by double-clicking.

What’s 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 2010 Preferences” file found in the System
Folder>Preferences folder. Drag it to the Trash.

917
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 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 don’t, 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 don’t have MIDI input.

918
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 guide. See
Installation for Windows.

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

isn’t 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 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

919
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 aren’t
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 box“Finale is Listening” alert box doesn’t go away.
A: MIDI signals aren’t 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 you’ve 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: I’m not getting accurate, clean transcription when I use

HyperScribe.
A: Your quantization settings aren’t 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.

920
Q: I’m playing my keyboard controller, but no sound is coming out
of my second (sound module) MIDI instrument.
A: You haven’t 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: I’m 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 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 isn’t checked already.
Under "Instrument", ensure that each staff (shown under the "Staff Name"
column) is assigned to the desired instrument.

921
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 it’s 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 don’t 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.

922
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.

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.

923
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
Adobe’s 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.

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:

924
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 you’re 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 you’re running Windows 2000, or XP,
make sure you’re 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.

925
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?
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 è, ö, 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

926
open: From the Document menu, select Data Check, and then Font
Utilities. Choose the Advanced tab and check Convert Text for Macintosh
(see Font Utilities dialog box).

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?

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 Selected Items. Click None, ten check Lyrics and

927
click OK. 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.

928
• 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.

929
Dialog Boxes
Refer to the following topics for information regarding all of Finale's dialog
boxes, how to find them, and what they do.

930
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.
• Add’l 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 you’ve made. You return to the Patterson Beams dialog box.

See Also:
Beaming

931
Patterson Beams plug-in

932
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.
• Add’l 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 you’ve made. You return to the Patterson Beams dialog box.

See Also:
Beaming
Patterson Beams plug-in

933
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 theHelp menu and choose About Finale

See Also:
Customer Support

934
Accidental Octave Placement dialog
box

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 create—and for some nonstandard clefs you
design—you 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 you’re 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

935
 indicator identifies the Unit, or accidental, whose octave placement you’re
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 keys—only a single
key signature—the 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 you’ve
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 you’ve been
defining).

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

936
Accidental Order and Amount dialog
box

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 doesn’t 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 you’re 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, you’d 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 you’re 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.

937
• 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 you’re 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 signature—thus, the Unit numbers are
always positive in a nonlinear key signature.)
The Unit indicator identifies the Unit, or accidental, you’re 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.

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 space—three
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 space—five 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 you’ve finished
assigning accidental placements in a key signature.

938
 • 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 you’ve
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

939
Accidental Settings dialog box

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. Double-click 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.

940
 • 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 you’ll see the effects of
your accidental changes. The handle you clicked remains selected to
remind you that you’ve modified it. Click Cancel to return to the score
without changing any accidentals.

See Also:
Accidentals (Simple Entry)
Accidentals (Speedy Entry)
Special Tools Tool

941
Add Bookmark dialog box

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
you’ve 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 bookmark’s horizontal position on the page. Enter
a value in the Vertical text box corresponding to the bookmark’s 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

942
 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.

• 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

943
Add - Continuous Data dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select some measures. (If you’re 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 you’re 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 box’s 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
controller’s value for all the selected music. The Add command isn’t
relevant if you’ve 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 you’ve specified. You return to the MIDI Tool split-window (or the
score)

See Also:

944
MIDI
MIDI Tool menu
MIDI Tool

945
Add - Key Velocities dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select some measures. (If you’re 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 you’re 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 box’s 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI

946
MIDI Tool menu
MIDI Tool

947
Add Measures dialog box

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

948
Add - Note Durations dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select some measures. (If you’re 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 you’re 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 box’s 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 edit—either 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.

949
 • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data
changes you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI
MIDI Tool menu
MIDI Tool

950
Add SmartMusic Markers dialog box

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.

951
 • 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 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

952
Add Tempo dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select some measures. (If you’re 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 you’re 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 box’s 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI
MIDI Tool menu
MIDI Tool

953
Additional PostScript Information
dialog box

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 doesn’t print out; in fact, you’ll 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 you’ve
made in this dialog box and return to the Compile PostScript Listing dialog
box.

See Also:
Compile Postscript Listing dialog box

954
Adjust Lyric Baselines dialog box

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.
You’ll 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, Finale’s
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 you’re 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.

955
• Number. In this text box, enter the Verse, Chorus, or Section number for
which you’re 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 you’re 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 you’ve specified the Piece
Offset (see above), the lyrics in one particular staff may need a slightly
different placement—for 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 corresponds to the positioning of the second of
the four positioning triangles.) The Staff: indicator identifies the staff by
name, if you’ve 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 piece—in 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 lyrics—but 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.

956
 • 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 you’ve
specified in Document Options-Fonts.

You might click this button, for example, if you’ve just chosen a font for
your verses that’s 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 you’ve made in this dialog

box and return to the score, where you’ll see the effects of your lyric line
positioning (if you’ve 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

957
Alter Feel - Note Durations dialog
box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select some measures. (If you’re 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 you’re 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 box’s contents change to reflect your MIDI data type
selection (key velocities or note durations; the Alter Feel command isn’t
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.

958
• 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 you’ve selected Note Durations from
the MIDI Tool menu, you’re 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 time—or the second quarter note of every beat in
2/2 time—is 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 you’ve selected Note
Durations from the MIDI Tool menu, you’re 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 you’re
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.

959
 • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data
changes you’ve 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 you’re
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 you’re 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

960
Adjust Page Range dialog box

How to get there

Click the Page Layout Tool . From the Page Layout menu, choose Page
Margins, then Adjust Page Range.
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 you’ve made in this dialog box.

See Also:
Page layout
Page Layout Tool

961
Align Time Tags To Note Starts
dialog box

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 you’ve 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, you’re "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

962
Alter Feel - Key Velocities dialog
box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select some measures. (If you’re 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 you’re 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 box’s contents change to reflect your MIDI data type
selection (key velocities or note durations; the Alter Feel command isn’t
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 you’ve 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 downbeats—thus preserving their

963
relative velocity values—click 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 you’ve selected Note Durations from
the MIDI Tool menu, you’re 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 time—or the second quarter note of every beat in
2/2 time—is 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 you’ve selected Note
Durations from the MIDI Tool menu, you’re 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

964
 very loud) or EDUs (1024 per quarter note), depending on whether you’re
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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI
MIDI Tool menu
MIDI Tool

965
Alteration for Slot dialog box

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
Finale’s 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 you’ve selected more than one note, the Slot Number
identifies which of the notes you’re 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

966
 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 you’ve 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 you’ve
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
Search and Replace dialog box
Note Mover Tool

967
Alternate Notation dialog box

How to get there

Click the Staff Tool , and select Staff Attributes or Define Staff Styles from
the Staff menu. Click Select beside 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. You
can also apply alternate notation to portions of staves using staff styles.
(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.)
Tip: To apply alternate notation to
selected measures, use staff styles.
For more information, see Apply Staff
Style.

968
• 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.
• One-Bar Repeat(s). This alternate-notation style hides whatever music is
already in the measures, 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 gets hidden. Instead, they’re 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 the selected layer—such as lyrics—remain in view. This feature opens
up many notational possibilities, such as lyrics beneath blank measures.
• 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 • Show: [Articulations • Lyrics • Expressions • Smart
Shapes]. Use this command to choose which layer you would like the
alternate notation applied. Select the checkboxes below to display those
items attached to notes in the layer selected.
• All Layers • Show: [Chords • Fretboards]. Chords and fretboards are
attached to to the beat, and not a specific layer. Select these checkboxes to
display chords and/or fretboards.

969
 • Other Layers • Show: [Notes • Lyrics • Articulations • Smart Shapes •
Expressions]. This is similar to the checkboxes in the section above, but
they apply to the other layers, not the layer with the alternate notation.
• 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.
• 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.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve
made in this dialog box.

See Also:
Staff Styles dialog box
Document Options-Alternate Notation
Staff Tool

970
Apply Articulation dialog box

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 you’re about to place on the selected notes. (The
articulations in Finale’s 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 you’ve created (or loaded) in
this document. Double-click the one you want; you return to the Apply
Articulation dialog box, where that marking’s 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.

971
 • Notes Within Range of Durations • From (Shortest Note) • Through
(Longest note) • EDUs. It doesn’t 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 value—
and in the Through palette, click the longest note value—you 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 won’t apply staccato marks to
whole notes, half notes, 32nd notes, for example.
If the note-duration you’re looking for doesn’t appear in the palette—for
example, if you want to specify a quintuplet quarter note—you can
calculate its EDUs value and enter that number directly into one of the
EDUs boxes. There are 1024 EDUs per quarter note; you’d enter 1024 for
a quarter note, 128 for a sixteenth, and so on.

• Include Notes that Start a Tie. You usually wouldn’t 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 won’t apply the selected articulation to any note that’s
tied to a later note.
• Include Notes that Continue or End a Tie. Similarly, you normally
wouldn’t expect to find an accent mark on a note that’s 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 you’ve selected (beyond any "smart" positioning it’s 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 specifications—or click Cancel to
return to the score without changing anything.

See Also:
Articulations
Utilities menu
Articulation Tool

972
Apply Human Playback Preferences
dialog box

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.

973
 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
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

974
Apply Music Spacing dialog box

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.

975
See Also:
Linked Parts
Utilities menu

976
Apply Staff Style dialog box

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
don’t 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:

977
Staff styles
Staff Styles dialog box
Staff Tool

978
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 aVST plug-
in, such as "Instruments for Finale 2010." 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 Finale’s 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 2010" 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.

979
• [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 don’t 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.

• 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

980
 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

981
Arrowheads dialog box

How to get there

Enter the Shape Designer (see Shape Designer dialog box). Select
Arrowheads from the Shape Designer menu.
What it does
When you’re 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

982
Articulation Designer dialog box

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 it’s 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 we’ve provided,
work from the Maestro Font Default file we’ve provided, or copy the settings

983
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 you’re working on; click the up or
down arrows on the small control to view the settings of other articulations
in the current document’s library.
• Display On Screen Only (Do Not Print). Select this checkbox to prevent
the articulation from printing.
• Main. The articulation you’re 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 they’re above a note ( or ), and upside-down
( or ) when they’re below a note. Finale lets 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 it’s 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
you’ve specified both a Main and a Flipped symbol to represent this
articulation in its upright and upside-down conditions, use this drop-down

984
 list to select which symbol appears above the note. For example, if your
Main symbol was this fermata , and your Flipped symbol was this one
, you’d choose Main from this drop-down list.

• When Placed Below a Note, use the: Main symbol • Flipped symbol. If
you’ve 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 symbol was this fermata , and your Flipped symbol was this one
, you’d choose Flipped from this drop-down list.

If there’s no "upside-down" version of a symbol—which is usually the

case—choose Main symbol from both drop-down
Once you’ve 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 markings—

notably the rolled chord and trill symbols—need 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 drop-down 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; accents, stress marks, and marcato marks
are good examples. (A key velocity of 0 = silent playback)

985
 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
playback—256 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, you’re telling Finale to shift the attack
of the affected note forward or backward in time (without changing the
note’s 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. That’s 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 you’re attaching an articulation to a chord, because a
chord’s 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, it’s easy to create effects such as rolled chords.

If you don’t need a varied playback effect in chord situations— which is

likely to be most of the time—leave the Bottom Note Value text box empty,

986
 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
note’s 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 that’s 50% greater
than an unaffected note (as in the case of an accent).
• Avoid Staff Lines. If you want to ensure that the articulation you’re
designing will never overlap a staff line, select this checkbox. Note, though,
that Finale will only see to it that the marking’s handle doesn’t fall on a staff
line. It’s up to you to adjust the handle’s position (using the Handle
Positioning button) so that the symbol itself doesn’t fall on a staff line. In the
case of large symbols, you may not be able to find a position that doesn’t
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.

Select this checkbox if you want the articulation you’re 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 marking’s distance should be fixed from the
top note; don’t 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

987
 instruct the articulation you’re designing always to appear in—and
maintain—a 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 note’s
stem in the opposite direction. Choose On Stem Side for a marking that
does the opposite—appears on, and always flips as necessary to remain
on, the stem side of a note. (If you’ve specified a Flipped symbol, Finale
will automatically substitute the upside-down symbol when the stem
direction changes.)
Choose Above Note if you want this articulation always to appear above
the note, regardless of the note’s 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 you’re attaching it to. (This
distance, of course, is subject to the other settings you’ve made in this
dialog box, such as Always Place Outside Staff.)
• Handle Positioning. Finale’s 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 character’s 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 don’t need to
specify a handle position if you’re using the Center Horizontally option.)

988
 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 Finale Libraries.
• OK • Cancel. Click OK to confirm your editing and return to the Articulation
Selection dialog box (or to the score). If you’ve just designed a new
articulation, it now appears in the selection box. Click Cancel to tell Finale
to ignore any editing you’ve 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

989
Articulation Selection dialog box

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.

990
 • 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.
• 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

991
Articulation Designer dialog box
Articulation Tool

Assign to Staves dialog box

How to get there

Click the Expression Tool , and double-click a measure or existing

expression in the score to open the Expression Selection dialog box. (This
dialog box also appears when you’re programming an expression Metatool:
While pressing shift, press a letter or number key.) Choose a category other
than tempo marks, tempo alterations, and rehearsal marks. Click the drop-
down menu next to the Assign button and choose Assign to Specific Staves.
Or, right-click an expression in the score and choose Assign to Specified
Staves.
Note. Tempo marks, tempo
alterations, and rehearsal marks are
displayed on specific staves using
Score Lists. See Category Designer
dialog box.

What it does

992
The Assign to Staff dialog box allows you to define assignment lists, which are
used to specify the staves to which an expression will be assigned. Once
defined, an assignment list appears under the Assign drop-down menu of the
Expression Selection dialog box. Assignment lists are only used for
expressions that apply to a single staff (e.g. dynamics), and any expression
added in this manner is subsequently independent, as if it were added
individually.
Assignment lists are a document setting, and saved with each individual
document.
Note. Only expressions assigned to a
Score List include a Master
Expression.

• Name • [New Assignment List text box]. From this drop-down menu,
choose the desired assignment list. To add a new list, enter a name in the
lower text box and click the Add button to add it to the list.
• [Staves list]. This list displays each staff in the score. Click to place an X
next to a staff to specify you want to add the expression to that staff.
• Add • Remove. Click Add to introduce the current settings and list name to
the assignment list. Click Remove to delete the selected assignment list.
• OK • Cancel. Click Cancel to return to the Expression Selection dialog box
without making changes. Click OK to confirm your selection and add the
expression to specified staves in the score.

See Also:
Expressions
Expression Assignment
Expression Selection
Expression Tool

993
Audio Clip Attributes dialog box

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

994
 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.
See Also:
Audio
Add Bookmark dialog box
View menu

995
Audio Setup dialog box

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.
• 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.

996
 • 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,
you’ll 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 doesn’t hit the red levels. If the levels are too "hot,"
the distortion will cause poor quality recordings and will also impair
MicNotator’s 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 Finale’s
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

997
Automatic Check for Updates dialog
box

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

998
Backward Repeat Bar Assignment
dialog box

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

999
 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
boxes—and thus performed the Repeat Action—it 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 you’re 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 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 you’ve 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
staff’s 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 you’ve made
in this dialog box and place the repeat sign in the score (if it wasn’t 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:

1000
Repeats
Repeat Tool

1001
Baseline Shift dialog box

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

1002
Beam Extension Selection dialog
box

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 you’ve 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

1003
Special Tools Tool

1004
Beaming Chart dialog box

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 haven’t 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 you’ve done and return to
the Mirror Attributes dialog box. Click Cancel to tell Finale to ignore any

1005
 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

1006
Beat Chart dialog box

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 control—even if there’s
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.

1007
• Beat Chart Element (#). This number shows which beat chart handle, in
order from left to right, you’re 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 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,
you’d type 682 into the text box, because that’s 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.

1008
 • OK • Cancel. Click OK to confirm, or Cancel to discard, any changes
you’ve made in this dialog box and return to the beat chart.

See Also:
Measure Attributes dialog box
Measure Tool

1009
Bracket dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the Ossia Tool . If
you’re in Page View, double-click the location on the page to which you want to
attach the "floating measure." If you’re in Scroll View, click the measure to
which you want it attached (or click again if there’s 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 bracket’s 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 bracket’s ends manually once it’s 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

1010
 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 you’ve made in this dialog
box and proceed to the next dialog box—or 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

1011
Bracket Style dialog box

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 Designer’s Bracket Tool, with a single click, you can add a
bracket to a custom shape you’re 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). You’ll have the opportunity to resize or
reshape it once it’s 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

1012
Breath Mark dialog box

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:
SmartMusic
Add SmartMusic Markers dialog box

1013
Category Designer dialog box

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.

1014
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 Score List. For example,
tempo marks often appear above the top staff of a large score, as well as
above the top staff in each instrumental section. Score Lists are also capable
of automatically placing expressions properly in optimized scores, where
various staves are hidden in some systems (see Score List dialog box).
Score Lists are not designed for dynamics. To quickly apply dynamic
expressions to multiple staves, use the Assign drop-down menu in the
Expression Selection dialog box.
Changes to the Category Designer 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

1015
 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.
• 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.

1016
 • 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.
• Score List; Edit. From this drop-down menu, choose the Score List
you would like to apply to the selected category. Score 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 Score List dialog box where you can edit the selected
Score 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

1017
Change Articulation Assignments
dialog box

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 you’ve selected
depends on your setting in the Add to… drop-down list (see below).

1018
 • 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 symbol’s 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 it’s auto-centering,
supposed to lie outside the staff lines, and so on—plus 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 articulation’s
auto-positioning settings.) If you instead choose Add to Current Position
from the drop-down list, Finale ignores whatever auto-positioning you’ve
established for your articulations (in the Articulation Designer dialog box).
Instead, Finale simply slides each marking—from its current position—a
distance you’ve 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 doesn’t 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

1019
Change Chord Assignments dialog
box

How to get there

Click the Selection Tool , and select a region of measures. From the
Utilities menu, choose Change, then Chords.
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 won’t appear), click a
second time to make an check mark appear (meaning that this item will
appear), and click a third time to make it filled again (meaning that this item
will be unchanged).

1020
 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 a check mark 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 the right. Click yet again to make the
checkbox filled, 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 them—or 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 filled—meaning that
Finale won’t change this element at all. To turn an item off (so it won’t play
back), click the checkbox so it turns white. To turn an item on, click again,
so that a check mark appears in it. Click yet again to make the checkbox
is filled 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.
• 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

1021
 change the chord name to an italic style, select Italicize Capo Chords from
the Chord menu.
• Scale All Chords By • Scale All Fretboards By. Use these values to
specify the chord symbol and fretboard scaling for the selected region. The
scaling percentage specified here is in addition to the global chord symbol
and fretboard scaling percentage specified in Document Options-Chords.
(Note that to retain consistent scaling of chords with suffixes, use the
Chords Symbol option in Document Options-Fonts.)
• 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.
• Use Fretboard Font. Choose this item to use the default font for fretboards
in Select Default Fonts, instead of custom fretboards.
• 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 symbol—from its current position, even if you’ve dragged it by
hand—a 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 won’t move them at all.
• OK • Cancel. Click OK to confirm the changes you’ve 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

1022
Change Chord Suffix Fonts dialog
box

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 document’s 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

1023
 identify the font, size, and style you want to change. If you only want to
change one element—for example, you want to change the type size but
not the font or style—deselect 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 won’t
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, regardless of the font—and 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 they’re 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 you’ve 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

1024
Change Clef dialog box

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.

1025
 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.
• 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 you’re only changing a
single measure, you don’t 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

1026
Change Lowest Fret dialog box

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 Staff’s 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

1027
Change Note Durations dialog box

How to get there

Click the Selection Tool , and select a region of measures. From the
Utilities menu, choose Change, the Note Durations.
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 note’s rhythmic value—
to 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, you’d 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 you’re halving the rhythmic values of a passage, an eighth-note tuplet will

1028
 become a sixteenth-note tuplet. If you don’t select this option, the eighth
note tuplet will remain the same.
• Rebar Music. If you’re 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 selection—redistribute notes in their measures—so that each measure
contains the proper number of beats.
• OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel
to return to the score without making any changes.

See Also:
Note durations
Utilities menu

1029
Change Note Size dialog box

How to get there

Click the Selection Tool , and select a region of music. From the Utilities
menu, choose Change, then Note Size.
What it does
Using the Change Note Size dialog box, you can change the sizes of all notes
in a selected region. It’s 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

1030
Change Expression Assignments
dialog box

How to get there

Click the Selection Tool , and select a region of measures. From the
Utilities menu, choose Change, then Expressions.
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 you’ve 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 you’ve 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

1031
 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 symbol’s 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).
If you instead choose Add to Current Position from the drop-down list,
Finale simply slides each marking—from its current position—by the
distance you’ve 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

1032
Change Note Types dialog box

How to get there

From the Document menu, choose Data Check > Reconvert Percussion Note
Types.
What it does
When Finale converts a file from Finale 2009 or earlier, it uses MIDI note
information based on General MIDI mapping to determine the proper Finale
2010 note type. Use this utility to reconvert note types based on a different
mapping if you find that the note types assigned to a converted percussion
layout do not represent your desired sounds. See Percussion MIDI Maps.

• Select a Percussion Layout to Update. From this popup menu, choose

the percussion layout you would like to update. All percussion layouts can
be referenced in the Percussion Layout Designer dialog box.
• Current Note Types are Based On. From this popup menu, select the
Percussion MIDI Map that corresponds to your imported percussion
layout/map/what does this mean?
• Change Note Types Based on This Percussion MIDI Map. From this
popup menu, choose the Percussion MIDI Map you would like to apply to
the selected percussion layout. Select the Percussion MIDI Map that
matches the playback (and/or input) device for which the percussion layout
was originally created.
• OK • Cancel. Click OK to confirm the changes you’ve made. Click Cancel
to return to the score without making any changes

1033
Change Noteheads dialog box

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 non-custom
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 you’ve made. Click Cancel
to return to the score without making any changes.

See Also:

1034
Noteheads
Utilities menu

1035
Change Ties dialog box

How to get there

Click the Selection Tool , and select a region of music. From the Utilities
menu, choose Change, then Ties.
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.

1036
 • 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.
• 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

1037
Change Tuplets dialog box

How to get there

Click the Selection Tool , and select a region of music. From the Change
submenu of the Utilities menu, choose Tuplets.
What it does
In this dialog box you can change the definition of both the rhythmic and visual
aspects of tuplets—the number of eighth notes that are to be played in the time
of a quarter note, for example—and 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

1038
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 discussion—although 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 box—in 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 you’re 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

1039
 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), 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 you’ve 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

1040
 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 don’t 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 on-screen. 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
left-most 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 it’s 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

1041
 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 you’ve created. You return to the score.

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

1042
Character Settings dialog box

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

1043
 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).
• Tracking. Enter the amount of horizontal space, in em’s, that Finale should
leave between characters for the selected text. One em is equivalent to
1/1000 of the point size. Em’s 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

1044
Check Graphics dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the Graphics Tool
. Choose Check Graphics from the Graphics menu.
What it does
Finale doesn’t actually embed a graphic in your Finale document when you
place a graphic. Instead, it places a link to the graphic’s 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.

1045
 • 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
you’ll 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.
• 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

1046
Check Repeats dialog box

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

1047
Choose Junction for Staff dialog
box

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.

1048
 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.

• 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.

1049
See Also:
To combine two files with ScoreMerger

1050
Chord Definition dialog box

How to get there

Click the Chord Tool . Choose Manual Input from the Chord menu.
Double-click a beat in your score where you want to add the chord symbol. If
the note already has a chord attached to it, right-click the handle and choose
Edit Chord Definition to edit the current 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.

1051
When you type a chord symbol, then press spacebar (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 the Chord Definition
dialog box, then you can pop this chord into the score at any point just by
clicking the beat to which you want it attached while pressing 5.

• Chord Symbol. Use this text box if you’d 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 spacebar (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, you’ll 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.

1052
• Show: Root. In general, you’ll 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: Root—Lowercase. Select Lowercase if you want the Root Scale
Tone to appear in lowercase. For example, if you’re using the Roman
display chord style, you’d 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 you’re 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 Bass—Lowercase. Select Lowercase if you want the
Alternate Bass note to appear in lowercase. 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.

• 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 it’s the denominator of a fraction)

1053
 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

chord’s root may affect playback when
the chord doesn’t 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 Tone—Alteration. You can specify a modification of the
diatonic scale step you’ve 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 Bass—Scale 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 you’re 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 Bass—Alteration. 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

1054
 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 suffix’s number appears in the Chord
Suffix ID box. If the chord suffix hasn’t 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.

1055
 • OK • Cancel. Click OK to return to the score and add the chord you’ve
created or edited to the score. Click Cancel to return to the score without
adding, or making changes to, a chord.

See Keystroke table in the Chord menu/Type into Score section, 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

1056
Chord Suffix Editor dialog box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click any note that doesn’t 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 chord’s
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 seventh—the
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
chord’s playback.

1057
You can also use the Chord Suffix Editor dialog box to teach Finale new
chords when you’re entering chords using one of Finale’s automatic analysis
modes. When you see the Unknown Chord Suffix dialog box, 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 (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 you’re 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 you’ve specified a different font for the
character. (The character appears with the correct font in the display area.)

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

• Number. Select this option if the symbol you’re 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 didn’t select Number, you’d 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). You’ll generally use these prefixes in conjunction with a number (–
9, for example), but they’ll 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 suffix’s handle
(where the crosshairs intersect, at the suffix’s 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

1058
 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 character’s handle in any direction, the
H: and V: numbers will change as you move it. If you’re 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 you’ve already selected the last character in
the suffix (and it’s displayed in the Symbol text box), then click Next to open
a slot for an additional character; Finale will automatically place the new
character’s handle far enough to the right that it doesn’t 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 you’re
combining several fonts within a single suffix—for example, if the suffix
contains a half-diminished symbol (ø), 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 you’ve selected using the Set Font button. Click the Update
button to see the effects of your font changes in the display area.)

Incidentally, don’t 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.) (There’s 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 symbols—Ef, for

example—as well as the flat and sharp prefixes within the chord suffixes.)

1059
 • 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 they’re obscuring some small character, for example). You
can still drag the character by its handle, but the handle itself will be
invisible.
• 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, you’ll see the character
at all times while you’re dragging it; when Update isn’t selected, you’ll only
see the character in its new position when you finish dragging.

• OK • Cancel. Click OK to confirm the settings you’ve made in this dialog

box and return to the Chord Definition (or Chord Selection) box. If you’ve
created a new suffix, it’s 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

1060
Chord Suffix Selection dialog box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click a note that doesn’t 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 you’ve
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

1061
top right corner of an item in the selection dialog box. This character indicates
the Metatool assigned to the item.

• Edit. If you’ve 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
suffix’s appearance or playback definition. Any alterations you make to one
occurrence of a suffix automatically change all occurrences of that suffix
throughout the score. You might use this technique, for example, to change
o
all occurrences of "Gdim7" to "G 7".

• Create. If you don’t see the suffix you’re 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 you’ve 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). Double-
clicking 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.

1062
See Also:
Selection Overview
Chord Definition dialog box
Chord Tool

1063
Clef Designer dialog box

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

1064
 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 you’ve
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 Finale’s music font) it looks like the G-clef symbol (&).

If you’re 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 you’re editing. If there’s 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 isn’t 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 isn’t the
bottom of the character—it’s the "curl" that’s 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). It’s measured in the currently selected units, inches by
default.

1065
 Clefs in the Maestro, Petrucci, Engraver, Broadway Copyist, 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, Broadway Copyist, 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), you’ll 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

1066
Clef Selection dialog box

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 clef’s 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

1067
Click and Countoff dialog box

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

1068
 with Playback Controls. Choose While Recording if you want the countoff
only when you’re recording with HyperScribe. Choose While Playing if you
want a countoff only when you’re playing back with Playback Controls, or
choose Never if you don’t 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 don’t 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.

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 don’t 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, you’ll 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; you’ll 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
you’re 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.

1069
 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 0—127 (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 device’s
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

1070
Click Assignment dialog box

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 you’ve
created different lyrics types—Verse, Chorus, and Section—the Click
Assignment window will display only the most recent lyric type you’ve 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 you’re 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 don’t select Auto Update, the lyrics may
overlap slightly as you’re 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

1071
 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 you’re "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
Lyrics Tool

1072
Click Input dialog box

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 don’t have to choose the Click Input
command at all, in this case; if you’re recording Time Tags in a separate pass,
Finale assumes that any key you tap is meant to be the tempo tap, provided
that (1) you’ve remembered to click the Record button under the words Time
Tag, and (2) that you’re 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 you’ll be tapping. If you’re 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.

1073
• Listen. When you click this button, Finale displays a message telling you
that it’s "listening." The program will translate the next MIDI event you
transmit—by tapping a key or pedal, for example—into the MIDI codes.
You’ve just specified the device (key, pedal, or controller) and the MIDI
channel Finale will listen to for Time Tags; now you’re ready to record Time
Tags and a performance simultaneously.

If the "Finale is listening" message doesn’t 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).

• Ignore First Data Byte. In short, this checkbox tells Finale how particular it
should be about the MIDI event it’s receiving—in 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, don’t 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 box—the first data byte—when determining whether or not a MIDI
event matches the event you’ve specified for your Time Tags.)
• Second Data Byte Greater Than Zero. This checkbox should almost
always be selected. The only time it shouldn’t be selected is when you’re
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 transmission—the key velocity of the Time Tags,
for example. Therefore, unless you strike the key with precisely the
specified key velocity, Finale won’t 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
won’t confuse the drum machine’s 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.

1074
 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

1075
Click Output Type dialog box

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 won’t 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

1076
 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 transmit—by playing a key, for
example—into the MIDI codes. (Technically, Finale registers the next two
MIDI events—a note on and note off command, for example, that constitute
a single key strike.) You’ve 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, you’ll 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.
• OK • Cancel. Click OK to confirm the click settings you’ve 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

1077
Color dialog box

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.

1078
Compile PostScript Listing dialog
box

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. You’ll 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

1079
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 full-size 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 page—either Portrait (the
standard upright orientation) or Landscape (sideways). The same applies if
you’re tiling pages—use these buttons to tell Finale the orientation of the
pages you’ll be taping together.
• 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). You’ll note that Finale
fills in these boxes automatically when you select your paper size, because
Finale assumes you’ll 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 you’re creating one large tiled
page by taping several standard pages together, this option will center the
printed music on the composite page. If you don’t 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.

1080
 • 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.
You’ll 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 you’ve made.
Finale asks you to name the PostScript listing (or EPS file) and then
proceeds to create it, storing it on your disk; you’ll 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 isn’t 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 or
Broadway Copyist as the music font,
but you could also use Petrucci,
Engraver Font Set, or Jazz.

See Also:
PostScript
File menu

1081
Composite Time Signature dialog
box

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

1082
 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
Time Signature dialog box
Time Signature Tool

1083
Create/Edit Ending dialog box

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.

1084
• 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.
• 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 drop-down 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

1085
 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

1086
Custom Arrowhead Selection dialog
box

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 you’ve 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.

1087
 • 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.
• 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

1088
Custom Frame dialog box

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 visually—or to create a new one—click
Select. The Shape Select dialog box will appear; if you’ve 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 you’re 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,

1089
 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 they’re
initially superimposed, so that all you can see is the white one). The white
circle represents the location of the custom frame’s handle when it appears
in the score.

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 you’re editing it on-screen. When you’ve
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

1090
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.

1091
Dashed Line dialog box

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 you’re creating a shape in the Shape Designer, you can specify that a
selected line (or one you’re 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 Finale’s 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

1092
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.

1093
 • OK • Cancel. Click OK (or press enter) to confirm, or Cancel to discard, the
keyboard shortcuts you’ve 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

1094
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.

1095
See Also:
Blank pages
Page Layout menu
Page Layout Tool

1096
Delete Element dialog box

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

1097
Diatonic Instrument Definition
dialog box

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

1098
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 understand—and display—in 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.

1099
Special mouse clicks

• Press Ctrl-Alt-A at any time to open the Document Options dialog

box.Hold down the
• Hold down the Ctrl key to move to the next page 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

1100
Document Options-Accidentals
dialog box

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.

1101
• 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
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 accidental’s 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.

1102
See Also:
Accidentals (Simple Entry)
Accidentals (Speedy Entry)
Document Options-Fonts
Document menu/Document Options

1103
Document Options-Alternate
Notation dialog box

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

1104
 and diamond noteheads and how these symbols attach to note stems when
you’re 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 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

1105
Document Options-Augmentation
Dots dialog box

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.

1106
 • 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.
• 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

1107
Document Options-Barlines dialog
box

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.

1108
• 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.
• 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 Measure’s
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 Measure’s 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. Finale’s 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. Finale’s 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

1109
 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

1110
Document Options-Beams dialog
box

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.

1111
• 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 line—the 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.
• 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
beam—the 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
beams—for 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 you’ve 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 that’s bridged
by a beam.

1112
 • 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.

The Maximum Distance from Middle Staff Line setting specifies the
maximum distance a beam may be from the middle line of the staff. It’s
calculated based on the note that’s 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

1113
Staff Attributes dialog box
Patterson Beams and Flat Beams plug-in
Time Signature Tool
Document menu/Document Options

1114
Document Options-Chords dialog
box

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.
• Scale All Chords By • Scale All Fretboards By. Use these values to
specify the global chord symbol and fretboard scaling. (Note that to retain
consistent scaling of chords with suffixes, use the Chords Symbol option in

1115
 Document Options-Fonts.) The scaling percentage specified here is in
addition to any staff or page resizing applied with the Resize Tool. (Chord
symbols and fretboards are no longer note-attached, and therefore do not
adjust according to the note size). To change the scaling of specific chord
symbols or fretboards by region, use the Change > Chords command under
the Utilities menu. See Change Chord Assignments dialog box.
• 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

1116
Document Options-Clefs dialog box

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, it’s 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.

1117
 • 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.
• 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. (Finale’s 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 clefs—those that appear just
before the left barline of the measure they’re to modify. (Contrast with mid-
measure clefs, which can appear anywhere in a measure.) The default
value is –.028 inches (a negative number, because it’s 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 clefs—including their
appearance, placement, and effect on the music.

See Also:
Clefs

1118
Clef Tool
Clef Designer
Document menu/Document Options

1119
Document Options-Flags dialog box

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 Finale’s 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 Finale’s 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

1120
 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 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

1121
Document Options-Fonts dialog box

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.

1122
• 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 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 element—notes, flags, rests and so on. Use the drop-
down list to set the font for each item. There’s 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 Finale’s Type Into
Score method.
• Chord Alteration Baseline Adjustment: Sharps • Flats • Naturals. Use
these controls to set baseline values individually for sharp signs, flat signs

1123
 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

1124
Document Options-Grace Notes
dialog box

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%.

1125
 • 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. It’s customary to place a small
diagonal slash through the flag of any grace note that’s 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.
• 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

1126
Document Options-Grids and
Guides dialog box

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.

1127
 • 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.
• 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

1128
Document Options-Key Signatures
dialog box

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.

• 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

1129
 line whether this option is selected or not, if you’ve 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 aren’t 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 way—by canceling the first
key signature before displaying the second. If you don’t select this option,
Finale won’t 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, it’s
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.

1130
See Also:
Key signatures
Key Signature dialog box
Key Signature Tool
Document Options-Fonts
Document menu/Document Options

1131
Document Options-Layers dialog
box

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 Finale’s Layer mechanism. Using these options, you can define the
behavior of music in each layer—for example, you might want the second
layer’s 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 you’re 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 4—since there

1132
 aren’t any more stem directions to choose from—depends on the structure
of the inner voices in the particular piece you’re 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 you’ll want to
freeze Layer 1’s stems up and Layer 2’s 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 necessary—when there’s another voice (that is,
in another layer) on the same staff.
• Freeze Ties in the Same Direction as Stems. When there’s only a single
voice on a staff, a tie customarily arcs away from the noteheads it’s
attached to—hence, 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, you’ll 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 voice’s rests up out of the way only when there’s 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 options—involving stems, ties, and rests—to apply only
when there’s another voice (in another layer). If you don’t 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 you’re using hidden notes in another layer for
playback of a notated trill. Check Ignore Hidden Layers to have Finale skip

1133
 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 won’t 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

1134
Document Options-Lines and
Curves dialog box

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
non-PostScript 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

1135
 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.
• 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 be—but (as
indicated in the wording of the dialog box) the longer it’ll take the program
to draw them on the screen. For that reason, you may want to leave the
Curve Resolution on Low while you’re 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

1136
Document Options-Lyrics dialog
box

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

1137
 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.

• 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

1138
Document Options-Multimeasure
Rests dialog box

How to get there

You can access the Multimeasure Rest options from a number of places,
depending on whether you’re 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

1139
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, 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 won’t 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 shape’s 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 that’s 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 you’re notating rests with symbols instead of a shape. Standard
notation practice advises using symbols for rests that are less than nine
measures. If you don’t 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

1140
 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 don’t 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 you’re 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

1141
Document Options-Music Spacing
dialog box

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

1142
 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 you’ve specified, Finale will adjust them so that
they fall within the specified range.

This feature can be useful for setting whole-rest and whole-note measures
to some width that’s wider than Finale’s 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 you’ve 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 weren’t manually
positioned; after spacing, Finale will add the positioning to its result. Finally,
choose Incorporate to include any manual adjustments into Finale’s
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

1143
 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 doesn’t have a predetermined width value—a 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 values—a sixteenth note and a 32nd note, in the
quintuplet example—and 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. 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 you’ve

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

1144
 choose Apply Music Spacing from the
Utilities menu.

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

1145
Document Options-Notes and Rests
dialog box

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 it’s 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

1146
 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 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 you’re
specifying; it appears in the system font, regardless of what it looks like in
the music font. For example, even if you’ve selected an X notehead in the
Maestro music font, you’ll 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 symbol’s 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 0

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

1147
 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 apart—
an F in the stems-down voice and a G in the stems-up voice, for example—
which you must drag apart so that their noteheads don’t 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 they’re 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 note—a quarter-inch, for
example—instead of storing the note-heads’ positions relative to the
measure width. Therefore, even when the measures change width, notes
that you’ve 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, you’ll 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 cross-staff 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 won’t 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 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

1148
 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

1149
Document Options-Piano Braces
and Brackets dialog box

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.

1150
 • 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 center—the
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

1151
Document Options-Repeats dialog
box

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.

1152
• 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.
• 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

1153
 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

1154
 Document Options-Staves dialog
box

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 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 Finale’s “Topline” position on
staves with fewer than five lines (such

1155
 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 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

1156
Document Options-Stems dialog
box

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

1157
• 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 that’s 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 note’s
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

1158
 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 that’s drawn on the
"wrong" side of its notehead; it’s encountered most frequently in
conjunction with cross-staff notes.

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

1159
Document Options-Beams
Stem Connections
Document menu/Document Options

1160
Document Options-Text dialog box

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

1161
 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
you’re using a font other than Maestro for your music font.
• 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

1162
Document Options-Ties dialog box

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

1163
 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 tie’s distance horizontally from the inside
edge of the first note tied note. A larger number 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 tie’s 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 tie’s 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 tie’s 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
multi-dotted 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.

1164
• 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 tie’s 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 tie’s 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 tie’s 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 evenly—ties in the upper half of the
chord go over tied notes, and ties in the lower half of the chord go under
tied notes.

1165
 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.

1166
 • 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

1167
Document Options-Time Signatures
dialog box

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.

1168
 • 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 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, it’s
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, it’s 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

1169
Time Signature dialog box
Document menu/Document Options

1170
Document Options-Tuplets dialog
box

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

1171
 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.
• 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 you’ve 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

1172
 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 don’t 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
left-most 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 it’s 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

1173
 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 that’s aligned precisely with the central notehead of the group.
When the number appears on the stem side of the triplet, Finale follows the
same rule—it 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 triplet’s 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.

1174
 • 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

1175
Dot Offsets dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the Special Tools Tool
. Then, click the Dot Tool and 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 you’ve made to the status of the dot you clicked. You return to the
score.

See Also:
Document Options-Augmentation Dots
Special Tools Tool

1176
Duration Allotments dialog box

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 you’ve 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 value—from sixty-fourth
note to double whole note. The Spacing Width indicator tells you which of
such duration/width pairings you’re 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 you’re
viewing. If you want to create a new duration/width pairing—for a tuplet that
has no specified allotment, for example—you 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 it’s one-fifth of a
quarter note, whose duration is 1024). Then you enter a width allotment in
the Allotment box, and click Insert.

1177
 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 it’s 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
isn’t evenly divisible into a quarter note—a quintuplet value, for example—
the 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 you’ve
selected using the Measurement Units submenu of the Edit menu.) If you
notice that a certain Spacing Table isn’t 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.
(Don’t worry about typing over existing values; Finale will remember the
values you’re 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 you’ve 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 you’ve 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 you’ve 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

1178
Document Options-Music Spacing dialog box

1179
Edit Bookmarks dialog box

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 you’ve
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.

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 • 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

1181
Edit Filter/Clear Selected Items
dialog box

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

1182
 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 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.
If you’re 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 can’t exist unless there are
notes they can be attached to).

Tuplet Definitions This element is only available when you’re 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 don’t
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.

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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
you’re 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 Score Lists: Dynamics, Expressive
Text,Technique Text, and Miscellaneous (see
Expressions).

Expressions; Tempo... (Copy or Erase) Expression markings in categories with

Score Lists: Tempo Marks, Tempo Alterations, and
Rehearsal Marks (see Expressions). Stack Selection
Required.
Smart Shapes (Assigned (Copy or Erase) The intelligent, stretchable expression
to measures) markings created with the Smart Shape Tool: slurs,
brackets, crescendos, and so on.

Smart Shapes (Assigned This checkbox allows you to select note-attached slurs or
to Notes) 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 you’ve attached to

Measures) measures with the Text Tool.

Beam Extensions These elements refer to beaming changes you’ve 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 once—in 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, they’ll receive the same custom beaming as the
source measure. See Special Tools Tool.

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Dot and Tie Alterations Special Alterations include any changes you’ve made
with the Tie or Dot tools in the Special Tools Tool. See
Special Tools Tool.

Notehead, Accidental This item includes any reductions or enlargements

and Tablature String you’ve performed on notes or note groups with the
Alterations Resize Tool, as well as adjustments you’ve made to the
positions of notes or accidentals with the Special Tools,
or string changes to fret numbers on TAB staves. If
you’ve created a measure of cue notes, for example,
you’d 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 you’ve 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 once—in 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, they’ll receive the same custom beaming as the
source measure. See Special Tools Tool.

Stem and Beam This element refers to custom stemming and beaming
Alterations you’ve created with the Special Tools Tool. It includes
any changes you’ve 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 you’ve 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

1185
 passages in your score (or erase it altogether).
You can use the MIDI Tool to copy or erase only specific
elements of performance data—for example, only the
key velocity data, or only the Note Duration (Start and
Stop Time) information.

Smart Shapes (Assigned This checkbox allows you to select note-attached slurs or
to Notes) bends for copying and erasing.

Stem and Beam This element refers to custom stemming and beaming
Alterations you’ve created with the Special Tools Tool. It includes
any changes you’ve made with the Stem Length, Custom
Stem, Broken Beam, Beam Angle, and 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 (Copy or Erase) Graphics you’ve attached to measures,

Measures) in Scroll View only, with the Graphics Tool.

Measure Number (Copy or Erase) Any occurrences (in a region for which
Positioning & Enclosures you’ve specified measure numbers with a geometric
enclosure on Selected Numbers) where you’ve 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 (Copy or Erase) Floating measures you’ve attached to

measures) 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

1186
 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 you’ve 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 you’re 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

you’ve 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.

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

1187
 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 you’ve 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
Edit menu

1188
Edit Frame dialog box

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
You’ll 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. You’ll encounter

1189
some technical terms in this discussion; one of the most important is entry,
which refers to any note, rest, or chord.
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 you’re editing. A
frame refers to one measure in one staff. You should note, however, that
Finale doesn’t number the frames in the order they occur in the score—
instead, 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 you’re 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 you’re 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) you’re looking at. The first entry in the measure is 0, and the "slots"
are numbered from left to right; there’s 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, there’s an articulation mark
attached to currently displayed entry.
• Beam/Beat. If this checkbox is selected, the currently displayed entry isn’t
beamed to the note before it.
• Beam Ext. If this checkbox is selected, the currently displayed entry’s
beam has been extended with the Beam Extension Tool (within the Special
Tools Tool).

1190
• Chord. If this checkbox is selected, there’s a chord symbol attached to the
currently displayed entry.
• Clef Change. This very technical item is used by Finale’s 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 it’s
a rest) is fixed on the middle staff line (or another line, if you’ve 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 entry’s
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 entry’s
stem has been frozen up or down. (See the checkbox labeled Up/Down in
the fourth column of dialog box items; if it’s selected, the stem is frozen up.)
• Grace. If this checkbox is selected, the currently displayed entry is a grace
note.
• Ignore. If this checkbox is selected, the currently displayed entry is invisible
and doesn’t play back (because you’ve 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 isn’t selected acts as an
"end-of-measure" mark to Finale (see Entry Slot [#]," above)—meaning that
Finale ignores it and any subsequent notes.

1191
• 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, it’s a rest.
• Perf Data. If this checkbox is selected, there’s 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, you’ve 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 entry’s 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, there’s 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 entry’s
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, there’s 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.

1192
• Up/Down. If the Freeze Stem checkbox is selected, this checkbox indicates
whether the currently displayed entry’s stem has been frozen up or down. If
Up/Down is selected, the stem is frozen up; if not, it’s frozen down.
• Voice 2. If this checkbox is selected, the currently displayed entry belongs
to Voice 2.
• V2 Beam. Under normal circumstances, you can’t 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 2–launched groups;
you’ll 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. It’s 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
isn’t correct, select this checkbox for the first note of the Voice 2 tuplet to
correct the notes’ positioning.
• Note Slot (#). This indicator specifies which of the notes in a chord you’re
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 note’s 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 note’s
accidental appears, even if it wouldn’t normally (such as the natural before
a C in the key of C)—sometimes called a courtesy accidental.
• (Accidental). If this checkbox is selected, there’s an accidental in
parentheses on the current entry.

1193
 • 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 you’ve 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 note’s notehead is drawn on the "wrong" side of its stem, usually
because it’s 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 note’s
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 you’ve 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

1194
Edit Keyboard Shortcuts dialog box

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.

1195
 • 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 Finale’s 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.
• Reset to Defaults. Click Reset to Defaults to reset the currently selected
keyboard shortcut set to Finale’s 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 you’ve added, edited, or deleted. You return to the
score.

See Also:
Simple menu
Simple Entry Tool
Define Keyboard Shortcut

1196
Edit Learned Chords dialog box

How to get there

Click the Chord Tool . Choose Edit Learned Chords from the Chord menu.
What it does
When you use one of Finale’s 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 you’ve 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: "I’ll 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 "I’ll 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 Finale’s default notation for the same chord
(Am7/C). Or you might want Finale to learn a chord by another name—for
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 you’ve 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

1197
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 won’t 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 you’re 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 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 won’t 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 won’t remove any chord symbols already in the score
by clicking this button—Finale simply won’t 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 you’ve 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 pitches—and the same bass
note—as the learned chord for which you’re searching. Finale responds
either by displaying the chord symbol or by telling you that it doesn’t
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, you’re asked whether
or not you want to edit the chord

1198
 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

1199
Edit Lyrics dialog box

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 you’ve specified
with the Set Default Fonts command in the Document menu)—for example,
you can italicize a phrase within the lyrics. If you’ve 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 you’ve 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

1200
Lyrics Window. Change a word in the Edit Lyrics window and it’s 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 window—but not
when you erase lyrics from the score using the Selection Tool or the Adjust
Syllables feature. In those cases, you’re 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 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. They’re 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

you’ve 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 you’ve
entered or changes you’ve made while in the Edit Lyrics window. You
return to the score.

See Also:
Lyrics
Edit menu
Lyrics menu
Lyrics Tool

1201
Edit MIDI Modifiers dialog box

How to get there

Click the Speedy Entry Tool . From the Speedy menu, choose Speedy
Options. Click Create Key Map or Edit Key Map.
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.

1202
 • 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.
• 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

1203
Edit MIDI Note dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Double-click a measure with notes to open the MIDI Tool window. 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 you’ve specified. You return to the MIDI Tool split-
window (or the score).

See Also:
MIDI
MIDI Tool

1204
Edit Modal or Chromatic Spellings
dialog box

How to get there

From the Edit menu, choose 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 it’s 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 you’ve
created, like a church mode.

1205
• 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.

1206
Edit Major and Minor Key Spellings
dialog box

How to get there

From the Edit menu, choose Enharmonic Spelling > Edit Major and Minor Key
Spellings.
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. You’ll 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 half-step 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 it’s entered in your score.

1207
 If you select b2, the same half-step 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 half-step 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 it’s entered in your score.
If you select b2, the same half-step 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

1208
Edit Page Margins dialog box

How to get there

Click the Page Layout Tool . From the Page Layout menu, choose Page
Margins, then Edit Margins.
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:

1209
Page layout
Page Margins submenu
Page Layout menu
Page Layout Tool

1210
Edit System Margins dialog box

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

1211
Page Layout menu
Page Layout Tool

1212
Edit Text dialog box

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

Finale’s 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

1213
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
you’re currently editing. The type of text block being edited—full or
abbreviated staff name, group name, or block of text—appears first (Item
Type). The text’s Finale-assigned ID number also appears.

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

Finale’s text editing window.
See Also:
Text menu
Edit menu
Lyrics Tool
Text Tool

1214
Edit Text limited dialog box

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, ctrl-click 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

Finale’s 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

1215
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.

• Editing: [Item Type] • ID [ID #]. These settings identify the text block
you’re currently editing. The type of text block being edited—full or
abbreviated staff name, group name, or block of text—appears first (Item
Type). The text’s 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

Finale’s text editing window.

See Also:
Text menu
Edit menu
Lyrics Tool
Text Tool

1216
Elapsed Time dialog box

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

1217
Enclosure Designer dialog box

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.
Finally, you encounter this dialog box in the Measure Tool. Click the Measure
Tool and select Edit 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 you’ve 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.

1218
• 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 don’t want an enclosure to appear.

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 shape’s 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 Finale’s default height of the enclosure,
in the selected measurement units (Edit menu).
• Width. Type the distance to add to Finale’s 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 don’t 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 text’s 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 enclosure’s height doesn’t 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.

1219
 • 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

1220
Erase Layer dialog box

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 layer’s
contents be placed into a layer that already contains notes. Click OK.

See Also:
Move/Copy Layers dialog box
Edit menu

1221
Executable Shape Designer dialog
box

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 that’s
being used as an Executable Shape. If you don’t know the number of the
shape you want to use—or if you haven’t yet created it—click Shape ID;
you’ll 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). You’ll 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 haven’t told Finale to do otherwise, it will "sample" (or
consult the level of) an Executable Shape once every eighth note. For

1222
 example, if you’re creating a rallentando that lasts for one measure of ,
Finale will decrease the tempo slightly in eight eighth-note increments.

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 you’ve
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 you’ve specified) over time. If you leave the Level
Scale at 1:1, Finale examines the shape you’ve 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 you’ve 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), you’ll hardly hear any tempo change at all in the playback.
Based on what you now know, you’ll realize that it’s 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!

1223
 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.
• 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 can’t 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 it’s 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:

1224
 • Repeat Count. There may be times when you want the Executable Shape
you’ve just defined to repeat itself several times. For example, if you’ve just
designed a magnificent trill that lasts for only a quarter note—but you want
to create a trilling whole note—you 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 won’t restrike the note at all, because Finale doesn’t notice
any changes in the line’s 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 you’ve specified a sample list by selecting
Use List, and if the shape is long enough to produce more samples than
the highest number you’ve entered in the Sample List, Finale will ordinarily
start over at the beginning of the Sample List in deciding which samples to
"notice." If you’d rather have Finale respond only once to the specific
samples named in the list—and not to repeat the action—select this option.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the Executable
Shape settings you’ve made and proceed to the next dialog box.

Tip: Create your shape to be exactly

as you want—span the amount of
time and offering the exact effect you
want. Then set Time and Level Scales
to 1:1

See Also:
Expression Tool

1225
Executable Shape Selection dialog
box

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. You’ll
enter the Executable Shape Designer dialog box, where you can modify
Finale’s interpretation of the shape (or, by clicking Shape ID, you enter the
Shape Designer dialog box, where you can modify the shape itself).

1226
 • 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.
• 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 can’t delete it if it’s
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, you’ll
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

1227
Exercise Wizard dialog box

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.

1228
• 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.
• 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.

1229
• 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.

1230
• 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

1231
 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 you’ve
created as a lesson, as notation files for each instrument in the ensemble,
or both. A lesson file (.LSN) can be opened by the 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.

1232
Explode Music dialog box

How to get there

Click the Selection Tool , and select a region of measures. From the
Utilities menu, choose Explode Music.
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, Finale’s 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.

1233
• 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 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 you’re
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.

1234
 • 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

Finale’s 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

1235
Extract Lyrics dialog box

How to get there

From the Lyrics menu, choose Export Lyrics.
What it does
The Export Lyrics dialog box 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 export all
lyrics, all lyrics of a specified type, or any single lyric of a specified type.

• Lyric Type · All · Verse · Chorus · Section. Choose which lyric or lyrics to
extract from the current score. Type the specific verse/section/chorus
number in the adjacent text box.
• Remove Hyphens and Underscores. When this checkbox is selected,
normal hyphens and underscores are removed from the text.

• Copy All to Clipboard. Click this button to load the contents of the
preview window to the clipboard. Then, select a destination, such as a
word processing document, and press Ctrl-V to paste.
• Save Text File. Choose this option to open the Save Text As dialog
box where you can name, choose a location, and save the lyrics as a
text file.
• Cancel. Click this button to dismiss the Export Lyrics dialog box and return
to the score.

1236
Export MIDI File Options dialog box

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 file—
by 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 1–4, Chords, and Expressions) can have its
own Instrument assignment. Remember, too, that unless you’ve given each
of these elements its own Instrument, the resultant MIDI file won’t 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

1237
 different Instrument assignments. So, again, for the purposes of this file
format, make sure you’ve assigned a different Instrument to every element
(Layer 1–4, 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 piece—that 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 you’d like the Finale
bookmarks converted to sequencer marks.
• Don’t 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 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

1238
Export Selection/Pages dialog box

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 you’re 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.

1239
• 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.
• 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 file’s 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, you’re
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 drop-down list to change the resolution of the TIFF file, or
enter a value between 1–3500 dpi into the text box; the higher the value,
the better quality of printout you’ll obtain. Generally, you should set this
value to match the resolution of your printer. For example, if you’re printing
on a 300 dpi printer, enter 300. If you’re 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

1240
 may run out of memory. 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.

• 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

1241
Expression Assignment dialog box

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 you’ve selected an expression to place in the score, you can access this
dialog box for several additional options pertaining to the marking’s 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

1242
 mark. Specify the marking’s 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 marking’s handle when you return to the score. The measurement
unit is determined by the settings chosen for Measurement Units in the Edit
menu.

• Scale Expression with Attached Note. With this box checked, Finale
resizes the expression to match the reduction of its corresponding note in
the score. If the expression is reassigned to a note of a different size, it
resizes respectively. Notes can be resized several different ways: with the
Resize Tool using the Change Note Size command under the Utilities
menu, or by using one of the cue notes plug-ins such as the Smart Cue
Notes Plug-in.
• 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. Note that Expressions can be assigned to specific layers
using the Favor Attachment to Active Layer command under the
Expression menu.

• 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 marking’s playback
definition. For example, it’s possible to specify that a dynamic marking
affect only the chord symbol above the music to which it’s attached, or to
attach a patch change to only one of Finale’s four layers.

• Begin Playback at Beginning of Measure • Position in Measure. If the

expression you’re 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, you’ll
hear its effect at the beginning of the measure. When Position in Measure
is selected, you won’t hear the marking’s 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 you’ll 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

1243
Expression Selection dialog box

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 you’re
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) you’ve 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.

1244
• Edit. After clicking an existing expression, click Edit to enter the Expression
Designer dialog box, where you can edit it. Remember that you’re
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.
• 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.
• Assign • . After clicking an Expression in the selection box, click Assign
to add it to the score. To assign dynamics, expressive text, and technique
text (and other expressions that apply to individual staves) to multiple
staves simultaneously, use the adjacent drop-down menu. Choose Assign
to Staves to open the Assign to Staves dialog box where you can specify
on which staves the expression will appear. The drop-down menu is not
available for expressions that apply to the full score (tempo and rehearsal
marks). These expressions are designated to appear on specific staves
according to the category's Score List. See Category Designer.
• [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.

1245
 Note. You can simply double-click the
desired expression instead of clicking
it and clicking Select.

See Also:
Expressions
Selection Overview
Expression Tool

1246
Expression Designer-Main dialog
box

How to get there

Click the Expression Tool , and double-click a note or measure. Click

Create, or click an expression and then click Edit.
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 you’ve 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

1247
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.
• 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 marks—you can enclose each letter in a
neat rectangle.
• Use Auto-Sequencing Style • A, B, C...Measure Number. [Available for
rehearsal marks only]. Check this box and choose a rehearsal mark style
from the adjacent drop-down menu to use this expression for a series of
automatically incrementing rehearsal marks that retain their consecutive

1248
 sequence whether added, reordered, or deleted in the score. See
Rehearsal marks. Choose Measure Number to use the style defined in the
Measure Number dialog box. If there is no measure number region defined,
Finale will use the “real” measure numbers for rehearsal marks and use the
defined measure number style. If there is more than 1 measure region
present, Finale will use the measure numbers as defined by the first
measure number region.

If auto-sequenced rehearsal marks are already in the score and this

option is unchecked, Finale will leave the existing rehearsal mark
expressions intact, but remove each auto-sequenced number or letter,
leaving empty placeholders. If you wish to remove auto-sequenced
rehearsal mark expressions you can delete them individually in the score
(see To erase expressions from a region), or delete the definition directly
from the Expression Designer dialog box (by selecting the expression's
box, clicking Delete, and choosing "Delete element from both selection
palette and score").

• Hide Measure numbers. [Available for rehearsal marks only]. With this box
checked, rehearsal marks automatically take the place of measure
numbers on the measures added. In other words, measure numbers are
hidden in favor of rehearsal marks. If the rehearsal mark is subsequently
deleted or moved to a different measure, the measure number reappears
automatically (if assigned to show in the Measure Number dialog box).
• 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 you’ll 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 don’t want to permit a shape to be stretched horizontally—
for 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.

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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:
Expressions
Expression Selection
General MIDI Patch Numbers & Names
Enclosure Designer
Playback Data Dump
Expression Tool

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Expression Designer-Positioning
dialog box

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 mark.

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• 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 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

1252
 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

1253
Expression Designer-Playback
dialog box

How to get there

Click the Expression Tool, and double-click a note or measure. (If you want to
edit a text expression that’s 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.

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 • Type: Tempo. Select this option if you want the marking you’re 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),
don’t enter any value in the Set To Value box. Instead, use an Executable
Shape.
• 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 Controller Controller Controller Controller Controller

number number number

1 Modulation 7 Main 65 Portamento

wheel or volume
lever

2 Breath 10 Pan 66 Sostenuto

Controller

4 Foot 64 Sustain 67 Soft Pedal

Controller 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 you’re
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), don’t 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 you’re
creating to affect the transposition of the music wherever it appears in the

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 score. (Use this option to define an 8va marking, for example—but don’t
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, don’t 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 you’re 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 you’re 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 you’re
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 you’re 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 it’s 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.
• 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

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 Execute Shape and Select to choose—or create—the shape that’s 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 staff’s playback information over more than a single MIDI channel. If
you’re 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
you’ve 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 you’ve told Finale not
to use this stored tempo information, it will use the default tempo you’ve set
in the Playback Controls, or it will adhere to any Tempo-defined
expressions you’ve 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

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 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.
• 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

1258
 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 SmartMusic’s 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 SmartMusic’s 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.

1259
 • Set to Value. The number in this text box specifies the MIDI value of the
playback parameter you’ve 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 you’ve selected, as shown
in this table.

Drop-down list Set to Value Drop-down list Set to Value

choice units choice units

Tempo Beats per minute Channel MIDI channel (1

to 16 [or 17–32, if
you’re using both
ports])

Controller 0 (off) or 127 (on) Patch Synthesizer patch

for pedals; any number (1 to 128)
value from 0 to
127 for variable
controllers (such
as a modulation
wheel)

Key Velocity MIDI key velocity Pitchwheel Pitch wheel

(0 to 127) position (-8192 to
8191; 0 is "at
rest" position)

Transposition Half steps Channel Channel

(positive or Pressure Pressure (0 to
negative) 127)

• Execute Shape • Select. While some playback effects take place

instantaneously (a tempo or volume change, for example), others occur
over time—a ritard, for example, or a crescendo. To create playback
definitions of this latter type, you can assign a Text Expression to an
Executable Shape—in essence, a graph whose contours Finale "reads" as
it plays back the music. The number in this text box identifies the
Executable Shape you’ve chosen to represent the playback effect of the
marking you’re 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 doesn’t 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.)

1260
 • Play Only on Pass ___ . If Finale encounters the expression whose
playback you’re defining more than once—in other words, if it falls within a
repeated section you’ve created using the Repeat Tool—the 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 you’ve created an
expression such as "ritard 2nd time only" by entering a 2 into this box,
Finale will apply the playback definition you’ve 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

1261
Extract Parts dialog box

How to get there

Open the document from which you’ll 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.

1262
 • 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
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 "Symphony No 6"

dialog box

%p Part name "Flutes 1 and 2"

%s First staff name "Flute 1"

%a First abbreviated staff name "Flt I" or "Pno"

%i First staff number "1"

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.

1263
See Also:
Extracting parts
Document Options-Music Spacing
Page Layout menu

1264
File Info dialog box

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
you’re sending the file. The File Information dialog box has plenty of room for
you to enter the title of the piece, the composer’s name, copyright information,
and a document description. You can type any file-specific information that you
may want to refer to later on. If you’re 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 file’s 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.

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 • 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.

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

1266
File Integrity Test Results dialog box

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 2010 prevents further damage from occurring. While using 2010 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.

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 • 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.
• 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

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File Maintenance dialog box

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 you’re working on, Finale doesn’t 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

1269
 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

1270
File Statistics dialog box

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 copyists—how 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 isn’t quite right either, because
an expert user with a high-powered 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 doesn’t count any measures that contains whole rests,
even if they’re "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:

1271
File menu/File Info

1272
Fill dialog box

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 you’re 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 it’s 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 you’ve 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
don’t, 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

1273
Expression Assignment

1274
Filter Channels dialog box

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 Track-to-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 you’ve 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 haven’t 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.

1275
 • 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 that’s
higher than the High number; Finale will include in the transcription all
notes except those in the register you’ve just outlined.) Note, however,
that you don’t have to calculate the key numbers and type them in
manually—you can play them instead.

• Listen. Click the Listen button beside each pair of text boxes, and play
each note—the lowest, then the highest note in the range; Finale enters
their key numbers in the text boxes automatically.
• 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

1276
FinaleScript Editor dialog box

How to get there

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

1277
 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 Indicates whether or not the selected

found) 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

1278
 • Dark blue for numbers
• Dark Orange for strings "between quotes"
• Red for font names (between brackets)
• Light gray for comments
• Dark gray for unrecognized words (ignored by FinaleScript)

See Also:
FinaleScript plug-in

1279
Fit Measures dialog box

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 you’ve 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.)

1280
 • 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.
• 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, you’re changed systems
will now display them. See View menu.

To undo measure groups you’ve 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

1281
Fit to Time dialog box

How to get there

Click the MIDI Tool . Select a region of music. From the MIDI Tool menu,
choose Tempo. Then, 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 Playback’s 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 you’ve specified.

See Also:
MIDI Tool

1282
Fixed Split dialog box

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) you’ve 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 flute’s register to place in
one staff; only the notes in the bass’s 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 refer—and all
notes in between—will be split into their own staff.

Note: You don’t have to calculate the

key numbers and type them in
manually. Click the Listen button (see

1283
 below) beside each pair of text boxes,
and play each note—the 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) you’ve
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.
• 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, you’ll see Fixed (if you clicked OK) or None
(if you clicked Cancel).

See Also:
Track/Channel Mapping

1284
Fixed Split Point dialog box

How to get there

Click the HyperScribe Tool . Choose Split into Two Staves from the
Record submenu of the HyperScribe menu.
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 you’re 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.

1285
See Also:
HyperScribe Tool

1286
Font dialog box

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 you’re 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 Font Utilities dialog box. At the top of the dialog box,
Finale shows you the actual text you’ve 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.)

1287
 Note: When you’re 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 you’re 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.

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 that’s the case,
select Fixed Size; Finale won’t 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 you’ve selected, as follows: Bold, Italic,
Underline, and Hidden.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the font change
you’ve specified. You return to the previous dialog box.

See Also:
Articulation Tool
Expression Tool
Lyrics Tool
Measure Tool
Text Tool

1288
Font Annotation dialog box

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. We’ve 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.
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

1289
 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 character’s origin and baseline.
• Bounding Rectangle: Top • Left • Right • Bottom. These text boxes
reflect the values for the annotated size of the font character.
• 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 character’s origin and baseline.
• View % • Magnifier Glass + • Magnifier Glass -. Select a view percentage
from the View drop-down 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 you’ve made, and return to the Font dialog box.

See Also:
Program Options-Edit

1290
Font Utilities dialog box

How to get there

From the Document menu, choose Data Check > Font Utilities.
What it does
This dialog box tells Finale to inspect the font of every musical element in your
piece—articulations, expression marks, chord symbols, the music itself—in
search of the font you’ve 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.
This dialog box also includes variety of commands related to font
management, including dealing with fonts in files opened cross-platform.

Basic tab:

• Search For This Font • Select. Click here to select the font, size and/or
style to search for. Finale presents the Font dialog box.
• Replace With This Font • Select. Click here to select the font, size and/or
style with which to replace the found items. Finale presents the Font dialog
box again.
• Apply Changes to Fonts in Shapes. This option determines whether
Finale will search shapes, as well as text, for font changes when you select

1291
 any of the data check options relating to fonts. When this option is not
selected, Finale only searches text—such as text expressions, lyrics, staff
and group names, text blocks—for font changes. Finale does not change
the fonts for any font characters embedded in shapes.

Note: When Apply Changes to

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.

• Scale Font Size to: _%. Enter a value in this text box to change the size of
a font throughout the Finale document.
• Check Document Fonts Against System Fonts. Choose this menu item
to compare the font list in the file opened to the font list of the computer
being used.

Advanced tab:

• Reset Symbol Fonts List to Default. Choose this option to restore the
default list of Symbol Fonts in MacSymbolFonts.txt. This command is
useful if a font has been added to the list of symbol fonts
unintentionally, which was considerably easier to do while opening
files cross-platform in versions of Finale older than Finale 2009a.
• Sync Document to Symbol Fonts List. If a document is saved on a
Macintosh, where a font such as Times is listed as a Symbol Font, then
opened on a Windows computer where Times is NOT listed as a symbol
font, this command updates the document to treat Times as a non-Symbol
Font. Then, it will re-encode the required text.

Note: If a font is marked as a

non-Symbol Font on the first
computer, then opened on a
computer where it is marked as
a Symbol Font, selecting this
option will mark all the text as
Symbol Font text, BUT WILL
NOT RE-ENCODE THAT TEXT.
This is a limitation of cross-
platform encoding; it cannot be
done reliably more than once.
When text is re-encoded upon
opening a document, any
attempt to undo it (by encoding it

1292
 for the opposite platform) will not
yield reliable results.

• Convert Text for Windows. This command tells Finale to convert higher
ASCII text font characters (such as è, ö, and hard spaces) to the
appropriate font encoding for Windows.

See Also:
Data Check Submenu
Document menu

1293
Frame Attributes dialog box

How to get there

Click the Text Tool. Click a text block handle, then choose Frame Attributes
from the Text menu. Or, shift-double-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, left-facing
(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 (you’d select Left
Pages, and 6 Through 10 to display the text block on every left page

1294
 between pp. 6–10, 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, you’d
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.
Note: A text block assigned to a measure will only appear on the page
containing that measure, so the page settings aren’t 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
you’re 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

1295
 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 block’s position starting from either the page margin or page
edge. Select Page Margin to have Finale measure the text block’s
position starting from the page margin. Select Page Edge to measure the
text block’s 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

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 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.

• 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

1297
Fretboard Editor dialog box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click any note that doesn’t 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.

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 • 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.
• 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 root’s 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

1299
Fretboard Instrument Definition
dialog box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click any note that doesn’t 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 chord’s
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.

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 • 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 don’t 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.
• 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

1301
Fretboard Selection dialog box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click a note that doesn’t 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 you’ve 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

1302
 number of the fretboard you selected in the Fretboard ID text box and
places the selected fretboard in the score (when you click OK). Double-
clicking 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.
• Edit. If you’ve 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 don’t see the fretboard you’re 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 you’ve 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

1303
Fretboard Shape Selection dialog
box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click any note that doesn’t 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 chord’s
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.

1304
 • 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 you’ve 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.
• Create. If you don’t see the shape you’re 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 you’ve 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

1305
Fretboard Style Fonts and Shapes
dialog box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click any note that doesn’t 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 chord’s
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

1306
 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:
Chord Definition
Fretboard Editor

1307
Fretboard Styles dialog box

How to get there

Click the Chord Tool , choose Manual Input from the Chord menu, then
click any note that doesn’t 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 chord’s
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 you’re editing.

• String Spacing. Enter the distance between strings on custom fretboards.
• String Thickness. Enter how wide to draw the strings on custom
fretboards.

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 • 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.
• 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

1309
Full Measure dialog box

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.

See Also:
Staff Styles
Staff Tool

1310
Graphic Attributes dialog box

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 you’re 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.

1311
• 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 of the referenced graphic. This is especially useful if the
file link is broken (which happens when linked files are moved). This setting
is retained between Finale sessions.
• 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 (odd-numbered) 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. 6–10). 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, you’d 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.

1312
 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 you’re
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 you’re 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 graphic’s position starting from either the page margin or page
edge. Select Page Margin to have Finale measure the graphic’s position
starting from the page margin. Select Page Edge to measure the graphic’s
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 V: to position the graphic
from the top-left of the measure, which is the default position if H: and V:

1313
 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 measure- and 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 graphic’s 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.

1314
 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

1315
Garritan Ambience dialog box

How to get there

From the MIDI/Audio menu, choose Instrument Setup > VST Instruments.
From the FX drop-down menu for one bank of channels, choose Ambience
Reverb, then click the Adjacent Edit button.
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 three-dimensional 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

1316
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.”

• 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 aren’t 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 roll-off 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

1317
1318
Group Attributes dialog box

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.)

1319
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.

• 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 group’s attributes will alter its

appearance in Scroll View. The changes will also appear in every staff
system in Page View—unless you’re 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 group’s attributes in Page View will affect its

1320
 appearance in every staff system—except for optimized staff systems—
but won’t 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 group’s 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.

• Group Optimization: Optimize Normally • Only Remove if All Staves

are Empty • Never Remove. These options dictate how Finale will treat the

1321
 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 don’t 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, non-printing
group names in the score.

1322
 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

1323
Guitar Bend Options dialog box

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.

1324
 • 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 you’ve made to your settings for guitar bends. You return to the
score.

See Also:
Guitar notation
Smart Shape menu

1325
Hand Width Split dialog box

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 Track-to-Staff List. In the
Track/Channel Mapping for Staves dialog box, click the first row of information
you haven’t yet filled in. Click Hand Width.
What it does
This dialog box lets you transcribe the contents of the sequencer tracks you’ve
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 point—provided there’s 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 you’re transcribing. Finale
automatically enters the key number into the appropriate text box (in
which you’ve 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

1326
 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 you’ve 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

1327
Handle Positioning dialog box

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
themselves—and distance themselves uniformly from the notehead—
automatically.
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 you’ve told Finale to center it on the note, it’s 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 symbol’s
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 symbol’s extra height when you use the Avoid Staff Lines
placement option. See Articulation Designer dialog box. (Note: You generally
don’t need to specify a handle position for each marking for centering
purposes; Finale automatically measures a symbol’s 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

1328
 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 you’ve just made. You return to the Articulation Designer
dialog box.

See Also:
Articulation Designer
Articulation Tool

1329
Human Playback Custom Style
dialog box

How to get there

From the MIDI/Audio menu, choose Human Playback, then 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.

1330
 • 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.
• % 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 Bach’s Well-
Tempered Clavier has an entropy close to zero (except at the end, which
leads to some rubato) while about any of Beethoven’s 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

1331
 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 Garritan Instruments for Finale 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
Garritan Instruments for Finale 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 aà peu, nach und nach, little by little, sempre,
toujours, always, and immer.
Other wording intensifies or softens the effect including: molto, moltissimo,
moltiss, très, beaucoup, much, più, un poco, poco, pochissimo, poch, un
peu, légèrement, etwas, a little.

1332
• 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.

1333
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.
Performance of Gruppetti (Music Font char. 84) depends on context,
following classical 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.
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).
Garritan Instruments for Finale 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

1334
 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. Garritan Instruments for Finale 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

1335
 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.
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 typical difficult case is a
single sustained note starting and ending . HP solves this by
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

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 Markings do not conflict with Automatic Piano Pedaling function. Near
notated pedal markings, HP will not apply the automatic pedal function.
Pedal Markings with Garritan Instruments: Garritan Instruments for
Finale 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. Note-attached 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 cross-measure, 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 Après-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.

1337
 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: Garritan Instruments for Finale 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.).

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• 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.

• 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

1339
 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 dialog
box

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 Playback’s
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

1341
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 Playback’s interpretation using these settings.
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
2008 or 2009 to Finale 2010 using the Import function (explained below).
The default Human Playback Preferences set handles playback for SoftSynth,
Garritan Instruments for Finale, Garritan Personal Orchestra, 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 drop-down 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,

1342
 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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Human Playback Preferences -
Dynamics & Volume dialog box

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 Playback’s interpretation of dynamic
markings such as hairpins and dynamic expressions.

• Type: Automatic • Key Velocity Only • Volume Contr. Only. Click this
drop-down menu and choose Key Velocity Only to apply

1344
 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
Playback’s 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 from the finest up to a on the same
sustained note, with, unlike GM Volume, highly 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. -like accents are given both a

1345
 velocity peak and a Controller #1-based peak. An 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
Human Playback Preferences - Ornaments & Tremolos
Human Playback Preferences - Tempo Variations
Human Playback Preferences - Garritan Specials

1346
Human Playback Preferences -
Instrument Techniques & Effects
dialog box

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

1347
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, 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 détaché 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 device’s 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.

1348
 • 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.
Let’s take the Pizzicato as an example:

The first popup is the kind of instrument. It can vary from instrument type or
family, to isolate instruments:

1349
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 (détaché 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:

The subsequent 3 action lines basically count fewer and fewer items. In our
example, we have:

1350
 Action 1

Action 2

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:

1351
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 “Garritan”. You’ll find some more details about the filter below.
So to abstract our Garritan pizz:

• Any strings
• Keyswitch note# F-2
• Use Velocity
• Search device with name containing “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:

It’s 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

1352
external MIDI playback. At that point it is important to emphasize that HP
scans all playback devices available automatically, whether they are AU- or
VST-based, 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.
Staff’s Channel. This means to go back to the original staff’s channel. This is
generally used for “Ordinario” or “Standard” types of technique.
Staff’s Channel Relative. The corresponding popup is from –16 to +16. This
is particularly useful because it does not depend on absolute channel #, and

1353
some prefer to always organize their sample the same way (arco=#n,
pizz=#n+1, tremolo=#n+2, as an example).
Staff’s 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: “garritan” will filter devices “Garritan Instruments for
Finale”, “Garritan Personal Orchestra” or “Garritan Jazz”.
If device name doesn’t 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

1354
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 :

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, …).

1355
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 hard-wired.
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.
Spiccato, for Human Playback, means very short staccato, whether from
actual notation (accidentals) or from user MIDI stop time edits.
Martelé (Martellato) means heavily accentuated, relatively short, non slurred,
notes. From notation or user MIDI data.
Détaché 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).

1356
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 (don’t 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):

1357
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

Cup, Harmon, Bucket mutes (text). Those are found in JABB, enabled by
various wording.

Harp techniques:

Timpani techniques:

1358
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

1359
Human Playback Preferences -
Garritan Specials dialog box

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

1360
 eighth notes. It is also customary to play consecutive 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 Garritan Instruments for Finale 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

1361
Human Playback Preferences
Glissandi & Bends dialog box

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.

1362
 • 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 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. Garritan
Instruments for Finale Pitch Bend Range is 12 semi-tones. Garritan
Instruments for Finale 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

1363
Human Playback Preferences - MIDI
Data dialog box

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 Playback’s interpretation.

1364
 • 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 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 Playback’s
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

1365
Human Playback Preferences -
Ornaments & Tremolos dialog box

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.

• Minimum Speed of: Trill/Orniment:_Notes/Second •

Tremolo:_Notes/Second. Enter a value in this text box to specify the

1366
 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

1367
Human Playback Preferences -
Tempo Variations dialog box

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.

1368
 • 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 note’s original duration. Check
Ritardando Before to gradually reduce the tempo prior to fermatas (highly
dependent on the context).
• Don’t 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

1369
Hyperlink

How to get there

Click the Text Tool . Double-click the page to create a text block. Highlight
the text, then, from the Text menu, choose Hyperlink.
What it does
This dialog box allows you to define the display text and URL for a hyperlink.

• Display Text. Here, enter the text you want to display on the page.
• Link Address. Here, enter the URL. Finale adds http:// if necessary. To
test the link, click outside the text block, then Ctrl-click the handle. Also, you
can click the Selection Tool and Ctrl-click the handle to test the link. Finale
opens the website using the system's default Internet browser.
• OK • Cancel. Click OK to confirm your settings and return to the score.
Click Cancel to return to the score without creating a hyperlink.

1370
HyperScribe dialog box

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 dots—left 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 you’ve 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 you’re generating. If either of the
buffer boxes becomes completely filled with dots, that’s your warning that the
computer can’t transcribe the notes as fast as you’re playing them; if you don’t
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
you’d 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

1371
Quantization Settings
HyperScribe Tool

1372
HyperScribe Options dialog box

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 you’ll 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 you’re 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.

1373
 • 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 you’re 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 that’s the
case, select Only Channel, and enter the MIDI Channel number in the text
box. Otherwise, select All Channels; HyperScribe will transcribe the music
it’s 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 you’ve
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.

See Also:
HyperScribe menu
HyperScribe Tool

1374
Implode Music dialog box

How to get there

Click the Selection Tool , and select a region of measures. From the
Utilities menu, choose Implode Music.
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.

1375
See Also:
Utilities menu

1376
Import MIDI from Clipboard dialog
box

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 you’re 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

1377
Import MIDI File Options dialog box

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 file-type 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, you’re essentially telling it to
transcribe the file. The options in this dialog box are very similar to those you
encounter when you’re 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).

1378
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 sequencer’s 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 register of the music in
each track. In fact, if the notes have such a wide range that it wouldn’t 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 (that’s 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 don’t 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 Don’t show this
during File Open selected. If you have selected Set Track-to-Staff List and
Don’t 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 File’s. 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 won’t see the results

1379
 of Finale’s intelligent guesses until it’s 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 File’s. 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 it’s been transcribed. (These are
the same as Save Tempo Changes, and Save Continuous Data
checkboxes in the Transcription window.) If you don’t 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 you’ve 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 Finale’s
instrument list.
• 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.

1380
 • Create Percussion Staves: Channel • Clef • Percussion Layout. 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 Layout text box indicates
which Percussion Layout will be used to adjust the display of percussion
noteheads and placement. Click the Select button to choose a different
percussion layout. See Percussion.
• Don’t 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 Don’t 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
weren’t quite right, you can close the new Finale document and try again—
the original MIDI file is unaffected by Finale’s 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

1381
Import Score Files - Options dialog
box

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 drop-down 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

1382
 (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

1383
Import Score Files - Order dialog
box

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

1384
File menu

1385
Insert Blank Pages dialog box

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 you’re working with Facing

Pages with different left and right
page margins, inserting two pages at

1386
 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

1387
Insert Staff Systems dialog box

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

1388
Instrument Definition dialog box

How to get there

Choose Instrument List from the Window menu, if it isn’t 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

1389
 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 Appendix-Bank 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.
• 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 List’s "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.
• Perc. MIDI Map. From this drop-down menu, choose the desired
Percussion MIDI Map for playback. See Percussion MIDI Maps.
• OK • Cancel. Click OK to confirm or Cancel to disregard your changes.

See Also:
Instrument List
General MIDI Patch Numbers and Names

1390
Instrument Junction dialog box

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.

1391
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
• 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

1392
Instrument List dialog box

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-timbral—capable of playing more than one
instrument sound at once—the 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 staff—and, 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 keyboard’s 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, it’s 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 reverse—map a single staff into multiple
Instruments—by setting a staff’s layers to play on different MIDI channels with
different patches.

1393
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 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 you’re not multitrack recording (Record into One Staff or Split into Two
Staves is selected in the Record Mode submenu of the HyperScribe
menu), you don’t 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 Control’s Record button
(instead of clicking a measure in the score), then you must use the
Instrument List’s 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 won’t record into the staff or layer).

1394
 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 you’re using multitrack

recording, you must set up the
Instrument List window’s R and
RChan columns for each staff (or
layer) you want to record into.

Note: When you’re 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
don’t 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 List’s R column to
determine which staff to record into
only if you click the Record button on
Playback Controls.)

• Staff Name • [Arrows]. In the Instrument List, you see the staves in your
score. (If you haven’t named the staves, they appear numbered.) Using the
controls in this staff’s row (Play, Solo, and so on), you establish its various
playback features.

1395
 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 elements—
allowing the music on each layer, for example, to have its own sound.
Chords refers to the chord symbol you’ve placed in a staff; they can
actually play back over their own patch and channel, if you wish. (If you
don’t 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 board—in
the event that you’ve created expressions that control these external
devices—you 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 you’ve 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, you’ve 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 wish—for example, you can
solo two or three staves, and all the others will be silent. In fact, you can
solo all staves, although there wouldn’t be much point, since you may as
well solo none of them.

1396
• 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 you’ve 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 layers—simply choose one of
your Instrument names from the Instrument drop-down list, and the staff
you’re working with will automatically get the same MIDI channel,
program, and bank settings as other staves with that Instrument.
Here’s 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 22—and if you change the
program or channel for either staff, the other staff’s program or channel
will change to match.
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 you’ve assigned several staves to the same Instrument, by the way,

remember that they’re 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.)

1397
• 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 you’ve assigned several staves to the same Instrument, once again

remember that they’re 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.
• Perc. MIDI Map. From this drop-down menu, choose the desired
Percussion MIDI Map for playback. See Percussion MIDI Maps.
• 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 it’s 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

1398
 Instrument Definition dialog box, where you can change all aspects of an
instrument’s 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 instrument’s 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 won’t 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 you’ve 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 isn’t selected, then
Finale will assign every staff 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

1399
Instrument Name Assignments
dialog box

How to get there

From the File menu, choose Scanning: SmartScore Lite > Scan and Import.
Scan and import the file. In the SmartScore Lite 5 dialog box, click Final Scan.
Prepare the your settings and then click Begin Recognition. Finale prompts
you with this dialog box.
Or, from the File menu, choose Scanning: SmartScore Lite > Import and
Existing TIFF File. Then, add a TIFF graphic and click Begin Recognition.
Before opening the file, Finale prompts you with this dialog box.
What it does
This dialog box allows you to select instruments for scanned staves so that
Finale applies the correct staff name and instrument transposition when the
staves are converted into a Finale document.

• Part Name. Here, a drop-down list appears for each staff. Choose the
instrument that most closely matches the desired instrument staff, minding
the listed transposition. You can type a new instrument name and then
press enter to add it to the list. If you type a new staff name, the new entry
will continue to use the same key listed in the parentheses.
• Abbr. Enter the desired abbreviated staff name for each staff here.
• MIDI Instrument. From this drop-down list, choose the desired General
MIDI instrument. Your choice here will be represented in the Instrument
List.
• OK • Cancel. Click OK to finish translating the file. Finale will apply the staff
name, instrument transposition, abbreviated staff name, and MIDI

1400
 Instrument when the document is finished converting. Click Cancel to finish
translation without setting up the staves.

See Scanning

1401
Intelligent Accompaniment dialog
box

How to get there

From the Utilities 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.

1402
Interval dialog box

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 you’re 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) steps—and in the Alteration box, enter the number of
chromatic steps—by 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 you’ve 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

1403
Items to Snap to Grid dialog box

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

1404
Items to Snap to Guide dialog box

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

1405
View menu

1406
Key Signature dialog box

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 Finale’s 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

1407
 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 differently—notably 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 doesn’t adhere 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 key—in other words, you’re 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 modal—in 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 there’s an F sharp in
the key signature—but 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 you’ve specified) will be
transposed up or down by the same interval as the measure you originally
clicked. (If you don’t select this option, Finale will wipe out any key
changes, and will notate all the specified measures in the key signature
you’ve specified at the top of the dialog box.)

1408
 • 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 you’ll 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

1409
Key Step Map dialog box

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 doesn’t 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" (it’s
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 you’re 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

1410
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 hasn’t been constructed according to these rules.
The format, however, won’t 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
you’ve established a quarter-tone key system, for example, you’d 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. You’d have to play the C, E, and G
sharp "keys" on your keyboard to notate the C, D, and E on the screen.
(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 won’t 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)
you’ve created in your scale.
• Diatonic Steps. This indicator keeps track of the number of diatonic steps
you’ve 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
you’ve 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
you’ve created. If you click OK, Finale asks if you want to save changes.
You return to the Nonstandard Key Signature dialog box.

See Also:

1411
Nonstandard Key Signature
Key Signature Tool

1412
Last Recorded Tempo dialog box

How to get there

From the View menu, choose Studio View. Select the HyperScribe Tool
and click on the TempoTap Staff. Record a tempo change and click the score.
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

1413
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.
Finale’s default document, named "Maestro Font Default.ftm" and located
in the Component Files folder, is a single staff document with 31 measures.

1414
 • 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 Finale’s TWAIN support.
• 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 Finale’s 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

1415
Limit - Continuous Data dialog box

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 you’re 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 you’ve specified (on a scale from 0 to 127). For example—
although it doesn’t 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 value—so that you’ll 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:

1416
MIDI Tool menu
MIDI Tool

1417
Limit - Key Velocities dialog box

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 you’re 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 above an dynamic

level by limiting the notes in the region to a maximum MIDI velocity value of,
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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:

1418
MIDI Tool menu
MIDI Tool

1419
Limit - Note Durations dialog box

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 you’re 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 you’re 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 they’re perfectly
"quantized" with their notated values; when you play them back, they’ll
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.

1420
 • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data
changes you’ve 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

1421
Limit - Tempo dialog box

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 you’re 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 you’ve 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

1422
Line Spacing dialog box

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 you’re 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 drop-down 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

1423
Text Tool

1424
Line Thickness dialog box

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 you’re 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

1425
Listen dialog box

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 you’re 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 isn’t working, or if you change your mind, click
Cancel to return to the previous dialog box.

See Also:
HyperScribe Tool
MIDI Tool

1426
Listen to Tempo dialog box

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 it’s 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 you’re finished tapping to teach Finale the tempo you
want, either click Cancel (to undo the tempo-setting you’ve just done) or OK
(to confirm it) and return to the Playback and/or Click dialog box.

See Also:
HyperScribe Tool

1427
Lowest Fret dialog box

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 Staff’s 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

1428
Manage Parts dialog box

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.

1429
 • 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.
• 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:

1430
Linked parts
Document menu

1431
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. VST instrument and effects plug-ins are available for selection in
theVST Instruments dialog box.

• 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.

1432
 • Close. Click close (or press enter) to confirm the changes you’ve made, if
any, and return to the score.

See Also:
MIDI/Audio/Device Setup submenu

1433
Measure Assignment for Ossia
Measure dialog box

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 there’s 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 it’s 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 page-assigned 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 measure’s
position on the page changes. In this dialog box, you specify a measure-
assigned floating measure’s precise positioning in relation to the "real"
measure to which it’s 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 it’s 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 you’ve
made in this dialog box; you return to the score.

1434
See Also:
Ossia
Ossia Measure Designer
Ossia Tool

1435
Measure Attributes dialog box

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-to-barline 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 you’ve specified this information,
you can use the Selection Tool to copy some of this information to other
measures (namely, measure widths and positioning mode).
You’ll rarely need to use the Position Notes: options, which govern how the
notes in the selected measure are positioned—particularly if you’re in the habit
of using the Music Spacing command to neatly respace the notes in your
scores.

1436
• 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 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 measure’s
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. It’s much easier, however, to drag the
handle on the measure’s 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 doesn’t fall at the beginning
of a system or a key change. On the other hand, Always Hide means that
the current key signature won’t appear, even if it appears at the beginning
of a new system or at a key change. Show if Needed is the usual setting—
the 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 won’t
appear, even if it appears at the beginning of a new system or a meter

1437
 change. Show if Needed is the usual setting—the 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 you’re 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, you’ll 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 you’ve 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, you’ll
notice a new small square handle at the bottom of the measure’s 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 you’ve 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

1438
 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
you’re 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 you’re editing are
empty, they’ll 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
you’re 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,
you’re creating a cadenza whose note values add up to far more than the
four beats specified by the measure’s 4/4 meter.
• OK • Cancel. Click OK to confirm, or Cancel to discard, your measure
attributes settings and return to the score.

1439
See Also:
Measures
Measure Tool
Measure menu

1440
Measure Number dialog box

How to get there

Click the Measure Tool . Then, from the Measure menu, choose Edit
Measure Number Regions. Or, from the Document menu, choose Edit
Measure Number Regions.
What it does
Here, you can define measure numbering for your score and parts. You can
create new measure number regions, cycle through each region in your score,

1441
and display and change settings for regions. It’s easy to set up measure
numbers, edit their appearance, hide or show them, and position them in the
score (see Measure Numbers). A drop-down list provides common measure
numbering styles—1, 2, 3….a, b, c…, and so on—without requiring you to type
in several settings to define the style; and if you prefer, you can create your
own 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, you’d 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).
• Viewable In: All Views • Page View Only • Scroll and Studio Views (on-
screen) Only. Use these options to specify in which views the selected
measure number region will be visible.
• 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 they’ll appear in the score.
• Starting Number. 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.
• 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 you’d 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 Finale’s
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.

1442
• 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.
• [Linked Parts]. Click this tab to show the measure number settings for
links parts. The options for measure numbers in linked parts are identical to
those for the full score.
• Use Score Settings [available when the Linked Parts tab is selected].
When this option is checked, your measure numbers settings are identical
in both the score and all linked parts. Uncheck this option to enable the
settings under the Linked Parts tab, which displays identical measure
numbering options for linked parts, so that measure number settings for
parts can be configured independently from the score.
• Show on: Top Staff • Bottom Staff • Exclude Other Staves. Select 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 the options above if

you’ve 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 in the Staff Attributes dialog
box.

• Show Measure Numbers at Start of Each Staff System. Select Show

Measure Numbers at Start of Each Staff System if you want measure
numbers to appear at the beginning of every line. When this option is
selected, a measure number appears to the upper left of each system's
leftmost measure. If this option is not checked, measure numbers added to
the leftmost measure of a system (manually or using the Show On Every
option) will likely appear to the right of the clef and key signature
(depending on settings made in the Position Measure Number dialog box).
• Enclosure: None • Square • Circle • Ellipse • Triangle • Rectangle •
Pentagon • Hexagon • Septagon • Octagon • Other • Edit. Use this
Enclosure Shape drop-down list to choose the geometric shape of the
enclosures that you want to appear on measure numbers that appear at the
start of each staff system. Choose None if you want no shape displayed

1443
 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. Click Edit to display the Enclosure Designer dialog
box, where you can edit the settings of the currently selected shape.
• Hide First Measure Number in Region. When this option is selected,
Finale will not display the first measure number in the region for measure
numbers assigned with "Show on Start of Staff System." 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.
• Set Font • Position. Click Set Font to select the font Finale will use for the
measure numbers at the start of each staff system. The font that is
currently selected appears next to this button.Click Position 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.
• Show Every ___ Measures Beginning with Measure ___. To display the
measure number on every measure or on every 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. When "Show Measure
Numbers at Start of Each Staff System" is checked above, and a measure
number happens to appear on the leftmost measure of a staff system
based on this setting, Finale defers to the font and positioning settings
defined for "Show Measure Numbers at Start of Each Staff System" and
does not display this (duplicate) measure number.
• Enclosure: None • Square • Circle • Ellipse • Triangle • Rectangle •
Pentagon • Hexagon • Septagon • Octagon • Other • Edit. Use this
Enclosure Shape drop-down list to choose the geometric shape of the
enclosures that you want to appear on measure numbers that appear
according to your "Show Every" settings defined directly above. 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. Click Edit to display
the Enclosure Designer dialog box, where you can edit the settings of the
currently selected shape.
• Break Multimeasure Rests. Check this box to indicate that you want
measure numbers that appear based on your "Show On Every" settings to
interrupt multimeasure rests in parts. With this option checked, barlines that
include measure numbers will always appear, separating multimeasure
rests into two (or more) multimeasure rest measures.
• Set Font • Position. Click Set Font to select the font Finale will use for the
measure numbers that appear based on your "Show On Every" settings.
The font that is currently selected appears next to this button. Click Position
to display the Position Measure Number dialog box, where you specify the

1444
 default position of measure numbers in the score for this region. For more
information, see Position Measure Number dialog box.
• Show on Multimeasure Rests. Check this box to display measure
numbers on all multimeasure rests.
• Show Measure Ranges on Multimeasure Rests • Range Bracket
Left/Right. Select this option to display measure ranges instead of a single
measure number for multimeasure rests. When this 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.

Note that if "Show On Every" is checked, and an enclosure is defined for

those measure numbers, Finale will display both the enclosed measure
number and the measure number ranges on multimeasure rests. If an
enclosure is not defined, Finale will defer to the multimeasure rest range
only. To hide an extra enclosed measure number, right-click the number's
handle and choose Always Hide Number.

• Set Font • Position [for multimeasure rest ranges]. Click Set Font to
select the font Finale will use for the measure numbers that appear based
on your measure number ranges for multimeasure rest settings. The font
that is currently selected appears next to this button. Click Position to
display the Position Measure Number dialog box, where you specify the
default position of multimeasure rest 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

1445
Measure Number Style dialog box

How to get there

Click the Measure Tool . From the Measure menu, choose Edit Measure
Number Regions. 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 you’re 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 you’re beginning the measure
numbers with number 1 (which is the second character if the Starting
Character is 0). If you’re using letters instead of numbers, or if the first
measure is a pickup measure that you don’t want numbered, make sure
this option is not selected.
• No Zeros. Select this option only if you’re using letters instead of numbers.
No Zeros refers to the number or letter in the "tens" place once Finale

1446
 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 you’re not prevented

from selecting this option when you’re
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 you’re 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.

Note: Although you’re not prevented

from selecting this option when you’re
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 you’ve made and return to the
score.

See Also:
Measure numbers
Measure Number
Measure Tool
Measure menu

1447
Mid-Measure Clef dialog box

How to get there

Click the Clef Tool . Ctrl-click the mid-measure clef’s 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 measure—you can
even drag it back and forth among the notes of the measure to see which
placement would be easiest for the player to sight-read. 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.

1448
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.

• 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. It’s 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 clef’s 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 it’s easier to position it simply by dragging it once it’s
in the score.

1449
 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

1450
MIDI Event dialog box

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 you’re 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 you’re 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

1451
MIDI Input Filter dialog box

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 signal—a 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 you’re
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.

1452
 • 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 don’t know a controller’s
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.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve
made in this dialog box and return to the Transcription window.

See Also:
Transcription
HyperScribe Tool

1453
MIDI Setup dialog box

How to get there

From the MIDI/Audio menu, choose Device Setup MIDISetup.
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 Apple’s 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

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 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

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 you’d 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 you’d 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 computer’s speakers connected to your soundcard,
choose a driver with “Synth” or “Synthesizer” in it. By default, Finale uses
“SmartMusic SoftSynth,” which is Finale’s own General MIDI SoundFont
(with additional marching percussion sounds). Since this option does not
use your sound card’s 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 hasn’t 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

1455
 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 can’t 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 doesn’t - 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.
• Percussion Input Maps. Click this button to open the Percussion Input
Maps dialog box where you can properly configure an external MIDI device
for percussion input. See Percussion Input Maps dialog box.
• 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 responding with a “MIDI
Buffer Overflow” or “MIDI Communication Error” when receiving such a
command.

1456
 • MIDI In Latency. Enter a value in this text box to delay Finale’s 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 you’ve
made to the MIDI settings in this dialog box.

Tip: Refer to the beginning

pages of the Finale Tutorials to
assist you in connecting your
MIDI instrument to Finale.

See Also:
MIDI
MIDI/Audio menu

1457
MIDI Thru dialog box

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 device—the
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 don’t 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 you’re 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 you’re just
playing your MIDI keyboard and not recording with HyperScribe or editing

1458
 with Speedy Entry, Finale continues to use the last active "smart" channel
(i.e., the last edited staff’s 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 you’ve 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

1459
MIDI Thru Table dialog box

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 keyboard—the 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.

• 1—128. 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.

1460
 • 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:
MIDI/Audio menu

1461
MIDI File Status dialog box
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.

1462
MIDI Tool window dialog box

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 window—you can
edit specific notes, even if they’re nonadjacent or buried within chords. (For a

1463
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 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 shift–
drag-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 you’ve entered music with the Simple or Speedy Entry tools, the velocity
of every note is 64. (64 is Finale’s 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 you’ve captured the key velocity (performance) data from a real-
time HyperScribe performance, however, you’ll 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

1464
 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 notes—the slight
deviations from the beat that create swing feel, rolled chords, and so on—
displayed 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 you’ve 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:

The notes displayed in the MIDI Tool split-window were entered with one
of Finale’s step-time entry tools. Therefore, each note’s Start Time and
Stop Time is zero, as you can see from the fact that each horizontal line
(representing a note’s 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.)

1465
 If you’ve captured the Start and Stop Time (performance) data from a real-
time HyperScribe performance, however, you’ll see horizontal lines that
don’t 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 data—pedals, wheels, patch
changes, and other non-note data—for 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 controller’s 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 you’ve
selected.
To edit the controller setting for a particular region, drag through the
region so that it’s 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 controller’s 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 you’re editing continuous data;
you must select a region by dragging
through the "graph" area rather than

1466
 by selecting note handles. Note, too,
that continuous data is displayed as a
continuous horizontal "area graph,"
even if the 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 128—helps you identify the patch that’s selected for
each region, as shown in the figure below.

When you’re 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 doesn’t matter whether you
select a large region by dragging or only a tiny vertical sliver—all Finale
needs to know is where the beginning of the selection falls, because that’s
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

1467
 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 aftertouch—
the pressure you apply to a key while it’s 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.
To edit the channel pressure value for a particular region, drag through
the region so that it’s 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 wheel’s value is 0 when it’s at rest (neither up nor
down).
To edit the pitch wheel setting for a particular region, drag through the
region so that it’s 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"

1468
 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

1469
Mirror Attributes dialog box

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 you’ve 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 it’s 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, it’s
doubling another instrument in the score). You can also specify stem direction,

1470
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.
• 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.
• Don’t Draw:. The next group of checkboxes let you specify elements of the
source music you don’t 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

you’ve 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

1471
 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 haven’t
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.

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

1472
 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 you’ve
created from the main mirror. When you’re 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 don’t 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 didn’t 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 you’ve 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

1473
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 doesn’t 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

1474
 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).
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, you’ve 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 wish—for example, you can solo
two or three staves, and all the others will be silent. In fact, you can solo
all staves, although there wouldn’t 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 you’re not multitrack recording (Record into One Staff or Split into Two
Staves is selected in the Record Mode submenu of the HyperScribe
menu), you don’t 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 Control’s Record button (instead
of clicking a measure in the score), then you must use the Mixer’s (or
Instrument List’s) 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

1475
 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 Finale’s 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 you’ve assigned several staves to the same Instrument, once again

remember that they’re 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 you’ve assigned several staves to the same Instrument, by the way,

remember that they’re 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

1476
 might use the Master Mute button if you plan to mute most staves and
audition only a select few.
• 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

1477
More Settings dialog box

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

1478
 there are none. For example, in a section, wind and string instruments
will be assigned a delicate and realistic attack.
• 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
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.

1479
• 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.

1480
More Quantization Settings dialog
box

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 it’s been transcribed. If you don’t 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

1481
 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, it’s used mostly to re-create your dynamics
when you play the piece back. Note Durations refers to Start and Stop
Time Data—small 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, Finale’s 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 there’s an inner voice in the music you’ll 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 you’ll be needing an inner voice, however,
don’t select this option. This will prevent Finale from creating secondary
voices where you didn’t intend them—for 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

1482
 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 factors—the time
signature and whether or not this option is selected—but 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 that’s
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
that’s 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 you’ve
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 beat—in 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, you’re using HyperScribe to transcribe small tuplets (like
quintuplets) and you discover that Finale isn’t notating note values as fine
as you’d like, or that it’s creating many grace notes, you need to choose
the next smaller Sensitivity value, and try the transcription again.

1483
 • 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

1484
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 you’ve 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.

1485
Move/Copy Layers dialog box

How to get there

Click the Selection Tool , and select a region of measures. Choose

Move/Copy Layers from the Edit menu.
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 layers—if, 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 there’s

1486
 already music in the layer you choose from the drop-down lists, it will be
replaced by the music you’re transferring. (Finale will warn you if you’re
about to lose music that’s 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 layer’s contents. For example, if you indicate that you
want the contents of Layers 2, 3, and 4 moved into Layer 1, only Layer 4’s
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
Utilities menu

1487
Movie Window

How to get there

From the Window menu, choose Movie Window.
What it does
Finale’s 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.

1488
• Sync. Check this box to synchronize Finale playback with movie playback.
When Sync is checked, Finale’s 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.
• Time. The time indicator lists the present time of the movie indicated in:
hours|minutes|seconds|milliseconds.

1489
Moving Split Point dialog box

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 left-hand 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 there’s 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 you’ve 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 you’ve 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.

1490
 • Listen. Click this checkbox to let Finale know you’re 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 you’ve just made. You exit the dialog box.

Tip: middle C=60=C4.

See Also:
Transcription menu
HyperScribe Tool

1491
Multimeasure Rest dialog box

How to get there

Click the Measure Tool , select a multimeasure rest in Page View, then
click on the Edit 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 Finale’s 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 Edit 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

1492
 these values lengthens or shortens the shape. You usually won’t 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 shape’s 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.
• 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 won’t 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 shape’s 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

1493
Sample List for Executable Shape
dialog box

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 you’ve drawn
for a rallentando every eighth note, so that the tempo decreases with each
passing eighth note.
If you want Finale’s 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.

1494
 • << >> [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 didn’t put
numbers in any of the boxes, Finale doesn’t put an X in the Use List
checkbox.)

See Also:
Executable Shape Designer

1495
Multiple Splits dialog box

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 you’re transcribing a standard MIDI
sequencer file. In essence, it lets you strip a chordal passage (from the
combined sequencer tracks you’ve specified) into individual single-line
melodies on separate staves. This is a good technique for separating single
musical lines—for string parts, for example—into 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 you’re 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

1496
 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

1497
New Category dialog box

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 you’ve made. You return to the Category Designer dialog box.

See Also:
Category Designer dialog box
Expressions

1498
New Staves dialog box

How to get there

Click the Staff Tool . Choose New Staves from the Staff menu to add
staves to the bottom of your score.
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. You’ll usually want
to enter a negative number, because you’re 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 Finale’s "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.

1499
 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

1500
Nonstandard Key Signature dialog
box

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 don’t 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" doesn’t 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

1501
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 format—thus 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

you’ve specified a nonlinear key
signature. By definition, a non-linear
key signature is not part of a key
system. Instead, it’s a key signature
unto itself, so there’s no purpose
served by the scroll bar.

• Tone Center: (#) • Altered: (#). These indicators identify the tone center—
the 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 amount—
the amount of chromatic alteration—is 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 it’s 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 format—in Finale, it’s 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, you’ll find that only the ClefOrd and Attribute icons are
operational. Once you’ve selected Key Format 2 or higher [which haven’t
been predefined], all five icons are active.)

1502
 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), it’s 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

there’s no "circle of fifths"; in fact, there’s 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, you’ll discover that the scroll bar is inactive if you’ve 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 you’re 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.

1503
 • 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.
• 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 you’re 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
you’ve 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

1504
Notehead Settings dialog box

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.

1505
 • 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 you’ll see the effects of
your notehead changes. The handle you clicked remains selected to
remind you that you’ve modified it. Click Cancel to return to the score
without changing any noteheads.

See Also:
Special Tools Tool

1506
Note Shapes dialog box

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 you’re
specifying; it appears in the system font, regardless of what it looks like in
the music font. For example, even if you’ve selected an X notehead in the

1507
 Maestro music font, you’ll 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 symbol’s alphabetic system font equivalent in the text box
automatically.

• Use Note Shapes. This checkbox, which only appears if you’ve chosen
Note Shapes from Document Options - Notes and Rests, is the master
switch for the settings you’ve made in this dialog box. When it’s 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 you’ve established and dismiss the
dialog box.

See Also:
Staff Styles
Staff Attributes

1508
Open File dialog box

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). 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.
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

1509
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), or one of the other
available formats 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.
See Also:
File menu

1510
Optional Octave Region dialog box

How to get there

From the Utilities 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.

1511
Ossia Measure Designer dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the Ossia Tool . If
you’re in Page View, double-click the location on the page to which you want to
attach the "floating measure." If you’re in Scroll View, click the measure to
which you want it attached (or click again if there’s 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 you’re basing the floating
one, as well as several visual aspects of the floating measure.

1512
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 measure’s 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.

• 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 it’s 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 measure’s
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 measure’s clef (double-click your selection from the Clef palette
that appears). Click the Key Signature or Time Signature button to set the
floating measure’s 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 don’t 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 you’ve
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

1513
 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 measure’s handle. A positive
number moves the floating measure upward in relation to its handle; a
negative number moves it downward (but it’s easier to position the measure
by dragging its handle once you’ve 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 measure’s 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 you’ve made in this dialog
box and proceed to the next dialog box—or 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

1514
Page Assignment for Ossia Measure
dialog box

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 measure’s precise positioning in relation to the page to which
it’s 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 it’s 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.)

1515
 • OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve
made in this dialog box. You return to the score.

See Also:
Ossia Measure Designer
Ossia Tool

1516
Page Format for Parts dialog box

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 page’s 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 score’s orientation. You

1517
 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.

• 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 you’ve 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

1518
 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 you’ve 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

1519
Page Format for Score dialog box

How to get there

From the Document menu, choose Page Format > Parts or Score.
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 page’s top margin and the first staff system.
Once you’ve changed any of the page layout variables, Finale will only apply
the changed format to any new pages it creates—not 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, you’ll use the Page Layout menu’s 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.

1520
• 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 score’s 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.

• 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 you’ve 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

1521
 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 you’ve 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

1522
Page Offset dialog box

How to get there

Click the Text Tool . Select a page number insert in a text block then
select Edit Page Offset from the Text menu.
What it does
The Page Offset dialog box allows you to enter a number to add to Finale’s
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
Finale’s 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 (Finale’s 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

1523
Page Setup dialog box

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

1524
Page Size dialog box

How to get there

From the File menu, choose Printer Page Setup.
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 drop-down 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

1525
Page Layout Tool

1526
Part Creation Preferences dialog
box

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 instrument’s 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

1527
 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.
• 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.

1528
Paste Multiple dialog box

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.

1529
See Also:
Copying Music
Selection Tool

1530
Partial Measure Selection dialog box

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

1531
Percent Alteration-Continuous Data
dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select a region of measures. (If you’re 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
you’re 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 box’s 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 zero—you can enter 300%, for
example, to make a particular value three times its current value. (The
absolute value of MIDI controllers can’t 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 edit—pedaling, 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 controller’s values multiplied for all the selected
music. The Percent Alter command isn’t relevant if you’ve 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.

1532
 • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data
changes you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1533
Percent Alteration Key Velocities
dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select a region of measures. (If you’re 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
you’re 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 box’s 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 zero—you can enter 300%, for example,
to make a particular value three times its current value. (The absolute value
of key velocities can’t exceed 127, however.) The number in this text box
represents a percentage of each note’s 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:

1534
MIDI Tool menu
MIDI Tool

1535
Percent Alteration Tempo dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select a region of measures. (If you’re 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 you’re 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 box’s 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 zero—you 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1536
Percent Alteration Note Durations
dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the MIDI Tool .
Select a region of measures. (If you’re 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
you’re 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 box’s 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 zero—you 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

1537
See Also:
MIDI Tool menu
MIDI Tool

1538
Percussion Layout Designer dialog
box

How to get there

Click the Staff Tool . Double-click a staff to open the Staff Attributes dialog
box. Select Percussion from the Notation Style drop-down list if it’s not already
selected. Click Select. Click Edit or Create in the Percussion Layout Selection
dialog box.
What it does
Use the Percussion Layout Designer dialog box to create or edit a layout 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.
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.
After defined here, when you enter, Finale knows to display it as an open or

1539
closed (depending on the note’s duration) X notehead above the top line of the
staff, without any further action on your part.
To make it easy for you to set up a percussion staff, percussion layouts are
defined for staves automatically when you begin a new score with the
Document Setup Wizard. You can use the layouts as they are, or customize
them for your percussion staves.

• Layout Name. Enter a name for the percussion layout. You can use this
layout for any staff in your score.
• [Note Type/Noteheads preview]. This drop-down menu displays all the
note definitions for the current percussion layout. Click an item in this list
and then modify the settings to the right to edit the note's definition. To set
up a new note, click the + (plus) button to the lower left. Select an item in
this list and click the - (minus) key to delete it. Use the up arrow to move
the selected item up in the list. Use the down arrow to move the selected
item down in the list.
• Go to Note. Instead of scrolling to the note that you want to edit in the list
box, click the Go to Note button and play the desired note on your MIDI
instrument. Finale selects the corresponding item in the list box.
• Note Type: Snare drum...Custom. From this drop-down menu, select a
percussion instrument (snare drum, bass drum, cymbal, and so on) that the
note represents. You will find a large number of choices from these menus
and submenus. Choose custom to define a new note type. All of these note
types are defined in the "PercNoteTypes.txt" file located in the
Finale/Resources folder.
• 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 note’s position.
• 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 Staff Position list box item is updated to reflect your changes.
• Closed Notehead • Half Notehead • Whole Notehead • Double-Whole
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 notes. By
default, the closed and open noteheads for each entry in the list box use

1540
 the standard quarter and half noteheads. The list box changes to reflect
your selections.
• OK • Cancel. Click OK to accept or Cancel to disregard your changes and
return to the Percussion Layout Selection dialog box.

See Also:
Percussion
Percussion Map Selection
Staff Attributes
Staff Tool

1541
Percussion Layout Selection dialog
box

How to get there

Click the Staff Tool. Double-click a staff. Choose Percussion from the Notation
Style drop-down list if it’s not already selected. Click Select.
What it does
The Percussion Layout Selection dialog box displays the percussion layouts
available in this document. Finale’s default percussion layouts (which were
saved in Finale’s percussion layouts library) appear in this dialog box, as well
as any percussion layouts you create or edit. Use this dialog box to edit,
create, and delete percussion layouts (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 layouts

library, which can contain one or more
predefined percussion layouts,
choose the Load Library command
from the File menu and select the

1542
 library you want to open. To save a
percussion library, choose Save
Library from the File menu. Finale
saves all the percussion layouts listed
in the Percussion Layouts Selection
dialog box into one library.

• Edit. Click a percussion layout in the list, then click Edit to display the
Percussion Layout 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

layout apply to all staves that use that
particular percussion layout.

• Create. Click Create to create a new layout. Finale displays the Percussion
Layout 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 layouts,

you may find it easier to edit the
percussion layouts contained in
Finale’s default percussion library.

• Duplicate. Click this button to create a duplicate copy of the selected

percussion layout. 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 this button to delete the currently selected percussion layout
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 layout for those staves
before you can delete the percussion layout. 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 layout 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 layout for this staff until you select a different
layout, reset the staff to standard notation, or choose another option from
the Notation Style drop-down list in the Staff Attributes dialog box.
• Cancel. Click this button if you decide not to change the percussion layout
used by this staff. The percussion layout selected when you entered the

1543
 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

layout apply to all staves that use that
particular percussion layout.

See Also:
Percussion
Selection Overview
Staff Attributes
Staff Tool

1544
Percussion Input Maps dialog box

How to get there

From the MIDI/Audio menu, choose Device Setup Percussion Input Maps.
What it does
Different MIDI devices (like Finale's SmartMusic Softsynth, TapSpace
Drumline sounds, and external MIDI devices like MIDI keyboards) include
various percussion instrument patches (sound banks), each with its own
instrument mapping. On each patch, every non-pitched percussion instrument
is assigned to a specific MIDI note, and the same instrument may be assigned
to different MIDI notes depending on the patch chosen. For example, while the
bass drum sound on one patch may be assigned to MIDI note C2, the bass
drum on a different patch (or different external MIDI device) may be assigned
to F2. When entering non-pitched percussion, choose the MIDI Input Map for
your device and the patch you are using in this dialog box. (To hear Finale's
interpretation of MIDI pitches entered from an external MIDI device, check
MIDI Thru under the MIDI/Audio > Device Setup submenu).

• Finale Channel. This equates to the bank of channels represented for

MIDI Input in the MIDI Setup dialog box.
• Percussion Input Map. From this drop-down menu, choose the device and
the specific patch you are using for entry to properly configure percussion
MIDI input. Match Input Map to Output Map is selected by default. With this

1545
 option selected, Finale will automatically use the Percussion MIDI Map
chosen for playback for the staff as assigned in the Instrument List.
• OK • Cancel. Click OK to confirm the MIDI Input Map settings and return to
the MIDI Setup dialog box. Click Cancel to discard any changes and return
to the MIDI Setup dialog box.

If you would like to configure an external MIDI device so that its percussion
MIDI mapping is used for input and/or playback, you can define the MIDI notes
yourself in the Percussion MIDI Map Editor dialog box.
If you converted your document from an older version of Finale, and you find
that the note types assigned to a converted percussion layout do not represent
your desired sounds, use the Change Note Types dialog box to reconvert note
types based on a different mapping.

See Also:
MIDI Setup dialog box
Configuring Percussion Playback

1546
Percussion MIDI Map Editor dialog
box

How to get there

From the MIDI/Audio menu, choose Device Setup > Edit Percussion MIDI
Maps.
What it does
Use this dialog box to edit Percussion MIDI Maps, which are used to assign
instrument sounds to MIDI note numbers. See Percussion MIDI Maps.
Each percussion note is assigned to a MIDI note behinds the scenes, which
allows Finale to accommodate any playback device (whose MIDI notes may be
mapped to different instruments) easily by selecting the appropriate
Percussion MIDI Map from the Instrument List. See Configuring Percussion
Playback.
When you click or type percussion into the score Finale assigns the MIDI note
properly. But, if you want Finale to use a different percussion instrument for
playback throughout your score (e.g. the "electric snare" sound instead of the
"acoustic snare"), or, if you would like to configure percussion sounds for input

1547
with a particular external MIDI device, you can assign your own MIDI notes to
percussion instruments in this dialog box. (A Percussion MIDI Map configured
for input from an external MIDI device can be selected in the Percussion Input
Maps dialog box.)
Note that the same percussion MIDI map can be used, and often is, for both
MIDI input and playback. Choose MIDI Thru under MIDI/Audio menu > Device
Setup to audition the percussion sounds Finale interprets if you want to use
your MIDI keyboard for input and not for playback.

• Map. Click this drop-down menu to choose the percussion MIDI map you
would like to edit.
• Name. Click in this text box to rename the selected percussion MIDI map.
Do this, for example, if you would like to define a new map for input,
overwriting one of Finale's included maps that you do not intend to use.
• Add Note Type. From this drop-down menu, select the note type you
would like to add. After you select it, click Add Note Type to insert it in the
list.
• [Note Type List • MIDI Note List]. All percussion instruments in the
selected percussion MIDI map are displayed here, along with their
corresponding MIDI pitches. Select one of these instruments and play a
note on your MIDI keyboard to assign that MIDI pitch to the selected
instrument, or click under the MIDI Note column and type to specify a MIDI
note.
• Remove Note Type. Select a percussion instrument and choose Remove
Note Type to delete the instrument from the list.
• OK • Cancel. Click OK to confirm your changes and return to the score.
Click cancel to dismiss this dialog box without making changes to your
MIDI maps.

See Also:
Percussion
Selection Overview
Staff Attributes
Staff Tool

1548
Pickup Measure dialog box

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, non-pickup, 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

1549
Playback and/or Click dialog box

How to get there

Click the HyperScribe Tool . Choose Playback and/or Click from the Beat
Source submenu of the HyperScribe menu.
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

1550
 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 you’re
recording (and Playback and/or Click
is selected in the Beat Source
submenu), not when you’re playing
back your music.

• 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

don’t 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

1551
Placeholder dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the Mirror Tool .
Click a measure with notes in it. (Or, if you’ve already created a Placeholder—
and its Placeholder icon is visible—click 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 it’s 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 you’ve 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

1552
 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 you’re
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:
Mirror Tool

1553
Playback Controls dialog box

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-
deck–like 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 Finale’s playback behavior.
Playback Controls supports Finale’s 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.

• Rewind to Beginning . Click this button to enter the number 1 into the
Measure text box, which 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.

• Rewind . Click this button and hold the button down to make the
number in the Measure text 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.

• Stop • Play • Pause. Click Stop to halt playback and reset the
Measure text box to its 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.

• Record . Click Record to start recording when HyperScribe is the

selected tool. Be sure that you have specified a staff for recording into in
the Instrument List window. Based on your settings in the Click and

1554
 Countoff dialog box, Finale will either start recording immediately, or after
playing the indicated number of countoff measures. Unless you’re tapping
to provide the beat (Tap is checked in HyperScribe’s 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
HyperScribe’s 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).

• 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.

1555
 • Playback Settings icon. Most of the time, the controls described above are
adequate for controlling playback. If you want to use some of Finale’s 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 you’ve set up the
tempo in other ways—by recording tempo changes played into the
Transcription Mode of HyperScribe, for example, or by placing tempo
markings into the score—then 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 minute—the actual tempo—either 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

1556
Playback Data Dump dialog box

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 data-dump 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 you’re creating an expression whose function is to send a staff’s music

over additional MIDI channels, enter 2 or 3 (depending on whether you
want the staff’s playback routed to 1 or 2 additional MIDI channels). A staff
can play up to three MIDI channels, including the primary MIDI channel
you’ve established for the staff.

• Data. Enter the codes you want Finale to transmit when it plays back the
expression you’re 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 you’re creating an expression that tells Finale to begin sending a staff’s

output to additional MIDI channels, enter $FF in the first of these three text

1557
 boxes. In the next boxes, enter one or two numbers, corresponding to the
MIDI channels you want the staff’s 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
you’ve 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 don’t want to change at this point, enter the code $FE.
Example: Your first Data Dump expression added channels 5 and 6 to the
staff’s 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 you’ve 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 staff’s 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 "don’t change this channel" command).

• OK • Cancel. Click OK to confirm, or Cancel to discard, the settings you’ve

made in this dialog box and return to the Expression Designer dialog box.

See Also:
Expression Designer
Expression Selection

1558
Playback/Record Options dialog box

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 Finale’s 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 you’re 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

1559
 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, you’ll hear a playback that
precisely duplicates your original performance—complete with pedaling,
subtle dynamics, ritards and accelerandi, and uneven rhythms—even if
the resulting notated version looks considerably different. If you don’t
select any of these checkboxes, Finale will sight-read your notated score
exactly as it appears on the screen—which 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
didn’t exist.
• Reset Repeats. Select this checkbox if you want Finale to treat any repeat
barlines (or text repeats) it encounters as though it’s reaching them for the
first time. If you don’t specify Reset Repeats, Finale will remember how
many times it’s encountered each repeat sign each time you stop playback,
and—when you start again—it will continue playing your piece as though
you’d never stopped. If you’re proofreading a score by playing a section at
a time, you probably won’t 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 you’ve 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 don’t 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 you’ve indicated in

1560
 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 doesn’t 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 you’ve made in this dialog
box. Finale will use the option settings you’ve 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

1561
Playback Settings dialog box

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 Finale’s 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.

1562
• 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 Finale’s
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 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 you’ve 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 aren’t on the screen. Or, by entering a small range and
repeatedly clicking the Play button, you can, in effect, "loop" through a
certain segment.

1563
 • 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 box—or
click the arrows—to 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

1564
Position dialog box

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 staves—either 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

1565
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 you’re in this dialog box, you see the default group or staff name or
custom line text displayed in the font and style you’ve 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 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

These staff names ar e right aligned (and right-justifi ed).

are left-aligned (and

left-justified).
• 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, it’s provided for multi-line group names. (Position
Smart Line Style Text does not have this option.)

1566
 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

1567
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.

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 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.
• Justification: Left · Right · Center · Full · Forced Full. This setting
generally matches the Alignment setting (Left, Right or Center) for the
group name, however, it’s 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 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 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

1569
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 dialog
box

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 don’t 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 you’ve
made in the measure number’s position. You return to the Measure
Number dialog box.

See Also:

1571
Measure Number
Measure Tool

1572
Preset Arrowhead Selection dialog
box

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.

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 • 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:
Smart Shape Tool

1574
Print dialog box

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 print—in 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

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 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.
• 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. We’ve 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 Finale’s Page Orientation Instead of the Printer’s 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.

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 • 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 order—from 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

1577
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 Finale’s 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

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 or discard unapplied changes. Click Apply to save the selected changes in
your dialog box and keep the Program Options box open.

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

1579
Program Options-Display Colors
dialog box

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.

1580
 • 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 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 1–4 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 score—both
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 score—
both 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 2010 menu/Program Options

1581
Program Options-Edit dialog box

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, you’re 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
understand—and display—in all of its dialog boxes.

You’re 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.

1582
 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 Finale’s default distance between staff lines). Note also
that one half-space 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 you’ve selected
Inches as your global unit of measurement. When you’re telling Finale
how thick you’d 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 you’ve 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 won’t require the disk space necessary to store the
score’s 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

1583
 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 drop-down 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 doesn’t 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 it—at the end of a Speedy Entry
measure, at the end of a 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

1584
 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 you’re 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
it’s 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.

• Anchor Indicator Lines when Dragging or Nudging (press Alt to

temporarily disable). Check this box to restrain expression attachment
point regardless how far the expression is moved from its origin. When this
command is not checked, the attachment point of expressions is updated
while dragged or nudged (and Alt can be used to temporarily fix the
attachment point while dragging).
• When Pasting Between a Percussion Staff and a Pitched Staff: Retain
Staff Position • Retain MIDI Pitches. Choose Retain Staff Position to
keep the notes you are copying affixed to the same staff positions while re-
assigning the MIDI note when you copy from a percussion to a normal staff
or vise versa. Choose Retain MIDI Pitches to remove the staff positioning in
favor of retaining the MIDI pitch information. The Percussion MIDI Map
used for each staff is listed in the Instrument List. The MIDI Pitch of
percussion staves can be referenced in the Percussion MIDI Map Editor
dialog box. Orange notes in a percussion staff indicate the note is not
assigned to a particular Note Type in the Percussion Layout Designer
dialog box. A "percussion staff" is any staff defined to use "Percussion" as
the Notation Style in the Staff Attributes dialog box.
• 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

1585
 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 2010 menu/Program Options

1586
Program Options-Folders dialog box

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.

1587
See Also:
File menu-Save
File menu-Open
Finale 2010 menu/Program Options

1588
Program Options-New dialog box

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. Finale's included default document, Maestro Font Default.ftm, is
located in the Component Files folder.

1589
 • 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.
• 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 2010 menu/Program Options

1590
Program Options-Open dialog box

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

1591
 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 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 è, ö 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

1592
 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 2010 menu/Program Options

1593
Program Options-Palettes and
Backgrounds dialog box

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 Finale’s
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.

1594
 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 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 Finale’s manuscript backgrounds to place behind the music, or to choose
your own manuscript graphic. Click Default to use Finale’s 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 2010 menu/Program Options

1595
Program Options-Save dialog box

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), Finale’s Auto Save command is a good safety net. When this
feature is on, Finale will update a second copy (not the one you’re 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

1596
 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.)
• 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
that’s 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 2010 menu/Program Options

1597
Program Options-View dialog box

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 "Don’t 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 next time you use Finale, click this item to select it, and make sure that
Save Window States When Exiting Finale is selected.

1598
• 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 application—by 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 you’re entering a MIDI note number. Otherwise it’s assumed that
you’ve 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 Window’s
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 Finale’s actual measure
numbers when "defined" measure numbers are displayed, type #, the

1599
 number sign (shift-3), followed by the "actual" measure number. When
entering Finale’s "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.
• Smart Hyphens and Word Extensions: Update Automatically • Update
Manually. Choose Update Automatically to recalculate hyphens and word
extensions as you edit the score. Updates are based on settings in the
Word Extensions dialog box. Choose Update Manually to recalculate when
you choose Update Smart Word Extensions and Hyphens from the Utilities
menu.
• Handles: Handle Size • Transparent Handles. Resize the handles by
entering the desired number of pixels for handles in this text box. Check
Transparent Handles to use use handles that allow you to see musical
elements behind the handle as you edit. Transparent handles are
especially useful when entering staccatos, accents, and other small
markings that may be covered up by opaque handles.
• 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. Finale’s 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 2010 menu/Program Options

1600
Punch In PreRoll dialog box

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 you’re recording a real-time performance in the Transcription window and
make a mistake, you don’t 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.
You’ll 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 don’t 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

1601
Quantization Settings dialog box

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.

1602
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 selected Save Preferences
When Exiting Finale in Program
Options-Save. See Program Options-
Save.

• 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. You’re telling Finale to assume that all
small rhythmic values are sixteenth notes, 32nd notes, and so on—but
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, they’ll 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 notes—which 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

1603
 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:
MIDI/Audio menu
HyperScribe Tool

1604
Randomize Key Velocities dialog
box

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 you’re 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 isn’t available if
you’ve 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. You’ll 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 you’ve 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

1605
Randomize Note Durations dialog
box

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 you’re 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 isn’t available if you’ve
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). You’re 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.

1606
 • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data
changes you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tools

1607
Rebar Options dialog box

How to get there

Click the Selection Tool ; select a region. From the Rebar submenu of the
Utilities menu, choose Rebar Options.
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
rebarring—all 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 aren’t 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, Finale’s
rebarring process won’t 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 you’ve 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.

1608
 • 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 didn’t select any of the

checkboxes, Finale will rebar your
score all the way to the end of the
piece whenever it’s asked to rebar
(when you change the time signature,
insert a partial measure, use the
Rebar command, and so on).
See Also:
Rebarring music
Time Signature

1609
Rebeam to Lyrics dialog box

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 don’t 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.

1610
 • OK • Cancel. Click OK to confirm the settings you’ve 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

1611
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 you’ve 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 groupings—3+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.

1612
 • 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

1613
Record Continuous Data dialog box

How to get there

Click the HyperScribe Tool. From the HyperScribe menu, choose Record
Continuous Data.
To include recorded continuous data in playback, set Human Playback to
None. From the MIDI/Audio menu, choose Human Playback > None.
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.

1614
 • Patch Changes. Check this box to record patch changes during
HyperScribe sessions.
• Pitch Bends. Check this box to record pitch bends (pitch wheel data)
during HyperScribe sessions.
• 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 you’ve made in this dialog box; you return to the score.

See Also:
Recording with HyperScribe_Ref1791382708
Listen

1615
Redefine Pages dialog box

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

1616
Redefine Selected Pages dialog box

How to get there

Click the Page Layout Tool . Choose Selected Pages from the Redefine
Pages submenu in the Page Layout menu.
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.

1617
See Also:
Page Format for Score
Redefine Pages menu
Page Layout menu
Page Layout Tool

1618
Rehearsal Mark dialog box (in Add
SmartMusic Markers)

How to get there

From the Utilities 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

1619
box. Click Cancel to return to the Add SmartMusic Markers dialog box
without making changes.

1620
Rehearsal Mark Sequence dialog
box

How to get there

Right-click a rehearsal mark's handle and choose Edit Rehearsal Mark
Sequence. (It must be a rehearsal mark set to Use Auto-Sequencing Style in
the Expression Designer dialog box).
What it does
Use the Rehearsal Mark Sequence dialog box to specify the new number or
letter to use when restarting a rehearsal mark sequence.

• Continue Sequence. Choose this radio button to continue the sequence

from the previous rehearsal mark in the document.
• Restart Sequence At _. Specify the number or letter you would like to use
to restart a new rehearsal mark sequence.
• OK • Cancel. Click OK to reset the rehearsal mark numbering. Click Cancel
to dismiss the dialog box and return to the score without making changes.

See Also:
To restart rehearsal mark numbering

1621
Remove Staff dialog box

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

1622
Repeat Designer dialog box

How to get there

Click the Repeat Tool , and click a measure. (If there’s 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 you’ve 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 you’ve 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 you’ve chosen.
• Set Font. Click this button to display the Font, dialog box in which you can
set the font for your text repeat.

1623
 • 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 you’ve indicated in the Play
Section_Times text box of the Text Repeat Assignment dialog box).
• Use This Font. If you select this option, the entire text repeat you’re
designing will appear in the font you’ve selected (by clicking the Set Font
button). If you don’t select this option, however, the Mark-defined text
repeat you’re incorporating into this text repeat will appear in its own font,
regardless of the font you’ve set for the text repeat you’re 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 repeat’s 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

1624
Repeat Endings dialog box

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 bracket’s
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 bracket’s
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

1625
 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 bracket’s 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 text’s 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 the
Vertical text box to set the text’s 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

1626
Repeat Marker dialog box

How to get there

From the Utilities 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 it’s 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 you’ve
made in this dialog box; you return to the score.

See Also:

1627
Repeats (barlines and text indications)

1628
Repeat Selection dialog box

How to get there

Click the Repeat Tool , and click a measure in the score. (If the measure
already has a repeat, click it again.)
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;
that’s because you specify both the beginning and ending measures of the
repeated section when you create the ending barline.

1629
 The second icon, the Backward Repeat, can have a playback effect
assigned to it: in other words, it can operate in the way you’d expect—by
directing the playback flow back to an earlier measure. Note, however,
that like any of Finale’s repeats, it doesn’t 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 measure—once again, making this repeat bracket appropriate for
the first measure of a first ending that’s 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 you’ve 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
don’t 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.)

1630
 For a more complete discussion of the options available when you’re
creating a text repeat, see Repeat Designer dialog box. For details on
defining the playback of a text repeat you’ve 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 can’t 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

1631
Reposition Guide dialog box

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

1632
Reset Measure Marker dialog box

How to get there

From the Utilities 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.

1633
Reset Tempo Marker dialog box

How to get there

From the Utilities 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 it’s 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 you’ve
made in this dialog box; you return to the score.

1634
Resize Note dialog box

How to get there

Click the Resize Tool . Click on a note stem. For beamed notes, click on
the first note of the beamed group.
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

1635
Resize Notehead dialog box

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

1636
Resize Page dialog box

How to get there

Click the Resize Tool . In Page View, click the upper-left corner of a page
(or anywhere completely outside a staff system).
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 won’t 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 you’re 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

1637
 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.)

Tip: Numbers greater than 100

enlarge it, and numbers less than 100
reduce it.
See Also:
Resize Tool
Page Layout menu

1638
Resize Staff dialog box

How to get there

Click the Resize Tool . In Page View, click directly on 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

1639
Resize Staff System dialog box

How to get there

Click the Resize Tool . In Page View, click between two staves that are
part of the same system.
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.

1640
 • Hold Margins. This item offers you the chance to resize the system without
actually resizing its image on the page proportionally—in 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 you’re 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 doesn’t change (right).

• Resize Vertical Space. This item lets you proportionally resize the space
between the system you’re changing and the next system. If you didn’t
select this option before reducing a system, you may discover that there’s
too much space between the reduced system and the next; and if you’ve
enlarged a system, you might find that there’s 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:

1641
Resize Tool
Page Layout menu

1642
Respace Staves dialog box

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, or—if your staves aren’t evenly
spaced to begin with—it 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 don’t 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 staff’s
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, you’d
enter 200 (%) in the text box. You’d usually use this option only if you’re
also adjusting the other staves by a percentage.

1643
 • 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 don’t 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 you’ve 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 space—but 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), use
Scale to a percentage to maintain
those unique distances.
See Also:
Staff Tool

1644
Rulers and Grid dialog box

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 you’re manipulating. The grid
doesn’t appear in printouts, and lines you draw don’t "snap to" it; it’s 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 you’re designing an Executable Shape, the imaginary horizontal

gridlines don’t 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).

1645
 • OK • Cancel. Click OK to confirm, or Cancel to undo, the changes you’ve
made to the ruler and grid setup, and return to the Shape Designer window.

See Also:
Shape Designer

1646
Save As Audio File dialog box

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 there’s 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

1647
 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 you’ve specified in this dialog box. Click Cancel to return to the
score without creating a new file.

See Also:
Audio
File menu

1648
Save Library dialog box

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._Ref-
1322012588_Ref-1322012588
Chords & Fretboards: Chord suffixes you’ve created or edited with the
Chord Tool, including chords you’ve "taught" Finale to recognize. This
library also saves any custom fretboards you’ve 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.

1649
 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 you’ve 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.
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 you’ve created with the Staff Tool in the
Percussion Map Designer.
Shapes: Anything you’ve 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 you’ve 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 you’re working on a piece that requires the contents of that

1650
 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

1651
Save Tempo Changes dialog box

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 can’t 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 minute…8% faster…10% 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.

1652
 • 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 don’t want to retain tempo information with your
transcription. You return to the Transcription window.

See Also:
Transcription
HyperScribe Tool

1653
Scale Continuous Data dialog box

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 you’re 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 box’s 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 you’ve 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 wheel’s 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

1654
 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 you’ve 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1655
Scale Key Velocities dialog box

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 you’re 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 box’s 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 you’ve 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

1656
 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1657
Scale Note Durations dialog box

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 you’re 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 box’s 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 another—either 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 you’re 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 they’re being struck more
and more before the beat, until they’re an entire eighth note (512 EDUs)
early. If you scale the Stop Times from, say, 1024 to zero, the notes will
sound as though they’re being sustained for shorter and shorter amounts of
time beyond their notated values.

1658
 • OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data
changes you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1659
Scale - Tempo dialog box

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 you’re 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 box’s 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 you’re editing
Continuous Data or Tempo, and it has no effect unless you’ve 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

1660
 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1661
Score Merger dialog box

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.

1662
 • 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.
• 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 File’s 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

1663
Search and Replace dialog box

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 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.
What it does
When you perform a Search and Replace operation, 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 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 you’re searching for a motif that begins on C in the key of C, one
that begins on C in the key of F won’t 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.

1664
 • 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
you’ve selected a C-D-E pattern whose rhythm is quarter half quarter,
Finale won’t locate a C-D-E pattern whose rhythm is quarter quarter
eighth—only 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

1665
Secondary Beam Break Selection
dialog box

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.

1666
 • 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.
• 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 you’ll see the
effects of your beam breaking. The handle you clicked remains selected to
remind you that you’ve 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

1667
Select Region dialog box

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 you’re 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 you’re 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 can’t 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 measure’s number and staff
name in these boxes automatically. That’s useful to remember if the first
measure of the desired region is visible on the screen—then, when you

1668
 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 measure’s number and staff
name (or number) in these boxes automatically. That’s useful to
remember if the last measure of the desired region is visible on the
screen—then, 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

1669
Select Staff Systems dialog box

How to get there

Click the Page Layout Tool . From the Page Layout menu, choose
Systems, then Select Staff System Range.
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

1670
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

1671
Selective Mirror dialog box

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 don’t
select.

1672
Click Prev and Next to scroll through other mirror measures. When you’re
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 you’re 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 you’ve 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 mirror’s number in the text box.
Click Cancel to return to the previous dialog box without creating (or
editing) a selective mirror.
• Prev • Next. If you’ve created more than one selective mirror, click Prev
and Next to scroll through them.

See Also:
Mirror Tool

1673
Send MIDI Value dialog box

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
command–see MIDI menu); you might use it to change the patch setting of one
of your keyboards; or you could reset a MIDI keyboard’s sustain pedal or pitch
wheel that’s 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 drop-
down list.

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 • 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 you’ve entered in the first text 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
you’ve 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 you’ve specified in the text box.
• Other. If you’re very familiar with the MIDI protocol, you can use this button
and set of text boxes to transmit other kinds of MIDI data—system
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 you’ve specified. Click Done
to exit the dialog box.

See Also:
MIDI/Audio menu

1675
Set Distances dialog box

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 Track-to-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 you’re
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 it’s 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

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Set Duration dialog box

How to get there

This graphic palette of rhythmic values appears any time you’re 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 Spacings

1677
Set Patch To dialog box

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 you’re 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 box’s 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool

1678
Set Placeholder dialog box

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

1679
Set Swing Ratio dialog box

How to get there

From the Window menu, choose Advanced Tools. Click the Tempo Tool .
Click a measure, then click Set Swing.
What it does
The Tempo Tool offers a method for creating a swing playback feel in your
music. You’ll 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 you’ll also hear erratic
results when Finale attempts to apply Tempo to a triplet. For these reasons,
you’ll 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

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 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-and-
sixteenth pair.

• Duration. The number in this text box specifies the durational value of the
notes to which you’re 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 you’ve 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.

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

1681
Set To - Continuous Data dialog box

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 you’re 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 box’s 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 you’ve 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
doesn’t matter whether you select a large region by dragging or only a tiny
vertical sliver—all Finale needs to know is where the beginning of the
selection falls, because that’s 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 pedal’s 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1682
Set To - Key Velocities dialog box

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 you’re 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 box’s 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
you’ve 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1683
Set To - Start/Stop Times dialog box

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 you’re 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 box’s 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
you’ve 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, you’re 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
they’re perfectly "quantized" with their notated values; when you play them
back, they’ll 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 note’s time beyond its notated value.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the MIDI data
changes you’ve specified. You return to the MIDI Tool split-window (or the
score).

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See Also:
MIDI Tool menu
MIDI Tool

1685
Set To - Tempo dialog box

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 you’re 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 box’s 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 you’ve 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 you’ve specified. You return to the MIDI Tool split-window (or the
score).

See Also:
MIDI Tool menu
MIDI Tool

1686
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

1687
 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.
• 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 drop-down 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.

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• 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 2010, choices in the lists below
update to instrument staves designed for playback using Finale’s built-in
GPO sounds. If you choose Tapspace Instruments for Finale 2010, 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 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

1689
 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.

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• 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 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.

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• 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).

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• 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 dialog box

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 you’re 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 Finale’s 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 you’re creating text blocks, block
rests to serve as multimeasure rests in extracted parts, and special shapes for
use as custom stems.

1694
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.
To reshape an object, click it using the Selection Tool, so that its handles
appear. Drag these handles to resize the object—or, if it’s 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. Here’s 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
Finale’s main tool palette; it lets you adjust the drawing’s 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

1695
 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 doesn’t 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 line’s
thickness, shading, and dashed quality using the Shape Designer menu,
before creating it or when it’s 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 rectangle’s thickness,
shading, and dashed quality using the Shape Designer menu, before
creating it or when it’s 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 it’s selected.
• Curve Tool. Drag in a straight line to create a shallow Bézier, 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 curve’s thickness and
dashed quality using the Shape Designer menu, before creating it or when
it’s 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.
• Slur Tool. Drag in a straight line to create a shallow solid or dashed Bézier
(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 menu’s line settings don’t
affect a slur. Using the Selection Tool, click a slur to see its bounding
handles, which you can drag to resize the curve; drag-select 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 shape’s thickness and dashed quality using the Shape
Designer menu, before creating it or when it’s selected. Using the Selection

1696
 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 shape’s thickness, shading, and
dashed quality using the Shape Designer menu, before creating it or when
it’s 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
Finale’s 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 handle’s
coordinates—which 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 you’re 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

1697
Expression Designer

1698
Shape Selection dialog box

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 you’re 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 you’re 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 isn’t in place, and
you haven’t loaded a Shape Expression Library or created any new shapes
yourself, this selection box will contain only the hard-wired multimeasure rest
shape.

1699
 • 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.
• 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 can’t delete any shape that’s 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

1700
Shift Lyrics dialog box

How to get there

Click the Lyrics Tool . Choose Shift Lyrics from the Lyrics menu.
What it does
When you’re 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 they’re 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.

1701
 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 Finale’s 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 you’ve 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 left—but without changing which
notes have lyrics.
• 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 won’t shift any lyrics if you click the staff.

See Also:
Lyrics
Lyrics Tool

1702
Simple Entry Options dialog box

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.

1703
 • Launch Layer Mid-Measure. With this option selected, when you change
layers, the simple entry caret prompts you to begin entering in the new
layer on the same beat. Entry PaletteIf you begin entering atSimple a beat
other than 1, Finale will add hidden rests to fill the previous beats in the
measure automatically.
• 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.

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 you’ve
made to these settings. You return to the score.

See Also:
Simple Entry
Simple menu

1704
Simple Entry Tool
Edit Keyboard Shortcuts

1705
Simple Entry Tuplet Definition
dialog box

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 grouping—the
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
Options-Tuplets 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 you’ve created. You return to the score.

1706
See Also:
Simple Entry Tool

1707
Size dialog box

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

1708
Slur Contour dialog box

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 they’re created. Slurs already in the
score aren’t 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:

1709
Type Length Finale’s 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

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 slur’s 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.

1710
 • 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 slur’s 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

1711
Smart Line Designer dialog box

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.

1712
 • Horizontal. Select this option to ensure that the Smart Shape you are
defining can only be placed horizontally, not diagonally.
• 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
Em’s (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 you’ve
made to the custom Smart Shapes. You return to the score.

See Also:
Smart Shape Tool
Smart Shape menu

1713
Smart Line Selection dialog box

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.

1714
 • 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.
• 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

1715
Smart Shape Options dialog box

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 way—for example, decreasing the opening of every crescendo
mark—you 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 they’re 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 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.

1716
• 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 Maestro’s 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 you’ve 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 be—the 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 you’ve 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

1717
 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.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve
made to the Smart Shapes. You return to the score.

See Also:
Smart Shape Tool
Slurs

1718
Smart Shape Placement dialog box

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.

1719
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.

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
haven’t been manually adjusted in
existing Smart Shapes. However, end
points that you’ve 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 bend’s direction and end
position based on the stem positions of notes, as well as conditions of

1720
 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
you’ve manually adjusted the end
points of a particular slur or bend;
Finale won’t 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.

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):

1721
Starting Context Ending Connection
Connection

Over Over notehead.

notehead. Applies to a down-
Applies to a stem note at the end
down-stem of a down-stem or
note at the Down-Stem Notes mixed stem context.
beginning of a
down-stem or
mixed stem
context.

Under Under notehead.

notehead. Applies to a note at
Applies to a the end of an upstem
note at the context.
beginning of an Up-Stem Notes
up-stem
context.

Over stem. Over stem.

Applies to an Applies to an up-
up-stem note stem note at the end
at the of a mixed-stem
beginning of a Mixed Stem Notes context.
mixed stem
context.

Over stem. Over stem.

Applies to a Applies to a note at
note at the the end of an up-
beginning of an stem layer context.
up-stem layer
context. Up-Stem Layer

1722
Under stem. Under stem.
Applies to a Applies to a note at
note at the the end of a down-
beginning of a stem layer context.
down-stem
layer context. Down-Stem Layer

Over flagged Can’t be set for this

stem. style.
Applies to a (Uses the connection
flagged stem at from the over mixed-
the beginning Mixed-Stem Notes With Flag stem notes context.)
of a mixed-
stem context.

Over flagged Can’t be set for this

stem. style.
Applies to a (Uses the connection
flagged stem at from the up-stem
the beginning layer context.)
of an up-stem Up-Stem Layer With Flag
layer context.

Under flagged Can’t be set for this

stem. style.
Applies to a (Uses the connection
flagged stem at from the down-stem
the beginning layer context.)
of a down-stem Down-Stem Layer With Flag
layer context.

Over stem. Over stem.

Applies to an Applies to an up-
up-stem note stem note in a
in a beamed beamed group,
group, unless unless it’s the first
it’s the last Over Beams note in the group.
note in the Context may be
group (so it’s mixed-stem or an
treated as a up-stem layer.
stemmed
note). Context
may be mixed-

1723
stems or an
up-stem layer

Under stem. Under stem.

Applies to a Applies to a down-
down-stem stem note in a
note in a beamed group,
beamed group, unless it’s the first
unless it’s the Under Beams note in the group.
last note in the Context is a down-
group (so it’s stem layer.
treated as a
stemmed
note). Context
is a down-stem
layer.

Under Under stem side of

notehead. notehead.
Applies to an Applies to a down-
up-stem grace Mixed-Stem Grace Note stem principal note
note that (down-stem principal) that follows an up-
precedes a stem grace note.
down-stem
principal note.

Over stem. Over stem.

Applies to a Applies to a principal
grace note in note in an up-stem
an up-stem layer.
layer. Grace Note in Up-Stem Layer

Under stem. Under stem.

Applies to a Applies to a principal
grace note in a note in a down-stem
down-stem layer.
layer. Grace Note in Down-Stem

1724
 Layer

Over fret Over fret number.

number. Applies to fret
Applies to fret numbers in a TAB
numbers in a staff.
TAB staff.
Fret numbers in a TAB staff

Under fret Under fret numbers

numbers with with stems.
stems. Applies to fret
Applies to fret numbers with stems
numbers with in a TAB staff.
stems in a TAB
staff. Fret numbers in a TAB staff
with stems

As you’d expect, there are exceptions to these rules, and these

exceptions allow you more flexibility. If you freeze note stems (for
example, when you’re 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 slides’s 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.
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).

1725
 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 you’ve manually
adjusted the end points of a particular
slide; Finale won’t 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 Context Ending Connection

Connection

Notehead on Notehead on line.

line. Applies to a note on
Applies to a a line where the
note on a line Different V, Lines, Increasing pitch is increasing
where the pitch Pitch from the previous
is increasing to note on a different
the next note staff line.
on a different
staff line.

Notehead on Notehead on
space. space.
Applies to a Applies to a note on
note on a Different V, Spaces, a space where the
space where Increasing Pitch pitch is increasing
the pitch is from the previous
increasing to note on a different
the next note staff space.
on a different
staff space.

1726
Notehead on Notehead on line.
line. Applies to a note on
Applies to a a line where the
note on a line Different V, Lines, pitch is decreasing
where the pitch Decreasing Pitch from the previous
is decreasing note on a different
to the next staff line.
note on a
different staff
line.

Notehead on Notehead on
space. space.
Applies to a Applies to a note on
note on a Different V, Spaces, a space where the
space where Decreasing Pitch pitch is decreasing
the pitch is from the previous
decreasing to note on a different
the next note staff space.
on a different
staff space.

Notehead on Notehead on line.

line. Applies to a note on
Applies to a a line where the
note on a line Same V, Lines, Increasing pitch is increasing
where the pitch Pitch from the previous
is increasing to note on the same
the next note staff line.
on the same
staff line.

Notehead on Notehead on
space. space.
Applies to a Applies to a note on
note on a Same V, Spaces, Increasing a space where the
space where Pitch pitch is increasing
the pitch is from the previous
increasing to note on the same
the next note staff space.
on the same
staff space.

1727
Notehead on Notehead on line.
line. Applies to a note on
Applies to a a line where the
note on a line Same V, Lines, Decreasing pitch is decreasing
where the pitch Pitch from the previous
is decreasing note on the same
to the next staff line.
note on the
same staff line.

Notehead on Notehead on
space. space.
Applies to a Applies to a note on
note on a Same V, Spaces, Decreasing a space where the
space where Pitch pitch is decreasing
the pitch is from the previous
decreasing to note on the same
the next note staff space.
on the same
staff space.

Notehead on Notehead on a
a space or space or line.
line. Applies to a note on
Applies to a Same V, Same Pitch a space or line
note on a where the pitch is
space or line the same from the
where the pitch previous note on the
is the same to same staff space or
the next note line.
on the same
staff space or
line.

• 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

1728
 you’ve manually adjusted the end
points of a particular glissando; Finale
won’t change any glissando you've
deliberately edited.

Active display area. Use the Active display area to alter the Smart Shape
model selected in the list box. Simply drag the Smart Shape’s end points
to adjust where they’re 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 Shape’s end points will apply to all Smart Shapes
of this type that you create. These changes will also apply to end points
that haven’t been manually adjusted in all similar Smart Shapes in the
score.

Starting Context Ending Connection

Connection

Notehead. Notehead.
Applies to all Applies to all notes
notes that at the termination of
begin a Different V, Lines, Increasing a glissando.
glissando. 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 you’ve
manually adjusted the end points of a particular guitar bend; Finale won’t
change any guitar bend you've deliberately edited.

Starting Context Ending Connection

Connection

1729
Bend. Arrowhead.
Applies to a Applies to the default
fret number on arrowhead
any line but the placement. Further
top. Different V, Lines, Increasing discreet adjustments
Pitch can be made to each
guitar bend
arrowhead in the
score.

Release. Arrowhead.
Applies to a Applies to the default
fret number on arrowhead
any line but the placement. Further
top one on a discreet adjustments
TAB staff. Different V, Spaces, can be made to each
Increasing Pitch guitar bend
arrowhead in the
score.

Quarter Bend. Arrowhead.

Applies to a Applies to the default
fret number on arrowhead
any line but the placement. Further
top one on a Different V, Lines, discreet adjustments
TAB staff. Decreasing Pitch can be made to each
guitar bend
arrowhead in the
score.

Bend on top Arrowhead.

line. Applies to the default
Applies to a arrowhead
fret number on placement. Further
the top line of a Different V, Spaces, discreet adjustments
TAB staff. Decreasing Pitch can be made to each
guitar bend
arrowhead in the
score.

1730
Release on top Arrowhead.
line. Applies to the default
Applies to a arrowhead
fret number on placement. Further
the top line of a Same V, Lines, Increasing discreet adjustments
TAB staff. Pitch can be made to each
guitar bend
arrowhead in the
score.

Quarter Bend Arrowhead.

on top line. Applies to the default
Applies to a arrowhead
fret number on placement. Further
the top line of a Same V, Spaces, Increasing discreet adjustments
TAB staff. Pitch 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 Shape’s 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 Shape’s horizontal
position. As you move to the left, the H text box changes from zero (the

1731
 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.

• 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

1732
Smart Slur Options dialog box

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

1733
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
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 slur’s 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.

1734
• 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.

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.

1735
 • Reset. Click Reset to restore the settings to the defaults.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve
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

1736
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.
• 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. The Instrument Name Assignments dialog box appears
where you can assign a staff name, transposition, and MIDI instrument to
each staff.
• 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
notehead’s 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.

1737
 • Triplets · Heavy Beams. Check triplets to tell SmartScore Lite to recognize
and import triplets. Check Heavy Beams to prevent thick eighth beams from
being classified as 16th beams.
• Cancel. Click Cancel to dismiss the dialog box without transcribing a
scanned file.
See also:
Scanning

1738
SmartFind and Paint dialog box

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.

1739
 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 you’re done. You return
to the score.

See Also:
Edit menu

1740
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.

1741
 • [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
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

1742
SoftSynth Settings dialog box

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 systems’s 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.

1743
See Also:
MIDI/Audio menu
MIDI Setup dialog box

1744
Space Systems Evenly dialog box

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

1745
 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.
• 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 don’t 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

1746
Spacing Widths dialog box

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.

1747
 • 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 doesn’t have a predetermined width value—a
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 values—a sixteenth note and a
32nd note, in the quintuplet example—and 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 you’ve made in this dialog box. You return to the Document
Options dialog box.

See Also:
Music Spacing
Document Options-Music Spacing

1748
Special Key Signature Attributes
dialog box

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 Finale’s 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. There’s
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.)

1749
 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 you’ve
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.)
• 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 you’ve specified a quarter-tone scale, tell
Finale that the Key Unit is 2—there 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 you’ve 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, you’d 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 you’ve
made in this dialog box. You return to the Nonstandard Key Signature
dialog box.

See Also:
Nonstandard Key Signatures
Key Signature Tool

1750
Specify Current Lyric dialog box

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 Finale’s three lyric types: Verse,
Chorus, and Section. There’s no technical distinction between these three
types—the lyrics you enter as a Verse can be used in the chorus of your song,
and vice versa. They’re 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 that’s currently selected.
• OK • Cancel. Click OK to return to the score. Now you’re 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

1751
Speedy Options dialog box

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.

1752
 • Fill With Rests when Leaving Measure. Check this box to have Finale
add enough rests to make a full measure upon exiting the measure.
• 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. 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

1753
Staff Attributes dialog box

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 staff—measure numbers, default whole rests, time signatures,
and repeat ending brackets, to name a few.

1754
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.

• 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. It’s 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 Finale’s 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 you’re 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 you’ve 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,

1755
 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 barlines—both
normal and repeat barlines—not to continue through to the next staff above
this one. (If this staff isn’t part of a staff group, you won’t 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 doesn’t 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 don’t 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.
• 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 you’ve
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.

1756
• 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 you’ve 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 • KeySignatures • Expressions • Measure Numbers • Repeat
Bars • Rests • Staff These checkboxes specify which musical elements will
appear in this staff. For example, you probably wouldn’t want measure
numbers to appear in both staves of a piano part; to omit them from the
bass-clef staff, you’d 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
dialog box.
Tip: If you don’t 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 don’t 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 Options-
Notes and Rests and Tablature Staff Attributes if you selected either of
those options.

1757
 • 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 you’ve
made in this dialog box and return to the score.
See Also:
Staff Tool
Staff Setup
Percussion Layout Selection
Percussion Layout Designer
Note Shapes
Tablature

1758
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 Finale’s 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

1759
setting apply to all uniformely. As such, Staff Control 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

1760
Score Lists and Staff List dialog box

How to get there

Score Lists (expressions): From the Document menu, choose Category
Designer. Choose a category that supports Score Lists, such as Tempo
Markings, Tempo Alterations, or Rehearsal Marks and click Edit.
Staff List (Repeats): 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 Score Lists and Staff List dialog boxes provide control over creating and
editing Score Lists and Staff Lists, which are both used to identify the staves a
marking is to appear. Score Lists and Staff Lists are only available for
markings that apply to the full score, such as tempo and rehearsal mark
expressions and repeat indications.

1761
To assign an expression that applies to a single staff (such as a dynamic) to
multiple staves, use the Assign drop-down menu in the Expression Selection
dialog box.

Expressions:

• Edit. From this list, choose the Expression category Score List you would
like to edit.
• Name. The name of the currently selected Score List appears here. You
can change the names of all 8 available Score Lists by typing a new name
into this text box.
• 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 Score List for the expression you’re adding or editing.
Click OK to confirm your selection of a Score List for the expression you’re
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 Score Listed
in the Score List dialog box that is visible.
Expressions assigned to Score Lists can be moved independently, or
uniformly. See To move expressions assigned to Score Lists.

Repeats:

1762
• 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
you’re 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 you’ve 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 you’ve elected to hide repeat endings for the
staff in the Staff Attributes dialog box.

1763
 • 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 you’re adding or
editing. Click OK to confirm your selection of a Staff List for the repeat
indication you’re adding or editing.

See Also:
Expressions
Expression Assignment
Expression Selection
Expression Tool
Backward Repeat Bar Assignment

1764
Staff Setup dialog box

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
Finale’s 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.

1765
• 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 Finale’s 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 barline). If you specify a
single-line staff with full barline, Finale draws the barline the length of a
five-line 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 Finale’s 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.

1766
 • 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 5-line staff as the point to use
for flipping stems.
See Also:
Staff Tool
Percussion Layout Designer

1767
Staff Styles dialog box

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.

1768
 • 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

1769
Staff Stem Settings dialog box

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 document’s 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.

1770
 • 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 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

1771
System Space Before/After Music
dialog box

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.

1772
See Also:
Page Layout Tool

1773
Staff System Optimization dialog
box

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, it’s 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; and—depending on your settings—it removes empty staves from the
staff systems.
Using this dialog box, you can specify the systems you want optimized—all of
them, for example. Finale redraws your score (in Page View), omitting blank
staves from the specified systems; you’ll find that your score now fits on fewer
pages.

1774
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. Post-optimization, however, you’ll 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
won’t reappear. If you want to edit, reformat, enlarge, or reduce your music,
remove 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, it’s 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 rest—one you’ve entered with the Simple Entry
or Speedy Entry Tool—is not considered empty. If you notice that an
apparently empty staff won’t disappear from its system, it probably contains a
"real" whole rest, which you must remove before reapplying the Optimize All
Staff Systems command.
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 won’t appear in
the affected systems. If you optimize a completely empty staff system,
Finale will still display the top staff, even though it’s 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 they’re 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

1775
 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 system—even 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 you’ve added music in a previously empty
measure, such that some of your music now doesn’t appear (because it
falls on an optimized staff). Once you’ve 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

1776
Staff Transpositions dialog box

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 you’re working on the score, you
can view the instrumental staves in either their transposed or concert-pitch
forms.

1777
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 you’ve 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.

• 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, (Bb) Up M2, Add 2 sharps

trumpet)

B flat instrument-treble (e.g. tenor (Bb) Up M9, Add 2 sharps

sax, bass clarinet)

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 (Eb treble clef) Up M6+Octave, Add 3

sax) sharps

F instrument (e.g. French Horn) (F) Up P5, Add 1 sharp

1778
 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 instrument’s 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, you’d 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

A instrument (e.g. A clarinet) (A) Up m3

B flat instrument (e.g. clarinet, (Bb) Up M2

trumpet)

B flat instrument-treble (e.g. tenor (Bb treble clef) Up M9

1779
 sax, bass clarinet)

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 (Eb treble clef) Up M6+Octave

sax)

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 don’t 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

1780
 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

1781
Staff Usage List dialog box

How to get there

Click the Staff Tool . 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 won’t change its position in Scroll View. Dragging a staff in
Scroll View will affect the staff’s position in Scroll View, but won’t 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.

1782
 Any positioning change in Page View will affect the current staff system
only.

• Staff Number • Prev • Next. This number shows Finale’s internal number
for the current staff (Finale numbers staves in the order that they’re
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
staff’s 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 you’ve 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.

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

staff’s position. Click OK to confirm your changes and return to the score.

See Also:
Staff Tool

1783
Standard Frame dialog box

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 you’ll 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 right—depending on its horizontal alignment—
as 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 down—depending on its vertical
alignment—as long as you enter text.

1784
 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 block’s
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 don’t show the border or shape.
• 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

1785
Stem Connection Editor dialog box

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

1786
 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 notehead. The Font dialog box appears; make
your selection and click OK. The notehead symbol in the font that you’ve
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 stem’s 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

1787
Stem Connections dialog box

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.

1788
 • 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.
• [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

1789
Staff Stem Settings dialog box

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 document’s 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.

1790
 • 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 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

1791
Suffix Keynumber Offsets dialog
box

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, or—more efficiently—
click 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 that’s 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
you’re creating are measured from the root, a given suffix will always play back
correctly, no matter what the root of the chord—in 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 you’re using one of
its automatic-chord input features). Technically, you could edit Finale’s
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, you’ll find Finale’s learned
chords feature to be a far more convenient method. See Chord Symbols.

1792
 • << >>. 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 chord’s
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 root—so, 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 suffix’s 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 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

1793
Superscript dialog box

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

1794
Sweep For Channels Present In A
Track dialog box

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 Track-to-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 you’re 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; it’s strictly an
indicator to help you identify the track you’re working with.
• Done. Click this button to return to the Track/Channel Mapping to Staves
dialog box.

1795
See Also:
Import MIDI File Options
Track/Channel Mapping to Staves

1796
Swing Playback
To create swing playback (for the entire piece)
This method is for generating swing feel from an otherwise “straight” score. (If
you’ve 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, you’ll 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 Playback’s 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
1797
 Note: In order to apply swing playback
with an expression, Human Playback
must be set to None.

1. Click the Expression Tool . If you haven’t 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
you’ve just defined when it plays back your score, the playback will change
to reflect the expression’s swing definition.

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, you’ll
hear genuine swing—Finale is playing the second eighth note of every
eighth-note pair slightly late, just as a jazz player would.

1798
Note: These instructions assume that the time signature is 2/4, 3/4, or 4/4; the
“backbeats” that Finale delays are, therefore, every other eighth note. If the
meter is 2/2, however, the backbeats are every quarter note, so the swing
playback you get may seem erratic if you were expecting traditional eighth-
note swing. To solve the problem, change the time signature to a quarter-note–
based 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.

1799
Symbol List dialog box

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 you’re creating a quarter-tone scale, you’ll 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 you’re defining here.
• List Element (#). This indicator identifies, by number, the currently
displayed pairing of an accidental (as identified by the Alter Amount,
below—sharp, 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 you’re 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
there’s 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 you’ve
chosen in the previous dialog box. For example, you’ll see a lower-case b

1800
 in this text box if you’re using the Maestro music font and specifying a flat
symbol.

Note that you can use more than one character to represent a particular
accidental—up to eight, in fact. In the quarter-tone scale, for example, you
might want to use a pair of symbols—such 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 you’ve created an accidental/symbol pairing, click this button

to store it and add it to the Symbol List. Even though it may appear that
you’ve replaced a set of existing pairing data (by typing over them), Finale
saves both the old and new information.
• 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 you’ve 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

1801
Symbol Selection dialog box

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.

1802
 • 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

1803
Sync and Video Options dialog box

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 Finale’s 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 won’t 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 you’ve

1804
 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,
there’s 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 you’ve 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).

• 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 Time. This is the MTC time Finale sends at the beginning of
measure 1 while playing back the Finale file (in
hours|minutes|seconds|milliseconds). 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 Finale’s 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. The format is: hours|minutes|seconds|milliseconds.
• OK • Cancel. Click OK (or press enter) to confirm the settings you’ve made
in this dialog box. Finale will use the option settings you’ve just made
whenever it plays back in this document. Click Cancel to leave the dialog
box without changing any settings.

1805
Tablature MIDI Channels dialog box

How to get there

From the MIDI/Audio menu, choose Device Setup > 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

1806
Tablature Staff Attributes dialog box

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.

1807
 • 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.

• 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 Staff’s Attributes To Tablature Defaults. Check this box
to revert to Finale’s 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

1808
Tap Source dialog box

How to get there

Click the HyperScribe Tool , and choose Tap from the Beat Source
submenu of the HyperScribe menu.
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 you’re 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 you’ll be tapping
to provide a tempo reference as you play.

• Standard Sustain Pedal • Nonstandard Sustain Pedal • MIDI Note: •

Channel: • Listen. If you’ll 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).

1809
 If you’ll 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
automatically—click Listen, whereupon Finale will prompt you to play a
key. Finale will enter the correct information. (If Finale doesn’t respond
when you play a key or pedal, then your MIDI system may not be
connected properly.) See Listen dialog box.

• 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 there’s 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

1810
Tap States dialog box

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" you’re 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 you’ve 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

1811
 switch to a different Tap State setup, you don’t start tapping a different key
or pedal—you continue to use the same tap device. Just tap the desired
Tap State’s trigger once to tell Finale you’re 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 can’t switch
back to the "main" duration/division
setup while you’re playing.

• OK • Cancel. Click OK to confirm, or Cancel to discard, the Tap State

settings you’ve made and return to the Tap Source dialog box.

See Also:
HyperScribe menu
HyperScribe Tool

1812
Tempo Adjustment dialog box

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. You’ll 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

1813
 the Unit whose data is displayed in the dialog box. Scroll among the Units
you’ve 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.

• 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

1814
Set Swing Ratio

1815
Expression Designer-Main dialog
box

How to get there

Click the Expression Tool , and double-click a note or measure. Click

Create, or click an expression and then click Edit.
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 you’ve 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

1816
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.
• 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 marks—you can enclose each letter in a
neat rectangle.
• Use Auto-Sequencing Style • A, B, C...Measure Number. [Available for
rehearsal marks only]. Check this box and choose a rehearsal mark style
from the adjacent drop-down menu to use this expression for a series of
automatically incrementing rehearsal marks that retain their consecutive

1817
 sequence whether added, reordered, or deleted in the score. See
Rehearsal marks. Choose Measure Number to use the style defined in the
Measure Number dialog box. If there is no measure number region defined,
Finale will use the “real” measure numbers for rehearsal marks and use the
defined measure number style. If there is more than 1 measure region
present, Finale will use the measure numbers as defined by the first
measure number region.

If auto-sequenced rehearsal marks are already in the score and this

option is unchecked, Finale will leave the existing rehearsal mark
expressions intact, but remove each auto-sequenced number or letter,
leaving empty placeholders. If you wish to remove auto-sequenced
rehearsal mark expressions you can delete them individually in the score
(see To erase expressions from a region), or delete the definition directly
from the Expression Designer dialog box (by selecting the expression's
box, clicking Delete, and choosing "Delete element from both selection
palette and score").

• Hide Measure numbers. [Available for rehearsal marks only]. With this box
checked, rehearsal marks automatically take the place of measure
numbers on the measures added. In other words, measure numbers are
hidden in favor of rehearsal marks. If the rehearsal mark is subsequently
deleted or moved to a different measure, the measure number reappears
automatically (if assigned to show in the Measure Number dialog box).
• 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 you’ll 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 don’t want to permit a shape to be stretched horizontally—
for 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.

1818
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:
Expressions
Expression Selection
General MIDI Patch Numbers & Names
Enclosure Designer
Playback Data Dump
Expression Tool

1819
Text Repeat Assignment dialog box

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 you’ve 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 you’ve 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.

1820
• 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 Mark—for 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").
• 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
boxes—and thus performed the Repeat Action—it 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 you’re 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.

1821
 • 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 staff’s 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 you’ve 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

1822
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

1823
 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

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

1824
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 doesn’t appear immediately,
you’ve 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 you’ve put too many beats into a measure, and
asks how you want to handle the extra beats. If you’re 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 there’s 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 don’t 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. (You’d 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

1825
 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 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 box—and the Speedy editing frame—and
process the extra beats as you specified.

See Also:
Speedy Entry Tool

1826
Tie Alterations dialog box

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 tie’s 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 tie’s distance
horizontally from the inside edge of the first note tied note. A larger number

1827
 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 tie’s 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 tie’s
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 tie’s 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 tie’s
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.

1828
 • 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
Options-Ties. 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
Options-Ties. 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

1829
Tie Contour dialog box

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 spans—short, 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 tie’s actual height, but the height of the tie’s 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 tie’s overall
shape. Inset controls the amount of "hook" at tie’s endpoints.

1830
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
ties—see 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.
• 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 tie’s 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.

1831
 • 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

1832
Time Style dialog box

How to get there

Click the Measure Tool and select Edit Regions from the Measure
Numbers submenu of the 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 you’ve made and return to the
Measure Number dialog box.

See Also:
Measure Number
Measure menu

1833
Tilting Mirror dialog box

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 you’re viewing the measure
you originally clicked (which, you’ll 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 bar—the dotted vertical lines—until
the cut bars enclose the notes you want included in your composite mirror.
Click Prev, Next, Insert, or OK; Finale asks you if you’re sure you want to add
the selected notes—hereafter called a mirror fragment—to the composite
mirror.

• Prev • Next. Click these buttons to scroll among the mirror fragments
you’ve already assembled in the measure. If the music displayed between
the two dotted-line cut bars is a fragment you haven’t yet selected for
inclusion in this composite mirror, click Prev or Next to select it.

1834
 • Delete. Click Delete to remove the fragment you’re viewing from this
mirrored measure.
• Insert. Click Insert if you want to place a new mirror fragment just before
the one you’re 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 you’re 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, you’ll see the contents of each measure you view,
adjusted for the mirror measure’s 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
you’ve 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 haven’t yet selected for inclusion in this composite mirror, Finale asks if
you want to save changes.) If you’ve 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

1835
Time Signature dialog box

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 signature—the number of beats in each measure.
Use the lower scroll bar to specify the lower number of the time signature—
the rhythmic value of each beat. For greatest control, click the right and left
arrow buttons to change the number one increment at a time.

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 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.
• 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.
Here’s 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 don’t affect beaming.

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 • 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 signature appears in your music. This capability lets
you easily mix and 4/4 (or and 2/2) in one piece. You use a simple
option, the Abbreviate checkbox in the expanded Time Signature dialog
box.
Here’s 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

1838
Tone Center(s) dialog box

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 doesn’t 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, there’s no particular relationship between one and another;
each nonlinear key signature is a special situation.)
You’ll 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 haven’t 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

1839
 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 you’re changing
the relative tone center. In the standard key system, if the Unit is 3
(signifying the appearance of the third sharp), you’d 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 center—the key
you’re in—that corresponds to the appearance of the accidental identified
by the Unit (above). It’s 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
appear—B flat (in the key of F, as it happens). For the key identified by
the appearance of the B flat, you’d 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.
• 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 you’ve 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

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Track/Channel Mapping dialog box

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 Track-to-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 tracks—to 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

1841
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 register—the highest notes into
one staff, and so on.
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 Layout
which adjusts the percussion notehead, placement and alternate playback.

• Track/Channel Mapping for Slot (#). This number indicates which "slot" or
row of track information you’re 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 you’re about to create.

To create a single staff from a single track, enter the track’s number and
the MIDI channel from which it was recorded in one pair of the
Track/Channel boxes. Note: You normally don’t 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 channel’s 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, you’ll 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 blank—or enter zero—if each track
was only recorded from a single channel, or if it’s 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 selected—or, 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 you’ve 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 you’ve 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

1842
 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 don’t 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 lines—for
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 you’ve
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
point—provided there’s 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
you’re 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). 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 staff’s starting clef.
Finale offers eighteen standard clefs, numbered 0 through 15.

1843
 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 you’re defining and the top of the Finale window (in
Scroll View). It’s a negative number, because this staff appears below the
top of the window. Note that if you want all your staves evenly spaced, you
don’t 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 Layout • Select. The number in this text box specifies which
Percussion Layout you’ve selected for this staff. Click the Select button to
open the Percussion Layout Selection dialog box, where you can select
from any Percussion Layouts available in the default file. See Percussion
Layout Selection dialog box.
• OK • Cancel. Click OK to confirm, or Cancel to discard, the track-to-staff
configurations you’ve 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

1844
Track/Channel Mapping to Staves
dialog box

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 Don’t 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. You’ll
notice that these are exactly the same as the Tracks Become Staves and

1845
 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 on—options that aren’t 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 you’ve 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, 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 Layout will
be used to adjust the display of percussion noteheads and placement.

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 you’ve created a mapping setup, you needn’t 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 file—or a similarly configured one—click Load.
Double-click the TrackMap File’s 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

1846
 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

1847
Tracking dialog box

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 em’s, that Finale should leave between characters for the selected text.

• Amount. Enter the amount (in em’s) of horizontal space, in em’s, that
Finale should leave between characters for the selected text. One em is
equivalent to 1/1000 of the point size. Em’s 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

1848
Transcription dialog box

How to get there

Click the HyperScribe Tool , and select Transcription Mode from the
HyperScribe menu. Click a measure.
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 on-screen piano keyboard. You can edit these notes graphically,

1849
changing their durations, inserting new notes, or deleting notes from selected
areas. See Keyboard, below.
Once you’ve 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 screen—the Time
Tag display area—marked 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.
Because the File menu’s New, Open, and Save As commands—when you’re
in the Transcription window—only apply to performances you’ve 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. They’re
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
you’re about to record (or listen to).
For example, to record Time Tags, you’d want the Play radio button selected in
the Keyboard section, because you’ll want to hear your performance playing
back so you can tap along with it. You’d 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 it’s 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,
you’ve just indicated to Finale that you’ll 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

1850
 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 note’s 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 shorter—just 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 value—20, for example—to
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 long—which 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 you’ve already recorded, if
any. (If there’s 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 it’s 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 it’s possible not to have any of the radio buttons selected;
click a selected button again to "deselect" it.

1851
 Second, you can click the words Time Tag to highlight them; by doing so,
you’ve just indicated to Finale that you’ll 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 can’t insert Measure or Beat Tags until after
you’ve entered standard Time Tags.) 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), drag any one notehead to move
them all.
To change the duration of a tag, double-click its notehead—but 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 once—change a 4/4 piece to 2/4
time, for example, or vice versa—because you’re effectively telling Finale
that every quarter note is now an eighth note (in this example). If you try
this, however, don’t 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
value—20, for example—to 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 Tag—and what its rhythmic value is—by choosing the appropriate
commands from the Time Tag menu. (See Time Tag menu for a complete
description of the commands.)

You’ll 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 simultaneously—if you want to tap the pedal as you play (as
in HyperScribe), for example; or if you’re 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.

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• Play [Time Tag section]. Select this radio button if you want Finale to play
the Time Tags you’ve 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 example—does
Finale begin to record or play, according to your radio button selections.
Note that the first MIDI signal you produce isn’t merely a trigger; it’s 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 may find it easier, however, to select a region by
simply dragging through a section of the display area. These counters

1853
 change automatically to reflect your selection. You can also set either
indicator by clicking—click 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 you’ve 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 Finale’s 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 don’t
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 Finale’s 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

1854
 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 you’ve created a playback file (consisting of the tracks you’ve

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 it’s prepared to do so, it displays an X in the
Background File checkbox. If you don’t 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 you’ve 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 you’ve recorded a new track, you don’t have
to reenter Time Tags manually—you 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 you’re 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 won’t
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.
Because you usually click a measure to enter the Transcription window,
you need to ctrl-click a measure to do so if you’re 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, you’re

1855
 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 you’ve 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 you’ve 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

1856
Transcription Filters dialog box

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 you’ve just played a multichannel sequence into the Transcription window
(from an external sequencer), for example, you’ll 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 register—for example, you want to transcribe only the notes above middle
C—you 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, you’ve 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 200—

1857
 unless 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 don’t 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 notes—the lowest, then the highest; Finale
enters their key numbers in the text boxes automatically.
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

1858
Transposition dialog box

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.

1859
 • Diatonically • Chromatically. Specify what kind of transposition you
want—a 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 you’ve 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 you’ve 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, you’re doubling the notes in your score. When this option is not
selected, Finale transposes the existing line of notes without keeping the
original line.
• 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

1860
Tuplet Definition dialog box

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 grouping—the number of eighth notes that are to be played in the time of
a quarter note, for example—and 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

1861
displays Document Options-Tuplets, where you can specify these parameters.
(See Document Options-Tuplets for a more complete discussion—although 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 box—in 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.
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 you’re 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

1862
 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 you’ve 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).

1863
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 don’t 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
left-most 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 it’s 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

1864
 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 you’ve 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 session’s 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

1865
Undo/Redo Lists dialog box

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

1866
Unknown Chord Suffix dialog box

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 hasn’t been loaded into, or created in, this piece.
What it does
When Finale encounters a chord it doesn’t 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 piece—or
if you have the Maestro Font Default file in place, which already has a Chord
Suffix Library loaded.)

• I’ll 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
doesn’t usually understand (such as a major sixth chord or a "V–11" chord
like F/G), clicking the I’ll Do It button also means "I’ll teach it to you." Once
you’ve created the chord symbol, Finale will recognize this chord in any
inversion and register (but only if it’s 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 correctly—but it doesn’t 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

1867
Chord Tool

1868
Unknown Font dialog box

How to get there

From the File menu, choose Load Library. Double-click the name of a library
that was created with a font that’s no longer installed on your System.
What it does
You’ll 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 else’s 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 doesn’t actually install a font in your system when you click Add.
Instead, it adds the missing font’s 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 that’s 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.

1869
 • OK • Cancel. Click OK to do the selected action. Click Cancel to return to
the score without making any changes.

See Also:
Font

1870
Update Available dialog box

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

1871
View Continuous Data dialog box

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 Controller Controller Controller
number number

1 Modulation wheel 64 Sustain pedal

or lever

2 Breath Controller 65 Portamento

4 Foot Controller 66 Sostenuto

7 Main volume 67 Soft Pedal

10 Pan

1872
 • Patch Changes • Channel Pressure • Pitch Wheel. Select the data you
want to view and edit. When you click OK, you’ll be able to edit the
specified data type. For instructions on editing these data types, see MIDI
Tool window.

• Listen. If you’re 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

1873
View Resolution dialog box

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 area—for 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 second—that 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, you’ve just shifted it one second in real time.

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 • 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

1875
Voicing for Staff in Part dialog box

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.

1876
 • 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 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

1877
VST Instruments dialog box

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. You can use this dialog box to load any other VST
instrument library, select and edit VST effects, and adjust the volume for each
VST selection.

• Finale Channel • VST Instrument • Edit. Each one of these drop-down

menus displays all the sound libraries installed on your computer. The Aria
Player is included with Finale. Choose "Instruments for Finale 2010" to load
the Garritan instruments included with Finale 2010. Click the adjacent
button to open the selected player where you can add instruments and
make other changes.
• FX. Each one of these drop-down menus displays the VST effects installed
on your computer. Click the adjacent button to open the selected effects
interface where you can make adjustments to them. Finale includes the
Ambience Reverb VST effect. Choose this option to apply Finale's included
reverb effect to playback of VST sounds. To adjust reverb settings, click the
Edit button.

VST FX plug-ins are installed as dll files that usually appear in the same
folders as the VST Instruments. If you do not see the one you are looking

1878
 for, you can identify any VST plug-in installed on your system by choosing
it from the Manage VST Plugins dialog box.

• Bypass. Check this box to bypass the chosen effect.

• Volume • Clip. This volume slider applies to the volume of the selected
bank of channels and their selected VST selection and effect(s). Finale
illuminates the Clip indicator if clipping is detected. Clipping is detected if
the signal goes beyond the bounds of a standard range. Click the clip
indicator light to reset it.
• Master FX • Master Volume. Use these options to apply effects and
volume to the master mix. Changes to this section apply to all VST
instruments
• Close. Click Close to apply your settings.

See Also:
MIDI/Audio menu

1879
Wait for End of Note dialog box

How to get there

From the Utilities 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 soloist’s 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.

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Wait For Foot Pedal dialog box

How to get there

From the Utilities 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.

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Wait for Note dialog box

How to get there

From the Utilities 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.

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• 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.

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Word Extensions dialog box

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

1884
 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 extension’s end point. Enter avalue for Dotted Notehead to specify the
distance between a dotted note and the word extension’s end point.
• 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
extension’s 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 you’ve 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

1885
Zoom dialog box

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 size—in
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 specified—or 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

1886
Interface Changes
Use this information to identify the location of commands and options that have
been renamed or whose locations have changed since a previous Finale
version (back to Finale 2007).

1887
Finale 2010 Interface Changes
Finale 2010 includes the following interface changes since Finale 2009a.
Transparent handles
Finale's transparent handles can be modified or turned off in the Program
Options-View dialog box.
Percussion Maps
Percussion Maps as they appeared in Finale 2009 no longer exist in Finale
2010. Functionality of Finale's former Percussion Maps has been split between
Percussion Layouts and Percussion MIDI Maps.
Percussion Layouts
Percussion Layouts allow you to assign percussion instruments to staff
positions and noteheads. These features, which previously existed in the
Percussion Map Designer dialog box, are now available in the Percussion
Layout Designer dialog box.
Percussion MIDI Maps
The MIDI mapping of percussion notation is now handled automatically during
entry. If you change the playback device under the MIDI menu, and the
MIDI notes no longer match the desired percussion sounds, simply select the
percussion MIDI map for that playback device for that staff, which is available
in the Instrument List. See also To setup playback for a percussion staff.
Percussion entry
If you are using an external MIDI device for percussion input, you can select a
Percussion Input Map for your device and patch to ensure the desired
percussive instruments are entered onto the staff on the appropriate
MIDI notes. Percussion Input Maps are available in the MIDI Setup dialog box.
See Percussion MIDI Maps dialog box.
Resize Fretboards
The former Resize Fretboards option under the Chord menu and the Resize
Fretboards dialog box have been removed. You can resize Fretboards globally
in Document Options-Chords. To resize fretboards by region, use the Change
Chord Assignments dialog box.
Broadway Copyist Font
Finale's default handwritten font in now the new Broadway Copyist font.
Menu Changes
The following menu items have been removed or changed:

1888
 • Chord/Type Into Score has been removed. All type into score
functionality has been added to Chord/Manual Input. See To type-in chord
symbols.
• Chord/MIDI Input is now called Chord/Allow MIDI Input. Select this
menu item to play-in chords while using Manual Input. See To play-in chord
symbols.

The following plug-ins have been removed

• Extract Lyrics plug-in. Removed in favor of the new Export Lyrics option
under the Lyrics menu.
• Easy Measure Numbers. Removed in favor if Finale's integrated measure
number functionality.
• MiBAC Jazz Rhythm Section Generator.

1889
Finale 2009a Interface Changes
Finale 2009a includes some interface changes related to expressions and font
handling.
Score Lists for Expressions
Staff Lists for expressions have been renamed Score Lists. See Category
designer dialog box. The number of available score lists has been increased
from 4 to 8, and they can now be renamed. See Score List dialog box.
Staff Assignment for Expressions
Staff assignment functionality has been introduced for expressions not eligible
for Score Lists. See Expression Selection dialog box and Assign to Staff dialog
box. Keyboard shortcuts have been added to allow easy assignment to
adjacent and/or all staves. See Keyboard Shortcuts - Expression Tool.
Font Utilities dialog box
Font-related commands under the Data Check submenu, including: "Check
Document Fonts Against System Fonts," "Swap One Font for Another," Scale
Fonts," and "Convert Text for Windows." have been consolidated into the new
Font Utilities dialog box. Two new functions related to symbol fonts have been
added: "Reset Symbol Fonts List to Default" and "Sync Document to Symbol
Fonts List." See Font Utilities dialog box.

1890
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 Score Lists
(If you are not familiar with measure expressions and staff lists (now called
Score Lists) in Finale 2008 and earlier, disregard this information and refer to
Expressions and Score 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 Score 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 Score List dialog box) "top staff only," and so on. Each measure
expression essentially included its own Score 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 Score List would be copied with
it, which could result in a multitude of Score 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 Score 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).
Score 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:

1891
 • Expressions that apply to the entire score (all staves). These include
tempo markings, tempo alterations, and rehearsal marks. 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 Score
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 Score List definitions was replaced with four (Score List 1,
Score List 2, etc.). You can make changes to these Score Lists in the Score
List dialog box. Changes to a category's positioning, font, or Score 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 Score 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 Score 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 Expressions.
Expression Editing Changes

• 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).

1892
 • An expression that is assigned to a Score 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 2008 to Finale 2010 menu Reference Chart
Use the following key to identify any commands that have moved or changed
names since Finale 2008. (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 Finale 2008 menu Finale 2010 menu Finale 2010 menu
Command Name Command Name
Save as SmartMusic File/Save Special File Export to
Accompaniment SmartMusic
Save as Audio File File/Save Special File Export to Audio File
Save Preferences File/Save Special File ""
- - View Page View
Submenu
- - Document Category Designer*
VST Setup MIDI/Audio MIDI/Audio/Instrument Setup VST Instruments
Instrument List Window (only) MIDI/Audio/Instrument Setup "" (now duplicated
under the
MIDI/Audio menu)
- - MIDI/Audio Human Playback
submenu
- - MIDI/Audio Device Setup
submenu
Audio Setup MIDI/Audio MIDI/Audio/Device Setup ""
- - MIDI/Audio/Device Setup Manage VST Plug-
ins*
MIDI Setup MIDI/Audio MIDI/Audio/Device Setup ""
MIDI Thru MIDI/Audio MIDI/Audio/Device Setup ""
Tablature MIDI/Audio MIDI/Audio/Device Setup ""
MIDI Channels
Send MIDI Sync MIDI/Audio MIDI/Audio/Device Setup ""
Send MTC MIDI/Audio MIDI/Audio/Device Setup ""
- MIDI/Audio/MIDI File Options MIDI File Options
submenu*
Import MIDI File MIDI/Audio MIDI/Audio/MIDI File Options ""
Options
Export MIDI File MIDI/Audio MIDI/Audio/MIDI File Options ""
Options
- - MIDI/Audio/MIDI Clipboard MIDI Clipboard

1893
 submenu*
Import MIDI from MIDI/Audio MIDI/Audio/MIDI Clipboard ""
Clipboard
Export MIDI to MIDI/Audio MIDI/Audio/MIDI Clipboard ""
Clipboard
Internal Speaker MIDI/Audio MIDI/Audio/Device Setup MIDI/Internal
Playback Speaker Playback
Off MIDI/Audio/Internal MIDI Setup dialog box -
Speaker Playback (choose MIDI System)
QuickTime Playback MIDI/Audio/Internal MIDI Setup dialog box -
Speaker Playback (choose QuickTime
Playback)
SmartMusic MIDI/Audio/Internal MIDI Setup dialog box -
SoftSynth Playback Speaker Playback (choose SmartMusic
SoftSynth)

Commands and Dialog Boxed Removed in Finale 2009

• Measure Expression Assignment (replaced with Expression Assignment)

• Note Expression Assignment (replaced with Expression Assignment)

1894
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 to Finale 2010 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 2007 to Finale 2010 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.
• 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.

1895
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 drag-copying 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 drag-copying 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 2010'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 drag-inserting. In other words, the same mechanism is now used
for clipboard-copying as drag-copying.
Modeless Editing Commands

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The following changes mean less switching tools and more universal controls.
New Utilities menu

The Utilities menu was introduced

in Finale 2008 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 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.

1897
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 single-key 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).
• 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

1898
 • 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. 2010 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 2008 to Finale 2010
menu Reference Chart.) New commands, menus, and submenus (as of Finale
2008) are marked with an asterisk (*).

Finale 2007 menu Finale 2007 menu Finale 2010 menu Finale 2010 menu
Command Name Command Name

- - Edit *Paste Multiple

- - Edit *Copy All Items

- - *Utilities -

- - Edit *(SmartFind and

Paint (submenu)

Add Measure Edit Add Measures

Add Enclosures Measure/Measure Measure Add Measure

Numbers Number
Enclosures

Apply Articulation Mass Edit Utilities ""

1899
Apply Beat Spacing Mass Edit/Music Utilities/Music ""
to Current Spacing Spacing
Part/Score

Apply Note Spacing Mass Edit/Music Utilities/Music ""

to Current Spacing Spacing
Part/Score

Apply SmartFind Mass Edit Edit/SmartFind ""

and Paint and Paint

Apply Time Mass Edit/Music Utilities/Music ""

Signature Spacing Spacing Spacing
to Current
Part/Score

Articulation Mass Edit/Change Utilities/Change Articulations

Assignments

Automatic Music Edit Program Options- ""

Spacing Edit

Automatic Update Edit Program Options- ""

Layout Edit

Break Measure/Multimea Edit/Multimeasure

sure Rest Rest
""

Change (submenu) Mass Edit Utilities ""

Change Lowest Mass Edit/Utilities Utilities/Change Lowest Fret

Fret

Check Accidentals Mass Edit/Utilities Utilities/Check ""

Notation

Check Elapsed Mass Edit/Utilities Utilities/Check ""

1900
Time Notation

Check Ties Mass Edit/Utilities Utilities/Check ""

Notation

Chord Assignments Mass Edit/Change Utilities/Change Chords

Clear Entries and Mass Edit Edit Clear All Items

Smart Shapes

Clear Items Mass Edit Edit Clear Selected

Items

Convert Mirrors Mass Edit/Utilities Utilities/Check ""

Notation

Create Measure/Multimea Edit/Multimeasure

sure Rest Rest
""

Create for Measure/Multimea Edit/Multimeasure

Parts/Score sure Rest Rest
""

Customize Palettes View Window

Delete Measure Edit Delete Measure

Stack

Deselect SmartFind Mass Edit Edit/SmartFind ""

Source Region and Paint

Edit Measure/Multimea Edit/Multimeasure ""

sure Rest Rest

Edit Measure Measure Edit ""

Attributes

1901
Edit Measure Measure/Measure Document and ""
Number Regions Numbers 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 Mass Edit/Utilities Utilities/Check Down

Down Notation/Stem
Direction

Freeze Stems Up Mass Edit/Utilities Utilities/Check Up

Notation/Stem
Direction

Hide Numbers Measure/Measure Measure Hide Measure

Numbers Numbers

Implode Music Mass Edit/Utilities Utilities ""

Import MIDI from Edit menu MIDI/Audio/MIDI ""

Clipboard Clipboard

Insert Measure Edit Insert Measure

Stack

Items to Copy Mass Edit Edit Edit Filter

Lock Systems Mass Edit Utilities ""

Measure Numbers Measure Measure (Items loose in

(submenu) menu)

Mirror Mass Edit *Mirror Dragging Copies

1902
 Music

Dragging Mirrors
Music

Move/Copy Layers Mass Edit Edit ""

Multimeasure Rest Measure Edit ""

(submenu)

Music Spacing Mass Edit Utilities ""

(submenu)

Note Durations Mass Edit/Change Utilities/Change ""

Note Expression Mass Edit/Change Utilities/Change Note Expressions

Assignments

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 Mass Edit/Utilities Utilities/Check ""

Slur Adjustments Notation

Remove Stem Mass Edit/Utilities Utilities/Check Use Default

Changes Notation/Stem Direction
Direction

Respell Notes Mass Edit/Utilities Utilities ""

Restore Defaults Measure/Measure Measure Restore Measure

1903
 Numbers Number Defaults

Retranscribe Mass Edit MIDI/Audio ""

Scale View To View View Zoom

Set SmartFind Mass Edit Edit/SmartFind ""

Source Region and Paint

Show Numbers Measure/Measure Measure Show Measure

Numbers Numbers

Special Part Edit Document ""

Extraction

Ties Mass Edit/Change Utilities/Change ""

Toolbars View/Customize Window/Toolbars Customize

Palettes Toolbars

Transpose Mass Edit Utilities ""

Tuplets Mass Edit/Change Utilities/Change ""

Unlock Systems Mass Edit Utilities ""

Update Layout Edit Utilities ""

Update Smart Word Edit Utilities ""

Extensions and
Hyphens

Commands Removed from Finale

• Edit/Select Partial Measures. Finale now offers partial measure selection

at all times. See Selecting music.

1904
• 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.
• 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

1905
Glossary
The following terms are used in the Finale interface and throughout the Finale
User Manual.
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). 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.

1906
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.
FTM

1907
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. The layer selection
buttons appear in the lower left corner of your Finale window. 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.

1908
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.
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
1909
Particular instrument sounds within a MIDI channel. Consists of a simple
program change or a combination of bank and program changes.
Percussion Layout
A percussion layout is a list of defined percussion instruments available for use
in a staff. This definition includes staff position, notehead style, and note type
(snare drum, cymbols, etc.). Percussion Layouts are defined in the Percussion
Layout Designer dialog box.
Percussion MIDI Maps
A Percussion MIDI Map is simply a list that matches each percussion
instrument in a sound library with a particular MIDI note number (e.g. bass
drum = 36, snare drum = 38, etc.). These maps are required to properly assign
the same percussion notation to various playback devices, and are also used
to accommodate the many different percussion sound banks that can be used
for input with an external MIDI device.
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.
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

1910
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.
Score List
Score lists are applied to expressions that apply to the full score including
tempo marks, tempo alterations, and rehearsal marks. They indicate the
staves on which these expressions should appear and can be edited in the
Category Designer dialog box.
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

1911
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 Format—format for storing bitmapped images/graphics.
This format is supported on both Macintosh and Windows (.tif extension) and
does not require a PostScript printer.
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.
Trigger
In Finale, the term "trigger" is used to describe the keyboard shortcut used to
display the Waiting for Input dialog box while entering with the Simple Entry
Caret. The triggers are * (asterisk) for articulation, x for expression, Alt-C for
clef, Alt-T for time signature, and Alt-K for key signature. After the Waiting for
Input dialog box appears, a metatool key can be used to enter the figure, or,
click select to choose from a selection.
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.

1912
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.

1913
Keyboard Shortcuts and Special
Mouse Clicks
Commands that are new or have changed in Finale 2010 are marked by a
bullet (·).

File menu Graphics Tool Page Layout Special Tools

Tool Tool

Edit menu Hand Grabber Playback Staff Tool

Tool

Window HyperScribe Repeat Tool Text Tool

menu Tool

View menu Transcription Resize Tool Tuplet Tool

Mode

Utilities Lyrics Tool Selection Tool Zoom Tool

menu

Articulation Measure Tool Simple Entry General

Tool Tool

Chord Tool Mirror Tool Simple Entry

Laptop

Clef Tool Note mover Smart Shape

Tool Tool

Expression Ossia Tool Speedy Entry

Tool Tool

File menu

Command Keyboard Shortcut or Mouse

Click

1914
 Launch Window Ctrl-Shift-N

New (default new Ctrl-N

action)

Open Ctrl-O

Close Ctrl-W

Save Ctrl-S

Print Score Ctrl-P

Quit Alt-F4-Q

Edit menu

Command Keyboard Shortcut or Mouse Click

Undo Ctrl–Z

Redo Ctrl–Y

Undo/Redo List Ctrl-shift–Z

Cut Ctrl–X

Cut to Clip File Press Ctrl when choosing Cut

Copy (to the Ctrl–C

Clipboard)

Insert Ctrl–I

Copy to Clip File Press Ctrl when choosing Copy-C

Insert From Clip Press Ctrl when choosing Insert

File

Insert and Filter Ctrl-Shift-I

Insert and Filter Press Ctrl-Shift while choosing Insert

from Clip File

Paste Ctrl-V

1915
Paste Multiple Ctrl-Alt-V
(from the
clipboard)

Paste (paste from Press Ctrl when choosing Paste

a Clip file)

Paste Multiple Highlight the source measures. Press

using the one-click Alt-Ctrl and click the destination
method 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.

Use Filter Alt-Ctrl-F

Edit Filter Shift-Alt-Ctrl-F

Paste and Filter Press Shift-Ctrl while choosing Paste.

from Clip Files The Edit Filter dialog box appears
where you can choose which items
you would like to paste.

Delete Measure Delete (with a stack selected)

Stack

Select All Ctrl-A

Update Layout Ctrl-Shift-U

and remove
measure
groupings

Clear All Items Backspace (Laptops Fn-6)

Set SmartFind Ctrl-F

Source Region

Deselect Ctrl-F
SmartFind Source
Region

Apply SmartFind Ctrl-Shift-F

and Paint

1916
 Utilities menu

Command Keyboard Shortcut or Mouse Click

Update Layout Ctrl-U

Transpose Ctrl-6 through 9

Program a Shift-Ctrl-6 through 9

Transposition

Lock Systems Ctrl-L (Or, with the Selection Tool

selected, press L to lock Systems).

Unlock Systems Ctrlco-Shift- U (Or, with the Selection

Tool selected, press U to unlock
Systems).

Apply Note Ctrl-4 (Or, with the Selection Tool

Spacing selected, press 4)

Apply Beat Ctrl-5 (Or, with the Selection Tool

Spacing selected, press 5)

Fit Measures Ctrl-M

Implode Music 1 (With Selection Tool selected)

Explode Music 2 (With Selection Tool selected)

Check Elapsed 3 (With Selection Tool selected)

Time

Window menu

Command Keyboard Shortcut or Mouse Click

Show/Hide Main Tool Palette Command–T

Switch between open windows Ctrl-Tab

1917
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 Ctrl–D

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 Ctrl–2

Custom Zoom 1 Ctrl–1

Custom Zoom 3 Ctrl–3

View At X % Ctrl–0

Fit Width Ctrl–]

Fit in Window Ctrl–[

Add Bookmark Ctrl–B

View At Last Double-right-click on the score

Size

Define a Staff Press Ctrl when choosing Staff Set (in

Set Scroll View or Studio View)

Show/Hide Ctrl-R
Rulers

Change layers Alt-Shift-layer number (1-4)

1918
 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 Press shift-Function key (F2-F12)

for a tool

Switch to a tool you’ve Press Function key (F2-F12)

programmed

Select Yes or No in dialog boxes Type N for “No” and Y for “Yes”

Show Active Layer Only Shift-Alt-S

Open Document Options Ctrl-Alt-A

Move up a full screen (page PageUp

view)

Move down a full screen (page PageDown

view)

Move to previous page (page Ctrl-PageUp

view)

Move to next page (page view) Ctrl-PageDown

Advance one increment up Alt-PageUp

vertically

Advance on increment down Alt-PageDown

vertically

Move left one screen (page view) Home

Move right one screen (page End

1919
 view)

Move to beginning (page view) Ctrl-Home

Move to end (page view) Ctrl-End

Move to the top/left of the Shift-Home

leftmost viewable page

Move to the bottom/right of the Shift-End

rightmost viewable page

Advance one increment right Alt-Home

horizontally (page view)

Advance one increment left Alt-End

horizontally (page view)

Move forward screenfull of Ctrl-PageUp

measures (scroll view)

Move backward screenfull of Ctrl-PageDown

measures (scroll view)

Move to beginning of score (scroll Home

view)

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
doesn’t 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

1920

Display the Articulation Designer
dialog box
Highlight the note to which the
articulation is assigned
Command
Display positioning
triangles
Display the Chord
Definition dialog box
Delete a chord symbol
Input chord symbols using
MIDI keyboard
Analyze chord in one or
two staves
Select a Suffix (type into
score mode)
Command
Display the Change Clef
dialog box
contextual menu. Drag-enclose a group of
notes while holding delete to delete
articulations on all the notes.
Double-click an articulation handle, or right-
click the handle and select Edit Articulation
Definition from the contextual menu.
Alt-click and hold a handle of an articulation.
Chord Tool
Keyboard Shortcut or Mouse Click
Click the staff (but not on a note or rest)
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.
Select the handle and press delete, or right-click the
handle and select Delete from the contextual menu
With Allow MIDI Input checked, click a note and play
chord on the MIDI keyboard
With One- or Two-Staff Analysis selected in the Chord
menu, click on a note in the chord.
Type root followed by :0
Clef Tool
Keyboard Shortcut or Mouse Click
Double-click in a measure)
1921
To change the clef for a Select the region (if you want a mid-measure clef,
region select a part of a measure) and then double click the
highlighted region.

To change the clef from a Double-click an unselected measure or a fully

measure to the next clef selected measure.
change

Adjust the mid-measure clef Drag the handle of the mid-measure clef
position

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 Double-click the mid-measure clef’s handle and drag
to another clef 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 Double-click on, above, or below a measure

dialog box 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 Drag the selected handles

attachment point

Move the expression without Alt-drag the selected handles

changing the attachment point

Add selected expression to Select an expression handle and press Ctrl-

adjacent staff. (Non-Score List Up arrow or Ctrl-Down arrow to add the
expressions only) expression to the staff above or below
(respectively).

Add selected expression to all Select an expression handle and press Ctrl-

1922
staves above/below. (Non-Score Home or Ctrl-End to add the expression to
List expressions only) all staves above or below (respectively).

Add selected expression to all Select an expression handle and press Ctrl-
staves. (Non-Score List Alt-Enter to add the expression to all staves.
expressions only)

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 Double-click an expression handle (text

dialog box expression), or right-click the handle and
select Edit Expression Definition from the
contextual menu.

Display the Shape Expression Ctrl-double-click an expression handle

Designer dialog box (shape expression), or right-click the handle
and select Edit Shape Expression Definition
from the contextual menu.

Display the Expression Shift-double-click an expression handle, or

Assignment dialog box right-control-click the handle and select Edit
Expression Assignment from the contextual
menu.

Highlight the note/measure to Hold down Alt and click the expression’s
which the expression is attached handle.

To quickly change one expression Highlight the Expression handle and double-
to another using metatool press the metatool key corresponding to the
shortcuts expression you want to switch to

Graphics Tool

1923
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 Click in the Shape Designer display area,
Designer 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 Ctrl-Shift- T or dDouble-click a graphic

dialog box

Place a graphic in the score Double-click in the score, the Place

Graphics dialog box appears

Select a region containing the Double-click and drag to enclose a region in

musical example to export Page View

Delete the selected graphics Press delete for one or more selected
graphics

Adjust the graphic’s position in the Drag a selected graphic

score

Resize the graphic horizontally or Drag a graphic’s bounding handle

vertically

1924
 Hand Grabber Tool

Command Keyboard Shortcut or Mouse Click

Temporarily switch to Hand Press the right-button (and drag in the

Grabber Tool score)

HyperScribe Tool

Command Keyboard Shortcut or Mouse Click

Indicate where to begin Click a measure

transcription

End HyperScribe in the middle of Ctrl-click anywhere on the score

a measure

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

1925
Click Assign lyrics one syllable at Click within the staff lines at the position of
a time 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 up arrow or down arrow using Type into
verse, chorus or section. 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)

Measure Tool

Command Keyboard Shortcut or Mouse Click

1926
Display the Add Measures dialog Ctrl-click the Measure Tool, or right-click the
box Measure Tool and select Add Measures
from the context menu

Add single blank measure to the Double-click the Measure Tool, or right-click
score the Measure Tool and select Add One
Measure from the context menu

Display the Measure Attributes Double-click the top barline handle or

dialog box measure, or right-click a handle (or upper
handle) and select Edit Measure Attributes
from the contextual menu.

Make the Measure wider or Drag the top barline handle right or left
narrower

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 Drag one of the lower handles in the beat
staves chart

Move a beat and all subsequent Shift-drag one of the lower handles in the
beats horizontally in all staves beat chart

Add another pair of beat Double-click between two upper handles of

positioning handles a beat chart

Display the Beat Chart Element Double-click an upper handle in the beat
dialog box chart

Delete a beat chart pair from the Click on an upper handle to select it and
beat chart press delete

1927
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 Click the Measure Tool

measure number

Display the Measure Number Shift-double-click on the Measure Tool.

dialog box

Reset measure number Press backspace, or right-click the handle

positioning 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.

Move a measure number Drag the measure number’s handle

Display the Enclosure Designer Double-click a measure number’s handle, or

dialog box right-click the handle and select Edit
Enclosure from the contextual menu.

Force a measure number to Ctrl-click a measure without a measure

appear number

Force measure numbers on a Ctrl-shift-click on a measure

measure in all staves of a staff
system

Remove a multimeasure rest right-click the handle and select remove a

multimeasure rest from the contextual
menu.

Mirror Tool

1928
Command Keyboard Shortcut or Mouse Click

Display Mirror and Placeholder Click the Mirror Tool

icons

Display the Placeholder dialog Highlight a measure with notes or with a

box Placeholder icon

Display the Tilting Mirror dialog Double-click an empty measure or a

box measure with a Mirror icon

Display the Mirror Attributes Shift-double-click a measure with a Mirror

dialog box icon

Note Mover Tool

Command Keyboard Shortcut or Mouse Click

Display a handle on every Click a measure

notehead in the measure

Select a handle or handles Click, shift-click, drag-enclose or shift-drag-

enclose the handles

Delete selected notes (still in their Press delete, or right-click the handle and
original measure) select Delete from the contextual menu.

Move or Copy notes to another Drag a note or a group of notes to the end
measure of the measure and the selected action in
the Note Mover menu will take place

Copy notes to the beginning of a Drag a note or a group of notes to the

measure beginning of the measure (if the measure
isn’t rhythmically full)

Ossia Tool

1929
Command Keyboard Shortcut or Mouse Click

Display handles on every Click the Ossia Tool in Page View

ossia measure

Display a handle on a Click the Ossia Tool in Scroll View and click the
measure-assigned ossia measure to which the Ossia measure is attached
measure

Display the Ossia Measure In Page View, double-click anywhere on the

Designer dialog box document; In Scroll View click a measure with no
ossia measure attached, or double-click a measure
with an ossia measure attached; Double-click a
floating measure’s handle, or right-click the handle
and select Edit Ossia Definition from the contextual
menu.

Select an ossia measure Click the ossia measure’s handle

Move a selected ossia Drag the handle

measure

Delete a selected ossia Press delete, or right-click the handle and select
measure Delete from the contextual menu.

Display the Page Shift-double-click a page-assigned floating

Assignment for Ossia measure’s handle, or right-click the handle and
Measure dialog box select Edit Ossia Assignment from the contextual
menu (in Page View).

Display the Measure Shift-double-click a measure-assigned floating

Assignment for Ossia measure’s handle, or right-click the handle and
Measure dialog box select Edit Ossia Assignment from the contextual
menu.

Page Layout Tool

1930
Command Keyboard Shortcut or Mouse Click

Display Page and System Click the Page Layout Tool

margins

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 Hold down Ctrl and drag the center of a staff
other systems system

Select handles Drag-enclose to select handles

Select all system handles Ctrl-A

Repeat Tool

Command Keyboard Shortcut or Mouse Click

Display the Repeat menu Click the Repeat Tool

Display the Repeat Selection Double-click a selected repeat

dialog box

Delete a text repeat, repeat Click on the handle and press delete, or
barline 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 Drag the repeat bracket handle up or down,
barline’s bracket left or right

Display the Repeat Designer Double-click a text repeat handle, or right-

dialog box click the handle and select Edit Repeat

1931
 Definition from the contextual menu.

Display the Backward Repeat Bar Double-click a repeat barline handle, or

Assignment dialog box right-click the handle and select Edit Repeat
Assignment from the contextual menu.

Display the Ending Repeat Bar Double-click a repeat ending number

Assignment dialog box handle, or right-click the handle and select
Edit Repeat Assignment from the contextual
menu.

Display the Repeat Assignment Shift-double-click a text repeat handle, or

dialog box 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 Click on the note stem or right-click and
or beam group select Resize Note or Rest from the
contextual menu.

Reduce or enlarge a staff In Page View, click on 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 In Page View, click the upper-left corner of

range of pages the page or right-click and select Resize
Page from the contextual menu.

1932
 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.

1933
Extend a partial measure selection to include only full Double-click the
measures. selected region.

Extend a selection of measures vertically •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.

1934
Extend a selection of measure horizontally • 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.

Select a staff or staves Click to the left of a

staff; Shift-click to the
left of a staff to extend
the selection

1935
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 Drag the region so it is
section of music superimposed on the
beginning of another
region, which
elements and whether
you are moving or
copying are selected
in the Edit menu

1936
 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 Highlight the source
multiple times 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 Up arrow or down

system arrow

1937
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 Press I while dragging
Implode Music dialog box) selected measures to
their destination.

Drag-Explode Music for multiple staves (displays the Hold down E while
Explode Music dialog box) drag copying to the
target region.

· Respace notes, lyrics, and accidentals (Apply Beat With the Selection
Spacing command) using the settings in Document Options- Tool, select the
Music Spacing 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 With the Selection
Spacing command) using the settings in Document Options- Tool, select the
Music Spacing measures you want to
affect, then press 4 on
your computer
keyboard. In all tools
that allow regional
selection, press Ctrl-4.

· Show elapsed time based on current tempo (displays the Select the measures
Elapsed Time dialog box) 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

1938
 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 N

Accidental: Show/Hide courtesy Ctrl-Shift- - (minus)

accidental

Add Interval: Unison through 1 through 8

octave above

Add Interval: Ninth above Ctrl-Shift 9

Add Interval: Second through Shift-2 through 9

ninth below

1939
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
(trigger articulation entry) choose articulation)

Add/Change Items: Articulation- Ctrl-Alt-Shift-A or Ctrl-Numpad *

Sticky

Add/Change Items: Clef Alt-C

(trigger clef entry)

Add/Change Items: Key Signature Alt-K

(trigger key signature entry)

Add/Change Items: Time Alt-T

Signature
(trigger time signature entry)

Add/Change Items: Expression X or Alt-X

(trigger expression entry)

Change Pitch (caret or selected Down arrow

note): Step Down Diatonically

Change Pitch (caret or selected Up arrow

note): Step Up Diatonically

Change Pitch: Octave Down Alt-Shift-down arrow

Diatonically

Change Pitch: Octave Up Alt-Shift-up arrow

Diatonically

Duration: 12864th through Double Alt-Numpad 0-8 or Alt 0-8

1940
Whole

Duration: Augmentation Dot . (Decimal point in Numpad) or . (Period)

Duration: Tuplet - Create Default 9 or Numpad 9

Duration: Tuplet - Create User- Alt-Numpad 9 or Alt-9 (or Shift-click in a

Defined 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 Alt-E

Enharmonically

Modify: Delete Delete or Shift-Backspace

Modify: Grace Note Alt-G

Modify: Show/Hide H

Modify: Stem - Flip L

Modify: Stem - Use Default Shift-L

Modify: Tie to Next Note T or Numpad /

1941
Modify: Tie to Previous Note Shift-T or Ctrl-Numpad /

Modify: Flip Tie Ctrl-F

Modify: Move note just entered Alt-up arrow

with caret up diatonically

Modify: Move note just entered Alt-down arrow

with caret down diatonically

Toggle note to rest (selected note R

or note just entered with caret)

Navigation: Caret/Selection - Backspace or Escape

Clear

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 arrow

Left

Navigation: Selection - One Entry Right arrow

Right

Navigation: Selection - One Ctrl-Left arrow

Measure Left

1942
Navigation: Selection: One Ctrl-Right arrow
Measure Right

Navigation: Selection: Select All Ctrl-A

Navigation: Switch Tool (and clear Double-click tool or quickly repeat tool
other selections) selection keyboard shortcut

Selection: Select a note within a Ctrl-shift-click the note or rest

chord without clearing previous
selection (in entry)

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 Numpad 1-8 (or Ctrl-Alt-Shift 1-8)
Whole Note

Tool: 128th Note Ctrl-Alt-Shift 0

Tool: 64th Rest through Double Ctrl-Numpad 1-8

Whole Rest

Tool: Repitch Shift-‘ (Accent) or Ctrl-R

Tool: Toggle Note/Rest Alt-R

1943
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 Ctrl-Enter

Pitch

TAB-Add Note at Caret String Enter

TAB-Change Pitch: Increment = or Numpad +

Fret Number

TAB-Change Pitch: Decrement - or Numpad -

Fret Number

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 Ctrl-Alt 1-8

Double Whole

TAB-Duration: 128th Note Ctrl-Alt ‘ (Accent)

TAB-Duration: Augmentation Dot . (period) or Numpad . (decimal point)

TAB-Duration:Tuplet - Create Alt-0 or Ctrl-Alt 9 or Ctrl-Alt-Numpad 9

Default

TAB-Duration:Tuplet - Create Shift-0

User Defined

1944
TAB-Enter Note on Fret 0-9 or A- Numpad 0-9 or A-K
K

TAB-Enter Note on Fret 10-19 or Ctrl-numpad 0-9 or L-Q

L-U

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 - Backspace

Clear

TAB-Navigation: Move caret to 1-9

string 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 Ctrl-Alt-Shift 1-8 or Ctrl-Alt-Numpad 1-8

1945
Double Whole

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

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 N

Accidental: Show/Hide courtesy Ctrl-Shift--(minus)

accidental

Add Interval: 2nd through octave F2 through F8

above

Add Interval: Ninth above Ctrl-Shift-F9

Add Interval: Second through Shift-F2 through F9

ninth below

Add Interval: Ninth below Shift-F9

1946
Add Pitch: A-G Shift-A through G

Add Pitch: At caret pitch Ctrl-Enter

Add/Change Items: Articulation ‘ (accent)

Add/Change Items: Articulation- Alt-Shift-‘ (accent)

Sticky

Add/Change Items: Clef Alt-C

Add/Change Items: Key Signature Alt-K

Add/Change Items: Time Alt-T

Signature

Add/Change Items: Expression Alt-X (or X)

Change Pitch (caret or selected Alt-Down Arrow

note): Step Down Diatonically

Change Pitch (caret or selected Alt-Up Arrow

note): Step Up Diatonically

Change Pitch: Octave Down Alt-Shift-Down arrow

Diatonically

Change Pitch: Octave Up Alt-Shift-Up Arrow

Diatonically

Duration: 128th through Double Alt-0 through 8

Whole

Duration: Augmentation Dot . (period)

Duration: Tuplet - Create Default 9

1947
Duration: Tuplet - Create User- Alt-9
Defined

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 Alt-E

Enharmonically

Modify: Delete Delete

Modify: Grace Note Alt-G

Modify: Show/Hide H

Modify: Stem - Flip L

Modify: Stem - Use Default Shift-L

Modify: Tie to Next Note T

Modify: Tie to Previous Note Shift-T

Modify: Flip Tie Ctrl-Shift-F

Toggle note to rest (selected note R

or note just entered with caret)

1948
Navigation: Caret/Selection - Backspace
Clear

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 Arrow

Left

Navigation: Selection - One Entry Right Arrow

Right

Navigation: Selection: Select All Ctrl-A

Navigation: Switch Tool (and clear Double-click tool or quickly repeat tool
other selections) selection keyboard shortcut

Selection: Select a note within a Ctrl-shift-click the note or rest

chord without clearing previous
selection (in entry)

Tool: Accidental - Flat Alt-- (minus)

Tool: Accidental - Natural Alt-N

Tool: Accidental - Sharp Alt-=

Tool: Augmentation Dot Shift-.

1949
Tool: Eraser Alt-Backspace

Tool: Grace Note Ctrl-G

Tool: 128th Note through Double Ctrl-Alt-Shift 0 through 8 (or with no

Whole Note 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 F

Flip a selected Slur or Bend Ctrl-F

(reverse linking behavior)

Change a selected Slur or Bend Alt-Shift- F

back to Automatic

Display handles on all smart Click the Smart Shape Tool

shapes

Edit or Delete a Smart Shape Click the handle of the Smart Shape

Select all Smart Shapes on the Ctrl-A

page

Change the slur’s ending or Drag or nudge an endpoint handle

starting note

1950
Change the slur’s arc height Drag or nudge a center curve handle

Move from any secondary Tab

(diamond) handle to another

Hide secondary handles Esc

Move between primary Tab

SmartShape handles

Change the slur’s arc height and Shift-drag a center curve handle
angle

Change the slur’s arc and inset Drag or nudge an inner curve handle
asymmetrically

Change the slur’s arc and inset Ctrl-drag an inner curve handle
symmetrically

Create an inverted bracket with Ctrl-double-click and drag

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

Display the Smart Line Selection Ctrl-click the Custom Line Tool
dialog box

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)

1951
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)

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 2 (Hold down 2, then double-click and drag)
tie

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)

1952
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 P (Hold down P, then double-click and drag)

marking

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

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 P

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 L

1953
Restore stem direction to Ctrl-L
“floating” status

Change to/from a grace note ; (semicolon) or G

Change to/from a slashed flagged ` (accent) or ; (semicolon) or G

grace note

Voice 1/2 ' (apostrophe)

Switch to next layer shift–

Switch layers downward (from 1 shift-down arrow

to 4)

Move editing frame down a staff shift-down arrow

Move editing frame up a staff shift-up arrow

Add or change note (64th–double 1–8

whole note)

Add or change 128th note Ctrl-0 (zero)

Insert 64th note–whole note shift-1 through shift-7 (on keyboard only)
(with MIDI, while playing note)

Insert double whole note (without shift–8 (on numeric keypad only)
MIDI)

Insert 128th note (without MIDI) Ctrl-shift-0 (zero) (in insert mode only)

Add 64th rest–whole rest (with shift-1 through shift-7 without pressing note
MIDI)

Add rest (with or without MIDI) Ctrl-shift–option-1-7 (on keyboard only)

1954
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 shift-drag

(horizontal/vertical)

Begin a tuplet (duplet–octuplet) 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 Ctrl- + (plus)

measure)

Lower by a half step (for entire Ctrl- – (minus)

measure)

Flat note F

Sharp note S

Natural note N

Double-sharp X

Double-flat V

Previous note Left arrow

1955
Next note Right arrow

Move to first note or rest in Ctrl-left arrow

measure

Move just beyond last note or rest Ctrl-right arrow

in measure

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

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 / (backslash) or B

note

Restore default beaming Shift-B

Flatten a beam \ (forward slash) or M

Show/hide any accidental * (asterisk)

Show/hide a courtesy accidental A

Restore courtesy accidental to Ctrl-* (asterisk)

optional status

1956
Return a rest to its default position * (asterisk)

Exit measure and redraw/re-enter 0 (zero)

measure

Flip a note to its enharmonic 9

equivalent

Flip enharmonic throughout Ctrl-9 (cursor on first note in measure)

measure

Add a dot . (period)

Add a note to a chord enter

Change a rest to a note enter

Specify a pitch, high C–B (without Q-W-E-R-T-Y-U (with Caps Lock)

MIDI)

Specify a pitch, middle C–B A-S-D-F-G-H-J (with Caps Lock)

(without MIDI)

Specify a pitch, low C–B (without Z-X-C-V-B-N-M (with Caps Lock)

MIDI)

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 K (with Caps Lock)

register

Special Tools Tool

Command Keyboard Shortcut or Mouse Click

1957
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 Use the arrow keys

(nudge)

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 Click the Staff Tool

handles

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 Shift-click a staff or a staff handle

staff is already selected, remove
the staff from the selection.

Display the Staff Attributes dialog Double-click a staff or a staff handle, or

box. 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 Double-click in the score (in Scroll View)
the lower staves to make room for
the new staff.

1958
Insert a staff between staves,
repositioning the lower staves to
make room for the new staff.
Add a staff to the bottom of the
score
Display the Group Attributes
dialog box.
Delete the selected staves without
repositioning the remaining
staves.
Delete the selected staves and
reposition the remaining staves.
Adjust the staff’s 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).
Select a group (or groups).
Add the group to the selection. If
a group is already selected,
remove the group from the
selection.
Edit a full or abbreviated group
name using the Edit Text window.
Shift-double-click below a staff in the score
(in Scroll View)
Double-click the Staff Tool
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.
Select the staff handle and press shift-delete
for selected staves, or right-click the handle
and select Delete Staves and Reposition
from the contextual menu.
Press delete for selected staves, or right-
click the handle and select Delete Staves
from the contextual menu.
Drag the staff’s 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.
Click a group handle, or drag-enclose group
handles
Shift-click a group handle
Ctrl-click a group handle, or right-click the
handle and select Edit Full Group Name or
Edit Abbreviated Group Name from the
1959
 contextual menu.

Position a group name using the Ctrl-shift-click a group handle, or right-click

Position Full Group Name or the handle and select Position Full Group
Position Abbreviated Group Name Name or Position Abbreviated Group Name
dialog box. from the contextual menu.

Revert the position of the group Press backspace for selected groups
names to their default position.

Remove the selected group Press delete for selected groups, or right-
definitions. click the handle and select Delete Group
from the contextual menu.

Adjust the position of a group Drag a group handle

name.

Select a staff name (or names). Click a staff name handle, or drag-enclose
staff name handles

Add the staff name to the Shift-click a full or abbreviated staff name
selection. If a staff name is handle
already selected, remove the staff
name from the selection.

Edit a full or abbreviated staff Ctrl-double-click a full or abbreviated staff

name using the Edit Text window. 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 Ctrl-shift-click a full or abbreviated staff

using the Position Full Staff Name name handle, or right-control-click the
or Position Abbreviated Staff handle and select Position Full Staff Name
Name dialog box. or Position Abbreviated Staff Name from the
contextual menu.

Revert the position of the full or Press backspace for a selected staff name
abbreviated staff name to its handle

1960
default position.

Adjust the position of the selected Drag a full or abbreviated staff name handle
staff name.

Select a bracket (or brackets). Click a bracket handle, or drag-enclose

several bracket handles

Add the bracket to the selection. If Shift-click a bracket handle

a bracket is already selected,
remove the bracket from the
selection.

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 Press backspace for selected brackets

their default length.

Make a bracket taller or shorter. Drag a bracket handle vertically

Move a bracket closer to or away Drag a bracket handle horizontally

from bracketed staves.

Select a clef for the staff. right-click the staff handle and select Select
Clef from the contextual menu.

Remove Staff Styles from Click the Staff Style bar and press Delete.
selected region. 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)

1961
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 Ctrl-Shift- ; (semicolon)

block

Bold Ctrl-Shift- B

Italic Ctrl-Shift- I

Underline Ctrl-Shift- U

Increase Point Size by one Ctrl-Shift- . (period)

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 Ctrl-T

box

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)

1962
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 Ctrl- M

dialog box

Display the Custom Frame dialog Ctrl-Shift- M

box

Display the Frame Attributes Ctrl-Shift- T or shift-double-click a text block

dialog box 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 Double-click in the score

expands as you enter text

Create a bounded, fixed-size Double-click and drag in the score

frame for text

Edit the text block Double-click a text block handle, or right-

click the handle and select Edit Text from
the contextual menu.

Delete the selected text blocks Press delete for one or more selected text
blocks, or right-click the handle and select

1963
 Delete from the contextual menu.

Adjust the text block’s position in Drag a selected text block handle
the score

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 Double-click a positioning handle or the first

dialog box 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 Ctrl-Double-click the Tuplet Tool, or right-
Definition dialog box 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)

1964
Temporary switch to Zoom Tool: Shift-click the right-button
zoom in

Temporary switch to Zoom Tool: Ctrl-Shift-click the right-button

zoom out

Fill the screen with the selected Drag-enclose an area

area

Playback

Command Keyboard Shortcut or Mouse Click

Begin/stop playing Alt-D-P or Alt-D-O

Begin playing (Playback Controls Spacebar–click in staff

closed) from the measure clicked

Begin playing from the clicked Shift-spacebar–click in staff

measure in the clicked staff only

Begin playing from measure one Spacebar–click to the left of a staff system
in all staves

Begin playing from measure 1 for Spacebar-shift-click to the left of staff

the clicked staff

“Scrub” onscreen music - all Ctrl-spacebar (and drag across music)

staves

“Scrub” onscreen music - clicked Ctrl-Shift-spacebar (and drag across music)

staff only

Shape Designer

1965
Command Keyboard Shortcut or Mouse Click

Send to Back Command-B

Send to Front Command-F

Group Command-G

Ungroup Command-U

1966
Character Sets
The following fonts are included with Finale. Each character is listed along with
its keystroke. Note you can also review all font characters using your system's
character map.

1967
Engraver Font
Engraver Character Set
Engraver Extras Character Set-983235997
Engraver Text Character Set
Engraver_Time_Character_Set

See Also:
Engraver Font: The Alternate Notehead Sets
Engraver Character Set

1968
1969
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
1980
Engraver Extras Character Set

1981
1982
1983
1984
1985
1986
1987
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.

1988
1989
1990
1991
Engraver Time Character Set

1992
1993
Jazz Font
Jazz Character Set
Jazz Text Font Character Set
Jazz Chord Font Character Set
Jazz Perc Font Character Set
Jazz Character Set

1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
Jazz Text Font Character Set

2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
Jazz Chord Font Character Set

2018
2019
2020
2021
2022
2023
2024
2025
2026
2027
2028
2029
2030
Jazz Perc Font Character Set

2031
2032
2033
2034
2035
2036
Broadway Copyist Font
Broadway Copyist Character Set
Broadway Copyist Text Font Character Set
Broadway Copyist Percussion Font Character Set
Broadway Copyist Text Extended Font Character Set
Broadway Copyist Character Set

2037
2038
2039
2040
2041
2042
2043
2044
Broadway Copyist Text Font Character Set

2045
2046
2047
2048
2049
2050
2051
Broadway Copyist Percussion Font Character Set

2052
2053
2054
Broadway Copyist Text Extended Font Character Set

2055
2056
2057
2058
2059
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

2060
Noteheads

2061
Flags

2062
Accidentals

2063
Rests

2064
Dynamics

2065
Articulations

2066
2067
Smart Shapes

2068
Repeats and Alternate Notation

Clefs

2069
Staves and Barlines

Time Signature and Multimeasure Rest numbers

2070
Chord Symbols and Harmonics

Percussion Notation

2071
Other Notation Symbols

2072
Maestro Times Font
To view characters in the Maestro Times font, consult your operating system's
Character Map. To access your system's character map, from the Windows
Start menu, choose All Programs >Accessories > System Tools > Character
Map. (Vista users: Click the Accessories folder, then the System Tools folder
to access contents. Also. on some PC's, the Character Map may be in another
location under Accessories or the Start menu.

2073
Chord menu
How to get there

Click the Chord Tool to make the Chord

menu appear.
What it does
Use the chord menu to specify how you want to
add, define, or change chord symbols and
fretboard diagrams.
Manual Input allows you to either type chord
symbols directly into the score, or define them
manually. Allow MIDI Input allows you to specify
chords by playing them on a MIDI keyboard. The
three analysis methods allow you to tell Finale to
analyze notes that already exist in the score and
add the appropriate chord symbols automatically
based on the harmonic analysis. You can
analyze one, two (e.g. a grand staff), or all staves
in the score at a time.
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.
Use the Substitute Symbols command to enter alterations (sharps or flats) and
diminished symbols.
If you are 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 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. 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 dialog box,
click I’ll 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 “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

2074
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.) See Unknown Chord Suffix dialog box and
Chord Definition dialog box.
If you're entering chord symbols using 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. See To type chord symbols into the score for
more details.

2075
Chord/Manual Input
When this command is selected:

• Click a beat to display the chord entry cursor above the staff in order to
type chords into the score. See To type chord symbols into the score.
• Double-click a beat that does not already include a chord symbol to display
the Chord Definition dialog box, where you can define or edit chord
symbols and fretboards prior to adding them to the score.

To enter chord symbols directly into your score, click the beat to which you
want to attach a chord; a blinking cursor appears above the note. Type the
chord’s root, suffix and alternate bass note, if any. When you’ve completed one
chord, press the space bar to move quickly to the next note to continue
entering chords; Finale displays the fully formatted chord after you enter it.
(See the Keystroke table for a summary of the available keystrokes for
entering chords and what they do.)
When you type chords directly on-screen (or type them in the Chord Definition
dialog box), Finale follows some simple conventions to interpret what chord
symbol was entered. A chord symbol is made up of one or more of the
following parts: root, suffix, and alternate bass. Although you are not required
to enter all parts of a chord symbol, Finale interprets the chord symbol’s root,
suffix and alternate bass, in that order.
First, enter the root with any alterations (sharps or flats). For example, type
“Eb”, “F” or “G#” (shift-3) to enter an E , F or G chord, respectively. Second,
enter the suffix; Finale will look at the suffix characters you type, if any, and try
to find a matching suffix in your document (all suffixes in your document
appear in the Chord Suffix Selection dialog box). Last, Finale will check
whether the chord should display an alternate note in the bass; enter a slash
(/) or an underscore (shift-hyphen) to display the alternate bass next to or
below the chord symbol, then enter the alternate bass note with any alterations
(sharps or flats).
For example, enter an FMaj7 chord simply by typing “Fmaj7”; press the
spacebar to enter your chord and move to the next note. Entering chords with
alternate bass notes is simple too; add a Cmin7/B chord simply by typing
“Cmin7/Bb”. Finale knows that you want a flat when you type a lowercase “b”,
and that you’d like an alternate bass note when you type the slash. (Finale also
intelligently handles alterations in suffixes.) If you prefer to put the root “over”
the alternate bass, type “Cmin7_Bb” instead—Finale intelligently determines
the difference and displays the chord the way you want it.
Here are more tips:

2076
• Display and Entry: Finale displays chords in any style you wish, using the
Chord Style feature in the Chord menu. For chord entry, though, you need
to type your chords using the Standard style convention. For more
information on styles, see Chord Style.
• Fonts: Finale ignores display fonts when you type chords into your score—
in fact, all the characters in your chords will appear in a regular text font as
you type them. Finale does care about the keystroke, however; for
example, even if your chord suffix mixes music characters and regular text
characters, Finale will examine only the keys you press when looking for
matches. So, feel free to mix fonts as much as you wish—it won’t affect
Finale’s Type Into Score feature.
• Alterations: Type a “b” or “#” (shift-3) to tell Finale that the root or alternate
bass has a sharp or flat, or that a sharp or flat appears as a character in the
suffix. (Just type two or more consecutive characters for other alterations,
like double- or triple-sharps.) In rare cases, Finale may not know where an
alteration belongs, such as the chords G 9 and G 9. In this case, when
you type “Gb9”, Finale normally associates the alteration with the root (and
will display G 9). When you want a suffix that begins with an alteration
(such as G 9), tell Finale that the alteration isn’t part of the root by typing a
comma after the root (in this case, by typing “G,b9”).
• Suffixes: When typing suffixes (like those provided in the Maestro Font
Default file, or those provided in the chord suffix libraries), type them as
you’d read them. Finale looks at the characters in the order they’re entered
when it tries to find a match for the suffix (all suffixes in your document
appear in the Chord Suffix Selection dialog box); what you type must match
the order of the suffix characters exactly. If Finale doesn’t find an exact
match, it assumes you want to create a new suffix and displays the Chord
Suffix Editor dialog box to let you finish defining the suffix.

Tip: When you create your own

suffixes, add characters to the suffixes
in the order you’d say them out loud—
it will make typing chords easier in the
long run. Whatever you enter
(whether it follows convention or not),
Finale will faithfully match the
characters in the order you type them
with the order they were created in the
Chord Suffix Editor dialog box.
• Alternate Bass: Type a slash (/), an underscore (shift-hyphen), or a bar
symbol (|) to indicate whether an alternate bass note should appear next to,
below, or slightly to the right of the chord, respectively. Finale knows that
what you type after the slash, underscore or bar is the alternate bass note
for the chord.

2077
 • Capitalization: Finale displays chords like “F” and “e”, or “IV” and “iii”.
When you enter chords, it is case-sensitive. For example, if you type a
lowercase “d” in the key of C Major, and Roman is selected as the chord
style, Finale will display “ii”, as opposed to “II” if you enter an uppercase
“D”. Finale also knows the difference between a lower case “b” chord and
the character representing the flat (also a “b”). For example, type a b-flat
lowercase chord simply by typing “bb”—Finale knows the first character is
the root, but the second is an alteration. Capitalization also matters in
suffixes—that’s how Finale distinguishes a “CM7” from “Cm7”.
• Special Characters: You can type a “b” for flat and “#” (shift-3) for sharp.
Finale also makes other common chord characters available at a keystroke,
the diminished “ ” and half-diminished “ ” symbols. Since their key
combinations may be difficult to remember, Finale offers easy to remember
substitutes: the “o” (lower-case letter o) and “%” (shift-5) keys add
diminished and half-diminished symbols respectively. You can turn off this
automatic substitution by deselecting the Substitute Symbols command in
the Chord menu. These special characters only work with the Arial, Times
or JazzText chord libraries.
• Shortcuts: In addition to keystroke shortcuts for musical symbols like
diminished and sharp, Finale offers a fast entry shortcut for users who
know their Finale suffixes well. If you know a particular suffix’s number,
enter a chord with a suffix directly by typing the root, a colon (:), and the
number, then move to the next note—Finale adds the suffix automatically. If
you don’t remember the number, you can type the root, a colon, a zero
(such as C:0), then hit the spacebar; before leaving the current note, Finale
will display the Chord Suffix Selection dialog where you can choose the
suffix you need. For example, when working with the Maestro Font Default
file, you can easily enter a “Cm7(s5)” by typing “C:9” instead of all the

individual characters, “Cm7(s5). Since the “m7(s5)” suffix appears in slot

number 9 in the Chord Suffix Selection dialog box, Finale knows to enter it
automatically. If you take a moment to remember the suffixes you use
frequently, this shortcut can save you a lot of typing.

Use these keys to perform the indicated actions when you type chords into the
score:

Keystroke Action

enter Accept changes to the selected chord

esc Discard changes to the entered chord

2078
spacebar, shift- right Move to next entry
arrow

shift-spacebar, shift- Move to previous entry

left arrow

tab Move to next measure

shift-tab Move to previous measure

(up-arrow) Move to the next chord on the same entry, or get ready
to create a new chord

(down-arrow) Move to the previous chord on the same entry

b Display flat symbol (f)

# (shift-3) Display sharp symbol (s)

o (lower-case letter Display diminished symbol ( )

o) †

% (shift-5)† Display half-diminished symbol ( )

/ Put alternate bass note next to the chord root

_ (shift-hyphen) Put alternate bass note below the chord root

| (vertical bar) Put alternate bass note below and to the right of the
chord root

(up-arrow) Move to previous character in the chord

(down-arrow) Move to next character in the chord

Letter with and Display corresponding pitches for the root (A, B, C, D, E,
without shift (press F, G) and alternate bass notes (a, b, c, d, e, f, g)
shift for uppercase

2079
 display)

, (comma) Distinguish the chord root from the suffix

:# (colon number) Display the chord suffix assigned to a specific slot

number in the Chord Suffix Selection dialog box

:0 (colon zero) Display the Chord Suffix Selection dialog box, where you
can choose any suffix

:f# Display the fretboard assigned to a specific slot number

in the Fretboard Selection dialog box (must follow the
suffix)

Finale displays the diminished and half diminished symbols only when Substitute
†

Symbols is selected in the Chord menu, and Finale finds a matching chord suffix.
For more information, see Substitute Symbols.

See Also:
Chord symbols
Chord Tool

2080
Chord/Allow MIDI Input
When this option is selected, Finale will add a chord symbol when you play the
chord on your synthesizer while entering chord symbols (see To play-in chord
symbols). The register of the chord you play doesn't matter, but the inversion
does: if you play a C chord with an E on the bottom, Finale will place a C/E
chord symbol above the note. If it doesn't recognize the chord, it will display
the Unknown Chord Suffix dialog box letting you know. See Unknown Chord
Suffix dialog box.
To advance the cursor to the next beat (or note), press any MIDI pitch within
an octave above middle C; to make the cursor retreat to the left one beat (or
note), play any key within one octave below middle C. Play a single note more
than an octave above/below middle C to advance/retreat by full measures.

See Also:
Chord Tool

2081
Chord/One-Staff Analysis
If you select this menu item, Finale will immediately analyze the notes in any
chord you click (including notes sustained from an earlier beat). This command
only considers notes in the staff you clicked. If it doesn't recognize the chord, it
will display the Unknown Chord Suffix dialog box letting you know. See
Unknown Chord Suffix dialog box.
Use the Chord Analysis Plug-in to analyze any selected region of a staff (or
two staves) and add chord symbols automatically. See Chord Analysis Plug-in.
All of the analysis 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 for you already.

See Also:
Chord Tool

2082
Chord/Two-Staff Analysis
If you select this item, Finale will immediately analyze the notes in any chord
you click, also taking into account the notes in the next staff down. In other
words, it will use the notes struck simultaneously in both staves, as well as
sustained notes, to formulate its chord guess, making this a useful option for
deriving chord symbols from piano parts.
Once again, if Finale doesn't recognize the chord, it will display the Unknown
Chord Suffix dialog box letting you know. See Unknown Chord Suffix dialog
box.
Use the Chord Analysis Plug-in to analyze any selected region of a pair of
staves (or single staff) and add chord symbols automatically. See Chord
Analysis Plug-in.
All of the analysis 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.

See Also:
Chord Tool

2083
Chord/All-Staff Analysis
If you select this item, Finale will immediately analyze the notes in any chord
you click, taking into account the notes in all staves of the score. In other
words, it will use the notes struck simultaneously in all staves, as well as
sustained notes, to formulate its chord guess, making this a useful option for
deriving chord symbols from piano parts or a larger score containing any
number of staves. Use the Chord Analysis Plug-in to analyze any selected
region of a staff (or two staves) and add chord symbols automatically. See
Chord Analysis Plug-in.
Once again, if Finale doesn’t recognize the chord, it will display the Unknown
Chord Suffix dialog box letting you know.
All of the analysis 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.

2084
Chord/Chord Style
Choose a style for all chord roots and alternate bass notes in the piece. A
checkmark appears by the style in use for the piece. The following examples
show the available styles.

Standard
European
German
Roman
Nashville A
Nashville B
Solfeggio
Scandinavian

See Also:
Chord Tool

2085
Chord/Left-Align Chords
Normally, Finale centers each chord symbol above the note to which it's
attached. When this item is selected, however, Finale aligns the leftmost edge
of each chord symbol with the note below it. Choose this command a second
time to restore chord symbols to their centered position.

See Also:
Chord Tool

2086
Chord/Italicize Capo Chords
If you’ve checked Capo At Fret in the Chord Definition dialog box, select this
command to display the capo chord italicized.

See Also:
Chord Definition
Chord Tool

2087
Chord/Show Fretboards
When this item is selected, Finale displays full-blown fretboard-chart diagrams
beneath each chord symbol in the score (or will do so as soon as you add
chord symbols).
Finale uses the Lowercase setting for the Root Scale Tone in the Chord
Definition dialog box to determine whether it will display the corresponding
major or minor fretboard diagram. When you don’t specify a particular suffix
and Lowercase is selected for the Root Scale Tone, Finale will display a minor
fretboard diagram; if Lowercase is not selected, Finale will display a major
fretboard diagram.
When you choose Show Fretboards a second time, all fretboards disappear.
See Fretboard diagrams and Chord Definition dialog box–Show Fretboard for
more information.

See Also:
Chord Definition
Chord Tool

2088
Chord/Position Chords
When Position Chords (or Position Fretboards) is selected in the Chord menu,
four small triangles appear at the left side of the screen. These triangles
govern the position of the baseline for the chord symbols or diagrams (the
imaginary horizontal line against which the bottoms of the chord symbols
align).
Drag the first (leftmost) triangle up or down to move all the chords in the piece.
Drag the second triangle to move the chords up or down 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 doesn’t move any existing chord symbols; instead, it sets the
position for the next one you enter.
You specify whether you want these triangles to adjust the chord symbols
themselves or the fretboard diagrams by choosing either Position Chords or
Position Fretboards from the Chord menu. (Position Fretboards is dimmed if
Show Fretboards isn’t selected in the menu.) See Fretboard diagrams for more
information.
For information regarding baselines in linked parts, see Baseline Positioning in
linked parts.

See Also:
Chord Tool

2089
Chord/Position Fretboards
When Position Fretboards (or Position Chords) is selected in the Chord menu,
four small triangles appear at the left side of the screen. These triangles
govern the position of the baseline for the chord symbols or diagrams (the
imaginary horizontal line against which the bottoms of the chord symbols
align).
Drag the first (leftmost) triangle up or down to move all the chords in the piece.
Drag the second triangle to move the chords up or down 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 doesn’t move any existing chord symbols; instead, it sets the
position for the next one you enter.
You specify whether you want these triangles to adjust the chord symbols
themselves or the fretboard diagrams by choosing either Position Chords or
Position Fretboards from the Chord menu. (Position Fretboards is dimmed if
Show Fretboards isn’t selected in the menu.) See Fretboard diagrams for more
information.
For information regarding baselines in linked parts, see Baseline Positioning in
linked parts.

See Also:
Chord Tool

2090
Chord/Simplify Spelling
Choose this command to switch between spelling chord roots enharmonically,
or spelling chord roots exactly as defined in the Chord Definition dialog box.
When selected, Finale spells the root using the "simplest" enharmonic spelling
(for example, Finale spells E as F). When this command is not selected,
Finale spells the root using the exact root and alteration that appears in the
Chord Definition dialog box.

See Also:
Chord Tool

2091
Chord/Substitute Symbols
When selected, Finale substitutes the Maestro diminished ( ) and half-
diminished ( ) symbols when you type "o" (lower case letter o) or "%" (Shift-
5), respectively. When not selected, Finale simply maps the keys directly,
without substituting symbols. Deselect this command if you are using a font
other than Maestro, and want to use the characters mapped to the o and Shift-
5 slots in that font.
Note: This command is used for chord entry only. Choosing this command will
not affect any characters on chords already entered in the document

See Also:
Chord Tool

2092
Chord/Edit Learned Chords
Select this command to display the Edit Learned Chords dialog box, where you
can teach Finale to recognize new chords (or to label chords it does recognize
in different ways), or to "forget" chords you've already taught it.
For detailed information, see the Edit Learned Chords dialog box.

See Also:
Chord Tool

2093
Chord/Change Chord Suffix Fonts
Choose this command to display the Change Chord Suffix Fonts dialog box,
which lets you swap one font and style for another in your chord suffix library.
For detailed information, see the Change Chord Suffix Fonts dialog box.

See Also:
Chord Tool

2094
Chord menu/Enable Chord Playback
Check this option to include chord definitions in playback. Uncheck this option
to remove chord definitions from playback.
You can also manage the playback of chord symbols in individual staves by
editing the Instrument List.
The playback of chord symbols sustain until the end of the measure or the next
chord symbol. To interrupt chord playback at any beat/note, type "N.C." (for no
chord).

2095
Document menu
How to get there
The Document menu is one of Finale’s
unchanging menus.
What it does
This menu contains the keys to Finale’s
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 document—its layout
and positioning variables, the fonts,
musical symbols, and clefs it uses, for
example.

2096
Document/Edit Score
Choose this option to view the full score in Finale’s document window.

2097
Document/Edit Part
Use these commands to navigate through parts. Alternatively, use the
accompanying keyboard shortcuts listed in this menu to more conveniently
navigate through parts.

Next Part
Previous Part
Last Viewed Part

2098
Document/Manage Parts
Choose this option to open the Manage Parts dialog box where you can add,
remove, and customize parts.

See Also:
Manage Parts

2099
Document/Page Format
From this submenu, choose Score to open the Page Format for Score dialog
box where you can edit the format for the score document. Choose Parts open
the Page Format for Parts dialog box where you can specify the page format
for extracted parts.

See Also:
Document/Page Format/Parts
Document/Page Format/Score
Page Format for Parts
Page Format for Score

2100
Document/Special Part Extraction
This command provides access to one of Finale's three part-extraction
methods. Using Special Part Extraction, you can see the full score in Scroll
View, while the extracted part appears, ready for editing and printing, in Page
View.
Before the Special Part Extraction command will work, you must select a staff
(or staves) in Scroll View by clicking the Staff Tool and then selecting their
handles. When you choose Special Part Extraction, a dialog box appears,
letting you select the multimeasure (block) rest shape you want to use, specify
a font for the number to appear above such a rest, and so on. After you've
made your settings, click OK. You return to the score.
At first you won't notice anything different. But if you look at the Document
menu, you'll see that there's now a check mark beside Special Part Extraction,
telling you that Page View now contains the extracted part. Choose Page View
from the View menu to examine and edit the extracted part.
To exit Special Part Extraction mode (and return to viewing the full score in
Page View), choose Special Part Extraction again from the Document menu.
For detailed information, see the Multimeasure Rest dialog box.

2101
Document/Data Check
The Data Check commands performs a variety of "housekeeping" tasks,
mostly having to do with fonts and Finale's retention of deleted musical
material.

Font Utilities
File Maintenance
Reconvert Percussion Note Types

2102
Document/Display In Concert Pitch
With Finale, any staff that’s had a transposition applied in the Staff Attributes
dialog box or with Staff Styles —a trumpet or clarinet part, for example—
always prints in its transposed key in parts. However, you also have the option
of viewing the music in either its transposed or concert form. Choose this
command if you want Finale to display the score or part in concert key. This
setting applies to the currently visible score or linked part independently. If this
command is not selected, staves will display transposing instruments in their
transposed keys. (Music you enter using the Simple or Speedy Entry tools is
considered already transposed. In other words, if you play a C on the MIDI
keyboard using the MIDI input feature of the Speedy Entry Tool, it appears as
a C on the transposed staff, even though it will play back as some other note,
because you’ve just entered a written C.)

2103
Document/Display Expressions and
Repeats for Parts
Choose this option to display expressions and repeats as they will appear on
extracted parts (as defined by Score Lists).

See Also:
Score List

2104
Document/Show Active Layer Only
Each Finale staff is actually four transparent layers, each of which can contain
its own rhythmically independent inner voice. Only one layer can be active
(frontmost) at a time, however; the active layer is always identified by the push
buttons in the lower-left corner of the file window.
When this item is selected (displaying a check mark), Finale hides the three
inactive layers. Bear in mind that hidden layers are unaffected by almost every
tool. For example, the music in a hidden layer won't play back. Nor will it be
copied, pasted, or otherwise affected by Selection Tool operations - a useful
fact to remember if you want to copy or paste the music of one layer only.
Choose this command a second time to make the check mark disappear (and
make the other three layers reappear).

2105
Document/Playback/Record Options
Choose this command to display the Playback/Record Options dialog box
where you define a number of variables that affect how Finale plays back the
music.
For detailed information, see the Playback/Record Options dialog box.

2106
Document/Sync and Video Options
Choose this command to open the Sync and Video Options dialog box where
you can adjust SMPTE options such as the frame rate and start time.

See Also:
Sync and Video Options

2107
Document/Category Designer
Choose this option to open the Category Designer dialog box where you can
edit expression categories.

2108
Document menu/Edit Measure
Number Regions
Choose this menu item to alter how measure numbers appear throughout the
document. For more details see Measure Number dialog box.
Tip: A measure can have more than one region assigned. This allows for
difference series of numbers to appear.

2109
Measure menu/Edit Measure
Number Regions
Choose this menu item to alter how measure numbers appear throughout the
document. For more details see Measure Number dialog box.

Tip: A measure can have more than

one region assigned. This allows for
difference series of numbers to
appear.

2110
Document/Pickup Measure
Choose this command to display the Pickup Measure dialog box, where you
can define a pickup measure for your score.
For detailed information, see the Pickup Measure dialog box.

2111
Document/Set Default Music Font
Choose this option to display the Fonts dialog box where you can choose the
default music font for the document.

2112
 Document/Document Options
Choose this option to display the Document Options dialog box where you can
change settings for a number of musical items document-wide.

See Also:
Document Options
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-Lyrics
Document Options-Lines and Curves
Document Options-Multimeasure Rests
Document Options-Music Spacing
Document Options-Notes and Rests
Document Options-Piano Braces and Brackets
Document Options-Repeats
Document Options-Stems
Document Options-Staves
Document Options-Text

2113
Document Options-Ties
Document Options-Time Signatures
Document Options-Tuplets

See Also:
Document menu

2114
Edit menu

How to get there

The Edit menu is one of Finale’s
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 you’re 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.
Edit menu commands:
No Ctrl
modifier

Cut Cut to Clip File

Copy Copy to Clip File

Insert Insert from Clip File

2115
Paste Paste

2116
Edit/Undo
All Finale’s document settings can be restored to their previous settings with
the “undo” command. After you change a dialog box that contains document
settings and click OK to dismiss the dialog box, you can choose Undo from the
Edit menu to return to the previous settings. You can also use the Edit menu
Toolbar icon to undo any action. Data Check actions are also undoable when
you return to the active document.
You can undo the settings in all dialog boxes in the Document Options dialog
box under the Document menu, and in dialog boxes associated with the tools
that contain document settings. These dialog boxes include: the Default Tuplet
Visual Definition; and all dialog boxes associated with the Smart Shape menu
(Smart Shape Tool).
As you edit a file, Finale automatically saves your operations so they can be
quickly reversed if you choose Undo from the Edit menu. However, you might
occasionally run low on disk space while you’re working in Finale. A quick way
to recover space without exiting Finale is to toggle Undo off and on in the Edit
section of the Program Options (see Program Options- Edit). This causes
Finale to delete and recreate the “undo” files it’s currently maintaining, which
frees up space on your hard disk. These files will always be automatically
deleted when you exit Finale. See Undo.

Tip: Choose the Undo Tool from the

Edit menu Toolbar to perform this
action.

See Also:
Undo/Redo Lists

2117
Edit/Redo
Choose Redo to perform the previous undo action. You can also use the Edit
menu Toolbar icon to redo any action. If you have performed too many undo
actions in a row, use the redo to replace the actions removed. See Undo.

Tip: Choose the Redo Tool from the

Edit menu Toolbar to perform this
action.

See Also:
Undo/Redo Lists

2118
Edit/Undo/Redo Lists
Choose Undo/Redo Lists to display the Undo/Redo Lists dialog box with a list
of your past actions. You can also use the Edit menu Toolbar icon to show this
list of actions. You may select a point in this list in which to undo or redo your
actions. See Undo/Redo Lists dialog box and Undo.

2119
Edit/Select All
You can use this command with a number of tools to select various handles or
measures. In many cases, you can exclude (deselect) one handle at a time
from the selection by Shift-clicking its handle.

2120
Edit/Select Region
When you choose this command, the Select Region dialog box appears, in
which you can enter the staff names, beat and measure numbers that define
the region you want to select. When you click OK, Finale selects the region
you’ve specified—even if none of it is visible on the screen.
For more information, see Select Region dialog box.

See Also:
Staff Tool

2121
Edit/Cut
After selecting a region of music with the Selection Tool, choose Cut to place
the selected music on the Clipboard and simultaneously remove the music
from the document. If a stack is selected, the measures will be removed. If the
measure selection is not a stack, the contents of the selection will be cleared.
Once you’ve placed the cut music on the Clipboard, you can paste it to another
place in your document or into another Finale document. You can also use the
Edit menu Toolbar icon to Cut to the Clipboard.
If you like, you can save the cut material into a separate file, called a Clip File,
which you can later access for pasting into another document. Press ctrl while
choosing Cut; Finale will ask you to give the Clip File a name. In this way, you
can create an assortment of musical segments or motifs, each of which you
can access with the Insert from Clipfile or Paste from Clipfile commands to
paste them into other documents; hold down ctrl and click the Edit menu, then
choose Insert from Clipfile or Paste from Clipfile. Items inserted or pasted from
a clip file depend on the elements selected in the Edit Filter dialog box.
You can also place cut text on the Clipboard from Finale’s Edit Lyrics or Edit
Text windows, as well as access the cut menu item itself in either of these
windows.

See Also:
Text Tool

2122
Edit/Copy
After selecting a region of music with the Selection Tool, choose Copy to place
a duplicate of the selected music on the Clipboard; you are now ready to paste
to another place in your document or another Finale document. (You can’t
paste copied Finale music into another program, however; see Graphics Tool
for instructions on transferring music graphics.) You can also use the Edit
menu Toolbar icon to Copy to the Clipboard.
As with the Cut command, you can press ctrl while choosing Copy to save the
copied material into a separate Clip File, which you can later access for
pasting into another document. Finale will ask you to give the Clip File a title. In
this way, you can create an assortment of musical segments or motifs, each of
which you can access with the Insert from Clipfile or Paste from Clipfile
commands. Items inserted or pasted from a clip file depend on the elements
selected in the Edit Filter dialog box.
You can also place copied text on the Clipboard from Finale’s Edit Lyrics or
Edit Text win¬dows, as well as access the Copy menu item itself in either of
these windows.

See Also:
Text Tool
Copying music

2123
Measure/Insert
Choose Insert if you want to insert whatever music you’ve cut or copied to the
Clipboard between two existing beats or measures.

• If you copied a full measure stack to the clipboard, and would like to
insert it, select the a region including the beginning of a measure on the top
staff. Then, choose this menu item to insert the copied measures, nudging
subsequent measures to the right.
• If you copied a region lesser than a full stack, first tell Finale where you
want the material inserted by selecting any amount of music just after the
desired point of insertion. When you choose this menu item, Finale will shift
the subsequent notes to the right, rebarring the piece as necessary, only in
the staves you're inserting into. See Rebarring music.

See Copying musicEdit Filter dialog box for an illustration. Items inserted
depend on the elements selected in the . Hold down Shift and click the Edit
menu to change this command to Insert and Filter. When you choose Insert
and Filter, the Edit Filter dialog box appears allowing you to choose which
items you would like to insert.
If you've created Clip Files using the Copy or Cut commands, you can paste
any one into the score using the Insert command. Press Ctrl while choosing
Insert; the command name changes and Finale displays the Paste dialog box
showing the names of any Clip Files on your disk. Double-click the one you
want to insert.

2124
Edit/Paste
Choose Paste if you want whatever music you've cut or copied to the
Clipboard to paste over (replace) the selected music in the target file (first use
the Selection Tool to select the destination of the paste).
While pasting, the items that appear in the destination region depend on the
elements selected in the Edit Filter dialog box.
If you've created Clip Files using the Copy or Cut commands (see above), you
can paste any one of them into the score using the Paste from Clip File
command. Press Ctrl before choosing Paste; the command name changes and
Finale displays the Paste dialog box showing the names of any Clip Files on
your disk. Double-click the one you want to paste.
You can also paste text you've cut or copied to the Clipboard in Finale's Edit
Lyrics or Edit Text window, or when editing text on-screen with the Text Tool.
Choose Paste from the Edit menu, or use its keyboard equivalent (Ctrl-V) if
you want the selected text replaced with whatever text you've cut or copied to
the Clipboard.

See Also:
Copying music

2125
Edit/Use Filter
Use this menu item to specify that you want to use the settings in the Edit Filter
dialog box while pasting (rather than pasting everything).

2126
Edit/Paste Multiple
Select a target region and then choose this option open the Paste Multiple
dialog box where you can paste multiple copies of the source material to the
target region. You can replicate the source material as many times as you
want either vertically or horizontally.

See Also:
Copying music

2127
Edit/Edit Filter
When you choose this command, Finale displays the Edit Filter dialog box,
listing various score elements (Smart Shapes, articulations, measure widths,
MIDI data, and so on) that you can select for copying. For a complete list that
includes descriptions of these elements, see Edit Filter dialog box. When this
item is selected, your copying actions will only copy the selected items.

See Also:
Copying music

2128
Edit/Move/Copy Layers
This command provides a way to move music from one of Finale’s transparent
staff layers to another. You can even swap the music between layers—if, for
example, you mistakenly entered several stems-down notes in Layer 1, which
you intended to use only for stems-up (upper) voices. See Move/Copy Layers
dialog box this command only affects full-measure selections.

2129
Edit/Clear All Items
When you choose Clear All Items, Finale removes the contents of the selected
music (whether or not you’ve selected entire measures), leaving equivalent
rests behind. (This command performs the same function as highlighting
measures and pressing the Backspace key.)

Tip: For more control, choose Clear

Selected Items from the Edit menu to
selectively delete items from the
score.

2130
Edit/Use Filter
When you choose this command, Finale displays the Edit Filter dialog box,
listing various score elements (Smart Shapes, articulations, measure widths,
MIDI data, and so on) that you can select for copying. For a complete list that
includes descriptions of these elements, see Items to Copy dialog box. When
this item is selected, your copying actions will only copy the selected items.
For detailed information, see the Edit Filter dialog box.

2131
Edit/SmartFind and Paint

Use these options to copy items, such as articulations, expressions, slurs, and
other Smart Shapes, to other rhythmically identical regions throughout the
document.

Set SmartFind Source Region

Deselect SmartFind Source Region
Apply SmartFind and Paint

2132
Edit/Text Search and Replace
With this command, search and replace text in the form of text blocks, lyrics,
file info, smart shapes, or staff/group names.

2133
Edit/Add Measures
Choose this menu item to add measures to the end of your score.
For more details see the Add Measures dialog box.

2134
Edit/Insert Measure Stack
Choose Insert Measure Stack if you want to insert a stack you've cut or copied
to the Clipboard. First tell Finale where you want the material inserted by
selecting any amount of music just after the desired point of insertion.
This option is only available if you copied a full measure stack to the clipboard.
If the music on the Clipboard was copied from ten staves, you don't have to
insert the contents of all ten staves in the target score. For example, you can
select (highlight) a measure in only four staves of the target score; Finale will
insert the measures in all staves.

See Also:
Text Tool

2135
Edit/Delete Measure Stack
Choose this menu item to delete selected measures from the score. Full
measures in all staves (measure stacks) need to be selected in order for this
menu item to be available. Also, use the Delete key to delete selected
measure stacks.

2136
Edit/Multimeasure Rests

Use the Multimeasure Rests submenu to break existing multimeasure rests,

create multimeasure rests regardless of whether Special Part Extraction is on,
or edit the appearance of a multimeasure rest. Remember that you must be in
Page View to change multimeasure rests.
Choose Create for Parts/Score to open the Select Parts/Score dialog box.
Here you can specify which parts get multimeasure rests. Finale will process
each part you select and add multimeasure rests automatically. See
Multimeasure Rests in linked parts.
Use the commands in this submenu to break existing multimeasure rests,
create multimeasure rests regardless of whether Special Part Extraction is on,
and edit the appearance of an individual multimeasure rest. You must be in
Page View to change multimeasure rests.

Break
Create
Edit
Create for parts/Score

2137
Edit/Edit Measure Attributes
Choose this menu item to edit the characteristics of measures. For example,
change the barline style, the width of the measure and if Time or Key
Signatures will appear in the measure.
For more details see the Measure Attributes dialog box.

2138
Edit/Enharmonic Spelling
Use the commands in this submenu to control the chromatic spelling of your
music when you enter notes using MIDI or use one of Finale's retranscription
commands such as the MIDI/Audio menu's Retranscribe or Utilitiy menu's
Respell Notes. You can also edit enharmonic spelling tables for major and
minor keys, and for modal or chromatic spelling created in the Non-Standard
Key Signature dialog box.
To determine how to spell diatonic notes (the unaltered pitches within the
scale) entered in your music, Finale always uses the key signature. As an
example, if the key signature is G major and you play F sharp, it will always be
notated as F sharp, not as G flat. When you chromatically alter a note, Finale
will use the enharmonic spelling method selected to determine how to notate it.
For instance, in the key of C, the half-step between C and D may be notated
as C sharp or D flat depending on your enharmonic spelling selection.

Use Default Spelling

Favor Sharps
Favor Flats
Use Spelling Tables
Edit Major and Minor Key Spellings
Edit Modal or Chromatic Spellings

2139
Edit/Measurement Units
In a number of Finale dialog boxes, you’re 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 understand—and display—in all of its
dialog boxes.
You’re 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
Finale’s default distance between staff lines). Note also that one half-space
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 you’ve selected Inches as your
global unit of measurement. When you’re telling Finale how thick you’d 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 you’ve entered into inches.
You don’t have to type out the word “points,” of course. Here are the
abbreviations you can enter into any measurement-oriented dialog box:

To specify Type one of

these units these

EVPUs EVPUs,
evpus, e

inches inches, inch,

in, i, ”

centimeters centimeters,
cm, c

2140
 millimeters millimeters,
mm, m

picas picas, p

points points, pts,

pt

spaces spaces, sp,

s

Note that, when you’re overriding the

global setting in this way, you even
have a unit option not available in the
Units of Measurement dialog box
(millimeters).

EVPUs
Inches
Centimeters
Points
Picas
Spaces

2141
Edit/Program Options
Choose this option to display the Program Options dialog box where you can
configure Finale’s program-wide settings.

See Also:
Program Options
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
Edit menu

2142
Expression menu
How to get there

Click the Expression Tool .

What it does
The Expression menu allows you to adjust the baseline for expressions.

2143
Expression menu/Adjust Above
Staff Baseline
Choose Adjust Above Staff Baseline to adjust the baselines for expressions set
to Above Staff Baseline in the Vertical Positioning drop-down menu of the
Text/Shape Expression designer dialog box. If neither Adjust Above Staff
Baseline OR Adjust Below Staff Baseline is selected, the positioning triangles
to the left do not display. You can find the Vertical Positioning drop-down menu
under the Measure and Note positioning tabs of the Expression Designer
dialog box.

2144
Expression menu/Adjust Below Staff
Baseline
Choose Adjust Below Staff Baselines to adjust the baselines for expressions
set to Below Staff Baseline in the Vertical Positioning drop-down menu of the
Expression Designer dialog box. If neither Adjust Above Staff Baseline OR
Adjust Below Staff Baseline is selected, the positioning triangles to the left do
not display. You can find the Vertical Positioning drop-down menu under the
Measure and Note positioning tabs of the Expression Designer dialog box.

2145
Expression/Favor Attachment to
Active Layer
Expressions can be assigned to any layer. Choose this command to tell Finale
to assign expressions to the active layer when more than one layer exists in
the measure. If notes exist in the active layer in the measure the expression is
added, Finale will assign the expression to that layer.
A number of additional conditions apply when this command is selected:

• If only one layer exists in the measure, the expression is automatically

assigned to that layer.
• If there are no notes in the measure, the expression is assigned to "All
Layers".
• If there are multiple layers in the measure, but the active layer is not one of
them, the expression is attached to "All Layers."
• If there are multiple layers in the measure, and this command is
unchecked, the expression is assigned to "All Layers."
• Expressions attached to a barline are assigned to "All Layers."

2146
Expression/Edit Rehearsal Mark
Sequence
Select an auto-sequenced rehearsal mark, then choose this command to open
the Rehearsal Mark Sequence dialog box where you can restart a rehearsal
mark sequence. See To add rehearsal marks.

2147
File menu
How to get there
The File menu is the first of Finale’s
unchanging menus.
What it does
As in many computer programs, Finale’s
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.
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.

2148
File/Launch Window
Opens the Launch Window that appears when you first start Finale. From the
Launch Window, you can choose from a variety of methods to start a new file,
open existing documents, and access reference materials. See Launch
Window.

2149
File/New
Choose from the following list of ways to begin a new project:

Document With Setup Wizard

Default Document
======================
Document From Template
Document Without Libraries
======================
Exercise Wizard

Tip: If you already have a file you are

working on, choose Open from the
File menu.

Tip: Choose the New File Tool from

the File menu Toolbar to begin a new
work as well.

See Also:
Program Options-New

2150
File/Open
When you choose the Open command, the Open dialog box appears, in which
there are the kinds of files Finale is capable of opening: Finale Notation File
(*.MUS), Standard MIDI File (*.MID), Finale Template File (*.FTM), and Lesson
File (*.LSN). Choose All Files (*.*) if you want Finale to display all files in the
current folder, regardless of file type. Use shift-click to select more than one file
to open. You can also use the File menu Toolbar icon to open a file.
A Finale Notation File is the usual notation file you’ve been working with all
along. It can be read by either the Macintosh or Windows version of Finale. A
MIDI File is a standard music file format that most sequencer programs can
read and create. A Lesson File is a text file that contains a collection of
exercises for the Exercise Wizard.
As you select each of the file types from the File Type drop down list, the
names in the File Name list box change to the files with the corresponding
extension. The Folder list box works like any Windows Folder list box; double-
click a folder to see its contents and use the scroll bars if necessary to view
more folders. Select a different drive from the “Look in” drop-down list to view
the contents of another drive.

See Also:
Program Options-Open

2151
File/Close
Choose Close to close the active (frontmost) window. If you’re closing the last
open window containing a document to which you’ve made changes not yet
saved, Finale will ask you if you want to save your changes; click Yes (or press
enterreturn) to save your changes, or click No if you don’t want your changes
preserved. Click Cancel to return to that document without closing it. (You can
also close a document by double-clicking the Control menu in the upper-left
corner of the window.)

See Also:
Window menu_Ref347562182

2152
File/Close All
Choose Close All to close all the open documents. Finale will ask you if you
want to save each window that has had any changes; click Yes (or press
enter) to save your changes, or click No if you don’t want your changes
preserved. Click Cancel to return to that document without closing it.

See Also:
Window menu

2153
File/Save
Choose Save to store any changes you’ve made to the active document. You
can also use the File menu Toolbar icon to save a file.
When you’re working on a Finale document (or any computer file), your
changes to the file are stored in temporary files that are deleted when you exit
the program. As long as you’re in Finale and the computer is on, the
computer’s memory retains your editing.
If the power fails or a system error occurs, however, all your editing is lost
forever, unless you have remembered to save the changes onto a disk by
choosing this command. It’s a good idea to save your work fairly often—every
ten minutes, perhaps; if you’re the kind of person who forgets, consider using
Finale’s automatic backup feature (see Save under Program Options). If you
intend to open the file on a machine running Windows, make sure Append File
Extensions is checked.
Backup files. Finale can automatically save a backup copy of your file in the
same folder as the original file. You can also select the folder to save Backup
files. See Save (under Program Options).
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. This earlier version of the file is
preserved as a backup. The backup file is saved with the extension .BAK, to
help you identify it. 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.
Note: The Save command saves only
the active document (the one in the
frontmost window).
Tip: Choose the Save File Tool from
the File menu Toolbar to save your
work as well.

See Also:
Program Options-Save

2154
File/Save As
This command has two purposes. First, as in many computer programs, the
Save As command offers you a chance to create a duplicate of the document
you’re working on, with a different name, and—if you wish—in a different folder
or on a different disk. (When you choose the command, Finale displays a
dialog box and asks you to give the document a new name, which can’t be
exactly the same as the current document’s in the same folder.)
This command’s second purpose is to let you save the current document as
another kind of document—namely, a Finale Template File or a standard MIDI
File. After choosing Save As, select the file format you want to use, give the
new file a name, and click Save.

See Also:
Program Options-Save

2155
File/Extract Parts
This command allows you to automatically create individual part documents
from the main project document. Open the full-score document, so that it
appears on the screen. Choose Extract Parts. The Extract Parts dialog box
appears, which lets you specify which staves you want to extract. See Extract
Parts dialog box for a more complete discussion of its options. You can format,
inspect, and adjust the resultant documents, fixing any awkward page turns,
for example, before you print them out. (Of course, linked parts can also be
printed directly from the main project document. See Linked Parts).

2156
File/Export to SmartMusic
Choose Export to SmartMusic to save a copy of your file in a format that can
be opened by the SmartMusic. See SmartMusic. There are three types of
SmartMusic Accompaniment files, solo with accompaniment, ensemble (with
customizable part playback), and assessment (for use with SmartMusic’s
assessment feature.

2157
File/Export to Audio File
Choose Export to Audio File to create aWave or MP3 file based on the
document’s MIDI performance. When you choose this option, the Export to
Audio File dialog box appears. To record these audio files, Finale uses the
currently selected SoundFont. See Audio Files.

See Also:
Export to Audio File

2158
File/Post at Finale Showcase
This command will save your file, then open your browser to place your file on
MakeMusic’s website at www.finaleshowcase.com. The file will be freely
shared with other Finale users. Please follow the directions on the website.

2159
File/Revert
If, in experimenting with a file, you create a hopeless muddle, all is not lost.
The Revert command restores your document to whatever condition it was in
the last time you saved your work. (This command does the same thing as
closing the document without saving it, then reopening it.)

2160
File/ScoreMerger

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.

See Also:
ScoreMerger

2161
File/MusicXML

Choose Import to open a MusicXML file. See Import MusicXML. Choose

Export to save a Finale document in MusicXML format. MusicXML files can be
opened in other music programs as well as earlier versions of Finale. See
Export MusicXML.

Note: Finale can open and export

compressed MusicXML 2.0 files
(.mxl).

Updates to MusicXML in Finale 2009 include:

• Graphics are now exported, and imported graphics are now embedded
rather than linked. Embedded graphics are exported when saving to a
compressed MusicXML 2.0 file. Linked graphics are exported when saving
to either a compressed or uncompressed MusicXML 2.0 file.
• Two-note tremolos created by Easy Tremolos and TGTools are now
exported, and two-note tremolos are now imported in a similar style to how
Easy Tremolos work.
• Swing tempo metronome marks are supported, using the shape expression
that is part of the standard default documents.
• Font support is improved, included support for the November, ChordSuf,
and Toccata third-party fonts.
• Blank pages and page breaks are now imported.
• Word extension import has been improved to keep some extraneous smart
word extensions from appearing after import.
• Files created on Windows now export their text more accurately on Mac,
and vice versa.

Import
Export

2162
File/Scanning SmartScore Lite
Choose this command to Import a scanned file from your scanner or open the
SmartScore Lite dialog box where you can import a scanned TIFF file for
conversion to Finale document.

Scan and Import

Import Existing TIFF File

2163
File/Load Library
Because you may want to use different kinds of symbols in different kinds of
pieces, Finale allows you to save any special symbols you create while
working in a document (articulations, chord symbols, and so on) into separate
files called libraries. These sets of musical elements may then be “loaded into”
any document. See Save Library dialog box.
A Finale document with no libraries loaded will seem stripped-down, because
each time you open a selection dialog box (to place an articulation or chord
symbol, for example), it will be empty. That’s why the Maestro Font Default file
has already been loaded with the most commonly used libraries so you can
begin work immediately. You can also load additional libraries into any
document by choosing Load Library; an Open dialog box appears, letting you
double-click the name of the library you want to load.
A starter set of libraries is included with your Finale package; they’re in a folder
called Libraries. A full description of these libraries and their contents appears
in the Appendix (See Finale Libraries).

2164
File/Save Library
Saves the specified set of special symbols (or settings) you create while
working in a file (articulations, chord symbols, and so on) into a separate file
called a library. These sets of musical elements may then be "loaded into" any
file.
For detailed information, see the Save Library dialog box.

2165
File/File Info
This command displays the File Info dialog box which allows you to enter
information specific to your document. You can enter information such as Title,
Composer and Copyright. This information can be placed automatically in your
documents using Text Inserts. See File Info dialog box and Text menu.
You can also reach the File Statistics dialog box from the dialog box by clicking
on Statistics. This dialog box provides information on the number of pages,
measures, etc. that you have used in your document. See File Statistics dialog
box. (See also Count Items under Plug-ins.)

2166
File/Page Setup
This command displays the standard Windows Page Setup dialog box, which
differs depending on the kind of printer you’re using. For example, you can
specify the size of paper you want to print on, but note that the page size of
your document itself (that is, the size of the printed image) is completely
independent of the paper size you specify here. (Use the Page Layout Tool to
set the actual page size; see Page size.) To make sure 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. For a more complete discussion, see Page Setup dialog box.

2167
File/Print
Prints the score and/or parts as they appear in Page View. When you choose
this command, the standard Print dialog box appears listing additional printing
options, which vary depending on your printer. You'll be able to specify, for
example, which pages of the score you want to print, and how many copies.

Tip: Choose the Print File Tool from

the File menu Toolbar to print the file
as well.

For detailed information see the Print dialog box.

2168
File/Compile PostScript Listing
This command provides options for compiling a PostScript listing - a printer file
of your score that Finale can print faster than it can print the score itself.
For more detailed information, see the Compile PostScript Listing dialog box.

2169
File/Save Preferences
You can customize your Main Tool Palette and the document window to the
work environment best suited to your music, so you can get straight to work
when you open a file. The Save Preferences command gives you control over
when to save these settings.
When exiting Finale, preferences set in the application will be automatically
saved. If you prefer that they are only saved when you choose the New Save
Preferences command, choose Program Options from the Edit menu and
choose the Save category. Click Save Preferences When Exiting Finale to
uncheck it. You can control when Finale saves the application-wide
preferences that you set (for example, rulers, measurement units, the state of
Speedy commands), saving them any time in the application.
Organize the tools, change the palette size and location, or set menu options
such as Use MIDI Device just the way you want them, then choose Save
Preferences from the File menu. Finale saves your settings with preferences in
the Finale.INI file (in your Finale folder).

See Also:
Program Options-Save

2170
File/Exit
This command exits Finale and returns to the Desktop. Finale closes all open
files automatically, after first asking you if you want to save your changes (if
you made any).

2171
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 you’ve placed a graphic into the
score, you can adjust its placement using the Alignment submenu (for page-
assigned graphics) or the Attributes command.

2172
Graphics/Export Selection
This command is only available in Page View when a region of music is
selected. Choose this command to display the Export Selection dialog box,
where you can export the selection on the current page or on a range of
pages. When you choose this command, the Export Selection dialog box
settings will default to exporting the selection on the current page only; save
the graphic as an EPS or TIFF file. For more information, see Export Selection
and Export Pages dialog boxes.

See Also:
Graphics Tool

2173
Graphics/Export Pages
This command is only available in Page View. Choose this command to
display the Export Pages dialog box, where you can export a single page, a
range of pages, or all pages, as separate graphics files. When you choose this
command, the Export Pages dialog box settings will default to exporting the
current page. Save the graphic as an EPS or TIFF file. For more information,
see Export Selection and Export Pages dialog boxes.

See Also:
_Ref1564415445Graphics Tool

2174
Graphics/Place Graphic
Choose this command to place an EPS or TIFF file graphic into your score in
Scroll View or Page View. The Place Graphic dialog box appears, listing the
available graphic formats, as well as the option to display all files.
Note: Finale doesn't actually embed
the graphics placed into your Finale
document. Instead, it places a link to
the graphic's location. Use the Check
Graphics command for a list of
graphics placed into a document;
when you copy Finale documents,
make sure that you copy all the
graphics used in the documents as
well.
For detailed information, see the Place Graphic dialog box.

See Also:
_Ref1564415445Check Graphics

Graphics Tool

2175
Graphics/Alignment
You must be in Page View and have a page-assigned graphic selected to use
the commands in the Alignment submenu. Otherwise, the commands in the
Alignment submenu are not accessible (they will be grayed out). Choose a
command to specify how you want the graphic positioned on the page.
Checkmarks appear by the alignment settings currently in use for the graphic.
When you change the horizontal or vertical alignment of the graphic, Finale
clears any manual positioning done in the score, and resets the H: or the V:
positioning settings in the Graphic Attributes dialog box to zero. Choose
Position from Page Edge or Position from Page Margin to align the selected
graphic with the edge of the page or with the page margin, respectively.

Note: This is a useful shortcut for

positioning a page-assigned graphic
when you’re in Page View. If you
prefer, however, you can choose the
Attributes command from the
Graphics menu and change the Page
Alignment settings in the Graphic
Attributes dialog box.

Left
Center Horizontally
Right
================
Top (Header)
Center Vertically
Bottom (Footer)
================
Position from Page Edge
Position from Page Margin

See Also:
_Ref1564415445Graphic Attributes

2176
Graphics Tool

2177
Graphics/Attributes
This command is available when a single graphic is selected. Choose this
command to display the Graphic Attributes dialog box for the currently selected
page-assigned or measure-assigned graphic. Use this dialog box to change
the placement of the graphic in your score, its alignment on the page (left, right
or centered), its scaling, and what pages, if applicable, the graphic appears on.
For more information, see Graphic Attributes dialog box.

See Also:
Graphics Tool

2178
Graphics/Check Graphics
Choose this command to display a listing of all the graphics you’ve placed
directly into your score or into the Shape Designer. If any graphics files are
missing, they are listed with an asterisk next to the name. Use this command
to make sure you have all the necessary graphics for your document if you’ll
be printing the file on another system. For more information, see Check
Graphics dialog box.

See Also:
Graphic Attributes
Graphics Tool

2179
Graphics/Assign New Graphics to
Measure
Choose this command to assign new graphics to the closest measure when
placing graphics. Graphics attached to a measure will reposition relative to that
measure as music spacing changes are made to the document.

See Also:
Graphic Attributes
Graphics Tool

2180
Graphics/Assign New Graphics to
Page
Choose this command to assign new graphics to the page when placing
graphics. You must be viewing the document in Page View. Graphics attached
to a page will remain on that page regardless of music spacing or layout
changes.

See Also:
Graphic Attributes
Graphics Tool

2181
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.

2182
Help/User Manual
Use this menu command to visit Finale's User Manual, the one you are viewing
now.

2183
Help/Finale Tutorials
Choose this command to open the electronic version of the Finale Installation
and Tutorials guide. The printed and electronic versions accompany all new
Finale purchases. Only the electronic version is included with Finale upgrades.
When this menu item is selected, Finale opens the Before you Begin topic in
your Internet browser.

2184
Help/QuickStart Videos
Choose this menu item to launch a separate application that will show you
basic functionality in Finale via a video on your computer monitor. The video is
narrated and shows how to access tools and menus throughout the programs.
If you don't like to read tutorials and manuals, this video is for you.

2185
Help/Shortcuts & Character Maps
This submenu includes character sets for all of Finale's included fonts as well
as a list of all of Finale's keyboard shortcuts.

2186
Help/Shortcuts & Character
Maps/Keyboard Shortcuts
Choose this menu item to launch your browser and open the Keyboard
Shortcuts topic of the Finale User Manual.

2187
Help/Shortcuts & Character
Maps/Engraver Character Map
Choose this menu item to launch your browser and open the Engraver
Character Map topic of the Finale's User Manual.

See Also:
Help menu

2188
Help/Shortcuts & Character
Maps/Broadway Copyist Character
Map
Choose this menu item to launch your browser and open the Broadway
Copyist Character Map topic of the Finale's User Manual.

See Also:
Help menu

2189
Help/Shortcuts & Character
Maps/Maestro Character Map
Choose this menu item to launch your browser and open the Maestro Font
Character Map file of the Finale User Manual.

See Also:
Help menu

2190
Help/Finale Website
Choose this menu item to go to the FinaleMusic Website for information about
Finale and other products made by MakeMusic.

2191
Help/Authorize Finale
Choose this menu item to authorize and register your version of Finale with
MakeMusic via the Internet. Registered Users of Finale have access to
Technical Support and notification of future updates and upgrades.

2192
Help/Check for Finale Updates
Choose this menu item to view the latest updated version of Finale from
MakeMusic via the Internet. These updates can be downloaded to registered
users.

2193
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 theHelp menu and choose About Finale

See Also:
Customer Support

2194
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 you’re about to
play. For example, you need to tell Finale what rhythmic value you’ll 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 Finale Tutorials.
Use HyperScribe’s 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 you’ve 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.

2195
HyperScribe/Beat Source

Using this submenu, you tell Finale what MIDI signal will serve as the tempo
reference while you play—and who will provide it (either you or Finale).

Tap
Playback and/or Click
External MIDI Sync

See Also:
HyperScribe Tool

2196
HyperScribe/Record Mode

Use this submenu to tell Finale whether you'll be recording your performance
into one staff, or splitting the performance into two staves. If you prefer, you
can record into two or more staves -- or layers of a staff at one by using the
multitrack record mode.

Record into One Staff

Split into Two Staves
Multitrack Record

See Also:
HyperScribe Tool

2197
HyperScribe/HyperScribe Options
Choose this item to display the HyperScribe Options dialog box, which holds a
number of specialized transcription choices such as the incoming channel for
the Record into One Staff, or Split Into Two Staves record modes, and whether
you want Finale to record key velocities and note durations as you play.
For detailed information, see the HyperScribe Options dialog box.

See Also:
HyperScribe Tool

2198
HyperScribe/Record Continuous
Data
Choose this item to display the Record Continuous Data dialog box where you
can choose the type of continuous data you want to record while entering with
HyperScribe.
For detailed information, see the Record Continuous Data dialog box.

See Also:
HyperScribe Tool

2199
HyperScribe/Transcription Mode
Choose this menu item to use Finale’s mini sequencer.

Tip: Once the menu item is checked,

click in a measure to open the
Transcription window.

For more information see Transcription mode

See Also:
HyperScribe Tool

2200
Lyrics menu
How to get there

Click the Lyrics Tool .

What it does
The Lyrics menu contains all the commands you’ll
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 want—up
to 512 of each of Finale’s three lyric types: Verse,
Chorus, and Section. There’s no technical distinction
between these three types—the lyrics you enter as a
Verse can be used in the chorus of your song, and
vice versa. They’re 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).

2201
Lyrics/Edit Lyrics
Choose this command to enter Finale’s text processor. If you have copied
lyrics from an external word processor, press ctrl-V here to paste them.
Otherwise, you can create lyrics from scratch; just type them in, being sure to
insert a hyphen between syllables. (Finale recognizes a space, hyphen, or
carriage return as the end of a syllable.) For a full description of the Edit Lyrics
window, see Edit Lyrics window.

See Also:
Lyrics Tool

2202
Lyrics/Export Lyrics
Choose this command to open the Export Lyrics dialog box where you can
extract your lyrics and save them as a text file. See Export Lyrics dialog box.

2203
Lyrics/Adjust Syllables
This command lets you move an individual syllable anywhere you want it. Click
the staff above a syllable; two handles appear. Click a handle to select its
syllable; shift-click to select additional syllables attached to the same note.
Drag a lower handle to move its syllable (or all selected syllables) to a new
position; press backspace to restore a selected syllable to its original position.
To remove a selected syllable (or all selected syllables) from the score, press
delete. You can also use Adjust Syllables in conjunction with the alignment and
justification commands (see below). Click the upper handle to set alignment
and justification.

See Also:
Lyrics Tool

2204
Lyrics/Click Assignment
After you’ve typed lyrics into the Edit Lyrics window, choose Click Assignment
from the Lyrics menu. The scrolling Click Assignment window appears; (move
the Click Assignment window out of the way, if necessary, by dragging its title
bar). A syllable from the left end of this window attaches itself to each note you
click (or, if the note is in Voice 2, each one you shift-click).
If you ctrl-click a note, however, Finale will zip through your entire set of lyrics,
intelligently distributing them to the notes in the score skipping rests and tied
notes, as well as notes in different layers and voice two, for as many notes as
there are syllables. (Click Assignment will stop at default whole rests.) See
Click Assignment dialog box for a more complete discussion.

See Also:
Lyrics Tool

2205
Lyrics/Clone Lyric
Use this command when you want to copy the lyrics from one staff (the
“source” staff) to another (the “target” staff). This technique, however, only
copies one set of lyrics at a time—either the Verse, Chorus, or Section
currently specified by the Specify Current Lyric command, or the last lyric you
edited.
After choosing this command, select the measures containing the source lyrics
by clicking, shift-clicking, the same techniques you use with the Selection Tool.
Once the source measures are selected, drag the first selected measure so
that it’s superimposed on the first target measure. (If the target measure isn’t
visible in the same screen, scroll so that you can see it, then ctrl–shift-click it.)
Finale will copy the lyrics from the source measures to the target measures.
Bear in mind that only notes that fall on the same beats as those in the source
measures will receive syllables. (Note, too, that the vertical positions of the
baseline-positioning triangles will be the same in the target staff as they were
in the source staff.)

See Also:
Lyrics Tool

2206
Lyrics/Edit Word Extensions
A Word Extension is the underline following a syllable sustained beyond the
note to which it’s attached. In new documents, or documents that do not
contain lyrics created before Finale 2004, these lines are generated
automatically as you type lyrics into the score. To edit a Word Extension,
choose this command from the Lyrics menu, then click in the staff above the
syllable in question. A square handle appears. Drag it to the right as far as you
want to draw the Word Extension underline. To remove the Word Extension,
click its handle and press Delete. You can edit the default appearance of word
extensions for your document in the Word Extensions dialog box.

See Also:
Lyrics Tool

2207
Lyrics/Shift Lyrics
When you choose this command, Finale displays the Shift Lyrics dialog box,
where you can specify the direction in which you want all the syllables shifted.
For detailed information, see the Shift Lyrics dialog box.

See Also:
Lyrics Tool

2208
Lyrics/Type Into Score
Instead of typing lyrics into the Edit Lyrics window separately, you can enter
them directly into the music so that you know at all times where you are
relative to the melody.
To do so, first specify the lyric type and number for the lyrics you intend to
create (by choosing Specify Current Lyric or Edit Lyrics from the Lyrics menu).
Choose Type Into Score from the Lyrics menu. A set of four positioning
triangles appears at the left edge of the screen. These control the baseline of
the lyrics (against which the bottom edges of the words line up).
Click on the staff at the position of the first melody note. Don't click the
notehead - instead, click in the staff lines. A small blinking cursor - the insertion
point - appears beneath the staff where you clicked. Type the lyrics normally;
each time you type a space or a hyphen, Finale automatically moves the
insertion point to the next note in preparation to enter 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 the backspace key.
To change a word you've already typed, click in the staff lines above it so that
it's highlighted, then type its replacement. If you encounter a melismatic
passage, where one syllable is sustained through several melody notes, skip
past each sustained note by pressing the Space bar.
Note that as you type, Finale stores each syllable in the Edit Lyrics window -
the Lyrics Tool's text processor. It's 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, the syllable instantly changes in the score -
and vice versa.

See Also:
Lyrics Tool

2209
Lyrics/Alignment

These commands, only available when Adjust Syllables is selected in the

menu, are similar to the alignment and justification option in the Text tool. They
allow you to easily set the horizontal position of your lyrics on a syllable by
syllable basis. These commands are useful when you want all the syllables (in
several verses) beneath a particular note neatly aligned. You might use this
feature to left-justify a specific syllable of each verse under the first note of a
hymn, for example. For global settings see Document Options-Lyrics.
If you wish to align all lyrics you may do so in Document Options-Lyrics. If you
wish to be aligned with a celestial body, you'll have to look further than Finale.
Set the alignment and justification by selecting it from the menu, or using the
keyboard shortcuts listed in the menu. The handle will move from one side of
the syllable to the other depending on which type of justification you have
selected.

Default
===================
Center
Left
Right

See Also:
Justification
Lyrics Tool

2210
Lyrics/Justification

Use the following menu items to justify the selected syllables relative to each
other. If you wish to justify all lyrics you may do so in Document Options-Lyrics.

Default
===================
Center
Left
Right

See Also:
Alignment
Lyrics Tool

2211
Lyrics/Specify Current Lyric
Choose this command to display the Specify Current Lyric dialog box, where
you can specify whether you want to edit, Type Into Score, Clone, or Click-
Assign a Verse, Chorus, or Section. In the text box, you can also specify by
number which Verse, Chorus, or Section you want to manipulate.
You can also switch one lyric type to another in the Edit Lyrics window- for
example, if you've just used Click Assignment to place Verse lyrics in the
score, but you now want to use the Edit Lyrics window to enter the chorus,
choose Chorus from the Lyric drop-down list.
For detailed information, see the Specify Current Lyric dialog box.

See Also:
Edit Lyrics
Lyrics Tool

2212
Lyrics/Adjust Baselines
This command displays the Adjust Baselines dialog box, where you can
specify the exact vertical location for the baseline of each lyric type and
number (the invisible line against which the bottoms of the words align).
For detailed information, see the Adjust Baselines dialog box.

See Also:
Lyrics Tool

2213
Lyrics/Lyric Options
Choose this command to display Document Options-Lyrics where you can
specify alignment, spacing and line thickness options as well as settings for
hyphens and word extensions.

See Also:
Lyrics Tool

2214
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.

2215
Document menu/Edit Measure
Number Regions
Choose this menu item to alter how measure numbers appear throughout the
document. For more details see Measure Number dialog box.
Tip: A measure can have more than one region assigned. This allows for
difference series of numbers to appear. And

2216
Measure menu/Edit Measure
Number Regions
Choose this menu item to alter how measure numbers appear throughout the
document. For more details see Measure Number dialog box.

Tip: A measure can have more than

one region assigned. This allows for
difference series of numbers to
appear.

2217
Measure/Add Measure Number
Enclosures
Choose this menu item to add a shape around the measure numbers of the
selected measures.
For more detail, see Enclosure Designer dialog box.

See Also:
Measure Tool

2218
Measure/Show Measure Numbers
Choose this menu item to force measure numbers to appear in the selected
measures.

Tip: If numbers do not appear after

choosing this item, choose Edit
Region and confirm that the selected
measures are within a region.

See Also:
Measure Tool

2219
Measure/Hide Measure Numbers
Choose this menu item to force measure numbers to disappear in the selected
measures.

See Also:
Measure Tool

2220
Measure/Restore Measure Number
Defaults
Choose this menu item to return the measure numbers in the selected
measures to settings in the Measure Number dialog box.

See Also:
Measure Tool

2221
Measure/Show Measure Spacing
Handles
Choose this option to display the measure spacing handles on each measure.
With these two handles (on the bottom staff line) you can control the space
between the left barline and the first note in the measure and the space
between the last note in the measure and the right barline. These values are
represented in the Measure Attributes dialog box after “Extra Space at
Beginning” and “Extra Space at End”.

2222
MIDI/Audio menu
How to get there
The MIDI/Audio menu is one of Finale’s
unchanging menus.
What it does
This menu contains items specific to
your MIDI setup and usage.

2223
MIDI/Audio/Play Finale Through VST
Check this box to playback using the devices chosen in the VST Instruments
dialog box instead of those specified in the MIDI Setup dialog box.

2224
MIDI/Audio/Play Finale Through MIDI
Check this box to playback using the devices chosen in the MIDI Setup dialog
box.

2225
MIDI/Audio/Instrument Setup
Use the following commands to configure VST or MIDI instruments.
VST Instruments
Instrument List

2226
MIDI/Audio Track
Use the commands in this submenu to add audio tracks to your score, load
audio into an audio track, and make additional settings relating to imported
audio files.

Add Audio Track

Load Audio
Audio Clip Attributes

2227
MIDI/Audio/Human Playback
From this submenu, you can turn off Human Playback, choose a Human
Playback Style, or choose to define a custom Human Playback Style.

None
Standard
Baroque
Classical
Romantic
21st Century
Marching Band
Viennese Waltz
Light Waltz
Funk
Jazz
Latin
Pop
Reggae
Rock
Samba
Custom
=====================
Human Playback Preferences

See Also:
Human Playback

2228
MIDI/Audio/Device Setup
Use these options to configure MIDI and VST devices.

Audio Setup
Manage VST Plug-ins
=====================
MIDI Setup
MIDI Thru
Tablature MIDI Channels
=====================
Edit Percussion MIDI Maps
Percussion Input Maps
=====================
Send MIDI Sync
Send MTC

2229
MIDI/Audio/MIDI File Options
Use these commands to adjust settings related to importing and exporting
MIDI files.

Import MIDI File Options

Export MIDI File Options

2230
MIDI/Audio/MIDI Clipboard
Use these commands to manage the MIDI clipboard.

Export MIDI to Clipboard

Import MIDI from Clipboard

2231
MIDI/Send MIDI Value
When you choose this command, the Send MIDI Value dialog box appears.
Using the options in this dialog box, you can send any kind of MIDI data to
your synthesizers immediately: a patch change, a "pedal up" command, a
"note off" command.
For detailed information, see the Send MIDI Value dialog box.

See Also:
MIDI Tool

2232
MIDI/All Notes Off
From time to time, you may encounter MIDI lock, a rare situation in which a
synthesizer sounds as if its keys are "stuck," and it plays continuously as
though someone's still pressing them. To send the MIDI signal that tells it to
"release the keys," choose this command; after a moment, the synthesizer will
be silent. Technically, this command sends a Note Off command to all notes
on all channels.

2233
MIDI/Set Panning
Choose this command to automatically configure the pan setting for each staff
in order to simulate the effect of instruments distributed among the orchestral
space. Finale recognizes many instrumental configurations, from solo
instrument to symphonic orchestra, and sets Mixer pan dials accordingly (also
taking into account solo instruments). These settings are based on Human
Playback’s interpretation, formerly known as Automatic Panning (although the
configured Mixer/Staff Control settings apply to playback with or without HP).

2234
MIDI/Retranscribe
Choose this command to retranscribe the selected region using the
quantization settings in the Quantization Settings dialog box. See Quantization
Settings dialog box and Retranscription.

Note: When retranscribing, Finale will

not change any of the MIDI
information in the region. It will,
however, remove any markings that
were entered in the music.

See Also:
HyperScribe Tool
HyperScribe

2235
MIDI/Click and Countoff
Choose this command to display the Click and Countoff dialog box, where you
can specify a countoff click for recording with HyperScribe or playing back
using the Playback Controls. You can also determine how many measures to
count off, and define two separate metronome click sounds for the down beat
and other beats in your music.
For detailed information, see the Click and Countoff dialog box.

See Also:
HyperScribe Tool

2236
MIDI/Audio/Quantization Settings
Choose this menu item to go to the Quantization Settings dialog box where
you adjust how MIDI information is interpreted by Finale upon input (such as
Importing MIDI files, HyperScribe and Transcribing)
For more information, see Quantization Settings dialog box.

See Also:
HyperScribe Tool

2237
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 you’ve transcribed your performance into standard notation, you can
listen to it play back in one of three ways. You can listen to Finale’s Human
Playback interpretation, play it exactly as it appears in the score—
expressionless 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

2238
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 data—the key velocity, for example—of individual notes, even
if they’re buried within chords, by selecting their handles; see MIDI Tool split-
window
Once you’ve 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 you’d 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 on-screen, drag the first selected measure so that it’s
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.
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.

2239
MIDI Tool/Key Velocities
Choose this command to tell Finale that you want the editing commands (Set
To, Add, Scale, Percent Alter, Limit, Alter Feel, and Randomize) to affect the
key velocity of the selected music. If you select this command while you're in
the MIDI Tool split-window, you see the velocities of the notes on the screen
represented as a bar graph.
After you select this command, a check mark appears beside it in the MIDI
Tool menu.

See Also:
MIDI Tool

2240
MIDI Tool/Note Durations
Choose this command to tell Finale that you want the editing commands to
affect the Start Times and Stop Times of the selected music. If you select this
option while you’re in the MIDI Tool split-window, you see the durations of the
notes on the screen represented graphically as horizontal lines—the longer the
line, the longer the note; see MIDI Tool split-window.

2241
MIDI Tool/Continuous Data
When you choose this command, the View Continuous Data dialog box
appears, in which you can specify which MIDI controller data you want to edit
(and view, if you're in the MIDI Tool split-window). Sustain pedal usage, pitch
or modulation wheel changes, patch changes, and monophonic aftertouch are
a few of the options; if you have other kinds of controllers, you can identify
them by number. After you've specified the continuous data type you want to
edit, you return to the score (or MIDI Tool split-window); you can now use the
MIDI/Audio menu commands to affect the specified controller data. (Note that
the "Alter Feel" and "Randomize" commands aren't available if you're editing
continuous data.)
After you select this command, a check mark appears beside it in the MIDI
Tool menu.
For detailed information, see the View Continuous Data dialog box.

See Also:
MIDI Tool

2242
MIDI Tool/Set To
When you choose this command, the Set To dialog box appears, in which you
can set the values of the specified MIDI data type (velocity, durations, or
continuous data) for all selected notes to a single value. For example, you
could set the key velocities for all selected notes to 100 (on the MIDI velocity
scale of 0 to 127).
Use this command to create pedaling, after using the Continuous Data
command (see below) to specify that you want to edit sustain pedal data.
Select the point at which you want the sustain pedal to go down by dragging
through a small sliver of the graph area. (The “pedal down” message will occur
at the beginning of the selected [highlighted] region.) Choose Set To, and enter
127; when Finale plays back the music, it will push the pedal “down” at the
point you specified. Repeat the process at the point where you want the pedal
released, but choose Set To and enter zero. See Pedal markings.

Set To - Key Velocities

Set To - Note Durations (Start - Stop Times)
Set To - Continuous Data
Set Patch To
Set To - Tempo

See Also:
MIDI Tool

2243
MIDI Tool/Scale
When you choose this command, the Scale dialog box appears, in which you
can scale the values of the specified MIDI data type (velocity, durations, or
continuous data) evenly from one value to another across the selected region.
You could scale the velocities of the notes in a selected region, for example,
from a low value to a high one; Finale would play the notes back with a smooth
crescendo. See Smart Playback Plug-in. This command is also useful for
creating pitch bends.
You can scale the MIDI velocity values either from one specified absolute
value to another, or from one percentage of the original value to another (from
15% to 50% of the original values, for example).

Scale - Key Velocities

Scale - Note Durations
Scale - Continuous Data
Scale - Tempo

See Also:
MIDI Tool

2244
MIDI Tool/Add
When you choose this command, the Add dialog box appears, in which you
can add a positive or negative amount to the values of the specified MIDI data
type (velocity, durations, or continuous data) for all selected notes. You could
add a certain amount to the key velocity data for every note, for example, or
make a pitch bend less "deep."
For detailed information, see the following dialog boxes.

Add - Key Velocities

Add - Note Durations
Add - Continuous Data
Add - Tempo

See Also:
MIDI Tool

2245
MIDI Tool/Percent Alter
When you choose this command, the Percent Alteration dialog box appears, in
which you can increase or decrease the values of the specified MIDI data type
(velocity, durations, or continuous data) for all selected notes by a percentage
of their original values. You could make the key velocity for every note twice as
high, for example, by specifying an increase of 200%.
For detailed information, see the following dialog boxes.

Percent Alteration - Key Velocities

Percent Alteration - Note Durations
Percent Alteration - Continuous Data
Percent Alteration - Tempo

See Also:
MIDI Tool

2246
MIDI Tool/Limit
When you choose this command, the Limit dialog box appears, in which you
can limit the values of the specified MIDI data type (velocity, durations, or
continuous data) for all selected notes to a certain minimum and maximum
value. Any notes with values above the maximum you specify will be clipped
back to that maximum value; any notes with values below the minimum will be
boosted to that minimum value. For example, if you discover that you can't
hear any of the guitar notes in your score when the synthesizer keys are
"struck" (during playback) with a velocity under 50, you could "limit" the entire
guitar staff to a minimum velocity value of 50.
For detailed information, see the following dialog boxes.

Limit - Key Velocities

Limit - Note Durations
Limit - Continuous Data

See Also:
MIDI Tool

2247
MIDI Tool/Alter Feel
Like the Add or Percent Alter commands, the Alter Feel command displays a
dialog box that 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 you've 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. In fact,
you can specify a different value for Downbeats, Other Beats, and Backbeats.
For detailed information, see the following dialog boxes.

Alter Feel - Key Velocities

Alter Feel - Note Durations

See Also:
MIDI Tool

2248
MIDI Tool/Randomize
When you choose this command, the Randomize dialog box appears, in which
you can specify an amount by which you want to randomly alter the velocity or
duration values for all selected notes. This can be a useful option if you want to
give your playback a more imperfect, "human" feeling. Type a fairly small
number into the box - to randomize key velocities, for example, you might enter
a number between 10 and 20 (unless you really want some unpredictable,
madcap accents).
For detailed information, see the following dialog boxes.

Randomize - Key Velocities

Randomize - Note Durations

See Also:
MIDI Tool

2249
MIDI Tool/Clear
Choose this command to clear all MIDI data within the selected region.

See Also:
MIDI Tool

2250
MIDI Tool/Edit MIDI Note
When you choose this command, the Edit MIDI Note dialog box appears, in
which you can set the start and stop times, and the key velocity of a note in
one place.
For more information, see Edit MIDI Note dialog box.

See Also:
MIDI Tool

2251
MIDI Tool/Play
This command, available if the MIDI Tool split-window is open, plays the
displayed music immediately using the captured MIDI data.

See Also:
MIDI Tool

2252
MIDI Tool/Show Selected Notes
This command, only available if the MIDI Tool split-window is open, tells Finale
to draw lines in the graph area for only notes whose handles are selected. If
you're working with a "notey" score, for example, or if you're trying to work with
an inner melody in a chordal passage, choose this option to hide the graph
lines for the notes that aren't essential to what you're doing. (Because MIDI
controller data isn't associated with individual notes, this command is not
available if Continuous Data is selected in the MIDI/Audio menu.)

See Also:
MIDI Tool

2253
MIDI Tool/Dragging Copies Music
Check this command to tell Finale to copy music while dragging (as you would
with the Selection Tool).

See Also:
MIDI Tool

2254
MIDI Tool/Dragging Copies MIDI
Data
Check this command to tell Finale to copy MIDI data while dragging.

See Also:
MIDI Tool

2255
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 it’s
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 can’t deselect Copy Everything in the Edit menu if
you’re creating a mirror; everything in the source measures will be copied to
the target measures. (You can, however, tell Finale not to display certain
elements of the music by specfiyn
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The result is a copy that’s 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 you’ve selected Dragging Mirrors Measures from the Mirror menu, the target
measures will themselves be a mirror (of the mirror). If you’ve selected
Dragging Copies Music, however, the mirror you’re copying will be turned into
normal non-mirrored music.

2256
Mirror/Dragging Copies Music
In this copying mode, the copy you create is not an intelligent copy (a mirror) of
the source measure or measures - just the music as if it were copied with the
Selection Tool normally.

See Also:
Mirroring
Mirror Tool
Mirror menu

2257
Mirror/Dragging Mirrors Measures
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.
The process is exactly the same as any Selection Tool copying action: Select a
source region of complete measures. Drag the first selected measure so that
it's superimposed on the first target measure. 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 if you're creating a mirror; everything in the source
measures will be copied to the target measures. (You can, however, tell Finale
not to display certain elements of the music by specifying them in the Don't
Draw section of the Mirror Attributes dialog box that appears).
The result is a copy that's 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.
Note, too, that you can copy a mirrored measure in the usual way; if you've
selected Dragging Mirrors Measures from the Mirror menu, the target
measures will themselves be a mirror (of the mirror). If you've selected
Dragging Copies Music however, the mirror you're copying will be turned into
normal non-mirrored music.
See Also:
Mirroring
Mirror Tool

2258
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.

2259
Note Mover/Copy and Replace
If this option is selected, a copy of the selected notes appears in the target
measure, occupying the same beats. If your selection omitted notes on certain
beats (for example, if you selected only the first and third of four quarter notes),
rests will appear in the appropriate positions in the target measure.
Note that this command replaces all notes in the target measure (if there are
any), no matter how few you selected in the source measure. Therefore, it
works best if the target measure is empty.

See Also:
Note Mover Tool

2260
Note Mover/Copy and Merge
If this option is selected, a copy of the selected notes appears in the target
measure, occupying the same beats - but existing music in the target measure
remains, instead of being replaced by the copied notes. In fact, Finale will add
a second (inner) voice, if necessary, to preserve the rhythmic integrity of both
source and target measures.

See Also:
Note Mover Tool

2261
Note Mover/Delete After Replace
You can think of this command simply as Move; it replaces all notes in the
target measure with a copy of the selected notes, then deletes the notes from
the source measure (leaving rests in their places). Once again, if you selected
only certain notes from the source measure (for example, if you selected only
the first and third of four quarter notes), rests would also appear in the
appropriate positions in the target measure.
This command, like "Copy and Replace," replaces all notes in the target
measure (if there are any), no matter how few you selected in the source
measure. Therefore, it works best if the target measure is empty.

See Also:
Note Mover Tool

2262
Note Mover/Delete After Merge
You can think of this command as another form of Move; a copy of the
selected notes appears in the target measure, occupying the same beats - but
existing music in the target measure remains instead of being replaced by the
copied notes, and the selected notes are deleted from the source measure,
replaced by rests. (Compare with the "Copy and Merge" command.)
This command can be very useful for moving notes from the treble-clef staff to
bass-clef staff of a piano part - for example, to correct split-point errors
following a real-time transcription.

See Also:
Note Mover Tool

2263
Note Mover/Cross Staff

If you've chosen this command and dragged selected notes to a target staff
above or below the source staff, Finale will draw their noteheads in the target
measure as cross-staff notes. If the selected notes are beamed to non-
selected notes, Finale will preserve the beaming and extend the stems as
necessary. (Nothing happens if you drag notes to a target measure that's not
above or below the source measure - for example, the next measure on the
same staff.)
A cross-staff note created in this way still "belongs" to its source staff. It plays
back over the source staff's MIDI channel and is affected by the source staff's
dynamics. And you can only edit it by clicking the source measure with the
Speedy Entry Tool. To restore a cross-staff note to its original staff, click the
source measure with the Note Mover Tool ; handles appear on all notes in the
measure (including cross-staff notes). Select the cross-staff notes by clicking
or drag-enclosing their handles, then press Delete. (You're not deleting the
notes, just their cross-staff status.)
Note, by the way, that you can tell Finale to display cross-staff notes on their
source staves, if you'd find your score easier to edit that way; you can restore
them to their cross-staff positions when you're finished. Read the description of
the "Display cross-staff notes in original staff" checkbox in Document Options-
Notes and Rests

See Also:
Note Mover Tool

2264
Note Mover/Insert Before
If you've chosen this command, a copy of the selected notes will appear at the
beginning of the target measure, regardless of their positions in the source
measure. If the target measure was already full, any extra notes will be deleted
from the end of the target measure.

See Also:
Note Mover Tool

2265
Note Mover/Append After
If you've chosen this command, a copy of the selected notes will appear at the
end of the target measure, regardless of their positions in the source measure.
If the target measure was already full, the notes you just copied will
themselves be deleted from the end of the target measure - in other words,
nothing will happen as a result of your copy. Therefore, it's best to use this
command when the target measure is empty or only partially full.

See Also:
Note Mover Tool

2266
Note Mover/Search and Replace
After selecting a note or group of notes, choose this command if you want to
perform a search and replace on the selected notes - in other words, to find
every occurrence of them in the score and modify each occurrence in some
way.
For example, you could use the Search and Replace command to change
every occurrence of a note to its enharmonic equivalent. You could also use it
to renotate all occurrences of a certain recurring motif.
The first dialog box to appear is the Search and Replace dialog box, where you
can specify whether or not Finale should consider the octave register or the
rhythmic pattern of the selected notes in its search for matching motifs. See
Search and Replace dialog box.
After you click the appropriate button, you see the Alteration for Slot dialog
box, which lets you specify how you want to modify each occurrence of the
selected motif. You can specify a different transposition for each note in the
pattern, if you want; see Alteration for Slot dialog box.
When you return to the score, Finale adds a new menu - Search - to the menu
bar, containing several commands for conducting the search.
For detailed information, see the Search and Replace dialog box.

See Also:
Note Mover Tool

2267
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 Finale’s even-numbered
pages, and right pages are actually
Finale’s 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.

2268
Page Layout/Insert Blank Pages
Choose this command to display the Insert Blank Pages dialog box in which
you can insert blank pages anywhere in your score.
For detailed information, see the Insert Blank Pages dialog box.

See Also:
Page Layout
Page Layout Tool

2269
Page Layout/Delete Page Break
Select a system with a page break, then choose this command to remove a
page break and allow the system to float.

See Also:
Page Layout
Page Layout Tool

2270
Page Layout/Insert Staff Systems
Choose this command opens the Insert Staff Systems dialog box, where you
can insert systems into your score without disturbing current systems.

See Also:
Page Layout
Insert Staff Systems
Page Layout Tool

2271
Page Layout/Delete Staff Systems
Choose this command to insert a system or systems of measures while
keeping the rest of the systems intact or reflowing measures across systems
and pages.

See Also:
Page Layout
Page Layout Tool

2272
Page Layout/Redefine Pages
Choose which pages Finale should update to the settings in the Page Format
for Score dialog box. Note: Redefining Pages will remove all changes made
with the Page Layout Tool, including optimization. To update the current page
of the part you are editing, choose Current Page of Current Part/Score. To
update every page of the current part or score, choose All Pages of Current
Part/Score. To update just the left-hand (even) or right-hand (odd) pages of the
current part (or score), choose Left Pages of Current Part/Score or Right
Pages of Current Part/Score respectively. You can choose Left Pages and
Right Pages even if Facing Pages is not selected in the Page Format for Score
dialog box. To update a particular page range in your part/score, or pages in
multiple parts (or the score), choose Selected Pages of Selected Parts/Score
to open the Redefine Selected Pages dialog box where you can choose which
page regions and parts you wish redefine. See Redefine Selected Pages
dialog box.

Use the commands in this submenu to redefine the pages in the score to the
settings in the Page Format for Score dialog box.

Current Page of Current Part/Score

All Pages of Current Part/Score
Left Pages of Current Part/Score
Right Pages of Current Part/Score
Selected Pages of Current Part/Score

See Also:
Page Layout
Page Layout Tool

2273
Page Layout/Optimize Staff Systems
In Finale, the process of hiding empty staves within each system is called
optimizing systems.
Using this command, you can specify the systems you want optimized - all of
them, for example. Finale instantly redraws your score (in Page View), omitting
blank staves from the specified systems; you'll find that your score now fits on
fewer pages. If you optimize a completely empty staff system, Finale will still
display the top staff, even though it's 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 for all systems using the Staff
Tool. If you have optimized a system, however, you'll find that the Staff Tool
works in Page View as well, letting you vary the positioning and spacing of
staves as they'll appear on the printed page. Furthermore, again using the
Staff Tool, you can change the staff grouping of staves that have been
optimized, letting you change the way in which your staves are bracketed.
When you choose this command, the Staff System Optimization dialog box
appears, letting you specify the range of systems you want optimized and
whether to ask before removing each staff.
For detailed information, see the Staff System Optimization dialog box.

See Also:
Page Layout
Page Layout Tool
Staff Tool
Brackets
Groups
Update Groups and Brackets plug-in

2274
Page Layout/Fit Measures
This command displays the Fit Measures dialog box, which lets you specify
how many measures you want on a line (in each system). See Fit Measures
dialog box.

See Also:
Page Layout
Page Layout Tool

2275
Page Layout/Space Systems Evenly
Choose this menu item to display the Space Systems Evenly dialog box,
where you can tell Finale to place the systems evenly spaced vertically on the
page, to make maximum use of the page. You can even tell it to skip pages
that are only partially full.

See Also:
Page Layout
Page Layout Tool

2276
Page Layout/Avoid Margin Collision
If this menu item is selected (that is, if it displays a check mark) in the Page
Layout window, Finale won't let you drag a system so that it's superimposed on
another system or beyond the page margins; nor will it let you drag the page
margins beyond the boundaries of the page. It's a good idea to leave this
option selected. Without it, you could accidentally drag a system so that it
overlaps the preceding system - or is even off the page completely.

See Also:
Page Layout
Page Layout Tool

2277
Page Layout/Update Page Format
For Score
Choose this menu item to have changes you make in the Page Layout tool
apply to the Page Format For Score dialog box in the Page Format submenu
of the Document menu.

Tip: You can make changes in the

Page Format For Score dialog box
and then choose Redefine Pages
from the Page Layout menu to affect
all pages at once.

See Also:
Page Layout
Page Layout Tool

2278
Page Layout/Systems
To edit systems by number, select Edit System Margins. See Edit System
Margins dialog box. To adjust the spacing between staves in the selected
system, choose Allow Individual Staff Spacing. You can then drag the lower
handle with the Staff Tool without affecting the spacing in every system. If
Select Staff System Range is selected, Finale updates the staff systems in the
range you specify to match the changes made to the staff system you’re
editing. You must drag the system by the handle to adjust the Staff System
Range; if you drag the system by clicking in the middle of the system, it will
affect only that system. To edit space before or after music in a selected
system or region of systems choose System Space Before/After Music to open
the System Space Before/After Music dialog box.

Edit Margins
Allow Individual Staff Spacing
System Space Before/After Music
================
Select Staff System Range

See Also:
Page Layout
Page Layout Tool

2279
Page Layout/Page Margins
To edit page margins by number, select Edit Page Margins. See Edit Page
Margins dialog box. When Adjust Current Page Only is selected, Finale adjusts
the currently displayed page in your piece. When Adjust All Pages is selected,
every change you make to the page size or margins on one page will be
applied to all pages in the score. When Adjust Left or Right Pages is selected,
Finale adjusts only the left (even) or right (odd) pages or systems on the
pages, depending on whether the currently displayed page is a left or right
page. When Adjust Page Range is selected, Finale adjusts the pages you
specify to match the page you’re editing.

Edit Page Margins

================
Adjust Current Page Only
Adjust All Pages
Adjust Left Or Right Pages
Adjust Page Range

See Also:
Page Layout
Page Layout Tool

2280
Page Layout/Page Size
Choose this menu item to enter the Page Size dialog box. In this dialog box,
you can define the size of paper Finale will allow for the music. Remember that
Finale’s page and the page of your Printer can be two different sizes and/or
orientations.
To view this dialog box, choose the Page Layout Tool, then choose Page Size
from the Page Layout menu.
For more information, see Page Size dialog box.

See Also:
Page Layout
Page Layout Tool

2281
Page Layout/Resize Pages
Use this command to display the Resize Page dialog box, where you can
change the size of an entire page or pages.

See Also:
Page Layout
Page Layout Tool
Resize Tool

2282
Page Layout/Resize Staff Systems
Use this command to display the Resize Staff System dialog box, where you
can change the size of a particular system or systems.

See Also:
Page Layout
Page Layout Tool
Resize Tool

2283
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 Finale’s 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. We’ve added an empty folder named My Favorite
Plug-ins, as well as grouped some of the plug-ins into other folders to provide

2284
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 Finale’s 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 2010\Plug-ins folder
located on your hard drive.
You can customize Finale’s 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-in’s 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.
• 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.

Measures

2285
 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.
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.

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.

2286
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.

2287
 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
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

Composer’s Assistant. These plug-ins from OpenMusic provide
compositional manipulation of chords and melodies. See Composer’s
Assistant plug-ins.
Chord Morphing. This plug-in generates a variety of smooth between-
chord transitions. Part of the Composer’s 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 Composer’s
Assistant Plug-ins. See Chord Realization.
Chord Reordering. This plug-in finds new placement options for chords.
Part of the Composer’s Assistant Plug-ins. See Chord Reordering.
Chord Splitting. This plug-in creates subsets of the original chord. Part of
the Composer’s 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 Composer’s 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 Composer’s
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 Composer’s 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 Composer’s Assistant Plug-ins. See
Rhythm Generator.

2288
Tie Common Notes. This plug-in inserts a tie between any two successive
notes if the notes have the same pitch. Part of the Composer’s 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 Composer’s 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 Auto-Harmonizing.
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.
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.
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.
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.

2289
 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.
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.
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.

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

2290
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.

2291
Repeat/Create Simple Repeat
Select a region of measures and then select this option to enclose the area in
repeat barlines. A forward repeat bar appears at the beginning of the selected
region and a backward repeat appears at the end of the selected region.

See Also:
Repeats (barlines and text indications)

2292
Repeat/Create First and Second
Ending
Select the measure(s) you want to include in a first ending and then choose
this menu item to create a first and second ending automatically. The first
ending appears above the selected region. A backward repeat bar appears at
the end of the selected region, and a second ending appear over the measure
following the backward repeat bar. This repeat is automatically defined for
playback. When playback reaches the backward repeat bar, it will jump back to
the nearest forward repeat bar (or the beginning of the score if a forward
repeat bar does not exist earlier in the score), and then skip over the first
ending to the second ending on the second pass.

See Also:
Repeats (barlines and text indications)

2293
Repeat/Create Ending
Select a measure and choose this option to open the Create Ending dialog box
where you can configure settings for a repeat ending. Click OK to place the
ending over the selected measures.

See Also:
Repeats (barlines and text indications)

2294
Repeat/Create Forward Repeat Bar
Select a measure and choose this option to add a forward repeat bar at the
beginning of the measure. Forward repeat bars do not contain any information
for playback. They can be used as markers for backward repeat bars and text
repeats.

See Also:
Repeats (barlines and text indications)

2295
Repeat/Create Backward Repeat Bar
Select a measure and choose this option to add a backward repeat at the end
of the selected measure. Double-click the handle on the backward repeat bar
to open the Backward Repeat Bar Assignment dialog box where you can
assign playback attributes for your repeat.

See Also:
Repeats (barlines and text indications)
Backward Repeat Bar Assignment

2296
Repeat/Align Brackets
Select measures containing endings and choose this option to align ending
brackets vertically. All brackets in will align to the vertical position of the first
ending bracket in the selection.

See Also:
Repeats (barlines and text indications)

2297
Repeat/Reset Bracket to Default
Select measures containing ending brackets and choose this option to reset
brackets to their default settings.

See Also:
Repeats (barlines and text indications)

2298
Repeat/Delete
Choose this option to delete repeat barlines and text repeats in the selected
region.

See Also:
Repeats (barlines and text indications)

2299
Repeat/Check Repeats
Choose this option to scan the score and view the playback route. The
sequence of measures appears in the Check Repeats dialog box.

See Also:
Repeats (barlines and text indications)
Check Repeats dialog box

2300
Repeat/Repeat Options
Choose this option to open the Repeat page of the Document Options where
you can make global repeat settings.

See Also:
Repeats (barlines and text indications)
Document Options-Repeats

2301
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.

2302
Simple/Simple Entry Options
Choose this command to open the Simple Entry Options dialog box where you
can customize the behavior of Simple Entry.

See Also:
Simple Entry Options dialog box
Simple Entry Tool

2303
Simple/Use MIDI Device for Input
When this item is selected (displays a check mark in the menu), Finale
assumes that you'll be entering notes in conjunction with a MIDI keyboard
using the Simple Entry Caret. With the caret active on the staff, play a note (or
combination of notes) on your MIDI device to enter the pitch(es) on the staff at
the position of the caret. The rhythmic value of the entry is determined by the
duration tool (such as quarter note or half note) selected in the Simple Entry
Palette.

See Also:
Simple Entry Tool
Simple Entry Palette

2304
Simple/Simple Edit Commands

This submenu lists the Simple Notes Tools commands and their keyboard
shortcuts. Select the desired option from the menu, or just use the menu as a
reminder for the keyboard shortcut. These commands and their corresponding
shortcuts, can be used to edit a selected note, or the note previously entered
using the Simple Entry Caret.

Enter Note
At Caret Pitch
Enter Rest
A
B
C
D
E
F
G

Add Interval
9th Above
Octave Above
7th Above
6th Above
5th Above
4th Above
3rd Above
2nd Above
Unison
2nd Below

2305
3rd Below
4th Below
5th Below
6th Below
7th Below
Octave Below
9th Below

Add Pitch
At Caret Pitch
A
B
C
D
E
F
G

Change Pitch
Step Up Diatonically
Step Down Diatonically
Up Octave Diatonically
Down Octave Diatonically

Accidentals
Sharp
Flat
Natural
Double Sharp
Double Flat
Up Half Step
Down Half Step

2306
Show/Hide Accidental
Parenthesize Accidental

Modify Entry
Delete
Show/Hide
Flip Stem
Default Stem
Break/Join Beam
Default Beam
Flat Beam
Tie to Next Note
Tie to Previous Note
Toggle Note to Rest
Grace Note
Enharmonic

Add/Change Items
Add Articulation
Add Articulation (Sticky)
Add Expression
Change Clef
Change Key Signature
Change Time Signature

Change Duration
Double Whole
Whole
Half

2307
Quarter
Eighth
16th
32nd
64th
128th
Augmentation Dot
Create Tuplet
Create User Defined Tuplet

See Also:
Simple Entry Tool

2308
Simple/Simple Navigation
Commands
This submenu lists the Simple Notes Tools commands and their keyboard
shortcuts. Select the desired option from the menu, or just use the menu as a
reminder for the keyboard shortcut.

Caret Up Step
Caret Down Step
Caret Up Octave
Caret Down Octave
Selection Left One Entry
Selection Right One Entry
Selection Left One Measure
Selection Rigth One Measure
Selection Up Note
Selection Down Note
Select All Notes in Chord
Clear Selection

See Also:
Simple menu
Simple Entry Tool

2309
Simple/TAB Specific Commands
This submenu lists the Simple Notes Tools commands and their keyboard
shortcuts to be used while entering tablature notation. Select the desired
option from the menu, or just use the menu as a reminder for the keyboard
shortcut. These commands and their corresponding shortcuts, can be used to
edit a selected note, or the note previously entered using the Simple Entry
Caret.

Enter Note on Fret

Enter Rest
==================
0 (A)
1 (B)
2 (C)
3 (D)
4 (E)
5 (F)
6 (G)
7 (H)
8 (I)
9 (K)
10 (L)
11 (M)
12 (N)
13 (O)
14 (P)
15 (Q)
16 (R)
17 (S)
18 (T)

2310
19 (U)
20 (V)
21 (W)
22 (X)
23 (Y)
24 (Z)
Change To Fret Number
0 (A)
1 (B)
2 (C)
3 (D)
4 (E)
5 (F)
6 (G)
7 (H)
8 (I)
9 (K)
10 (L)
11 (M)
12 (N)
13 (O)
14 (P)
15 (Q)
16 (R)
17 (S)
18 (T)
19 (U)
20 (V)
21 (W)
22 (X)

2311
23 (Y)
24 (Z)
Add Note on String
At Caret String
==================
1
2
3
4
5
6
7
Move Caret To String
1
2
3
4
5
6
7

See Also:
Simple menu
Simple Entry Tool

2312
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 drawing—for grouping
them together, rearranging their front-to-back order, and so on.

2313
Shape Designer/Show

Using this submenu, you can make Finale display or hide any of these helpful,
nonprinting alignment aids. (A checked item means that it’s being displayed;
choose the item a second time to make the check mark—and that onscreen
element—disappear.)
The Rulers item makes rulers appear at the top and left side of the drawing
area, whose units you specify using the Rulers and Grid command. The Grid is
a series of individual points that may help you align objects and give you a
sense of scale. The spacing and units used by the grid, too, are determined by
your Rulers and Grid setting).
The origin is a small, white round 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 (see Shape Designer), and indicates where your
shape’s handle will appear once you’ve placed it into the score.
The Staff Template displays a picture of the staff in the Shape Designer
window which is helpful when designing a custom barline. See also Measure
Tool.

Rulers
Grid
Origin
Staff Template

2314
Shape Designer/Send to Back
If you’ve created objects that overlap each other, you can rearrange their front-
to-back order by using these commands. Begin by clicking the Selection Tool,
then clicking the object you want to manipulate. Choose Send to Back to place
the selected object “behind” all other objects, so that it’s covered up by them.
Choose Bring to Front to place the selected object “in front” of all other objects,
so that they’re covered up by it.

2315
Shape Designer/Bring to Front
If you’ve created objects that overlap each other, you can rearrange their front-
to-back order by using these commands. Begin by clicking the Selection Tool,
then clicking the object you want to manipulate. Choose Send to Back to place
the selected object “behind” all other objects, so that it’s covered up by them.
Choose Bring to Front to place the selected object “in front” of all other objects,
so that they’re covered up by it.

2316
Shape Designer/Group
Using the (Shape Designer's) Selection Tool, you can shift-click to select any
number of objects, and then choose the Group command to bind them
together into a single, grouped object. A grouped object behaves just like any
normal object: you can change its fill or line thickness, drag its corner handles
to resize it, drag it by the middle to move it around on the screen, and so on.
You can even group grouped objects into still other groups, creating nested
groups.
Finale always keeps track of what objects were combined into grouped
objects, and can ungroup them in sequence. Select a group by clicking, then
choose Ungroup; you’ll see by the appearance of many more corner handles
that the grouped object has now been split back into its component single
pieces. (Or, if you Ungroup a grouped object, it will split into its component
grouped objects.)

2317
Shape Designer/Ungroup
Using the (Shape Designer's) Selection Tool, you can shift-click to select any
number of objects, and then choose the Group command to bind them
together into a single, grouped object. A grouped object behaves just like any
normal object: you can change its fill or line thickness, drag its corner handles
to resize it, drag it by the middle to move it around on the screen, and so on.
You can even group grouped objects into still other groups, creating nested
groups.
Finale always keeps track of what objects were combined into grouped
objects, and can ungroup them in sequence. Select a group by clicking, then
choose Ungroup; you’ll see by the appearance of many more corner handles
that the grouped object has now been split back into its component single
pieces. (Or, if you Ungroup a grouped object, it will split into its component
grouped objects.)

2318
Shape Designer/Select Font
If you're using the Text Tool to create or edit a text object, choose this
command to display the Font dialog box, where you can change the font, size
and style of the selected text (or, if your cursor is inside a text object, the text
that follows the cursor). If no text object is selected, use this command to
specify the font for the next text object you create.
For detailed information, see the Font dialog box.

2319
Shape Designer/Line Style

If you've selected an object composed of lines (a line, rectangle, polygon, and

so on), use this submenu to determine whether its outline (or the line itself) is
dashed or solid.

Solid
Dashed

2320
Shape Designer/Line Style

If you've selected an object composed of lines (a line, rectangle, polygon, and

so on), use this submenu to determine whether its outline (or the line itself) is
dashed or solid.

Solid
Dashed

2321
Shape Designer/Arrowheads
Choose this menu item to enter the Arrowheads dialog box and define what
kind of arrowhead will appear on the line or curve you have selected.

See Also:
Shape Designer
Arrowheads dialog box

2322
Shape Designer/Fill
If you've selected an object that's an enclosed shape (a rectangle, ellipse, or
polygon), use this submenu to determine the shading of the hollow (enclosed)
inside area - none (transparent), black, white, or any shade of gray between. If
no object is selected, this command specifies the shading of the next enclosed
object you draw.

None
White
25%
50%
75%
Black
Other

See Also:
Fill dialog box

2323
Shape Designer/Bracket Style
Using the Shape Designer's Bracket Tool, you can add a bracket to a custom
shape you're drawing with a single click. Choose this command to specify what
bracket style you want.
For detailed information, see the Bracket Style dialog box.

2324
Shape Designer/Rulers and Grid
Choose this command to display the Rulers and Grid dialog box, where you
can specify the measurement units used by the grid, rulers, and the H: and V:
text boxes. You can also specify how far apart the tick marks on the rulers and
grid should be.
For detailed information, see the Rulers and Grid dialog box.

2325
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.

2326
Smart Shape/Slur Contour
This command displays the Slur Contour dialog box where you can specify the
default height and contour of measure-based and note-based slurs. Note that
these settings only apply to slurs you are about to create. You can change Slur
Contour settings at any time without affecting existing slurs.
For detailed information, see the Slur Contour dialog box.

See Also:
Smart Shape Tool
Slurs

2327
Smart Shape/Smart Shape
Placement
This command displays the Smart Shape Placement dialog box where you can
specify how a slur, glissando and Tab slide will appear next to the note. These
settings apply to the end points of shapes you are about to create. They will
also apply to end points of similar types of shapes in the score, if those end
points haven't been manually adjusted. Once you manually adjust an end point
of an existing shape, that end point is no longer affected by Smart Shape
Placement settings.

Tip: You manually adjust a smart

shape end point by clicking on it and
dragging.

For detailed information, see the Smart Shape Placement dialog box.

See Also:
Smart Shape Tool
Slurs

2328
Smart Shape/Smart Shape Options
This command displays the Smart Shape Options dialog box where you can
alter the octave up or octave down symbols, alter the settings for slurs
continuing over system breaks, and change the overall appearance of lines,
brackets, dashed lines and curves, and so on. You can also define what
custom Smart Line will be associated with the Custom Smart Line Icon on the
Smart Shape palette
For detailed information, see the Smart Shape Options dialog box.

See Also:
Smart Shape Tool
Slurs

2329
Smart Shape/Smart Slur Options
This dialog box allows you to set various parameters regarding slurs. You can
select whether to use Engraver slurs, which avoid collisions with notes and
some articulations. You can also specify how much distance to allow between
slurs and other items, how much slope to allow and other settings.
For detailed information, see Smart Slur Options dialog box.

See Also:
Smart Shape Tool
Slurs

2330
Smart Shape/Guitar Bend Options
Choose this command to display the Guitar Bend Options dialog box, where
you can customize the appearance of Guitar Bend Smart Shapes.
For detailed information, see the Guitar Bend Options dialog box.

See Also:
Slurs

2331
Smart Shape/Attach to Measures
Choose Attach to Measures to determine whether the next smart shape you
create will be attached to measures (no notes or rests need be present).

Note: Not available for Tab Slide

smart shapes.

See Also:
Smart Shape Tool
Slurs

2332
Smart Shape/Attach to Notes
Choose Attach to Notes to determine whether the next smart shape you create
will be attached to notes. When Attach to Notes is checked, Finale creates
note-attached smart shapes, automatically drawing and placing it the way you
want, according to the smart shape settings.

Note: Only available for slurs, curves,

and bends.

See Also:
Smart Shape Tool
Slurs

2333
Smart Shape/Attach to Noteheads
Choose Attach to Noteheads to determine whether the next smart shape you
create will be attached to noteheads. When Attach to Noteheads is checked,
Finale creates notehead-attached smart shapes, automatically drawing and
placing it the way you want, according to the smart shape settings.

Note: Only available for Glissando

and Tab Slide smart shapes.

See Also:
Smart Shape Tool
Slurs

2334
 Smart Shape/Direction

Finale makes intelligent decisions about slur or bend direction, based on

whether the attached notes are above or below the middle staff line. When you
transpose music or change the key, slur directions are automatically changed,
without requiring any action on your part. However, there will be times when
you’ll probably want to change the direction of individual slurs or bends that are
attached to notes. This you can easily do using the Direction submenu.
The Direction submenu offers you four choices: flip the currently selected slur
or bend, place a selected slur or bend over the entries; place the slur or bend
under the entries; or use automatic placement. Automatic placement uses the
rules as shown in the Smart Shape Placement dialog box. Over and Under
ignore the rules for direction, but still use the attachment values that you set in
the Smart Shape Placement dialog box. Flip and Automatic have keyboard
shortcuts of ctrl-F and ctrl-shift-F respectively.

Tip: you can set the default direction

for all note-attached slurs by selecting
the Direction menu item with no slurs
or bends selected.

These options for direction only apply to note-attached slurs or bends (when
Attach to Notes is checked in the Smart Shape menu). When Attach to Notes
is unchecked and you’re creating measure-based slurs or bends, Finale
automatically senses their direction based on whether you add the slur above
or below the middle line of the staff. Press ctrl when you’re creating a
measure-based slur or bend if you want the slur or bend to go in the opposite
direction. To change an existing slur or bend’s direction, select the slur or bend
and drag the middle editing handle up or down to change its direction.
To summarize which settings affect which Smart Shapes:

Setting Affects

Slur Contour Current slurs and future slurs without manual edits.

Smart Shape Slurs, bends, and glissandos you’re about to create, plus slurs,
bends, and glissandos with end points that haven’t been

2335
Placement manually adjusted.

Slur Thickness Future slurs and bends, plus all existing slurs and bends.

Slur System Future slurs and bends, plus start and end points (across
Breaks staves) that haven’t been manually adjusted in existing slurs
and bends.

Smart Slur All slurs, both current and future.

Options

Note: For older Finale documents: All

files created in Finale 3.2 or older and
opened in later versions will retain the
measure-attachment of the existing
slurs and any editing that you did. If
you want the convenience of note-
attached slurs for any of these slurs
as well, simply delete the old slur and
recreate it in the current version of
Finale.

All files created in Finale 3.5 to Finale 2001 will have Engraver slurs turned off
by default when opened in later versions of Finale. If you want the beauty of
Engraver slurs, click on the Smart Shape menu, choose Smart Slur Options. In
the Smart Slur Options dialog box, check Use Engraver Slurs. All new slurs
and slurs that have not been adjusted manually will convert to engraver slurs.
To also convert slurs that have been adjusted manually, choose the Selection
Tool and then from the Edit menu, choose Select All. Then choose the Utilities
> Check Notation > Remove Manual Slur Adjustments. For more information,
see Smart Slur Options dialog box.

Flip
Automatic
Over
Under

2336
See Also:
Smart Shape Tool
Slurs

2337
Special Tools menu
How to get there
From the Window menu, choose Advanced Tools. Click the Special Tools Tool
to make the Special Tools menu appear.
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.

2338
Special Tools/Show Handles
When Show Handles is selected (a checkmark appears next to the command),
Finale displays a small square handle on each note, stem, beam, tie, or dot
(depending on which tool you're using). When Show Handles is not selected,
the handles are hidden. This can be a useful feature if the handles are
obscuring some elements in your score. All the tools work the same way when
handles are hidden, except that instead of clicking a handle, you'll have to click
at the location where a handle would be if it were visible.

See Also:
Special Tools menu
Special Tools

2339
Special Tools/Update
Normally, Finale draws an element after you drag it. When Update is selected,
Finale uses “dynamic drawing” when you drag a handle, letting you see the
current position of the element you’re dragging the entire time it’s being
dragged. When Update is not selected and you drag a handle to reposition an
element, you don’t actually see the attached note (or beam, and so on)
moving. Instead, you see thin, dotted-line cross-axes that represent the
handle’s position. When you stop dragging, the note (or other element) jumps
to its new location.

See Also:
Special Tools

2340
Special Tools/Show Crosshairs
This option lets you control whether vertical and horizontal lines appear when
you drag the handle of a Special Tool object. These lines help you position the
element in the score. This option is selected by default, so that you see the
crosshairs when adjusting objects. If you prefer to not see the crosshairs,
choose Show Crosshairs from the Special Tools menu to deselect it; Finale
removes the checkmark from the command.

See Also:
Special Tools

2341
Special Tools/Tie Direction

Choose Automatic (or press ctrl-shift-F) to have Finale determine the tie’s
position over or under tied notes depending on whether the notes appear
above or below the middle line of the staff. A checkmark appears next to
Automatic.
If tied notes appear above the middle staff line and Automatic is selected,
Finale always places the tie over the notes; if the tied notes appear below the
middle staff line, the tie appears under the notes. If you subsequently change
keys or transpose notes, Finale will reverse the tie’s direction as necessary.
For more information on all aspect of ties, see Document Options-Ties (under
the Document menu).

Flip
================
Automatic
Over
Under

2342
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.

2343
Speedy/Speedy Options
Use the Speedy Options dialog box to control the size of the frame around a
measure while editing with Speedy Entry. You can also determine how Finale
will accept MIDI signals from your synthesizer to change durations, navigate
and other commands.

See Also:
Speedy Options
Speedy Entry Tool

2344
Speedy/Use MIDI Device for Input
When this item is selected (displays a check mark in the menu), Finale
assumes that you'll be entering notes in conjunction with a MIDI keyboard.
When you press one of the number (rhythmic value) keys on the numeric
keypad, Finale creates a rest of that value, unless you were pressing a key on
the synthesizer at the time. In that case, Finale displays a note of that pitch (or
a chord, if you were pressing more than one key).
When Use MIDI Keyboard isn't selected, Finale enters a note of the specified
rhythmic value when you press a number key - regardless of whether or not
you were pressing a key on the synthesizer (if any). To create a rest, enter a
single note of the desired rhythmic value and press Backspace.

See Also:
Speedy Entry Tool

2345
Speedy/Playback
When this item is selected, every time you move a note up and down in
Speedy, you will hear the new pitch played through your MIDI device. You’ll
also hear a note when you enter it in non-MIDI. Deselect this item to turn off
playback of pitches. This command is linked to the Playback selection in the
Simple Entry Options dialog box. If you change the selection here, it will also
change in the Simple Entry Tool.

See Also:
Speedy Entry Tool

2346
Speedy/Jump to Next Measure
When this item is selected (displays a check mark in the menu), Finale
automatically moves the editing frame to the next measure as soon as there
are enough notes to fill the current measure. Finale also displays the There
Are Too Many Beats In This Measure dialog box immediately when you enter a
note that puts the total rhythmic values in the measure over the limit allowed by
the time signature.
If this item isn't selected, Finale doesn't move the editing frame to the next
measure when the current one is full; you must press the right bracket (]) key
to advance to the next measure. Finale also waits until you exit the current
measure before it displays the There Are Too Many Beats In This Measure
dialog box. See There Are Too Many Beats In This Measure dialog box.

See Also:
Speedy Entry Tool

2347
Speedy/Create New Measures
When this item is selected (displays a check mark in the menu), Finale
automatically creates a new blank measure at the end the piece if you advance
the editing frame beyond the last existing measure. In other words, if you're in
the last measure of a piece and press the right bracket (]) key (or if "Jump to
Next Measure" is selected and you fill the last measure to its rhythmic
capacity), Finale adds a new blank measure and moves the editing frame to
this new last measure.

See Also:
Speedy Entry Tool

2348
Speedy/Check Beaming
When this item is selected (a check mark is displayed in the menu), Finale
automatically beams eighth notes (and smaller notes) together as they’re
created, according to the time signature. If this item isn’t selected, Finale
doesn’t beam any notes together. See Time signatures for a full discussion of
the ways in which the time signature affects beaming.

See Also:
Speedy Entry Tool

2349
Speedy/Check Accidentals
When this item is selected (displays a check mark in the menu), Finale
automatically keeps track of the accidentals on a given line or space in the
measure, according to the standard rules of accidental notation. For example,
if the first E in a measure has a flat, the next E flat in the measure doesn't
normally display an accidental too. On the other hand, if the first E in a
measure displays a flat, the next E that isn't flatted should display a natural.
If this item isn't selected, Finale doesn't keep track of the status of the
accidentals on any particular line or space. If you add a new note or change a
note's pitch, Finale doesn't update the configuration of accidentals on other
notes.

See Also:
Speedy Entry Tool

2350
Speedy/Check for Extra Notes
When Check for Extra Notes is selected, Finale checks for extra notes when
you leave the measure. If you try to add too many notes to a measure, or
extend the duration of an existing note beyond the maximum number of beats
per measure, Finale displays the There Are Too Many Beats In This Measure
dialog box when you leave the measure. When Check for Extra Notes is not
selected, you can enter as many notes as you'd like in a measure, and Finale
will not display the There Are Too Many Beats In This Measure dialog box. Any
extra notes you enter will extend past the barline of the measure, unless you
choose Position Notes Evenly Across Measure in the Measure Attributes
dialog box.

See Also:
Speedy Entry Tool

2351
Speedy/Use Five Line Staff
When this item is selected (displays a check mark in the menu), Finale
displays the standard five line staff in the editing frame even if the staff uses a
different number of lines.
If this item isn't selected, Finale displays the number of lines defined for the
staff. For example, if you had a single line tablature or percussion staff, Finale
would display only one staff line in the editing frame.

Tip: You may prefer to have this item

selected for tablature staves, but
unselected for percussion staves.

See Also:
Speedy Entry Tool

2352
Speedy/Edit TAB as Standard
Notation
When this item is selected (displays a checkmark in the menu), Finale displays
the notes instead of fret numbers in the editing frame. This command only
affects tablature staves.
If this items isn't checked, Finale displays the fret numbers in the editing frame.

See Also:
Speedy Entry Tool
Tablature

2353
Speedy/Auto Freeze Accidentals
When Auto Freeze Accidentals is selected, Finale automatically freezes
accidentals when you show or hide them in the Speedy editing frame. Frozen
accidentals on notes remain the same until you manually change them, even if
Finale checks accidentals in a measure you’re editing (Check Accidentals is
selected in the Speedy menu). When Check Accidentals is selected, Finale will
scan the measure to determine what accidentals should appear according to
general notation rules; Finale then shows or hides the accidentals as needed,
unless they are frozen.
When Auto Freeze accidentals is not selected, you must use ctrl-* to freeze
accidentals.

See Also:
Speedy Entry Tool

2354
Speedy/Insert Notes or Rests
When Insert Notes or Rests is selected, Finale will insert the note or rest to the
left of the cursor. If Use MIDI Keyboard is selected and you are holding down a
key on your MIDI keyboard, you will insert a note. Otherwise, you will insert a
rest. If Use MIDI Keyboard is not selected, press ctrl-shift and the number
(using the keyboard, not the number pad) representing the rest duration you
are inserting. To toggle Insert mode on or off, hit Insert or Shift-I0 (zero) on the
number keypad.
Tip: Remember to turn off this mode,
by selecting the item again, when
you’re done inserting.

See Also:
Speedy Entry Tool

2355
Speedy/Speedy Edit Commands
Speedy Edit Commands submenu

Command Keyboard
Shortcut

Add Note enter

Delete Note backspace or

shift-delete

Delete Entry delete

Show/Hide Entry O

Raise Half Step + (plus)

Lower Half Step – (minus)

Raise Half Step (entire measure) ctrl- + (plus)

Lower Half Step (entire measure) ctrl- – (minus)

Show/Hide Accidental * (asterisk)

Freeze/Unfreeze Accidental ctrl-* (asterisk)

Enharmonic 9

Enharmonic [entire measure] ctrl-9

Add/Remove Accidental Parentheses P

2356
 Flip Stem Direction L

Set Stem Direction to Automatic ctrl-L

Break/Join Beam /

Flat Beam \

Tie/Untie to Next Note =

Tie/Untie to Prev Note ctrl =

Add Dot . (period)

Grace Note ;

Slash Grace Note ` (accent)

Freeze/Float Rest * (asterisk)

This submenu lists the Speedy Edit commands and their keyboard shortcuts.
Select the desired option from the menu, or just use the menu as a reminder
for the keyboard shortcut.

Add Note
Delete Note
Delete Entry
Show/Hide Entry
================
Raise Half Step
Lower Half Step
Raise Half Step (entire measure)
Lower Half Step (entire measure)

2357
 ================
Show/Hide Accidental
Freeze/Unfreeze Accidental
Enharmonic
Enharmonic (entire measure)
Add/Remove Accidental Parentheses
================
Flip Stem Direction
Set Stem Direction to Automatic
Break/Join Beam
Flat Beam
================
Tie/Untie to Next Note
Tie/Untie to Prev Note
================
Add Dot
Grace Note
Slash Flagged Grace Note
Freeze/Float Rest

See Also:
Speedy Entry Tool

2358
Speedy/Speedy Navigation
Speedy Navigation submenu

Command Keyboard
Shortcut

Previous Measure [ or shift - up

arrow

Next Measure ] or shift - ∅

Previous Layer shift–up arrow

Next Layer "

Change Voice ' (apostrophe)

Up Staff shift-up arrow

Down Staff shift-down

arrow

Start of Measure ctrl - left

arrow

End of Measure ctrl - right

arrow

Previous Note left arrow

Next Note right arrow

Up Step up step

2359
 Down Step down step

This submenu lists the Speedy Navigation commands and their keyboard
shortcuts. Select the desired option from the menu, or just use the menu as a
reminder for the keyboard shortcut.

Previous Measure
Next Measure
Next Layer
Change Voice
Up Staff
Down Staff
Start of Measure
End of Measure
Previous Note
Next Note
Up Step
Down Step

See Also:
Speedy Entry Tool

2360
Speedy/Tie Direction
From the Speedy menu choose Tie Direction to access tie controls with the
Speedy Entry Tool. Place the cursor on the first note of the tie and then set the
direction. Choose ctrl-F to flip the tile or ctrl-Shift-F to set the tie to the
automatic direction.

Flip
Automatic
Over
Under

See Also:
Speedy Entry Tool

2361
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.

2362
Staff/New Staves
Choose this command to add new blank staves below the existing staves in
your score. If you have a staff selected, new blank staves will be inserted
above the selected staff.
For detailed information, see the New Staves dialog box.

See Also:
Staff Tool

2363
Staff/New (With Setup Wizard)
Choose New Staves when no staves are selected to add new blank staves
below the existing staves. To insert blank staves above a particular staff, select
a staff or staves, then choose New Staves. The New Staves dialog box
appears, in which you enter the number of staves to be added or inserted, and
how far apart Finale should space them. New Staves (with Setup Wizard)
allows you to add new staves using the wizard which will name the staves and
set up the instrument patch and transposition as well.
Staves can only be added or deleted while viewing the score. Add or delete
staves from parts in the Manage Parts dialog box.

Tip: The distance between staves is

subject to any resizing you do with the
Resize Tool.

Note: Although you can choose from

the Garritan Personal Orchestra
instruments using the New Staves
(with Setup Wizard) option, Finale will
not load the new instrument sounds
automatically when you return to the
document. You will need to load them
manually in the Aria Player. See Aria
Player for Finale.

Tip: If no staff is selected, the new

staves will be created at the bottom of
the score, however, if a staff is
selected, the new staves will be
inserted above the selected staff.

See Also:
Staff Tool

2364
Staff/Delete Staves
The Delete and Delete Staves and Reposition commands are only available
when one or more staves are selected. Select the staff or staves that you want
removed, then choose either command. Choose Delete Staves to remove the
selected staves and leave the remaining staves in their current positions.
Choose Delete Staves and Reposition to remove the selected staves and
reposition any staves that were below the deleted staves. Finale moves the
remaining staves up to the position of the top staff that was deleted.
Staves can only be added or deleted while viewing the score. Add or delete
staves from parts in the Manage Parts dialog box.

Note: Only delete staves if you want

them permanently removed. To
recover deleted staves, immediately
choose Undo from the Edit menu. To
temporarily remove a staff, such as an
ossia staff, hide the staff using the
Hide Staves checkbox in the Staff
Attributes dialog box. See Hiding
Staves—To hide staves for ossia
measures or special playback.

See Also:
Staff Tool

2365
Staff/Delete Staves and Reposition
The Delete and Delete Staves and Reposition commands are only available
when one or more staves are selected. Select the staff or staves that you want
removed, then choose either command. Choose Delete Staves to remove the
selected staves and leave the remaining staves in their current positions.
Choose Delete Staves and Reposition to remove the selected staves and
reposition any staves that were below the deleted staves. Finale moves the
remaining staves up to the position of the top staff that was deleted.
Staves can only be added or deleted while viewing the score. Add or delete
staves from parts in the Manage Parts dialog box.

Note: Only delete staves if you want

them permanently removed. To
recover deleted staves, immediately
choose Undo from the Edit menu. To
temporarily remove a staff, such as an
ossia staff, hide the staff using the
Hide Staves checkbox in the Staff
Attributes dialog box. See Hiding
Staves—To hide staves for ossia
measures or special playback.

See Also:
Staff Tool

2366
Staff/Edit Staff Attributes
Select a staff, then choose this command. Or, choose this command with no
staff selected. The Staff Attributes dialog box appears, displaying the attributes
for the selected staff or the first staff, respectively. Here you can change the
settings for the displayed staff.
Shortcut: Double-click the staff.
For detailed information, see the Staff Attributes dialog box.

See Also:
Staff Tool

2367
Staff/Respace Staves
Choose this command to display the Respace Staves dialog box, in which you
can restore all the staves in your score to uniform vertical spacing, or, if they
weren't evenly spaced to begin with, you can preserve the gap between staves
and make all gaps proportionally larger or smaller.
For detailed information, see the Respace Staves dialog box.

See Also:
Staff Tool

2368
Staff/Sort Staves
If you've changed the top-to-bottom order of staves in the score by dragging
staves, you may notice that the left barline of the score or the brackets
sometimes appear to be broken or uneven afterward. Choose this command to
restore their appearance based on the new staff order.

See Also:
Staff Tool

2369
Staff/Auto Sort Staves
If you change the top-to-bottom order of staves in the score by dragging
staves, Finale will automatically resort the staves to correct the left barlines or
brackets.

See Also:
Staff Tool

2370
Staff/Staff Usage
Choose this command to display the Staff Usage List dialog box, in which you
can specify the exact vertical position of a staff or staves in the score. You can
also see whether the changes will affect the entire score or, in Page View,
whether the change will affect all staff systems or a single staff system.
For detailed information, see the Staff Usage List dialog box.

See Also:
Staff Tool

2371
Staff/Define Staff Styles
Choose this command to create and edit staff styles in the staff styles dialog
box. A staff style is a set of staff attributes that can be saved and applied to
parts of a staff at different points. When any of the attributes of the staff style is
changed (such as the staff name or transposition) all areas of the document
that have that staff style applied are also changed.

See Also:
Staff Styles
Staff Tool

2372
Staff/Clear Staff Styles
Choose this menu item to remove Staff Styles from staves selected in the
score.

See Also:
Staff Tool

2373
Staff/Apply Staff Styles
Choose this command to display the Apply Staff Styles dialog box. This dialog
box lists all the currently defined staff styles available. Select a staff style to
apply to the selected region. See Apply Staff Style dialog box.

See Also:
Staff Styles
Staff Tool

2374
Staff/Reset Staff Styles to Score
This option is only available while viewing a part. Choose this command to
apply staff styles from the score to a selected part region. See also Staff Styles
in linked parts.

2375
Staff/Show Staff Styles
Choose this command to show (or hide) the staff style markers in the staves.
The markers appear as a bar above measures where staff styles have been
applied.

Tip: double-click on the marker bar to

edit the staff style.

Note: A thick line will appear above

the staff that has a Staff Style in
place.

See Also:
Staff Tool

2376
Staff/Show Staff Style Names
Choose this command to show (or hide) the name of the staff style above the
measures where staff styles have been applied. This command is only
available when Show Staff Styles is checked.

See Also:
Staff Tool

2377
Staff/Add Group and Bracket
Choose this command to display the Group Attributes dialog box, where you
can create and control the appearance of groups. Choose which consecutive
staves you want included in the group, name the group, choose an alternate
barline, and choose a bracket to enclose them. You can also control how
barlines appear.
For detailed information, see the Group Attributes dialog box.

See Also:
Staff Tool

2378
Staff/Edit Group Attributes
Select a handle for a group in the score, then choose this command to display
the Group Attributes dialog box, in which you can change which staves belong
to the selected group, and choose a different bracket and barline.
For detailed information, see the Group Attributes dialog box.

See Also:
Staff Tool

2379
Staff/Remove Group
Select a group handle or handles (to delete more than one staff group), then
choose this command to remove the selected group definitions from the score.

Tip: Select the groups - then press

Delete.

See Also:
Staff Tool

2380
Staff/Set Default Name Positions

Choose Full Staff Names or Abbreviated Staff Names from the Set Default
Name Positions submenu to set up the default position and alignment for all
full or all abbreviated staff names, respectively. The Position Full Staff Name--
Default or Position Abbreviated Staff Name--Default dialog box appears, where
you can adjust the position of the staff name, relative to the staff. The default
positioning will be used unless you change the position of an individual staff
name. For details, see Position Full and Abbreviated Staff Names dialog
boxes.
Choose Full Group Names or Abbreviated Group Names from the Set Default
Name Positions submenu to set up the default position and alignment for all
full or all abbreviated group names, respectively. The Position Full Group
Name--Default or Position Abbreviated Group Name--Default dialog box
appears, where you can set up the default position and alignment for all group
names. By default, Finale vertically centers group names between the first and
last staves in the group (from the top line of the first staff, to the bottom line of
the last). The default positioning will be used unless you change the position of
a specific group name.

Full Staff Names

Abbreviated Staff Names
Full Group Names
Abbreviated Group Names

See Also:
Staff Tool

2381
Staff/Position Names

To adjust the position of an individual staff name, select the staff name’s
handle, then choose Full Staff Names or Abbreviated Staff Names from the
Position Names submenu. The Position Full Staff Name or Position
Abbreviated Staff Name dialog box appears, where you can adjust the position
of the staff name, relative to the staff. Or, simply drag the staff name handle to
adjust the position on-screen. For details, see Position Full and Abbreviated
Staff Names dialog boxes.
To adjust the position of an individual group name, select the group’s handle,
then choose Full Group Names or Abbreviated Group Names from the Position
Names submenu. The Position Full Group Name or Position Abbreviated
Group Name dialog box appears, where you can adjust the position of the
group name, which is vertically centered between the first and last staves in
the group. Or, simply drag the group handle to adjust the position on-screen.

Note: When you change the individual

position of a staff or group name by
dragging the name on-screen or by
using a Position command, Finale
automatically selects the Position
checkbox in the Staff Attributes dialog
box or the Group Attributes dialog
box. This means that the special
positioning will apply only to this staff
name or group name wherever it
appears in the document. To use the
global, default positioning for the
name, click the Position checkbox in
the Staff Attributes dialog box or the
Group Attributes dialog box to remove
the selection. Or, simply select the
staff name handle or group handle on-
screen, and press backspace.

Full Staff Name

Abbreviated Staff Name
Full Group Name
Abbreviated Group Name

2382
See Also:
Staff Tool

2383
Staff/Show Default Staff Names
Determines whether Finale's default staff names and staff name handles for
unnamed staves appear on-screen. When selected, the default staff names,
and their handles, appear on the screen, enclosed in square brackets. When
not selected, default staff names and their handles are hidden on-screen for
unnamed staves.
Default names can help you identify staff handles. They will not appear in
printed copies of the score; only staff names that you enter appear in your
printed music.

See Also:
Staff Tool

2384
Staff/Show Default Group Names
Determines whether Finale's default names or "group names" for unnamed
groups appear on-screen. When selected, the default group names appear on
the screen, enclosed in square brackets. When not selected, default group
names are hidden on-screen for unnamed groups.
Regardless of whether this command is selected, Finale will always show
group handles on-screen.
Default names can help you identify group handles. They will not appear in
printed copies of the score; only group names that you enter appear in your
printed music.

See Also:
Staff Tool

2385
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.
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, ctrl-click 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.

To edit Lyrics, choose the Lyrics Tool , and then from the Lyrics menu,
choose Edit Lyrics. (You can also use the Edit Lyrics dialog box to enter new
lyrics See Lyrics.

To create or edit Text Expressions, choose the Expression Tool . Then,

double-click in the score to 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.

2386
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.

2387
Text/Font
Choose Font to display the Font dialog box, which lists all the fonts currently
installed on your system. Select the font that you want to use. Finale highlights
your selection in the Font list. If you want, you can specify other font settings in
the Font dialog box.
For detailed information, see Font dialog box.

See Also:
Text Tool

2388
Text/Size

Choose an option from the Size submenu for the font size for your text. Finale
places a checkmark next to your selection. Choose Other to display the Size
dialog box. See Size dialog box. Select Increase or Decrease (or use the
keyboard shortcuts Ctrl-shift-period, and Ctrl-shift-comma.) to change the point
size by one. Select Fixed Size to display the text at the specified point size,
regardless of any reductions you’ve previously placed on a note, staff, staff
system or page using the Resize Tool. (See Resize Tool for information.)

3 pt
6 pt
8 pt
9 pt
10 pt
12 pt
14 pt
18 pt
24 pt
36 pt
48 pt
72 pt
Other
=============
Increase
Decrease
=============
Fixed Size

See Also:

2389
Text Tool

2390
Text/Style
Choose a type style from the Style submenu. Finale places a checkmark next
to your selection and applies the style to the selected text. Choose the
command again to remove the checkmark and the style. Choose Plain to
remove the checkmark from all other styles. You can choose any combination
of styles (such as Bold—Underline, Italic—Bold, or a similar combination) from
the submenu.

Note: Outline and Shadow styles do

not appear in the Style submenu,
since they are not supported in
Windows; however, we provide them
to provide compatibility across
different platforms in the Character
Settings and Font dialog boxes. For
details see Character Settings dialog
box and Font dialog box.

Plain
Bold
Italic
Underline
Strikeout
Hidden

See Also:
Text Tool

2391
Text/Baseline Shift
Choose this command to display the Baseline Shift dialog box where you can
adjust the vertical position of the selected text without affecting the spacing
between lines.
For detailed information, see the Baseline Shift dialog box.

See Also:
Text Tool

2392
Text/Superscript
Choose this command to display the Superscript dialog box where you can
adjust the vertical position of the selected text. If necessary, the spacing
between lines adjusts by the same amount.
For detailed information, see the Superscript dialog box.

See Also:
Text Tool

2393
Text/Tracking
Choose this command to display the Tracking dialog box, where you control
the amount of horizontal space, in em’s, that Finale should leave between
characters for the selected text. One em is equivalent to 1/1000 of the point
size.
For detailed information, see the Tracking dialog box.

See Also:
Text Tool

2394
Text/Character Settings
Choose this command to display the Character Settings dialog box, where you
can specify all the settings for the selected text. Change one or more of the
following: font, style, size, effects, baseline shift, superscript, and tracking.
For detailed information, see the Character Settings dialog box.

See Also:
Text Tool

2395
Text/Inserts
When you’re creating or editing a text block, choose a command from the
Inserts submenu to insert one of these items at the current location of the
cursor. Finale pastes the current date, time, page number, or other insert at the
insertion point. An outline appears around an insert to remind you of its special
function. The following keyboard shortcuts are available for inserts:

Insert Keystroke

Page Number ctrl-shift-P

Sharp ctrl-shift-S

Flat ctrl-shift-F

Natural ctrl-shift-N

Note: You can change character

settings for inserts placed in text
blocks (you might underline the date,
for example). Simply select an insert
you’ve placed in a text block (such as
the date), then choose a font or other
character setting from the Text menu.
Finale changes the entire contents of
the insert to the new setting. You
cannot, however, select and change
the text within inserts.

You can change the content of individual Page Number inserts. Choose Edit
Page Offset from the Text menu to change the page number that appears for
the selected page insert (other page inserts in the document are not changed).
Change the text in the File Info dialog box (in the File menu) to change the
information for the following inserts: Title, Composer, Copyright and
Description.
You can also change the content of the following inserts: Sharp, Flat, Natural,
Double Sharp, Double Flat. When you change the content of these inserts in
Document Options-Text, Finale updates every insert of the same type
throughout the document.

2396
If you use a music font other than Maestro, you can change the symbol, font,
baseline and tracking settings for the sharp, flat, natural, double sharp, and
double flat signs by choosing the Text category of the Document Options
dialog box (under the Document menu).
The Symbol insert will display the Symbol Selection dialog box allowing you to
place the selected character into the text block. See Symbol Selection dialog
box.
For more information, see Edit Page Offset, Document Options-Text, and File
Info dialog box.

Sharp
Flat
Natural
Double Sharp
Double Flat
================
Page Number
Total Pages
================
Title
Subtitle
Composer
Arranger
Lyricist
Copyright Symbol (©)
Copyright Text
Part/Score Name
Performance Time
Description
================
Filename
Current Date

2397
 File Date
Time
================
Symbol

See Also:
Text Tool
Document Options-Text

2398
Text/Hyperlink
Choose this command to open the Hyperlink dialog box where you can define
the display text and URL for a hyperlink.
For detailed information, see the Hyperlink dialog box.

2399
Text/Edit Page Offset
Select a Page Number insert, then choose this command to display the Page
Offset dialog box where you can change the page number displayed in the
insert.
For detailed information, see the Page Offset dialog box.

See Also:
Text Tool

2400
Text/Standard Frame
This command is selected by default so that text is surrounded by a rectangle.
Choose this command to display the Standard Frame dialog box, where you
specify whether a border appears around the frame, the line thickness of the
border, and the amount to inset the text from the frame.
For more detailed information, see the Standard Frame dialog box. (To add a
custom frame, see Custom Frame).

See Also:
Text Tool

2401
Text/Custom Frame
Choose this command to display the Custom Frame dialog box, where you
select the positioning of text within or around a custom frame that you can
create in the Shape Designer, and set the amount to indent the text from the
frame. A checkmark by this command indicates that you’ve created a custom
frame to surround the text.

Note: If you choose Custom Frame,

but leave Shape = 0 (no shape is
selected) and H: and V:= 0, Standard
Frame will be selected when you
dismiss the dialog box.

For more detailed information, see the Custom Frame dialog box.

See Also:
Text Tool

2402
Text/Justification

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. Choose Full to spread the text evenly
between the left and right edges of the frame, except for the last line, which is
always left-justified. 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. Expand Single Word is selected by default when you choose
either Full or Forced-Full justification.

Expand Single Word works with the Full and Forced Full justification
commands only. When Expand Single Word is selected and you choose Full
justification, Finale spreads the text evenly between the left and right edges of
the frame. In lines of text containing only one word (other than the last line),
Finale spreads the letters of that word evenly between the left and right edges
of the frame; if the last line contains only one word, that word is left-justified.
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.
Full justified text with Expand Single Word selected:

2403
Force full-justified text with Expand Single Word Selected:

Full-justified text without Expand Single Word selected:

Force full-justified text without Expand Single Word selected:

Note: Use the Justification submenu

in the Text menu to position text within
an editing frame; use the Alignment
submenu to align a text block itself on
a page (or change the alignment
settings in the Frame Attributes dialog
box).

2404
 Left
Right
Center
Full
Forced Full
================
Expand Single Word

See Also:
Text Tool

2405
Text/Alignment
The commands in this submenu are only available when you're in Page View
and have a page-assigned text block selected. Use this submenu to specify
how you want the text block positioned on the page. Checkmarks appear by
the placement settings currently in use for the text block. You can also set the
placement for text blocks in the Frame Attributes dialog box.

Left
Center Horizontally
Right
================
Top (Header)
Center Vertically
Bottom (Footer)
================
Position From Page Edge
Position From Page Margin

See Also:
Frame Attributes
Text Tool

2406
Text/Frame Attributes
This command is available when a single text block is selected. Choose this
command to display the Frame Attributes dialog box for the currently selected
page-assigned or measure-assigned text block. Use this dialog box to change
the placement of the text block in your score, its placement on the page (left,
right or centered), and what pages, if applicable, the text block appears on.

For more detailed information, see the Frame Attributes dialog box.

See Also:
Text Tool

2407
Text/Line Spacing
Choose this command to display the Line Spacing dialog box, where you
specify the exact line spacing (single-spaced, double-spaced, or some other
spacing) you want applied to all lines of text in the text block.
For detailed information, see the Line Spacing dialog box.

See Also:
Text Tool

2408
Text/Word Wrap
Deselect this option to disable word wrapping in text blocks.

See Also:
Text Tool

2409
Text/Edit Text
Choose this command to display the Edit Text window for the currently
selected text block. Or, choose this command when no text block handle is
selected to cycle through and edit all text blocks in your score, including staff
and group names.
For more detailed information, see the Edit Text dialog box.

See Also:
Text Tool

2410
Text/Assign To Measure
These items allow you to specify whether Finale will create a text block that is
attached to a particular measure or attached to a particular page. Note that
these commands only affect future text blocks. To change the assignment of a
text block, see Frame Attributes dialog box. Select Assign to Measure to create
Measure Text Blocks that will move with a particular measure. Select Assign to
Page to create Page Text Blocks that will stay on a particular page. These
features are only accessible while in Page View. In Scroll View, text blocks are
always assigned to measures.

Note: When you copy measure-

attached text blocks with the Selection
Tool, they will clone themselves so
changes to one will affect all copies.

See Also:
Text Tool

2411
Text/Assign To Page
Use this command to create text blocks that are attached to a particular page
by default. Note that this command only affects future text blocks. To change
the assignment of a text block, see Frame Attributes dialog box.

See Also:
Text Tool

2412
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.

2413
Utilities/Transpose
Choose this command to display the Transposition dialog box, which lets you
specify how you want the selected music transposed - up an octave, down a
third, or whatever interval you specify. You can also keep the original line of
music when transposing notes.
For detailed information, see the Transposition dialog box.

2414
Utilities/Respell Notes
When you choose Respell Notes, Finale retranscribes the pitches of the
selected notes, so they appear as they would when entered for the first time.
For example, if a region contains C double sharps, this command will change
all of them to D naturals. The Respell notes command respells using the
setting in the Enharmonics submenu.

2415
Utilities/Fit Measures
This command, only available in Page View, is extremely useful in laying out
the measures of your piece - avoiding awkward page turns, placing 4 bars on a
line, and so on. Select some measures; when you choose this command, the
Fit Measures dialog box appears, in which you can specify that you want all
the selected measures placed onto one line. You can also specify a number of
measures-per-line you want for the selected region.
For detailed information, see the Fit Measures dialog box.

2416
Utilities/Lock Systems
Choose this option to lock the selected systems against reflowing after
choosing Update Layout from the Edit menu. The system locks appear as
icons on the upper right side of the staff. You can turn the display of these
icons on and off using the View menu > Show > Page Layout Icons command.

See Also:
Unlock Systems

2417
Utilities/Unlock Systems
Choose this option to unlock the selected systems so they may reflow after
choosing Update Layout from the Edit menu. The system locks appear as
icons on the upper right side of the staff. You can turn the display of these
icons on and off using the View menu command Show (Hide) System Locks.

See Also:
Lock Systems

2418
Utilities/Music Spacing
These commands, which affect full-measure selections, are unique to Finale.
They let you use linear spacing for the notes, or you can space the notes and
measures of your score the same way a professional engraver does - by
consulting a table of width values for each note, and spacing the notes and
measures accordingly. The result is non-proportional spacing, where a whole
note isn't allotted four times as much width as a quarter note - it's actually
allotted much less space.

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.

Keep in mind that you can use any of these three music-spacing methods on
any measures in your score, mixing and matching as necessary. You can also
experiment with a certain selected region, trying first one kind of music spacing
and then another; only the most recently-applied spacing will remain.

Apply Beat Spacing

Apply Note Spacing
Apply Time Signature Spacing

2419
See Also:
Document Options-Music Spacing

2420
Utilities/Update Layout
To speed up its operations, Finale doesn’t constantly recalculate the
positioning and page layout of measures within your document. Instead, this
recalculation only takes place when you request it by choosing Update Layout
from the Utilities menu (Ctrl-U).
If you enter Page View without choosing Update Layout, you may discover
strange measure spacing if you’ve made any changes to the widths of
measures (by using, for example, the Resize Tool, the Music Spacing
commands, the Page Layout Tool, or the Measure Tool). Any of these actions
can result in very wide or very cramped measures, or duplicated or missing
systems on each page. By choosing Update Layout, you tell Finale to lay the
measures out again within each system, taking such changes into account, in
order to create attractive, neatly justified systems with appropriate measure
spacing.
To further save you time, when you’re in Page View, Finale only readjusts the
measure layout from the page you’re viewing to the end of the document. In
other words, if you’re satisfied with the layout of the first five pages, you don’t
have to wait for Finale to readjust them; scroll to page six before choosing
Update Layout. (Update Layout affects the entire piece if you’re viewing page
one, or if you’re in Scroll View.)
Update Layout performs another useful function. One way to manually arrange
measures on the page is to use Finale’s measure group features (such as the
Fit Measures command in the Page Layout menu and the Utilities menu, or the
Selection Tool up/down arrow trick). For details on these techniques, see
Measure layout. If you ever want to delete such measure groups (and restore
all measures to their original “floating” status), press shift while selecting
Update Layout from the menu.

2421
Utilities/Update Smart Word
Extensions and Hyphens
Choose this option to update Smart Word Extensions and Hyphens based on
settings in the Word Extensions dialog box. This option recalculates word
extensions and hyphens if Manually is chosen in the Smart Hyphens and Word
Extensions portion of Program Options- View. See also Word Extensions
dialog box.

See Also:
Document Options-Lyrics
Word Extensions dialog box

2422
Utilities/Rebar
Finale’s Rebar command is useful after you insert or delete notes, halve or
double note values, and so on. The command automatically re-distributes the
notes of your piece so that each measure contains the correct number of
beats, according to the time signature. (Finale automatically rebars the piece
each time you change the time signature, unless you turn off this option in the
Time Signature dialog box.) When you rebar a region that contains partly-filled
measures, Finale does not “pad” the measures with rests. If a measure
contains two quarter notes (and no rests) in each of two measures, and you
rebar the music, you’ll end up with one measure containing four quarter notes.
(You must enter the rests to maintain their positions.)
Choose Rebar Options to display the Rebar Options dialog box, where you
can decide how far Finale should go with its rebarring: all the way to the end of
the piece, only through the next empty measure, and so on. Once you’ve
established your preferences in this way, select a region and choose Rebar
Music, so Finale actually perform the rebarring. If the results aren't what you
expected, choose Undo from the Edit menu, change your Rebar Options, and
try the command again. See Rebar Options dialog box.

Rebar Music
Rebar Options

2423
Utilities/Rebeam
Finale beams eighth notes (and smaller values) automatically, according to the
time signature.
Using the Rebeam commands, however, you can change the beaming
patterns for notes you’ve already added to the score. Rebeam Music simply
restores beaming to the patterns dictated by the time signature; you’d use this
command after manually changing the beaming. Rebeam to Time Signature,
on the other hand, lets you rebeam the selected music into any beaming
pattern you wish, even if it’s unrelated to the time signature. Finale displays a
variant of the standard Time Signature dialog box, where (by changing the
“beaming signature”) you specify any beaming pattern you can dream up. See
Time Signature dialog box for details on how the Time Signature controls affect
beaming.
Beaming to lyrics is a convention used in opera or art song notation. 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
(melisma). Choose Rebeam to Lyrics to display the Lyric Rebeaming dialog
box, in which you can specify the lyrics you want rebeamed in this way. See
Rebeam to Lyrics dialog box.

Rebeam Music
Rebeam to Time Signature
Rebeam to Lyrics

2424
Utilities/Explode Music
Finale's 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 monophonic-melody staves
for a choir. You're not limited to exploding a single staff; you can select several
staves for exploding. (Explode Music only affects full-measure selections.)
After selecting the region you want to explode, choose this command. The
Explode Music dialog box appears, where you can tell Finale how many
resultant staves you want, what clefs they should use, and so on.
For detailed information, see the Explode Music dialog box.

2425
Utilities/Implode Music
When you Implode Music, Finale condenses the music on the selected staves
onto a single staff. This command displays a dialog box in which you can
specify how you want Finale to implode the music. You’re not limited to
exploding a single staff; you can select several staves for imploding. (Explode
Music and Implode Music only affect full-measure selections.) There is also a
piano reduction Plug-in which requires fewer steps and provides more control.
See Piano Reduction Plug-in. See Implode Music dialog box.

2426
Utilities/SmartMusic Markers
Choose this option to open the Add SmartMusic Markers dialog box where you
can easily create performance markers such as breath marks, rehearsal
marks, repeats indications, and more. When you save the file as a SmartMusic
Accompaniment, these markers appear in the SmartMusic interface during the
performance.

2427
Utilities/Apply Articulation
This powerful command lets you add a certain articulation mark (a staccato, for
example) to every note (or notes of a particular duration) in a selected region
at once.
For detailed information, see the Apply Articulation dialog box.

See Also:
Articulation Tool

2428
Utilities/Check Notation

This submenu offers utilities for checking the notational integrity of several
types of elements.

Check Accidentals
Check Elapsed Time
Check Ties
Convert Mirrors
Fill With Rests
Remove Manual Slur Adjustments

2429
Utilities/Stem Direction

By choosing Up or Down you can manually flip a region of stems up or down.

Finale normally decides whether a note’s stem should go up or down
depending on its vertical position in the staff. If you’ve specified a multiple-
voice arrangement—for example, upper voice = stems up, lower voice = stems
down—using Document Options-Layers (Document menu), Finale again
chooses stem directions automatically. To restore such stems to stems that
can flip depending on the notes’ pitches, select the region and choose Use
Default Direction. This command also removes any Reverse, Double, or Split
Stem editing you’ve done with Special Tools.

Up
Down
Use Default Direction

2430
Utilities/Change

Use the commands in this submenu to change certain aspects of a selected

region all at once.

Articulations
Chords
Lowest Fret
Note Durations
Expressions
Note Size
Noteheads
Ties
Tuplets

2431
View menu
How to get there
The View menu is one of Finale’s
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 menu—only 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 you’re ready to program a new
staff or tool set.

2432
View/Scroll View
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 score will look when it is printed, switch to Page View.
When you want to edit playback, move to Studio View. Press Ctrl-E alternate
between Page and Scroll View. Press Ctrl-Shift-E to switch to Studio View.

2433
View/Page View
Page View is one of three Finale views of your music (the others are Scroll
View and Studio 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. 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.
Because of this stretching effect, music that appears a little crowded in Scroll
or Studio View often looks just right in Page View.
Every Finale Tool works in Page View. Some tools like the Selection Tool and
Note Mover tools, have features that are available in one view but not the
other. In addition, Page View has a few features of its own, accessible from the
View menu. If you choose Fit in Window, Finale will reduce the view of your
music just enough to fit the entire page onto the screen at once.
Finally, Page View offers a feature called 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 and Studio 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).
Press Ctrl-E alternate between Page and Scroll View. Press Ctrl-Shift-E to
switch to Studio View.

2434
View/Page View Style
These options allow you to customize the appearance of pages in Page View.

Book Style: Row

Book Style: Column
Book Style: Tiled
Book Style: Current Page Spread Only
=====================
Looseleaf Style: Row
Looseleaf Style: Column
Looseleaf Style: Tiled
Looseleaf Style: Current Page Only

2435
View/Studio View
Studio View is one of three ways to view your music in Finale (the others are
Scroll View and Page View). Like Scroll View, Studio View displays your music
as one long staff system. As its name suggests, this view is designed for
optimal viewing, performance, and real-time control while auditioning playback.
The scroll format offers the most complete, streamlined view of your score, and
the most efficient use of computer resources. Real-time control is offered
through Finale’s 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 Finale’s
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 Finale’s performance. (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 your score. 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 while recording a tempo with TempoTap.

Press Ctrl-Shift-E to switch to Studio View.

2436
View/Zoom

The Zoom submenu offers commands that let you specify the size at which
you want the score displayed on your screen, expressed as a percentage of its
actual size. You can't change the actual (printed) size of the music on the page
in this way; this technique simply lets you magnify or reduce the screen display
of the music.
With these commands, you can zoom in, zoom out, or specify the size at which
you want the document displayed on your screen. To change your view of the
document, just choose the appropriate command from the submenu. (You can
also use one of the Ctrl-key equivalents: press Ctrl-1 for Custom View 1, Ctrl-2
for Custom View 2, and Ctrl-3 for Custom View 3. Define the custom view
percentages in Program Options-View.) If you choose Other, the Zoom dialog
box appears, in which you can specify any reduction or enlargement you
want—from 5% to 1000%. (See Zoom dialog box.)
If you’ve been viewing your document at several different degrees of
magnification, Last Size takes you back to your last magnification setting.
Fit Width and Fit in Window and are only available only in Page View. Fit Width
automatically updates the view to fit the width of the page. You can use the
Ctrl-] shortcut to access Fit Width. Fit to Window automatically reduces the
viewing percentage just enough to fit the current page completely on your
screen, no matter what size screen you have. You can use the Ctrl-[ shortcut
to access Fit In Window. See Keyboard Shortcuts - View.

Zoom In
Zoom Out
Fit Width
Fit in Window
Custom Zoom 1
Custom Zoom 2
Custom Zoom 3
Other
Last Size
=====================

2437
 Define Custom Zooms

See Also:
Scale View
Zoom Tool

2438
View/Bookmarks

A Bookmark marks a particular position on a page (in Page View), or a

measure in the music itself (in Scroll View). This enables you to access a
certain page and a precise position on that page, or to jump to a marked
measure in the music with a single command, quickly and efficiently. When
you call a bookmark, Finale displays the music at the bookmark’s saved
location and restores the working environment that was automatically saved
with the bookmark, including the View (Page or Scroll View) and view
percentage; you don’t have to spend time setting up your environment every
time you change your position. Another time-saving aspect of bookmarks: you
can save bookmarks with standard MIDI files so you don’t have to create them
again in your sequencing program; or convert sequencer markers to Finale’s
bookmarks when you transcribe a standard MIDI file.
The Bookmarks submenu contains two easy-to-use commands, Add
Bookmark and Edit Bookmarks, plus the names of bookmarks you have
created. Use the Add and Edit Bookmarks commands to mark, edit, or delete
bookmarks. Choose a bookmark name from the Bookmarks submenu to
immediately jump to that position. (See Add bookmark dialog box and Edit
Bookmarks dialog box.)

Important: For fast, efficient entry of

bookmarks, set up the view (Scroll or
Page) and view percentage, and
position the music on the screen
before you create the bookmark. By
doing this, the text boxes will
accurately reflect the bookmark’s
position without having to enter that
information manually. Select the
checkboxes for the settings you want
remembered for the bookmark.

Add Bookmark
Edit Bookmarks

2439
View/Select Staff Set
You can greatly speed your work on orchestral scores by hiding the staves
you’re not currently editing, so that there’s less music for Finale to draw. You
can create up to eight staff templates—different arrangements of the staves in
your music. This method only changes the display in Scroll View. See Hiding
staves for a complete description.
To create a staff set, click the Staff Tool; select the staves you don’t want to
hide. If you have many staves, and you only want to hide one or two, here’s a
quick way to do it. Choose Select All from the Edit menu to select all handles;
then shift-click a staff handle to exclude it from the selected staves.
Next, while pressing ctrl, choose Program Staff Set from the View menu; from
the submenu, choose one of the Staff Sets (1 through 8). You’ve just defined a
Staff Set. To view the new configuration of staves, choose the Staff Set you
just programmed from the same submenu. Choose All Staves to restore all
staves to the display.
A quicker way to switch from one staff template to another is to press the
keyboard equivalent for the desired Staff Template: control–zero to show all
staves, and control–1, control–2, and so on for the eight Staff Sets. Finale
prints all staves (and displays all staves in Page View), however, no matter
which are visible in Scroll View.

All Staves
Staff Set 1
Staff Set 2
Staff Set 3
Staff Set 4
Staff Set 5
Staff Set 6
Staff Set 7
Staff Set 8

2440
View/Select Layer
Use this submenu to choose which music layer you want to edit. Four music
layers are available. (Or, use the Layer push-buttons in the Document
Window.)

Layer 1
Layer 2
Layer 3
Layer 4

2441
View/Redraw Screen
Choose this command to force Finale to redraw the screen. Whenever you
spot a visual anomaly - a phantom fragment of a slur, for example, or a
missing barline - this command usually clears up the problem.

2442
View/Grid/Guide
Use these commands to control Finale's grids and guides. For details, see
Using Grids and Guides.

Show Grid
Snap To Grid
Show Guides
Snap To Guides
=====================
Grid/Guide Options

Contextual Menus
Contextual menus are reached by right-clicking on the object (ruler or guide
marker). A contextual menu will be displayed where you can select various
items.

Guides or Ruler

Menu item What it does

Reposition Guide Display the Reposition Guide

dialog box

New Guide Display the New Guide dialog box

Delete Removes selected guide

Show Guides Show or hide guides

Snap to Guide Activates Snap to Guide

Show Gravity Zone Shows the region in which items

will snap to a guide

2443
View/Show
Use this submenu to show or hide the following:

Hidden Notes and Rests

=====================
Rulers
Margins
Page Layout Icons
=====================
PostScript Preview

2444
View/Select Display Colors
Choose this command to display Program Options-Display Colors. Program
Options-Display Colors allows you to assign colors to different layers as well
as to different elements in your score such as Articulations, Text Blocks and
Smart Shapes. This is useful for differentiating between various objects in
order to identify which tools created them, or which layer they belong to. Colors
are used for on-screen display only, and not for printing (by default). (Although
you can choose to "Print Display Colors" in the Print dialog box prior to printing
if desired).
For detailed information, see Program Options-Display Colors.

2445
Window menu
How to get there
The Window menu is one of Finale’s
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.
[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.

2446
Window/Instrument List
Choose this item to display the Instrument List, Finale's floating window that
controls the playback, MIDI channels, and bank and program assignments of
the staves in your file. Choose this item a second time - so that the check mark
disappears - to hide the Instrument List.
For detailed information, see the Instrument List dialog box.

2447
Window/Mixer
Choose this command to open the Mixer. Finale’s Mixer offers master and staff
controls that allow you to adjust playback output in real-time.

See Also:
Mixer

2448
Window/Movie Window
Movie Window. Choose this command to open Finale’s integrated Movie
Window which allows you to view movie clips and Finale’s scrolling playback
simultaneously. See Movie Window.

2449
Window/Playback Controls
Choose this item to display the Playback Controls, the floating window that
controls playback in your file. Choose this item a second time - so that the
check mark disappears - to hide the Playback Controls.
For detailed information, see the Playback Controls dialog box.

2450
Window/Main Tool Palette
When this item is checked, Finale’s Main Tool Palette is open on the screen.
The Main Tool Palette always floats in front of all other windows; you can close
it by choosing this item so that the check mark disappears. You can close it by
choosing this item so that the check mark disappears. The default position of
the Main Tool Palette is docked at the top of the screen. You can also dock the
palette in a vertical strip or create a floating palette. Click on the edge of a
docked palette and drag it into the middle of the screen to create a floating
palette. As you drag the palette, an outline will appear showing the shape and
position of the palette in that location. If a floating palette is minimized,
(displayed as a small icon in the lower part of the screen), double-click the icon
to restore it to its previous size.
For detailed information, see the Main Tool Palette

2451
Window/Advanced Tools Palette
This palette contains the MIDI Tool, Special Tools Tool, Graphics Tool, Ossia
Tool, Mirror Tool, Note Mover Tool, and Tempo Tool.

See Also:
Advanced Tools Palette
Window menu

2452
Navigational Tools Palette
How to get there
From the Window menu, choose Navigational Tools Palette.
What it does
This palette contains the Hand Grabber Tool and Zoom Tool..

• [Close box]. Click this small button at the upper-right corner of the palette
to close the palette. Once it’s hidden, you make the palette reappear by
choosing Advanced Tool Palette from the Window menu.
• [Title bar]. Drag the strip across the top (or left) edge of the palette to
move the entire palette to a new screen location.
• [Sizable frame]. Click on the very edge of the palette and drag the sizable
frame to reshape the entire palette. As you drag, the palette snaps into new
configurations: tall and thin, short and stout, square, and so on. If your
monitor is wider than it is tall, for example, you might consider rotating the
palette so that it’s a short horizontal strip.

If you drag the resize box inward toward the upper-left corner, you hide
tools. Drag the resize box outward again to bring them back into view.

• [Tool icons]. See the individual tool for a complete discussion of each tool
and what it does. In the meantime, note that you can rearrange the icons
within the palette. To do so, press shift and drag an icon into a new
position; it will trade places with the icon onto which you drop it. Keep in
mind, too, that you can save these configurations of tools for quick access;
see View menu for instructions. See the Customize Toolbar dialog box.

Hand Grabber Tool

Use this tool to drag music in any direction to shift its position on your screen,
as though you’re sliding the score page across your desk.

Zoom Tool
Use this tool to magnify or reduce the music as it’s displayed on the screen.

2453
Window/Simple Entry Palette
When this item is checked, the Simple Entry Palette appears on the screen.
You can close the palette by choosing the item from the Window menu so that
the check mark disappears. Depending on the settings in Program Options-
Palettes and Backgrounds, you may have to click the Simple Entry Tool to
display this palette.
For detailed information, see the Simple Entry Palettes and Program Options-
Palettes and Backgrounds.

See Also:
Simple Entry Tool

2454
Window/Simple Entry Rests Palette
When this item is checked, the Simple Entry Rests Palette appears on the
screen. You can close the palette by choosing the item from the Window menu
so that the check mark disappears. Depending on the settings in the Program
Options dialog box, you may have to click the Simple Entry Tool to display this
palette.
For detailed information, see the Simple Entry Rests Palette and Program
Options-Palettes and Backgrounds.

See Also:
Simple Entry Tool

2455
Window/Smart Shape Palette
When this item is checked, the Smart Shape Palette appears on the screen.
You can close the palette by choosing the item from the Window menu so that
the check mark disappears. Depending on the settings in Program Options-
Palettes and Backgrounds, you may have to click the Smart Shape Tool to
display this palette. See Program Options dialog box.
For detailed information, see the Smart Shape Palette and Program Options-
Palettes and Backgrounds.

See Also:
Smart Shape Tool

2456
Window/Special Tools Palette
When this item is checked, the Special Tools Palette appears on the screen.
You can close the palette by choosing the item from the Window menu so that
the check mark disappears. Depending on the settings in Program Options-
Palettes and Backgrounds, you may have to click the Special Tools Tool to
display this palette. See Program Options dialog box.
For detailed information, see the Special Tools Palette and Program Options-
Palettes and Backgrounds.

2457
Window/Customize Palettes
Choose a palette from this submenu to open the Customize Palettes dialog
box where you can rearrange tools and/or remove them from the palette.

Main Tool Palette

Navigational Tools Palette
Advanced Tools Palette
Simple Entry Palette
Simple Entry Rests Palette
Smart Shape Palette
Special Tools Palette

For detailed information, see the Customize Palettes dialog box.

2458
Window/menu Toolbars
Choose from several toolbars based on commands found in menus.

File menu Toolbar

Edit menu Toolbar
View menu Toolbar
Document menu Toolbar
MIDI menu Toolbar
Help menu Toolbar
Layout Toolbar
View Percent Toolbar

2459
Window/Status Bar
The status bar is the thin strip at the bottom of Finale's application window,
where Finale shows help messages and identifies each tool as you click it.
Choose this item to make the status bar disappear, so that you have more
space for the display of your music. Note that the check mark disappears from
the Window menu. Select this item again to make the status bar reappear. The
item should now be checked.

2460
Window/Cascade
If more than one file window is open on the screen, this command neatly
stacks them so that they overlap by a half-inch or so, as though they're a deck
of cards being fanned from upper-left to lower-right. Because this arrangement
leaves each window's name bar visible, it's easy to jump from one window to
another (by clicking any visible part of it). The active window is the one in the
lower-right.

2461
Window/Tile Vertically
If more than one file window is open on the screen, this command neatly
places them side-by-side, subdividing your screen area so that all windows are
the same size. The active window is the one whose title bar is highlighted.

2462
Window/Tile Horizontally
If more than one file window is open on the screen, this command neatly
places them one atop the other, subdividing your screen area so that all
windows are the same size. The active window is the one whose title bar is
highlighted.

2463
Window/Arrange Icons
If you've minimized any windows on a document (by clicking the Minimize
button in the upper-right corner), icons for the windows appear within Finale's
application window. Choose this command to align the document icons neatly
at the bottom of the application window.

2464
Window/New Window
Choose New Window to create a duplicate of the active window (and of the
same file), in which you can scroll, enlarge, reduce, or change views
independently of the original window. The various windows of a single file are
identified in the bottom portion of the Window menu.

2465
Window/Close Window
Choose Close Window to close the current active window. If you close the last
active window on a document, Finale will close the file, asking if you want to
save changes (if any changes were made since you last saved the file).

2466
Plug-ins
Plug-ins extend abilities to the existing program and are often written as
separate applications by various engineers. All of Finale's Plug-ins are
available under the Plug-ins menu.

2467
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

2468
 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.

2469
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

2470
 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.

2471
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.

2472
• 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 Playback’s
interpretation of a section of music based on expressions, hairpins, and
other markings you’ve added in the document, and have chosen to
incorporate your own MIDI data with Human Playback’s 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 Playback’s
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.

2473
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 Auto-Dynamic 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.

2474
• 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 drop-down 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.
• 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 layer’s 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.

2475
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

2476
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

2477
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.

2478
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-in’s
harmonies are based on those found in the PG Music software Band-in-a-Box.
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. You’ll 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:

2479
 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.
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.

2480
 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 instrument’s
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.

2481
• 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.

2482
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.

2483
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.

2484
 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.

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.

2485
 • 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

• 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.

2486
 • 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.

2487
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.

2488
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.

2489
• 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.
• 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.

2490
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.

2491
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.

2492
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.

2493
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.

2494
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

2495
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 staff’s 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.
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
staff’s 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 Beginner’s 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.)

2496
 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 half-step
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 staff’s transposition.
Change Note · Erase Note. Click Change Note to change the pitch to the
value you’ve 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.

2497
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.

2498
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.

2499
• Show unknown chord suffix as. If Finale is unable to interpret a chord,
the text displayed in this box will appear in the score.
• 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.

2500
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, Composer’s 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 between-chord 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 don’t 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

2501
to dismiss the dialog box without making any changes, or Click OK to make
the selected changes.

2502
Chord Realization Plug-in

How to get there

From the Plug-ins menu, choose Scoring and Arranging, Composer’s
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.

2503
• 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.

2504
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, Composer’s 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.

2505
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, Composer’s 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

2506
to dismiss the dialog box without making any changes, or Click OK to make
the selected changes.

2507
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

time. Eighth notes will be beamed as if the Time Signature were .

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-
sixteenth-sixteenth rhythm in measure 2 are unchanged, in accordance with
common practice. The groups of eighth notes and rests in measure 3 are
beamed together.

2508
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
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-in’s 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).

2509
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.

2510
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.

2511
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

8 Double-Whole
note

7 Whole Note

6 Half Note

5 Quarter Note

4 Eighth Note

2512
3 Sixteenth Note

2 32nd Note

1 64th Note

. Augmentation
Dot

P () around
accidentals

TP Tuplet

C4 Middle C

R Rest

# or S Sharp

## or SS Double sharp

b Flat

bb Double flat

N Natural

; Note delimiter
(between the
notes in chords)

, Chord, Beat
delimiter

Q,NQ Grace Note

Entry

2513
 T,NT Treble Clef Entry

X Multiplier

Syntax:
[T/NT][Q/NQ][Tuplet]DurationPlacement[P][;[Duration]Placement[P]...][Multiplie
r]
[,[T/NT][Q/NQ][Tuplet][Duration]Placement[P][;[Duration]Placement[P]...][Multip
lier]]
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:

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.

2514
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.

Above is an example of entering grace notes. Be sure to use NQ to return to

entering normal notes.

2515
• 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.

2516
Common Tone Transposition Plug-
in

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, Composer’s 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.

2517
Composer’s Assistant Plug-ins
How to get there
From the Plug-ins menu, choose Scoring and Arranging, and then Composer’s
Assistant.
What it does
These plug-ins provide a starting point for composition. The Composer’s
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.

2518
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 Plug-ins 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.

2519
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 a
Segno ( ) and “To Coda” marking, and specify the appropriate measure for
these items. Finale 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.

2520
• 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 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.

2521
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

2522
 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.
• 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
plug-ins.

2523
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 clef—its 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

2524
 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.
• 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.

2525
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
layout.

• 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 2010/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 file’s name appears in this list. Then, when the
new style is chosen, Finale uses the MIDI data on channel 10 as the drum
groove.

2526
 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 Layout · Normal Notation ·
Slashes. Choose Notation with Percussion Layout to add drum notation in
addition to a percussion layout which assigns each percussion instrument
to a specific notehead and staff line or space. See Percussion for more
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. 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.

2527
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.

2528
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 tremolo’s note durations are doubled:

Before:

After:

Some options enable fine-tuning tremolo notation (such as the number of

beams). The plug-in can be re-applied to change the options on an existing
tremolo: for example, to change the number of beams or add playback notes.
The plug-in won’t revert tremolos back to normal notes.

2529
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).
• 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.

2530
FinaleScript™ plug-in

How to get there

From the Plug-ins menu, choose Finale Script, and then FinaleScript Palette.
What it does
The FinaleScript Plug-in, created by Robert Piéchaud, 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.

2531
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.

• 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 . Click this button to duplicate the currently
selected script.
• Delete Script . Click this button to delete the script selected in the Script
List.

• Create a New Folder . Click this button to create a new folder in the
script list. Context-click and choose Rename to rename the folder. Simply
drag and drop to add scripts to the folder.
• Report . Click this button to display a script report if one exists. This
report (or log file) displays 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.
• FinaleScript Options . Click this button to open the FinaleScript
Options dialog box where you 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.

2532
 • Current Process. Displays each command as it is applied to the active
document.
• Help. Click this button to access the FinaleScript help topic.

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

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.

2533
2. Click the New Script button . Or, select and existing script and
click the duplicate button , then click the 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. To run the script, click the Play button . After the script processes
the document(s), click 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.

2534
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"
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 auto-harmonizing"

Dialog Box Scripting Commands

Buttons:

2535
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

2536
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)
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

2537
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:

This is a common situation: the static text label is to the left of the text box.
type 1800 near "maximum measure width"

2538
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
press "ok"

2539
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-T-R-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 Layout 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

2540
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
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
2541
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
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

{0…9}

2542
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

2543
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 Don’t 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"

2544
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"
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.

2545
TGTools
FinaleScript includes a direct command to TGTools:

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).

2546
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). :

2547
 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'

2548
(ex: 'don’t use smart hyphens').
(don't) use engraver slurs
(don't) use cross-layer accidentals
(don't) use smart hyphens
(don't) use smart extensions

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

2549
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
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

2550
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.)

Selecting and Deleting Measures

Use the following commands to select and delete measures:

select meas 3
select first meas
select last meas

2551
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

2552
Page Layout Commands
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.

(don’t) 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

2553
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
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-in’s 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”

2554
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
(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

2555
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
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).

2556
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
^^ = 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

2557
uncheck internal speaker playback
human playback style Romantic/none, standard, classical,
romantic, jazz, rock, etc.
import human playback custom style from main document

2558
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.

2559
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 Options-View.

• OK. Click OK to dismiss the dialog box.

2560
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.

2561
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, Composer’s 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.

2562
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 note’s frequency is twice
the frequency of the note one octave below; e.g. A4=440Hz and A3=220Hz):

MIDI Note Pitch Frequency

Number (Hz)
(where middle C
equals C4)

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

2563
 71 B4 493.883

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.

2564
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 non-sequential staves.

2565
• 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.
• 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.

2566
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.

2567
 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 don’t 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: Staves—To 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.

2568
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 Finale’s
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 MIDI Map Table in the Appendix).

Note: All latin percussion styles,

except Afro-Cuban 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.

2569
• [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.
• 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.

2570
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
plug-in 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.

2571
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, Composer’s 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.

2572
• 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.

2573
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.

2574
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 Finale’s 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 Entry’s 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

2575
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.

2576
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 Mid-Measure 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:

2577
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.

2578
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.

2579
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.

2580
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.

2581
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

2582
 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 plug-in,
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 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 Finale’s 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.

2583
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.

2584
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.)

2585
The beam function works in conjunction with the Document Options-Beams
(under the Document menu). The plug-in always works from Finale’s 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.

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

2586
 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 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.

2587
 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 3-beam 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 4-Or-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

2588
 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 you’ve made.

2589
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.

2590
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

2591
 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

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

2592
"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 Staff Tool . Click the part you want to view as an
“extracted” part. If you’re extracting a piano part, you can highlight both
staves’ handles by shift-clicking the staves, or by drag-enclosing 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. It’s 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 made—the
rest shape or the position of the number, or you want to see your whole
score—choose 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 won’t break up an
existing 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.

2593
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.
(Plug-ins are not accessible in linked parts).

2594
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.

2595
• 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.
• OK · Cancel. Click OK (or press enter) to proceed with, or Cancel to abort,
the notehead resize.

2596
Rhythm Generator Plug-in

How to get there

From the Plug-ins menu, choose Scoring and Arranging, Composer’s
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.

2597
 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.

• 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.

2598
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:

2599
 The Rhythmic Duration option, with the settings in the following example:

would result in:

Notes:

• 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.

2600
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 Finale’s 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.

2601
• 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
you’ve 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.

2602
 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 you’ve 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.
• 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.

2603
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 Plug-ins 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.

2604
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.

2605
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

2606
 (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 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.

2607
• 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.

2608
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.

2609
• 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.
• 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.

2610
• 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.

2611
Smart Playback Plug-in
How to get there

Select a region with the Selection Tool . From the Plug-ins menu, choose
TGTools, then Smart Playback.
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 Continuous Data Volume changes

Crescendos/Decrescendos

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

2612
 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 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 require Smart Shape trill symbols above the notes

( ) or a articulation. Trills are written out in layer 4 then

hidden. See also Document Options-Layers.
• 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.

2613
 • 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.

2614
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.

2615
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.
• 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:

2616
2617
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:

2618
• 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.

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 .25 .50 .75 1

of Beats

Time A B C D
Signature

1 1/16 1/64 1/32 3/64 --

2 3/32 1/128 1/64 3/128 1/32

3 1/8 1/32 1/16 3/32 --

2619
 4 3/16 1/64 1/32 3/64 1/16

5 1/4 1/16 1/8 3/16 --

6 3/8 1/32 1/16 3/32 1/8

7 1/2 1/8 1/4 3/8 --

8 3/4 1/16 1/8 3/16 1/4

9 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.
• 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.

2620
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.

2621
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, Composer’s 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.

2622
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 post-optimization.
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

2623
 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 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 style’s 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 List’s 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.

2624
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

2625
 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.

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 you’ve 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

2626
 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
you’ve 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 plug-in 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 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.

2627
Virtual Fundamental Generator 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, Composer’s 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.

2628
• 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.

2629
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.

2630
Terms and Symbols
Some common musical terms and symbols are listed here, along with the
Finale tool used to create and/or edit them.

2631
Tools
Finale's Tools are located in the Main Tool Palette and the Advanced Tools
Palette . If you do not see the Main Tool Palette or Advanced Tools Palette,
you can activate it by choosing "Main Tool Palette" or "Advanced Tools
Palette" from the Window menu.

2632
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-control-click 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

2633
You can create Articulation Metatools—one-key equivalents for articulation
markings—that 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.

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

2634
Delete Removes selected articulations

See Also:
Main Tool Palette
Articulation Designer
Articulation Selection

2635
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.
With Manual Input selected, you can type chords directly into the score, play
chords into the score with a MIDI keyboard, or type chords into the Chord
Definition dialog box to create or edit an existing chord in the score.
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 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, double-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 and fretboard; press delete to
remove the symbol from the score.
• When Manual Input is selected in the Chord menu, perss Enter when a
handle is selected, 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 Manual Input 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 Allow MIDI Input is checked in the Chord menu, click a beat or
note to place the blinking 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 within an
octave above Middle C to advance the cursor to the next note/beat. Press a
single note within an octave below Middle C to move to the previous note.
Play a single note above/below middle C to advance forward/backward by
full measures.

2636
 • When One-Staff Analysis (or Two-Staff Analysis or All-Staff Analysis)
is selected in the Chord menu, click a note to make Finale analyze the
chord at that spot (one staff, two, or all staves deep, respectively) and place
the corresponding chord symbol into the score.

Metatools
You can create Chord Metatools—one-keystroke equivalents for complete
chord symbols—that 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.
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

2637
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

2638
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 clef’s 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 mid-measure 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 can’t 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 Metatools—one-keystroke equivalents for a particular
clef—which 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.

2639
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.
• 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 ar e reac hed by right-clic king on the handl e of an object. A contextual menu will be dis played wher e you can sel ect vari ous 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

2640
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 marks 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 double-click one of these handles,
or right-click the expression handle and select Edit Shape Expression
Graphically from the contextual menu, the shape’s 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

2641
 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.
• Shift–double-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 expression’s 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 Score List expression.
• [Non-Score List expressions] Select an expression handle and press
Ctrl-Up arrow or Ctrl-Down arrow to add the expression to the staff
above or below (respectively).
• [Non-Score List expressions] Select an expression handle and press
Ctrl-Home or Ctrl-End to add the expression to all staves above or below
(respectively).
• [Non-Score List expressions] Select an expression handle and press
Ctrl-Alt-Enter to add the expression to all staves.

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

Assign to All Staves Adds the expression to every staff

2642
Assign to Staves Opens the Assign to Staves dialog
box, where you can choose or define
an Assignment List

Edit Expression Assignment Display the Expression Assignment

dialog box

Edit Text Expression Definition Display the Text Expression

Designer dialog box

Edit Rehearsal Mark Sequence Open the Rehearsal Mark Sequence

dialog box where you can begin a
new rehearsal mark sequence.

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

2643
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:
Expressions
Main Tool Palette
Expression menu

2644
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 graphic’s 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 graphic’s position in the score.

2645
 • Drag a graphic’s bounding handle to resize the graphic horizontally or
vertically.

For further information, see the Shape Designer and Graphics menu..

See Also:
Advanced Tools Palette

2646
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 you’re
sliding the score page across your desk. In most cases, it’s 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

2647
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 Metatools—one-keystroke equivalents for key
changes—which can be especially useful if you need to insert many key
changes in your music (or if you’ve 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, double-click a measure or drag-select and double-
click measures. Finale changes the key signature over the range of
measures you selected.

2648
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

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

2649
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

2650
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 you’re 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

2651
 original position; select it and press delete to remove it from the score.
Select several vertically-aligned 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 it’s 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.

Lyric handles

Menu item What it does

Align Default Changes the alignment of the

syllables back to Finale’s 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 Finale’s global
setting

Justify Center Changes the justification of the

syllables to centered relative to each
other

2652
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

2653
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

2654
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.
When you click this tool, a handle appears on every barline; drag a barline’s
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 you’ve 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 measure—a 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 you’ve 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 measure—places where
Finale may break the measure over a system break if it’s 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).

2655
 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 number’s 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 number’s 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 number’s 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 shape’s height, width, center, and line thickness. If you no
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

2656
 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 measure’s handle or
select a handle and press enter.)
• Drag the top barline handle right or left to make the measure wider or
narrower. If you’re 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 can’t 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 beat’s 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

2657
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

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 number’s region in the
Measure Numbers dialog box

Always Hide Number Choose this command to always

hide a number regardless of the
settings for a number’s 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

2658
 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

Dashed Barline Change right barline for selected

measure to Dashed barline

2659
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

2660
MIDI Tool
This tool lets you edit the actual MIDI data that Finale stores with your music—
key velocities (how hard each note was struck), Start and Stop Times
(rhythmic information), channel pressure (pressure applied to a key after it’s
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 you’re editing. Using this
technique, you can edit MIDI data on a note-by-note basis—for 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 Finale’s 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 Finale’s 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

2661
 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.

See Also:
Advanced Tools Palette
MIDI Tool menu

2662
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

2663
Mirror menu
Advanced Tools Palette

2664
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 Cross-staff 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 Finale’s 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

2665
 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

2666
Ossia Tool
Use this tool to create floating measures—one-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 don’t play back; they’re purely graphic.
A measure-assigned ossia measure remains attached to its measure in the
score, even if that measure’s 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

2667
 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.

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

2668
For further information, see the Ossia Measure Designer dialog box.

See Also
Advanced Tools Palette

2669
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

2670
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

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

2671
See Also:
Page Layout
Main Tool Palette
Page Layout menu

2672
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 Metatools—one-key equivalents for repeat signs—that
can save you time if you need to insert many repeat signs into your score.
To program a Repeat Metatool

2673
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 doesn’t 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.

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

2674
 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

Text Repeat handles

2675
Menu item What it does

Edit Repeat Assignment Display the Text Repeat Assignment

dialog box

Edit Ending (available when context- Displays the Edit Ending dialog box
clicking an ending bracket) 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

2676
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, you’ll
probably use this tool most often to reduce the overall size of the music. It’s
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 box—where you
can specify the amount of reduction or enlargement—any 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 on a staff to reduce or enlarge the staff.
• In Page View, click between two staves of a system 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

2677
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

2678
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 another—even from one
Finale document to another. You can also use this tool for erasing selected
musical elements from a region—such as articulations, chord symbols, lyrics,
expressions, MIDI controller data, and so on—without 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.

2679
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

2 Explode Music for multiple

staves (displays the Explode
Music dialog box)

5 Apply Beat Spacing

command which respaces
(or Ctrl-5 with any notes, lyrics, and accidentals
tool that allows using the settings in
measure selection.) Document Options-Music
Spacing

4 Apply Note Spacing

command which respaces
(or Ctrl-4 notes, lyrics, and accidentals
with any tool that using the settings in
allows measure Document Options-Music
selection.) Spacing

6-9 (Ctrl-)6 for Down a Second

(or Ctrl 6-9 with any (Ctrl-)7 for Up a Second
tool other than the
Selection Tool that (Ctrl-)8 for Down an Octave
supports measure (Ctrl-)9 for Up an Octave
selection)

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.

2680
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

2681
 include while pasting.

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

2682
 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

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

2683
 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 Display the Midmeasure Clef dialog
midmeasure clef) box

Select Clef (when invoked on Display the Clef Selection dialog box
highlighted measure(s))

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 Display the Text Expression

Definition Designer dialog box

2684
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

Shape Expressions

Menu item What it does

Edit Expression Assignment Display the Expression Assignment

dialog box

Edit Note/Measure Shape Display the Shape Expression

Expression Definition Designer dialog box

Edit Note/Measure Shape Displays bounding box handles for

Expression Graphically 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

2685
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

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

2686
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 Finale’s 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 Finale’s 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

2687
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)

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 Display the Repeat Designer dialog
only) box

Show Check this option to show, or

uncheck to hide (on the printed
page)

2688
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

2689
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 doesn’t 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 2010/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, we’ll 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.

2690
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.

• Click the Eraser Tool then click a note, rest, accidental, tuplet, tie
or dot to erase it.
• 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.

2691
 • 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.

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.

2692
 Note: Notes just entered with the
caret are selected automatically.

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.

2693
 • 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.
• 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 to trigger the Waiting for
Input dialog box, then 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 to trigger the Waiting for Input
dialog box, press an articulation metatool key (or click select or press
Enter to choose an articulation) to add a sticky articulation to the caret

2694
 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 to trigger the Waiting for Input dialog box,
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 to trigger the Waiting for Input dialog box.
then 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 to trigger the Waiting for Input dialog box,
then 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 to trigger the Waiting for Input dialog box
then, then 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.

2695
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 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 Tool’s preprogrammed keyboard equivalents aren’t
technically Metatools, they’re similar in that they’re 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.

2696
See Also:
Simple Entry
Main Tool Palette
Simple Entry Palette
Simple Entry Options

2697
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 you’re placing a note-attached
marking, the cursor will appear as a tiny note; just position the cursor over the
note. If you’re placing a notehead-attached marking, the cursor will appear as
a tiny notehead. Now double-click—but 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.

2698
 • Click and drag (or use the arrow keys to nudge) a diamond editing
handle on the tip of the slur to move the slur’s 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 slur’s 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 slur’s 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 slur’s 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
The Smart Shape Tool has a set of predefined Metatools—one-key
equivalents for each tool—that 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:

A Artificial
harmonic
B Guitar bend
D Dashed Line
E Trill
Extension/Vibrato
F Glissando

2699
 without text
G Glissando with
text
H Hammer-on (H)
P Pull-off (P)
R Release (R)
U Bend (B)
2 Hammer-on (H) -
above slur or tie
3 Pull-off (P) -
above slur or tie
4 Release (R) -
above slur or tie
5 Bend (B) - above
slur or tie
L Solid line
M Palm mute (P.M.)
N Natural harmonic
(N.H.)
S Slur
T Trill
V Dashed slur
X TAB slide
Y Single hooked
dashed line
Z Double hooked
dashed line
1 15ma/mb
6 Bend hat
8 8va/vb
L Line

2700
 K Single hooked
line
O 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 note-
attached 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

2701
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 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.

2702
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

2703
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 drag-enclose the handles of the elements you want
to edit. At certain times you’ll 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 element’s handle, then drag-enclose the
handles of the elements to be selected. Release the button when you’ve
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.

2704
 • 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 you’re working with Special Tools, you can use the
nudge keys–the 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 you’re 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.

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

2705
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.

2706
 • 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
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

2707
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 staff-related 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.

2708
• 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.

• Press delete for a selected region to clear all Staff Styles in that
region.
• 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.

2709
 • Drag a staff handle in Scroll View (when Special Part Extraction is not
selected in the Document menu) to adjust the staff’s 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 staff’s 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 staff’s 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 staff’s 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 staff’s
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.

2710
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, Shift-click 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 group’s 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.
• 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 staff’s 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.

2711
 • 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

2712
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).
Finale’s 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 Finale’s 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-by-moment tempo changes within the measure.

For further information, see the Tempo Adjustment dialog box.

See Also:
Advanced Tools Palette

2713
Text Tool
The Text Tool is used to enter blocks of text—not 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 pages—directly 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.

2714
 • 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
block’s 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 block’s position in the
score.

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 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

2715
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

2716
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 Metatools—one-key equivalents for meter
changes—that 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

2717
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

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:

2718
Document Options-Time Signatures
Main Tool Palette

2719
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. 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 tuplet’s
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

2720
 definition to create a tuplet. (If this first note is in Voice 2, shift-click below
the staff.) You can even click a note that’s 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
You can create Tuplet Metatools—one-key equivalents for tuplet definitions—
that 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

2721
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 • Change the bracket style for this
Bracket tuplet

Placement: Manual • Stem/Beam Change tuplet placement for this

Side • Note Side • Above • Below 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)

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

2722
 items in parts

Delete Delete selected tuplet

For further information, see the Tuplet Definition dialog box.

See Also:
Document Options-Tuplets
Main Tool Palette

2723
Zoom Tool
Use this tool to magnify or reduce the music as it’s displayed on the screen.
You’re not actually enlarging or reducing the printed size of the music – only
"zooming in" or "zooming out" while you’re 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-right–click the screen to zoom in,
even though the Zoom Tool isn’t selected. Ctrlshift–right–click to
zoom out.

See Also:
Main Tool Palette

2724
Worksheets
Finale includes hundreds of ready-made, educator-approved, music education
worksheets.
Designed for K-12 students of general music, theory, band, orchestra, and
choir, these worksheets (and puzzles) help teach basic elements of music.
Covered topics include counting, scales, chords, music vocabulary, and more.
Because they're provided as Finale files it's easy to edit them to your specific
needs and print them out, or distribute them via email to be printed with the
free Finale Reader.
Used in conjunction with Finale’s powerful Exercise Wizard, these worksheets
provide educators with instant access to thousands of pages of printable AND
editable materials for their students.
Finale's worksheets are available in the "Finale 2010/Worksheets" folder. The
answer key PDFs are located loose on the Finale 2010 DVD in the folder
"Finale Worksheets Answer Key."

2725
 Index

About Finale, 934, 2194

1  About the FINALE.INI file, 741
About the FINMIDI.INI file, 741
15ma (quindicima) see 8va/8vb, 17,
186 Accelerando, 18
1-bar repeats, 968 Accidental Octave Placement
dialog box, 935
Accidental Order dialog box, 937
2 
Accidental Settings dialog box, 940
2-up printing, 1575 Accidentals
Add or remove parentheses, 21
3 
Cautionary Accidentals plug-in,
3-Beam Groups dialog box, 931 2489
Changing an accidental to its
4  enharmonic equivalent (Simple
Entry), 190
4-Beam Groups dialog box, 933 Courtesy accidentals, 141
Maestro Font, 2063
6  Minimum vertical space between
6/8 meter accidentals, 1102
see Compound meters, 117 Speedy Entry, 22
To add a sharped or flatted note,
21
8 
To ass or change an accidental,
8va, 17, 186 22
8va/8vb, 17, 186 To create accidentals on tied
Creating an 8va or 15ma marking, notes, 22
17, 186 To hide (or show) an accidental,
Maestro Font, 2068 22
Moving or reshaping an 8va or To move an accidental, 23
15ma marking, 17, 186 To raise or lower a note, 21
8vb see 8va/8vb, 17, 186 Add Bookmark dialog box, 942
Add Continuous Data dialog box,
A  944
Add Cue Notes plug-in, 2468
A 2 see Expressions, 198

2726
Add Dots To Slashes In Compound
Meters, 969
Add Key Velocities dialog box, 946
Add Note Durations dialog box, 949
Add SmartMusic Markers dialog
box, 951
Add Tempo dialog box, 953
Adding
Brackets, 74
Measures, 371
Staves, 647
Adding measures dialog box, 948
Additional PostScript Information
dialog box, 954
Adjust Above Staff Baseline dialog
box, 2144
Adjust Baselines, 2213
Adjust Lyric Baselines dialog box,
955
Adjust Page Range dialog box, 961
Adjust Syllables, 2204
Adobe PDF documents, 24
PDF995, 24
Aftertouch, 1907
see Channel Pressure, 82
see Continuous data, 118
Align/Move Dynamics plug-in, 2470
Alla Breve see Cut time, 159
Allow Vertical Positioning, 940
Alter Feel, 2248
Alter Feel - Key Velocities dialog
box, 963
Alter Feel - Note Durations dialog
box, 958
Alteration, 966
Alternate notation dialog box, 968
Alternative music fonts, 742
Alto clef see Clefs, 103
Ambience see Garritan Ambience
dialog box, 1316
Anacrusis see Pickup measures,
489
Apply Articulation dialog box, 971
Apply Human Playback plug-in,
2472
Apply Human Playback
Preferences dialog box, 973
More Settings dialog box, 1478
Apply Music Spacing dialog box,
975
Apply Staff Style dialog box, 977
Approximate pitch
see Headless notes, 277
see Note shapes, 437
Aria Player for Finale, 979
Arpeggio see Rolled chords, 544
Arrowhead, 982
Arrowheads, 1087
Arrows
Custom lines, 158
Arrows see Shape Designer, 559
Articulation Assignments dialog
box, 1018
Articulation Designer dialog box,
983
Articulation Selection dialog box,
990, 991
Articulations
Articulation Shapes Library, 806
Articulations, 27
Breath marks, 78
Contextual menu, 2633
Engraver Articulation Library, 806
Engraver Font, 1968
Fermatas, 211
Fingering numbers, 214
2727
 Harmonics, 275 Assignment Lists, 201
Jazz Articulations, 806 ASV, 2151
Libraries, 806 ATM, 223
Maestro Font, 2066 Attack and release
Metatools, 377 see Articulations, 27
Mordents, 407 see Rolled chords, 544
Mutes, 427 see Start and Stop Times, 644
Pedal markings, 470 see Transcribing a sequence—To
Rolled chords, 544 edit keyboard notes, 711
Staccato marks, 628 Audio, 39, 996
To apply an articulation to every To export an audio file, 39
note in a region, 32 To import an audio file, 39
To center and reposition existing Audio Clip Attributes dialog box,
articulations, 33 994
To change the articulation Audio Units, 735
character, 29 Augmentation, 41
To copy articulations, 34 Change Note Durations dialog
To copy markings based on a box, 1028
rhythmic match, 35 Doubling the rhythmic values in a
To create an articulation metatool, passage, 41
36 Augmentation Dot
To define an articulation for Maestro Font, 2060
playback, 31
Author credits see Text blocks, 678
To design an articulation, 29
Auto Launch Frame, 1753
To erase articulations from a
region, 33 Auto Slur Melismas Plug-in, 2476
To move or delete an articulation, Auto-Dynamic Placement plug-in,
29 2474
To put one articulation mark in the Automatic Barlines plug-in, 2477
score, 28 Automatic Check for Updates, 998
To quickly change an articulation, Automatic Music Spacing, 1144,
34 2115
To remove an articulation from the Automatic Update Layout, 1584
list, 37 Avoid Staff Lines, 1736
Tremolos, 719
Trills, 721 B 
Artificial harmonics see Harmonics,
B flat baritone transposition
275
Assign to Staves dialog box, 992

2728
 See To display a staff differently in
one part than another, 642
Backbeats, 42
Altering the durations of
backbeats, 658
Altering the key velocity of
backbeats, 42
Copying or erasing MIDI Tool
editing, 392
Backup files, 2154
Backward Repeat Bar Assignment,
999
BAK, 2151
Band-in-a-Box Auto-Harmonizing
plug-in, 2479
Bank Select, Bank Change Table,
750
Bar count
see Count Items plug-in, 2519
Baritone parts
To display a staff differently in one
part than another, 642
Barline, 1319
Barlines, 44
Automatic Barlines plug-in, 2477
Breaking a barline between
grouped staves, 44
Changing barlines for groups, 45
Changing barlines in a selected
region (or at regular intervals), 45
Changing the thickness of barlines
in a document, 47
Correcting barline display, 48
Creating one double, dotted, final,
or other barline, 45
Double barlines, 176
Drawing the barline on a group, 44
Final barline, 213
Hiding all barlines (No-barline
music), 46
Hiding one barline, 46
Inserting a false or custom barline,
47
Maestro Font, 2070
Moving a barline, 46
Baroque ornaments, 27
Barre, 1299
Bars
see Barlines, 44
see Measures, 371
Baseline Shift dialog, 2392
Baseline Shift dialog box, 1002
Bass clef see Clefs, 103
Batch Printing, 49
Beam angles, 50
Allowing only flat beams on a
single staff, 51
Changing a beam from the default
angle to flat, 51
Changing or restoring the angle of
a beam, 50
Changing the angle of secondary
beams, 59
Limiting the steepness of beams,
51
Patterson Beam plug-in, 2585
Removing angle modifications
from a selected region, 50
Setting the beam angle style
globally, 50
Beam breaking, 1668
Beam Extension Selection dialog
box, 1003
Beam Extension Tool, 1003
Beam Over Barline plug-in, 2483
Beam thickness, 52
2729
 Changing the thickness of beams
globally, 52
Changing the thickness of beams
individually, 52
Beaming, 53
Beam grace notes, 245
Beaming across barlines, 56
Beaming eighth notes in quarter
note groups, 55
Beaming over rests, 58
Breaking (or creating) a beam, 53
Changing the height of stems in
secondary beams, 61
Classic Eighth Beams plug-in,
2508
Creating custom beaming patterns
when changing the time signature,
54
Feathered beaming, 59
Flat Beams (Remove) plug-in,
2561
Flat Beams plug-in, 2561
Patterson Beams plug-in, 2585
Preventing Finale from beaming
automatically (Speedy Entry), 55
Rebeaming a selected region, 53
Secondary beams, 60
Breaking secondary beams, 60
Changing a broken beam’s
direction, 60
Changing the angle of secondary
beams, 51
Changing the distance between
beams, 61
Changing the height of stems in
secondary beams, 61
Beaming across barlines, 56
Beaming Chart dialog box, 1005
Beaming over rests, 58
Creating (or removing) half-stems
on beamed rests, 58
Globally beam over rests on the
outside of beam groups, 58
Beams, 2704
Beat Chart dialog, 2657
Beat Chart dialog box, 1007
Beat positions, 63
Creating a beat chart in one
measure, 62
Moving a beat, 62
Beat Source, 1068
Beats see Beat positions, 62
Bend hats, 64
Bends
Guitar bends, 267
see Pitch wheel, 491
Billing methods (for copyists)
see Count Items plug-in, 2519
Bird’s eye see Fermatas, 211
Bitmapped graphics, 2645
Blank Notation, 968
Blank Page, 1386
Blank pages, 65
Adding a blank page anywhere in
your document, 65
Deleting a blank page anywhere in
your document, 65
Blank score paper, 358
Block rests see Multimeasure rests,
2477
Book Style (Page View), 2435
Booklets, 66
Boomwhackers® tuned percussion
tubes, 70
Border, 1218
Enclosure Designer dialog, 1218
Text border, 2401
2730
Bowing, 27
Bowing marks see Articulations, 27
Braces see Piano Braces, 1150
Bracket dialog box, 1010
Bracket Style dialog box, 1012
Brackets, 74
Adding and Creating Brackets see
Brackets-Staves, 74
Horizontal lines, 72
Drawing a horizontal line, 72
Moving, reshaping, or deleting a
Smart Shape line, 72
Notes, 73
Creating a note bracket, 73
Staves, 74
Correcting bracket display, 75
Creating, 76
Creating additional (nested)
brackets, 75
Deleting a bracket from a group,
75
Modifying brackets on a system-
by-system basis, 76
Moving or stretching a bracket,
74, 75
Moving, stretching or deleting a
floating bracket, 77
Placing a bracket on grouped
staves, 74
Breath Mark dialog box, 1013
Breath marks, 78
Breves see Double whole notes,
177
Broadway Copyist Font, 2037
C  plug-in, 2493
Cadenzas, 79
To permit unlimited notes in one
measure (Position Notes Evenly
method), 79
To permit unlimited notes in one
measure (Time Signature
method), 79
Caesuras
See Cesuras, 81
Canonic Utilities plug-in, 2484
Categories (Expressions), 198
Category Designer dialog box, 1014
Cautionary accidentals
Cautionary Accidentals plug-in,
2489
see Courtesy accidentals, 141
Cautionary Accidentals plug-in,
2489
Cautionary key changes see
Courtesy key signatures, 143
Cautionary time changes see
Courtesy time signatures, 145
Cesuras, 81
Change Chord Assignments dialog
box, 1020
Change Clef dialog box, 1025
Change Fonts plug-in, 2491
Change Note Durations dialog box,
1028
Change Note Size dialog box, 1030
Change Note Types dialog box,
1033
Change Noteheads dialog box,
1034
Change Noteheads plug-in, 2492
Change Ties dialog box, 1036
Change to Default Whole Rests
Change to Real Whole Rests plug-
in, 2494
2731
Change Tuplets dialog box, 1038
Channel Pressure, 82
Copying or Erasing controller
data, 392
Editing Channel Pressure data, 82
Retaining Channel Pressure data
for score playback, 82
Character names, 84
see Expressions, 198
Character Settings dialog, 2395
Character Settings dialog box, 1043
Check Graphics dialog box, 1045
Check Range plug-in, 2495
Check Region for Durations plug-in,
2498
Check Repeats dialog box, 1047
Choirs (Instrument choirs) see
Groups, 264, 630
Choose Junction for Staff dialog
box, 1048
Choral music, 85
see Hymns, 288
see Lyrics, 342
Chord, 2636
Chord Analysis Plug-in, 2499
Chord Definition dialog box, 1051
Chord menu, 2075
Chord/All-Staff Analysis, 2084
Chord/Chord Style, 2085
Chord/Chord Suffix Fonts, 2094
Chord/Edit Learned Chords, 2093
Chord/Enable Chord Playback,
2095
Chord/Italicize Capo Chords, 2087
Chord/Left-Align Chords, 2086
Chord/Manual Input, 2077
Chord/MIDI Input, 2081, 2082
Chord/Position Chords, 2089
Chord/Position Fretboards, 2090
Chord/Simplify Spelling, 2091
Chord/Substitute Symbols, 2092
Chord/Two-Staff Analysis, 2083
Chord Morphing plug-in, 2501
Chord Realization plug-in, 2503
Chord Reordering plug-in, 2505
Chord Splitting plug-in, 2506
Chord Suffix Editor dialog box,
1057
Chord Suffix Selection dialog box,
1061
Chord Suffixes, 1061
Chord symbols, 86
Changing chord symbol fonts, 98
Chord symbols, 86
Copying chords from one region to
another, 96
Creating or loading a Chord Suffix
Library, 98
Defining a chord symbol manually
with MIDI input, 99
Defining and entering a chord
symbol manually, 91
Editing a chord suffix, 92
Editing chords (Manual Input), 92
Editing chords directly in the
score, 91
Editing or deleting a learned
chord, 95
Entering a chord using a Metatool,
97
Entering chord symbols
automatically, 87
Erasing chords from a region, 96
Figured bass, 212
Figured Bass Library, 815
2732
 Fretboard diagrams, 233
Lead sheets, 306
Left-justifying chord symbols
above the notes, 99
Maestro Font, 2071
Moving and deleting chord
symbols, 95
Moving and deleting chord
symbols individually, 99
Playing-in chord symbols (MIDI
data input), 90
Preventing chord symbols from
playing back, 96
Programming a chord symbol
Metatool, 97
Teaching Finale learned chords,
93
Transposing chord symbols, 95
Typing-in chord symbols, 88
Chords, 101
Adding notes to (or removing
notes from) a chord, 101
Changing the enharmonic spelling
of a chord, 101
Changing the pitch of a chord, 101
Rearranging the noteheads of a
cluster chord, 101
see Chord symbols, 86
Chords & Fretboards library, 815
Chorus, 2212
Chromatic Spellings, 1205
Classic Eighth Beams plug-in, 2508
Clear Lyric Positioning plug-in,
2510
Clear Measure # Positioning plug-
in, 2511
Clear Pickups dialog box, 1549
Clear see Erasing, 194
Clef Designer dialog box, 1064
Clef Selection dialog box, 1067
Clef Size, 1025
Clef Tool, 2639
Clefs, 103
Changing a clef you’ve inserted in
mid-measure, 104
Changing the default clef, 104
Changing the horizontal
positioning of starting clefs, 107
Courtesy clef changes, 142
Custom shape clef, 106
Designing a new clef, 105
Globally changing the position and
size of inserted clefs, 107
Hiding a clef, 105
Inserting a clef change, 103
Maestro Font, 2069
Metatools, 2639
Setting the starting clef for a staff,
103
Specifying the location of key-
signature accidentals in a
nonstandard clef, 108
Click and Countoff, 109
Setting up countoff measures and
the metronome click (for Playback
and HyperScribe recording), 109
Click Assignment, 1071
Placing lyrics into the score (click
assignment), 345
Click Output dialog box, 1076
Click track, 109
see Click and Countoff dialog
box, 109
Clip, 2123
Clip File, 2123
Clip files see Copying music, 121
Closed symbols see Articulations,
27
2733
Closed Symbols see Articulations, Configuring Instrument.txt, 756
27 Configuring MacSymbolFonts.txt,
Cluster noteheads see Engraver 758
Font, 229 Configuring Pagesizes.txt, 759
Coda, 112 Contextual menus, 2705
Create Coda System plug-in, 2520 Articulations, 2634
Maestro Font, 2069 Chords, 2637
Color dialog box, 1078 Expressions, 2642
Colored Noteheads, 1149 FinaleScript, 2533
Command Line plug-in, 2512 Key Signature, 2649
Commas see Breath marks, 78 Lyrics, 2652
Common Time, 114 Measure, 2657
Common Tone Transposition plug- Note Mover, 2666
in, 2517
Ossia, 2668
Compile PostScript Listing dialog
box, 1079 Page Layout, 2670
Comping, 569 Repeats, 2674
Composer credits see Text blocks, Resize, 2677
678 Selection Tool, 2681
Composer’s Assistant plug-ins, Simple Entry, 2695
2518 Smart Shapes, 2701
Composite, 1082 Staves, 2708
Composite Time Signature dialog Text, 2715
box, 1082
Time Signatures, 2717
Composite time signatures, 115
Tuplets, 2721
Creating a composite meter, 115
Continuous Data, 118, 1683, 2238
Removing a composite meter, 116
Add, 944
Compound meters, 117
Copying or erasing continuous
Con sordino see Mutes, 427 data, 392
Concert Pitch, 1781 Editing continuous data, 119
Display in Concert Pitch Limit, 1416
command, 2103
Retaining continuous data for
Conducting symbols, 227 score playback in Transcription
Conductor’s score Mode, 119
see Imploding music, 292 Scale, 1655
see Optimizing systems, 444 To specify which continuous data
see Piano Reduction plug-in, 2590 you want to record for with
HyperScribe, 118
Configuring Ensembles.txt, 755

2734
 To specify which continuous data
you want to record in Transcription
Mode, 118
View, 1873
Controllers (MIDI controllers) see
Continuous data, 118
Copy, 121
Copy and paste see Copying
music, 121
Copying
Paste Multiple dialog box, 1529
Copying measures, 121
Copying music, 121
Combining files with Score
Merger, 134
Combining two files, 134
Copying across documents, 133
Copying and inserting by
dragging, 128
Copying and inserting stacks, 129
Copying and inserting using the
clipboard, 127
Copying and pasting by dragging,
123
Copying and pasting stacks, 125
Copying and pasting using the
clipboard, 127
Copying markings based on a
rhythmic match, 137
Copying multiple passages of
music to another document (using
Clip Files), 133
Copying score markings based on
a rhythmic match, 137
Copying time signatures, 131
Copying to another place in the
document (by dragging), 123
Making a copy of a document, 133
Merging part files into a score with
Score Merger, 136
Mirroring, 404
specifying what you want to copy,
130
Copying Tempo Data, 132
Copyright notices, 139
Count Items plug-in, 2519
Countoff, 1068, 2236
Countoff button, 2236
Courtesy accidentals, 141
Cautionary Accidentals plug-in,
2489
Courtesy clef changes, 142
Globally preventing courtesy clefs
from displaying, 142
Preventing courtesy clefs from
displaying in a single measure.,
142
Courtesy key signatures, 143
Forcing the display of the key
signature in a measure, 143
Hiding the end-of-line courtesy
key change (globally), 143
Hiding the end-of-line courtesy
key change (in one place), 143
Courtesy time signatures, 145
Create Coda System plug-in, 2520
Create Handbells Used Chart plug-
in, 2522
Create/Edit Ending dialog box,
1084
Creating a Document Style, 171
Creating a note bracket, 73
Creating Parts, 330
Extract Parts dialog box, 1262
Credit lines see Text blocks, 678
Crescendo/Decrescendo, 146
Aligning hairpins, 147
2735
 Changing the default opening and
thickness of Smart Shape
hairpins, 148
Creating a playback crescendo or
decrescendo with the MIDI Tool,
148
Creating a Smart Shape (graphic)
crescendo or decrescendo
marking, 146
Creating a Text Expression (such
as, 148
Moving or deleting a crescendo
(Text or Shape Expression), 149
Moving, reshaping, or deleting a
Smart Shape crescendo, 147
Crossed hands, 150
Cross-staff beaming see Cross-staff
notes, 151
Cross-staff notes, 151
Cross-staff plug-in, 2524
Restoring cross-staff notes to their
source staff, 153
Restoring cross-staff notes to their
source staff temporarily, 154
To create cross-staff notation
manually, 151
To create cross-staff notes with
the Cross-staff Plug-in, 151
Cross-staff plug-in, 2524
Cue notes, 155
Add Cue Notes plug-in, 2468
Creating a cue staff, 156
Creating cue notes on a full-size
staff, 155
Preventing attached lyrics from
shrinking, 156
Restoring a cue staff to full size,
156
Smart Cue Notes plug-in, 2606
Cue staves see Cue notes, 155
Custom Arrowhead Selection dialog
box, 1087
Custom barline, 1436
Custom Frame dialog box, 1089
Custom Line, 1717
Custom lines, 158
Changing which custom line is
assigned to the palette icon, 158
Creating a custom line, 158
Placing a custom line, 158
Customize Toolbars, 1091
Customize Toolbars dialog box,
1091
Customized Speedy Keymap, 760
Cut, 2122
Cut time, 159
Changing the cut-time display,
159
Mixing abbreviated and non-
abbreviated cut and common time
signatures, 159
Cutaway scores, 161
Hiding a portion of a staff, 161
Masking a portion of the score
using the graphics tool, 361
D 
D.C, 1821
D.C., 165
Creating a functional, 112
Moving or deleting the D.C.
marking, 166
Placing a D.C marking in the
score, 165
D.S., 180
Maestro Font, 2069
Placing a coda marking into the
score, 180
2736
 Placing a D.S. marking into the Pages, 65
score, 181 Staves, 648
D.S. al Coda, 180 Designing shapes see Shape
Placing a coda marking into the Designer, 559
score, 180 Dialogue see Text blocks, 678
Placing a D.S. marking into the Diamond noteheads see Note
score, 181 shapes, 437
Da capo see D.C., 165 Diatonic Instrument Definition
Dal segno see D.S., D.S. al Coda, dialog box, 1098
180 Diminuendo see
Dash Length, 1092 Crescendo/Decrescendo, 146
Dashed Line dialog box, 1092 Diminution, 167
Dashed lines, 162 Halving the rhythmic values in a
Drawing a Smart Shape dashed passage, 167
line, 162 Rhythmic Subdivisions plug-in,
Moving, reshaping, or deleting a 2599
Smart Shape dashed line, 162 Displaying music, 2432
Dashes see Dashed lines, 162 Distances, 168
Date stamps, 164 Changing clef, key, and meter
Changing the date format for date distances, 169
stamping, 164 Changing the distance between
Creating a time or date stamp, notes, 168
164 Changing the distance between
Decrescendo see staff systems, 662
Crescendo/Decrescendo, 146 Changing the distance between
Default Fonts library, 806 staves, 168
Define Keyboard Shortcut dialog Changing the page and system
box, 1093 margins, 662
Define Staff Styles, 2372 Making all staves equidistant, 648
Delete Blank Pages dialog box, Margins
1095 Changing the page and system
Delete Element dialog box, 1097 margins, 359
Delete Measures, 2215 Staves
Deleting To change the distance between
staff lines, 168
Articulations, 33
To make all staves equidistant,
Brackets, 75 168
Chords, 95 Divisi, 170
Lyrics, 351 see Expressions, 198
Measures, 371

2737
Document - information, 1265
Document menu, 2096
Document/Category Designer,
2108
Document/Data Check, 2102
Document/Display Expressions
and Repeats for Parts, 2104
Document/Display In Concert
Pitch, 2103
Document/Document Options,
2113
Document/Edit Measure Number
Regions, 2109, 2216
Document/Edit Part, 2098
Document/edit Program Options,
2142
Document/Edit Score, 2097
Document/Manage Parts, 2099
Document/Page Format, 2100
Document/Pickup Measure, 2111
Document/Playback Options,
2106
Document/Set Default Music Font,
2112
Document/Show Active Layer
Only, 2105
Document/Special Part Extraction,
2101
Document/Sync and Video
Options, 2107
Document Options, 2113
Document Options - Lyrics, 1137
Document Options dialog box, 1099
Document options Grids and
Guides, 1127
Document Options Piano Braces,
1150
Document Options_Lines and
Curves, 1135
Document Options-Accidentals,
1101
Document Options-Alternate
Notation, 1104
Document Options-Augmentation
Dots, 1106
Document Options-Barlines, 1108
Document Options-Beams, 1111
Document Options-Chords, 1115
Document Options-Clefs, 1117
Document Options-Flags, 1120
Document Options-Fonts, 1122
Document Options-Grace Notes,
1125
Document Options-Key Signatures,
1129
Document Options-Layers, 1132
Document Options-Multimeasure
Rests, 1139
Document Options-Music Spacing,
1142
Document Options-Notes and
Rests, 1146
Document Options-Repeats, 1152
Document Options-Stems, 1157
Document Options-Text, 1161
Document Options-Ties, 1163
Document Options-Time Signature,
1168
Document Options-Tuplets, 1171
Document Styles, 171
Documents - displaying, 2446
Documents - opening and saving,
2148
Doits, 173
Dot Offsets dialog box, 1176
Dots see Dotted notes, 174
Dotted lines see Dashed lines, 162
2738
Dotted Notes, 174
Adding a dot to a note (Simple
Entry), 174
Adjusting ties for augmentation
dots, 694
Changing the position of a single
dot, 174
Changing the position of all dots,
174
Removing a dot from a note, 174
Undoing individual dot positioning,
175
Dotted slurs see Slurs, 570
Double barlines, 176
Double stems see Stems—To
create a double or split stem, 654
Double strokes see Cesuras, 81
Double whole notes, 177
Maestro Font, 2060
Substituting a notehead on a note-
by-note basis, 437
Substituting one notehead for
another notehead globally, 177
Doubling note values see
Augmentation, 41
Downbeats, 178
Altering the attack points of
downbeats, 178
Altering the key velocity of
downbeats, 178
Moving a single downbeat
graphically, 62
Moving all downbeats graphically,
178
Down-bow, 27
Downbows see Articulations, 27
Dragging staves, 631
Drum Groove plug-ins, 2526
Drum Rolls see Tremolos, 719
Duration Allotments, 1177
Durations
see Note values (durations), 443
see Start and Stop Times, 644
Dynamics, 183
Align/Move Dynamics plug-in,
2470
Auto-Dynamic Placement plug-in,
2474
Defining for playback, 184
Designing a dynamic marking, 183
Engraver Font, 1968
Inserting a dynamic marking into
the score, 183
Jazz Dynamics library, 806
Maestro Font, 2065
Moving or deleting a dynamic
marking, 184
see Crescendo/Decrescendo, 146
see Key Velocity, 302
E 
Early music, 743
Creating diamond noteheads see
Note shapes, 437
Fonts see Fonts, 223
Four-line staff see Staff Lines, 633
No barlines see Barlines, 46
Easy Harmonics plug-in, 2528
Easy Tremolos plug-in, 2529
Edit Bookmarks, 1180
Edit Filter, 1182
Edit Frame, 1189
Edit Learned, 2093
Edit Learned Chords, 1197
Edit Lyrics, 1200
Edit Lyrics window, 2202
2739
Edit Major and Minor Key Spellings
dialog box, 1207
Edit Measure Attributes, 1436
Edit menu, 2115
Edit, 2115
Edit/Add Measures, 2134
Edit/Clear All Items, 2130
Edit/Copy, 2123
Edit/Cut, 2122
Edit/Delete Measure Stack, 2136
Edit/Edit Filter, 2128
Edit/Edit Measure Attributes, 2138
Edit/Enharmonic Spelling, 2139
Edit Major and Minor Key
Spellings, 1205
Edit Modal or Chromatic
Spellings, 1205
Edit/Insert Measure Stack, 2135
Edit/Measurement Units, 2140
Edit/Move/Copy Layers, 2129
Edit/Multimeasure Rests, 2137
Edit/Paste, 2125
Edit/Paste Multiple, 2127
Edit/Redo, 2118
Edit/Select All, 2120
Edit/Select Region, 2121
Edit/SmartFind and Paint, 2132
Edit/Text Search and Replace,
2133
Edit/Undo, 2117
Edit/Undo/Redo Lists, 2119
Edit/Update Layout, 2421
Edit/Use Filter, 2126, 2131
Edit MIDI Modifiers dialog box,
1202
Edit MIDI Note dialog box, 1204
Edit Page Margins dialog box, 1209
Edit Page Offset dialog box, 1523
Edit Page Size dialog box, 1525
Edit Split Points dialog box, 1326
Edit System Margins dialog box,
1211
Edit Text, 1213
Edit Text limited dialog box, 1215
Editing music, 1520
EDU, 1908
EDUs, 777
Eighth notes see Note values
(durations), 443
Elapsed Time, 187
Elapsed Time dialog box, 1217
Elisions, 188
Encapsulated PostScript, 1240
Encapsulated PostScript (EPS),
189
Creating an EPS file, 189
Enclosure Designer dialog box,
1218
Ending barlines see Final barline,
213
Ending Repeats dialog box, 1626
Endings
Final barline, 45
see First and second endings, 215
Engraver Font
Articulations, 230
Conducting symbols, 230
Dynamics, 230
Engraver Text Expressions
Library, 806
Text Fonts, 231
The Alternate Notehead Sets, 227
Trill To Noteheads, 229
Engraver Slurs, 192
2740
 Defining Engraver Slurs, 192
Enharmonic Spelling dialog box
Major/Minor, 1207
Modal/Chromatic, 1205
Enharmonics, 190
Changing a chord’s enharmonic
spelling, 190
Changing all occurrences of a
note (search and replace), 190
Edit Major and Minor Key
Spellings dialog box, 1207
Enharmonics in Linked Parts, 338
Enharmonics in Linked Parts, 338
Enigma Duration Unit, 1908
Enigma Transportable File, 1908
Enlarging see Reducing/Enlarging,
529
Ensembles.txt, 755
EPS, 1239
EPS files
see Encapsulated PostScript
(EPS), 189
Equivalents, 777
Erase Layer dialog box, 1221
Erasing, 194
Erasing a note from a chord, 194
Erasing a note, rest, or chord, 194
Erasing everything from a
selected region, 194
Erasing selected elements from a
selected region, 194
To erase a note from a chord, 194
To erase a note, rest, or chord,
194
To erase everything from a
selected region, 194
To erase selected elements from
a selected region, 194
EVPUs, 777
Executable Shape Designer dialog
box, 1222
Executable Shape Selection dialog
box, 1226
Executable Shapes, 1695
Exercise Wizard, 1228
Exercise Wizard Instrument
Ranges, 785
Exercises, 1228
Explode Music, 1233
Exploding music, 196
Explode Music menu command,
2425
Export Pages, 1239
Export Selection dialog, 1239
Export Selection dialog box, 1239
Exporting, 1239
Export Pages, 2174
Export Selection, 2173
Lyrics, 1236
MIDI files, 398
Transporting files across
platforms, 293
Expression Assignment dialog box,
1242
Expression Designer, 1247, 1817
Expression Designer Playback,
1254
Expression Designer-Note
Positioning, 1251
Expression menu, 2143
Edit Rehearsal Mark Sequence,
2147
Expression/Adjust Below Staff
Baseline, 2145
Expression/Favor Attachment to
Active Layer, 2146
Expression Selection, 1244
2741
Expression Tool, 2641
Expressions, 198
8va/8vb, 17, 186
Accelerando, 18
Align/Move Dynamics plug-in,
2470
Aligning, 1251
Assignment Lists, 201
Auto-Dynamic Placement plug-in,
2474
Brackets
Notes, 73
Character Names, 84
Copying expressions, 203
Creating a shape, 559
Creating an expression, 202
Creating Expression Metatools,
207
Crescendo/Decrescendo, 146
Dashed lines, 162
Defining for playback, 204
Divisi, 170
Dynamics, 183
Engraver Text Expressions
Library, 806
Erasing expressions from a
region, 203
Expression Selection, 1244
Expression Tool, 2641
Flutter-tongue, 221
Grace notes, 244
Grand Pause, 248
Jazz Dynamics library, 806
Jazz Rehearsal Letters library,
806
Libraries
Executable Shapes, 818
Harp Diagram, 818
Shape Expressions, 820
SMS Markers, 820
Text Expressions, 822
Metronome markings, 383
Mutes, 427
Note Expressions see
Articulations, 27
Number Repeated Measures plug-
in, 2582
Pedal markings, 470
Pizzicato, 496
Rallentando, 515
see Articulations, 27
see Crescendo/Decrescendo, 146
see Slurs, 570
Shape Designer, 559
Shape Designer menu, 2313
Tempo markings, 673
To add an expression, 199
To add an expression to multiple
staves (Assignment Lists), 201
To add an expression to multiple
staves (Score Lists), 201
To add using a metatool, 202
To adjust the vertical positioning
of expressions, 207
To assign the default positioning
for an expression, 206
To move expressions assigned to
staff lists, 204
To move or delete an expression,
202
Trills, 721
Expressions - playback, 1557
Extra Notes, 2351
Extract Lyrics dialog box, 1236
Extract Parts dialog box, 1262
2742
Extracting Parts, 209 File/Load Library, 2164
Extracting parts into individual File/MusicXML, 2162
documents, 209 File/New, 2150
Printing parts directly from the File/Open, 2151
score, 340
File/Page Setup, 2167
Process Extracted Parts, 2591
File/Post on Finale Showcase,
Special Part Extraction, 2593 2159
Temporarily viewing an, 2593 File/Print, 2168
File/Revert, 2160
F  File/Save, 2154
Facing pages see Page layout—To File/Save As, 2155
apply a different page layout to File/Save Library, 2165
selected pages, 453
File/Save Preferences, 2170
Fall-offs, 210
File/Save Special/Save As Audio
FAQs (Frequently Asked File, 2158
Questions), 912
File/Scanning SmartScore Lite,
Feathered beaming see Beaming- 2163
Feathered beaming, 59
File Statistics dialog box, 1271
Fermatas, 211
Files - saving, 1509
Moving or deleting a fermata, 211
Fill dialog box, 1273
Fibonacci, 1177
Fill With Rests (Simple Entry), 1704
Figured bass, 212
Filter Channels dialog box, 1275
Figured Bass Library, 806
Final barline, 213
File Extensions, 800
Finale and Explorer, 788
File Info dialog box, 1265
Finale File Icons, 800
File Integrity Test Results dialog
Finale Notation File, 2151
box, 1267
Finale Showcase, 2159
File Maintenance dialog box, 1269
Finale Template File, 2151
File menu, 2148
FINALE.INI, 741
File/Close, 2152
FinaleScript
File/Close All, 2153
Check box commands, 2537
File/Compile PostScript Listing,
2169 Clef tool commands, 2553
File/Exit, 2171 Copy and paste document
options, 2550
File/Export to SmartMusic, 2157
Dialog Box commands, 2535
File/Extract Parts, 2156
Document options handling, 2548
File/File Info, 2166
Edit menu commands, 2554
File/Launch Window, 2149

2743
Expect command, 2537
File menu commands, 2555
Font commands, 2557
General commands, 2548
Helpers, 2546
Keyboard shortcuts, 2544
menu commands, 2535
Mouse clicks, 2543
Other commands, 2555
Page layout commands, 2553
Playback, 2557
Radio button commands, 2537
Report font, 2545
Script Editor dialog box, 1277
Script Syntax Coloring, 1278
Selecting a tab, 2540
Selecting and Deleting Measures,
2551
Selecting from drop-down menus,
2540
Selecting windows, 2541
Simulating keystrokes, 2541
Sliders, 2543
Smart Shapes, 2557
Source and destination folders,
2545
Stop and pause, 2545
Text search and replace, 2556
Tgtools, 2546
To Create a New Script, 2533
To print in Booklet form using
FinaleScript, 66
Tool commands, 2552
Typing text and numbers, 2537
Utilities menu commands/misc.,
2553
View commands, 2552
FinaleScript commands, 2535
Find Parallel Motion plug-in, 2559
Find Range plug-in, 2560
Fingerboard diagrams see
Fretboard diagrams, 233
Fingering numbers, 214
see Articulations, 27
Fingerings, 27
FINMIDI.INI, 741
First and second endings, 215
Fit Music dialog, 1280
Fit to Time dialog box, 1282
Fixed Size, 1709
Fixed Split dialog box, 1283
Fixed Split Point dialog, 1285
Flags, 218
Adjusting the placement of
Horizontal and Angled Straight
Flags, 220
Changing the character
assignment for a flag, 218
Maestro Font, 2062
Using Straight Flags, 218
Flat Beams (Remove) plug-in, 2561
Flat Beams plug-in, 2561
Flats
see Key signatures, 301
see Text inserts, 2396
Flats (Simple Entry)
see Accidentals, 21
Flats (Speedy Entry)
see Accidentals, 22
Flutter-tongue, 221
Font Annotation, 222
Font dialog box, 1287
Font Utilities, 1291
Fonts
2744
 Alternative music fonts, 742
ATM, 223
Broadway Copyist, 2037
Change Fonts plug-in, 2491
Changing every occurrence of a
font to a different size, 225
Changing every occurrence of one
font to another, 225
Changing music fonts, 224
Changing the music font of
noteheads on a staff by staff
basis, 226
Cross-platform compatibility, 227
Default Fonts library, 806
Double whole notes, 177
Eliminating dimmed font names
from a document’s font lists, 226
Engraver Font, 1968
Flags, 218
Globally changing a musical
elements font, 224
Jazz Default Fonts library, 806
Jazz Text Font, 1994
Maestro Font, 2060
Maestro Times Font, 2073
PostScript, 223
Shape Note music, 562
Swaping fonts, 1291
TrueType, 223
Unknown Font dialog box, 1870
Where are the fonts installed?,
223
Forced accidentals see Courtesy
accidentals, 141
Forced key and time signatures
see Courtesy key signatures, 143
see Courtesy time signatures, 145
Formatting
see Measure layout, 363
see Music Spacing, 421, 626
see Page layout, 449
Forward Repeat, 1630
Frame Attributes dialog box, 1294
French Horn, 1779
French scoring, 444
Frequency Modulation Chord
Generator plug-in, 2562
Fret numbers, 666
Fretboard, 233
Fretboard diagrams, 233
Creating or showing fretboard
diagrams globally, 233
Moving the fretboard diagrams
individually, 234
Moving the fretboard diagrams up
or down, 234
Removing all fretboard diagrams,
234
Show or hide fretboards for a
region, 233
Showing and hiding fretboards on
individual chords (Manual Input),
233
Fretboard Editor dialog box, 1298
Fretboard Finale, 2088
Fretboard Instrument Definition
dialog box, 1300
Fretboard Selection dialog box,
1302
Fretboard Shape Selection dialog
box, 1304
Fretboard Style Fonts & Shapes
dialog box, 1306
Fretboard Styles dialog box, 1308
Fretboard-chart, 2088
Fretboards, 1052
FTM, 1908
2745
Fugues, 235
Full Measure dialog box, 1310
Full scores
see Extracting parts, 209
see Optimizing systems, 444
see Tiling pages for printing, 696
G 
G clef see Clefs, 103
G.P. see Grand Pause, 248
G_Pitch Wheel, 1911
G_Simple_Entry_Caret, 1912
Garritan Instrument Setup
For new scores, 236
Garritan Personal Orchestra Finale
Edition
Auto Load message, 239
Garritan Instruments for Finale
Instrument Details, 842
Plr# vs. Solo Instruments, 239
To add Keyswitches as
Expressions, 240
To load a GPO Instrument into the
Kontakt Player for Finale, 237
To use a metronome click with
Audio Units, 523
General MIDI, 241
General MIDI Patch Set Groupings,
833
General MIDI Percussion Map
Table, 834
General MIDI Table, 838
Glissando, 242
Glissando Placement dialog box,
1720
Glissandos, 242
Changing which glissando is
assigned to the palette icon, 243
Creating a glissando, 242
Creating a playback glissando,
243
Defining Glissando Placement
settings, 242
Moving, reshaping, or deleting a
Smart Shape glissando, 242
Smart Playback plug-in, 2612
GPO
see Garritan Personal Orchestra
Finale Edition, 236
Grace Note, 2690
Grace notes, 244
Adding a slash to beamed grace
notes, 246
Adding or removing the slashes
from grace notes globally, 245
Adding or removing the slashes
from individual grace notes, 245
Beam grace notes, 245
Changing the size of grace notes,
245
Creating a grace note, 244
Creating a grace note (Simple
Entry), 244
Creating a graphic only, 246
Eliminating grace notes from a
transcription, 246
Maestro Font, 2060
Slash Flagged Grace Notes
(Remove) plug-in, 2605
Slash Flagged Grace Notes plug-
in, 2605
Grace Notes
Document Options-Grace Notes,
1125
Grand Pause, 248
Forcing a break in a multimeasure
rest, 248
2746
 Moving or deleting the G.P.
marking, 248
To create a G.P. marking, 248
Graphic Attributes dialog box, 1311
Graphic Backward Repeats, 1630
Graphics, 249
Assigning a graphic to a measure,
253
Assigning a graphic to one or
more pages, 252
Exporting a selected region of
music as a graphic (Page View),
249
Exporting full pages of music as
graphics (Page View), 250
Graphics menu, 2172
Placing graphics into the score,
251
Placing graphics into the Shape
Designer, 252
Positioning measure-assigned
graphics, 256
Positioning page-assigned
graphics, 255
Positioning page-assigned
graphics (Graphics menu), 254
Positioning page-assigned
graphics on left- and right-facing
pages, 256
Positioning placed graphics on-
screen, 254
Printing with imported EPS files,
189
Scaling a placed graphic
proportionally, 253
Shape Designer, 559
Graphics - Opening, 1509
Graphics - Opening & Display, 2645
Graphics - Positioning & Display,
2172
Graphics - saving, 2174
Graphics - scaling, 1311
Graphics - usage, 1045
Graphics menu, 2172
Graphics/Alignment, 2176
Graphics/Assign New Graphics to
Measure, 2180
Graphics/Assign New Graphics to
Page, 2181
Graphics/Attributes, 2178
Graphics/Check Graphics, 2179
Graphics/Export Pages, 2174
Graphics/Export Selection, 2173
Graphics/Place Graphic, 2175
Gregorian chant
see Staff lines, 633
see Note shapes, 437
Gregorian chant see Medieval plug-
in, 743
Grid and guides
Grid/Guide Options dialog box,
1091
Setting up a grid, 614
Setting up guides, 615
Show (Hide) Grid, 2432
Show (Hide) Guides, 2432
Snapping items to a grid or guide,
614
Snapping to grids and guides, 614
Turning on display of grids and
guides, 614
Turning on snapping of grids and
guides, 614
Grid Items, 1404
Gridline, 1646
Grids and Guides
To create a guide, 731
To show the grid, 731
2747
 To snap to grids and guides, 731 Guitar bends, 267
Using Grids and Guides, 731 Guitar charts see Fretboard
Group Attributes dialog box, 1319 diagrams, 233
Group names, 260 Guitar markings, 268, 854
Change Fonts plug-in, 2491 Guitar parts, 272
Changing the font for group see Fretboard diagrams, 233
names (globally), 2491 see Slashes, 569
Creating or editing a group name, Tablature, 666
260 Guitar slashes
Hiding a group name (full score), see Slashes, 569
263
Positioning group names
H 
(globally), 260
Repositioning group names Hairpins see
(individually), 261 Crescendo/Decrescendo, 146
Setting the initial font for group Half notes see Note values
names, 262 (durations), 443
Group Style Definition dialog box, Half rests
2567 see Rests-Simple Entry, 537
Grouping and bracketing optimized see Rests-Speedy Entry, 539
staves, 632
Half stems, 58
Groups, 264, 630
Half-diminished, 2078
Adding staves to a group, 265
Half-stems
Barlines, 44
Over Rests, 58
Brackets, 74
Halving note values
Changing the attributes of a
see Diminution, 167
group, 264
see Rhythmic Subdivisions, 2599
Group names, 260
Hand Grabber, 2647
Grouping staves, 264
Hand Width Split, 1326
Measures see Measure layout,
363 Handbells
Removing a group, 264 Create Handbells Used Chart
plug-in, 2522
Removing staves from a group,
265 Handle Positioning dialog box, 1328
Working with staff groups, 631 Handles see Staff handles, 631
Gruppettos see Mordents, 407 Hard space see Creating invisible
syllables when typing lyrics, 376
Guide Items, 1405
Harmonic, 27
Guide Placement, 1633
Harmonics, 275
Guitar Bend Options, 1324

2748
 Maestro Font, 2071
Harp pedal diagrams, 276
Harp Pedaling, 232
Hash marks, 569
Headless notes, 277
Removing all noteheads, 277
Removing all noteheads in a
region, 277
Removing the head of a single
note, 277
Help
Troubleshooting, 912
Help menu, 2182
Help/Check for Finale Updates,
2193
Help/FinaleMusic Website, 2191
Help/Keyboard Shortcuts, 2187
Help/QuickStart Videos, 2185
Help/Register Finale, 2192
Help/Tutorials, 2184
Help/User Manual/Broadway
Copyist Character Map, 2189
Help/User Manual/Engraver
Character Map, 2188
Help/User Manual/Maestro
Character Map, 2190
Help/User Manual, 2183
Hiding key signatures, 279
Hiding notes and rests, 280
Hiding a note or rest, 280
Notes and Rests (Hide) plug-in,
2581
Notes and Rests (Show) plug-in,
2581
Hiding staves, 281
Hiding staves for editing (Scroll
View only), 281
Hiding staves for ossia measures
or special playback, 281
Hiding staves for printing, 282
Playing back only selected staves,
502
Showing hidden staves, 282
Hiding time signatures, 284
Hold Margins, 1642
Holds see Fermatas, 211
Human Playback, 285
Apply Human Playback plug-in,
2472
GPO and Human Playback, 286
GPO Keyswitch Triggers, 851
Human Playback Dictionary, 862
Instrument Techniques and
Effects
Technique Types per Instrument,
1355
Types of Actions, 1353
Technique Types per Instrument
Brass techniques, 1358
Harp techniques, 1358
String techniques, 1356
Sustaining instruments, 1355
Timpani techniques, 1358
Woodwind techniques, 1357
Working with Instrument
Techniques and Effects, 1349
Human Playback Custom Style,
1330
Human Playback Preferences,
1341
Hymns, 288
Creating variable-distance
systems, 288
Hyperlink, 1370
HyperScribe, 1373
2749
 Recording with HyperScribe, 291,
519
Tap Source dialog box, 1810
Tap States, 1812
HyperScribe dialog box, 1371
HyperScribe menu, 2195
HyperScribe Options, 1373
HyperScribe/HyperScribe Options,
2198
HyperScribe/Record Continuous
Data, 2199
HyperScribe/Record Mode, 2197
HyperScribe/Transcription Mode,
2200
Hyphens, 289
Preventing a hyphen from ending
a syllable, 289
I  Instrument doubling, 718
Implode Music, 1375
Imploding music, 292
Implode Music menu command,
2426
Import, 1275
Import MIDI File Options dialog box,
1378
Import MIDI from Clipboard dialog
box, 1377
Import Score Files - Options dialog
box, 1382
Import Score Files - Order dialog
box, 1384
Importing, 293
Import MIDI File Options dialog
box, 1378
Importing a MIDI file, 397
Importing text, 293
Indenting systems see Systems–To
indent or move a system, 662
Inner voices see Multiple voices,
417
Insert, 2115, 2396
Measure(s), 2135
Note, 2355
Insert Blank Pages, 2269
Insert Blank Pags dialog box, 1386
Insert Staff Systems dialog box,
1388
Inserting
Blank measure see Measures,
371
Inserting music into an existing
score see Copying music, 121
Lyrics see Lyrics, 342
Inside Slurs, 983
Instrument Definition dialog box,
1389
Instrument Junction dialog box,
1391
Instrument List, 1393
Instrument lists, 299
Assigning staves to MIDI
channels, 299
Instrument Name Assignments
dialog box, 1400
Instrument names see Staff names,
634
Instrument Techniques and Effects,
286
Instrument transpositions see
Transposing instruments, 717
Instrument.txt, 756
Interface changes, 1888
Finale 2008, 1896
Finale 2009, 1892
Finale 2009a, 1891
Finale 2010, 1889
2750
International keyboards, 760
Internet, 300
Post at Finale Showcase, 2159
Interval dialog box, 1403
Inversion
Canonic Utilities plug-in, 2484
Invisible rests
see Hiding notes and rests, 280
see Whole rests, 736
Invisible syllables see Creating
invisible syllables when typing
lyrics, 376
Italicize Capo Chord, 2087
J  key signature changes, 693
Jazz, 1909
see Chord symbols, 86
see Swing, 658
Jazz Clefs library, 806
Jazz Default Fonts library, 806
Jazz Font, 1909
Articulation Library, 818
Document Options Library, 817
Dynamics Library, 806
Measure Rest Library, 819
Rehearsal Letters Library, 822
Spacing Widths library, 821
Text Repeats Library, 823
Jazz Page Format library, 819
Jazz scores
slashes-with-cues drum notation,
482
Jazz Staff Styles library, 819
Jazz Stem Connections library, 819
Jazz Tempos library, 819
Jazz Text Font, 1994
K 
Key changes see Key signatures,
301
Key pressure
see Channel Pressure, 82
see Continuous data, 118
Key Signature dialog box, 1407
Key Signature Tool, 2648
Key Signatures, 301
Breaking an individual tie at a time
or key signature change, 693
Breaking ties across time and key
signature changes globally, 693
Breaking ties in a region at time or
Changing the key, 301
Courtesy key signatures, 143
Document Options-Key Signature
dialog box, 1129
Forcing the display of the key
signature in a measure, 143
Hiding key signatures, 279
Key Signature Tool, 301
Minor keys, 403
Multiple key signatures, 412
Neutral key, 428
Non-standard, 1910
Nonstandard key signatures, 429
Key Step Map dialog box, 1410
Key Velocities
Add, 946
Alter Feel, 963
Limit, 1418
Randomize, 1606
Scale key velocities, 1657
Set to, 1684
Key velocity, 302
2751
 Affecting key velocity with Text
Expressions or Shape
Expressions, 146
Auto-Dynamic Placement plug-in,
2474
Copying or erasing key velocity
data, 392
Editing key velocity with the MIDI
Tool, 302
Recording key velocity
information, 303
Keyboard Shortcuts, 1915
Edit Keyboard Shortcuts dialog
box, 1195
Keyswitches
To add Keyswitches as
Expressions, 240
L  Legati, 27
Landscape Orientation, 305, 505
Laptop, 1946
Last Recorded Tempo dialog box,
703
Latency, 920
Latinin Percussion plug-in, 2569
Launch Window, 1414
Layers
Document Options-Layers dialog
box, 1132
Entering multiple voices using
layers, 417
Fixing overlapping noteheads in
different layers, 357
Moving music from one layer to
another, 419
Switching layers, 621
Layers - moving, 1486
Layout
Measures see Measure layout,
363
Pages see Page layout, 449
Lead sheets, 306
see Chord symbols, 86
see Lyrics, 342
see Measures per line, 375
see Titles, 701
Ledger lines, 307
Ledger Lines (Hide) plug-in, 2571
Ledger Lines (Show) plug-in, 2571
Ledger Lines (Hide) plug-in, 2571
Ledger Lines (Show) plug-in, 2571
Left Barlines, 308
Creating a double left barline, 308
Legal-size paper, 309
Legato, 27
Lesson File, 1509
Libraries, 806
Limit - Note Durations dialog box,
1420
Limit - Tempo, 1422
Limiting MIDI data, 310
see Continuous Data, 118
Line breaks see System (line)
Breaks, 661
Line spacing, 2408
Line Spacing dialog box, 1423
Line Thickness, 1425
Linear Key Format, 937
Lines, 1717
Document Options-Lines and
Curves dialog box, 1135
Lines - dashed, 1092
Linked Parts
Articulations, 318
2752
Baseline Positioning, 337 Part Voicing, 463
Baseline context menus, 338 Printing linked parts, 340
in a part, 338 Relinking part items to the score,
in the score, 337 339
Chords, fretboards, and lyrics, 331 Repeats, 328
Clefs, 332 Repositioning ending brackets,
330
Context menus, 313
Repositioning text repeats, 329
Creating linked parts, 314
Show/hide setting for text
Divisi, 463 repeats and ending brackets,
Groups, 330 330
Lead sheets, 332 Smart Shapes, 326
Linking Details for Linked Parts, Measure-attached smart shapes,
872 328
Measure expressions Note and Notehead-attached
Repositioning measure Smart Shapes, 326
expressions, 317 Special mouse clicks and
Show/hide setting for measure keyboard shortcuts, 313
expressions, 318 Staff Attributes, 330
Measure Numbers, 333 Staff Lists, 333
Measure-attached graphics, 324 Staff Styles, 330
Measure-attached text, 319 Tacit, 340
Multimeasure Rests, 336 Time Signatures, 339
Music Spacing, 335 To apply page layout settings to
Navigating, 315 multiple parts, 335
Note Expressions, 316 To display a staff differently in one
part than another, 642
Override key, 313
To hide an item in the score (and
Page Attached Ossia measures,
leave it showing in parts), 315
334
To reposition an item in the score
Page layout, 335
without moving it in parts, 316
Page-attached graphics, 322
Tuplets, 325
Multiple page-attached graphics,
Listen dialog box, 1426
324
Listen to Tempo dialog box, 1427
Page-attached text, 320
Lock measures in a system, 1280
Multiple-page-attached text
blocks, 322 Locks, 2432
Single-page-attached text Locks see Show Page Layout
blocks, 320 icons, 2432
Part Names, 339

2753
Looping see Repeats (barlines and
text indications), 535
Looseleaf Style (Page View), 2435
Lowercase, 2088
Lowest Fret, 1428
LSN, 1509
Luftpause see Breath marks, 78
Lyric type, 2212
Lyrics, 342
Adjust lyrics, 955
Adjusting the position of word
extension underlines, 355
Auto Slur Melismas plug-in, 2476
Change Fonts plug-in, 2491
Changing alignment and
justification of syllables for
individual notes, 352
Changing fonts within a lyric, 349
Choral music, 85
Clear Lyric Positioning, 2510
Copying lyrics, 351
Copying lyrics with cloning, 351
Correcting misaligned lyrics, 346
Correcting overlapping lyrics, 348
Creating invisible syllables when
typing lyrics (elisions), 188
Creating invisible syllables when
typing lyrics (melismas), 376
Drawing a word extension
underline, 353
Edit Lyrics dialog box, 1200
Editing lyrics already in the score,
346
Erasing lyrics, 351
Exporting to text file, 1236
Hymns, 288
Hyphens, 289
Lyrics menu, 2201
Melisma, 376
Moving or deleting a syllable, 351
Placing lyrics into the score (click
assignment), 345
Preparing lyrics in a separate
window, 345
Rebeam to Lyrics dialog box,
1611
Setting alignment and justification
of syllables globally, 352
Setting the baseline (vertical
position) for lyrics graphically, 350
Setting the baseline (vertical
position) for lyrics numerically, 349
Setting the font for lyrics globally,
348
Shift Lyrics dialog box, 1702
Shifting lyrics to the right or left,
376
Specify Current Lyrics dialog box,
1752
To add word extensions on
specific syllables only, 354
Typing lyrics directly into the
score, 342
Vocal music, 733
Word extensions, 353
Lyrics - adding, 2209
Lyrics menu
Lyrics/Adjust Baselines, 2213
Lyrics/Adjust Syllables, 2204
Lyrics/Alignment, 2210
Lyrics/Click Assignment, 2205
Lyrics/Clone Lyric, 2206
Lyrics/Edit Lyrics, 2202
Lyrics/Edit Word Extensions, 2207
Lyrics/Export Lyrics, 2203
Lyrics/Lyric Options, 2214
Lyrics/Shift Lyrics, 2208
2754
 Lyrics/Speci Current Lyrics, 2212 Major seconds (in different voices
Lyrics/Type Into Score, 2209 and layers), 357
Lyrics/Update Word Extensions, Make Horizontal, 1717
2422 Manage Parts dialog box, 1429
Lyrics Tool, 2651 Manage VST/AU Plug-ins, 1432
Manuscript paper, 358
M  Marching Percussion MIDI Map
Table, 885
Macros, 356
Margins, 359
MacSymbolFonts.txt, 758
Changing default page margins,
Maestro Font, 2060 359
Accent, 2072 Changing page margins, 359
Accidentals, 2063 System see Systems, 662
Alternate Notation, 2069 Martelate, 27
Articulations, 2066 Martellato, 27
Augmentation Dot, 2060 Masks, 360
Barlines, 2070 Masking a portion of a staff, 360
Chord Symbols, 2071 Moving, reshaping, or deleting a
Clefs, 2069 Shape Expression mask, 361
Closed Parenthesis, 2072 Measure Attributes, 1436
Dot, 2072 Measure Expressions and Staff
Dynamics, 2065 Lists, 1892
Equal Sign, 2072 Measure grouping, 1280
Flags, 2062 Measure Items, 1182
Harmonics, 2071 Measure Layout, 363
Multimeasure Rest numbers, 2070 Creating a system break, 365
Noteheads, 2061 Forcing selected measures into
one system, 364
Notes, 2060
Moving a measure to the previous
Percussion Notation, 2071
(or next) system, 363
Repeats, 2069
Removing measure groups for
Rests, 2064 individual systems, 365
Smart Shapes, 2068 Removing measure groups
Staves, 2070 through the end of the piece, 364
Time Signature numbers, 2070 Specifying a number of measures
maestro times font, 2073 per system, 375
Major keys see Key signatures, 301 Splitting a measure across a line
break, 373
Update layout, 2421

2755
Measure menu, 2215
Measure/ Hide Measure Numbers,
2220
Measure/Add Measure Number
Enclosures, 2218
Measure/Edit Measure Number
Regions, 2109, 2216
Measure/Insert, 2124
Measure/Restore Measure
Number Defaults, 2221
Measure/Show Measure
Numbers, 2219
Measure/Show Measure Spacing
Handles, 2222
Measure Number dialog box, 1441
Measure Number Style, 1446
Measure Numbers, 366
Adding a measure number to an
existing region, 369
Creating measure numbers, 367
Removing measure numbers from
a single staff, 368
Reshaping or removing a measure
number’s enclosure, 369
Measure Numbers/Add Enclosures,
2218
Measure Numbers/Edit Region,
2109, 2216
Measure Numbers/Hide Measure
Numbers, 2220
Measure Numbers/Reset Defaults,
2221
Measure Numbers/Show Measure
Numbers, 2219
Measure repeat signs, 370
Maestro Font, 2069
Number Repeated Measures plug-
in, 2582
Measure Tool, 2655
Measure Widths, 948
Measurement Units, 2140
Equivalents, 777
Measures, 371
Adding blank measures at the end
of the document, 371
Adjusting measure widths in a
system, 372
Arranging measures on a page,
363
Beat positions, 63
Cadenzas, 79
Changing one measure’s width,
372
Changing the widths of many
measures, 372
Deleting a measure from a single
staff, 371
Double barlines, 176
Erasing or removing measures,
371
Final barline, 213
Inserting blank measures within a
document, 371
Measure numbers, 366
Measure Tool, 2655
Measures per line, 375
Pickup measures, 489
see Measure layout, 363
Specifying minimum or maximum
measure widths, 373
Splitting a measure across a line
break, 373
System (line) break, 661
Measures - alternate display, 968
Measures - information about, 1189
Measures - mirrored (or copies),
1470, 1673
Measures - moving layers, 1486
Measures per line, 375
2756
 Removing measure groups from a
selected region, 375
Removing measure groups from
the current page to the end, 375
Specifying a number of measures
per line (within a region), 375
Measures-per-line, 2416
Medieval music, 743
Melisma, 376
Creating invisible syllables when
typing lyrics, 188, 376
Drawing a word extension
underline, 353
see Slurs, 570
see Vocal music, 733
Shifting lyrics to the right or left,
346
Melismas
Auto Slur Melismas plug-in, 2476
Melismatic, 1611
Melodic Morphing plug-in, 2572
Mensurstriche, 2567
menu Shortcuts plug-in, 2575
menus, 2074
Merge Measures Plug-in, 2574
Merging music, 292
Merging scores, 1663
Metatool, 1910
Metatools, 377
Apply Beat Spacing, 381
Apply Note Spacing, 381
Articulations, 27
Chord symbols, 97
Clefs, 103
Elapsed Time, 381
Explode Music, 381
Expressions, 207
Implode Music, 381
Staff styles, 2710
Transpose, 381
Meters see Time signatures, 698
Metronome markings, 383
Creating a metronome marking,
383
Creating complex metronome
markings, 385
Defining for playback, 385
Moving or deleting the marking,
385
Metronome Sound, 1550
MicNotator, 387
Setup, 387
Microphone, see MicNotator, 387
Microtonal tunings see
Nonstandard key signatures, 429
MIDI, 392, 1068
Assigning a staff to more than one
MIDI channel, 394
Backbeats, 42
Changing a MIDI channel in mid-
staff, 394
Channel Pressure, 82
Continuous data, 118
Copying or erasing captured (or
edited) MIDI data, 392
Correcting erratic MIDI playback,
502
Creating swing playback, 1798
Downbeats, 178
Export MIDI File Options dialog
box, 1237
FINMIDI.INI, 741
Import MIDI File Options dialog
box, 1378
Key velocity, 302
2757
 Limiting MIDI data, 310
MIDI files, 397
MIDI Sync, 400
MIDI Terminology, 891
MIDI Tool menu, 2238
More on MIDI, 896
Moving or deleting the channel-
change expression, 394
Patches, 466
Pedal markings, 470
Pitch wheel, 491
Sending an, 393
Start and Stop Times, 644
To specify the MIDI device, 393
Volume, 734
MIDI - editing, 1463
MIDI Channels for Tablature dialog
box, 1807
MIDI Event, 1451
MIDI File Status dialog box, 1462
MIDI files, 397
Exporting a MIDI file of the entire
document, 398
Import MIDI File Options dialog
box, 1378
Importing a MIDI file, 397
Percussion, 484
MIDI In, 1454
MIDI Input Filter dialog box, 1452
MIDI Instrument lists, 299
MIDI lock see MIDI, 392
MIDI Note to Pitch Table, 889
MIDI Out, 1455
MIDI Setup, 1454
MIDI Sync, 400
Receiving MIDI Sync data while
playing back a Finale score, 400
Transmitting MIDI Sync data while
playing back a Finale document,
400
Transmitting MIDI Sync data while
recording in the Transcription
Mode, 401
Transmitting Song Pointer data
during playback, 402
Using the MIDI Sync signal to
provide the, 401
MIDI Terminology, 891
Finale Instruments and Channels,
893
Input Device and Output Device,
895
MIDI channels, 892
MIDI Channels and Patches, 893
MIDI Interface, 892
MIDI Setup, 891
MIDI System, 891
Sequencing, 891
MIDI Thru, 1458
MIDI Thru Table, 1460
MIDI Tool, 2661
Legato, 646
MIDI Tool menu, 2238
Dragging Copies MIDIData, 2255
Dragging Copies Music, 2254
MIDI Tool/Add, 2245
MIDI Tool/Alter Feel, 2248
MIDI Tool/Clear, 2250
MIDI Tool/Continuous Data, 2242
MIDI Tool/Edit MIDI Note, 2251
MIDI Tool/Key Velocities, 2240
MIDI Tool/Limit, 2247
MIDI Tool/Note Durations, 2241
MIDI Tool/Percent Alter, 2246
MIDI Tool/Play, 2252
2758
 MIDI Tool/Randomize, 2249
MIDI Tool/Scale, 2244
MIDI Tool/Set To, 2243
MIDI Tool/Show Selected Notes,
2253
MIDI Tool split window, 1463
MIDI/Audio menu
Audio/MIDI Clipboard, 2231
MIDI/All Notes Off, 2233
MIDI/Audio, 2223
MIDI/Audio/Audio Track, 2227
MIDI/Audio/Device Setup, 2229
MIDI/Audio/Human Playback,
2228
MIDI/Audio/Instrument Setup,
2226
MIDI/Audio/MIDI File Options,
2230
MIDI/Audio/Play Finale Through
Audio Units, 2224
MIDI/Audio/Play Finale Through
MIDI, 2225
MIDI/Click and Countoff, 2236
MIDI/Quantization Settings, 2237
MIDI/Retranscribe, 2235
MIDI/Send MIDI Value, 2232
MIDI/Set Panning, 2234
Midline Stem Direction plug-in,
2578
Mid-Measure Clef, 1448
Mid-measure Clef dialog, 2639
Mid-Measure Repeats plug-in, 2577
Minor keys, 403
Establishing a minor key system,
403
Mirror Attributes dialog, 1005
Mirror Tool, 2663
Mirror/Dragging Copies Music,
2257
Mirror/Dragging Mirrors Measures,
2258
Mirroring
Converting mirrored measures
into, 404
Creating a composite mirror, 404
Creating a mirror (intelligent copy),
404
Entering multiple voices using
layers, 417
Entering multiple voices using
V1/V2, 419
Fugues, 235
Identifying mirrored measures in
the score, 404
Multiple voices, 417
Rebeaming or editing an existing
mirror, 406
Mirrors, 1552
Mixer
Special mouse clicks, 1474
To use real-time mixer controls,
501
Modify Rests plug-in, 2579
Mordent, 27
Mordents, 407
More on MIDI, 896
More Quantization Settings, 1481
More Settings dialog box, 1478
Motif see Mirroring, 404
Move Groups dialog box, 1485
Move Rests plug-in, 2580
Movie Window, 1488
Moving measures across systems,
363
Moving Split, 1490
2759
Moving Split Point dialog box, 291,
519
MP3 files
see Audio Files, 40
MTC
see SMPTE and MIDI Time Code,
613
Multiline shape, 1697
Multimeasure, 2137
Multimeasure Rest dialog box, 1492
Multimeasure rests, 408
Breaking a multimeasure rest, 410
Creating a multimeasure rest, 409
Displaying a measure number
range for a multimeasure rest.,
411
Displaying symbols for
multimeasure rests, 409
Editing the appearance of a
multimeasure rest, 410
Jazz Measure Rests library, 806
Maestro Font, 2070
Measure Rest Library, 806
Multimeasure rests, 408
Multimeasure rests in Linked
Parts, 336
Setting up the appearance of
multimeasure rests, 408
Multiple Endings, 413
Multiple key signatures, 412
Multiple meters see Multiple time
signatures, 416
Multiple Passes, 1494
Multiple Splits, 1496
Multiple time signatures, 416
Multiple voices, 417
Multitrack, 2197
MUS, 1910
Music - exploding (copying) into
other staves, 1233
Music - formatting, 2419
Music - imploding (merging) into
one staff, 1375
Music input
see Importing-Importing a MIDI
file, 397
see Recording with HyperScribe,
291, 519
see Simple Entry, 563
see Speedy Entry, 617
see Transcribing a sequence, 703
Music Spacing, 2419
Automatic Music Spacing, 1582
Creating a new Music Spacing
library from scratch, 425
Editing an existing Music Spacing
library, 424
Fixing overlapping noteheads in
different layers, 357
Jazz Spacing library, 806
Libraries, 806
Loading an Music Spacing library
into an open document, 422
Music spacing in Linked Parts,
335
Reapplying music spacing over a
region, 423
Restoring a region to proportional
spacing, 425
Saving your edited or newly
created Music Spacing library, 425
Setting a minimum space between
tied notes, 694
Specifying minimum or maximum
measure widths, 373
Turning off Automatic Music
Spacing, 422
MusicXML
2760
 2009 Updates, 2162
Mutes, 427
N 
Naturals
see Key signatures, 301
see Text Inserts, 2396
Navigating Linked Parts, 315
Nested repeats see Repeats
(barlines and text indications), 535
Nested tuplets see Tuplets, 722
Neutral key, 428
New File, 2150
New Staves, 1499
Nonlinear key signatures see
Nonstandard key signatures, 429
Non-Standard, 1910
Nonstandard Key Signature dialog
box, 1501
Nonstandard key signatures, 429
Creating nonstandard key
signatures, 429
Notation - editing, 1517
Notational Defaults, 825
Note bracket, 73
Note durations see Note values
(durations), 443
Note Expression Assignments,
1031
Note Expressions see Articulations,
27
Note Mover, 2259
Note Mover menu, 2259
Append After, 2266
NoteMover/Copy and Merge, 2261
NoteMover/Copy and Replace,
2260
NoteMover/Cross Staff, 2264
NoteMover/Delete After Merge,
2263
NoteMover/Delete After Replace,
2262
NoteMover/Insert Before, 2265
NoteMover/Search and Replace,
2267
Note Mover Tool, 2665
Note positioning, 436
Note shapes, 437
Changing all notehead shapes of
a specified duration and pitch, 438
Changing the shape of a
notehead, 437
Copying individual notehead
changes to other measures, 437
Shape Note music, 562
Note Shapes dialog box, 1507
Note Size, 440
Reducing or enlarging selected
notes (or noteheads), 440
Reducing or enlarging the notes
(but retain staff size), 440
Restoring a region of modified
notes to their original size, 441
Note values (durations), 443
Augmentation, 41
Diminution, 167
Maestro Font, 2060
Notehead, 1034, 1637
Notehead Settings, 1505
Noteheads, 442, 2704
Engraver Font, 1968
Invisible see Headless notes, 277
Maestro Font, 2061
Removing all noteheads in a
region, 277
Shapes see Note shapes, 437
2761
Notes
Maestro Font, 2060
Notes - changing, 1665
Notes - different shapes, 1034
Notes - entering see HyperScribe,
291, 519
Notes - entering see Simple Entry,
563
Notes - entering see Speedy Entry,
617
Notes - selecting durations, 1028
Notes and Rests (Hide) plug-in,
2581
Notes and Rests (Show) plug-in,
2581
Number Repeated Measures plug-
in, 2582
O  Ottava Bassa (8vb) see 8va/8vb,
Offbeats see Backbeats, 42
One-Bar Repeat, 968
Opaque see Masks, 360
Open Symbols
Harmonics see Harmonics, 275
see Articulations, 27
Operas
see Lyrics, 342
see Optimizing systems, 444
see Vocal music—To beam
according to lyric syllables, 733
Optimize Staff Systems, 1623
Optimized staves
Grouping and bracketing, 632
Optimizing systems, 444
Optimizing a single system, staff
by staff, 445
Optimizing all (or specified)
systems, 444
Removing staff optimization from
all (or specified) systems, 444
To remove staves from a single
system, 445
Optional Octave Region dialog box,
1511
Orchestral reductions see Piano
reductions, 488
Ossia, 447, 1434
Creating a floating (ossia)
measure, 447
Moving, editing, or deleting a
floating measure, 448
Ossia Measure Designer dialog
box, 1512
Ossia Measures, 1515
Ossia Tool, 2667
Ottava (8va) see 8va/8vb, 17, 186
17, 186
P 
Page Assignment, 1515
Page Format for Parts dialog box,
1517
Page Format Library, 806
Page Layout, 449, 1520, 1617
Applying a different page layout to
selected pages, 453
Blank pages, 65
Changing the default page layout
(Page Format for Score dialog
box), 452
Changing the distance between
systems, 450
Changing the page layout, 451
Changing the page margins, 451
Configuring Pagesizes.txt, 759
Cutaway scores, 161
2762
 Distances, 168
Fit Music, 2275
in Linked Parts, 335
Margins, 359
Measure layout, 363
Measures per line, 375
Optimizing systems, 444
Page Layout menu, 2268
Page size, 457
Page turns, 458
Pickup measures, 489
see Measure layout, 363
see Systems, 662
Setting the page size, 451
Space Systems Evenly, 2276
System (line) break, 661
Systems, 662
Title page, 700
Page Layout menu, 449
Page Layout/Avoid Margin
Collisions, 2277
Page Layout/Delete Page Break,
2270
Page Layout/Delete Staff
Systems, 2272
Page Layout/Fit Music, 2275
Page Layout/Insert Blank Pages,
2269
Page Layout/Insert Staff Systems,
2271
Page Layout/Optimize Staff
Systems, 2274
Page Layout/Page Margins, 2280
Page Layout/Page Size.Choose,
2281
Page Layout/Redefine Pages,
2273
Page Layout/Resize Pages, 2282
Page Layout/Resize Staff
Systems, 2283
Page Layout/Space Systems
Evenly, 2276
Page Layout/Systems, 2279
Page Layout/Update Page Format
For Score, 2278
Page Layout Tool, 2670
Page Margins see Margins, 359
Page Number, 1523
Page numbers, 455
Adding a page number, 455
Changing the page number offset,
455
Moving or deleting a page
number, 455
Page Offset dialog, 2400
Page Setup, 1524
Page Setup dialog, 2167
Page Size, 457
Changing the page size
(Document menu), 452
Setting the page size for all pages,
457
Page turns, 458
Fitting an additional system onto
one page, 458
Pushing a system onto the next
page, 458
Smart Page Turn plug-in, 2609
Page View, 459
Page View Style submenu, 2435
Parentheses, 462
Add or remove parentheses
around accidentals (Simple Entry),
21
Add or remove parentheses
around an accidental (Speedy
Entry), 462
2763
 Placing parentheses around a
note or rest, 462
Part extraction, 2156
Part extraction see Extracting parts,
209
Part names in linked parts, 339
Part Voicing, 463
Partial Measure Selection, 1531
Paste Multiple dialog box, 1529
Paste/Replace Entries, 2125
Pasting
see Copying music, 121
see Edit menu, 2115
Patch Changes, 1679
Patches, 466
Chasing patch changes before
playback, 467
Copying or erasing patch change
data created with the MIDI Tool,
392
Establishing the initial program
settings for each staff, 466
Setting up a patch change on
playback, 467
Setting up patch changes using
the MIDI Tool, 468
Patterson Beams plug-in, 2585
PDF documents, 24
Pedal markings, 470
Creating playback pedaling using
the MIDI Tool, 472
Drawing a pedal on/off diagram
(Smart Shape method), 471
Engraver Font-Harp Pedaling, 232
Harp pedal diagrams, 276
Pedal markings, 470
To create pedal markings, 470
To create playback pedaling using
the MIDI Tool, 472
Percent Alter - Tempo, 1536
Percent Alteration-Continuous Data
dialog box, 1532
Percent Alteration-Key Velocities
dialog box, 1534
Percent Alteration-Note Durations
dialog box, 1537
Percussion, 475
Adjusting stem connections on
noteheads, 482
Creating a percussion staff, 479
Creating a percussion staff with a
customized percussion map, 480
Editing percussion layouts, 480
Importing a MIDI file, 484
Loading a percussion library, 479
Maestro Font, 2071
Marching Percussion MIDI Map
Table, 885
Note Entry, 475
Entering with HyperScribe, 476
Entering with Simple Entry, 476
Entering with Speedy Entry, 476
Percussion Library, 899
Percussion Tones, 486
Saving a percussion library, 479
To create slashes-with-cues drum
notation, 482
To setup an external MIDI device
for percussion input & playback,
478
To setup playback for a
percussion staff, 477
Percussion clef see Percussion,
475
Percussion Input Maps dialog box,
1545
Percussion Layout Designer dialog
box, 1539
2764
Percussion Layout Selection dialog
box, 1542
Percussion MIDI Map Editor dialog
box, 1547
Percussion MIDI Maps, 901
Petrucci Font
see also Fonts, 223
Phrase markings see Slurs, 570
Piano Braces, 1012
Piano music, 151
Piano Reduction plug-in, 2590
Piano reductions, 488
Creating a piano reduction for the
entire piece, 488
Creating a piano reduction over a
region, 488
Piano Reduction plug-in, 2590
see Imploding music, 292
Pickup Measures, 489
Creating a pickup measure at the
beginning of a piece, 489
Creating a pickup measure within
a piece, 489
Pitch bends see Pitch wheel, 491
Pitch wheel, 491
Copying or erasing pitch wheel
data, 392
Creating a pitch bend (as an
expression), 492
Pizzicato, 496
Place Graphic dialog, 2175
Placeholder, 1552
Plainchant
see Barlines—To hide all barlines
(no-barline music), 44
see Melisma, 376
see Stemless notes, 651
Plainchant see Medieval plug-in,
743
Playback, 497, 1550, 2713
Audio spot-checking music, 504
Correcting erratic MIDI playback,
502
Instrument lists, 299
Making the music scroll during
playback, 504
Mixer, 1474
Playing back a score, 498
Playing back selected staves, 502
see MIDI, 392
Sending an, 502
Specifying playback parameters,
503
Staff Controls, 1760
Tempo, 672
To use real-time mixer controls,
501
Using the Playback Controls, 499
Playback and/or Click, 1550
Playback Controls, 1554, 2713
Playback Data Dump, 1557
Playback Settings dialog box, 1562
Playback/Record Options, 1559
Plr# v. Solo instruments (Garritan),
239
Plug-in filenames, 902
Plug-ins, 2284
Add Cue Notes plug-in, 2468
Align/Move Dynamics plug-in,
2470
Apply Human Playback plug-in,
2472
Auto Slur Melismas plug-in, 2476
Auto-Dynamic Placement plug-in,
2474
2765
Automatic Barlines plug-in, 2477
Band-in-a-Box Auto-Harmonizing
plug-in, 2479
Beam Over Barlines plug-in, 2483
Canonic Utilities plug-in, 2484
Cautionary Accidentals plug-in,
2489
Change Fonts plug-in, 2491
Change Noteheads plug-in, 2492
Change to Default Whole Rests
plug-in, 2493
Change to Real Whole Rests
plug-in, 2494
Check Range plug-in, 2495
Check Region for Durations plug-
in, 2498
Chord Analysis plug-in, 2499
Chord Morphing plug-in, 2501
Chord Realization plug-in, 2503
Chord Reordering plug-in, 2505
Chord Splitting plug-in, 2506
Classic Eighth Beams plug-in,
2508
Clear Lyric Positioning plug-in,
2510
Clear Measure # Positioning plug-
in, 2511
Command Line plug-in, 2512
Common Tone Transposition
plug-in, 2517
Composer’s Assistant plug-ins,
2518
Count Items plug-in, 2519
Create Coda System plug-in, 2520
Create Handbells Used Chart
plug-in, 2522
Cross-staff plug-in, 2524
Drum Groove plug-in, 2526
Easy Harmonics plug-in, 2528
Easy Tremolos plug-in, 2529
FinaleScript plug-in, 2531
Find Parallel Motion plug-in, 2559
Find Range plug-in, 2560
Flat Beams (Remove) plug-in,
2561
Flat Beams plug-in, 2561
Frequency Modulation Chord
Generator plug-in, 2562
Latin Percussion plug-in, 2569
Ledger Lines (Hide) plug-in, 2571
Ledger Lines (Show) plug-in, 2571
Melodic Morphing plug-in, 2572
Merge Measures plug-in, 2574
Midline Stem Direction plug-in,
2578
Mid-Measure Repeats plug-in,
2577
Modify Rests plug-in, 2579
Move Rests plug-in, 2580
Notes and Rests (Hide) plug-in,
2581
Notes and Rests (Show) plug-in,
2581
Number Repeated Measures plug-
in, 2582
Patterson Beams plug-in, 2585
Piano Reduction plug-in, 2590
Process Extracted Parts plug-in,
2591
Rhythm Generator plug-in, 2597
Rhythmic Subdivisions plug-in,
2599
Score System Divider plug-in,
2601
Single Pitch plug-in, 2604
Slash Flagged Grace Notes
(Remove) plug-in, 2605
2766
 Slash Flagged Grace Notes plug-
in, 2605
Smart Cue Notes plug-in, 2606
Smart Page Turns plug-in, 2609
Smart Playback plug-in, 2612
Smart Split Point plug-in, 2615
Split Measure plug-in, 2618
Split Point plug-in, 2621
TGTools plug-ins, 2290
Tie Common Notes plug-in, 2622
Update Group and Brackets plug-
in, 2623
Group Style Definition dialog
box, 2567
Move Groups dialog box, 1485
Position Groups dialog box, 1568
Update Groups and Brackets
plug-in, 2623
Vertical Collision Remover plug-in,
2625
Virtual Fundamental Generator
plug-in, 2628
Voice 2 to Layer plug-in, 2630
Plug-ins menu, 2284
Point Size, 1709
Polyphony see Multiple voices, 417
Port, 892
Portrait orientation, 305, 505
Position, 1571
Position dialog box, 1565
Position Fretboards, 2090
Position Groups dialog box, 1568
Post at Finale Showcase, 2159
PostScript, 506
Preset Arrowhead Selection, 1573
Printing, 507, 1080
Batch Printing, 49
Booklets, 66
To print in Booklet form using
FinaleScript, 66
Landscape orientation, 305, 505
Legal-size paper, 309
Portrait orientation, 305, 505
Printing a score, 507
Printing large scores, 507
Printing linked parts, 340, 507
Tiling pages for printing, 696
Process Extracted Parts plug-in,
2591
Program changes see Patches, 466
Program Options dialog box, 1578
Program Options-Display Colors,
1580
Program Options-Edit, 1582
Program Options-Folders, 1587
Program Options-New, 1589
Program Options-Open, 1591
Program Options-Palettes and
Backgrounds, 1594
Program Options-Save, 1597
Program Options-View, 1599
Program Preferences, 1578
Pull-offs, 267
Punch In PreRoll, 1602
Punch in/Punch out, 508
Q 
Quantization Settings, 1603
Quantization Settings Guide, 510,
906
Quarter notes see Note values, 443
Quarter-tone scales, 433
QuickTime
Percussion Tones, 486
2767
Quindicesima (15ma) see 8va/8vb,
17, 186
Quintuplets
see also Tuplets, 722
Quit, 2171
R  Swing, 658
Railroad tracks
see Articulations, 27
see Cesuras, 81
Rallentando, 515, 1222
Defining for playback, 515
Moving or deleting a Rall.
marking, 515
Randomize, 1607
Randomize Key Velocities dialog
box, 1606
Randomize Note Durations, 1607
Real-Time Entry
see HyperScribe Tool, 2654
see Transcription Mode, 713
Rebar Music, 2423
Rebar Options, 1609
Rebarring, 1609
Rebarring music, 527
Rebeam, 2424
Rebeam to Time Signature dialog
box, 1613
Rebeaming, 1614
see Beaming—To rebeam a
selected region, 53
Record Continuous Data, 1615
Recording with HyperScribe
Correcting split point errors, 625
HyperScribe menu, 2195
HyperScribe Tool, 2654
Quantization Settings Guide, 510,
906
Recording into one or two staves,
519
see Transcribing a sequence, 703
Split points, 624
Using multitrack recording, 521
Redefine Pages, 1617
Redefine Selected Pages, 1618
Redo, 2118
Allowing undo actions previous to
saving a file, 729
Re-applying changes to your
score using redo, 729
Redoing a series of changes up to
a specified point, 729
see Undo, 729
Redraw, 528
Moving the screen picture
diagonally, 528
Reducing/Enlarging, 529
Cue notes, 155
Piano reductions, 488
Preventing certain items from
shrinking, 530
Reducing or enlarging a staff or
system, 529
Reducing or enlarging all the
music on a page (or the entire
piece), 530
Reducing or enlarging cue notes,
155
Reducing or enlarging individual
notes, 440
Resize Tool, 2677
Rehearsal letters
Jazz Rehearsal Letters library,
806
2768
 See Rehearsal marks, 1622
Rehearsal letters see Rehearsal
marks, 532
Rehearsal Mark Sequence dialog
box, 1622
Rehearsal marks, 532
Moving or deleting a rehearsal
mark, 534
Rehearsal Mark Sequence dialog
box, 1622
To add rehearsal marks, 532
To define and add a custom
rehearsal mark, 532
To restart rehearsal mark
numbering, 534
Rehearsal piano parts see Piano
reductions, 488
Releases
Recording with HyperScribe, 291,
519
see Articulations, 27
see Rolled chords, 544
see Start and Stop Times, 644
Relink In All Parts, 313
Relink To Score, 313
Remove Empty Staves, 1623
Renotate, 2235
Repeat Assignment, 1821
Repeat barline, 1630
Repeat Designer, 1624
Repeat markers for SmartMusic
Accompaniments, 600
Repeat marking, 1631
Repeat measure symbols see
Measure repeat signs, 370
Repeat menu, 2291, 2673
Repeat/Align Brackets, 2297
Repeat/Check Repeats, 2300
Repeat/Create Backward Repeat
Bar, 2296
Repeat/Create Ending, 2294
Repeat/Create First and Second
Ending, 2293
Repeat/Create Forward Repeat
Bar, 2295
Repeat/Create Simple Repeat,
2292
Repeat/Delete, 2299
Repeat/Repeat Options, 2301
Repeat/Restore Bracket to
Default, 2298
Repeat Selection, 1630
Repeats (barlines and text
indications)
Breaking a repeat barline that
connects staves, 536
Changing the default bracket
height for repeats (and set the
number font), 216
Coda, 112
D.C., 165
D.S., 180
D.S. al Coda, 180
First endings, 215
Hiding the ending brackets and
text repeats for a specified staff,
216
Jazz Text Repeats library, 806
Maestro Font, 2069
Measure repeat signs, 370
Mid-measure Repeats plug-in,
2577
Moving, hiding or deleting a text
repeat, 216
Multiple Endings, 413
Repeats (barlines and text
indications), 535
2769
 To adjust the brackets on a repeat
barline, 215
To change a backward repeats’
playback definition, 216
To create a repeat with first and
second endings, 215
To create multiple endings, 414
To create multiple passes for a
repeat ending, 413
To delete a repeat barline, 536
To place a basic repeat in your
score, 535
To place a text repeat in your
score, 536
Repitch, 568
Replace Entries, 2125
Reposition Guide, 1633
Reset Tempo Marker dialog box,
1635
Resize Note dialog box, 1636
Resize Notehead dialog box, 1637
Resize Noteheads plug-in, 2595
Resize Notes, 1636
Resize Page dialog box, 1638
Resize Staff dialog box, 1640
Resize Staff System, 1641
Resize Tool, 2677
Resize Vertical Space, 1642
Respace Staves, 1644
Respell Notes, 2415
Rests
Change to Default Whole Rests
plug-in, 2493
Change to Real Whole Rests
plug-in, 2494
Hiding default rests, 358
Maestro Font, 2064
Move Rests plug-in, 2580
Simple Entry, 537
Adding a rest, 537
Changing a note to a rest, 538
Changing a rest to a note, 537
Changing a rest’s duration, 537
Hiding a rest, 538
Moving a rest vertically, 537
Speedy Entry, 539
Adding a rest, 539
Changing a rest to a note, 540
Changing a rest’s duration, 540
Changing a single note to a rest,
540, 541
Inserting a note or a rest in a
measure, 622
Moving a rest vertically or
horizontally, 539
To fill measures with rests, 737
Retranscribe, 2235
Retranscription, 542
Retrograde
Canonic Utilities plug-in, 2484
Reverse stems, 543
Creating a reverse stem, 543
Temporarily displaying reverse-
stemmed notes with normal
stems, 543
Rhythm Generator plug-in, 2597
Rhythmic Notation, 569, 969
see Guitar parts, 272
Rhythmic Subdivisions plug-in,
2599
Rhythmic values see Note values
(durations), 443
Ritards see Rallentando, 515
Rolled 8ths see Swing Playback,
1798
Rolled chords, 544
2770
 Adjusting, moving, or deleting the
rolled chord marking, 544
Copying rolled chord markings
(and other articulations), 27
Creating the rolled chord marking,
544
Defining for playback, 544
Rolls, 544
Rolls see also Tremolos, 719
Rulers and Grid dialog box, 1646
Running headers, 546
S  Scroll View, 552
SATB parts see Choral music, 2334
SATB parts see Choral music, 85
Save As, 1237
Save As Audio File, 1648
Save As SmartMusic
Accompaniment, 2157
Save Library dialog box, 1650
Save Preferences, 2170
Save Tempo Changes, 1653
Saving
Backup files, 1578
Scale, 1659
Scale Continuous Data dialog box,
1655
Scale Key Velocities, 1657
Scale Note Durations, 1659
Scale Tempo, 1661
Scaling, 1875, 1887
Scanning, 547
Choosing the best scanner for
SmartScore, 547
Importing scanned TIFF files, 550
Instrument Name Assignments
dialog box, 1400
Scanning and importing sheet
music, 548
SmartScore Lite dialog box, 1738
Using your scanner's software to
scan sheet music for Finale
import, 549
Score Lists, 1762
Score System Divider, 2601
ScoreMerger, 1663
Screen Display, 2432
Screen redraw see Redraw, 528
Script Editor dialog box, 1277
Scrubbing Playback see To "Audio
spot-check" music, 504
Seach and Replace Fonts, 1291
Search and replace
Changing occurrences of a note or
motif (search and replace), 553
Search menu, 2267
Text Search and Replace, 1824
Search and Replace dialog box,
1665
Secondary Beam Break Selection,
1667
Secondary Beam Break Tool, 1667
Section, 2212
Select Display Colors, 2445
Select Region dialog box, 1669
Select Staff Set, 2440
Select Staff Systems, 1671
Selecting music, 555, 1669
To select a large region without
scrolling, 558
To select regions of measures,
557
Selection Overview, 1672
Selection Tool, 2679
2771
Selective Mirror, 1673
Send MIDI Value, 1675
Send MIDI Value dialog, 2232
Septuplets see Tuplets, 722
Sequencers see MIDI files—To
import a MIDI file, 397
Set Distances, 1677
Set Duration, 1678
Set Key Velocities, 1684
Set Patch To, 1679
Set Pickups, 1549
Set Placeholder, 1680
Set Swing Ratio, 1681
Set To - Tempo, 1687
Set To Continuous Data dialog box,
1683
Set To Start/Stop Time dialog box,
1685
Setup Wizard, 1688
Shape Designer, 559
Creating a shape, 559
Entering the Shape Designer, 559
Harp pedal diagrams, 276
Shape Designer menu, 2313
Shape Designer dialog box, 1695
Shape Designer menu, 1695, 2313
Shape Designer/Bracket Style,
2324
Shape Designer/Bring, 2316
Shape Designer/Fill, 2323
Shape Designer/Group, 2317
Shape Designer/Line Style, 2320,
2321
Shape Designer/Rulers, 2325
Shape Designer/Select Font, 2319
Shape Designer/Send, 2315
Shape Designer/Show, 2314
Shape Designer/Ungroup, 2318
shape expressions, 559
Shape Note music, 562
see Note shapes, 437
Shape Selection, 1700
Shape/Arrowheads, 2322
Shapes, 2698
Shapes - around text, 1218
Shapes - drawing, 1695
Shapes - filling, 1273
Shapes - for playback, 1222
Sharps
see Accidentals, 21
see Key signatures, 301
see Text Inserts, 2396
Shift Lyrics, 1702
Show
Hidden object shading, 1601
Show Guitar Fretboards, 2088
Simile see Expressions, 198
Simple Entry, 27, 563, 1707, 2302
Accidentals, 21
Adding a dot a note, 174
Adding or removing a tie, 685
Changing a rest to a note, 537
Changing the rhythmic value of a
note, 617
Check Region for Durations plug-
in, 2498
Creating a grace note, 244
Entering music with the Simple
Entry Tool, 563
Flattening a beam, 51
Hiding a note or rest, 280
Laptop Key Commands, 1946
Ledger Lines (Hide) plug-in, 2571
Ledger Lines (Show) plug-in, 2571
2772
 Major seconds (in different voices
and layers), 357
Moving a note or rest vertically,
620
Raising or lowering a note by a
half step, 563
Rests, 537
Sharps, 563
Simple menu, 2302
To add or remove parentheses
around accidentals, 21
To hide or show an accidental, 21
Tuplets, 726
Tying a note to the next one, 563
Using your computer keyboard to
enter music (Simple Entry), 565
Simple Entry Keyboard shortcuts,
1939
Simple Entry Laptop Set, 1946
Simple Entry Options, 1704
Simple Entry Tools, 2690
Simple menu, 2302
Simple/Simple Edit Commands,
2305
Simple/Simple Entry Options,
2303
Simple/Simple Navigation
Commands, 2309
Simple/TAB Specific Commands,
2310
Simple/TAB Specific
Commands/Move To String/7,
1740
Simple/Use MIDI Device for Input,
2304
Simultaneous key signatures see
Multiple key signatures, 412
Simultaneous meters see Multiple
time signatures, 416
Single page-attached graphics, 323
Single Pitch plug-in, 2604
Sixteenth notes
see Beaming, 53
see Note values (durations), 443
Size, 1709
Sizes
see Fonts, 223
see Note size, 440
see Page size, 457
see Text menu, 2386
Slash Flagged Grace Notes
(Remove) plug-in, 2605
Slash Flagged Grace Notes plug-in,
2605
slash notation, 569
Slashes, 569
Creating ‘comping’ slashes, 569
Maestro Font, 2069
Slash Flagged Grace Notes
(Remove) plug-in, 2605
Slash Flagged Grace Notes plug-
in, 2605
Slashes-with-cues drum notation,
482
Slides see Glissando, 242
Slur Contour dialog, 2327
Slur Contour dialog box, 1710
Slur System Breaks, 1734
Slur Thickness, 1734
Slur Tip Width, 1736
Slurs, 570
Changing a note-attached slur’s
direction, 572
Copying Smart Shape slurs, 574
Defining Engraver Slurs, 192
Defining Slur Contour (height and
shape) settings for note-attached
slurs, 572
2773
 Defining Slur Placement settings
for note-attached slurs, 572
Defining Slur System Break
settings, 573
Defining Slur Thickness, 573
Moving, reshaping, or deleting
Smart Shapes slurs, 571
To create a note-attached slur,
570
Slurs within lyrics see Elisions, 188
Smart Cue Notes plug-in, 2606
Smart Line, 2699
Smart Line Selection, 1715
Smart Line Style dialog box, 1713
Smart Page Turns plug-in, 2609
Smart Playback plug-in, 2612
Smart Shape, 2698
Smart Shape menu, 2326
Smart Shape/Attach to Measures,
2332
Smart Shape/Attach to
Noteheads, 2334
Smart Shape/Attach to Notes,
2333
Smart Shape/Direction, 2335
Smart Shape/Slur Contour, 2327
Smart Shape/Smart Shape
Options, 2329
Smart Shape/Smart Shape
Placement, 2328
Smart Shape Options, 1717
Smart Shape Options dialog, 2329
Smart Shape Placement, 1720
Smart Shape Placement dialog,
2328
Smart Shapes, 2698
Crescendo/Decrescendo, 146
Custom lines, 158
Dashed lines, 162
Flutter-tongue, 221
Glissandos, 242
Maestro Font, 2068
Slides, 664
Smart Shape menu, 2326
Tab slides, 664
Smart Shapes Palette, 2326
Smart Slur Options, 1734
Smart Slurs, 1735
Smart Split Point plug-in, 2615
SmartFind and Paint dialog box,
1740
SmartMusic, 575
Assigning instruments for
SmartMusic Accompaniments,
585
Compatibility Guidelines, 587
SmartMusic accompaniment
markers, 600
Repeat markers, 600
To add markers for DS and DC
repeats, 609
To add markers for repeats with
endings, 607
To add markers for repeats
without endings, 603
To Add Repeat Markers
Automatically, 600
To Add Repeat Markers
Manually as Expressions, 600
SmartMusic performance markers,
589
SmartMusic Performance Markers
SmartMusic accompaniment
markers
To add pause markers, 592
To add pause markers for
cadenzas, 598
2774
 To add pause markers for
fermatas, 597
To add pause markers for
ritardandos or rallentandos, 594
To define and add pause
markers manually with the
Expression Tool, 593
To pause for accompanimnet
rests or held notes, 595
To add SmartMusic
Accompaniment markers as
Expressions, 591
To add SmartMusic performance
markers, 590
To create a new SmartMusic
Accompaniment, 580
To create a solo assessment file
from a Finale exercise, 584
To create a solo assessment file
with accompaniment, 577
To create a solo assessment file
without accompaniment, 576
To prepare a file for SmartMusic,
584
SmartMusic Accompaniment
Options dialog, 2157
SmartMusic Compatibility
Guidelines, 587
SmartMusic SoftSynth
General MIDI Orchestral
Percussion MIDI Map Table, 836
Latin Percussion MIDI Map Table,
869
Marching Percussion MIDI Map
Table, 885
Other SmartMusic SoftSynth
Patches, 899
SmartMusic Studio, 2157
SmartScore Lite, 2163
SmartScore Lite dialog box, 1738
SmartShape menu
SmartShape/Guitar Bend Options,
2331
SmartShape/Smart Slur Options,
2330
SMPTE and MIDI Time Code, 613
To synchronize an external MTC
device with Finale, 613
Snapping to grids and guides, 614
Soft Synth, 1744
Solfeggio, 2636
Song pointer data see MIDI Sync,
400
Song titles see Titles, 701
Sound Fonts
See also Garriton Personal
Orchestra Finale Edition, 236
SoundFonts, 616
Space Systems Evenly, 1746
Spacing see Music spacing, 421,
626
Spacing Widths dialog box, 1748
Special Key Signature Attributes,
1750
Special Part Extraction, 2593
Special Tools, 1828, 2704
Adjusting the placement of an
individual tie, 689
Beam angles, 50
Beam thickness, 52
Beaming, 53
Feathered beaming, 59
Secondary beams, 60
Beaming across barlines, 56
Beaming over rests, 58
Breaking an individual tie at a time
signature change (Tie Alterations
dialog box), 693
2775
 Changing the direction of a tie,
686
Dotted notes, 174
Headless notes, 277
Note shapes, 437
Noteheads, 442
Reverse stems, 543
Special Tools menu, 2338
Ties, 685
Special Tools menu
Special Tools/Show Crosshairs,
2341
Special Tools/Show Handles,
2339
Special Tools/Tie Direction, 2342
Special Tools/Update, 2340
Specify Current Lyric, 1752
Specify Current Lyric dialog, 2212
Speedy, 2343
Speedy Entry, 617
Accidentals, 22
Adding a note to a chord, 619
Adding a tie backwards, 685
Adding or removing a tie, 685
Adding or removing the slashes
from individual grace notes, 245
Advancing to the next measure,
621
Beam grace notes, 245
Beaming, 53
Beaming across barlines, 56
Changing a note to its enharmonic
equivalent, 620
Changing a rest to a note, 619
Changing the direction of a tie,
686
Changing the rhythmic value of a
note or rest, 617
Check Region for Durations plug-
in, 2498
Chords, 101
Courtesy accidentals, 141
Creating a grace note, 244
Creating or breaking a beam, 620
Dotted note, 621
Dotted notes, 174
Entering a note or chord, 617
Entering many notes of the same
value (hands-free MIDI method),
621
Entering multiple voices using
V1/V2, 419
Entering music in step time using
MIDI, 617
Entering music in step time
without MIDI, 621
Entering tuplets with the Speedy
Entry Tool, 723
Erasing, 194
Flattening a beam, 621
Flipping a stem, 620
Grace notes, 244
Hiding a note or rest, 620
Hiding an accidental, 620
Hiding notes and rests, 280
Inserting a note or a rest in a
measure, 622
Keyboard commands, 2356
Ledger Lines (Hide) plug-in, 2571
Ledger Lines (Show) plug-in, 2571
Major seconds (in different voices
and layers), 357
Moving a note or rest horizontally,
620
Moving a note vertically, 620
Moving a rest vertically, 620
2776
 Note positioning, 436
Notes and Rests (Hide) plug-in,
2581
Notes and Rests (Show) plug-in,
2581
Parentheses, 462
Raising a note by half steps, 620
Removing a note, chord or rest,
619
Rests, 539
Speedy menu, 2343
Superimposing Staves, 420
Switching layers, 621
Tied notes, 621
Ties, 685
To change a note without
changing the duration, 620
Whole rests, 736
Speedy Entry Tool, 2706
Speedy Keymap, 760
Speedy menu, 617, 2343
Speedy/Auto Freeze Accidentals,
2354
Speedy/Check, 2351
Speedy/Check Accidentals, 2350
Speedy/Check Beaming, 2349
Speedy/Create New Measures,
2348
Speedy/Edit TAB as Standard
Notation, 2353
Speedy/Insert Notes or Rests,
2355
Speedy/Jump, 2347
Speedy/Playback, 2346
Speedy/Speedy Edit Commands,
2356
Speedy/Speedy Navigation, 2359
Speedy/Speedy Options, 2344
Speedy/Tie Direction, 2361
Speedy/Use Five Line Staff, 2352
Speedy/Use MIDI Keyboard, 2345
Use MIDI Keyboard for Input,
2345
Speedy Options, 1753
Split Measure plug-in, 2618
Split Point plug-in, 2621
Split points, 624
Correcting split point errors, 625
Smart Split Point plug-in, 2615
Specifying a fixed split point, 624
Specifying a movable split point
(Transcription Mode only), 624
Split Point plug-in, 2621
Split stems see Stems—To create a
double or split stem, 654
Splitting music, 196
Staccatissimo, 27
Staccato, 27
Staccato marks, 628
Creating staccato playback with
the MIDI Tool, 628
Defining for playback, 628
see Articulations, 27
Staff Attributes, 1755
Staff Attributes dialog, 2367
Staff Controls, 1760
Staff handles, 631
Staff Height, 1641
Staff lines, 633
Setting the staff line thickness,
633
Specifying the number of lines for
a staff, 633
Staff List, 1762
Staff menu, 2362
2777
 Staff/Add Group, 2378
Staff/Apply Staff Styles, 2374
Staff/Auto Sort Staves, 2370
Staff/Clear Staff Styles, 2373
Staff/Define Staff Styles, 2372
Staff/Delete Staves, 2365, 2366
Staff/Edit Group Attributes, 2379
Staff/Edit Staff Attributes, 2367
Staff/New, 2364
Staff/New Staves, 2363
Staff/Position Names, 2382
Staff/Remove Group, 2380
Staff/Reset Staff Styles to Score,
2375
Staff/Respace Staves, 2368
Staff/Set Default Name Positions,
2381
Staff/Show Default Group Names,
2385
Staff/Show Default Staff Names,
2384
Staff/Show Staff Style Names,
2377
Staff/Show Staff Styles, 2376
Staff/Sort Staves, 2369
Staff/Staff Usage, 2371, 2399
Start/Stop Times, 1685
Staff names, 634
Change Fonts plug-in, 2491
Creating or editing a staff name,
634
Hiding a staff name (full score),
637
Repositioning staff names
(globally), 634
Repositioning staff names
(individually), 635
Setting the font for staff names
(globally), 636
see Change Fonts plug-in, 2491
Setting the initial font for staff
names, 636
Staff see Staves, 647
Staff Sets
Programming, 281
Staff Setup dialog box, 1766
Staff size, 638
Reducing or enlarging a staff, 638
Staff Sizing, 1641
Staff Stem Settings, 1771, 1791
Staff Style dialog, 1769
Staff Style Names, 2377
Staff Styles, 639, 2372
Creating a staff style, 639
Staff System Extra Space, 1773
Staff System Optimization, 1775
Staff systems see Systems, 662
Staff Tool, 2708
Staff handles in Page View, 631
Staff Transpositions, 1778
Staff transpositions see
Transposing instruments, 717
Staff Usage List dialog box, 1783
Stage directions see Text blocks,
678
Standard Frame, 1785
Standard Frame dialog, 2401
Start and Stop Times, 644
Copying Start and Stop Time
editing done with the MIDI Tool,
646
Editing the start and stop times of
selected notes, 645
2778
 Erasing Start and Stop Time Staves - barlines, 1755
editing done with the MIDI Tool, Staves - editing, 1755
646
Staves - groups of, 1755
see Swing, 658
Staves - names, 1755
Start Times, 1685
Staves - positioning, 1644
Staves, 647, 1565
Staves - transposing, 1755
Adding evenly spaced staves, 648
Staves -positioning, 1677
Adding or insert a single staff, 647
Stem Connection Editor, 1787
Barlines, 44
Stem Connections, 1789
Brackets, 74
Stem positions, 1721
Deleting staves, 648
Stemless notes, 651
Group names, 260
Creating stemless notes globally,
Groups, 264, 630 651
Hiding (or showing) staff-related Creating stemless notes, note-by-
items, 649 note, 651
Hiding staves, 281 Stems, 652, 1720
Maestro Font, 2070 Changing, 652
Moving staves, 647 Changing stem lengths globally,
Percussion, 475 653
Recovering deleted staves, 649 Changing stem lengths, note by
Selecting, 631 note, 653
Setting the attributes for a staff, Changing the height of stems in
649 secondary beams, 60
Spacing existing staves evenly, Changing the position of the stem
648 relative to its notehead, 653
Staff handles, 631 Changing the thickness of stems,
653
Staff lines, 633
Copying custom stemming to
Staff names, 634 other measures, 655
Staff size, 638 Creating a double or split stem,
To change the distance between 654
staff lines, 168 Creating reverse stems, 543
To change the distance between Drawing completely new shapes
staves, 168 for stems, 653
To make all staves equidistant, Flipping a stem, 652
168
Flipping all stems in a region in
Transposing instruments, 717 one direction, 652
Whole rests, 736 Freeze Stems Down, 2413
Staves - adding & deleting, 2708

2779
 Midline Stem Direction plug-in,
2578
Removing custom stemming from
a region, 655
Step-time music entry
see Simple Entry, 563
see Speedy Entry, 617
Step-time music entry - by clicking,
2690
Step-time music entry - by typing,
2706
Strum see Rolled chords, 544
Studio View, 656
Suffix Keynumber Offsets, 1793
Superimposing Staves, 420
Superscript, 1795
Superscript dialog, 2393
Suppressing staves see Optimizing
systems, 444
Suspended mallet (handbells), 27
Sustain pedal see Pedal markings,
470
Swap Fonts, 1291
Sweep Track, 1796
Swing, 658
Symbol List, 1801
Symbol List dialog box, 1801
Symbol Selection, 1803
Sync and Video Options, 1805
Syncopation, 660
System, 1641
System (line) break, 661
Moving a measure to the previous
(or next) system, 363
Splitting a measure across a line
break, 373
System Locks, 2417
System Scaling, 1521
Systems, 662
Forcing a system onto the next
page, 662
Indenting or moving a system, 662
Omitting empty staves from a
system (Optimizing), 444
Reducing or enlarging a system,
663
T 
Tab Slide, 1721
Tab Slide Placement, 1720
Tab slides, 664
Changing which slide is assigned
to the palette icon, 665
Creating a slide, 664
Defining Tab Slide Placement
settings, 664
Tablature, 274, 666
Break Tablature Lines at
Numbers, 1808
Edit TAB As Standard Notation,
2343
Guitar parts, 272
Tablature Staff Attributes dialog
box, 1808
Time signatures on tablature
staves, 670
To add stems and beams to
tablature, 669
To change the lowest fret of a
region, 670
To create a tablature staff
manually, 669
To create tablature notation, 666
To edit guitar tablature, 668
To enter directly into a tablature
staff (Simple Entry), 667
2780
Tablature Staff Attributes dialog
box, 1808
Tacet parts, 340
Tacit
see Tacet parts, 340
Tap Source, 1810
Tap States, 1812
TapSpace Instruments, 911
Templates, 828
Tempo, 672
Copying Tempo Data, 132
Modifying the playback tempo,
672
Setting the initial playback tempo,
672
To record tempo changes with
TempoTap, 675
Tempo Adjustment, 1814
Tempo markings
Defining for playback, 673
Jazz Tempos library, 806
Moving or deleting a tempo
marking, 673
see Metronome markings, 383
Tempo markings, 673
To place a tempo marking in the
score, 673
Tempo Tool, 2713
TempoTap, 675
Last Recorded Tempo dialog box,
1413
To record tempo changes with
TempoTap, 675
Tenor clef see Clefs, 103
Tenor parts see Choral music, 85
Text, 677, 1215
Change Fonts plug-in, 2491
Copyright notices, 139
Date Stamps, 164
Engraver Text Fonts, 231
Page numbers, 455
Running headers, 546
Text blocks, 678
Text menu, 2386
Title page, 700
Text - borders & surrounding
shapes, 2386
Text - creating & editing, 2386
Text - formatting, 2386
Text - headers & footers, 2386
Text - inserts, 2386
Text - positioning & display, 2386
Text - resizing, 2386, 2714
Text - titles, 2714
Text blocks, 678
Assigning a text block to a
measure, 681
Assigning a text block to one or
more pages, 680
Copyright notices, 139
Creating text in a frame that
automatically expands as you
type, 678
Creating text within a fixed-size
frame, 678
Date Stamps, 164
Deleting a text block, 684
Editing text on-screen, 679
Page numbers, 455
Positioning measure-assigned text
blocks, 683
Positioning page-assigned text
blocks, 682
Positioning page-assigned text
blocks on left- and right-facing
pages, 683
2781
 Resizing a custom frame, 679
Resizing a text block on-screen,
679
Running headers, 546
Specifying a default font for text
blocks, 684
Titles, 701
To position text blocks on-screen,
681
To position text blocks on-screen
(Text menu), 681
Text menu, 2386
Text/Assign to Measure, 2411
Text/Assign to Page, 2412
Text/Baseline Shift, 2392
Text/Character Settings, 2395
Text/Edit Page Offset, 2400
Text/Edit Text, 2410
Text/Font, 2388
Text/Frame Attributes, 2407
Text/Inserts, 2396
Text/Justification, 2403
Text/Line Spacing, 2408
Text/Size, 2389
Text/Standard Frame, 2401
Text/Style, 2391
Text/Superscript, 2393
Text/Tracking, 2394
Text/Word Wrap, 2409
Text menu/Text/Custom Frame,
2402
Text Search and Replace, 1824
Text Search and Replace Syntax,
1825
Text Tool, 2714
Text/Alignment, 2406
Textbooks see Text blocks, 678
TGTools
Modify Rests plug-in, 2579
Process Extracted Parts plug-in,
2591
Smart Split Point plug-in, 2615
TGTools plug-ins, 2290
Th Time Only, 1625
The Alternate Notehead Sets, 223
There Are Too Many Beats in This
Measure, 1826
There Are Too Many Beats In This
Measure dialog, 2351
Tie Alterations, 1828
Tie Common Notes plug-in, 2622
Tie Contour, 1831
Tie Direction, 2361
Ties, 685
Adding a tie backwards (Speedy
Entry Tool), 685
Adding or removing a tie (Simple
Entry Tool), 685
Adding or removing a tie (Speedy
Entry Tool), 685
Adjusting global placement of ties,
688
Adjusting the direction of ties in a
region, 687
Adjusting the direction of ties on
chords globally, 686
Adjusting the direction of ties on
opposing seconds globally, 687
Adjusting the direction of ties with
mixed stems globally, 687
Adjusting the placement of a tie
after a system break see Adjusting
the placement of an individual,
689
Adjusting the placement of an
individual tie, 689
2782
 adjusting the shape of a tie
globally, 690
Adjusting the shape of an
individual tie, 691
Adjusting ties for augmentation
dots, 694
Avoiding accidentals for single
ties, 694
Avoiding staff lines with ties over a
region, 692
Breaking an individual tie at a time
or key signature change, 693
Breaking and continuing ties
across time signature changes,
693
Breaking ties across time and key
signature changes globally, 693
Breaking ties in a region at time or
key signature changes, 693
Changing an individual tie’s shape
and placement by dragging it on
the score, 688
Changing the direction of a tie
(Special Tools Tool), 686
Changing the direction of a tie
(Speedy Entry Tool), 686
Changing the outer placement
setting for an individual tie, 692
Horizontally adjusting ties over
system breaks, 685
Removing manual positioning over
a region, 694
Setting a minimum space between
tied notes, 694
Setting tie thickness, 685
Shifting ties for intervals of a
second, 694
Using outer placement setting for
outer ties on chords and single
notes globally, 692
Ties - drawing, 1828
TIFF, 2645
Tile Pages, 1577
Tiling Pages, 1080
Tiling pages for printing, 696
Tiling pages (with Compile
Postscript Listing), 696
Tiling pages with the Print dialog
box, 696
Tilting Mirror, 1835
Time Signature dialog box, 1837
Time Signature Tool, 2717
Time Signatures, 698
Beaming, 53
Breaking an individual tie at a time
or key signature change, 693
Breaking and continuing ties
across time signature changes,
693
Breaking ties across time and key
signature changes globally, 693
Breaking ties in a region at time or
key signature changes, 693
Changing the time signature, 698
Common time, 114
Composite time signatures, 115
Compound meters, 117
Courtesy time signatures, 145
Cut time, 159
Hiding time signatures, 284
Maestro Font, 2070
Multiple time signatures, 416
Rebarring music, 527
Time Signature Tool, 698
Time signatures, 699
Time stamps see Date stamps, 164
Time Style, 1834
Title page, 700
Titles, 701
2783
 Specifying a default font for titles,
684
To Coda, 1630
To create a quarter-tone scale or
key signature, 433
To import an audio file, 40
Tone Center, 1840
Tone-cluster see Engraver Font,
229
Track/Channel Mapping, 1842
Track/Channel Mapping to Staves,
1846
Tracking, 1913
Tracking dialog, 2394
Tracking dialog box, 1849
Transcribing, 2237
Transcribing a sequence
Correcting split point errors, 625
Editing keyboard notes, 711
Editing Time Tags, 711
Grace notes, 244
Hearing a click track while
recording, 704
Moving Split Point dialog box, 291,
519
Notating swing performances, 658
Notating swing performances
(Transcription Mode), 658
Punch in/Punch out, 508
Quantization Settings Guide, 510,
906
Recording a performance, 703
see Recording with HyperScribe,
291, 519
Special mouse clicks, 714
Specifying a movable split point,
624
Split points, 624
Transcribing a performance, 708
Transcribing a sequence from a
sequencer, 705
Transcription Mode, 713
Transcribing in real-time, 2654
Transcription, 2654
Align Time Tags To Note Starts
dialog box, 962
Click Input dialog box, 1073
Moving Split Point dialog box,
1490
Transcription dialog box, 1850
Transcription Filters dialog box,
1858
Transcription menu
View Resolution, 1875
Transcription Mode, 713
Transcription see Transcribing a
sequence, 703
Transposing, 715
by changing key, 716
Entering pre-transposed music
onto a transposing staff (step
time), 716
Transposing a piece (Key
Signature Tool), 301
Transposing chord symbols, 95
by interval, 715
see Transposing instruments, 717
Transposing instruments, 717
Defining a staff transposition, 717
Displaying a score in concert pitch
(or in transposed form), 717
Entering pre-transposed music
onto a transposing staff (step
time), 716
Transposing a staff chromatically,
717
Transposing music, 1860
2784
Transposing parts see Transposing
instruments, 717
Transposition, 1860
Transposition dialog, 2414
Traverse stems see Cross-staff
notes, 151
Treble clef see Clefs, 103
Tremolando see Tremolos, 719
Tremolos, 719
Creating a measured or
unmeasured tremolo marking
(Shape Expression), 719
Easy Tremolos plug-in, 2529
Placing a tremolo marking
(Articulation), 719
Tremulants see Tremolos, 719
Trill Extension, 1717
Trills, 721
Creating a small accidental in
parenthesis, 721
Creating a trill or trill extension line
(wavy line), 721
Defining for playback (easy
method), 721
Easy Tremolos plug-in, 2529
Engraver Font, 1968
Maestro Font, 2068
see Articulations, 27
Triplets see Tuplets, 722
Troubleshooting, 912
TrueType, 223
Tuplet Definition, 1862
Tuplet Tool, 2720
Tuplets, 722, 1707, 1862
Adjusting, moving, or deleting a
tuplet, 722
Change Tuplets, 1038
Entering tuplets with the Speedy
Entry Tool, 723
Predefining the appearance of
tuplets, 725
Simple Entry, 563
To create a nested tuplet, 724
Transcribing tuplets from a real-
time performance, 724
Tuplet Definition, 1862
Turning normal notes into a tuplet
group, 722
Tuplets (Simple Entry), 726
Turn, 29
Turns see Mordents, 407
Tutorial 1a: Simple Entry
Saving Your Work, 425
Two voices see Multiple voices, 417
Two-Bar Repeat, 969
Type Into Score, 2209
U 
Underlines (in lyrics) see Lyrics—
To draw a, 353
Undo, 729
Allowing undo actions previous to
saving a file, 729
Re-applying changes to your
score using redo, 729
Redoing a series of changes up to
a specified point, 729
Undo List, 2119
Undoing a series of changes up to
a specified point, 729
Undoing the last change or a
series of changes to your score,
729
Undo/Redo Lists, 2119
Undo/Redo Lists dialog box, 1867
2785
Unknown Font, 1870
Unknown Font dialog box, 742
Up bow see Articulations, 27
Upbeat see Pickup measures, 489
Up-bow, 27
Update Available, 1872
Update Groups and Brackets plug-
in, 2623
Update Layout, 2421
Update Layout Options dialog, 2421
Use MIDI Keyboard, 2345
Using Document Styles, 171
Utilities menu, 2413
Document/Add SmartMusic
Markers, 2427
Utilities/Change, 2431
Utilities/Check Notation, 2429
Utilities/Check Notation/Apply
Articulation, 2428
Utilities/Explode Music, 2425
Utilities/Fit Measures, 2416
Utilities/Implode Music, 2426
Utilities/Lock Systems, 2417
Utilities/Music Spacing, 2419
Utilities/Rebar, 2423
Utilities/Rebeam, 2424
Utilities/Respell Notes, 2415
Utilities/Stem Direction, 2430
Utilities/Transpose, 2414
Utilities/Unlock Systems, 2418
Utilities/Update Layout, 2421
Utilities/Update Smart Word
Extensions and Hyphens, 2422
V 
Velocity see Key velocity, 302
Verse, 2212
Vertical Collision Remover plug-in,
2625
View Continuous Data, 1873
View menu, 2432
View/Bookmarks, 2439
View/Grid/Guide, 2443
View/Page View, 2434
View/Redraw Screen, 2442
View/Scroll View, 2433
View/Select Display Color, 2445
View/Select Layer, 2441
View/Select Staff Set, 2440
View/Show, 2444
View/Studio View, 2436
Zoom, 2437
View Resolution dialog box, 1875
Virtual Fundamental Generator
plug-in, 2628
Vocal music, 733
Beaming according to lyrics
syllables, 733
see Choral music, 85
see Hymns, 288
see Lyrics, 342
Voice 2 to Layer plug-in, 2630
Voices see Multiple voices, 417
Voicing
Part Voicing, 463
Voicing for Staff in Part dialog box,
1877
Volume, 734
see Continuous data, 118
see Key velocity, 302
VST, 735
W 
Wait for End of Note, 1881
2786
Wait For Foot Pedal, 1882
Wait For Note, 1883
Wavy lines
see Glissandos, 242
see Trills, 721
What's New in Finale 2008, 2
White-out see Masks, 360
Whole notes see Note values
(durations), 443
Whole rests, 736
Adding a real whole rest, 736
Change to Default Whole Rests
plug-in, 2493
Change to Real Whole Rests
plug-in, 2494
Changing the character for default
measure rests, 737
Moving a real whole rest, 736
To fill measures with rests, 737
Turning off the default whole rests
for a staff, 736
Window menu, 2446
Window/Arrange Icons, 2464
Window/Cascade, 2461
Window/Close Window, 2466
Window/Instrument List, 2447
Window/Main Tool Palette, 2451
Window/menu Toolbars, 2459
Window/Mixer, 2448
Window/New Window, 2465
Window/Playback Controls, 2450
Window/Simple Entry Palette,
2454
Window/Simple Entry Rests
Palette, 2455
Window/Smart, 2456
Window/Special, 2457
Window/Status Bar, 2460
Window/Tile Horizontally, 2463
Window/Tile Vertically, 2462
Window menu/Movie Window, 2449
Windows Metafiles, 2645
WMF, 2172
Word Extension, 2207
Word Extensions dialog box, 1885
see Lyrics—To draw a, 353
Word Wrap, 2409
Worksheets, 2725
X 
Xylophone parts see Note shapes,
437
Z 
Zoom Tool, 2724
2787