Finale 2006 Update

Finale 2006 Update: An Addendum to Finale, An Easy Guide to Music Notation (Second Edition)Finale 2006 Update: An Addendum to Finale: An Easy Guide to Music Notation (Second Edition)

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Finale®: An Easy Guide to Music Notation, Second Edition. Copyright © 2006 Berklee Press. All Rights Reserved.

Finale 2006 Update: An Addendum to Finale: An Easy Guide to Music Notation (Second Edition)

Welcome to the “Finale 2006 Update” PDF. In this document, we will introduce some of the new features included in Finale 2006 and explain how they impact our book, Finale, An Easy Guide to Music Notation (Second Edition). Finale 2006 introduces many new features but few major changes to Finale 2005, so the changes to techniques presented in the book are minimal. There are some things that you need to be made aware of when launching the program and setting up files, and these will be addressed first. There are several useful new features, and a few others that are too cool not to at least mention.

Installing Finale 2006

Included with the Finale 2006 program on the installer DVD or CDs are several other applications that are designed to be used in conjunction with Finale. These include Finale Performance Assessment, Smart Music Studio, and Garritan Professional Instru-ments. You can choose to install any combination of these programs. Smart Music Studio requires the purchase of an annual subscription to fully activate, but you may sample it to without purchasing anything, just to see if you want to explore it further. The Garritan Professional Instruments collection is a set of sounds from the Garritan Personal Orchestra package, available separately. These sounds are samples, not synthesizer or Soundfont sounds. For more information, visit the Garritan Web site at www.garritan.com. This package includes sample files and a special version of Native Instruments’ Kontakt sampler software. Kontakt requires an additional registration on the Native Instruments site, but no additional fee is required. Check with the Native Instruments site for information about upgrades.

The copy protection scheme used in Finale 2006 is the same as Finale 2005, so you must update your registrations with MakeMusic! within thirty days.

The Wizard’s New Tricks

The Setup Wizard has a few new tricks in 2006. On the first page, the Copyright box already has the copyright symbol (©) entered in the box. When you select the box, press the Right Arrow key first, so that the © is not highlighted, or else the © will be replaced by the first character typed. After pressing the Right Arrow key, press the Space Bar, and then type your copyright information.

http://www.garritan.com

FINALE 2006 UPDATE | An Addendum to Finale, An Easy Guide to Music Notation (Second Edition)

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The Select Instruments page brings the first important new feature. If you installed the Garritan Personal Orchestra Finale package, the Instrument Set window will contain choices for both GPO Finale and the SmartMusic SoftSynth. Making a selection in the menu will access two different sets of instrument families and instruments. Note: you cannot combine staves from the GPO Finale set and the Smart Music SoftSynth set. You can choose only one playback source for each staff.

Garritan Personal Orchestra Finale is a package of orchestral instrument samples that, especially when combined with Finale’s Human playback feature, provide a very realistic playback in Finale. The package includes multiple player samples to avoid the phasing that results from unison passages played back on the same sound. The current library is symphonic only, but a jazz and big-band library will be available separately in late 2005. In the initial Finale 2006 release, the Garritan sounds cannot be recorded using Finale’s Save As Audio File feature, but this capability is expected in a maintenance update. It is possible to record compositions by saving as a MIDI file and importing it into a digital audio sequencer package that also supports Kontakt Player. The Garritan library requires a fast computer; a gig of RAM is recommended, and suffi-cient hard drive space for the sound library is required. Check the system requirements on the Finale Web site to see if your computer complies, before you install the GPO Finale package, at http://www.finalemusic.com/finale/system-requirements.aspx.

http://www.finalemusic.com/finale/system-requirements.aspx

An Addendum to Finale, An Easy Guide to Music Notation (Second Edition) | FINALE 2006 UPDATE

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The SmartMusic SoftSynth has the full range of General MIDI sounds as well as a fine collection of marching percussion and Orff instrument sounds. This sound font is the same one developed for the SmartMusic accompaniment program, so if you are creating your own accompaniments, use this sound font from the start.

It is possible to load a file set up with Garritan sounds on a computer where the Garritan package is not loaded. The score will play back using the SmartMusic Software Synth’s sounds.

What Should You Use with The Book?

All the examples in the book will work exactly as written with the SmartMusic Soft-Synth. If you have installed the Garritan sounds, try them on the Bach (chapter 10) and Petrushka (chapter 13) chapters, if your computer is up to the challenge. If you purchase the Jazz & Big Band sounds when they become available, try them on “The Entertainer” chapter (chapter 8), where software synths are mentioned on pages 146 and 147. The “Blues for a Hiccup” big-band score (chapter 12) should also work.

I’ll walk you through the setup and tell you more about the sounds themselves a little later in this PDF.

The remaining two pages of the Setup Wizard have no changes from 2005.


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A New View

Finale has a new view option, and it is currently set as the default view when opening a new file. This view is called Studio View. It is part of the sequencer-like interface features that are new in Finale 2006. The left margin contains mixer controls for each staff and includes selecting an instrument sound, setting the volume, panning, and buttons for Record, Solo, and Mute. At the top of the window is a Tempo Tap track that is only visible in Studio View. This track can be used to tap in a tempo, allowing you to “conduct” a performance by tapping a MIDI device such as a keyboard, foot pedal, or percussion controller.

Refer to the New (Default File) Options section of chapter 10, page 191, if you want to change the default view to Page or Scroll View. For Macintosh users, the keystroke toggle for Page and Scroll (and now, Studio) View has been reset to z-E, which is the same keystroke that has been in the Windows version for several years.

Textured Paper

If the music portion of the Finale window looks a little different but you just can’t put your finger on how, it’s because 2006 added a Textured Paper feature. The screen is no longer white, and you can change the shade or color of the background paper in Program Options. Textured backgrounds make looking at your computer screen for hours on end a little less difficult on the eye.

1. Select Options > Program Options.2. In the left column, select Palettes & Backgrounds.

Document Window Background is the background visible in Page View. Manuscript Texture controls the background in Scroll View, and on the music pages in Page View.

1. Click the Select button to access the other options available for backgrounds. 2. To return to the defaults, click the Default Button.3. When you are finished, click the Apply button at the bottom of the dialog box.


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Using Studio View

All of the examples in the book use Page and Scroll Views. You can give Studio View a try in chapter 6, “HyperScribe: Real-Time Note Entry.” After entering the music for “America” in chapter 6, try the Tap Tempo feature described below.

Tap Tempo

It is as easy as it gets to add tempo changes in Finale 2006, to give your music a more human, conducted feel. After completing the lesson in chapter 6, try conducting the performance by tapping a key on the MIDI keyboard.

1. Select View > Studio View.2. Click the R (Record) button on the Tempo Tap track.3. Click the Record button on the Playback Controls. A green cursor will appear at bar

1 of the music.

4. Tap any key on the MIDI keyboard in the tempo desired. Try adding some slight ritards at the ends of phrases.

3.2.


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5. Click the Stop button when you are finished, and play back the example to hear the performance.

If you stopped tapping at the end of the first measure 14, you will see the following dialog box. You can enter a new tempo or just click OK with the intention of repeating the steps for the counter-melody.

To begin tapping a tempo in the middle of a file, set the starting measure in the Playback Controls to the desired starting measure.

1. Expand the Playback Controls window. Macintosh: click the triangle to the left of the controls; Windows: click the speaker icon.

2. Under the Playback Region heading, set From to the bottom button and enter the specific measure (and beat if necessary)—in this case, measure 15 of the file.

3. Click the Left End bar so Finale sets itself to begin at the bar 15. This will be indi-cated in the top Measure box, next to the playback controls.

4. Press the Record button to begin tapping the tempo.

1.

2.

3. 4.


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! If tapping an entire score seems tedious, just focus on sections where a specific change is required—for example, rubato sections, ritards, rallantandos, and accelerandos.

Engraver Copy and Paste

In Finale 2006, the Entry and Measure item dialog boxes have been combined into one Items to Copy dialog box. This affects directions in two chapters in the book. The updated steps for each are provided below.

Chapter 11, page 236

In chapter 11, page 236, there is a section titled “Selecting Specific Items To Copy In Mass Edit.” This section covers selecting specific Entry or Measure items to be copied using the Mass Edit tool. Here are the new steps to insert at the top of page 236.

1. Choose the Mass Edit tool .2. Select Mass Edit > Items To Copy. The default setting is for all items to be selected,

but we only want the Entry Items to be copied. 3. Under the Measure heading, click the None button. This deselects the Measure

Items leaving only the Entry Items to be copied.

Mass Edit will only copy the items selected in this dialog box. Repeats, found under the Measure Items heading, are not selected and will not copy.

Resume the steps in the book at step 4.


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Chapter 13, pp. 316–318

The example in chapter 13, pages 316 to 318, involves selecting both Entry Items and Measure Items. This is now done in a single dialog box. The option for copying clefs has been relocated to the bottom of the dialog box, with some options added for greater flexibility. The replacement text below replaces the book text starting at the top of page 317.

To set which Items will be copied:

1. Choose the Mass Edit tool .2. Select Mass Edit > Items to Copy. The default setting is for all items to be selected. 3. Under the Measure Items heading, click the None button to clear all the check

boxes.4. Click the Smart Shapes (Assigned to Measures) checkbox. I usually enable Smart

Shapes (Assigned to Measures) for copying crescendos so that they line up verti-cally in a score.

5. Under the Copy Clefs heading, click the Never button.

The Clefs box is important in my work because I do a lot of copying across treble, bass, and alto clefs. Failing to check this would result in time spent with the Clef tool repairing the unintended clef changes. Measure items can be copied along with Entry Items or on their own.


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! Under the Entry Items heading, uncheck and then recheck the box for Entries, to access the Entry Modifications dialog box. This dialog box allows you to make additional modifica-tions to the entries that you are moving. This is the only category that allows additional modifications to be made while copying, though we will go with the default settings. Click OK to return to the Entry Items dialog box.

6. Let’s find some things to copy. First, enter the Piccolo and Flute notes in bars 6, 7, and 8. Then copy them into bars 10, 11, and 12.

a. Enter “2” Times in the dialog, and then also copy it to bars 13, 14, and 15.b. Copy the same measures in the Clarinet staves.

Return to the book at the top of page 318.

Create Coda Systems Plug-in

Finale 2006 introduces several new plug-ins. One of the most welcome will certainly be the Create Coda System plug-in. There are two examples in the book that have codas, chapter 5 and chapter 11, and the methods used in the book still work just as they are described. I recommend learning them as in the book first, since they teach skills that you may need for other situations. That said, here’s how to incorporate this new plug-in into chapter 5.

Chapter 5 Create Coda Plug-in

Insert the following steps into chapter 5 on page 76, replacing “Entering a D.C. al Coda” and “Entering the Coda Sign” on page 77.

1. Choose the Mass Edit tool.2. Advance to measure 33.3. Highlight measure 33, the first

measure of the coda.4. Select Plug-ins > New Plug-Ins

for Finale 2006 > Create Coda System.

5. In the Create “To Coda” In Measure box, enter 7.

6. D.C. al Coda should be checked and no Segno sign is needed, so click OK.

7. Choose the Repeat tool, and reposition the text as necessary to avoid collisions.

The plug-in has entered all the necessary text for the DC al Coda in bar 32, the To Coda indication in bar 7, and the coda sign and text in bar 33. Oh, and did I mention it is all defined for playback? You only have to position it on the page as described in the book.

Return to chapter 5 on page 78 at the “Sound The Trumpet” heading.


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Chapter 11 Create Coda Plug-in

Incorporating the same plug-in into chapter 11’s example will show how to use it in multi-stave documents. The following text replaces the text on pages 230 and 231 of the book.

Setting the Repeat

1. Choose the Repeat tool .2. Highlight measures 13 through 24. 3. Select Repeat > Create Simple Repeat. Alternatively, Control-click (Mac) or Right-

click (Windows) the highlighted region, and select “Create Simple Repeat” from the contextual menu.

The repeat is entered and defined for playback. Next, the repeated section of music that precedes the coda must be indicated by symbols and text. In Finale, these are referred to as Text Repeats. (If you are not interested in having the repeats affect music playback, it is possible to enter these as Measure Expressions.)

1. Choose the Mass Edit tool.2. Advance to bar 25, the first measure of the coda and select it.3. Select Plug-Ins > New Plug-Ins for Finale 2006 > Create Coda Systems.4. In the Create “To Coda” In Measure box, enter 10 5. D.C. al Coda should be checked and no Segno sign is needed, click OK.


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Repeat text and playback programming is done. To match the original example in the book, the text must be set to display on the top and bottom staves.

1. Choose the Repeat tool.2. Scroll to bar 10.3. Right-Click (Windows) or z-click (Mac) the handle of the To Coda repeat text.4. From the popup menu, select Edit Repeat Assignment.5. Under the Show On heading, click the Staff List button.6. Select New Staff List from the popup menu.7. Give the list a name, such as “Piano & Drums,” since they are the top and bottom

staves of the score, respectively.

This allows repeats to be placed on selected staves and positioned similar to Measure Expressions.

Click on the text in this column to select both Score and Parts columns with a single click.

Another option is to check the Staff 1 and Staff 3 display. Results will be the same.

8. Activate Top Staff and Bottom Staff in both the Score and Parts columns, to make the text display in those staves. Click OK.


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If you wish to eliminate the To Coda text and leave only the Coda symbol, follow these steps:

1. Right-click (Windows) or z-click (Mac) the handle of the To Coda repeat text.

2. Select Edit Repeat Definition from the popup menu.

3. Select the text to the left of the number sign, and press Delete. Click OK to return to the score.

The D.C. al Coda indication is also displayed on the top and bottom staff in the example.

1. Scroll to bar 24.2. Right-click (Windows) or z-click (Mac) the handle of the D.C. al Coda Repeat text.3. From the popup menu, select Edit Repeat Assignment.4. Under the Show On heading, click the Staff List button.5. Select Piano & Drums from the popup menu, and click OK.

In order to move the Repeat Text under the drum staff, Individual Positioning must be selected.

6. Right-click (Windows) or z-click (Mac) the handle of the D.C. al Coda Repeat text.7. From the popup menu, select Allow Individual Positioning.8. Reposition the text under the drum staff.

Return to the book at the “Enter Swinging” heading on page 232. When you reach “Adding the Coda to the Coda” on page 239, skip creating the expression with the Expression tool. Instead use the Repeat tool to change the font size and reposition the existing text.

1. Choose the Repeat tool.2. Scroll to measure 25.3. Right-click (Windows) or z-click (Mac) the handle of the Coda repeat text.4. From the popup menu, select Edit Repeat Definition.5. Click the Set Font button.6. Enter 36 for the size, and click OK two times.

Resume the steps in the book with step 6 under the “Adding the Coda to the Coda” heading.

Score System Divider

Score System Dividers are the two bold lines placed on both ends of a system on multi-system pages to more clearly indicate the system breaks. Try the following steps using the completed “Entertainer” example.

1. Load the file Entertainer_Score.mus, or your completed file, and display it in Page View.

2. Choose the Mass Edit tool.3. Select the whole score.4. Select Plug-Ins > New Plug-Ins for Finale 2006 > Score System Divider.


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5. Under the Vertical heading, set –50 EVPUs (–0.17361 inches) for the adjustment, and click OK. This number will vary depending on the dimensions of the staff system box.

The dividers are specially created Text Blocks and can be edited and positioned using the Text tool.

There are no examples in the book that use the following new features, but they are important enough to include here.


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Half Measures

For those users who work with music that uses mid-measure repeats and split measures, the era of Time Signature tool workarounds has come to an end. Well, okay, Finale still does it that way, but you don’t have to make all the changes manually.

The Mid Measure Repeats plug-in is applied using the Mass Edit tool, with Select Partial Measures enabled in the Edit menu. To apply, highlight the region for the repeat in Mass Edit, and select the Mid Measure Repeats plug-in from the Plug-Ins menu, New Plug-Ins for Finale 2006 submenu.

Split measures were a staple in many old engravings of popular songs. The last measure of intro would be split and the vocal pickup put on a new system that lead into the chorus. This feature is also very helpful in splitting cadenzas over multiple systems. Select the measure to be split using the Mass Edit tool, and select the plug-in. Enter the correct beat and barline style, then click OK.

A Lyric Interlude

There are no melismas in the book’s vocal examples, so I’ll create a short example to illustrate the new Auto Slur Melismas plug-in. This is, of course, to be used after entering the lyrics.

1. Choose the Mass Edit tool.2. Select any size region containing one or more melismas. 3. Select Plug-Ins > New Plug-Ins for Finale 2006 > Auto Slur Melismas.


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The plug-in will report how many slurs were added.

When combining vocal parts on a single staff, it is possible that someone may mistake an upper harmony part for the main melody. The answer is resizing the harmony notes to cue-sized notes. Wouldn’t it be great if there was a plug-in for this? (You saw it coming, didn’t you?)

1. Choose the Mass Edit tool.2. Highlight the measures with harmony notes. 3. Select Plug-Ins > New Plug-Ins for Finale 2006 > Resize Noteheads.4. In the “Enter the numbers of noteheads to be resized…” box, enter the voices to be

resized. See the instructions for entering the numbers of chord voices to be resized. I want to alter the top and bottom voices in the example, so I’ve entered 1, 3.

5. Click OK.

The final result leaves a defined lead line with two clear harmony parts. If there are a lot of voicing changes, work in smaller sections using the Select Partial Measures function.


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Forward, Into The Past: Music XML

One of the most asked for features in Finale has been the ability to open new Finale files in older versions of the software. The answer has finally come in the form of Music XML. Think of it as a generic file format, like ASCII or MIDI, only for music notation files.

• Choose File > MusicXML, and choose Export to name and save a file in XML format, or Import to load a file in XML format.

This format also works for importing and exporting files to and from other music nota-tion programs that support Music XML. This includes Sibelius. Note that when opening files in older versions of Finale such as 2005 or earlier, you must download the Music XML plug-in from www.recordare.com. After the plug-in has been downloaded, you will need to copy it to the plug-ins folder of Finale 2005 or earlier. To open a Music XML file, you first open a blank Document and then choose the Music XML option from the Finale Plug-ins menu. Not all markings will transfer 100% accurately.

Going Native

Support for Native Instruments software synthesizers and sample players has been added. The Kontakt Player that is part of the Garritan Personal Orchestra package is just one of many products that Finale can communicate, with without ever leaving the computer. For a full list of supported software instruments, check the Finale Music Web site (http://www.finalemusic.com/finale/features/new/nativeinstruments.aspx).

Using Garritan Personal Orchestra Finale

Let’s return to the page 2 of the Setup Wizard for a minute and examine what happens when you create a score using the Garritan Personal Orchestra Finale set and Kontakt Player. The instruments listed in the middle column are the sounds that will be used for playback, not the names that will be given to each staff. For example, if you select Flute Player 1 and Flute Player 2 here, the resulting score will have only Flute 1 and Flute 2 for staff names. As I mentioned above, the number of different “Players” are there to create a more realistic ensemble sound. Unisons are actually different players playing the same line, not the same line being played by one sound, resulting in a nasty phasing sound.

If each sound is entered in a different layer, each layer can be assigned to a different play-back sound. This routing must be done manually. There is no way to have a multi-part staff automatically play back using two different sounds reading from the same layer.

The sounds labeled Solo are different from the sounds labeled Player in that they are monophonic sounds. They only play back one note at a time for more realistic phrasing. The Player sounds can play back multiple notes and can be used for multi-part staves.

http://www.recordare.com

http://www.finalemusic.com/finale/features/new/nativeinstruments.aspx


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Select the GPO Single Strings or Section Strings, and note that in addition to the Player and Solo sounds, there are sounds marked KS, for Key Switch. These sounds contain all three variations of the string sound: arco, pizzicato, and tremolo. They are switched by using the preset expressions for each effect in the Expression library. The Harp is also a KS instrument with effects available by using the expressions already provided in the Expressions library.

When a sound is selected in the Setup Wizard, while the document is being created, the sound will be loaded into Kontakt Player for playback. The same is not true for staves added, even if you add staves using the Setup Wizard, after the document is initially created. You can still add staves and assign Garritan instruments for playback, but it must be done manually.

After completing all pages of the Setup Wizard, the necessary sounds will be loaded and the document created. This will take longer than when using the SmartMusic SoftSynth. The same will be true with opening or switching between documents using and software synthesizer or sample player.


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In order for Kontakt Player to be activated for playback, it must be selected in the MIDI menu, and Macintosh users must also set Internal Speaker Playback to Off. This will be done for you when creating a document using GPO Finale. If you are converting an older file, it must be done manually.

There is a slight difference in the menu text. Macintosh computers use Audio Units for internal audio processing, Windows computers use VST.

! If you have GPO installed, set up the score using the GPO sounds in the Setup Wizard. Once the score is created, you can switch back to the SmartMusic Software Synth to minimize the file load time and demands on your computer. The Wizard has set up all the staves with the correct General MIDI sounds in addition to the Garritan sounds. If the score is set up with SmartMusic sounds, the corresponding Garritan sounds are not loaded.


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So, Where Can I Find The Kontakt Player?

To view or edit Kontakt Player, follow these steps:

1. Select MIDI > Native Instruments AU (Mac)/VST (Windows) Setup. If the document was created with GPO Finale instruments, there are sounds already configured for playback. If not, a Player will need to be added and any required sounds added to the Player. The Macintosh document used for the screenshot below has two Players already entered and sounds loaded. The Windows example is a different instrumentation and has only one loaded.

2. Click the Edit Button next to the Channel group you wish to view or edit. If you are converting an older document, select Native Instruments: Finale GPO from the popup menu first, and then click the Edit button next to the menu.


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In the following screenshot, Kontakt Player is loaded with sounds selected in the Startup Wizard. Even though this is located in the Finale Channel 1–16 menu, Kontakt Player only supports 8 instruments per Player. Eight Players are possible for a total of 64 instru-ments. If you need the full 128 instruments, upgrade to the full version of Kontakt, which will support 16 instruments at a time. This upgrade costs $339 for registered Finale users; an Academic version is available for $290. (Be prepared for a possible computer hard-ware upgrade to handle all of those samples.)

Flute Player 1 is currently selected, indicated by the highlighted box in the Instrument row. When an instrument is selected, all interface controls, knobs, slider, and menus apply only to the sound selected. The range of the selected sound is displayed on the keyboard. Since the GPO Finale sounds are samples of real instruments, their range is limited to the range of the actual instrument.

To load a new sound:

1. Click the Load button.2. Follow the popup menus to the instrument family, instrument, and player menus

to select a sound.3. Click on the sound desired. It will be loaded into the slot selected.4. When finished, click the Close Window button.


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! For updates and support for the GPO Finale and Kontakt Player, click on the Kontakt Player/Native Instruments Logo in the top-left corner of the Player window.

Ambiance Reverb

At the bottom of the Native Instruments Audio Units Setup dialog box, there is a check box and Edit button for the ambiance Reverb that is part of the Garritan Personal Orchestra package.

To change reverb settings:

1. Select MIDI > Native Instruments AU (Mac)/VST (Windows) Setup.2. Click the Edit button next to Ambiance Reverb.3. From the Factory Preset menu, choose the desired preset, or edit the parameters of

the preset chosen under the Parameters heading.

If the reverb is placing too much demand on your computer’s processor and causing crackling or dropouts, turn it off. To disable the Reverb, just uncheck the box in the Native Instruments Audio Units Setup dialog box


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Fix It in the Mix Window

In addition to the mixer controls in Studio view, there is also a Mix window, located in the Windows menu. Channels are created for each Finale staff, so a grand staff instrument will have two channels for panning left and right. The controls are laid out more like a hardware mixer with the panning knob on top and, in descending order, the Mute, Solo, and Record buttons underneath. The volume faders have an LED-like indicator next to them for checking and comparing levels.

At the bottom of each channel strip are two popup menus. The wider top menu quickly provides access to the Instrument Definition dialog box, normally accessed when creating instruments in the Instrument List, and to the Kontakt Player for the channel’s assigned sound. The bottom Popup allows editing of the channel/staff’s routing to a softsynth and the specific selected MIDI channel. The staff name is at the bottom and names are taken from the Staff Attributes list, so groups are displayed with the default staff number unless changed manually with the Staff Tool.

On the right of the Mixer window is the Master fader, which controls the overall volume of the output and has its own reverb control. This reverb is for use with the SmartMusic Software Synth and does not work with the GPO Finale package.


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The Instrument List has also undergone a little updating. The Play column has been changed to Mute, and two columns have been added for Volume and Panning indica-tions. It is possible to enter specific numbers for both Volume and Panning and have them applied to the mixer settings in both the Mixer window and Studio View.

If you’re not sure about where to set the panning controls, try this:

• Select MIDI > Set Panning

Human Playback will make an attempt at panning your ensemble. You can tweak the Pan settings as needed.

The Garritan Sound

What makes Garritan sounds different is the way they are programmed. Volume is controlled with the synthesizer’s MOD Wheel (MIDI Controller 1), not key velocity. Human playback takes care of converting Finale’s Key Velocity–based dynamic levels to MOD Wheel data. Key Velocity determines the type of attack, making it possible to have an accented attack that is still at a medium or soft dynamic level. Crescendos and diminuendos are much smoother, and both text and Smart Shape markings from them are read and executed by Human Playback.

For more information on the 2006 new features, check out http://www.finalemusic.com/finale/.

http://www.finalemusic.com/finale/

http://www.finalemusic.com/finale/

Finale 2006 Update

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