Tutorial 3: Articulations and ExpressionsTutorial 3: Articulations and ExpressionsNow that you know the basics of enteringmusic quickly and editing it efficiently, it’s time to learn how to addthe markings that make music such a rich language—articulations, dynamics,slurs, and more. Open the document called “Tutorial 3” in the Tutorialsfolder: We’ll use this arrangement of “Oh, Susannah” to explore Finale’sfluency in the language of music. By the end of this tutorial, you shouldbe able to create a score with all the necessary markings.Basic Articulationsand ExpressionsWe’ll start with an introduction to articulations(staccatos, accents, fermatas) and dynamic expressions (Moderato, F,solof, etc.). Clickthe Articulation Tool. Using this tool, you can click on, above, orbelow a note—it doesn’t matter. Finale’s articulations are smart; theyjump into place, centered on the notehead, automatically. Clickthe dotted quarter note in the Trombone 2 staff in measure 3.

TheArticulation Selection dialog box appears. You must be in the same layer as your notesto attach anything to them, such as lyrics, articulations, expressions,or chord symbols.Incidentally, some symbols, such as. Double-click where youwant the marking to appear. The Expression Selection dialog boxappears. (If you’re ever trying to put in an Expression and this windowcomes up empty, it’s because no libraries were loaded into the document.We’ll cover libraries in more detail later in this tutorial.)Note the categories on the left side of this dialog box (“Dynamics,” “Tempo Marks,” Etc.). Each of these categories include markings similar in appearance and positioning.

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Settings for a category can be changed, altering the appearance and/or positioning of all expressions in that category. You will learn more about editing categories soon. Double-clickon. Finale places the marking in the score based on the category’s positioning settings. By default, expressions in the Dynamics category are defined to appear beneath the staff.You can change the positioning settings of expressions by clicking the Edit Categories button in the Expression Selection dialog box to open the Category Designer. For example, if you are notating a choral score, you will want Finale to automatically place the dynamic markings above the staff.

To make this change, you would click Edit Categories and then change the Vertical Alignment setting to “Above Staff Baseline or Entry.” See in the User Manual for more details.Use the Assign button and adjacent drop-down menu to assign dynamics, expressive text, and technique text to multiple staves. To define a list of staves, choose Assign to Staves. The opens where you can select specific staves for expression entry.Tempo marks, tempo alterations, and rehearsal marks apply to all staves of the score, but are shown on a select few as defined by the expression's. The Score List is part of the category definition and can be edited in the.Adding a SlurAs a quick exercise, let’s add some slursto the score.

Clickthe Smart Shape Tool. The Smart Shape Palette appears as a toolbaron the top of the screen (or as a palette on the Macintosh), containingicons for slurs, crescendos, 8va markings, lines, and several kinds ofbrackets. This palette is just like the others you’ve encountered; youcan hide it or move it around.The Slur Tool should alreadybe selected; if not, select it now. Placeyour cursor on the first note in measure five (top staff).

Double-clickthe mouse, hold the button down after the second click, and drag the mouseto the right, until the third note in the measure is highlighted.As long as you hold the button down, you can move the endpoint of theslur. Releasethe mouse button. You’ve just created a note-attached slur. Is the slur exactly where you wanted it? Does it arc too highor too low?A Smart Shape is easy to edit. When a SmartShape has multiple handles, it’s currently selected. Each slur will havesix handles.

Here is a description of how to use these handles to editthe slur:Shortcuts for the Smart Shape Tool: Holddown S for a slur, for a decrescendo. Hold down the key while editingthe slur to “constrain” your cursor to perfect horizontal or verticalmovements. Positionthe cursor at the top of the arc. Clickand drag downward to decrease the arc of the slur. Now create anotherslur.

Scroll to the beginning of measure 3. Positionthe cursor on the first note in measure 3 (top staff). Double-click anddrag to the last note in the measure. Release the mouse button.The new phrase marking displays its reshaping handles, letting you knowthat it’s selected. The first one you drew, meanwhile, is no longer selected.Instead, it displays a single handle. To select a Smart Shape that doesn’tdisplay its reshaping handles, click its handle.Feel free to experiment with these Smart Shapes.Click and drag each reshaping handle to see what it does.

Advanced id3 tag program for mac. Try adding acrescendo or decrescendo.When the Smart Shape Tool is selected, everySmart Shape in the score displays a small square handle on the screen(unless it’s already been selected, in which case it has reshaping handles).To delete a Smart Shape, click the handle to select the shape—and pressthe k key. For more information, see the User Manual under.Before moving on, you can choose to hide theSmart Shape Palette by deselecting it in the Window Menu. Otherwise, feelfree to leave it on the screen.Selection ToolIf you’re flying along in the editing processand don’t want to bother switching tools, the Selection Tool can helpspeed you along.

Click on the Selection Tool and click on any marking.Now you can move it, delete it, or right-click (Mac: -click)on it for a list of other editing commands. If you decide you need todo advanced editing, double-click on the marking to switch to the appropriateediting tool. You can return to the Selection Tool at any time by clicking- -A (Mac: - -A).The Selection Tool works on Measures (MeasureTool), Notes (Simple Entry), Smart Shapes, Expressions, Articulations,Repeats, Lyrics, Chords, Text Blocks, Tuplets, Time Signatures, Key Signatures,Clefs, Ossias, Graphics, and Staff and Group Names. For more details,see.Metatools:Putting in Many ArticulationsLet’s learn some more about articulations.The system you learned earlier for puttingin articulations is fine for the occasional accent or staccato marking.But what if you have a series of accented eighth notes? Do you have togo through the Articulation Selection dialog box for every single note?Fortunately, no. You can select a region of notes and tell Finale to applythe same symbol to every one.

Or you can assign any articulation to asingle key on your keyboard and bypass the dialog boxes altogether. Thesekeyboard assignments are called Metatools. You can assign a metatool toeach of the alphabet keys (a-z) as well as the number keys (0-9); theArticulation Tool has one set of thirty-six, and the Expression Tool hasanother set of thirty-six.The basic formula for working with Metatoolsis always the same: Press -number or letter key to programthe keystroke; use the number or letter key alone to enter the markinginto the score. Some Metatools have already been programmed for you; let’stake a closer look. Clickthe Articulation Tool. Whilepressing, press the S key. The Articulation Selectiondialog box appears.Every articulation in this dialog box has a number assigned to it (which appears in the upper-left corner of each slot).

Some also have a second number or letter; this number or letter appears in the upper right corner of each slot and indicates the Metatool currently assigned to that articulation. Metatool S is assigned to the staccato mark, Metatool A is assigned to the staccato mark, MetatoolA is assigned to the accent mark, and so on. Remember, you pressed -S to access this dialogbox, telling Finale you wanted to program Metatool S. For now, let’s assumeyou are satisfied with using Metatool S for the staccato mark. ClickCancel. Position the cursor on the first note in measure 2 (top staff).

While pressing the S key, click the note. Finale pops a staccato mark into the score. The square handle is larger than the dot itself, so all you see is a handle. To see the dot, select a different tool. Then reselect the Articulation Tool. Whilepressing the S key, click the second note.

As you can see, usinga Metatool saves you the trouble of selecting this mark from a dialogbox each time you want it. Just click a note while pressing the appropriatenumber or letter key, and your marking appears. What’s more, you can reprogramthe other keys with symbols other than the ones currently defined. Whilepressing, press the A key.

As you can see, MetatoolA is currently assigned to the accent mark. Let’s say you use this particulararticulation fairly infrequently, and you would rather assign MetatoolA to another articulation. Double-click the tenuto mark (slot 7).When you return to the score, it may seem thatnothing has happened; no new mark appears in the score. But somethinghas indeed happened—you’ve successfully programmed a Metatool. (Remember,that’s why you pressed -A, which is Finale’s signal that you’re teaching ita Metatool.)Alternatively, while in the Expression Selection dialog box, you can choose an expression, hold down Shift, and type a number or letter to assign it to a metatool. Positionthe cursor on the third note of measure 5 in the top staff. While pressingthe A key, click.

Finale pops a tenuto mark into the score.Furthermore, Expressions can have their ownset of thirty-six Metatools. 1 through 4 might be dynamics you use often;5 and 6 might be cresc. And dim., and so on.

You create the Metatoolsthe same way: Select the tool, press and the number or letter; the Expression Selectiondialog box appears. Double-click the desired expression. (Both text phrasesand shapes may be programmed to Metatools.) When you’re ready to put themarking into the score, press and hold the number or letter key aloneand single-click where you want the marking to appear; it pops into place.When you save your document, all your Metatoolassignments are saved too, so that you can continue placing expressionsusing Metatools the next time you open the document. You can redefineyour Metatools at any time, however, as you just learned above.Programmed Metatools are specific to the document that you are currently working on; therefore, you can have different sets of Metatools for different pieces. If you find that you use the same Metatools over and over again, you can save a Document Style that includes your own Metatool assignments. That way, they are available for you every time you start a new piece.

(See the User Manual under for details.)Of course, you can continue this way, clickingstaccato marks into the tutorial score that’s now on the screen. But don’tbother—if you want to apply a marking to a whole group of notes, there’san even faster way. Withthe Articulation Tool selected, drag across the remaining note stems ofmeasure 2. A bold black box will show you which notes you’ve drag-selected.When you release the mouse button, the Apply Articulation dialog box appears. ClickSelect, and double-click the staccato mark.

You return to the ApplyArticulation dialog box. Take a glance at the other options; for example,Finale can place this marking only on quarter notes and eighth notes,if you want. For now, however, leave All Notes selected. ClickOK. You return to the score; the remaining notes now have staccatomarks.Finale offers yet another method for enteringseveral articulations at once, and this one is the fastest of them all.It combines the power of Metatools with Finale’s ability to select a regionof notes.

Fromthe Edit Menu, choose Undo. The staccato marks you just added areremoved. Whilepressing the A key, drag through the four notes of measure 2. Whenyou release the mouse button, a tenuto mark is added to each note youselected, since that’s the symbol currently assigned to Metatool A.But let’s suppose you really intended to putstaccato marks on those notes, and held down the wrong Metatool key bymistake. No problem!. Drag a box around the tenuto marks in measure 2. The tenuto marks are highlighted.Now use Finale’s quickchage technique to change these tenuto marks to staccato marks for the entire measure in one quick, easy step:.

Double-press the S key. The tenutos change to staccatos. Select any articulation and press any metatool twice in succession to quickly change to a different character.

(This technique also works for expressions.) You can also edit any number of articulations in the score at once. Draga box over the first two articulation handles. You can now dragor nudge both of these articulations simultaneously. Holddown the Shift key and click or drag over additional articulations.This way, you can pick and choose the articulations you want to positionor edit.Expressions:Creating Your Own ExpressionsLet’s suppose that the Trombone 1 is sometimesplaying with a mute (con sordino) and other times without a mute (senzasordino). You won’t find these terms in the standard Finale expressions libraries, so you’ll need to create them yourself. Clickthe Expression Tool and double-click on the dotted quarter note in measure1 (of the Trombone 2 staff).

The Expression Selection dialog box appears. The expressions we will add tell the performer when to use a mute, so it would be in the “Technique Text” category. Click the Technique Text category. Finale displays the technique text expressions in the preview window. You’ll find that the Text Expressions you’re seeking, con sordino and senza sordino, don’t appear in this list, so we will create them.You’ll find that the Text Expressions you’reseeking, con sordino and senza sordino, don’t appear in this list. Here’show to create them.

Con sordino has been added to the list of expressions, and assigned to the Technique Text category. You won’t have to create it again the next time you need it in this score.

Click Select. You return to the score, you’ll see that the con sordino marking appears above the staff. Scrollto measure 10 and double-click above the first note of the Trombone 2part.

Create the senza sordino expression the same way you createdthe con sordino marking and drag the marking into place.Let’ssuppose you want the musicians to play faster at the chorus or “Vivace.”You won’t find this term in the standard Finale expression sets, so you’llneed to create it yourself. Clickthe Expression Tool and double-clickbelow measure 10 (of any staff). The Expression Selection dialog box appears. Click the Tempo Marks category and then click Create. The Text Expression Designer dialog box appears.

Typethe word “Vivace.” Next we’ll add a Tempo playback effect to themarking. ClickPlayback tab. The Playback/Record Options appear.

Fromthe Type Menu, choose Tempo. The duration menu appears to the right.It’s already set to a quarter note, so we’ll leave it alone. Clickin the Set to Value box and type 200. ClickOK; click Assign. Notice that “Vivace” has been added to thelist of expressions. You won’t have to create it again the next time youneed it.When you return to the score, you’ll see that the marking appears above the Trombone 1 staff.

Tempo Marks are defined to always appear above the top staff (in the Score List section of the Category Designer dialog box). This marking will also appear at measure 10 in each individual part. Press Ctrl-Alt- (Mac users, Command-Option-). The Trombone 1 part appears.

Notice the “Vivace” marking appears above measure 10. Press Ctrl-Alt.

You’ll soon discover that all of the dynamicmarkings (in the Expression Tool) and some of the Articulations have beendefined for playback; as soon as you place them into your score, theyaffect the playback in a musical way.Furthermore, you can create your own expressionsand markings, and define them for tempo playback, too. Any word or shapecan affect any MIDI variable when you play your score—key velocity (volume),tempo, transposition, patch, MIDI channel, pitch bend, pedal, and so on.In Tutorial 6, you’ll learn how to program your own intelligent scoremarkings.Score ListsScore Lists are designed for markings that apply to the full score, but only appear on certain staves. For example, tempo marks appear above the top staff of the score only, although they actually always apply to every staff and should appear in every part. Therefore, a Score List is required to indicate the expression should be excluded from most staves in the score.

Tempo alterations and rehearsal marks also apply to every part, and therefore also require Score Lists.Score Lists are assigned to expression categories. Finale automatically assigns all expressions in the Tempo Marks, Tempo Alterations, and Rehearsal Marks categories to the top of the score as well as above the top staff of each instrumental section. This is the most common requirement for Score Lists, so the need to edit them manually is rare, especially in scores created in Finale 2009.Dynamics, expressive text, and technique text markings always apply to a specific staff and therefore do not require Score Lists. To assign an expression in one of these categories to multiple staves, use the Assign drop-down menu in the. See.If you would like to change the staff assignment of a tempo or rehearsal expression, you must edit its category’s Score List settings. Let’s edit the Tempo Mark Score List so that our “Vivace” marking, and future tempo mark expressions, appear on select staves of the score.

From the Document Menu, choose Category Designer. The Category Designer dialog box appears. All of Finale’s Score Lists are managed from this dialog box.

Choose the Tempo Marks category. This page includes all the font, positioning, and Score List options for Tempo Marks. Click the Edit Button to the right of “Score List.” The Score List dialog box appears. The list on the left displays the available Score Lists. The list on the right displays the available staves and parts. Currently, this expression is set to appear on the top staff of the score and on the top staff of all the parts. For now, let’s say we need tempo marks to also appear above the Trombone 4 staff in the score.

Under the Score column, click to the left of Trombone 4. Click OK to return to the Category Designer and OK again to return to the score. The “Vivace” marking now appears above the Trombone 4 staff as well as the Trombone 1 staff.By changing the Tempo Mark category’s Score List, you apply changes to all existing tempo marks in the score, as well as any future tempo marks you add. Expression categories and Score Lists offer ease and consistency, assuming you will always want tempo markings to appear in the same font, position, and on the same staff/staves throughout your score (as is the case with all professionally published sheet music).Expressions that are applied to multiple staves using Score Lists have some unique manual positioning characteristics. Drag the “Vivace” marking above the Trombone 1 staff. When you drag the top expression in a Score List, all subsequent expressions are selected automatically and move uniformly.

With only the bottom expression selected, drag the “Vivace” marking above the Trombone 4 staff. It moves independently. Manual positioning changes to the top expression apply to all other expressions in the same Score List.

Other expressions in the Score List can be moved independently.Score Lists are often used to place expressions above the top staff of instrumental sections in a large score. But, what if the top staff of an instrumental section is hidden due to optimization? Score Lists will adapt to optimized scores, treating each assignment as a pseudo-“Top Staff” setting. For example, if a tempo mark is added to the top staff in a string section, and that particular staff is hidden due to optimization, the expression will automatically get bumped to the next highest staff in the section (i.e. Continue to display on the top staff of the string section).Copyingand Pasting ExpressionsIf you’ve painstakingly put staccato, accent,and tenuto marks into your Trombone 1 part, you certainly don’t want tohave to reenter them into the other parts.

Fortunately, Finale allowsyou to copy them onto any other music in the score, even if the notesare different. Clickthe Selection Tool.

Scrollto measure 2, so that it’s the first measure on the screen. Fromthe Edit Menu, choose Edit Filter.The Entry Items dialog box appears, displayingwhich elements of the music you can copy. You can choose any combinationof these elements. ClickUncheck All. SelectArticulations. Now that you’ve specified beforehand whichitems you want copied, all that remains is for you to specify where youwant them copied from and to. Clickmeasure 2 in the top staff.

That is, highlight the music whosearticulations you want to copy. Dragthe highlighted measure so that it’s superimposed on measure 3 (of thesame staff). Release the mouse button.Finale copies the articulations from measure2 onto the notes of measure 3.If the rhythmic values of the notes in thesource and target measures aren’t identical, Finale does its best to placeyour articulations on any notes that do occur on the same beats.The technique you just used to copy the articulationsfrom one place to another is an important one, and you can use it anytime you need to copy one element of the music to another spot. A commonexample is chord symbols: In a verse-chorus-verse song, you need only enter the chord symbols for the first verse.

Then, with the Copy method you just used, you can copy just the chord symbols from the first verse to the last verse—even if the melody is different each time.Using LibrariesSuppose you’re finished with your brass quartet. Along the way you’ve created a number of textual expressions—con sordino, senza sordino, and rehearsal letters, among others. It might save you time later if you save them in a file of their own, ready to be loaded into any other piece that might require them. As mentioned earlier in this tutorial, these sets of symbols are stored in separate files called libraries.

From the File Menu, choose Save Library. The Save Library dialog box appears, asking which element of this Finale file you want to store separately.Libraries are saved with every Document Style. Load libraries and save a file as a Document Style (into the Finale 2009/Document Styles folder) to use those libraries in future new documents begun with the Setup Wizard. Click Expressions, then click OK. You’ve told Finale that you want to save the new expressions, as opposed to, for instance, new chord symbol suffixes, which would be stored in a separate library.

As you become more familiar with Finale, you may find yourself wanting to save these other types of libraries; the basic procedure is the same. You’re now asked to name this library. Type Brass Expressions and click Save. The next time you need these markings, open the document in which you want to use them. From the File Menu, choose Load Library, and double-click Brass Expressions in the list box that appears. Thereafter, when you use the Expression Tool, you’ll see the imported markings in the Expression Selection dialog box, ready to use.After you quit Finale, you may want to move the Brass Expressions library into the Libraries folder (Finale 2009/Libraries) so you can find it easily the next time you want it.When You’re Ready to ContinueChoose Save from the File Menu if you haven’talready done so. If you think you’ve done enough for one session, chooseExit (Mac: Quit) from the File Menu, and you’ll return to the desktop.If you want to go on, close this documentand turn to the next tutorial.

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