Finale 2005 Tutorial

INSTALLATION AND TUTORIALS
FOR WINDOWS ® AND MACINTOSH®
2005
THE ART OF MUSIC NOTATION™
FINALE 2005 FOR WINDOWS AND MACINTOSH
©2004 MakeMusic! Inc.
First printing, July 2004
U.S. Patent Numbers 4,945,804 and 4,960,031 and 5,396,828
Project Manager Beth Sorensen
Product Manager Tom Johnson
Technical Director Mark Maronde
Software Development Randall Stokes, Chris Cianflone, Beth Sorensen, Joe Lenarz,
Tim Fischer, Kay Paulus, Scott Puhl, Dave Polashek, Scott
McSpadden
Development & Technical Support Scott Yoho, Michael Johnson, Allen Fisher, Trey ZehrGrimm,
Ryan Demlow, Shawn McClain, Carla Hennes, Kami Miller,
Rick Rueckert, Brian Schader, Phil Holst, Ryan Wooley,
Adrian Suarez, Dave Scheffing
Tutorial Documentation Mark Johnson
Finale, Finale Allegro, Coda, and The Art of Music Notation are registered trademarks. PrintMusic! and
HyperScribe are trademarks of MakeMusic Inc. and its licensors.
ENIGMA Music Publishing Toolkit ©1987-2003 MakeMusic Inc. and its licensors. All rights reserved.
The program used to install Finale, Installer Vise 5.5.2, © 1993-2003 MindVision, Inc. All rights reserved.
MetroWorks CodeWarrior ©1993-2003 MetroWorks Corporation. All Rights Reserved.
Portions ©1984-2003 FairCom Corporation. All rights reserved.
SmartScore and MIDISCAN are registered trademarks of Musitek Music Imaging Technologies.
Microsoft, MS-DOS, Windows, Windows 95, Windows 98, Windows 2000, Windows ME, Windows NT
and Windows XP are registered trademarks of Microsoft Corporation.
Apple and Macintosh are registered trademarks of Apple Computer, Inc.
Other brand or product names are trademarks or registered trademarks of their respective holders.
Table of Contents
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v

Installing Finale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Installation for Windows . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Preparing for Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii
Setting up your MIDI System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii
Starting Finale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix
The MIDI Setup Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x
Installation for Macintosh . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Installing Finale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Preparing for Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
To setup your printer: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv
Setting up your MIDI System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv
The MIDI Setup Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii
Setting up MIDI with OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii
How to Learn Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix
Tutorial 1a: Simple Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Creating a New Document with the Document Setup Wizard . . . . . . . . . . . 1
Entering Music with the Simple Entry Tool. . . . . . . . . . . . . . . . . . . . . . . . . 7
Overwrite vs. Repitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Adding Measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Changing Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Saving your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Tutorial 1b: Speedy Entry . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Creating a New Document from a Template . . . . . . . . . . . . . . . . . . . . . . . 25
Adding Measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Speedy Entry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Editing with Speedy Entry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Copying Music to Off screen Targets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Deleting Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
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Table of Contents
Erasing Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Tutorial 1c: HyperScribe - Notate As You Play . . . . . . . . . . 45
Introduction to HyperScribe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Creating a New Default Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Click and Countoff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Transcribing a Scale (with a Click) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Transcribing a Melody (with a Tap) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Setting the Time Signature and Beaming Patterns . . . . . . . . . . . . . . . . . . . 50
Two-handed HyperScribing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Tutorial 2: Adding Details . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Changing the Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Changing the Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Entering Lyrics: Type into Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Entering Lyrics: Click Assignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Adding a Second Verse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
The Repeat Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Chord Symbols (Optional Section) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Working with Inner Voices: Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Tutorial 3: Articulations and Expressions . . . . . . . . . . . . . 73
Basic Articulations and Expressions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Adding a Slur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Metatools: Putting in Many Articulations. . . . . . . . . . . . . . . . . . . . . . . . . . 77
Expressions: Creating your own Expressions. . . . . . . . . . . . . . . . . . . . . . . 81
Markings that Play Back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Staff Lists: Specifying Target Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Copying and Pasting Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Using Text Expression Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Tutorial 4: Layout and Printing . . . . . . . . . . . . . . . . . . . . . . 91
Measure Layout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Pickup Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
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Table of Contents
Spacing the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Beat Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
The Page Layout Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
The Resize Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
The Text Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
The Graphics Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Printing Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Tutorial 5: Working with Scores . . . . . . . . . . . . . . . . . . . . 111
Setting Clefs and Staff Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Hiding Staves (Staff Sets). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Inserting Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Transposing Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Staff Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Optimizing Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Part Extraction 1: Splitting into Separate Documents . . . . . . . . . . . . . . . 122
Tutorial 6: More MIDI Topics . . . . . . . . . . . . . . . . . . . . . . 127
Assigning MIDI Channels and Instruments . . . . . . . . . . . . . . . . . . . . . . . 127
Human Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
The MIDI Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Creating a Decrescendo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Expressions: Defining playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Creating an Intelligent Tempo Marking. . . . . . . . . . . . . . . . . . . . . . . . . . 149
Creating Swing Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Tutorial 7: Guitar Tab and Fretted Instruments . . . . . . . . 153
Creating Guitar Tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Copying Music To and From a tab staff. . . . . . . . . . . . . . . . . . . . . . . . . . 154
Changing the String and Fret Number . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Entry Directly Into a Tab Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Entering Slides, Bends and Tremolos . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Hammer-ons, Pull-offs and Other Markings . . . . . . . . . . . . . . . . . . . . . . 161
Entry Using a MIDI Guitar (Optional Section). . . . . . . . . . . . . . . . . . . . . 161
Tutorial 8: Other Notation Topics . . . . . . . . . . . . . . . . . . 165
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Table of Contents
The Special Tools Tool: Fancy Beaming and Stemming . . . . . . . . . . . . . . 165

The Note Mover Tool: Cross-staff Notes . . . . . . . . . . . . . . . . . . . . . . . . . 171
Correcting Split Point Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Measure Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
The Shape Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Scanning Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Percussion Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Making the Most of Finale . . . . . . . . . . . . . . . . . . . . . . . . 183
License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
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Before You Begin
THANK YOU FOR CHOOSING FINALE!
Finale is a powerful integrated program for music transcription, notation, playback, and publish-
ing. Incorporating elements of a word processor, a graphics designer, a sequencer, and a page-lay-
out program, Finale has all the power you need to create beautiful looking sheet music, and a
quality MIDI performance. Easier than ever to learn and use, this program has the potential to help
you produce more music—both printed and played—faster and better than ever before.
Take a moment to look over the contents of your Finale package. It should include:
Installation & Tutorials Book
Quick Reference Card
Finale CD-ROM
ABOUT THIS BOOK

In these pages, you’ll learn how to start putting Finale to work right away. From installing the soft-
ware, to entering music, to printing the score, and everything in between, we’ll cover all the basics
you need to know to get up and running fast. The Windows and Macintosh versions of Finale are
similar enough that we have incorporated instructions for both into this one book. You will notice,
however, that there are two separate versions of the Installation instructions—one for Windows
users and one for Macintosh users. These chapters provide platform-specific installation and setup
instructions. Beyond these initial chapters, the book applies to both platforms; any differences will
be indicated by separate instructions for each platform, given in parentheses. (The majority of
these differences will involve keystrokes—e.g., ! for Windows, a or b for Macintosh).
Throughout this book, you’ll find references or links to other topics. MOST LINKS LOOK LIKE THIS. If
you are viewing this book with the Acrobat Reader, you can click on the link to go to that section
of the book or the User Manual (a PDF file of this book can be found in the Finale/User Manual
folder). If you’re reading this book in printed form, simply turn to the referred section.
Throughout this manual, you’ll find tip boxes; one is Tip boxes look like this. In these boxes, you’ll
shown at right. These tip boxes contain helpful hints find helpful tips and tricks along the way.
and tips that relate to the text where they’re found.
Learning Finale won’t be difficult. Though the program offers hundreds of features and options,
there’s absolutely nothing wrong with ignoring the ones you’ll never use. Don’t have a MIDI instru-
ment? Then skip those sections of the book. Don’t plan to use guitar fretboards? Then don’t bother
learning that feature. You may need some of the other options another day—or never, depending
on the kind of music you want to create; that’s perfectly OK. To help you get a jump start, we’ve
divided Tutorial 1 into separate entry methods. If you don’t have a MIDI keyboard, you can skip
v
Before You Begin
Tutorial 1c. After reading chapter 1a, if you feel comfortable using Simple Entry as your primary
entry method, skip tutorial 1b.
Be sure to look at the Read Me file, which the Finale Installer copies to your hard disk and installs
in the Finale 2005 folder. This document contains important information about Finale that wasn’t
available when this book went to press.
REGISTRATION CARD/GETTING HELP

To receive all the benefits of being a Finale owner, be sure to complete the Registration Wizard. To
access the Registration Wizard, click Register Now! the first time you launch Finale 2005 (or, from
the Help Menu, choose register Finale). You have the option of registering over the Internet, or by
phone, fax, or mail. If you are upgrading from an earlier version of Finale, you are already a registered
owner; your registration number (serial number) has not changed.
Lab pack and site license customers (who do not use KeyServer), please complete the Multi-User
Software Registration form and return it to MakeMusic!. You can find the form, named “Multi-User
Reg Form.pdf,” loose on the Finale 2005 CD-ROM.
As a registered owner, you may contact MakeMusic!
Remember that extensive help is always at
for customer support whenever you need help with
your fingertips: from the Help Menu, choose
Finale and can’t find the answer in this book or the
User Manual, then Table of Contents.
USER MANUAL. There is no charge for this help
(although you may pay long distance if you call). Our
customer support representatives will ask for your serial number.
If you have Internet access, you can receive information, read answers to frequently asked ques-
tions, participate in forums, and download maintenance updates and demos from MakeMusic!’s
website at http://www.makemusic.com. You can also send questions directly to MakeMusic! via e-
mail at winsupport@makemusic.com or macsupport@makemusic.com. MakeMusic! can be
reached by fax at (952) 937-9760, via mail at 6210 Bury Drive, Eden Prairie, MN 55346-1718, or
via telephone at (952) 937-9703. We’ll answer any questions, as long as you’re the registered owner
of the program (as named on the registration card) and include your serial number.
In addition to receiving customer support benefits, sending in your registration card means you’ll
automatically receive company and product information from time to time, as well as official noti-
fication of any future upgrades to your program.
vi
Installation for Windows
INSTALLING FINALE
Macintosh users: skip to the next section, INSTALLATION FOR MACINTOSH.
Installing Finale onto your hard disk is easy, whether you’re upgrading from a previous version or
working with Finale for the first time. Before you begin installing Finale, make sure there’s enough
room on your hard disk to hold the program and its associated files. For a full installation, you’ll
need about 200 megabytes of free space on your hard disk. You should also bear in mind that, like
many other software programs, Finale creates and makes use of “temporary files” during its normal
operations, which it then deletes from your hard disk when you exit the program. We recommend
having an additional ten megabytes (10,000K) of free disk space for these files.
Because some virus detection programs can prevent certain files
The Installer sets up a folder
from installing properly, we recommend you temporarily disable
anti-virus programs. Rest assured, your Finale CD does not con- called “Finale 2005” for the
tain any viruses. If you are installing on Windows NT, Windows Finale program and its
2000, or Windows XP Professional, make sure you are logged in associated files and folders. Do
as the System Administrator and reboot after installation. not alter this setup.
• Insert the Install disc into your CD-ROM drive.
• If the Setup Program doesn’t start, click the Start Menu and choose Run.
• Type d:\setup (where D represents the CD-ROM drive on your machine) and click OK.
The Finale Setup program starts the installation process.
• Follow the instructions on the screen until the installation is
If upon trying to install, you get
complete. The Finale Installer lets you select which files you
want installed and where you want them placed on your hard the error message: “Cannot find
disk. The Installer offers to create a folder called “Finale the file,” your CD-ROM drive
2005”. We recommend that you install all of the Finale files may be assigned to a letter other
into this new folder. For the most part, you can press Enter to than D. Try other letters.
confirm each screen’s defaults.
• Remove the Installer disc from the drive and store it in a safe place! If anything happens to
your hard disk, you can reinstall Finale from your original disc.
When you open an older Finale file (from the File Menu, choose Open, then navigate to your
older file), Finale 2005 takes a moment to convert it into the new format, then opens it as an
“Untitled” file. If you save the file in Finale 2005 using the same name as before, you will not be
able to reopen that file using an earlier version of Finale. It is suggested, therefore, that you save
the file with a slightly different name (for instance, “My Score” could become “My Score 2”),
unless you are absolutely sure that you won’t need to reopen it in an earlier version of Finale.
vii
PREPARING FOR PRINTING

Before you can print from Finale, you must set up Windows to work with your printer. See your
Microsoft Windows User Manual for details.
For information on printing in Finale, see PRINTING in the User Manual or consult TUTORIAL 4 in
this volume.
SETTING UP YOUR MIDI SYSTEM

If you are not using MIDI, skip this section. If you’re just getting started with MIDI, this section
provides basic instructions for connecting your equipment.
MIDI stands for Musical Instrument Digital Interface. It’s the language spoken by computers and
electronic musical instruments. We’ll assume that you’re connecting a MIDI keyboard, although
you can use any MIDI instrument. In this book, “MIDI keyboard” refers to whatever type of MIDI
device you are using.
We will assume that your computer is equipped with a sound card, which is designed to also act as
a MIDI interface and has the appropriate driver software installed. If you are using a dedicated
MIDI interface, you will need to consult its documentation for instructions on setting up your
MIDI system. At the very least, in addition to the sound card you will need the following equip-
ment for an operational MIDI system (not including your computer):
A MIDI keyboard
Amplifier/speaker or headphones
A MIDI cable (the sound card accessory which connects to the card’s game/joystick port on one
end, and has two MIDI cables on the other end)
The last item, a MIDI cable, is an optional accessory which may have been included when you pur-
chased your sound card. If you do not have this accessory cable, contact a local music store or the
manufacturer of your sound card.
• Install your sound card or USB interface and its drivers. See its documentation for instructions.
• Place the computer, keyboard, and MIDI interface where you want them. Go ahead and plug
in any power cords, but don’t turn anything on yet.
• If you are using a sound card, plug the game/joystick port end of the MIDI cable into the
game/joystick port of the sound card. If you are using a USB interface, connect it to your
computer using a USB cable. Again, if you are using a USB interface, consult its documentation
for specific instructions.
• Plug the MIDI cable marked MIDI OUT into the MIDI IN port on your MIDI keyboard, and
the MIDI cable marked MIDI IN into the MIDI keyboard port marked MIDI OUT. The MIDI
viii
ports on a MIDI keyboard are usually on the back of the unit. The most common problem
encountered by a new MIDI user is improperly connected cables. The trick is to think of the
route the music data is taking. The notes you play will leave your MIDI keyboard from the port
marked Out, and proceed to the computer through a cable or port marked In. Similarly, when
the computer plays back your music, the notes leave the computer through the port or cable
marked Out and enter the MIDI keyboard through the port marked In. So, although it may
seem contrary to common sense, plug the In to the Out and vice versa.
Your connections should resemble those in this figure:
AMPLIFIER
&
SPEAKER
Computer To Game/Joystick port

on Soundcard
MIDI Out
MIDI In
KEYBOARD
• Turn on all your equipment.

If you discover that Finale isn’t responding to your MIDI keyboard, check these connections
again, and consult the manual that came with your sound card. Also read the MORE ON MIDI
appendix in the User Manual.
STARTING FINALE
• Double-click on the “Start Finale 2005” icon on your Desktop. When you launch Finale for the
first time, you will see the Register Finale! dialog box. This dialog box continues to appear each time
you launch Finale until the product is registered.
• Click Register Now! to start the Finale registration Wizard. Follow the simple instructions to
register your copy of Finale. Or, click Remind Me Later to register at a later time. You have 30
days to register your copy of Finale. After 30 days, printing and saving are disabled until your
copy of Finale is registered.
If you have internet access (and are not running firewall, security or virus software that would
block information from being received back at your computer), simply select this option, and
the rest is taken care of for you automatically.
Otherwise, select one of the other options for phone, FAX or standard mail, and a window will
be displayed containing a User Code. You may print out this page and FAX or mail it to us, or
ix
you can call with your serial number and User Code. In either case, we will generate an Autho-
rization Code that you manually type in to complete the process. In each case (including inter-
net), our system automatically sends an email confirmation of the information. If you had
selected the internet option, but have a firewall that blocked the information from being
received, then you can manually type in the Authorization Code information provided.
PLEASE NOTE that the User/Authorization Codes are computer specific, and
will only work on the given computer installation. Make sure that the Autho-
rization Code is typed in using capital letters, and also verify that the correct
serial number has been entered. If you make a change to the computer (such
as replacing the hard drive or motherboard, or install a new operating sys-
tem), then you will need to re-authorized the installation. If you have already
installed and authorized twice, you will need to contact Customer Service
directly by phone, FAX or standard mail with your serial number and the
location ID for the specific installation in question, and one of our representa-
tives can clear the previous authorization from your account. If the software is
not "reminding" you to register when you run the program, then the registra-
tion/authorization has been successfully completed.
Next, the MIDI Setup dialog box appears. Here, you can choose the devices you want to use for
MIDI Input and playback. You’ll learn how to configure MIDI using this dialog box in the next sec-
tion.
• Click OK. The Launch Window appears. From here, you can choose how you want to begin a new
score, continue working on an existing project, or access reference materials. For example, choose
Setup Wizard to begin a new custom document by specifying the title, staves, key signature, time sig-
nature and other attributes for your new score. We’ll explain more about the Setup Wizard in chapter
1a.
THE MIDI SETUP DIALOG BOX

The first time you launch Finale, the MIDI Setup dialog box will appear (subsequently it’s found in
Finale’s MIDI Menu).
This is where you instruct Finale which MIDI drivers you’d like to use. Finale begins by scanning
your system and finding the MIDI drivers that are already installed. On the left side of the dialog
box, under MIDI In, the program will select the MIDI In Device that is present on your computer
(for example, “Sound Blaster MIDI Input”). In the right hand box, the program will select Finale’s
SoftSynth (software synthesizer) which is installed with Finale. You can easily choose a different
device to enter or play back your music. Any time you’d like to hear the music on your computer’s
x
speakers (which are connected to your sound card), you’d typically choose a driver with the term
“Synth” or “Synthesizer” in it. If, on the other hand, you’d like Finale to play back on an external
MIDI device (which would require its own speaker and amplifier), choose a driver which has
“MIDI Out” in its name.
You can leave SoftSynth selected for the MIDI output device to playback with your computer
speakers using Finale’s default General MIDI sounds. Or, choose from the available synthesizers on
your computer. The following diagram shows the MIDI Setup dialog box properly configured to
play back through the computer’s speakers via a sound card.
The diagram below shows the MIDI Setup dialog box properly configured to play back through an
external MIDI device. Keep in mind that the specific driver names will change depending on what
sound card or MIDI device you have.
For more information, consult the User Manual under MIDI SETUP DIALOG BOX.
You’re all set to explore Finale. Skip to the next section, HOW TO LEARN FINALE.
xi
xii
Installation for Macintosh
INSTALLING FINALE
Windows users: see the previous chapter INSTALLATION FOR WINDOWS or skip over this chapter.
Installing Finale onto your hard disk is easy, whether you’re upgrading from a previous version or
working with Finale for the first time.
Before you begin installing Finale, make sure there’s enough
The Installer sets up a folder
room on your hard disk to hold the program and its associated
files. For a full installation, you’ll need about two hundred called “Finale 2005” for the
megabytes (200,000K) of free space on your hard disk. You Finale program and its
should also bear in mind that, like many other software pro- associated files and folders. Do
grams, Finale creates and makes use of “temporary files” during not alter this setup.
its normal operations, which it then deletes from your hard disk
when you exit the program. We recommend having an additional ten megabytes (10,000K) of free
disk space for these files.
• Insert the Finale disc into your CD-ROM drive. Its icon appears on your desktop.
• Double-click the CD icon. The contents of the CD appear on your screen.
• Double-click the Installer icon. In a moment, the Finale Installer screen appears.
• Follow the instructions on the screen until the installation is
Finale 2005 will not disturb an
complete. The Finale Installer lets you select which files you
want installed and where you want them placed on your hard older Finale folder. You can copy
disk. The Installer offers to create a folder called “Finale 2005”. any custom files and song files
We recommend that you install all of the Finale files into this into the new Finale folders, then
new folder. For the most part, you can press Return to confirm delete the previous Finale folder
the defaults. if you want to free up disk space.
When you open an older Finale file (choose File, then Open
and navigate to your older file), Finale 2005 takes a moment to convert it into the new format, then
opens it as an “Untitled” file. If you save the file in Finale 2005 using the same name as before, you
will not be able to reopen that file using an earlier version of Finale. It is suggested, therefore, that
you save the file with a slightly different name (for instance, “My Score” could become “My Score
2”), unless you are sure that you won’t need to reopen the file in an earlier version of Finale.
PREPARING FOR PRINTING

These instructions cover the basic preparations for printing from Finale or any program. If you can
print successfully from other programs already, skip ahead to the next section. Before you print for
xiii
the first time, you must tell the Macintosh where to send its printing information, especially if you
have more than one printer.
TO SETUP YOUR PRINTER:

• Install OS X drivers for your printer. If the printer is compatible with OS X, you’ll find these
drivers on a CD included with your printer. You can also usually download the necessary driv-
ers from the printer manufacturer’s Web site. See the printer’s user manual for additional infor-
mation.
• Navigate to the hard drive, and choose Applications, Utilities, and then Print Center (Printer
Setup Utility in OS 10.3 and greater). The Print Center dialog box appears.
• If your printer isn’t already listed, click the Add button.
• In the new window, choose the appropriate zone from the popup menu.
• Click your printer’s name and click Add.
• Quit Print Center/Printer Setup Utility.
SETTING UP YOUR MIDI SYSTEM

MIDI stands for Musical Instrument Digital Interface. It’s the language spoken by computers and
electronic musical instruments. We’ll assume that you’re connecting a MIDI keyboard, although
you can use any MIDI instrument. In this manual, “MIDI keyboard” refers to whatever type of
MIDI device you are using.
At the very least, you’ll need the following equipment for an operational MIDI system (not
including your computer):
A MIDI keyboard
Amplifier/speaker or headphones
Two MIDI cables
A MIDI interface with appropriate USB cable
The last item, a MIDI interface, is a box that translates the signals arriving from the MIDI keyboard
into signals the computer understands, and vice versa. Interfaces can be very simple or very
elaborate. The most basic ones require no external power and have ports (jacks) for a single MIDI
keyboard; more expensive models have ports for multiple MIDI devices or other features. Most
Macs have USB (Universal Serial Bus) ports, a standard that allows users to connect devices to their
computers without needing to restart for the devices to become active. If you have a Blue and
White G3, 1999 or later Powerbook G3, G4, iMac or iBook, you’ve got USB ports and will need the
appropriate USB MIDI Interface or adapter.
xiv
• Place the computer, keyboard, and MIDI interface where you want them. Go ahead and plug in
any power cords, but don’t turn anything on yet.
• Plug one end of the MIDI interface cable into the interface (if applicable). Plug the other end into
the USB or serial port on the back of your Macintosh.
• Plug one end of a MIDI cable into the MIDI keyboard port marked MIDI In. Plug the other end
into the MIDI interface port marked MIDI Out. Plug the second MIDI cable into the interface port
marked MIDI In and the MIDI keyboard port marked MIDI Out. The most common problem
encountered by a new MIDI user is improperly connected cables. The trick is to think of the route
the music data is taking. The notes you play will leave your MIDI keyboard from the port marked
Out, and enter the interface through the port marked In, then on to the computer. Similarly, when
the computer plays back your music, the notes go out from the computer to the interface, leave the
interface through the port marked Out, and enter your MIDI keyboard through the port marked In.
So, although it may seem contrary to common sense, plug the In to the Out and vice versa.
Your connections should resemble those in this figure:
AMPLIFIER
&
SPEAKER
MAC From serial

or USB port MIDI In MIDI Out
MIDI Out MIDI In
INTERFACE KEYBOARD
• Turn on all your equipment.

Your MIDI system is now configured. To name a MIDI device or configure additional settings, jump
ahead to CONFIGURING YOUR MIDI SOFTWARE IN OS X. If you do not wish to name a MIDI device or
make additional settings, you can skip ahead to STARTING FINALE.
CONFIGURING MIDI
You can use helper utilities already available on your computer to configure your MIDI devices by
following these steps.
• Navigate to your hard drive, and choose Application, Utilities, Audio MIDI Setup. The Audio
MIDI Setup dialog box appears. Now, we’ll add new devices.
xv
• Click the MIDI Devices tab. Audio MIDI Setup will search for MIDI hardware and software.
After the search, your MIDI interface will appear.
• In the button bar, click Add Device. If necessary, drag the new device icon so it doesn’t overlap
the interface icon.
• Double-click the new device icon.
• Enter a device name, then select or enter the manufacturer and model. If more options are
required, click the More Properties arrow.
• Click OK. Repeat the last four steps for any other devices. Now, we’ll connect new devices to
the interface.
• If you are using a controller for MIDI input, drag the outgoing arrow of the MIDI controller
to the incoming arrow on the MIDI interface.
• If you are using a sound module for playback, drag the incoming arrow of the sound module
to the outgoing arrow on the MIDI interface.
xvi
• If you are using a device such as a MIDI keyboard for both input and playback, connect the
outgoing arrow on the MIDI device to the incoming arrow on the MIDI interface, and then
connect the incoming arrow of the MIDI device to the outgoing arrow of the MIDI interface.
• Quit Audio MIDI Setup.
Now that you have setup MIDI with OS X, skip directly to STARTING FINALE
STARTING FINALE
• Double-click on the “Start Finale 2005” icon on your Desktop. When you launch Finale for the
first time, you will see the Register Finale! dialog box. This dialog box continues to appear each time
you launch Finale until the product is registered.
• Click Register Now! to start the Finale registration Wizard. Follow the simple instructions to
register your copy of Finale. Or, click Remind Me Later to register at a later time. You have 30
days to register your copy of Finale. After 30 days, printing and saving are disabled until your
copy of Finale is registered.
If you have internet access (and are not running firewall, security or virus software that would
block information from being received back at your computer), simply select this option, and
the rest is taken care of for you automatically.
Otherwise, select one of the other options for phone, FAX or standard mail, and a window will
be displayed containing a User Code. You may print out this page and FAX or mail it to us, or
you can call with your serial number and User Code. In either case, we will generate an Autho-
rization Code that you manually type in to complete the process. In each case (including inter-
net), our system automatically sends an email confirmation of the information. If you had
selected the internet option, but have a firewall that blocked the information from being
received, then you can manually type in the Authorization Code information provided.
PLEASE NOTE that the User/Authorization Codes are computer specific, and will
only work on the given computer installation. Make sure that the Authorization
Code is typed in using capital letters, and also verify that the correct serial number
has been entered. If you make a change to the computer (such as replacing the hard
drive or motherboard, or install a new operating system), then you will need to re-
authorized the installation. If you have already installed and authorized twice, you
will need to contact Customer Service directly by phone, FAX or standard mail with
your serial number and the location ID for the specific installation in question, and
one of our representatives can clear the previous authorization from your account. If
the software is not "reminding" you to register when you run the program, then the
registration/authorization has been successfully completed.
xvii
Next, the MIDI Setup dialog box appears. Here, you can choose the devices you want to use for
MIDI Input and playback. You’ll learn how to configure MIDI in the next section.
• Click OK. The Launch Window appears. From here, you can choose how you want to begin a new
score, continue working on an existing project, or access reference materials. For example, choose
Setup Wizard to begin a new custom document by specifying the title, staves, key signature, time sig-
nature and other attributes. You’ll learn more about the Setup Wizard in chapter 1a.
THE MIDI SETUP DIALOG BOX

The MIDI Setup dialog box is where you instruct Finale which devices you’d like to use for MIDI
functions. On the left side of the dialog box, you’ll choose the MIDI input device. On the right side,
you’ll choose the desired output device. What you choose here will determine on which device
Finale will play back your music.
SETTING UP MIDI WITH OS X

• Start Finale.
• Navigate to the MIDI Menu and choose MIDI Setup. The MIDI Setup dialog box appears.
• For the MIDI System, choose CoreMIDI.
• Select the proper input and output devices from their respective menus. If only ports are
listed, select the port on your interface to which your MIDI device is connected.
• Click OK. You’re all set to explore Finale on your own.
xviii
How to Learn Finale
The remainder of this book contains step-by-step tutorials. It is best to take them in order, because
each tutorial is more advanced than the one before it.
For some of the tutorials, you’ll be working on sample documents that
If you don’t read any
are located in the Tutorials folder within the Finale 2005 folder on your
hard disk. In addition to these tutorials, Finale itself contains four other tutorials, do take
powerful instructional tools: the Status or Message Bar along the edge of a look at Tutorial 1a.
the application window, QuickStart Video Tips, Help and the USER
MANUAL. (At the end of each tutorial, you’ll find a short section called FOR MORE
INFORMATION, which directs you to some “how-to’s” in the User Manual that relate to the topics
you’ve just covered.)
• The Status Bar (Win) or Message Bar (Mac) shows you the name of each tool you click, and
tells you what your next step should be. On Windows, it also displays a description of each
menu or command.
• Help provides context-sensitive help. Click the Help button or press F1 (Win) or Help (Mac)
in any dialog box to show a discussion of the dialog box.
• QuickStart Video Tips are a series of videos that run on your computer and give you step-by-
step instructions on the use of many of Finale's tools and features. The Video Tips, which can
be accessed through the Help Menu, are designed to enhance and support these tutorials. Feel
free to use these Tips at any time to review any of the procedures outlined in this book.
• The User Manual is the most powerful and comprehensive of the instructional tools available
to you. Here you will find detailed descriptions of each of Finale's tools, dialog boxes, and
other features, as well as step-by-step instructions on how to perform any task in Finale as well
as several visual demonstrations. It is highly recommended that you take a few moments to
familiarize yourself with this tool: select the Help Menu, then choose User Manual, then Table
of Contents.
SOME TERMINOLOGY
If this is your first encounter with a computer, you should take some time to learn the basics from
its manual. If your computer didn’t come with an owner’s manual, many excellent books are now
available on basic computer usage, often with insulting names like “Macintosh for Complete
Morons” or “Windows for Blithering Idiots.” Despite such uninviting names, these books can be
indispensible if you’ve never used a computer before. In any case, you should certainly familiarize
yourself with your operating system, making sure that you understand important concepts such as
pointing, clicking, double-clicking, dragging, and opening and closing windows.
xix
How to Learn Finale
This Finale book assumes that you know how to choose a command from a menu and how to nav-
igate through a dialog box. In addition, be sure you’re familiar with the parts of a window, includ-
ing the scroll bars, the title bar, the close button and the sizable frame.
In many applications, including this one, you’re sometimes asked to !-click (Mac: a-click)
something on the screen. That simply means that while pressing the ! (or a) key, you click
the mouse button—then release both. Once you’ve mastered that principle, the meanings of d-
click and even !-d-click should be clear.
Because Finale does some things that music programs have never done before, you’ll also be run-
ning into terms we’re certain will be new to you. You’ll be introduced to these terms as you go
through the tutorials. But keep in mind that if you encounter an unfamiliar term while using the
program, you can learn about it in the User Manual; just look up the dialog box or menu in which
it appears.
SIMPLIFIED ORDER OF ENTRY

In general, you can make the most of your time by creating your
See the Order of Entry in the
documents in the following order. You may wish to refer back to
this list after performing the tutorials. “Making the Most of Finale”
chapter for more detailed steps
1. Specify the title, number of instruments, and beginning
after you’ve learned some
time and key signature. (See the Setup Wizard in Tutorial
important Finale concepts.
1a.)
2. Enter the notes.
3. Listen to your piece to check for mistakes.
4. Edit the music.
5. Put in the lyrics.
F) U)
6. Add repeats, chord symbols and fretboards.
7. Put in all markings: dynamics ( , articulations ( , and slurs.
8. Verify that the music is spaced correctly.
9. Look the piece over. Resize the page to fit more music on the page, if desired.
10. Fix bad page turns or system breaks.
xx
Tutorial 1a: Simple Entry
In this tutorial we’ll show you the easiest ways to start a new document and get notes on the page.
There are three basic note entry methods, so we’ve divided this tutorial into three parts: Simple
Entry, Speedy Entry and HyperScribe. We recommend you start with the Simple Entry tutorial to
get a good introduction to navigating around Finale. If you are familiar with Finale of years past,
you’ll find Simple Entry in version 2005 is more powerful than ever before. If you want, you can
still simply click notes onto the staff with a mouse. In addition, you can now quickly enter and edit
notes with your computer or MIDI keyboard, and even enter articulations and other items on the
fly. By the end of this tutorial, you will be able to enter your notation into Finale using the powerful
options offered by Simple Entry.
CREATING A NEW DOCUMENT WITH THE DOCUMENT SETUP WIZARD

You are probably familiar with Wizards from other applications, such as word processors and
spreadsheets. This Wizard is designed to help you set up a new Finale document. Let’s create a sim-
ple piano score.
If you haven’t already started Finale, do so now. If Finale is already started, click on the File Menu
and choose New, then Document with Setup Wizard.
• Click in the Title box and type My Song. When the Wizard creates your score, your title will
be centered at the top.
• Click in the Composer box
and type your name.
• Click in the Copyright box
and type Alt-0169 (Mac:
Option-G) to create the
extended character for the ©
symbol, and then the year
and your name.
Notice that you can select
from portrait or landscape
orientation, and you can
choose a page size other than
the standard 8.5" by 11";
your printer must, of course,
be able to handle whatever
size paper you select.
• Click Next. The Wizard asks you what parts or instruments you want in your new score. In the
first column is a list of instrument categories; the second contains a list of specific instruments
1
in the category currently selected in column one. The third column is empty, but will eventu-
ally contain a list of instruments you will be using for your score.
• In the first column, click on the word Keyboards. A list of common keyboards appears in the
second column.
• In the second column, click on the word Piano; click Add. Now the third column contains the
piano you intend to use in this score.
You should be aware that the order in which the instruments appear in the third column is the
order in which they will appear, from top to bottom, in your score. If you are creating a multi-
instrument score and the Document Setup Wizard incorrectly orders your instruments, you
can use the small up and down arrows to move the instruments around in the list until they are
correct. You can also select a “standard” score order from the drop-down menu: Custom,
Orchestral, Choral, Concert Band or Jazz Band.
If you want to save your instrument setup as en ensemble for use later, click Save As., enter a
name and click OK. Next time you use the Setup Wizard, you will be able to choose this
ensemble from the drop-down menu.
Your Wizard should now look like this:
• Click Next. The Wizard asks for the time signature and key signature. Several common time
signatures are offered and a ? button allows you to create more unusual time signatures.
In the lower half of the box, you use the scroll bar to select a key. Click the up arrow to add
sharps to the key signature (or subtract flats). Click the down arrow to add flats (or subtract
sharps). You can also specify whether the key is minor or major from the drop-down menu.
2
• Click the Cut Time
C button.
• Click the down arrow once to set the key signature to F Major. Your Wizard should now look
like the picture below:
• Click Next. The Wizard next allows you to set up a tempo marking, a pickup measure and
choose between setting your piece in the Maestro font (for an engraved look) or the Jazz font
(for a handwritten look.)
• Check the box next to Specify Initial Tempo Marking. We’ll set the tempo to the default: 120
beats per quarter note. We don’t need a pickup for this piece, so leave Specify Pickup Measure
unchecked. We want the new score to be in the Maestro font, so under Default Music Font leave
Maestro selected. Click on Jazz to see a sample of this font on the right, but re-select Maestro
before continuing.
3
Your Wizard should now look like the following picture:
• Click Finish. Finale now presents you with a new, Untitled docu- If the Jazz option is
ment, displaying your “My Song” title and containing the piano grayed out in the Setup
staves in the correct key and time signature with the tempo marking Wizard, make sure the
in the first measure. (By default, Finale creates every new document Jazz Font Default File is
with thirty-one empty measures.) in the Finale folder.
You could continue with this file, but let’s close it and open a file
where we’ve completed the left hand for you.
• From the File Menu, choose Close. Save the file, if you wish.
• Choose Open from the File Menu. Locate the document named “Tutorial 1a” in the Tutorials
folder, and double-click it. (Under Windows, document names may appear with or without an
extension, depending on how your Windows system is configured. Finale's music documents
use the extension .MUS—therefore, the tutorial document you are looking for may appear as
“Tutorial 1a.MUS.”) After a moment, you’ll see a simple piano arrangement of “Frère Jacques”
come to the screen. The left-hand part has been prepared for you; in this tutorial, you’ll finish
the melody.
4
Windows View
Navigation
Palette
Menu Bar
Main
Tool
Palette
Playback Controls
Document
Simple
Window
Entry
Palette (docked)
Vertical
Window Scroll
Page Counter Horizontal

Page Scroll
Window Scroll
Status Bar
Macintosh View
Simple Entry Palette Document
Window
Menu Bar
Main Tool
Palette
Title Bar Vertical
Message Bar Window scroll
(moves window)
Zoom Box
(expands to
System Lock icon
full size)
Page Counter Page Scroll Horizontal

Window scroll
5
Take a look around the screen. Across the top, you’ll find the menu bar. You’ll be using these
menus to control Finale’s behavior, edit documents, change the view, and much more. There are
nine unchanging menus; File, Edit, View, Options, MIDI, Plug-ins, Tools, Window and Help. Also,
you will likely see another menu which corresponds to the tool currently selected in the Main Tool
Palette.
Below the menu bar is the Main Tool Palette. Each square tile on these toolbars contains a symbol
representing its function. Just about everything you do in Finale will be in the context of one of
these tools. You’ll also see the Simple Entry Palette: on Windows running vertically along the left
edge of the screen, on Mac to the right of the Main Tool Palette. All of these toolbars can be hidden,
providing you with more space to view your music, or they can be viewed as palettes that float in
front of the music. To hide any toolbar, select it from the Window Menu to remove the check mark.
Selecting it again will cause it to reappear. (Note: Depending on your monitor's video resolution,
the toolbars may first appear as palettes on your screen.)
On Windows, the palettes are initially attached or “docked” to the edge of the window. To turn a
toolbar into a floating palette, click on the edge of the toolbar and drag it out into the center of the
screen, until you see a dotted-line representation of a smaller palette. Release the mouse button.
The palette can then be moved to any position on the screen. To restore a palette to toolbar status,
double-click. For additional toolbars, right-click on the grey toolbar area.
The tool palettes can even be rearranged or configured to hide certain tools. See the User Manual
under WINDOW MENU. For now, leave the toolbars in their original positions.
The right side of the screen has a vertical scroll bar, which
To hide the Status bar on
you’ll use to move the music you’re viewing up or down; and
across the bottom of the screen is a horizontal scroll bar, Windows, click the Window
which you’ll use to move left or right through your piece. Menu and uncheck Status Bar.
On Mac, click the View Menu
You’ll also see the Page counter; this number identifies the
and choose Hide Message Bar.
current page on the screen. To jump to any page in the score,
highlight the current page number, then type a new number
into the box and press j. (This piece has only one page.)
At the bottom of the window, you’ll see the Status Bar. On Macintosh, you’ll find the Message Bar
at the top of the window. The Status/Message bar indicates the tool currently chosen followed by a
brief description of what it does. When you feel comfortable with Finale, you can hide the Status or
Message Bar, so that you’ll have more window space for displaying music.
• Click the mouse pointer across the tools on the Main Tool Palette. As the pointer touches or
selects each tool, the Status or Message Bar identifies it by name, and gives you the first instruc-
tion for how to use it.
6
If you look at your score, you may notice that Finale automatically fills any empty measures
with a whole rest (hereafter called a default whole rest). That’s just to save you time, and it’s a
feature you can turn off, if you want. You’ll also notice that the music is displayed as a page of
sheet music. This is Finale’s startup view, called Page View.
If you’re new to computers, take a moment to click and drag (while holding down the mouse
button!) across the menu titles at the top of the screen, noticing how the lists of commands
drop down as you pass over each title.
• Click the Mass Edit Tool icon l on the Main Tool Palette. Not only does the icon highlight,
but there is now an additional menu on the menu bar: the Mass Edit Menu. Some Finale menus
appear only when you select certain tools, so they’re out of your way until you need them.
Now that you’ve had a look around, let’s begin our masterpiece. Click the horizontal and verti-
cal scroll bar arrows until measure one is visible (if necessary).
ENTERING MUSIC WITH THE SIMPLE ENTRY TOOL

Finale offers many different entry methods. The simple entry tool itself can be used to click notes
onto a staff, enter notes with your computer keyboard, or with a MIDI keyboard. Here, you’ll learn
how to enter notes using each of these methods.
• Click the Simple Entry Tool 4. The Simple Entry palette becomes active. From the Window
menu, choose Simple Entry Rests Palette to show the Simple Entry Rests palette. These palettes
are shown on the next page. Also, another menu has appeared on the menu bar: the Simple
Menu. This menu contains commands, a list of keyboard shortcuts, and other options that
allow you to customize the way Simple Entry works.
• ClickFrom the Simple Menu, choose Simple Entry Options. The Simple Entry Options dialog
box appears. From this dialog box, you can customize the behavior of Simple Entry.
• Uncheck Create New Measures and then click OK. For
In addition to this tutorial, you can
this tutorial, all measures are already in place. In the
also open the file “EntryExercise”
future, you can recheck this option if you want to tell
Finale to automatically add new measures when the in the Finale/Tutorials folder for
final measure has been filled. We’ll talk more about this hands-on training.
and other Simple Entry Options later in this chapter.
7
Now, notice the two Simple Entry Palettes.
Eraser
Repitch
Double-whole Note
Whole Note
Half Note
Quarter Note
Eighth Note
Sixteenth Note Double Whole Rest
32nd Note Whole Rest
64th Note Half Rest
128th Note Quarter Rest
Dot Eighth Rest
Sharp Sixteenth Rest
Flat 32nd Rest
Natural 64th Rest
Half Step Up 128th Rest
Half Step Down
Tie
Tuplet
Grace Note
You can click tools in the Simple Entry Palette to specify the rhyth- To see a list of Simple Entry
mic duration, and other attributes, prior to entering a note. The
keyboard shortcuts from the
tools are divided into different groups. There are duration tools, like
Simple Menu, choose Simple
quarters, eighth notes, etc., accidental tools, like a sharp or flat, a tie
tool, tuplet tool and grace note tool. Click a tool to select it, click it Edit Commands and Simple
again to de-select it if you don’t want to use it anymore. To select a Navigation commands.
tool and clear all the other tools, double-click on it, or press the
keystroke twice. Notice your mouse cursor displays the tools selected in the Simple Entry palette.
8
You can mix and match the tools to build exactly the note you want to add,
whether it’s a quarter note or a sharped tied dotted note that starts a triplet!
Simply click in the staff to enter the note displayed on the mouse cursor. You
can always select the note and edit it later using different, modifier keystrokes,
which we’ll talk about soon. The fastest way to enter notes in Simple Entry
involves using keystrokes to select tools in the Simple Entry Palette, and then
enter the notes using keystrokes on your computer keyboard, which we’ll do
now.
•Click the Quarter Note Tool 5 on the

Simple Entry palette or type the number 5 on the numeric
keypad. The Quarter Note icon is highlighted. Notice a note
with a vertical line appears at the beginning of the first
measure. This line is called the Simple Entry Caret. The caret
is much like a cursor in a word processing program. It tells
you where the next note will appear when entered.
• Press the down arrow f three times. You can use the up e and down f arrows to specify
a staff position for the next note.
• Press j. A quarter note appears and the Caret moves to
the right. If Playback was selected, Finale briefly sounds an F.
Press j at any time to enter the note displayed on the
Caret. You can also enter pitches quickly using your
QWERTY keyboard. The QWERTY keyboard means the
letters on your computer keyboard and the numbers above
the letters, and not the numeric keypad, and not a MIDI
keyboard.
• Press the G key, and then the A key. Finale enters a G and an A, and the caret moves to the
right.
• Press the A key. After you have entered a note, you can easily edit its pitch. Notice the note
previously entered is a different color than the other notes. This indicates that the note is
selected, and can be changed and moved with keystrokes. (You can also !-click (Mac:
b-click) a note to select it.).
• Hold down @ (Mac: b) and press the down arrow
twice. The note previously entered moves down to the F space.
While using the Simple Entry Caret, you can use keystrokes to
specify pitches before entering the note or immediately after as
9
we’ve done here. For a list of keyboard shortcuts, from the Simple Menu, choose Simple Edit
Commands.
As noted earlier, you can also use the mouse cursor to enter You can define your own
notes onto the staff. As you move the cursor above and
custom Simple Entry
below the staff, Finale draws temporary ledger lines to help
keyboard shortcuts. To do so,
you place new notes. The cursor also changes to show you
where you are and what will happen if you click the mouse. from the Simple Menu, choose
Currently, a ghostly quarter note should be floating above Simple Entry Options, and
your music, waiting for your click to place it into the score. then click Keyboard
Shortcuts.
If you ever make a mistake, you can use the Eraser ø in the
Simple Entry Palette to remove items in the score. Click the Eraser Tool, and then click a
notehead to remove the note. Click above or below a chord to remove the whole chord. Click
on an accidental, tuplet, tie or dot to remove it.
Now, let’s move ahead to the next measure. We know that the second measure of “Frère
Jacques” has exactly the same melody as the first. One nice thing about Finale is that you never
have to enter the same music twice. For example, instead of reentering these four notes, you
can just copy the first measure into the second.
You’ll always use the Mass Edit Tool for copying, moving, and erasing music.
• Click the Mass Edit Tool l.
• Click the first measure of the top staff. The measure is now highlighted. You’ve just selected
it, or told Finale that this is the measure you intend to manipulate.
• Drag the first measure to the right until its image is superimposed directly on the second
measure. A dotted outline of the selected measure moves with the cursor, showing exactly
where Finale will copy the music. You’ve just dragged the image of measure 1 onto measure 2.
1
4
1
&b 4 œ œ œ œ ∑ & b 44 œ œ œ œ ∑
? b 44 œ œ œ œ œ œ ? 4 œ œ œ œ œ œ
œ œ b 4 œ œ
10
• Release the mouse button. The program asks you how
many times you’d like measure 1 copied. Since you’re
only copying it to measure 2, the default (proposed)
value of 1 in the Copy Measures dialog box is what you
want.
• Click the OK button. Instead of clicking OK, you could
press the j key; in Finale, pressing j is the same as
clicking the OK button. Voila! You’ve just copied the music from measure 1 into measure 2.
• Click the Simple Entry Tool 4 again. Move the mouse cursor to the
right and over the A space in measure 3 and click. Then click the middle
line B. The next note in this measure is a half note, so you’ll have to
change rhythmic value.
• Click the Half Note Tool 6 or press the number 6 in the numeric
keypad (numpad). Notice the mouse cursor and the caret both look like a
half note. From this point on, we’ll use the term “numpad” to specify a key
on the numeric keypad to the right of the QWERTY keyboard. If you just
pressed 6 on the QWERTY keyboard, don’t worry. A note a sixth above B (F) appeared (which
we’ll talk more about soon). Just press k to remove the F and then press numpad 6 to
select the Half Note icon in the Simple Entry Palette.
• Click the C space in the third measure. A half note appears. To
complete the fourth measure, you could once again use the Mass Edit
Tool l to copy it from the third measure because it’s an exact dupli-
cate. However, in this case it’s just as fast to type the notes in.
• Press j to activate the caret. The caret appears to the right of the
selected note. Remember, the caret looks like a vertical line through a
note.
• Complete the fourth measure using the computer If you make a mistake, click on
keyboard. Remember, use the numpad to set the rhythmic the Edit Menu and choose
value, and then type the note letter on your QWERTY
Undo. Or, hold down the Ctrl
keyboard (or specify the pitch by using arrow keys and then
! (Mac: Command a)
press j).
key and press Z.
• Click the Eighth Note Tool 4, or press numpad 4. The
caret should now be at the beginning of measure 5.
If you have a MIDI device, such as a MIDI keyboard, you can use it to easily specify pitches in
Simple Entry. First, ensure your MIDI device is properly configured with your computer (See
11
earlier chapters INSTALLATION FOR WINDOWS or INSTALLATION FOR MAC (depending on the plat-
form you are using) for information on setting up a MIDI device). Then continue with the fol-
lowing steps. If you do not plan to use a MIDI device for input, skip the next two steps.
• From the Simple Menu, ensure Use MIDI Device for Input is checked. If it is not, select it
from the menu.
• On your MIDI device, play C5 (C above middle C), D, C, and B. Finale adds these notes to
the measure and the caret advances to the right. A note played on the MIDI device is the much
like pressing Enter or a note letter on your computer keyboard, except Finale reads the MIDI
information and adds accidentals and chords automatically. In the future, note that you can
play multiple notes simultaneously to specify a chord. Feel free to use a MIDI keyboard to
specify pitches in place of your computer keyboard or mouse for the remainder of this tutorial.
If you just used your MIDI device to enter the eighth notes in measure 5, skip the next step.
• [Non-MIDI users] Type C, D, C and B to enter the eighth notes. You could also use the arrow
keys to specify pitch, or click them onto the staff.
• Click the Quarter Note Tool 5, or press 5 on the numeric keypad.
• Type (or play) A and then F. The caret moves to measure 6. Again, you could copy measure 5
to the next, but for this example, let’s continue entering with Simple Entry.
• Click the Eighth Note Tool 4, or press numpad 4. The next note is third space C, but if we
type a C it will appear on the middle C line below the staff. When you type a pitch, Finale
enters the note closest to the caret pitch (within the range of a fourth lower or higher than the
note displayed on the caret.
• Hold down d and press the up e arrow. The caret note You can also press the R
moves up an octave. key to chnage a selected
• Type C, D, C and B to enter the four eighth notes. Now, let’s note to a rest.
say we want to enter an eighth rest.
• Press Tab. Finale adds an eighth rest. The Tab key will add a rest of
the duration currently chosen in the Simple Palette. Let’s change the
rest we’ve just entered to an eighth note.
• Hold down the Shift key and type A. Finale replaces the rest with
an A. Now, let’s change the note we just entered to a quarter note.
• Hold down @ (Mac: b) and type numpad 5. The eighth
note we just entered changes to a quarter note.
• Press numpad 5. The caret changes to a quarter note.
• Type F. Now let’s add an articulation to the note we just entered.
12
• Press the * key in the numeric keypad. A dialog box appears that notes
you are now in articulation mode.
• Type A. An accent appears on the note. In articulation mode, the A key is
assigned to the accent marking. (These keystrokes are called Metatools
which you’ll learn more about in chapter 3). You could also click Select to
choose from a list of articulations. You can add expressions the same way.
Simply press the X key instead of *.
• Hold down ! (Mac: a) and type Z to undo. The articulation disappears, and you are
ready to continue entering notes.
5
œ œœœœœ
&b œ œ œ œ œ œ
œœ œœœ œœ œœœ
?b œ œ œ
œ
œ œ
œ œ
You’ll notice that Finale automatically beams the eighth You’ll learn more about how to
notes together. You can change the beaming pattern at any enter articulations, and edit
time; see TIME SIGNATURE DIALOG BOX in the User Manual.
them, in chapter 3.
You probably also noticed that the measure width
changed when you entered the eighth notes. This is a function of Finale's Automatic Music
Spacing feature, which widens or narrows a measure to professional publishing standards
depending on the notes present in that measure. This feature will be discussed in detail in
TUTORIAL 4.
• Complete the melody by typing or clicking the notes in.
œ œ ˙ œ œ ˙
œœœœ œ œ œ œ œ
œ œ bœ œ œ œ œ
œ
13
Congratulations! You’ve completed your first Finale melody.

1
& b 44 œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙
? b 44 œ œ œ œ œ œ œ œœ œœ œœ œ œœ œœ œœ
œ œ œ œ
5
œ œœœœœ œ
&b œ œ œ œ œ œ œ ˙ œ œ ˙
? œ œœ œœœ œ œœ œœœ
b œ œ œ œ œ œœœœ œ œ œ œ œ
œ œ œ bœ œ œ œ œ
œ
You can use additional Simple Entry keyboard shortcuts to add ties, grace notes, articulations, and
even clef, key and time signature changes. See SIMPLE ENTRY in the User Manual for detailed info.
Also, while using Simple Entry, right-click (Mac c-click) a note or rest to invoke a context
menu which allows you to hide the note, change it to a rest and make other changes. Or, from the
Simple Menu, choose Simple Edit Commands to see a list of options. Each of these commands can
also be applied with a keyboard shortcut. In addition to using the list of keyboard shortcuts under
the Simple Menu, you can also refer to your Quick Reference Card, or see KEYBOARD SHORTCUTS in
the User Manual.
14
As we mentioned earlier, you can adjust the behavior of Simple
Entry by changing items available under the Simple Menu. such
as: Check for Extra Notes, Create new Measures, Playback, Fill
with Rests and Select Notes on Entry. To view these settings,
from the Simple Menu, choose Simple Entry Options. The Sim-
ple Entry Options dialog box appears as pictured here. When
Check for Extra Notes is selected (this command is selected by
default), Finale will consult the time signature and not allow
you to inadvertently enter extra notes in a given measure. If you
have a MIDI keyboard or sound card, you’ll hear a brief note
upon entering notes when Playback Notes on Entry is checked.
When Create New Measures is checked, Finale adds a new mea-
sure to the end of the document when the final measure is filled
using the Simple Entry Caret. Fill with Rests will add enough
rests to fill the measure if you leave the measure and start entering notes in another measure. When
Select Notes on Mouse Entry is checked, you can immediately use keyboard shortcuts to change
the note you just entered after clicking a note onto the staff with the mouse. For more info regard-
ing these options, see SIMPLE ENTRY OPTIONS in the User Manual.
ACCIDENTALS
Let’s add some blues to our melody line to illustrate how to add accidentals. If using the mouse or
the Caret, you can specify an accidental by choosing both a duration tool and an accidental tool
prior to entering the note. You can also specify accidentals as you enter notes by using keystrokes
to apply a sharp (+ key) or flat (- key) to the note you just entered. By selecting an accidental tool
exclusively, you can click to add accidentals to any note in the score. The Sharp Tool m and the
Flat Tool o add a sharp or flat to the note, if needed by the key signature. If you use the Half Step
Up Tool ® or the Half Step Down Tool √, you’ll raise or lower the note. If the note is already
sharp, raising the note will add a double-sharp.
• Click the Mass Edit Tool. First, we’ll clear a measure to show how to enter accidentals while
entering notes.
• Click measure 5 in the top staff so it is highlighted, and then press $ (Mac: o). This
method clears all entries in the selected region.
• Click the Simple Entry Tool 4.
• Click the Eighth Note Tool 4, or press numpad 4, and then enter a third space C at the
beginning of measure 5. An eighth note appears in measure five.
• Press numpad + (plus). Finale adds a sharp to the note.
15
• Press numpad - (minus) twice. The note is now flat. Finale alters
the pitch of the note chromatically with each keystroke. You can
also use the Sharp m and flat o tools in the Simple Entry Palette
to specify an accidental before entering a note.
• Click the Flat Tool o in the Simple Entry Palette, or use the
keyboard shortcut to select this tool (@-- (minus) (Mac
b--)). Now both the eighth note and the flat are selected in the
Simple Entry Palette.
• Press the right arrow h key to activate the caret.
• Hold down d and press the up arrow e key. The caret moves up an octave.
• Type D. Finale places a D flat on the staff.
• Double-click the eighth Note Tool 4 (or press numpad 4 twice) to deselect all other tools.
• Finish entering the measure by typing C, B, Numpad 5, A and F. Notice Finale does not add a
natural on the C. That’s because Simple Entry’s accidentals are ‘smart.’ In other words, they
apply through the remainder of the measure. Of course, you can always add or remove acciden-
tals manually where needed to override a smart accidental. Now, let’s use the mouse to edit
existing notes.
• Double-click on the Flat Tool o. Only the Flat Tool is selected.
• On measure 5, top staff, third beat, click on the A. An A flat appears next to the quarter note.
• Click on the Half Step Down Tool √. In measure 5, click
twice on the F. A double-flat appears next to the F. Note that
when you selected the Half Step Down Tool, the Flat Tool auto-
matically deselected. You can only have one accidental tool
selected at one time. Let’s try a sharp now.
• Click on the Sharp Tool m. In measure 4, top staff, third
beat, click on the C. A sharp appears next to the half note.
Because this melody probably wouldn’t sound too great, we’ll remove the sharp and the double-
flat.
• Click on the Eraser Tool ø.
• Click the Sharp and the double-flat to remove them. These items disappear as you click.
16
CHORDS
Building chords is a snap with Simple Entry. To add notes with the mouse, just select
the same duration icon as the note already entered, then move the cursor above or
below a note. Notice vertical lines appear above and below the note as shown to the
right. This indicator tells you a click will add a note to the chord. While entering with
the Simple Entry Caret, simply press the number that corresponds to the interval
above or below the selected note to add it to the chord. Let’s try entering and adding
chords to the left hand.
• Click the Mass Edit Tool. First, we’ll clear a measure to use for this example.
• Click measure 5 in the bottom staff so it is highlighted, and then press $ (Mac: o).
• Click the Simple Entry Tool 4, and double-click the Quarter Note Tool 5.
• In measure 5, click on the A (top line) in the left hand. Now move
the cursor down a whole step to the G space and click. Now, click
the low F just below the staff. A chord with A, G and F are added to
the measure. Note that Finale automatically places the A notehead,
as an interval of a second, to the right of the stem.
• Press j to activate the caret. The caret appears.
• Type C to enter a C on beat 2. Now, you can type an interval to add
additional notes in a chord.
• Type 5 on the QWERTY keyboard. Finale adds a note of the same
duration a fifth above the C. Notice the G is now selected. To add
another note a third above G, you would type 3. You can also add
notes to a chord using note names.
• Hold down d and press the up arrow e to move the caret
note up an octave.
• Hold down the Shift key and type B. Finale adds a B to the chord.
• If you are using a MIDI device, play the triad F2, A2 and C3 While entering chords, hold
simultaneously to enter the next chord, then play C2. Play up
down d and type an
to 12 notes at once to add a chord.
interval to add notes lower
• If you are not using a MIDI device, type F, 3(QWERTY), than the selected pitch.
3(QWERTY), and C to complete the measure.
17
TUPLETS
Tuplets are any irregular grouping, including triplets, quintuplets, and so on. We’ll cover tuplets
briefly here; see TUPLETS in Tutorial 1b for a more in depth lesson. Let’s enter a triplet to the fourth
beat of measure 5, and then learn how to change existing entries to a triplet.
• Click on the Eraser Tool ø, then click on the last beat of the top staff, measure 5. First, we’ll
place the caret in the staff as if we were entering this music for the first time.
• Hold down ! (Mac: b) and click the second space Af on the third beat of measure 5.
The quarter note is selected.
• Press j. The Caret appears on beat 4.
• Type numpad 4 and then F to add the first eighth note.
• Press numpad 9 (or QWERTY 9) to begin a triplet. Finale adds
a triplet bracket and automatically fills out the triplet with rests
as shown in the image to the right. The note you just entered is
the first note of the triplet. Now, you can type the letter names
to fill the triplet with notes.
• Type E and F to complete the triplet. The cursor advances to
the next measure. You can also use the mouse to change an
existing note to a triplet.
To click a tuplet onto the staff with your mouse, choose the rhythmic duration and the tuplet
tool in the Simple Palette, and click to create the tuplet. Then, simply click the rests to fill in
the tuplet. Finale will ignore attempts to create a nested tuplet with the Simple Tuplet Tool. If
you want nested tuplets, ratios or other fancy tuplets, see the TUPLET TOOL in the User Manual.
Now, we’ll change the first three eighth notes in measure 6 to a triplet.
• Double-click the Tuplet Tool ] on the Simple Entry Palette. Only the Tuplet ] icon should
be highlighted in the Simple Palette.
• Click the first beat on the top staff, measure 6. The existing eighth notes are now enclosed in
a triplet bracket.
To enter more advanced tuplets, hold down @ (Mac: b) and press numpad 9 when
using the caret. Or, hold down d and click the score. The Simple Entry tuplet Definition
dialog box appears where you can specify more advanced tuplets such as quintuplets, septu-
plets and the like. See SIMPLE ENTRY TUPLET DEFINITION DIALOG BOX in the User Manual for
details.
18
OVERWRITE VS. REPITCH
While entering with the Simple Entry Caret, Finale overwrites existing entries, replacing them
with the new ones. You’ve already seen while entering tuplets; the eighth notes replaced the exist-
ing eighth rests. Instead of overwriting existing notes, you can also use the Repitch Tool to change
the pitch of existing entries without replacing them.
• Click the Repitch Tool , or hold down ! (Mac: a) and press R.
• Move the mouse cursor to the second space A in the first measure (above the F) and click.
The F moves up to the A.
• Press j. The caret appears on the second beat.
• Type B. Finale moves the existing G to an B and the caret moves to the right. You could con-
tinue typing note names to repitch each entry. After changing a note’s pitch, use modifier key-
strokes to edit the note as you would normally.
• In the QWERTY keyboard, type 3 to add a third above the note.
• In the numeric keypad, press the + (plus) key (or QWERTY
=). A sharp appears on the note. Measure one should look like
the image to the right. Now, if you are using a MIDI keyboard,
you can play pitches to change notes.
On a MIDI keyboard, play an C5 (C above middle C). The A
on the third beat moves up to the C. You can also play multiple notes to enter chords. Finale
will add the accidentals for you automatically.
CHANGING THE KEY SIGNATURE, TIME SIGNATURE, AND CLEF
While entering with Simple Entry, you can use keyboard shortcuts to change the key and meter.
• Hold down ! (Mac: b) and click on any note in measure 1. For this example, we’ll
select a note with the mouse. In the future, you can use this method at any time while entering
with the Simple Entry Caret, or whenever a note is selected in the score. The key and time
signature change appears at the beginning of the measure you are editing (unless specified
otherwise in the Key or Time Signature dialog box). Clef changes appear at the position of the
caret, or to the left of a selected note.
• Hold down @ (Mac: b) and press K. A “Waiting for input” message appears that tells
you Finale is ready to enter a key change.
• Click Select. The Key Signature dialog box appears.
• On the scroll bar to the right of the key signature display, click the up arrow twice. We’ll
change the key signature to G major.
19
• Click OK. The key change appears at the beginning of the first measure. You’ll learn more
about the Key Signature dialog box in chapter 2. Now let’s say we want to change the time
signature.
• Hold down @ (Mac: b) and press T.
• Click Select. The Time Signature dialog box appears. Here, you can change the number of
beats and beat duration using the arrows on the right. For now, leave the time signature set to
common time. You’ll learn more about this dialog box in chapter 2.
• Click OK. Now, let’s say we want to change the clef.
• Hold down @ (Mac: b) and press C.
• Click Select. The Change Clef dialog box appears.
• Select a new clef and click OK. You return to the score. Finale creates a mid-measure clef
unless the Caret is placed at the beginning of a measure or the first note of a measure is high-
lighted; in which case the clef change will appear at the beginning of the measure (just to the
left of the barline). You’ll learn more about clef changes in chapter 1c and 5.
Note that when you see the Waiting for Input message, you can You’ll learn more about key
also use a metatool to quickly enter a key clef or time change.
signature, time signature, and
See METATOOLS in the Keycuts chapter of the User Manual for
clef changes in chapter 2.
information on assigning metatools.
ADDING MEASURES
Although this tutorial has the right number of measures, there will undoubtedly come a time when
you need to add more. This can be done in several ways. First of all, if you are using the Simple
Entry Caret, Finale will automatically add a measure when you fill the last measure of the score.
Therefore, you can simply continue entering notes and Finale will create the measures for you. You
can also use the Measure Tool z to add measures at any time. To do this, click the Measure Tool,
and from the Measure Menu, choose Add (or, !-click (Mac: b-click) the Measure Tool). In
the Add Measures dialog box that appears, type in the number of measures to be added, and click
OK. To add a single measure, just double-click the Measure Tool.
Note that as you add measures, the final barline will move
To delete measures, click on the
to the last measure of the score. For more information, see
Mass Edit Tool, select the measure,
BARLINES in the User Manual.
then press the Delete k.
CHANGING VIEWS
Before going on, you should get accustomed to moving around your score.
20
Finale offers you the choice of two views of your music. So far, you've been working in Page View,
where you see the music laid out like a page of sheet music. Finale also has a Scroll View, where the
music is displayed as a continuous horizontal band. Most of Finale's tools work equally well in
either view, although you'll find that the computer redraws the screen faster in Scroll View.
• From the View Menu, choose Scroll View. Finale redraws the screen to show you the music
laid out in a horizontal band.
As you can see, the name of the piece has disappeared. Names, page numbers, and other page-
oriented text are visible only in Page View. You'll also notice that the Page counter you saw in
Page View has been replaced by the Measure counter, indicating the number of the leftmost
measure currently visible.
• Click the scroll box (the small square box) in the horizontal scroll bar (and hold the mouse
button down). Watch the Measure counter in the lower-left corner of the window. As you slide
the scroll box left or right, this counter changes, telling you the number of the measure you’ll
see if you let go of the mouse button.
• Drag the mouse all the way to the left, until the Measure counter says 1. Release the mouse
button. You’re back at the beginning of the score.
Note that the scroll box in the horizontal scroll bar represents your position:
The scroll box tells you whether you are at the beginning...
...the middle...
...or the end of the score.
If you click to the right of the scroll box, Finale moves your view of the music to the right by
one screenful; if you click to the left, your view shifts to the left. You can also advance one mea-
sure at a time by clicking the right and left arrows.
Depending on your monitor, you might not be able to see very much of the music right now. It
might help if you “zoomed out” by selecting a smaller view size.
• From the View Menu point to Scale View to and
select “75%.” The screen picture redraws at 75%
of its original size.
You haven’t actually reduced the printed size of
the music. You’ve simply changed the way it’s dis-
played on the screen. The music will still print at
full size.
21
Now you have a good overview of your piece. In certain cases To switch quickly to a 75%
you’ll need the music to be large enough for you to maneuver
view reduction, hit c-
with precision. Finale lets you have your cake and eat it too—you
can actually open up a second window that displays the same 7 (Mac: a-7).
document. In this second window, you can zoom in, zoom out,
switch from Page View to Scroll View, and so on, without disturbing your view in the original
window. Try this:
• From the Window Menu, choose New Window. A new window appears, also containing your
“Frère Jacques” document. To switch between the two windows, hit Control-Tab (Win only) or
select the desired window from the Window Menu. It’s easy, but it would be nice to see the
contents of both windows at once.
• From the Window Menu, choose Tile Horizontally (Mac: Tile Windows). Finale places the
new window above the first one, and resizes both to fit your screen.
Remember, these aren’t two different copies of your masterpiece—they’re two independent
views of the same piece. The title bar in the upper window is highlighted, indicating that it is
the active window. Using the commands in the View Menu, you can zoom in, zoom out,
change from Page View to Scroll View, and so on—but all of these view changes will only affect
the active window. You can even use the Zoom Tool b to zoom in on a particular spot.
• From the View Menu, choose Scale View, then choose 200%. Now you have two windows—
one at double size, and the other window at a reduced view.
Let’s say the active window contains the view you really want to work on, and you’d like it to
fill your screen—but you still want access to the other window.
• From the Window Menu, choose Cascade (Mac: Stack Windows). Finale arranges the
windows so that the active window dominates the screen, but you can still see the back
window around the edges; a click will bring it to the front.
You can open as many windows as you want. In fact, they don’t have to be windows on the
same document—you can open multiple documents, too, each in its own window and with its
own independent degree of magnification.
SAVING YOUR WORK

When you opened this document, the computer transferred the song from the disk into its mem-
ory; at this moment, all the changes you’ve made to “Frère Jacques” exist only on the screen. If
someone trips on the computer’s power cord at this moment, all of your work will be lost, and
you’ll be left with the original, incomplete “Tutorial 1a” document.
22
For this reason, it’s a good idea to save your work back onto the disk at regular intervals—perhaps
every 15 minutes or so. To save your work on the disk:
• From the File Menu, choose Save or press !-S
(Mac: a-S). Your changes have now been saved on
the hard disk. (You still have a fresh, untouched copy of
this document, however; it’s on your original Finale
disc.)
If you’re afraid you might forget to save your work and
run the risk of losing some of your changes in the event
of a power or system failure, consider using Finale’s
automatic backup feature. See the User Manual under PROGRAM OPTIONS-SAVE
WHEN YOU’RE READY TO CONTINUE

From the File Menu, choose Close to close the active document, and all open windows on that docu-
ment. Or, choose Close All (Mac: b-Close) to close all open documents. If you haven’t saved your
work, Finale lets you know, and gives you the option of saving the changes or leaving the document as
it was when it was last saved.
A diagram showing which keys correspond to which rhythmic values or commands appears on your
Quick Reference Card. If you want to take time out for some experimentation before proceeding to
Tutorial 1b, choose Default Document from the New submenu of the File Menu. Finale will open a
new “Untitled” document.
If you’re ready to move on, go right ahead to the next tutorial. If you’ve had enough for one lesson,
choose Exit (Mac: Quit) from the File Menu.
FOR MORE INFORMATION

Some of the entries in the User Manual contain discussions of topics you’ve just covered. See, for
example:
ACCIDENTALS SCROLL VIEW
ARTICULATION TOOL SELECTING MUSIC
COPYING MUSIC SIMPLE ENTRY
KEY SIGNATURE TOOL TIME SIGNATURE TOOL
PAGE VIEW TUPLET TOOL
SAVE (FILE MENU) ZOOM TOOL
23
24
Tutorial 1b: Speedy Entry
In addition to Simple Entry, Speedy Entry also offers another fast and efficient method of music
entry. This tool particularly useful if you plan to use a MIDI device for input. You can enter music
very quickly, with one hand on a MIDI keyboard and the other on the numeric keypad, or using the
MIDI device exclusively. You can also edit existing music with equal ease.
In this tutorial, you’ll explore the Speedy Entry Tool in depth, and you’ll get to know some more of
Finale’s MIDI input and playback capabilities. We assume you’ve already read about basic naviga-
tion of the Finale screen in Tutorial 1a: Simple Entry. By the end of this tutorial, you should know
how to get your notes on the page quickly with the Speedy Entry method.
A WORD ABOUT MIDI

MIDI (for Musical Instrument Digital Interface) is an electronic language spoken by computers and
MIDI devices. Most MIDI devices are keyboards, but there are also guitar, string, wind, percussion,
and even voice MIDI controllers. As mentioned earlier, the term MIDI keyboard will be used to
refer to whatever MIDI device you’re using.
If you need help hooking up your MIDI device, look at the section called SETTING UP YOUR
MIDI SYSTEM in the INSTALLATION CHAPTERS earlier in this book. If you begin this tutorial and find
that your MIDI keyboard isn’t operating correctly, you may want to consult the User Manual under
MIDI SETUP DIALOG BOX.
Remember, a MIDI keyboard isn’t required for Speedy Entry.
CREATING A NEW DOCUMENT FROM A TEMPLATE

Finale comes with over 30 different kinds of templates (piano-vocal scores, choral setups, chamber
orchestra scores and so on) to help you get started. Not sure how to set up your score for a shape
note hymnal? Just use the template we’ve provided. Not sure what size to make your concert band
score so all of the instruments fit vertically on a page? Use the template. Occasionally write a pop
lead sheet that doesn’t use classical formatting? Use the Lead Sheet template. If you find you use a
particular template every single time, you may wish to make it your default file - the template the
Setup Wizard uses.
We’ll start this tutorial with the Lead Sheet template and create an arrangement of the folk song
“Oh, Susannah.” If you haven’t already started Finale, do so now. Close any documents that may be
open or cancel out of the Wizard.
• From the File Menu, choose New, then select Document from Template.
25
• In the Templates folder, double-click on General Templates, then scroll down and select Lead
Sheet. Click Open. Finale will open a new, Untitled file with one staff and thirty-one empty
measures.
ADDING MEASURES
Although every new Finale document contains thirty-one empty measures, which is sufficient for
this tutorial, there will undoubtedly come a time when you need to add more. This can be done in
several ways; the simplest is to use the Measure Tool z. To add a single blank measure to the end
of the score, double-click the Measure Tool. To add multiple measures, !-click the Measure
Tool (Mac: b-click the Measure Tool). In the Add Measures dialog box that appears, type in the
number of measures to be added, and click OK.
SPEEDY ENTRY
• Click the Speedy Entry Tool a. Another menu appears—the If you’re not using a
Speedy Menu—whose commands govern the behavior of this tool. MIDI keyboard, make
Just to check, hold the mouse button down on the word Speedy so sure Use MIDI Device
that the menu drops down, and make sure that there’s a check mark
for input is unchecked
beside Use MIDI Device for Input.
in the Speedy Menu.
If you’re ever stranded without a MIDI keyboard, there are two ways
in which you can enter music with the Speedy Entry Tool when the Use MIDI Keyboard for
Input option is turned off. See the User Manual under SPEEDY ENTRY for details.
If Auto Launch is turned on, the measure sprouts a rectangular frame. If not, click on the first
measure. In the frame, you’ll see a thin vertical cursor at the left side of it, called the insertion
bar. There’s also a short horizontal cursor called the pitch crossbar, which indicates pitch.
In the upper-left corner of the frame, you’ll see a tiny “V1,” telling you that Finale’s ready for
you to enter Voice 1. (If you needed to create multiple voices, stems up and stems down, Finale
would call them Voice 1 and Voice 2. It is more likely, however, that you would use Finale’s four
26
transparent layers; a full discussion of layers and voices can be found, respectively, in Tutorial 2
and Tutorial 8.)
Pitch Crossbar
? Editing Frame
Insertion bar
Use the up/down arrow keys to move the pitch crossbar, and the left/right arrow keys to move the insertion bar.
Voice 1/Voice 2 indicator Pitch Crossbar
V1
&c Editing Frame
Insertion bar
• Play middle C on your MIDI keyboard. While holding down the

To use Speedy Entry
key, press the 5 key on your computer keyboard. If your MIDI sys-
tem is hooked up correctly, a middle C quarter note appears. If your without a MIDI
MIDI keyboard is not sending correctly to the computer, you’ll see a keyboard, use the
quarter rest; in which case, see SETTING UP YOUR MIDI SYSTEM arrow keys to place the
in the INSTALLATION CHAPTERS earlier in this book. To remove the rest, insertion bar on the
click it and press k. pitch, then press the
Why did you press 5? The number keys, both on the numeric key- duration number key.
pad and on the top row of the alphabet keyboard, have special mean-
ings to Finale. (Be sure to press the Num Lock key if you’re using the numeric keypad.) In
Finale, 5 means a quarter note. Take a look at these diagrams:
27
Windows Speedy Entry Keypad Commands

With Ctrl:
With Caps Lock: 128th note
˚˚j̊
Hands-free MIDI input
1 2 ˚j̊ 3
j̊
4 5 6 7
w
8
W
9 0
e q h
Flip Exit/
q q q enharmonic Reenter
measure
With Ctrl: With Ctrl: With Ctrl:

DefineTuplet Begin Tuplet Flip enharmonic
through measure
With Ctrl:
With Ctrl: Ties to previous note Freeze/unfreeze
Num Lock off ** accidental
` - = BackSpace Num / * –
Tie/untie Remove note Show/hide
Slash Lock Break/join accidental
Grace to next from chord beam to Half step
note Freeze/ decrease
note flag Change note previous unfreeze
to rest note rest With Ctrl:
Continue
8 + accidental
R O P [ ] \ 7 9 through
Add or Up a step Flip
Change Hide/show remove Previous Next Flat Half step measure
note to enharmonic
note or rest accidental measure measure Beam With Shift: increase
rest ( )’s Up a staff
F L ; ' Enter 4 5 6
Flip stem Voice 1/2 Previous
Add Flat Grace Add note to chord note Next note
With Ctrl: With Ctrl: note With Shift: With Shift: With Shift:
Unfreeze Change rest Previous Next With Ctrl:
Flip Tie Next layer to note
stem measure measure Flip
enharmonic
With Ctrl-Shift: Restores through
tie to automatic setting . / Shift 1 2 3 Enter
Break/join measure
With a number (1-8): Down a step
Add dot beam to Insert note (or rest w/MIDI)
previous With Shift: With Ctrl:
note Constrain dragging Down a staff Add note Start/End
to chord of measure
Ctrl . Change
0 rest
With Shift and Add dot to note
a number (1-8): With Shift: Insert mode With Shift:
Enter rest Remove
**If you turn Num Lock on, you can use the note, rest
numbers on the keypad for note durations instead. Del
or chord
Macintosh Speedy Entry Keypad Commands
SPEEDY ENTRY KEYBOARD COMMANDS

Remove note With Option:
from chord Tie/ untie With Option:
Change single previous note Freeze/unfreeze
note to rest accidental
delete clear = / *
Slash (backspace) Tie/untie Break/join Show/hide
Grace Remove note, rest, to next beam to accidental
note flag note previous
or chord
note
w W
R O P [ ] \ 7 8 9 +
Add or Flip Half step
Change Hide/show remove Previous Next Flat enharmonic increase
note to rest note or rest accidental
( )’s
measure measure beam
#
F Flat L ; ' return With 4 5 6 –
q
Flip stem
e h
With Down a staff Caps Lock: Half step
Command: Grace Voice 1/2
With Option: hands-free decrease
Flip tie
direction Unfreeze
stem
note With Shift:
Up a staff
MIDI input b
With +/-:
˚˚ ˚j̊ j̊
j̊
Continue accidental shift 1 2 3 enter
through measure Insert note (or rest w/MIDI)
q q q
With Opt and number:
With 9: Enter rest
Flip enharmonic Constrain dragging Add note
|
through measure to chord
option
|
Previous Next
U X 0
Exit measure and
. Change
rest
Up Down to note
note note a step a step redraw Add dot
Reenter measure
With a number (1-8):

Begin tuplet With Option: 128th note
28
Since the MIDI keyboard is providing Finale with the pitch informa- You’ll find the complete
tion, all you have to do to provide the rhythmic information is press Speedy Entry Keypad
the proper number key. If you’re holding down a MIDI keyboard key Commands on your
when you press a number key, you get a note. If no MIDI keyboard Quick Reference Card.
key is being held down when you press a number key, you get a rest.
• Hold down the D key on your MIDI keyboard and press the 5 key again; then E (and press 5);
then F (and press 5). You’ve just built the first four notes of a C scale. Before you could really
see what you’d done, however, Finale advanced the editing frame to the next measure, ready for
you to play more notes.
Note that entry with a MIDI device using Speedy Entry is in a way opposite from using a MIDI
device with Simple Entry. In Simple Entry, the note duration is specified in the Simple Entry
Palette before playing the pitches. In Speedy Entry, the pitches are held down prior to specifying
the rhythmic duration. To lock Speedy Entry to a duration (like in Simple), see the User Manual
under SPEEDY ENTRY—TO ENTER MANY NOTES OF THE SAME VALUE.
You can turn off this auto-advance feature, which advances to the next measure as soon as the
first one is rhythmically full:
• Press the zero (0) key to exit the editing frame, or click the mouse on any blank part of the
screen. The editing frame goes away.
• From the Speedy Menu, choose Jump to Next Measure. If you click the Speedy Menu again,
you’ll see that Jump to Next Measure no longer has a check mark in the Speedy Menu; you’ve
just turned the auto-advance feature off.
• Press the zero key again. The 0 key also takes you back into the editing frame you were last in.
Now that you’ve turned the Jump to Next Measure feature off, how will you move from measure
to measure?
• Press the left bracket ( [ ) key on your keyboard. Finale moves you back to the first measure.
The left and right bracket keys move the current editing frame one measure to the left or right,
respectively.
• Now press the left arrow and right arrow keys on the keyboard a few times. The insertion bar
moves by one note or rest each time you press the right or left arrow key. You can also move the
insertion bar by clicking a note with the mouse.
EDITING WITH SPEEDY ENTRY

• Position the insertion bar on the first note (middle C) and press the 4 key. In Finale, 4 means
an eighth note, so your middle C quarter note has just changed duration (rhythmic value). In
29
Finale, if you enter a rhythm incorrectly, there’s no need to delete the note and reenter it; simply
line up the insertion bar with the note and press the desired duration key.
Whenever you change a note’s duration (or enter a new note), the insertion bar moves to the
right, ready for you to enter a new note or rest (or to change the rhythmic value of an existing
note).
• Press the 4 key three more times. You’ve now changed V1
all four notes in this measure to eighth notes. They’re

automatically beamed.
&c œ œ œ œ
• Position the mouse pointer squarely on the last note’s
notehead. Click and drag this F to the F line an octave higher. In Speedy Entry, you can move
notes to other pitches by dragging them in this way. (If your MIDI keyboard is connected prop-
erly, Finale plays the note each time it changes pitch. This feature can be disabled by deselecting
Playback During Drag from the Speedy Menu.)
• Click squarely on the high F’s notehead. With the button
down, drag it slightly to the right or left. The Speedy Entry V1
Tool gives you complete control—not only of a note’s pitch, œ
but also of its position in the measure. &c œ œ œ
If you want to drag a note only horizontally (so that you can’t
drag it off of its pitch), or only vertically (so that you can’t
drag it left or right), press the d key while you’re drag-
ging.
• Move the insertion bar to the third note in the measure (the E). Remember, you move the
insertion bar by pressing the arrow keys or by clicking a note.
• Press k. Pressing the k key removes a note, rest, or chord from the score.
But what if you delete a note by accident? Any time you’re working with the Speedy Entry Tool,
remember that you can undo your last action by choosing Undo from the Edit Menu.
• From the Edit Menu, choose Undo (or press !-Z) (Mac: a-Z). The note you deleted
reappears.
To prepare for the next exercise, change all four notes back to quarter notes:
• Move the insertion bar back to the middle C, and press the 5 key four times.
WORKING WITH CHORDS

• Position the insertion bar on the F, and use the up/down arrows to move the crossbar to the
third-space C.
30
Press j. There are now two notes in the chord. Using the four directional arrows, you can
maneuver anywhere in a measure, and using the j key, you can add a note to an existing
note or chord. (If the insertion bar is on a rest, j turns the rest into a note.)
œœ
V1
&c œ œ œ
Try moving the crossbar up and down the notes of this chord. If you hold down the up arrow
key long enough, Finale will add so many ledger lines that the measure you’re working on
scrolls downward (or upward, if you’re pressing the down arrow key).
• Double-click the second-space A of the same chord. Double-clicking is another way to add a
note to a chord.
• Use the up arrow key to position the crossbar squarely on the top notehead (F) of the chord.
Press $(Mac: o). The $ (o) key is the opposite of j: it removes a note from
a chord. (If there’s only one note in the chord, this keystroke turns it into a rest.)
ACCIDENTALS
• Position the crossbar on the C of this chord. Press the plus (+) key on the number keypad.
The note sprouts a sharp. The plus key raises the note by a half step.
Position the crossbar on the A and press the minus (–) key. You guessed it: the minus key low-
ers the note by a half step.
V1
&c œ #œ
œ œ b œ
But what if you decide that a note has been “spelled wrong” enharmonically? You can always
flip a note to its enharmonic equivalent by using the 9 key.
• Leave the crossbar on the Af and press the 9 key. The spelling of the note changes to Gs.
• Move the crossbar down away from the two notes. Press the 9 key several times. If the cross-
bar is on a chord’s stem and not on a notehead, pressing the 9 key cycles a chord through vari-
ous enharmonic spellings.
For the moment, cycle through until the lower note is an Af. In the next step, you’ll hide the
accidental.
31
• Position the crossbar on the Af. Press the asterisk (*) key. You’ll usually want to use the aster-
isk key on the numeric keypad. If you prefer, however, you can press d-8 (the main key-
board asterisk) instead.
Pressing the asterisk key hides an accidental—or, if none is there, it causes an accidental to
appear. The note retains its identity—the note that now looks like an A will still play back as an
Af. To restore the accidental, press the asterisk key again.
Finale can even put an accidental in parentheses—simply press the letter p key. See the User
Manual under COURTESY ACCIDENTALS.
TUPLETS
You haven’t explored Finale’s tuplet (triplets, quintuplets, and so on) features in Speedy Entry yet.
Scroll to measure 2—which is empty—and try the Tuplet Tool.
• Click the Speedy Entry Tool a, and click measure 2.
• While playing any MIDI keyboard key, press the 5 key four times. You’ve just entered four
quarter notes on the same pitch.
If Finale doesn’t automatically advance the editing frame to the next measure, press the right
bracket key ( ] ).
• Press !-3. (Mac: b-3) You do this before entering a triplet; Finale puts a tiny “3” in the
upper right of the editing frame, letting you know it’s expecting the next three notes to consti-
tute a triplet.
• While playing any MIDI keyboard key, press the 6 key three times. As soon as the third note
appears, Finale centers the “3” over the triplet. You’ve just created a half-note triplet.
• Press the 0 (zero) key to exit the editing frame. In measure 2, you have four quarter notes; in
measure 3, you have a half note triplet. You can modify each with the Tuplet Tool.
• Click the Tuplet Tool ] in the Main Tool Palette. Click the first quarter note in measure 2.
The Tuplet Definition dialog box appears.
32
At the top of the screen there are various options for defining the temporal (time) definition of the
triplet. Using these drop-down lists and text boxes, you’ll answer the question, “How many of
what value are to be played in the time of how many of what value?” Look at the two text boxes at
the top of the Tuplet Definition dialog box. As you see, Finale has guessed that you want to fit
three quarter notes in the time of two—precisely the definition of a quarter-note triplet.
In the Display section, there are drop-down lists where you can specify how the triplet should
look in the score. Should it have a slur or a bracket? Should it be expressed as a ratio? For now,
the default settings are fine.
• Click OK. You’ve just turned ordinary quarter notes into a triplet by clicking the first of them
with the Tuplet Tool. (You can edit the tuplet to look any way you’d like.) Notice the six handles
that appear. These handles control the various elements of the bracket:
33
Drag this handle to independently Drag this handle to change

move the bracket from the number. the angle of the bracket.
3
Drag this handle up or Drag this handle to move the
down to change the length number relative to the bracket.
of the “hook”.
Drag this handle to move the
entire bracket and number.
You can modify the triplet you made in Measure 3, too.

• Click the first note of the triplet in measure 3. The tuplet handles appear.
• Drag the handles until the triplet appears the way you want it to.
You can create tuplets within tuplets, too. It doesn’t matter whether you begin by creating the
inner or outer tuplet.
If you find yourself defining the same kind of tuplet over and over again in a piece, define it as a
Tuplet Tool Metatool. Here’s an example:
• Click the main handle of the triplet in measure 3 and press k. This is how you turn
tuplet-defined notes back into normal notes.
Now let’s define a Tuplet Metatool. You can create thirty-six predefined tuplets, complete with
brackets and temporal information. Start by programming a basic, straight-bracket half note
triplet.
• While pressing d, press the 1 key (on the keys above the letters, not the numeric key-
pad). The Tuplet Definition dialog box appears. First you need to describe the temporal value of
the triplet you want this Metatool to produce.
• Type 3 in the first text box. Tab to the second text box and type 2. Choose Half (s) from both
duration drop-down lists. Click OK. You’ve just specified that this Metatool will create a tuplet
that fits three half notes in the time of two.
• While pressing the 1 key, click the first note in measure 3. Finale pops the fully formed tuplet
bracket into the score. Now you can move quickly through a score, inserting tuplet definitions
on any notes that need them without having to enter a dialog box, confident that they’ll look
right on the first try.
34
Finally, if you’re creating a piece with many tuplets, you’ll want to predefine their visual defini-
tion. With this shortcut, you’ll never have to define visual appearance again when you create a
new tuplet, whether with HyperScribe or the Speedy Entry Tool; you can specify a default tuplet
appearance before you ever enter the tuplets themselves. Note that the following shortcut is not
the same as creating a Metatool, which turns normal notes into tuplets after they’ve been
entered into the score. By using the following technique, you can specify what the tuplets will
look like when they first appear.
• !-click (Mac: double-click) the Tuplet Tool ]. Document Options-Tuplets appears. It is
similar to the Tuplet Definition dialog box.
If you prefer a slur to a bracket or a ratio to a number, choose differ- Changes to the Document
ent options from the drop-down lists. Options-Tuplets only
• Click OK. That’s all there is to it. From now on, any new tuplet you affect future tuplets, not
create will pop into the score with your predefined settings. Try it! existing tuplets, in that
(Remember: to enter a triplet with the Speedy Entry Tool, press document.
!-3 (Mac: b-3) just before you enter the notes themselves.)
INSERTING NOTES OR RESTS

• Click the Speedy Entry Tool a. V1
• Click on the first measure and position the insertion bar on &c œ œ œ
the two-note chord. Remove it by pressing k.
• Move the insertion bar back to the middle C note again.
While holding down d, press the 6 key located above the main keyboard, not on the
number keypad. When you press d, you tell Finale you want to insert a note or rest just
before the insertion bar. You pressed the 6 key to add a half rest—6 is the keyboard equivalent
of the half note value. (If you had held down a key on your MIDI keyboard while you pressed
d-6, you would have inserted a note instead of a rest.) Again, to insert a note or rest, you
must use the number keys located above the main keyboard, not on the numeric keypad.
If you’re inserting a lot of notes, you can switch to To insert rests in Speedy Entry without a
the Insert mode. From the Speedy Menu, choose
MIDI keyboard, hold down d + c
Insert Notes or Rests. When you’re done, select
+ the number key while in Insert mode.
Insert Notes or Rests again to deselect it.
(Mac: b + d + the number key.)
35
Your example should now look like this:

The problem is that there are five beats in the measure —the V1
half rest and three quarter notes (even though you might not &c Ó œ œ
see the third note). With Finale’s rhythmic-watchdog feature
(Jump to Next Measure) turned off, Finale won’t notify you
until you exit the editing frame.
• Press the zero key to exit the editing frame. Finale displays a
dialog box that tells you that there are too many beats in the measure.
You’re offered four methods of solving the problem. You could leave the extra beats in the mea-
sure (by selecting the top option). You could tell Finale to eliminate any extra beats by remov-
ing them from the end of the measure (by clicking the second radio button). You could tell
Finale to insert any extra notes that it removes from the end of this measure into the beginning
of the following measure (by clicking the third radio button).
Finally, you could tell Finale to rebar the music by redistributing notes throughout the staff
until no measure contains more beats than are allowed by the time signature (see the User Man-
ual under REBARRING MUSIC).
• Click “Delete the extra notes,” and then click OK. Finale eliminates the extra beat—the last E
quarter note—and you exit the editing frame.
In the next section, you’ll create a lead sheet that begins with a pickup. To complete the first
measure’s transformation into the pickup measure, the only task remaining is to create a dotted
rhythm.
36
• Press the zero key. You reenter the measure.

• Position the insertion bar on the C and press the period (.) key. Finale adds a dot to the note.
If you were to continue typing periods, you could add several dots to a note or rest.
• Press the right arrow key, and then press the 4 key. You’ve turned the last quarter note into an
eighth note; the pickup measure is complete.
ENTERING MUSIC: SPEEDY ENTRY

You’ve now learned the basics of using the Speedy Entry Tool with the MIDI keyboard. You’ve
learned how to enter notes rapidly, change their values, change their pitches, add rests, insert
notes, add dots, and move around the score using the right and left bracket keys.
The measure you’ve been working on now contains the pickup notes for “Oh, Susannah.” Using
your knowledge of the Speedy Entry Tool, enter the next twelve measures as shown. For the
moment, however, don’t enter any music past measure 13. Remember the Speedy Entry keyboard
commands you’ve learned:
Key Effect
. (period) Add a dot
4 Eighth note
5 Quarter note
6 Half note
] (right bracket) Go to next measure
[ (left bracket) Go to previous measure

k Remove a note, rest, or chord
37
j
&c Ó œ.
j
œ œ œ œ. œ œ œ œ. œ
j
4
j
&œ œ Œ œ œ. œ œ j
œ œ ˙ œ œ œ œ œ. œ
&œ œ œ œ Ó ˙ ˙ œ ˙ œ œ œ œ
˙ œ
13
& ˙. ∑ ∑ ∑
œ œ
When you reach measure 14, you may realize that the last four bars of “Oh, Susannah” are exactly
the same as measures 6 through 9. To save time, you can use the Mass Edit Tool’s copying function
to complete the melody.
In the first tutorial, you copied a measure of “Frère Jacques” by dragging one measure so that its image
was superimposed on another. In some cases, however, you won’t be able to drag measures to copy
them, because the dragging technique only works when you can see both source and target measures on
the screen at the same time.
Now you’ll use two Finale shortcuts that can be used to copy any amount of music from one place
to another, even when the source and the target are hundreds of measures apart.
SELECTING SEVERAL MEASURES BY SHIFT-CLICKING

It turns out that there’s a common technique for selecting large amounts of material—in word pro-
cessors, spreadsheets, and even music programs. It’s called d-clicking. You can use this tech-
nique to select the four measures you want to copy. It works like this:
Click here . . . Scroll to the endpoint . . . and Shift-click here.
Everything between is selected.

• Click the Mass Edit Tool l then click measure 6.
• While pressing d, click measure 9. Measures 6 through 9 are now selected.
38
As a matter of fact, there’s yet another way to select a range of measures that’s especially handy
for selecting large regions, because you don’t have to scroll to the endpoint to d-click. It’s
the Select Region command in the Edit Menu. You’ll read more about it in a moment.
COPYING MUSIC TO OFF SCREEN TARGETS

Now you have to copy this music to the end of the piece. Here’s another keyboard shortcut. This
one, used for copying music from one place to another in Finale, works like this:
Select the source ...and Ctrl-Shift (Mac: Option-Shift)
measures... Scroll... click the first of the target measures.
This music... ...gets copied here.

You’ve already selected the source measures, so proceed as follows:
• While pressing ! and d simultaneously, click measure 14 (Mac: b and d,
click measure 14). That’s a very useful trick to remember: !-d-clicking (b-
d-clicking) the target measure is the same as dragging the image of the source measures
onto the target measures.
A dialog box appears, asking how many times you To copy to an offscreen measure, select the
want the material copied. Once (the default) is measures with the Mass Edit Tool, then
enough.
!–d - click (Mac: b - d
• Click OK (or press j). That’s all there is to it! click) on the target measure.
You’ve entered all the music for your first lead
sheet.
DELETING MEASURES
This version of “Oh, Susannah” is seventeen measures long. However, you will remember that
Finale provided you with thirty-one empty measures when you began this tutorial. Therefore, you
now need to delete measures 18 through 31, using the Measure Tool and the Select Region com-
mand mentioned a moment ago.
• Click the Measure Tool z. Now adjust your view so that measure 18 is visible.
• Click measure 18. From the Edit Menu, choose Select Region. The Select Region dialog box
appears. You can now specify any region in the score that you want to select—even if none of it
is visible on the screen at the moment. (The Beat drop-down lists even let you specify parts of a
39
measure you want to include in the selection, but can only be used when Partial Measure Selec-
tion is selected in the Edit Menu.)
Because you've already selected the first measure of the region you want to delete, Finale has
filled in the From Measure: text box and adjusted the Staff drop-down lists correctly for you. In
fact, the only number you have to change is the Through Measure: text box—the last measure
of your selected region.
• Tab to the Through Measure: text box. Type 31. (If you added more measures while experi-
menting with the Measure Tool, enter the last measure.) Click OK. Finale automatically high-
lights the measures you specified, even though you might not be able to see the end of the
highlighted region.
• From the Measure Menu, select Delete. Finale computes for a moment as it deletes the extra-
neous measures.
No doubt you created the lead sheet melody with grace and aplomb. Nonetheless, there may be
times when you need to erase some of your music. Here’s the quick way to do it. To return to the
first measure of the piece, you could use the scroll bars. Instead, try this command:
• From the View Menu, choose Home Position. This command returns you to the top of the
page.
ERASING MUSIC
• Select the first two measures of the song. You can use any of the selection methods you’ve tried
so far: clicking one measure and then d-clicking the second, or drag-enclosing both at
once.
• Press $ (Mac: o). The measures are now empty.
For the purposes of this tutorial, however, you really didn’t want to erase the first two measures
of the song. Fortunately, you can always recover from any Mass Edit Tool action like this one, as
follows:
• From the Edit Menu, choose Undo. Finale restores the music.
MORE ON SPEEDY ENTRY

Combining the speed of Speedy Entry with the convenience of Mass Edit copying, as you’ve just
done, is a quick, accurate method of entering music—especially with practice.
40
Eventually you’ll discover even more shortcuts: for example, to enter several repeated notes, just
hold the MIDI keyboard key down continuously while you repeatedly press the rhythmic-value
keys (you don’t have to restrike the MIDI keyboard key each time).
As mentioned earlier, you can do the opposite, too. You can tell Finale that all the notes you’re
about to play are sixteenth notes, and then simply play them, as slowly as you wish, on your MIDI
instrument; Finale will enter them into the score. You can press Caps Lock to activate this feature.
For instructions, see the User Manual under SPEEDY ENTRY—TO ENTER MANY NOTES OF THE SAME
VALUE.
Music only gets entered when you press a rhythmic-value key, so feel free to play your MIDI key-
board as much as you like, without fear that you’ll inadvertently throw notes onto the screen.
Chords are a breeze, too: just hold down MIDI keyboard keys for the notes in the chord before you
press the rhythmic-value key.
You can drag any note of a chord up or down to change its pitch, just as you did with a single note
earlier in the tutorial. If you double-click and, on the second click, hold the button down, you can
drag an entire chord up and down the staff (instead of dragging one note at a time). And don’t for-
get that you can also drag any note or chord horizontally. If you want to drag a note only vertically
or only horizontally, press d while you drag—your cursor will be “constrained” to perfectly
vertical or horizontal movements.
Take another look at the Speedy Entry Keyboard Commands diagrams that appear earlier in this
tutorial, and you’ll learn about some other features of Speedy Entry. For example, if you position
the insertion bar on the second of two notes that are beamed together, pressing the slash key (/)
will break the beam; pressing it again will rejoin the beam. There’s also a key that turns any note
into a grace note (and back again)—the semicolon (;).
Pressing the t key (letter t) ties a note to the next note. !-equal (Mac: b-equal) ties a note
to the previous note. You can tie all notes of a chord at once by positioning the crossbar on the
chord stem, and not on any notehead. And, if you’re working on a score with several staves, press-
ing d-down arrow (Mac: i) moves the editing frame down to the next lower staff; press-
ing d-up arrow (Mac: d-i) moves it back up.
Finally, if you ever want to hide an entry (a note or rest), just position the insertion bar on it and
press the letter h key; the entry appears lightly in the score (if Show Hidden Notes and Rests is
checked under the View Menu), and will not print. Also, when you begin working with Finale’s
four transparent staff layers (called Layer 1 through 4), you can flip through the layers by pressing
d -’ (apostrophe) (Mac: d-down arrow or d-up arrow). Within each layer, you can
have two independently-stemmed voices (called Voice 1 and Voice 2). The apostrophe (’) key
switches between one voice and the other. (See Tutorials 2 and 8 for more information on working
with inner voices and layers.)
41
There’s no need to learn all of these key commands If you ever add too many augmentation
now. But it might be useful for you to keep the Speedy
dots, press the appropriate number key to
Entry Keyboard Commands diagram handy (it also
return the note to the original duration.
appears on the Quick Reference Card).
PLAYBACK
You’re about to discover that your folk song masterpiece, “Oh, Susannah,” not only looks good—it
sounds good, too.
It doesn’t matter which tool is currently selected.
• From the Window Menu, choose Playback Controls (if they’re not already on the screen).
The Playback Controls appear. On Windows, the Playback Controls are docked at the top of the
screen.
On the Macintosh, the Playback Controls are a floating palette, shown below:
• Click the Play button 1. If your MIDI system is hooked up properly, you’ll hear Finale play the
song. To stop playback, click either Pause 0 or Stop 8.
If you don’t hear anything, consult SETTING UP If you wish to use the internal speaker on
YOUR MIDI SYSTEM in the INSTALLATION CHAPTERS a Macintosh, select the MIDI Menu, then
earlier in this manual. Internal Speaker Playback.
If, during playback, you want to hear a certain passage
again, click and hold down the 3 button for a moment. The number in the Measure text box
decreases, showing you the measure you’ll hear when playback resumes. (The far left button ,
enters 1 in the Measure text box, so that playback resumes with the beginning of the score. The
2 button quickly increases the Measure so that you can skip ahead during playback, and the far
right . button jumps you to the last measure of the score.)
• On Mac, hide the Playback Controls by clicking on the Window Menu, then select Playback
Controls so that the check mark disappears. This step is not required on Windows.
As you’re about to find out, you don’t have to use the Playback Controls to play back your score:
42
• While pressing the Space bar, click any measure. Once again, Mac users: when the
Finale plays back your score, this time beginning with the
Playback Controls are
measure you clicked. Click anywhere on the screen (Mac:
visible, simply pressing the
press the Space Bar) to pause. Of course, this is only the tip of
the playback iceberg. Try this fun—but useful—feature: spacebar will start playback.
• While pressing ! (Mac: b) and the Space bar, drag the cursor back and forth across
the notes in the score. This “scrubbing” playback feature lets you spot-check any part of the
score—a useful feature when, for example, you’re entering lyrics and want to confirm your
place in the music.
You can play any Finale document using either this “Space bar-click” method or the Playback
Controls.
SETTING THE INITIAL TEMPO

Finale offers a number of ways to set the tempo for a piece. For example, in Tutorial 6 you’ll learn
how to make tempo markings such as Allegro, Presto, and ritard actually control the playback
tempo. For now, though, we’ll set the tempo the quick way.
• Once again, from the Window Menu, choose Playback Controls. The Playback Controls reap-
pear. On the Macintosh, click the expander triangle on the left side of the playback controls.
The dialog box expands to reveal more options.
• Double-click the Tempo text box, and type 200. You can also click the small up and down
arrow buttons to increase or decrease the number in the Tempo text box. If you want the tempo
to be measured in half notes per minute—or any other rhythmic unit—choose the value you
want from the Tempo drop-down list.
• Click the Play button. Finale plays your song back at a more sprightly tempo.
• When you’re through listening, click on the File Menu and choose Save. It’s always a good
idea to save your work at the end of a session. If you wish, open the file “Tutorial 1b” and com-
pare your results to our version.

If you’ve had enough for one session, choose Exit (Mac: Quit) from the File Menu. If you want to
continue to the next tutorial, close the file, saving changes if you wish.
The next tutorial will introduce you to the HyperScribe method of entry where Finale will notate as
you play in real time.
43

example:
ACCIDENTALS ERASING
CHORDS MEASURES
COPYING MUSIC PLAYBACK
COURTESY ACCIDENTALS SPEEDY ENTRY
DOTTED NOTES
44
Tutorial 1c: HyperScribe - Notate As You Play
So far, you’ve explored ways of entering music into Finale note-by-note. Simple Entry is useful for
working without a MIDI keyboard, and Speedy Entry makes good use of the MIDI keyboard with
the computer keyboard for extra speed.
One of Finale’s most useful features, however, is its ability to record and transcribe a live perfor-
mance in real time. To do this you’ll be using the HyperScribe Tool, which notates your perfor-
mance almost as fast as you can play it. By the end of this tutorial, you should be able to get notes
on the page by playing on your MIDI keyboard, a method Finale calls HyperScribe.
If you don’t have a MIDI keyboard or microphone, skip ahead to Tutorial 2.
INTRODUCTION TO HYPERSCRIBE
Each time you play a note on your MIDI keyboard, the computer receives certain information via
the MIDI cable: which key you struck, how hard you hit it, and how long you held it down. But to
convert your performance to standard notation, the computer needs to know how each note’s dura-
tion relates to the beat and the measure.
In the past, music programs solved the “where-does-the-note-fall-relative-to-the-beat” question by
producing a metronome click while you play. In other words, the computer itself provided a point
of reference, forcing you to align your playing with the computer’s beat.
Finale offers this option, but also introduces a novel concept: let the musician provide the click.
The computer gets what it needs to transcribe the music—a reference point for each beat—and the
musician gets what he or she wants—the freedom to speed up or slow down while playing.
What’s more, Finale lets you decide what you’re tapping to provide this tempo reference; if you’re
playing a single-line melody, you might tap along on a very high or low key on your MIDI key-
board. For two-handed performances, you’ll probably choose to tap your foot on a pedal. But any
MIDI controller, from breath controller to modulation wheel, can provide the tap.
HyperScribe, as this recording mode is called, can be extremely accurate. First, however, Finale
needs you to answer some questions concerning what you’re about to play:
•What’s the rhythmic value of your tap? Quarter notes? Eighth notes?
•Will there be inner voices or triplets?
In this tutorial we’ll explore how these settings affect your transcription. HyperScribe, by the way,
isn’t just for keyboard virtuosos. No matter how slowly you go, HyperScribe is still an excellent
means of entering music—single-line or simple music in particular—into a score. Even non-key-
boardists often come to prefer HyperScribe for quick, accurate note entry. With the MicNotator fea-
ture, you can even play your favorite instrument, like clarinet or saxophone, to enter notes. See
MICNOTATOR in the User Manual for more details.
45
In the following sections, you’ll give HyperScribe a try. For a more complete discussion of various
settings and how you might use them, see the User Manual under HYPERSCRIBE TOOL or the QUAN-
TIZATION GUIDE in the Appendix.
CREATING A NEW DEFAULT DOCUMENT

There are hundreds of variables in published music notation: thickness of the staff lines, size of the
notes, distance between accidentals in a key signature, and so on. Finale will let you change set-
tings for almost every variable you can think of.
However, you probably won’t want to set up your favorite design rules each time you create a new
piece. Teaching Finale precisely how you like your music to look could take you half an hour every
time you launched the program.
The good news is that Finale lets you determine all these variables once, after which it remembers
your preferences for all future pieces. In the Finale 2005 folder there’s a document called Maestro
Font Default. This is nothing more than a blank Finale document that’s been customized with a
dummy name, page numbers at the bottom of the page, specific music spacing rules, and so on. As
long as you keep this document in the same folder as the Finale program itself, those parameters
will always be preset when you start Finale or create a new document.
Of course, you can and should create your own default document, using your own favorite setup; the
one we’ve provided is meant to serve as an example. When you’re finished with these tutorials, sim-
ply create a new document (or modify the one we’ve provided), and make sure you’ve named it Mae-
stro Font Default (on Windows, choose .FTM for the file type). See FINALE SCORE TEMPLATES in the
Appendix of the User Manual for more information.
• From the File Menu, choose New, then Default Document. Finale presents an untitled docu-
ment. Remember that its format is determined by the Maestro Font Default document in the
Finale/Component Files folder.
• From the View Menu, choose Scale View, then select 75%. Now we need to make sure the set-
tings are correct for our experiment.
CLICK AND COUNTOFF

• From the Options Menu, choose Click and Countoff. The Click and Countoff dialog box
appears, which allows you to control a variety of settings related to Finale’s click and countoff
features. For example, you could instruct Finale to provide a metronome click during playback
of your score; or you could instruct Finale to wait for or provide a 2-measure countoff before
recording, so that you have a chance to settle into your tempo. The default settings should be
correct, but we’ll double-check.
46
• From the Countoff popup Menu, select While Recording.

• In the Measures text box, type the number of countoff measures you want to hear before
recording begins. The default setting is 2.
• From the Click popup Menu, select While Recording.
• Click OK. You have just instructed Finale that a 2-measure countoff is to be used before record-
ing, and that a click is to be used during recording. Now, we’ll instruct Finale that it will be pro-
viding the tempo information, not you.
TRANSCRIBING A SCALE (WITH A CLICK)

• Click the HyperScribe Tool g. A new menu appears on the If you wish to use the
menu bar called HyperScribe, where you’ll make your transcrip- internal speaker on a
tion settings. Macintosh, select the MIDI
• From the HyperScribe Menu, choose Beat Source, then Play- Menu, then Internal
back and/or Click. In the Playback and/or Click dialog box, you Speaker Playback.
specify a start signal, set a tempo for recording, and tell Finale
whether or not you want to hear the other existing staves in your
piece played back while you record. Your default settings should be Beat equals a quarter and
Tempo is 96.
• Click the drop-down (Macintosh: popup) menu to the right of Start Signal for Recording and
choose Any MIDI Data. This setting tells Finale to use any MIDI signal as a cue to start the
countoff for a HyperScribe session.
Note that you can access the Click and Countoff dialog box from here. For more details, see the
User Manual under CLICK AND COUNTOFF DIALOG BOX.
47
• Click OK. That’s it! Finale is now ready to provide you with a metronome click.
• From the HyperScribe Menu, choose Record Mode. Make sure Record into One Staff is
selected.
• Click the first measure. A dotted frame surrounds the measure you clicked, indicating that
Finale is ready for you to begin. It doesn’t matter whether you play staccato or legato (short or
connected notes); HyperScribe expands any note you play to the beginning of the next note (or
beat), so that you won’t find scattered sixteenth rests cluttering your music when you’re fin-
ished. Finale is waiting for you to send a signal that you’re ready. Because we set the Start Signal
to Any MIDI data, it doesn’t matter which key or pedal you hit.
• Play a note on the keyboard. Finale begins to click, giving you two measures countoff to get a
feel for the tempo. If you don’t get a click, you may wish to review the section called SETTING
UP YOUR MIDI SYSTEM in the INSTALLATION CHAPTERS earlier in this book. You may also wish
to consult the User Manual under MIDI SETUP DIALOG BOX.
• When the two countoff measures are up, play a two-octave C scale, in quarter notes, starting
on middle C, as shown below.
œ œ ˙
&c œ œ œ œ œ œ œ œ œ œ œ œ
As you play each measure, it fills up with notehead-like dots; only when you’ve completely
filled a measure (and moved on to the next) does the full-fledged notation appear.
• When you’re finished, click your mouse anywhere on the screen. The editing frame goes away.
Take a look at what Finale did: did you get your C scale? If you didn’t, try entering a slower
tempo in the Playback and/or Click dialog box. Now let’s try a real melody instead of a scale.
Only this time, we’ll provide the Tap or tempo instead of Finale.
48
TRANSCRIBING A MELODY (WITH A TAP)

Before we start recording our melody, we need to change a few settings, such as the countoff mea-
sures.
• Click the HyperScribe Tool g.
• From HyperScribe Menu, choose Beat Source, then Tap (even if its already checked). You
have to tell Finale which key or pedal (or other MIDI controller) you’ll be tapping to provide
the tempo reference. The Tap Source dialog box offers several choices: the standard sustain
pedal, a “nonstandard” sustain pedal (whose on/off polarity is reversed, as with some Yamaha
pedals), a key on your instrument, or another MIDI controller.
For this test, you’ll use a key. If you know the MIDI key number of the note you want to tap,
you can enter it into the MIDI Note text box (middle C = 60). Otherwise, you can enter the note
information just by playing it:
• Click Listen, then play C below middle C. (You can, of course, use any key on your MIDI key-
board.) If your MIDI equipment is set up properly, the “Finale is listening” dialog box disap-
pears, and Finale types the number of the key you played into the text box.
• In the Beat section of the dialog box, make sure the quarter note icon is selected. In other
words, one tap equals one quarter note.
• Click OK. You return to the score.

• Click the first measure. You don’t need to erase your C scale; a new HyperScribe pass over-
writes whatever was there before.
49
• Play “Ode to Joy” as shown here. Remember to tap steady quarter notes with your left hand on
C below middle C.
& c Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ïj ú
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ïj ú
• When you’re finished, click the mouse. Scroll back to the first When using HyperScribe
measure. Look over your piece and see how you did. Feel free to with a Tap, make sure you
try it again; anything new you record will simply overwrite
play the first note at the
whatever music is there now.
same time or after the first
When you feel confident with playing a single-line melody, you tap.
might like to try the next experiment: playing with two hands
while tapping with your foot.
Open the file called “Tutorial 1c.” This is a grand staff like one you can create with the Setup
Wizard.
SETTING THE TIME SIGNATURE AND BEAMING PATTERNS

In the previous experiments, you used Finale’s default setting of quarter-note key taps. In the next
N
experiment you’ll be trying a piece in time, which will require you to change some of Hyper-
Scribe’s settings.
• Click the Time Signature Tool d.
• Double-click the first measure. The Time Signature dialog box appears.
• Using the upper scroll bar, click the left scroll bar arrow twice. This might surprise you. We’re
N,
changing the meter to so you might expect the top number to be 6. Why are we subtracting
beats (so that it is now 2)? Read on.
• Using the lower scroll bar, click the right scroll bar arrow once. Note that with the Time
When you increase the beat duration (lower number) to a dotted Signature Tool selected, you
quarter-note value, the new meter suddenly makes sense: two dot- can also right (Mac: c)-
N
ted quarter notes do, in fact, make a meter. click a measure to choose a
The Time Signature setting does more than set the meter; it also new time signature.
determines the beaming patterns for the music you’re about to
50
input. You could have increased the top number to 6, and decreased the bottom number to eighth
notes, like this:
& 68 œj œj œj œj œj œj
But then you’d wind up with no eighth notes automatically beamed together. By specifying a N
meter formed by two dotted quarter notes (instead of six eighth notes), you’ve instructed Finale
to beam the eighth notes together in dotted-quarter note groups—that is, in groups of three.
• Select Measure 1 through End of Piece (if it’s not already selected).
• Click OK.
TWO-HANDED HYPERSCRIBING
• Click the HyperScribe Tool g. The HyperScribe Menu appears.
• From the HyperScribe Menu, choose Beat Source, then Tap (even though it may already have
N
a check mark next to it). Since you’re playing a piece, you have to tell Finale that you’ll be tap-
ping every dotted quarter note.
• Click the dotted quarter note icon. You’d click the same button for a piece in 3/8, 9/8, or 12/8
meter.
• Click Standard Sustain Pedal, then click OK. You’re telling Finale that you’ll be tapping on the
pedal rather than on a MIDI keyboard key.
• From the Options Menu, select Quantization Settings. The Quantization Settings dialog box
appears.
• Under Smallest Note Value, click the eighth note. Finale’s sense of rhythm is much finer than
ours; in fact, it perceives subdivisions of rhythm down to 1024ths of a quarter note. (These very
small rhythmic increments are called ENIGMA Durational Units, or EDUs.) Because Finale’s
perception of time is so precise, the program must round off, or quantize, each note in your per-
formance to the nearest eighth note (or whatever rhythmic value you specify), in order to pro-
N
duce readable notation. Since the smallest rhythmic value in a meter is often an eighth note,
that is the value you selected.
• Click OK. You’ve told Finale that you’ll be tapping the sustain pedal, that each tap is to repre-
sent a dotted quarter note, and you’ve specified a quantization value. One other parameter has
changed since your first HyperScribe efforts: You’re using two staves now. HyperScribe can split
your performance onto two staves (to be played by right and left hands), but it needs you to
specify a split point—a key on the MIDI keyboard, below which all notes will be transcribed
onto the lower staff; the note you play and all higher notes will be placed on the upper staff.
51
• From the HyperScribe Menu, choose Record Mode, then

Split into Two Staves. Now, choose the point between the
two staves you want notes to split between the left and right
hand staves. If you’re familiar with MIDI key numbers (mid-
dle C = 60), you can type a key number into the text box in
the Fixed Split Point dialog box that appears. It’s easier, how-
ever, to define a split point simply by playing the key.
• Click Listen. Finale asks you to play the key you want to use as a split point.
• Play the B just below middle C. Finale enters the key number into the text box. Now, notes
played on or above the B below middle C will be placed into the top staff.
• Click OK. At this point, you’re ready to go. But you should be aware that Finale has several
more sophisticated options available, which you might make use of as you become more famil-
iar with the program.From the Options Menu, choose Quantization Settings; click More Set-
tings. The More Quantization dialog box appears, listing a few additional options. Note that
Retain Key Velocities and Retain Note Durations are both selected. If you have a velocity-sensi-
tive MIDI keyboard—if it plays back louder the harder you strike a key—then Finale will be
able to play back your HyperScribed piece with every nuance of your dynamics intact. Also,
with Retain Note Durations selected, Finale will remember and play back any rolled chords,
swing, rushing or dragging you created when you first played your piece. For more information
on this dialog box, look up the MORE QUANTIZATION DIALOG BOX in the User Manual.
• Click Cancel twice. You’ve now told Finale all it needs to know about the upcoming perfor-
mance. You’ve told it that you’ll be tapping on the pedal, that your taps represent dotted-quarter
notes, that it should quantize your playing to the nearest eighth note, that it should split your
music into right- and left-hand parts at middle B, and that you want it to record your dynamics
and rhythmic feel.
If you take this much care to set up HyperScribe every time you play, you should get excellent
results.
• Click the first measure of the upper staff. Play a simple arrangement of “Chopsticks” — one
possibility is shown below. Play as slowly as you like, but be sure you’re giving the sustain
pedal a little tap every beat (that is, every dotted quarter note), as indicated by the arrows below.
52
TAP: X X X X X X X X
j
& 68 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œ œ œ œ
œ œ œ œ
œ
? 68 œ. œ. œ. œ. œ. œ.
œ. œ.
X X X X X X X X X
j
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ ..
œ
? œ. œ. œ. œ. œ
œ. œ. œ J œ.
• When you’re finished, click the mouse. Scroll back to the first measure. If all went well, you
should have a fairly clean, correctly beamed “Chopsticks” transcription.
If the dotted-line rectangle never budged from the first measure, there may be something wrong
with your MIDI setup. It’s possible that your pedal isn’t sending a signal; check your connec-
tions and try again. Or try a non-standard pedal for the Tap.
If you got something, but it doesn’t look accurate, check the settings you made in the Hyper-
Scribe Menu. Also, be sure your foot taps were synchronized with your hands.
• Play back your performance (click Play 1 on the Playback Controls). Finale plays back your
version of “Chopsticks,” complete with your dynamics and rhythmic feel, albeit at a fairly
sprightly tempo.
In this file, we’ve turned off scrolling playback, so Finale simply plays the music it encounters in
your score, but the screen display doesn’t change. If you want, you can tell Finale to scroll the
music as it plays, so you can follow the score as you’re listening to the playback. This is sometimes
called “bouncing ball” playback.
NOTE: To play a score—a large score in particular—is already a demanding task for a computer; to
continuously redraw the screen at the same time requires massive amounts of computational power.
Therefore, when using scrolling playback, the Playback Controls help the computer cheat a bit by tak-
ing a moment to prepare the audio portion in advance. Then, when you play back, only the visual por-
tions are computed.
• On Windows, click the Settings button. On Macintosh, click the left arrow button to
reveal more options. Here, you may want to specify a Human Playback style. Finale’s Human
53
Playback feature processes your score and generates a performance based on the expressions,
articulations, and other markings you’ve placed in the score. You can choose from a variety of
styles including Classical, Baroque, and Jazz.
• From the Play Mode drop-down list, select Scrolling. On Windows, click OK to close the Set-
tings box. On Macintosh, move the Playback Controls down and to the right (so you can see
the music).
• Click Play 1. The Status or Message Bar keeps you apprised of Finale’s progress in pre-comput-
ing the music. When it’s finished, you will hear your version of “Chopsticks” again, and you
should see the sheet music transcription of it scrolling by.
WHEN YOU'RE READY TO CONTINUE

Feel free to experiment with HyperScribe. For further information on quantization, consult the
User Manual under QUANTIZATION GUIDE in the Appendix. Close your file, saving it if you want.
In the next tutorial, we’ll add more details to our score with key and time signatures, lyrics, repeats
and guitar chords.

example:
BEAMING PLAYBACK
TIME SIGNATURES QUANTIZATION
CLEFS HYPERSCRIBE TOOL
EDUS STAFF ATTRIBUTES
GROUPS STAVES
MICNOTATOR
54
Tutorial 2: Adding Details
There’s a lot more to music than just notes. In this tutorial, we’ll cover how to add details–key and
time signatures, lyrics, repeats, chords and more. Open the Document called “Tutorial 2” in the
Tutorials folder: we’ll use this version of “Oh, Susannah” to explore Finale’s prowess in creating a
lead sheet. By the end of this tutorial, you should be able to create a simple lead sheet.
CHANGING THE KEY

If you use the Setup Wizard, you should start off with the correct key signature for your piece every
time. But let’s say you change your mind after entering in the music. We’ll change the key for our
folk song “Oh Susannah.”
• Click the Key Signature Tool h.
• Double-click the first measure (within the staff lines to the right of the time signature). The
measure highlights and a dialog box appears. Finale displays a dialog box when it’s requesting
some information from you. In this particular dialog box, you use the scroll bar to select a new
key. Click the up arrow to add sharps to the key signature or subtract flats. Click the down
arrow to add flats or subtract sharps.
• Click the up arrow on the scroll bar twice, so that no sharps or flats appears. Now look at the
bottom of the dialog box; Finale lets you specify whether or not you want to transpose the notes
55
when you change the key signature. Leave the settings as they are; you’re transposing the song
up a whole step, to C.
Now specify what region of measures you want to be affected by the new key.
• Click the radio button for “Measure 1 Through End of Piece.”
• Click OK (or press j). The dialog box goes away, and your piece is instantly transposed to
the key of C.
CHANGING THE TIME SIGNATURE

If you use the Setup Wizard, you should start off with the correct time signature, too. But let’s say
you decide your folk song would work better in cut time.
• Click the Time Signature Tool d, and double-click the first measure. Make sure you click the
middle of the measure (within the staff lines). There are two scroll bars in the Time Signature
dialog box: the upper bar controls the top number of the time signature, and the bottom bar
controls the bottom number.
• On the upper scroll bar, click the left scroll bar arrow twice, to change the upper number
J
from 4 to 2. You want the meter to be — two half notes per measure—so you decrease the
upper number, which governs beats per measure.
• Now click the right scroll bar arrow twice on the lower scroll bar. The lower scroll bar sets the
rhythmic pulse—the lower number in the time signature. You increase the value from a quarter
note to a half note (by changing the lower number from 4 to 2).
• Click the radio button for “Measure 1 Through End of Piece.” The Time Signature dialog box
looks like this:
• Uncheck Rebar Music.
56
• Click OK (or press j). That’s it. You’ve now put “Oh, Susannah” into cut time. (Finale
C J J
defaults to displaying the cut time symbol for . If you’d prefer , see the User Manual under
CUT TIME.
ENTERING LYRICS: TYPE INTO SCORE

One of Finale’s greatest powers is its ability to handle lyrics intelligently. If you provide the lyrics,
complete with hyphens between syllables, Finale can automatically distribute them to the melody
line, neatly avoiding tied-over notes and rests, and centering every syllable under its note. Each syl-
lable is attached to its note; if the note moves horizontally, the syllable moves with it. Finale also
adds word extension underlines for melismatic passages automatically.
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 proces-
sor, 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.
In this tutorial, you’ll try both techniques.
• From the View Menu, choose Scale View then select 75%. From the View Menu, choose
Scroll View.
• Click the Lyrics Tool k. A new menu, called Lyrics, appears and a row of four positioning tri-
angles appears to the left of the staff.
• From the Lyrics Menu, choose Type Into Score, if its not already selected.
• Click on the staff above the first melody note. You don’t have to click the notehead. Instead,
click anywhere within the staff lines above it. A small blinking cursor—the insertion point—
appears beneath the first note.
• Type: “Oh, I come from Al-a-ba-ma, with a ban-jo on my knee.” Each time you type a space or
a hyphen, Finale automatically moves the insertion point to the next note in preparation for
entering the next syllable. Finale automatically scrolls the music as you enter the lyrics, so you
always know where you are.
As you type, there are a few things you should know. If you make a mistake, just backspace over
it by pressing the $ key (Mac: k). (If you backspace to the previous syllable, Finale
highlights the whole syllable for you, so that you can replace it all at once with anything you
type.) If you want to change a word you’ve already typed, click in the staff above the syllable in
question so that it’s highlighted; then type in your correction.
As you type the rest of these lyrics, you’ll encounter some syllables that are supposed to be held
through two melody notes:
57
In such cases, just skip past the sustained note by pressing the space bar. Finale will create word
extensions for you when appropriate. Use the space bar to skip past rests.
• Finish typing the first verse:
I’m [space] goin’ to Lou’-si-a-na, my [space] true love for to see. [space]
Oh, Su-san-nah, now don’t you cry for me,
Oh, I come from Al-a-ba-ma with a ban-jo on my knee.
The four small triangles at the left edge of the screen control the The four triangles (from
baseline of the lyrics (the imaginary line upon which the bottom left to right) move the
edges of the words sit). If you drag the leftmost triangle, you’ll find
baseline horizontally for:
that you can move the baseline (and all the attached lyrics) up and
1.the entire piece
down.
2.this staff
As you typed, Finale stored each syllable in a built-in text proces-
sor, the Edit Lyrics window. Let’s take a look. 3. this staff, this system
only
• From the Lyrics Menu, choose Edit Lyrics. Sure enough, there are
your lyrics in their raw text form. It’s important to understand that 4. next syllable entered
the Edit Lyrics window and the lyrics in the score are dynamically
linked. If you change a syllable in the Edit Lyrics window, that syllable automatically changes in
the score—and vice versa.
j
j œ œ. œ œ
œ. œ œ
Oh, I come from Al - a - ba
While the Type Into Score process is handy, it’s not the fastest possible method for entering lyrics.
When you’re working with very large scores, or when you want to import lyrics from another pro-
gram (such as a word processor), you might want to use the Click Assignment method, whereby
you enter the lyrics directly into the Edit Lyrics window. No matter which method you prefer,
Type Into Score is always handy for making quick changes to lyrics already in the score.
58
In the next section, you’ll learn about the Click Assignment method. To restore your melody to
its wordless form, you’ll use Finale’s Clear Items command, which you can use to selectively
remove lyrics (or other items) from the score without touching the notes.
• Click OK. The Edit Lyrics dialog box closes.
• Click the Mass Edit Tool l. The Mass Edit Menu appears.
• From the Edit Menu, choose Select All. Finale highlights all of your music. We want to remove
all of the lyrics we assigned through Type into Score. Lyrics in Finale are made up of two parts:
the word or syllable itself and its “footprint” or assignment to a particular note.
When you Type into Score, you’re entering the word into the Edit To edit the default
Lyrics box and assigning it to a particular note at the same time. When positioning of lyrics
we use the Mass Edit Tool to clear the lyrics, we’re only clearing the
and make settings for
assignments. The words remain in the Edit Lyrics box, available for
word extensions and
the next time we want to assign them to notes with Click Assignment.
You can even assign the same word to multiple notes. A handy feature hyphens, from the
when you don’t want to type “Alleluia” twenty different times! Options Menu, choose
Document Options, and
• From the Mass Edit Menu, choose Clear Items. The Clear Items
select Lyrics.
dialog box appears.
• Click Only Selected Items, then Entries. The Entry Items dialog
box appears. This dialog box lists the many pieces that make up your music. You could erase all
of the chord symbols in your score, or every articulation in a selected region. For now, we just
want to remove the lyrics.
• Click the Lyrics checkbox and click OK twice. You return to your score, where your lyrics have
disappeared, but your notes remain.
ENTERING LYRICS: CLICK ASSIGNMENT

With this method, you’ll enter the complete set of lyrics beforehand in Finale’s text processor.
Because the computer doesn’t have to redraw the music to keep up with you (as it did with the
Type Into Score method), you’ll find that you can type much faster in this mode.
• Click the Lyrics Tool k. The Lyrics menu appears.
• From the Lyrics Menu, choose Edit Lyrics. The Edit Lyrics window appears with your com-
plete set of lyrics.
You can edit your lyrics in the Edit Lyrics window just as you would text in any word processor.
For example, you can correct mistakes by backspacing over them with the $ (Mac: k)
key. You can copy and paste text as you’ve just done, using !-C (Mac: a-C) to copy
59
selected text and !-V (Mac: a-V) to paste it. You can also cut selected text, so that it’s
removed from the Edit Lyrics window but placed on the Clipboard ready for pasting in another
place; the Cut command is !-X (Mac: a-X).
• Click OK. You return to the score.
ASSIGNING LYRICS
• From the Lyrics Menu, choose Click Assignment. A small window appears, containing the lyr-
ics you just typed. If the window obscures your view of the music, you can drag it by its title bar
to move it to a new location.
Use the title bar to move Click the close box
the window out of the way when you're done
Use the side scroll
of the music, if necessary. click-assigning.
bar to switch from
one Verse to
Select Auto another.
Update if you're
click-assigning
one syllable at a
time and want Click the right or
Finale to widen left arrows to scroll
the measure the lyrics one
accordingly after syllable in either
each click. direction.
Drag the scroll box to Click in the grey area

move quickly to another to scroll the lyrics by
spot in the lyrics. one window-full.
The four triangles are again at the left edge of the screen. Remember that these control the base-
line of the lyrics. Drag the leftmost triangle up or down to move the lyric line closer to or farther
from the staff.
• Position the cursor on the staff at the location of the first melody note. Click in the staff once.
The first syllable, “Oh,” jumps out of the Click Assignment window and attaches itself to the
first note.
60
&C Ó œ.
j
œ œ œ œ.
Oh,
• Move the cursor to the second note, and click in the staff. The next syllable is now attached to
its note.
This click-by-click assignment of lyrics to notes is all very well and good, but it takes time when
you have lots of lyrics to assign. If you use the ! (Mac: b) key, you can distribute all the
lyrics with a single click.
• While pressing the ! (Mac: b) key, click the third note. Finale now rips through your
entire set of lyrics and distributes them to the notes of the song automatically.
• Click the close button in the upper-right (Mac: upper-left) corner of the Click Assignment
window. Take a moment to scroll through the lead sheet and check Finale’s work. You’ll proba-
bly notice a problem right away: Starting at measure 5—the lyric “I’m goin’ to Lou’-si-a-na”—
the lyrics haven’t been assigned to the proper melody notes. They’re off by a syllable.
4
&œ œ Œ œ œ. œ
œ œ ˙ œ œ œ
ban - jo on my knee. I'm goin' to Lou' - si - a
That’s because you weren’t able to skip the extra melody notes by pressing the Space bar, as you
did when you used Type Into Score, so Finale didn’t know when to skip over a note.
You can correct this problem in a flash. At each spot where a syllable is held through more than
one note, you need to tell Finale to push all the syllables to the right by one note.
• From the Lyrics Menu, choose Shift Lyrics. The Shift Lyrics dialog box appears, letting you
specify the direction you want the syllables to be shifted. The default, to the right, is what you
want.
• Click OK (or press j). You’re going to click within the staff lines above the first syllable you
want shifted.
61
• Click in the staff above the syllable “goin’.” Finale shifts the
Î . Ïj
“goin” syllable, and all subsequent syllables, to the right. Now
scroll until you can see the word “true,” where the lyrics are ú Ï Ï Ï Ï Ï
again misaligned. knee, I'm goin' to Lou' - si -
• Click the note above the word “true.” You’ve successfully

aligned the lyrics to the notes.
ADDING A SECOND VERSE

As it happens, “Oh, Susannah” has two verses. If you don’t work with lyrics much, feel free to skip
this section. If you plan to be working with vocal music, though, this section will show you how to
add multiple verses.
• From the Lyrics Menu, choose Edit Lyrics. Your lyrics appear in the text window. Note that at
the bottom of the dialog box you see a drop-down list (currently set to Verse) and a text box
(currently set to 1), indicating that you are viewing the lyrics for verse 1.
• Click the up arrow next to the text box. The text box now says 2, indicating that Finale’s ready
for you to type verse 2.
This time, as an experiment, you’ll anticipate the passages where one syllable is sustained
through more than one note, so that you won’t have to use the Shift Lyrics command after plac-
ing the lyrics.
To do this, you’ll create an invisible syllable within the lyrics. This syllable is simply a blank
character, sometimes called a hard space. By pressing and holding down the @ key, typing
0160 on the numeric keypad, and then releasing the @ key (Mac: b + spacebar), you
produce an invisible character that Finale thinks of as a syllable, even though it’s invisible on
the screen.
Remember that Finale looks for a space or a hyphen to indicate the end of a syllable—whether
invisible or not. To convince Finale that this character is a syllable, you need to follow each
invisible syllable with a space.
• Click in the text box, and type the second verse exactly as you see it here. Create an invisible
syllable (@ 0160 or b + spacebar) where indicated below. Don’t forget to type a regular
space before and after each one.
It [invisible syllable] rained all night the day I left, the wea-ther it was dry,
The [invisible syllable] sun so hot I froze to death, Su-san-nah, don’t you cry.
Oh, Su-san-nah, now don’t you cry for me,
62
I [invisible syllable] come from Al-a-ba-ma with a ban-jo on my [invisible syllable] [invisible sylla-
ble] [invisible syllable] knee.
• Click OK. Scroll to the beginning of the music.
• Choose Click Assignment from the Lyrics Menu.
• !-click (b-click) in the staff above the first note. If you’ve typed the lyrics correctly,
Finale should enter the entire second verse without a hitch. Now, if you need to adjust the posi-
tioning of the second lyric line, drag the leftmost of the four positioning handles up or down.
The invisible syllables you added should make all syllables align with their notes. Finale also
adds word extensions for you automatically. We added three invisible characters before the last
syllable to skip measure 17, which we’ll be skipping over the second time through (we’ll talk
about creating the repeat markings in the next section). Let’s delete this extra word extension.
• From the Lyrics Menu, choose Edit Word Extensions. The word To tell Finale to always
extension handles appear. You can use these handles to manually break a Smart Word
adjust the length of each word extension.
Extension at a particular
16
barline, choose the
&œ j
œ œ œ ˙ œ. œ ˙ Measure Tool, double-
click the measure to the
ban - jo on my knee. It
ban - jo on my knee. left of the barline, check
Break Smart Word
• Click handle on the right edge of the word extension in the sec-
Extensions and click OK.
ond verse and press Delete k. The word extension disappears.
THE REPEAT TOOL

To be truly complete, your lead sheet needs a first and second ending, requiring the use of the
Repeat Tool.
In Finale, a repeat barline is simply a signpost that directs the flow of music playback to another
measure. A repeat barline doesn’t necessarily direct music backward; it could make the music jump
to a later measure, as it does if you’re using a coda sign. You can build nested repeats, multiple end-
ings—even purely graphic repeat barlines that have no playback functions at all.
In your “Oh, Susannah” lead sheet, you’ll actually need several repeat barlines—one at the begin-
ning of the score, plus a first and second ending. To make these endings work properly, you need to
amend the beginnings and endings of the music itself, adjusting the lyrics and inserting the first
ending measure, so that the lead sheet looks like this:
63
Beginning...
1
j
&C Ó j œ œ. œ
œ. œ œ
Oh, I come from Al - a -
rained all night the
16
...End
&œ œ j Ó
œ œ ˙ œ. œ ˙
ban - jo on my knee.
You’re welcome to perform these modifications yourself, if you want; you’ll have to delete the first
syllable in the second verse, type it at the end of the first verse (in the Edit Lyrics window), and
then click it into the end of the score with the Click Assignment option (Lyrics Menu). You’ll also
need the Speedy Entry Tool a to change the music in the first and second endings, and the Mea-
sure Tool z to create the extra measure.
If you’d rather not bother, open the document called “Tutorial 2a,” in which these changes have
already been made.
In either case, scroll back to the beginning of the piece; now you’re ready to proceed.
The repeat tool is designed to allow you to add standard repeat barlines and endings easily using
context menus. By context-clicking (Windows users right-click, Macintosh b-click) measures
and selected regions, you can easily and edit repeats without taking focus off the score. Now, let’s
add a repeat with a first and second ending.
• Click the Repeat Tool x. Measure 1 is a pickup measure, so you want the first repeat barline to
appear at the beginning of measure 2.
• Windows users Right-click (Macintosh users Control-click) measure 2. A context menu
appears which offers several repeat options.
• Choose Create Forward Repeat Bar. A forward repeat
bar appears at the beginning of measure 2. Note that you
could also click measure 2 and from the Repeat Menu
choose Create Forward Repeat Bar to perform the same
task.
Now, let’s create the first and second ending. You want
the first ending to appear at measure 17. Scroll down so measure 17 is visible.
• Windows users Right-click (Macintosh users Control-click) measure 17. For a first ending
longer than one measure, you would select the measure region and then context-click.
64
• Choose Create First and Second Ending. Finale places a first ending over the highlighted mea-
sure and also places a second ending over the following measure. That’s it! This repeat is already
defined to play as shown, upon reaching the backward repeat bar, playback will jump back to
measure 2, and then, the second time through, skip over measure 17 to the second ending.
To remove a repeat barline or bracket, click the Repeat Tool, then click the measure. Click the
square handle at the bottom of the barline and press k.
Don’t be concerned if your lead sheet ends with a single measure stretched over an entire staff
system. Such layout issues will be discussed in Tutorial 4.
While the context menu items are great for creating basic repeat barlines and endings, you
might want a more in-depth discussion of the Repeat Tool and its various capabilities including
multiple ending passes, defining three or more endngs, or adding a Coda, D.S. al Coda, D.C. al
Coda and more. Consult the User Manual under REPEAT TOOL.
CHORD SYMBOLS (OPTIONAL SECTION)

No true lead sheet would be complete without chord symbols. With a To enter chord symbols
little help from your MIDI keyboard, the process of adding chords can without a MIDI
be extremely quick. You can also apply similar techniques with the Type
keyboard, click on the
into Score feature, which doesn’t require a keyboard. (If most of your
Chord Tool, then
work won’t require chord symbols, you can skip this section.)
choose Type into Score
This section assumes that you’ve completed the “Oh, Susannah” lead from the Chord Menu.
sheet up through the last section. If not, choose Open from the File
Menu; open the document called “Tutorial 2b,” which is complete to
this point.
• Scroll to the first measure of the piece, if necessary.
• Click the Chord Tool X. The Chord Menu appears. The top five commands in the menu are
chord input options: Manual Input (you type letters and numbers into a dialog box to create a
chord symbol); Type Into Score (functions in the same way as the corresponding Lyric option);
MIDI Input (which has you play the chord on the MIDI keyboard); One-Staff Analysis (in
which Finale examines the notes of each chord you click in the staff); and Two-Staff Analysis
(in which Finale examines a complete chord, even if it spans two staves, as with a piano voic-
ing). You can also choose Edit Learned Chords, in which you can teach Finale to recognize
unusual or especially complex chords.
• From the Chord Menu, choose MIDI Input. If you don’t have a MIDI keyboard, don’t despair;
it’s almost as easy to put chord symbols into your score without MIDI. See the User Manual
under CHORD SYMBOLS for instructions.
65
• Click the first note of the second measure. A little ear appears above the staff. It indicates that
Finale is ready for you to play the chord.
• Play a C triad, root position, on the MIDI keyboard. It doesn’t matter how the chord is voiced
or what octave it’s in; just make sure that the bottom note is a C.
C
j
1
&C Ó j .
œ . œ œ œ. œ œ œ
œ.
Oh, I come from Al - a - ba - ma
rained all night the day I
Finale puts the chord symbol, C, above the staff. (If the chord symbols appear too low or too high
in your score, remember that, just like lyrics, you can drag the leftmost positioning triangle up or
down to move the baseline of the chords.)
So far, so good—now you need to advance the cursor to the The four triangles (from left
right, in preparation to enter the next chord symbol. To signal to right) move the baseline
Finale that you want to move on to the next chord, you play
horizontally for:
any MIDI keyboard key above middle C.
1. the entire piece
• Play a single note—any note—above middle C. If you want to 2. this staff
move backward, play a single note below middle C. 3. this staff, this system only
• Play three more single notes above middle C. You’ve just 4. next chord
moved the ear cursor to the next downbeat, where there’s
another chord.
j
1
&C Ó j .. œ œ œ. œ œ œ
œ. œ œ.
Oh, I come from Al - a - ba - ma with
rained all night the day I left,
& ˙˙˙
• Play another C chord, this time in first inversion (E on the bottom).
This time, Finale writes C/E—a C triad with an E in the bass.
• Continue adding the chords this way: advance to the next spot by playing a
single key above middle C, and then play the chord. If you don’t play the chord in root position,
Finale notates the chord symbol as a triad over a bass note, separated by a slash. You can add any
chord symbols you want; one example is shown here:
66
C C/E
1
j
&C Ó j .. œ œ œ. œ œ œ j
œ. œ œ. œ
Oh, I come from Al - a - ba - ma with a
rained all night the day I left, the
C/G G7 C
4
Œ j
& œ œ œ œ œ. œ
œ œ ˙ œ œ
ban - jo on my knee, I’m goin’ to Lou’ - si -
wea - ther it was dry, The sun so hot I
C/G G7 C C7
7
& œ œ j Ó
œ. œ œ œ œ œ ˙
a - na, my true love for to see.
froze to death, Su - san - nah, don’t you cry.
F C
10
&˙ ˙ œ ˙ œ œ œ œ œ
Oh, Su - san - nah, now don’t you cry for
Oh, Su - san - nah, now don’t you cry for
G7 C C/E
13
j
& ˙. œ œ œ. œ œ œ j
œ œ œ. œ
me, Oh, I come from A - la - ba - ma with a
me, I come from A - la - ba - ma with a
C/G G7 C
16
..
1. 2.
&œ œ j Ó
œ œ ˙ œ. œ ˙
ban - jo on my knee.
You’ll find that Finale has no problem transcribing the G7 in measure 5. You can play seventh
chords, ninths, augmented, diminished, and even more complex chords, and Finale will have
no problem understanding you. As a matter of fact, you can even teach Finale to understand
new chords. See the User Manual under EDIT LEARNED CHORDS.
If you make a mistake, choose Undo from the Edit Menu, click the note, and play the chord again.
Here’s how you tell Finale that you’re finished entering chords:
• Click any blank part of the screen. Go ahead—play it back! (Click Play 1 on the Playback
Controls.) You’ll discover that Finale plays the chord symbols wherever they occur. (You can
67
also disable the playback function of chords, if you like; see the User Manual under CHORD SYM-
BOLS.)
To move a chord symbol, be sure the Chord Tool is selected. Choose Manual Input from the
Chord Menu. You’ll see square handles appear, which you can then drag to move chord sym-
bols. If you click a handle and press k, you’ll delete the chord; if you double-click a handle,
you’ll enter the Chord Definition dialog box (see the User Manual under CHORD DEFINITION DIA-
LOG BOX for more complete information).
Now suppose you’re just about ready to print, when you find out that this “Oh, Susannah” is
going to be a piece of popular sheet music, with guitar fretboard diagrams above the staff. No
problem:
• From the Chord Menu, choose Show Fretboards. Finale instantly places full-blown fretboard
diagrams underneath the regular chord symbols. They’ll even transpose if you change the key!
To adjust the distance between the fretboard diagrams and the staff, choose Position Fretboards
from the Chord Menu, and drag the leftmost triangle up or down. See the User Manual under
FRETBOARD DIAGRAMS for full instructions.
WORKING WITH INNER VOICES: LAYERS

In this example, let’s suppose that you’ve decided to add a few harmony notes.
Finale lets you have up to eight voices—independent lines of music, each with its own stem—per
staff. (Within each of the eight voices, a chord can have up to twelve notes—a total of 96 notes per
staff on any given beat.) Most of the time, you’ll probably need only two voices, stems up and
stems down. You’ll find such music especially easy to notate in Finale, because every staff can have
four completely independent layers of music. You can think of them as clear plastic overlays,
because each layer is utterly independent—each can even have its own MIDI channel for playback.
You can flip easily from one layer to the other, and even hide the ones you’re not working on.
If you do need more voices, you’ll discover that each layer can have two voices of its own, Voice 1
and Voice 2, giving you a total of eight to work with. The Voice 1/Voice 2 mechanism is more com-
plex, however; save it for the times when you need more than four voices per staff. We’ll cover the
voices system in Tutorial 8.
• From the Options Menu, choose Document Options, then select Layers. You will see the Layer
Options on the right side of the Document Options dialog box. Here is where you control the
behavior of each voice.
68
• For Layer 1, Freeze Stems and Ties should be checked, and Up should be selected from the
drop-down list by default. Also, Freeze Ties in the Same Direction as Stems and Apply
Adjustment Only if Notes are in Other Layers are checked. Choose Layer 2 from the Settings
for drop-down list.
• For Layer 2, select Freeze Stems and Ties, and then choose Down To enter notes in
from the drop-down list. Next, select Freeze Ties in the Same Direc- Speedy Entry without a
tion as Stems and Apply Adjustments Only if Notes are in Other Lay-
MIDI instrument, use
ers. Also click Adjust Floating Rests by, and type –6 into the text box.
the arrow keys to place
Don’t panic! You’ve simply told Finale that whenever there are two inde-
pendent voices, Layer 1’s stems should automatically flip up, and Layer the crossbar on the
2’s stems should flip down. In such cases, ties should flip the “wrong” correct pitch, then press
way to avoid collisions with the other voice. You’ve also said that when a duration number.
Layer 2 has a rest, it should appear four lines or spaces lower (–6) than Make sure “Use MIDI
its usual position (the middle B line). You’ll see the effects of your set- keyboard” is unchecked
tings soon. in the Speedy Menu.
• Click OK. Now let’s put in the harmony notes. You want to enter them
in Layer 2.
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• For Windows, click the Layer 2 push button in the lower left corner of the
screen. For Macintosh, choose Layer 2 from the popup menu in the lower
left corner of the screen. You’ve just made Layer 2 the active layer of every
staff.
• Scroll to measure 10.
• Click the Speedy Entry Tool a. Choose Jump to Next Measure
10
in the Speedy Menu to turn this option off (if it’s selected). V1
Click on measure 10. At the moment, this measure contains &˙ ˙

notes with stems up. Note that when you click the measure, the
existing Layer 1 notes become dimmed, because you’ve switched Oh, Su - -
Oh, Su -
to Layer 2.
• While playing A below middle C on your MIDI keyboard, press
6. A half-note A appears.
• While playing A below middle C, press the 6 key. Another half-note A appears.
• Press @-d-1 (Mac: a-b-1) to return to Layer 1. The While using the Simple
editing frame now displays Layer 1, and Layer 2 is dimmed. @- Entry Caret, when you
d-# (1-4) (Mac: a-b-# (1-4)) is a keyboard shortcut used
switch layers, Finale
to select layers in the score.
creates placeholder
• Press 0 (zero) to exit the frame. The screen is redrawn. You can see rests for you
that the stems are properly flipped. automatically, so you
There are two special cases you should be aware of when working can continue entering
with layers. First, there are times, often found in keyboard music, in a new layer at any
when the second voice doesn’t begin until the middle of a measure point in the measure.
(below right). The solution is to fill up the beginning part of the
measure with rests (below left):
& c œ œ œ œ œœ œ œœ œ & œ œ œ œ œœ œ œœ œ
Œ Œ
To create the appearance of a Layer 2 voice that begins in mid-measure (right), first create “placeholder” rests
(left). Use the letter h key to hide the rests.
In Speedy Entry, position the insertion bar on each rest and press the letter o key. The rest
instantly vanishes; now it’s merely a placeholder to align the notes of the second voice. (The h
technique works on both notes and rests—it makes either invisible. Press h again to make the
entry reappear.)
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The second problem you may encounter is when the notes in each layer are an interval of a sec-
ond apart, like this:
& c œœ œœ œ œ
You need to offset one of them to avoid the collision. One solution is simply to drag either note
to one side when you’re editing with the Speedy Entry Tool a. (You can drag notes both verti-
cally and horizontally when you’re editing. If you want to make sure you don’t inadvertently
move the note sideways when you want to drag it up or down—or vice versa—press the d
key as you drag. Finale will constrain the cursor to perfectly horizontal or vertical movements.)
Another solution is to let Finale's Automatic Music Spacing feature work for you. From the
Options Menu, choose Document Options, then select Music Spacing Options; make sure that
Seconds and Unisons are selected in the Avoid Collision of section of the dialog box. See MUSIC
SPACING in the User Manual for more information.

This tutorial has covered a lot of ground; if you’ve made it to the end, congratulations. Finale offers a
lot of power, and you can harness it! Choose Save from the File Menu, if you haven’t already done so.
If you think you’ve done enough for one session, choose Exit (Mac: Quit) from the File Menu, and
you’ll return to the desktop.
If you want to go on, close this document and turn to the next tutorial.

example:
CHORD SYMBOLS LYRICS

FIRST ENDINGS MELISMA
FONTS PLUG-INS
MULTIPLE VOICES REPEATS
LEAD SHEETS WORD EXTENSIONS
71
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Tutorial 3: Articulations and Expressions
Now that you know the basics of entering music quickly and editing it efficiently, it’s time to learn
how to add the markings that make music such a rich language–articulations, dynamics, slurs and
more. Open the Document called “Tutorial 3” in the Tutorials folder: we’ll use this arrangement of
“Oh, Susannah” to explore Finale’s fluency in the language of music. By the end of this tutorial,
you should be able to create a score with all the necessary markings.
BASIC ARTICULATIONS AND EXPRESSIONS

We’ll start with an introduction to articulations (staccatos, accents, fermatas) and expressions
(Moderato, F , solo).
• Click the Articulation Tool t. Using this tool, you can You must be in the same layer
click on, above, or below a note—it doesn’t matter. Finale’s as your notes to attach anything
articulations are smart; they jump into place, centered on the to them, such as lyrics,
notehead, automatically.
articulations, expressions, or
• Click the dotted quarter note in the top staff in measure 3. chord symbols.
The Articulation Selection dialog box appears.
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<
Incidentally, some symbols, such as , have been defined to flip upside-down automatically
when a note’s stem direction changes (as a result of a transposition, for example). Articulations
with an associated upside-down symbol appear side-by-side in their selection square.
• Double-click the accent mark (top row, third from left). Double-clicking an Articulation in this
dialog box is the same as clicking once then clicking Select.
When you return to the score, you can see that Finale not only centered the accent on the note-
head, but it also knew which side of the note (top or bottom) to use. You can override Finale’s
placement decision, of course—to move the mark, drag its handle. (You can also delete a mark
by clicking its handle and pressing k.)
So that you understand what’s happening behind the scenes, try this experiment:
• Click the Speedy Entry Tool a, and click measure 3. The editing frame appears.
• Click squarely on the notehead of the dotted quarter note; with the mouse button down, drag
the note carefully downward until the stem direction changes. Finale doesn’t simply flip the
stem—it also relocates the accent mark to the other side of the note.
• Click the Expression Tool y. Expressions are attached either to the measure you double-click
or to a specific note in that measure. For the moment, let’s put in a F
marking.
• Position the cursor below the first note of the top staff, just To add an expression while
to the left of the note. Double-click where you want the entering with the caret in
marking to appear. The Expression Selection dialog box
Simple Entry, press the X key.
appears. (If you’re ever trying to put in an Expression and this
window comes up empty, it’s because no libraries were loaded
into the document. We’ll cover libraries in more detail later in this tutorial.)
Note, incidentally, the buttons on the lower right side of this window: Text and Shape. These
buttons access two different libraries; the one you’re currently viewing, Text, contains only
p F
words. Even the dynamic markings (such as or ) are simply characters in the Maestro
music font. If you click the Shape button, however, you’ll see a new set of symbols containing
only shapes—slurs, crescendos and the like. We’ll discuss the Shape expressions later in Tutorial
8.
Note also the buttons at the bottom of the window: Measure Expression and Note Expression. A
Measure Expression can appear in one staff or in several staves, and can also appear in an empty
measure; a Note Expression appears only in the staff in which it was created, and is, as the title
implies, attached to a specific note (or rest).
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Click to Edit
a selected
expression
Click to create
an expression
Click to delete
a selected
expression from
the list (and the
score)
Click to move
a selected
expression
up/down the list
Click to define how Click Text to view text-based expressions

the expression is attached Click Shape to view shape-based expressions
You will undoubtedly encounter many instances where it makes no real difference which type of
expression you choose. Here are a few good rules of thumb: Use Measure Expressions for such
items as rehearsal letters, tempo indications, dynamics that apply to an entire section or to all
instruments, and so forth. Reserve Note Expressions for dynamics that are specific to one
instrument, player instructions that are specific to one instrument, character names, etc. (The
radio button for Note Expression is currently grayed out. In the future, double-click directly on
a note to make this option available. Since you double-clicked below the measure, Measure
Expression is the only available option.)
F
• Double-click on . The Measure Expression Assignment dialog box immediately appears;
you’ll explore its options later.
• Click OK. The F marking is now in all staves. If you want to adjust its position, drag its handle; it
moves in all staves at once. (To delete any expression, click its handle and press k.)
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ADDING A SLUR
As a quick exercise, let’s add some slurs to the score.
• Click the Smart Shape Tool W. The Smart Shape Palette appears as a toolbar on the top of the
screen (or as a palette on the Macintosh), containing icons for slurs, crescendos, 8va markings,
and several kinds of brackets and lines. This palette is just like the others you’ve encountered; you
can hide it or move it around.
The curves and lines this palette offers are called Smart Shapes, because they behave intelli-
gently; if the measure widens, so does the Smart Shape attached to it. If a Smart Shape begins at
the end of one line of music and continues onto the next, it automatically breaks in two.
The Slur Tool W should already be selected; if not, select it now.
• Place your cursor on the first note in measure five (top staff).
• Double-click the mouse, hold the button down after the second click, and drag the mouse to
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 the slur.
• Release the mouse button. You’ve just created a note-
Shortcuts for the Smart Shape Tool:
attached slur. Take a look. Is the slur exactly where you
Hold down S for a slur, < for a
wanted it? Does it arc too high or too low?
crescendo or > for a decrescendo.
A Smart Shape is easy to edit. When a Smart Shape has mul-
tiple handles, it’s currently selected. Each slur will have six
handles. Here is a description of how to use these handles to edit the slur:
Drag this handle to move Drag this handle to Drag this handle to move
the arc asymmetrically. change the arc. the arc asymmetrically.
Drag this handle to Drag this handle to Drag this handle to move
move the left endpoint. move the entire shape. the right endpoint.
Hold down the d key while editing the slur to “constrain” your cursor to perfect horizontal
or vertical movements. Further, if you drag the upper right or upper left handle of a slur while
pressing ! (Mac: b), you can create asymmetrical arcs instead of perfect arcs.
• Position the cursor at the top of the arc. Click and drag downward to decrease the arc of the
slur. Now create another slur. Scroll to the beginning of measure 3.
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• Position the cursor on the first note in measure 3 (top staff). Double-click and drag to the last
note in the measure. Release the mouse button. The new phrase marking displays its reshap-
ing handles, letting you know that 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’t display 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. Try adding a crescendo or decrescendo.
When the Smart Shape Tool is selected, every Smart 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 press the k key. For more
information, see the User Manual under SMART SHAPE TOOL.
Before moving on, you can choose to hide the Smart Shape Palette by deselecting it in the Win-
dow Menu. Otherwise, feel free to leave it on the screen.
SELECTION TOOL
If you’re flying along in the editing process and don’t want to bother switching tools, the Selection
Tool can help speed you along. Click on the Selection Tool and click on any marking. Now you can
move it, delete it or right-click (Mac: c-click) on it for a list of other editing commands. If you
decide you need to do advanced editing, double-click on the marking to switch to the appropriate
editing tool. You can return to the Selection Tool at any time by clicking c-d-A (Mac:
a-d-A).
The Selection Tool works on Measures (Measure Tool), Notes (Simple Entry), Smart Shapes,
Expressions, Articulations, Repeats, Lyrics, Chords, Text Blocks, Tuplets, Time Signatures, Key Sig-
natures, Clefs, Ossias, Graphics, Staff and Group Names. For more details, see the User Manual
under SELECTION TOOL.
METATOOLS: PUTTING IN MANY ARTICULATIONS

Let’s learn some more about articulations.
The system you learned earlier for putting in articulations is fine for the occasional accent or stac-
cato marking. But what if you have a series of accented eighth notes? Do you have to go through
the Articulation Selection dialog box for every single note?
Fortunately, no. You can select a region of notes and tell Finale to apply the same symbol to every
one. Or you can assign any articulation to a single key on your keyboard and bypass the dialog boxes
altogether. These keyboard assignments are called Metatools. You can assign a metatool to each of the
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alphabet keys (a-z) as well as the number keys (0-9); the Articulation Tool has one set of thirty-six, and
the Expression Tool has another set of thirty-six.
The basic formula for working with Metatools is always the same: Press d-number or letter
key to program the keystroke; use the number or letter key alone to enter the marking into the
score. Some Metatools have already been programmed for you; let’s take a closer look.
• Click the Articulation Tool t.
• While pressing d, press the S key.The Articulation Selection dialog box appears.
Every articulation in this dialog box has a number or letter assigned to it (thin number appears in
the upper-left corner of each slot). Some also have a second number; this number or letter appears
in parentheses and indicates the Metatool currently assigned to that articulation. Metatool S is
assigned to the staccato mark, Metatool A is assigned to the accent mark, and so on. Remember,
you pressed d-S to access this dialog box, telling Finale you wanted to program Metatool S.
For now, let’s assume you are satisfied with using Metatool S for the staccato mark.
• Click Cancel.
• Position the cursor on the first note in measure 2 (top staff). While pressing the S key, click.
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.
• While pressing the S key, click the second note. As you can see, using a Metatool saves you the
trouble of selecting this mark from a dialog box each time you want it. Just click a note while
pressing the appropriate number or letter key, and your marking appears. What’s more, you can
reprogram the other keys with symbols other than the ones currently defined.
• While pressing d, press the A key. As you can see, Metatool A is currently assigned to the
accent mark. Let’s say you use this particular articulation fairly infrequently, and you would
rather assign Metatool A to another articulation.
• Double-click the breath mark (slot 36).
When you return to the score, it may seem that nothing has happened; no new mark appears in
the score. But something has indeed happened—you’ve successfully programmed a Metatool.
(Remember, that’s why you pressed d-A, which is Finale’s signal that you’re teaching it a
Metatool.)
• Position the cursor on the third note of measure 5 in the top staff. While pressing the A key,
click. Finale pops a breath mark into the score.
Furthermore, Expressions can have their own set 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 Metatools
the same way: Select the tool, press d and the number or letter; the Expression Selection
78
dialog box appears. Double-click the desired expression. (Both text phrases and shapes may be
programmed to Metatools.) When you’re ready to put the marking into the score, press and
hold the number or letter key alone and single-click where you want the marking to appear; it
pops into place. Note that with Expression Metatools, you need to predetermine whether they
will be note expressions or measure expressions. This is done in the Expression Menu; simply
choose one of the three items in the lower half of the menu. (Context Sensitive means that if
you click a note, the expression will be a note expression; if you click a measure, it will be a
measure expression.)
When you save your document, all your Metatool assignments are saved too, so that you can
continue placing expressions using Metatools the next time you open the document. You can
redefine your Metatools at any time, however, as you just learned above.
Programmed Metatools are specific to the document that you are currently working on; there-
fore, 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 change the Maestro Font Default document to
include your own Metatool assignments. That way, they are available for you every time you
start a new piece. (See the User Manual under METATOOLS for details.)
Of course, you can continue this way, clicking staccato marks into the tutorial score that’s now
on the screen. But don’t bother—if you want to apply a marking to a whole group of notes,
there’s an even faster way.
• With the Articulation Tool selected, drag across the remaining note stems of measure 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.
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• Click Select, and double-click the staccato mark. You return to the Apply Articulation 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 so specify. For now, however, leave All Notes selected.
• Click OK. You return to the score; the remaining notes now have staccato marks.
Finale offers yet another method for entering several 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 region of
notes.
• From the Edit Menu, choose Undo. The staccato marks you just added are removed.
• While pressing the A key, drag through the four notes of measure 2. Use c-Z (Mac:
When you release the mouse button, a breath mark is added to each a-Z) as a shortcut
note you selected, since that’s the symbol currently assigned to Meta-
for Undo.
tool A.
But let’s suppose you really intended to put staccato marks on those notes, and held down the
wrong Metatool key by mistake. No problem!
• While pressing the k key, drag through the notes in measure 2. The breath marks disap-
pear.
Now use this technique to enter staccato marks for the entire measure in one quick, easy step:
• While pressing the S key, drag through all four notes of measure 2. The staccatos are now
entered for every note in the measure. You can also edit any number of articulations in the score
at once.
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• Drag a box over the first two articulation handles. You can now drag or nudge both of these
articulations simultaneously.
• Hold down the Shift d key and click or drag over additional articulations. This way, you
can pick and choose the articulations you want to position or edit.
EXPRESSIONS: CREATING YOUR OWN EXPRESSIONS

Let’s suppose that the Trombone 1 is sometimes playing with a mute (con sordino) and other times
without a mute (senza sordino). You won’t find these terms in the standard Finale expressions
libraries, so you’ll need to create them yourself. Furthermore, each of these markings should
appear only in one part, so you’ll be creating note expressions.
• Click the Expression Tool y and double-click on the dotted quarter note in measure 1 (of
the Trombone 2 staff). Since you want to create a note expression, you must be sure to double-
click on (or below or above) a note or rest. If you don't double-click a specific note, the Note
option will be grayed out, as in the previous example. The Expression Selection dialog box
appears.
You’ll find that the Text Expressions you’re seeking, Con Attach markings to the closest note
Sordino and Senza Sordino, don’t appear in this list. in the score. If you later respace the
Here’s how to create them.
music, the marking will retain its
• Click Create. The Text Expression Designer dialog box position relative to the note.
appears.
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• Type the words “Con Sordino.”

• From the Text Menu, choose Font. Choose Italic, and
then click OK twice; click Note Expression; click You can apply multiple fonts in
Select; click OK. As you proceed through the dialog expressions to create more advanced
boxes (by clicking either OK or Select), you may notice text, such as tempo markings.
that Con Sordino has been added to the list of expres- Simply click the Text Menu and
sions. You won’t have to create it again the next time you choose font to specify the new font,
need it in this score. size or style for highlighted text, or
When you return to the score, you’ll see that the Con the next character(s) entered.
Sordino marking’s position was determined by your orig-
inal click. Feel free to adjust its positioning by dragging its handle.
• Scroll to measure 10 and double-click above the first note of the Trombone 2 part. Create the
Senza Sordino expression the same way you created the Con Sordino marking and drag the
marking into place.
While dragging markings is good for general repositioning, you may sometimes need to make
finer position adjustments—with the “nudge” keys.
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THE “NUDGE” KEYS (ARROW KEYS)

• Click the “Vivace” mark’s handle, and press the left arrow key. The Vivace marking moves just
a pixel (screen dot) to the left. You may have to look very closely to see it move at all. You can
continue to reposition any marking whose handle is selected by pressing the up, down, left, and
right arrows.
These four arrow keys—the directional arrows—will cause tiny positioning changes on almost
any Finale object whose handle is selected, including staves, chord symbols, lyrics, parts of trip-
let brackets, Expressions, and Articulations.
MARKINGS THAT PLAY BACK

Now that you’ve put a few staccatos and dynamics in your score, try this: While pressing the Space
bar, click the first measure (the shortcut for a quick playback). You’ll notice that your staccatos and
breathmarks actually affect the articulation of the notes in playback!
You’ll soon discover that all of the dynamic markings (in the
Mac users: when the Playback
Expression Tool) and some of the Articulations have been
defined for playback; as soon as you place them into your Controls are visible, simply pressing
score, they affect the playback in a musical way. the Space bar will start playback.
Furthermore, you can create your own expressions and
markings, and define them for playback, too. Any word or shape can 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 score mark-
ings.
STAFF LISTS: SPECIFYING TARGET STAVES

In the previous sections, you learned how to create a measure expression that appears in every
staff, as well as a note expression that appears in only one staff. Sometimes, however, you might
need something in between—a marking that is to appear, for example, in every staff of the wood-
wind section only.
You’re in luck. Finale’s Expression Tool has a built-in feature called Staff Lists, which lets you estab-
lish predefined groups of staves in which a given marking is to appear. These staves needn’t be
adjacent—for example, you might use a Staff List to place a rehearsal letter over the first staff in
every orchestral section.
• Click the Expression Tool y. Go to measure 10, and double-click just above the left barline.
The standard palette of expressions appears. Make sure that Measure Expression is selected. In
this example, you’ll add a rehearsal letter.
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• Click Create. Type a capital A, and then, in the Enclosure section, click the drop-down menu
and choose Rectangle. From this drop-down, you can choose from a number of enclosure
shapes.
• Click Edit. When you click Edit, the Enclosure Designer dialog box appears. Here, you can
customize the shape and other attributes for the enclosure.
If you wanted to, you could change the size, positioning, and line thickness of this enclosure.
(These variables may need adjustment, since a PostScript printout of enclosures won’t always
match their appearance on the screen. For more information, see REHEARSAL LETTERS in the User
Manual.) Leave it alone for now.
• Click OK. You return to the Text Expression Designer. Since we don’t want our Rehearsal Let-
ters to get hidden in a block rest when we create parts, check the Break Multimeasure Rest box.
• Click OK. Click on Measure Expression, then click Select. The Measure Expression Assign-
ment dialog box appears.
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There are several items of interest in this dialog box. One of them, Allow Individual Positioning,
allows you to put this expression into several staves at once—and yet reposition each one inde-
pendently. If you don’t click this checkbox, the positioning of this marking will change uni-
formly in all staves at once when you move any one of them.
At the moment, though, we’re interested in the middle section of this dialog box.
• Click the radio button for Staff List; select New Staff List from the drop-down list. The Staff
List dialog box appears. You see a list of the staves in your score. Note the two columns to the
right of the staff names, labeled Score and Parts.
When you click in the Score column across from a staff name, an X appears. You’ve just told
Finale to put the expression into this staff. If you click again, the X is replaced by an F. This
indicates that Finale will force the expression to appear in this staff, even if you’ve elected to
hide Expressions for this staff in the Staff Attributes dialog box. (See STAFF ATTRIBUTES in the
User Manual for further information.) You may check as many or as few staves as you like. In
fact, you can put a mark in all staves (or remove marks from all staves) by clicking the Set Score
button (or Clear Score button).
Take special note, however, of the column called Parts. If you click here, the expression in ques-
tion will appear in this staff’s extracted part. You can put marks independently in the Score and
Part columns to create, say, a tempo marking that appears only once (at the top of the page) in
85
the full score, and yet appears in every extracted part. For more information, see PART EXTRAC-
TION in Tutorial 5.
Just for practice, put the rehearsal letter on the Trombone 1 and 4 parts.
• Click the words Trombone 1 and Trombone 4. Each click puts an X in both the score and the
extracted parts for these instruments. If this were a real project, you’d also put check marks in
the Parts column for the remaining instruments—because you’d want these rehearsal letters to
appear in every instrument’s part without cluttering up the conductor’s score.
• Click in the text box next to List Name; type “Rehearsal Letters” and then click Add. You’ve
just named this staff list.
• Click OK. The words “Rehearsal Letters” now appear in the drop-down list beside Staff List.
Finale will remember this configuration in case you want to use it again (which, in the case of
rehearsal letters, you probably will). When it comes time to put rehearsal letter B into the score,
you won’t need to enter the Staff List dialog box at all—just select “Rehearsal Letters” from the
drop-down list and click OK.
• Click OK to return to the score. The rehearsal letter A appears only in the staves you specified.
You might ask, “If I put a dynamic into the score, but use a Staff List so that it only appears at
the top of the conductor’s score, will it affect the playback of all the other staves?”
86
Actually, that’s up to you. If you want an Expression to affect playback of staves in which it
doesn’t appear, put an X across from those staves in the Parts column of the Staff List dialog box.
COPYING AND PASTING EXPRESSIONS

If you’ve painstakingly put staccato, accent, and tenuto marks into your Trombone 1 part, you cer-
tainly don’t want to have to reenter them into the other parts. Fortunately, Finale allows you to
copy them onto any other music in the score, even if the notes are different.
• Click the Mass Edit Tool l. Scroll to measure 2, so that it’s the first measure on the screen.
• Make sure that Copy and Replace is selected in the Mass Edit Menu.
• From the Mass Edit Menu, choose Copy Entry Items. An entry item is a note, a rest, or any-
thing attached to one—as opposed to measure items like key signatures, Smart Shapes, or bar-
lines.
The Entry Items dialog box appears, displaying which elements of the music you can copy. You
can choose any combination of these elements.
• Select Articulations. Click OK. Now that you’ve specified beforehand which items you want
copied, all that remains is for you to specify where you want them copied from and to.
• Click measure 2 in the top staff. That is, highlight the music whose articulations you want to
copy.
• Drag the highlighted measure so that it’s superimposed on measure 3 (of the same staff).
Release the mouse button. The Copy Measures dialog box appears.
• Click OK. You only want to copy the articulations once.
Finale copies the articulations from measure 2 onto the notes of measure 3.
If the rhythmic values of the notes in the source and target measures aren’t identical, Finale does
its best to place your articulations on any notes that do occur on the same beats.
The technique you just used to copy the articulations from one place to another is an important
one, and you can use it any time you need to copy one element of the music to another spot. A
common example is chord symbols: In a verse-chorus-verse song, you need only enter the
chord symbols for the first verse. Then, with the Move Entry Items method you just used, you
can copy just the chord symbols from the first verse to the last verse—even if the melody is dif-
ferent each time. Also, if the last verse is in a different key, Finale intelligently and automatically
transposes the copied chord symbols to the new key.
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USING TEXT EXPRESSION LIBRARIES

Suppose 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 put them into a document of their own, ready to use in 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.
• Click Text Expressions, then click OK. You’ve told Finale that you want to save the new text
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 doc-
ument in which you want to use them. From the File Menu, choose Open 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 palette, ready to use.
After you quit Finale, you may want to move the Brass Expressions library into the Libraries
folder so you can find it easily the next time you want it.
It is entirely likely that you will continue to create new text expressions almost every time you
use Finale, at least for the first few sessions on your own. If you were to create a new library
each time you created a new expression, you could find yourself having to open several library
files every time you began a new piece. Fortunately, this problem can easily be avoided by over-
writing your existing library file, rather than creating a new library file each time. With the Save
Library command, Finale will save every text expression in the piece regardless of whether it
was imported from an existing library file or just created during this session. Therefore, if
you’ve already loaded the existing library file, and you also have new text expressions that you
want to add to the library, simply follow the steps outlined above, but instead of typing a new
file name, type the name of the existing library file. Finale will ask you to confirm that you want
to replace the existing file. Click Replace. Note that if you haven’t already loaded the expres-
sions from the existing library file and you choose to overwrite it, you will lose those expres-
sions. It follows, then, that if there are expressions that you no longer use, you can delete them
from the list in the Expression Selection dialog box and then overwrite the existing library file.
For further information, consult the User Manual under LIBRARIES. Also, see PROGRAM OPTIONS-
FOLDERS in the User Manual for instructions on how to tell Finale where to look for your music
and library files.
88

Choose Save from the File Menu if you haven’t already done so. If you think you’ve done enough
for one session, choose Exit (Mac: Quit) from the File Menu, and you’ll return to the desktop.
If you want to go on, close this document and turn to the next tutorial.

example:
ARTICULATIONS REHEARSAL LETTERS
EXPRESSIONS SLURS
METATOOLS STACCATO MARKS
89
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Tutorial 4: Layout and Printing
One of Finale’s strengths is its spacing and layout capabilities. Using the Mass Edit Tool and Page Lay-
out tools, among others, you can create scores that look like they were aligned and laid out by a pro-
fessional engraver. In this tutorial, you’ll look at some of the steps you can take to ensure beautiful
and precise layouts of your scores.
To prepare for this lesson, open the document called “Tutorial 4,” which consists of a barbershop
arrangement of “Oh, Susannah.”
MEASURE LAYOUT
There are three ways to dictate the arrangement of measures within systems (for example, when
you’re rearranging measures to avoid awkward page turns).
The first method, which employs the Measure Tool, is to force a specific measure to always appear
at the beginning of a system. If measure 33 begins a new chorus in a new key, for example, you
might want it to appear at the beginning of a new line of music. Try this using the “Tutorial 4” doc-
ument you’ve just opened. Make sure you’re in Page View so you can see the effects you’re creating.
If you have a small monitor, you may want to scale your view. To do so, go to the View Menu, select
Scale View to and specify 75%.
• Click the Measure Tool z. Handles appear on every barline. Locate measure 10—it’s where the
chorus begins.
• Double-click measure 10. The Measure Attributes dialog box appears.
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• Select Begin a New Staff System. Click OK. Now measure 10 will always begin
a new line, even if you add or subtract music that comes before it. Note the icon
that appears beside the system—it’s showing you this measure can’t be moved to
the middle of the system. The only way to restore it to its “floating” position mode (so that
Finale will move it to other systems as necessary) is to deselect the Begin a New Staff System
checkbox.
The second method of arranging measures is to have Finale place a specific number of measures
per line.
• Click the Mass Edit Tool l. Click measure 1; then d-click measure 5. All five measures
should now be highlighted. (If not, make sure Partial Measure Selection isn’t selected in the Edit
Menu.).
• From the Mass Edit Menu, choose Fit Music. The Fit Music dialog box appears.
• Click on “Lock Selected Measures into One System” then click OK. You return to the score,
where the first five measures are all on the first system—a little crowded, perhaps, but Finale
did what you asked it to do.
Using the Fit Music dialog box’s other option, “Measures Per System,” you can select any region
of measures and instruct Finale to place a certain number of them per line.
With any of the Fit Music commands, however, the layout depends on your good judgment.
Remember, Finale automatically lays out your music with as many measures as it can fit on a
line; you’re free to override its placement decisions, but the result may be measures that are too
wide or too crowded.
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You’ve just created a measure group, Finale’s system of locking measures within a system (hence
the non-printing lock icon ç). Be aware that once a measure has been manipulated in this way,
the measures are locked into this arrangement, and they won’t be affected by future measure-
rearranging commands like Update Layout or even Begin a New Staff System. You can remove
locked measure groups from the piece by choosing Update Layout from the Edit Menu while
pressing d, or by selecting the grouped measures with the Mass Edit Tool and choosing
Unlock Systems from the Mass Edit Menu.
The concept of locked measure groups is especially useful if you want to force Finale to create a
specific number of measures per line. When you click the Page Layout Tool, the Page Layout
Menu appears; simply choose Fit Music from this menu, and enter the number of measures
you’d like to fit in each system. Finale ignores any measure groupings you’ve made and locks
the measures into groupings of four per line (or any number you’ve specified). The same Fit
Music commands are available in the Mass Edit Tool to make selecting measures easier. Again,
to restore these measures to “floating” status, choose Update Layout while pressing d (or
use Unlock Systems in the Mass Edit Menu).
A d–Update Layout, by the way, works exactly like the normal Update Layout command: it
only affects the pages of your piece from the page you’re viewing to the last page. If you’ve care-
fully created measure groups on the first page, for example, you won’t disturb them if you per-
form a d–Update Layout command while viewing page 2.
For small fixes to the measure layout, you can move a measure or two from system to system
using a quick Mass Edit technique.
• Click measure 18. Press the up arrow key on your keyboard. Finale moves the orphan mea-
sure you clicked onto the system above.
PICKUP MEASURES
Let’s turn the first measure of “Oh, Susannah” into a proper pickup measure. There are several
ways to do this, but we’ll show you the easiest. This method changes the first measure in the docu-
ment into a pickup measure. For more information about creating pickups in the middle of a score,
see the User Manual under PICKUPS.
• From the Options Menu, choose Pickup Measure. The Pickup Measure dialog box opens,
where you can tell Finale how long your pickup lasts. Click the note that corresponds to the
sum of the pickup notes. In our example, we have a dotted quarter note and an eighth note,
equalling a total of a half note.
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• Click the half note then click OK. Finale hides the half note rest and only displays our pickup
notes. Finale even fixes the measures numbers to automatically skip the pickup measure. You
may have noticed that the notes are still spaced as though the half note rest were still there.
Never fear, we’ll fix the spacing in the next section.
SPACING THE MUSIC

As noted earlier in Tutorial 1, Finale is automatically applying profes- Pressing 4 when measure
sional publisher-standard note spacing to your music as you go along. are highlighted with the
(This feature can be turned off by deselecting Automatic Music Spac-
Mass Edit Tool is a
ing from the Edit Menu.) Automatic Music Spacing not only spaces
shortcut to Apply Note
the notes, it is designed to avoid the collision of chords, lyrics, and
other score elements. In most cases, you will never need to worry Spacing.
about this feature. However, you may encounter instances when the
music does not appear to be spaced correctly; usually, the automatic spacing hasn’t been triggered
yet. Here, then, are the steps to follow to perform music spacing (it has not yet been performed in
this score so you can see the effects):
• Click just to the left of the top staff, in any staff system. This is a quick way to select an entire
staff with one click. You’ll notice that the whole line is highlighted. Because we don’t want to
overlook the bass staff while making spacing decisions, we’ll need to select the bass staff, too.
• Hold down the d key and click just to the left of the bass staff, in any staff system. Now
both staves should be highlighted through the entire piece.
• From the Mass Edit Menu, choose Music Spacing, then Apply Note Use Time Signature
Spacing. Finale displays its “Mass Edit” cursor, which tells you that Spacing in the Mass
the computer is doing some heavy calculating. You’ll have to wait Edit Menu, Music
until the normal cursor returns before you can resume your work.
Spacing submenu to
When Finale’s finished, you might notice that the spacing of music restore default spacing.
and barlines is much more professional looking. Every measure is
exactly as wide as it needs to be, and every note is allotted exactly the right amount of horizon-
tal space. Music spaced in this way is said to have nonlinear spacing, as in published music: a
whole note doesn’t get as much horizontal space as four quarter notes—it actually gets much
less. For more information about Finale’s three music spacing types, see the User Manual under
MUSIC SPACING.
There is one more critical behind-the-scenes function in action here: Update Layout. Again,
Finale is configured to perform this function automatically (it can be disabled by deselecting
Automatic Update Layout from the Edit menu).
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When you use the Music Spacing command, you correct the spacing of the notes, lyrics, and
accidentals of your piece; Finale still must calculate the effects of your respacing on the layout
of the measures. If you ever notice that measures seem too wide or too narrow, select Update
Layout from the Edit Menu, or press !-U (Mac: a-backslash).
BEAT CHARTS
You just learned how to use the Music Spacing command to neatly space music, lyrics, and acci-
dentals. You’ll recall that the procedure was to select the region whose spacing you want to fix,
then choose Music Spacing from the Mass Edit Menu. (Remember that Finale is configured to do
this automatically.)
In using the Music Spacing command, you unlocked a special feature of every measure affected by
it: you gave each measure a beat chart. A beat chart is a set of handles that lets you reposition any
beat (and the notes that fall on it) in every staff at once.
• Click the Measure Tool z. Each barline in the piece sprouts two stacked handles. You can drag
the top one right or left to widen or compress the measure.
When you click the bottom handle, however, its beat chart springs into view.
• Click the bottom handle of measure 5’s ending barline. A beat chart—two rows of square han-
dles—appears above the music. The top row of handles, evenly spaced, show you where the
beats would fall if the music were spaced linearly. The bottom row of handles is yours to play
with.
When you click the bottom
handle of a barline...
4 4
&4 œ œ œ œ &4 œ œ œ œ
...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.
• Drag the third lower handle half an inch to the right. When you’re finished, you’ll see that
you’ve actually moved the third beat to the right, in every staff. Let’s say you had a many-note
glissando for the lead on beat two, you can make room using this technique.
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• While pressing d, drag the second beat’s bottom handle to the left. When you press
d while dragging a handle, you also affect all handles to its right.
• Position the cursor between the first two top handles. Double-click. A new handle appears.
When you double-click between two upper handles, you create a handle that controls the half-
way point between those two handles. In this case, you’ve just created a handle that controls the
second eighth note of the beat.
Keep the power of these beat charts in mind. In general, let the Music Spacing command handle
your spacing for you. But when you need to force some extra room into a measure—to make
room for a caesura (railroad track) marking, for example, or to create a measure of recitative,
beat charts will do the trick.
You’ll usually want to adjust the music on the score so that the systems are evenly spaced on the
page from top to bottom, instead of being tightly spaced in the middle of the page. Also, you
may decide to indent the first system. You can make these formatting changes using the Page
Layout Tool.
THE PAGE LAYOUT TOOL

The units of measurement Finale normally uses are inches. You can work in whatever units you
feel most comfortable with.
• From the Options Menu, choose Measurement Units; from
the submenu, choose Inches (if it’s not already selected). You
are familiar with inches and centimeters; points, spaces and
picas are typographical units (72 points = 1 inch, 12 spaces = 1
inch, and 12 points = 1 pica). An EVPU is an “ENIGMA Vir-
tual Page Unit,” a very small measurement that’s evenly divisi-
ble by inches, points, spaces and picas—there are 288 EVPUs
per inch.
(Remember during the following example that you can choose a different view percentage from
the Scale View to submenu of the View Menu in order to see more of the music on the page.)
• Click the Page Layout Tool f. Your page of sheet music is instantly To view your entire page,
covered with a series of horizontal and vertical lines with handles click on the View Menu,
attached. Although this may appear confusing at first, the function select Scale View to, then
of the handles will become clear as we examine the page in depth. Fit in Window.
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Page margins
System Lock icons
Top and left
system margins
Begin New System icon
Bottom and right

System Numbers system margins
The handles (and their associated lines) control two distinct sets of margins: Page margins,
which allow you to determine how much of the page (from side to side and from top to bottom)
you will use for the music; and staff system margins, which allow you to indent staff systems,
increase the space allotted to systems, and so on. A staff system, or system for short, is one line
of music, no matter how many instruments (staves) are in it.
As you've no doubt already guessed, the lines that run to the edges of the page are the currently
defined page margins. The rectangles that enclose the three systems of music are the staff sys-
tem margins. Each system has two handles, one at the upper left corner and one at the lower
right corner. To manipulate any margin, simply drag its handle. You can even drag-enclose mar-
gin handles or select all margin handles with c-A (Mac: a-A). To move the entire sys-
tem, creating more space between systems for a choreographer’s note or a title, simply click on
the system and drag it into place.
For the purposes of this tutorial, we have prepared this document with undesirable system
spacing. First, we’ll make room for our title. Because this change affects only one system, we
can simply click on the system and drag it down.
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• Click in the middle of the first system (on the staff lines) and drag it down about an inch, as
shown:
The following systems slide down accordingly.

Finale can automatically space the systems evenly down the page with c-click (Mac:
the Space Systems Evenly command. To space the systems, Finale a-click) and drag
adjusts the Distance Between Systems, without changing the system to move systems
margins. Because we want to make sure our title doesn’t get covered up
independently.
when we space the systems later, we’ll make the top system margin
bigger to include the title.
• Click on the top left system handle of the first system and drag it up, so that it overlaps the
top page margin, as shown:
Next, let’s indent the first system.

• Click on the top left system handle of the first system again and drag it to the right about an
inch, as shown:
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You can see that by dragging the handles, you can quickly and easily arrange the staff systems
on the page. But if you want to manipulate more than one system at a time, or if you prefer
entering exact numbers instead of dragging, Finale provides two specialized dialog boxes for
just such an eventuality.
• From the Page Layout Menu, choose Systems, then Edit
Margins. The Edit System Margins dialog box appears. If you
can't see your music, feel free to move this dialog box to a
convenient location on the screen (by dragging its title bar).
The four text boxes correspond to the four margins of the
staff system (top, left, right and bottom). You also have a text
box for the distance between the systems. Each text box has a
checkbox, so you can make changes to only the checked
values. For example, you could change the distance between
systems throughout the entire piece, without changing the
indentation from the first system, by checking only Distance
Between Systems.
You'll probably notice that, unless you have a very steady
hand, you didn't indent the left margin of the first system by exactly one inch. Try this:
• Double-click in the text box marked “Left” and type “1”. Double-click in the text box marked
Top and type “1” again. Uncheck all of the checkboxes except Left and Top. In the Change
text boxes, enter 1 through 1. Click Apply, then Close. Sure enough, Finale adjusts the left
margin indent and top margin of the first system to exactly one inch.
Using this dialog box, you can adjust the margins for only one staff system, all systems, or a par-
ticular range of systems. A similar dialog box exists for controlling page margins; it can be
found in the Page Margins submenu of the Page Layout Menu.
The changes you make with the Page Layout Tool normally affect only the individual page or
system you’re adjusting. For example, under normal circumstances, you can simply drag the
first system of the piece downward on the page to make room for a title. But if you wanted your
dragging to affect more than one system, you can do that, too. You could click on the Page Lay-
99
out Menu, choose Systems, then Select System Range, but we’ll show you a quicker way. You
may have noticed that the notes are overlapping from system to system. Now we’re ready to
address this spacing issue:
• Click on any bottom system handle, found in the bottom right of the system.
• From the Edit Menu, choose Select All. Now any change you make to one system will affect all
of the systems.
• Click on any selected bottom system handle and drag it down so that the bottom margin is
below the stem of the low bass note.
When you release the mouse button, you can see that you’ve allotted more space for the bottom
margin in every system. You’ve told Finale how far the system extends beyond the staff lines.
You could individually drag all of your systems into an evenly spaced layout, but Finale can do
it for you.
• From the Page Layout Menu, choose Space Systems Evenly. In the Space Systems Evenly
dialog box, you can tell Finale which pages to space and when to skip pages (such as pages only
two systems full). The default settings are fine, so just click OK.
Voila! All of your systems are spaced evenly between the top and bottom margins of the page.
PAGE BREAKS
What if we were creating a medley of barbershop arrangements? You could create each song as a
separate file, or just insert a page break to start the next song at the top of a new page. First, we’ll
need to add some measures to the end of the piece.
• Click on the Measure Tool z. From the Measure Menu, choose Add. Type 25 into the dialog
box. Click OK. Scroll to page 2. Now we have some extra systems for experimenting.
• Click the Page Layout Tool f. Handles appear on the page and system margins.
• Click on system 7. The handle should appear filled in. You’ve just selected the system.
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• From the Page Layout Menu, choose Insert Page Break. Finale places the system at the top of a
new page. You’ll also see a Page Break icon by the system.
Page Break icon
INSERTING OR DELETING SYSTEMS

Let’s say we just discovered the arranger inserted an introduction to our folk song, after all of our
careful layout. No problem!
• Scroll back to page 1. Click on a handle to select system 1. From the Page Layout Menu,
choose Insert Staff Systems. Finale opens the Insert Staff Systems dialog box. Here you can
specify how many systems to insert, how many measures, where to insert the system and
whether to recalculate the even spacing of the systems.
• Click in the Insert Systems text box and enter 2. Uncheck Space Systems Evenly then click
OK. Finale adds an 8 measure introduction of two systems to the piece. Finale makes it just as
easy to remove systems, such as a deleted scene in a musical.
• Click on the system handle for the first system, then shift-click on the system handle for the
second system. Both systems are now selected and should have a filled square.
• From the Page Layout Menu, choose Delete Staff Systems.
THE RESIZE TOOL

You’ve already experimented with the Scale View to command in the View Menu. This command—
and the options on its submenu—allow you to “zoom in” to and “zoom out” from your document,
magnifying or reducing your view of it. During the entire process, however, the actual size of the
music—the printed image—remains precisely the same.
The Resize Tool, however, can resize the music itself.
For this example, use the document called “Tutorial 4” that you’ve been working on to this point
and scroll to page 1.
• Click the Resize Tool w. The amount of music to be resized depends on where you click on the
screen.
• Click a notehead. The Resize Notehead dialog box appears. The limits of the Resize Tool are
10% to 999%.
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• Type 200 and click OK. You’ve just doubled the size of the notehead (or made it 200% of its
original size). To restore it, you must click precisely at the spot where the normal size notehead
was. The Resize Notehead dialog box reappears; type 100 and click OK. (Or, select Undo from
the Edit Menu.)
The reduction and enlargement effects of this tool are not cumulative. If you make a note half
its size (50%) and then decide to reduce it again by half, you would type 25% in the Resize
Notehead dialog box the second time, not 50%.
• Scroll to measure 5. Click the stem of the eighth notes in the top staff. The Resize Note dialog
box appears, but this time you’re resizing the entire note group—in other words, a chord or a
series of beamed notes. When you enlarge or reduce an entry group, any lyric or dynamic attached
to it also grows or shrinks.
• Type 50 and click OK. You’ve just created cue notes.
These are the only two powers of the Resize Tool in Scroll View.
• From the View Menu, choose Home Position.
• Click to the left of the top staff. The Resize Staff dialog box appears, this time asking how
much to resize the staff.
• Type 80 and click OK. You’ve just created a cue (or rehearsal) staff at 80% of the normal staff
size.
• Click between the two staves to the left of a system. When the Resize Staff System dialog box
appears this time, there are two additional options—Hold Margins and Resize Vertical Space.
Finale is asking whether or not it should maintain the system mar- To resize a system using
gins as it resizes the music. If you don’t select Hold Margins as you Resize Staff System, you
reduce the music, for example, the system will shrink in both must have more than one
dimensions, thus reducing its width. If you do select Hold Margins, staff; otherwise, use
Finale will hold the system at its current margin-to-margin width Resize Staff.
but reduce the music in it so that more measures fit on the line.
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Select Hold Margins if you want the systems on the page to maintain their margin-to-margin width (above, left). Otherwise,
Finale reduces the music proportionally in both dimensions (right).
Finale also wants to know whether it should maintain the amount of blank space between this
system and the next one, or whether you’re reducing that distance as well. Select Resize Vertical
Space if you want to tighten up the space between this system and the next.
• For Resize System,Type 75. Select Hold Margins and Resize Vertical Space (if they’re not
already selected). Click on System 1 through 1. Click OK. Now, for practice, try removing an
enlargement or reduction.
• Click between two staves to the left of the first system. For Resize System, enter 100%, and
click OK. The system is back to its original size.
So far you’ve seen Finale resize a single note, a note group, a single staff, and an entire system.
Often, however, you’ll want to reduce all the music at once, so that you can fit the music on
fewer pages.
If you can’t see the upper-left corner of the page, choose Home Position from the View Menu.
• Click the upper-left corner of the page. The Resize Page dialog box appears.
• Type 75. Click OK.
NOTE: If you use the Resize Tool on a system or a page, as you’ve just done, you change the mea-
sure widths. Whenever you perform any operation in Finale that changes the measure
widths, you must tell Finale to compensate by rearranging the layout of measures. As noted
previously, Finale performs an Automatic Update Layout for you; if you have decided to
turn this feature off, you'll need to do it manually now.
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• From the Edit Menu, choose Update Layout. Only now does Finale redistribute the measures. If
your purpose in reducing the size of the music was to fit more music on fewer pages, you won’t
see the results until you choose Update Layout.
THE TEXT TOOL

The Text Tool is used to enter text onto a single page or multiple pages. Titles, subtitles, composer cred-
its, page numbers, copyright notices, and dates are good examples.
For best results, don’t use the Text Tool for musical text like Adagio and rehearsal letters. Use the
Expression Tool for these purposes (see Tutorial 3).
If you create a document using the Document Setup Wizard, you will be prompted for a title. For
this tutorial document, we have provided you with a dummy title, “Title.” The word “Title” has
brackets around it, to tell you it’s special, a text insert. We’ll talk more about text inserts later in
this tutorial.
First you’ll change the dummy title to “Oh, Susannah”; then you’ll add a subtitle.
• From the View Menu, choose Home Position. In Page View, Home Position shifts the view to
the upper-left corner of the page you’re working on. (In Scroll View, it returns you to measure
1.)
• Click the Text Tool [. The Text Menu appears, and the dummy title, “Title,” sprouts a small
square handle.
• Double-click the dummy title’s handle. An editing frame appears around the text, and a blink-
ing cursor appears within the frame.
• Click and drag across the word “Title.” You have selected this text, and whatever you type next
will replace this selection.
• Type “Oh, Susannah.” If you want to change the typeface, highlight the new text and choose a
new typeface from the Font submenu of the Text Menu. (The dummy title is in Times New
Roman 24-point bold). If you want to change the size or style (e.g., bold) of the text, you can
make your selection from the appropriate submenu of the Text Menu.
Now add a subtitle beneath the main title.
• Double-click just below the existing title. An editing frame appears, with a blinking cursor.
• Type “American Folk Song.” Now set the font size.
• Select the text you just typed, and make a size selection from the Size submenu of the Text
Menu. For a subtitle, a 12- or 14-point size should work well. You can also set the typeface by
selecting the text and choosing a typeface from the Font dialog box or submenu of the Text
Menu. Now you need to align the subtitle on the page.
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• From the Text Menu, choose Alignment. When you choose Alignment, a submenu pops out
which contains commands allowing you to specify where on the page you want the text to
appear. Note that Top (Header) and Position from Page Margin are already selected; you only
have to tell Finale to center your subtitle horizontally on the page.
• Select Center Horizontally. Finale has centered your subtitle on the page. You can also manu-
ally adjust the position of any text block by dragging its handle.
Oh, Susannah
American Folk Song
(If the text block shows an editing frame, click anywhere on the page to see its handle.) You
might want to adjust the vertical position of your subtitle. To delete a text block, click its handle
and press k.
In addition to entering titles and special instructions to players, the Text Tool can also be used
to place page numbers into your score, as well as the document name, current date, and current
time (important features if you plan to update and reprint your score at some future time).
Finale provides several useful keyboard shortcuts for many of these features; let’s explore some
of them here.
• Double-click in the bottom right corner of the page. An editing frame appears.
• Type “Page”, type a space, then press !(Mac: a)-d-P. This keyboard shortcut
instructs Finale to place a Page number insert at the current cursor position. (You could also
select Page Number from the Inserts submenu of the Text Menu.) The number 1 appears, sur-
rounded by a box. The box indicates that this number is not ordinary text, but a dynamic insert,
meaning that if you created this insert on the second page of your score, it would display the
number 2 instead of the number 1. See TEXT TOOL in the User Manual for a further discussion of
inserts.
• Press !(Mac: a)-d-] (right bracket). This keyboard shortcut instructs Finale to
align the text block with the right margin of the page. (You could also select Right from the
Placement submenu of the Text Menu.) You have now successfully entered a page number for
your score. We can quickly instruct Finale to display your page number on every subsequent
page, without having to manually enter a different page number every time.
• From the Text Menu, choose Frame Attributes. In the Frame Attributes box, you can deter-
mine many aspects of how to display your text block. You could display the page number on the
outer corner of left and right pages. We’ll leave the position where it is, but attach the page
number to every page in the score.
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• In the Attach to area, click on the word Single Page to drop down a list of choices. Select All
Pages, then click OK. Scroll through the pages to see that the correct page number appears on
each page.
For a further discussion of keyboard shortcuts and the Text Tool in general, see the User Manual
topics relating to the TEXT TOOL.
If you’re satisfied with your work, save it by choosing Save from the File Menu.
• From the File Menu, choose Print, and click OK in the dialog box that appears. In a moment,
your printer should begin to print your score. Read the last section of this tutorial for some
hints on printing.
THE GRAPHICS TOOL

In addition to adding text to your document, you may also wish to include a graphic element (a
company logo for example) which has been created in a graphics program. Or, in a totally different
vein, you may wish to export a Finale-generated musical example into a word processing applica-
tion. Both the importing and exporting of graphics is performed with the Graphics Tool.
Let’s start by exporting an example of our piece.
• From the View Menu, choose Home Position.
• From the View Menu, choose Scale View and specify 100%.
• For Windows, click on the Window Menu and choose Advanced Tools Palette. Another pal-
ette appears docked to the top of the window.
• Select the Graphics tool e.
• Double-click and drag-enclose the pickup measure of Oh, Susannah: Place the mouse pointer
up and to the left of the first measure. Double-click the mouse, keeping the button pressed
down after the second click, then drag the mouse down and to the right until a diagonal rectan-
gle has enclosed the pickup measure on the screen: now release the mouse button (the dotted
outline should remain on the screen).
When you selected the Graphics Tool, a Graphics Menu appeared towards the right side of the
menu bar at the top of your screen.
• From the Graphics Menu, select Export Selection. (Note: if Export Selection is grayed out, you
haven't successfully drag-enclosed)
The Export Selection dialog box allows you to determine what graphics file format you wish to
export. The decision of which format you choose will be based on what kind of printer you have
(an EPS file will work properly ONLY with PostScript printers) as well as what file formats are
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accepted by the word processing or desktop publishing application you wish to bring the Finale
example into.
• Next to Type, choose TIFF from the drop-down list. (This file type will work with any printer
and is generally cross-platform.)
The next item in the dialog box refers to which pages you wish to export. Since we chose
Export Selection from the Graphics Menu, and not Export pages, this is not applicable to our
example, but keep in mind that you could export entire pages without needing to drag-enclose
the page.
• Under File Names, select “Prompt for each name” (if it’s not already selected). This instructs
Finale to ask us what we’ll want to name our file. You’d choose Generate Names if you wanted
Finale to generate a file name automatically.
Postscript Options are only applicable to EPS files, so these items are grayed out because we
chose TIFF as our file type.
• Next to Resolution choose 300 from the drop-down list. You typically would want to choose a
resolution which matches the resolution of your printer: for example, if you have a 600 dpi
printer, you’d want to choose 600. If you're not sure of your printer's resolution, 300 is a good
guess. If you choose a resolution higher than your printer’s capabilities, the resulting file will be
larger than necessary, and this could cause complications when printing. A resolution less than
that of your printer’s capabilities will simply result in a more jagged print out. Note that this
option is not available if you chose EPS as your file type.
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• Click OK. The Save TIFF dialog box will appear, allowing you to name your file and determine
where it will be located.
You’ll want to remember where you’ve saved this file for future reference.
• Make sure your Finale 2005 folder is specified. For the purpose of this tutorial, we will use the
default Finale directory; if you have changed this folder name (or are using a different version of
Finale) please replace references to Finale 2005 throughout this tutorial with the name of your
Finale folder.
• Enter tut4picture in the File Name field, and click Save. This file can now be imported into
any desktop publishing or word processing application. You will want to look in your specific
desktop publishing or word processing manual for the exact steps for importing a graphic: typi-
cally this is referred to by the terms Place or Insert.
Now that you’ve created a TIFF file, we’ll import the same file back into Finale. While import-
ing Finale examples into Finale is not necessarily something you’d commonly do (although you
might to create an incipit measure), the procedure would be the same if you were importing any
other type of graphic like a company logo or letterhead.
• Click anywhere on the screen to remove your previous selection.
• From the Graphics Menu, choose Place Graphic. (you could also double-click on the document
window—in Page View—where you'd like the graphic to appear).
The Place Graphic dialog box is where you specify the graphic item you wish to import: in this
tutorial we'll use the file you saved moments ago.
If your Finale 2005 folder is not already chosen, select it now.
• Click on tut4picture once to select it, then click the Open button.
Since you chose Place Graphic rather than double-clicking where you wanted the graphic to
appear, Finale is awaiting instruction for placement of the graphic.
• Place the cursor where you want the upper left-hand corner of the graphic to appear and click the
mouse. Your graphic will appear. You can click on the graphic to drag it elsewhere or drag one of the
handles to scale it horizontally or vertically.
For more information, see the GRAPHICS TOOL in the User Manual.
PRINTING BASICS
There are essentially two kinds of printers that work with Finale: PostScript-equipped printers,
suitable for professional publishing; and non-PostScript printers, including inkjet and bubblejet
printers.
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Finale’s output truly shines when you print on a PostScript printer. PostScript is a page-description
language spoken by computers and printers, just as MIDI is a language spoken by computers and
MIDI keyboards. (If you want truly typeset-quality printing, you can take your Finale files on a
disk to an output shop—something like a copy shop—and have it printed on a Linotronic image-
setter, a very expensive PostScript machine that creates published-quality printouts.)
Just as A, B, and C are characters in a standard text font, notes and musical symbols are characters
in Finale’s music font, called Maestro. Maestro, and the other fonts that come with Finale, is pro-
vided as a Postscript and TrueType font.
All text and musical symbols should look outstanding at any size. However, when you print at
reduced sizes, a non-PostScript printer produces unevenly spaced staff lines, slightly “stairstepped”
eighth-note beams, or somewhat jagged slurs (because these lines and shapes are actually graphics
and not font items).
• From the File Menu, choose Print and click OK in the dialog box that appears. In a moment,
your printer should begin to print your score.

You’ve learned some very important concepts in this tutorial. In fact, these techniques and princi-
ples constitute much of the editing work you’ll need to do in Finale. Here’s a quick review of what
you’ve covered, in order:
1. Use the Measure Tool and Mass Edit to arrange measures.
2. Use the Music Spacing command to space and align notes, avoid collisions of lyrics and acci-
dentals, and set ideal measure widths.
3. Especially after using the Music Spacing command, it’s important to choose Update Layout
from the Edit Menu, so you can see what the final layout will be. You should get in the habit
of updating the layout just before printing—so that you never get unexpected results when
you print.
4. Use the Page Layout Tool to adjust the spacing of all systems on the page.
5. Use the Text Tool to add titles, composer credits, copyright notices, and so on.
6. Use the Graphics Tool to Import/Export Graphics.
If you’ve had enough for this session, choose Exit (Mac: Quit) from the File Menu. If you want to
go on, close the document you have open.
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example:
AUTOMATIC UPDATE LAYOUT PAGE LAYOUT
FONTS POSTSCRIPT
MASS EDIT MENU PRINTING
MEASURE LAYOUT SYSTEMS
TITLES TEXT INSERTS
MUSIC SPACING RESIZE
SPACE SYSTEMS EVENLY EVPUS
GRAPHICS TOOL MEASURE NUMBERS
BARLINES WORD EXTENSIONS
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Tutorial 5: Working with Scores
It’s time to learn about Finale’s more powerful score-oriented features. If you plan to work mainly
on lead sheets, you may just want to skim this section. But if you intend to create multi-staff
scores—particularly orchestral scores—you will want to go through this whole tutorial. By the end
of this tutorial, you should be able to create from scratch a conductor’s score and parts.
If you have a document currently open, close it.
• Open the document called “Tutorial 5.” This document currently consists of a single staff,
filled with music.
• From the View Menu, select Scroll View. You may find that it is easier to do all of your editing
work in Scroll View (where the music is laid out in a continuous horizontal band), especially
when working with scores that contain several staves.
• Click the Staff Tool s.
• From the Staff Menu, choose New Staves. The New Staves dialog box appears, asking how
many staves you’d like to add, and how much distance you want between them. The negative
number in this box is the distance from the top of one staff to the top of the next. Here, a posi-
tive number measures upward; a negative number measures downward.
• Type 3 and click OK. Finale has added three evenly spaced staves, giv- To see more staves,
ing you a total of four; let’s imagine that you’re going to create a string select a smaller view
quartet.
percentage from the
You can reposition a staff by grabbing its handle and dragging it up or View Menu, Scale
down. To remove a staff, click it and then press k. View submenu.
SETTING CLEFS AND STAFF NAMES

If you use the Setup Wizard, you’ll have all of the clefs and staff names setup for you. If you decide
you don’t like what the Wizard chose, you can always edit them using the techniques below. We’ll
edit the new staves to match the appropriate clefs and names for a string quartet.
• Click the top staff. When you click anywhere on the staff to the right of the time signature, you
select the staff. You can also use the Staff Tool to select measures, such as for applying a Staff Style.
We’ll cover Staff Styles later in this tutorial.
• From the Staff Menu, select Edit Staff Attributes. The Staff Attributes dialog box appears. (You
can also double-click the staff.)
The full name of the instrument will appear next to the staff in the first system (line) of the piece.
The abbreviated name will appear next to subsequent systems.
• Click the Edit button across from Full Name. The Edit Text window appears.
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• Type “Violin I”; click OK.

• Click the Edit button across from Abbr. Name.
• Type “Vln. I”; click OK.
Incidentally, you establish the global position of staff names using the Don’t use j to exit
commands in the Set Default Name Positions submenu of the Staff the Edit Text dialog
Menu, and you establish the default font for staff names using the
box. Finale will think
Fonts section of the Document Options dialog box (under the Options
you want to add a
menu). This will affect all staff names which have not yet been created;
it will not change existing staff names. Once you’ve created a staff new line.
name, you can edit its font by using the Font command in the Text
Menu, which appears in the Edit Text window. The global positioning setting can be overridden
by clicking the Position buttons in the Staff Attributes dialog box. For example, by clicking the
Position checkbox and button right now, you can nudge the abbreviated name, Vln. I, closer to
the staff.
The clef for the first violin is the treble clef; since that’s the default, you don’t have to change it.
You could click OK at this point; you’d return to the score, where the first staff’s name would
now appear. However, as long as you’re at it, you may as well set up the other staves:
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• From the staff drop-down list at the top of the Staff Attributes dialog box, choose Violin[Staff
2]. The contents of the dialog box change to reflect the staff attributes of the second staff in the
score.
• Name this staff Violin II, and enter Vln. II as its abbreviated name. Once again, you can move
directly to the attributes box for the next staff without having to go back to the score:
• From the staff drop-down list, choose [Staff 3]. You’re now looking at the attributes for the
third, or viola, staff.
• Type Viola as the full staff name, and Vla. as the abbreviation.
• Near the clef display, click Select. The Clef Selection dialog box appears. Finale allows you to
use up to sixteeneight different clefs in a particular document. You can even design your own
clefs in the Clef Designer. For now, we want the alto clef.
• Double-click the alto clef (the second clef in the top row).
• From the staff drop-down list, choose [Staff 4]. Enter the full name, Cello, and the abbrevia-
tion, Vc.
• Click OK. To the left of the clef display, click Select and double-click on the bass clef (the fourth
clef in the top row).
• Click OK. If you want to adjust the overall positioning of the new instrument names, choose
Full Staff Names or Abbreviated Staff Names from the Set Default Name Positions submenu of
the Staff Menu. You’ll see a dialog box that lets you drag the staff name wherever you want rela-
tive to the staff itself.
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SELECTING PARTIAL MEASURES; TRANSPOSING A REGION

Up to this point, you’ve done all your manipulation of music in one-measure increments. Using the
Mass Edit Tool, you’ve clicked a measure to select it, drag-enclosed several whole measures, clicked
the first measure and d-clicked the last measure, or clicked in the left margin to select an
entire staff.
But selecting a measure at a time is like selecting a word at a time in a word processor—it’s a nice
shortcut, but sometimes you need to select in smaller units.
What if you want to select half a measure—or only one note?
• Click the Mass Edit Tool l, then choose Select
Partial Measures from the Edit Menu.
When Select Partial Measures is on, you can select
any slice of a measure—from a single note to a
motif that crosses several barlines.
In the musical example you have on the screen, for
example, suppose you decide that a certain passage
in the Violin I part would sound better if it were up
a third.
• Scroll to measure 6. Click and hold in measure 6,
just above and before the third beat. Drag down
and to the right, until you’ve selected the first
two eighth notes in measure 7. When you release the mouse button, the region is highlighted.
b œ œœ
6
3
b
3
& œ œ œ # œ œ nœ # œ œ œ # œ œ œ nœ œ œ œ
• From the Mass Edit Menu, choose Transpose. The Transposition dialog box appears.
• Choose the radio buttons for Up and Diatonically. From the Interval Use the following key
drop-down list, choose Third. Click OK. You return to the score, and commands to quickly
the selected region is now up a third.
transpose a selected
When you use Partial Measure Selection, clicking a measure doesn’t region:
select the whole measure—it only marks the beginning of a region that 6 = Up M2
you’re about to drag across. Therefore, if you do want to select a whole 7 = Down M2
measure when Partial Measure Selection is on, double-click the mea-
8 = Up octave
9 = Down Octave
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sure. (If you double-click a second time, and your score has more than one staff, you extend the
selection vertically, to include that single measure in every staff.)
The technique you just learned—selecting a region, then applying a command from the Mass
Edit Menu—is extremely powerful. Select some music, and then take a glance at the commands
in this Menu. In addition to Transpose, they include Rebar (useful when you’ve written out a
piece in K and you suddenly realize it works better in M); Rebeam (which affects how notes are
beamed together after you’ve already entered the music); Fit Music (which, in Page View, forces
a group of selected measures into one system); and many other convenient features. With a
combination of Partial Measure Selection and the Mass Edit Menu, you should be able to trans-
form any music in your score in any way you can imagine.
For a blow-by-blow description of the other Mass Edit commands, see MASS EDIT MENU in the
User Manual.
HIDING STAVES (STAFF SETS)

If you plan to work on larger orchestral scores, you may become impatient with the time it takes
the computer to redraw the screen after each change you make. Fortunately, Finale can greatly
speed your work up by hiding the staves in Scroll View that you’re not currently editing. If you
want to permanently hide staves, see OPTIMIZING SYSTEMS later in this tutorial.
Let’s say, for example, that you want to work just on the Violin I and Viola lines; you want to hide
the blank staves so Finale won’t waste time redrawing them.
• From the View Menu, choose Scroll View.
• Click the Staff Tool s. First you’ll use the Staff Tool to tell Finale which staves you want to
see.
• Click the handle of the Violin I staff. Then, while pressing d, click the handle of the
Viola staff. d-clicking allows you to select several staves one at a time, even if they’re not
adjacent in the score.
Now that you’ve specified the staves, it’s time to program one of the Staff Sets.
• While pressing and holding ! (Mac: b), select the View Menu, then choose Program
Staff Set; choose Staff Set 1 from the submenu that pops out. You’ve just programmed Staff Set
1 to display only the first and third staves. (In Finale, pressing ! (Mac: b) often means
“I’m programming something.” In the View Menu, Finale actually displays different commands
depending on whether or not you were holding down the !/b key when you opened the
menu.)
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As soon as you program Staff Set 1, the two blank staves vanish. They’re still part of the piece;
they’re just hidden for the moment. Furthermore, you can rearrange staves in each Staff Set—
dragging them up or down as much as you want—without disturbing the staff order in the “full-
score” view.
INSERTING STAVES
Let’s say we add a flute to our string quartet. We could use the same technique for adding staves as
before, but this time we’ll save some work and let the Wizard create them.
• From the View Menu, choose Select Staff Set, then All Staves. If at any time you wish to return
to the full-score view of your piece, select All Staves.
• Click the Staff Tool s. The Staff Menu appears. We want to insert our flute staff above the Vio-
lin I staff.
• Click on the handle of the Violin I staff. The staff handle is a small box on the top staff line
near the clef.
• From the Staff Menu, choose New Staves (with Setup Wizard). The Parts page of the Setup
Wizard appears.
• Choose Woodwinds.
• Double-click on the Flute in the middle column. The Flute instrument appears in the selection
window.
• Click on the Finish button. The Wizard adds a Flute staff above our selected staff, in this case
the Violin I staff.
TRANSPOSING INSTRUMENTS
But what if we made a mistake? What if we really wanted to add a clarinet? You could delete the
flute staff and add a clarinet from the Wizard, but let’s say you’ve already added music and you
don’t want to lose it. We’ve already seen how to change the staff name earlier in this Tutorial, so
we’ll just cover how to change the staff from a C instrument to a transposing instrument.
• Click the Staff Tool s.
• Double-click on the Flute staff to the right of the clef and signatures. The Staff Attributes dia-
log box for the Flute staff appears. Using the techniques you learned earlier, change the Staff
Names to Clarinet and Cl., but don’t exit the Staff Attributes dialog box.
• Click the Transposition box and click Select. The Staff Transpositions dialog box appears. You
could design your own transposition, but you don’t need to for common instruments, such as a
clarinet, french horn or saxophone.
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• Next to Key Signature, click on None to open a menu of choices. Select (Bf) Up M2, Add 2
sharps.
• Click OK twice. Your staff should now look like a clarinet staff, complete with transposition.
All of the other non-transposing staves have two flats in the key signature, while the top staff
has no flats in a Bf transposition.
STAFF STYLES
Let’s say you wanted your woodwind player to switch between flute and clarinet in the middle of the
piece - not uncommon for a jazz band piece. The Staff Attributes sets the default transposition for the
staff through the entire piece, but Staff Styles add the ability to shape your staff on a measure by measure
basis. Staff Styles can do a lot more than just transpositions; for more information, see STAFF STYLES in
the User Manual.
For this experiment, we’ll switch to flute for measure 5 through 8. Transposition
• Click the Staff Tool s. Staff Styles must
• From the Edit Menu, choose Select Partial measures to turn it off. be applied to a
• From the View Menu, choose Page View. full measure.
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• Scroll to the second page by clicking on the right arrow next to Page at the bottom of the win-
dow.
• Click on the first measure of the top system, then d-click on the last measure of the sys-
tem. Make sure you don’t click to the left of the staff or you may accidentally select every mea-
sure in the staff. The Staff Style we’ll apply will affect only the measures we’ve selected without
changing the clarinet transposition for the rest of the piece.
• From the Staff Menu, choose Apply Staff Style.
The Apply Staff Style dialog box appears with a
selection of pre-defined Staff Styles. Keep in mind
you can create your own Staff Styles to suit your
own needs. You can even create a library of Staff
Styles you can load into any document.
• Double-click on Flute Transposition. Your clari-
net staff now has a flute staff name and a C instru-
ment transposition. Note that Finale adds a blue
bar above the measures. These non-printing bars
show you where Staff Styles have been applied and
can be turned off in the Staff Menu (uncheck Show
Staff Styles.) If you scroll back to page 1, you’ll see
that your earlier measures are still in a clarinet
transposition and don’t have marker bars.
OPTIMIZING SYSTEMS
This section is critical for people who plan to work
with orchestral scores.
When a publisher assembles an orchestral score, it’s customary to remove any staff, within a given
system, that consists entirely of rests. If, for example, you have a score for a 24-piece orchestra that
begins with a 16-measure flute solo, you probably don’t want that flute solo to consume four full
score pages—with 23 blank instrumental staves on each page. Instead, you’d want the flute line to
appear by itself for the first few lines of music.
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Finale can perform this suppression of blank staves for you, either one staff system at a time or for
the whole piece at once, in a process called optimizing systems.
It’s very important that you understand how this process works. Let’s return to the flute example.
When you optimize the first system of music, Finale memorizes the status of all 24 staves; it stores
the fact that only the flute part has notes in it and that all the others are empty.
Finale will steadfastly hold onto its conception of the staff arrangement, however, even if you later
add music to currently blank staves. For example, if you decide that the clarinet should double the
flute solo—and you write the music into its part—Finale will still print only the flute part, because
that’s the only staff that had music at the time you optimized systems. In this instance, you would
have to unoptimize and then reoptimize all those staff systems.
Therefore, it’s best to optimize systems only after your music is exactly as you want it.
This example assumes you’re in Page View, with the “Tutorial 5” document open.
• Click the Page Layout Tool f. The Page Layout Menu appears.
• From the Page Layout Menu, choose Optimize Staff Systems. The Staff System Optimization
dialog box appears. You have two primary options. You can either optimize the specified sys-
tems or unoptimize them. If you optimize, you have a few choices on how Finale handles the
optimization. You’ll want to Remove Empty Staves and Keep At Least One Staff, but turn off Ask
Before Removing Staves. This option allows you more fine-tuned control over optimizing, but
Finale works faster without it. If you unoptimize, you’ll restore the suppressed staves to the
printed image. If you leave the Whole Document radio button selected in the Change area, the
command affects the entire piece. In a full orchestra score, you’d want to optimize system 2
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through the end. The first system will display the full forces of the piece, but suppress empty
staves through the rest of the score.
• Click OK, and move back to page one. Take a look at the score—instead of five staves, only one
is visible. Because the other four were blank, they were removed from the display. Finale lets
you know the systems have been optimized by displaying a non-printing optimization icon, as
shown below. If you wanted to restore the staves, you’d repeat this example; but in the Staff Sys-
tem Optimization dialog box, you’d select Remove Staff System Optimization.
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Optimization icons
If there’s a certain staff—even an empty one—that you want to retain even though the display of
the other blank staves is suppressed (for instance, the empty left hand of a piano part), there’s a
quick way to ensure that it doesn’t get hidden. Finale decides whether or not a staff is empty by
looking for entries—notes or rests; in other words, if it finds nothing in a given system but the
default whole rests, the staff gets hidden. All you need to do, therefore, to force the display of a
staff is to enter a “real” whole rest in any one of the measures. (Click a measure with the Speedy
Entry Tool and press the 7 key.) Finale considers this “real” whole rest an entry, because you put
it there—as opposed to the default whole rests Finale puts in every empty measure—so that it
won’t suppress the staff when optimizing.
You could also double-click the staff with the Staff Tool and deselect “Allow Optimization.” For
more details, see the User Manual under the STAFF ATTRIBUTES DIALOG BOX.
There may even be times when you’ll want to optimize your staves, even if all the staves are full
of music since optimized staves can be moved independently within systems with the Staff Tool
(see STAFF HANDLES in the User Manual). When you do this, staves in other systems are not
effected. Furthermore, with optimization on, you can create new staff groups and rebracket
them accordingly (see BRACKETS: STAVES in the User Manual). Keep this fact in mind when you
have a piece in which the distance between staves (or the bracketing configuration) must vary
from system to system.
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PART EXTRACTION 1: SPLITTING INTO SEPARATE DOCUMENTS

Now we’re ready to turn our conductor’s score into parts for the individual musi-
cians. When Finale extracts parts, it lumps together many empty measures into 8
one standard “block rest” or “multimeasure rest” with a number over it, like this:
Finale offers three methods for extracting parts. If you want, Finale can simply
create a new document for each instrument in your score. With this method, you
can format and edit each part without affecting the layout of the full score.
Let’s try extracting the parts from the “Tutorial 5” document you’ve been using.
• From the File Menu, choose Extract Parts. Finale will extract parts from the active window (in
this case, “Tutorial 5”). The Extract Parts dialog box appears, asking you for some information
about how you want the new documents handled. For full explanations of these options, see the
EXTRACT PARTS DIALOG BOX in the User Manual.
If you wanted to extract, for example, only the string parts, you could de-select the clarinet by
c-clicking (Mac: a-clicking) on the Clarinet in the staves window. To add instruments
to the selection, d-click on them. Keyboard staves need to be extracted as a group; you
don’t want each individual staff extracted into a right-hand part and a left-hand part. (Unless
you want a grumpy pianist!)
• Click in the Generate Names From text box. Finale will automatically save each part as a new
document and replace the %s with a staff or group name and %n with a staff or group number.
Make a note of where Finale will save the new files (for Windows: in the Document Options
dialog box, choose folders and see the folder for Music). For Macintosh, Finale will save the
files in the same folder as Finale.
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• Check Open Extracted Parts. With this option checked, Finale will open all parts after extrac-
tion.
• Click OK. Finale begins creating parts. Keep in mind that the process is automatic—if you have
a large score with lots of instruments, you can set it to work and then get a cup of coffee—but it
requires enough hard disk space to store all the resulting documents. When Finale is finished
saving parts, it will automatically open the them for you. Finale opens all the parts, with the
Cello on top, complete with multimeasure rests.
PART EXTRACTION 2: PRINT PARTS COMMAND

The second method for extracting parts is the simplest: choose Print Parts from the File Menu.
This option gives you very limited formatting powers, and the measure widths in the score are the
measure widths you’ll get in every extracted part.
There are two cases where you might prefer this method over the others. The first case is when
your measures are all about the same width anyway, and won’t need to be individually formatted
(and won’t need your sensitive eye for arranging page turns). Second, suppose it’s midnight on the
night before the performance of your piece, and you just don’t have time to spend on part-by-part
formatting. With this command, the computer will simply churn out parts unattended, one after
another.
When you choose the Print Parts command from the File Menu, you’re presented with the Print
Parts dialog box. Click Format Parts to define the overall appearance of the pages, then click OK.
PART EXTRACTION 3: SPECIAL PART EXTRACTION

The third method, called Special Part Extraction, extracts one part at a time. In this mode, Finale
uses Page View to display the complete extracted part. In other words, you can flip back and forth
between the full score—Scroll View—and any individual part. Therefore, you must be in Scroll
View before you begin this experiment.
• From the Window Menu, choose Tutorial 5 to return to the full score document.
• From the View Menu, select Scroll View.
• Click the Staff Tool s, and click the top (Clarinet) staff. You specify the part you want to
extract by selecting it (so that its handle is highlighted). To extract a piano part, for example,
you would highlight the handles of both staves.
• From the Edit Menu, choose Special Part Extraction. The Multimeasure Rest dialog box
appears. In this dialog box, you can define the various parameters that determine how Finale
displays and positions its multimeasure rests. For now, the default settings are fine.
123
• Click OK. If you look in the Edit menu again, you’ll see that the Special Part Extraction in the
Edit Menu now has a check mark. That’s your signal that Page View now contains the extracted
part. (If you change your mind about the multimeasure rest parameters you just specified, you
have to choose Special Part Extraction again to turn it off; then repeat the entire process.)
• From the View Menu, choose Page View. Sure enough, there’s the extracted part.
You should be aware that when you look at the extracted part in Page View, the measures are
defined as they were in the score, not necessarily as befits the extracted part alone.
Here’s an example. In the full score that follows, the measures are wide, to accommodate the
sixteenth notes in the strings (a). When the flute part is extracted into Page View, it still has
very wide measure widths (b).
w ˙. œ
(a) Flute
&c
œ œœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
Violin 1 & c
œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
Violin 2 &c
w ˙. œ
(b)
Fl. &c
w ˙. œ
(c) Fl. &c
It’s a simple matter to restore the extracted part’s measures to more appropriate widths (c)—use
the Music Spacing and Update Layout commands, just as you would normally. But if you make
this change in Page View, you also change the measure spacing in the full score (in Scroll View).
If you want to use Special Part Extraction to extract several parts, then, consider these steps:
1. Save your work.
2. Extract the first instrument’s part into Page View.
3. In Page View, correct the music and measure spacing using the Music Spacing and Update Lay-
out commands (Mass Edit and Edit menus, respectively).
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4. Choose Print from the File Menu to print the extracted part (from within Page View).
5. If there are other instruments whose spacing will be similar to the first, perform Special Part
Extraction on them, and print. (Chances are you won’t have to respace Flute 2 if you’ve
already done Flute 1.)
6. Choose Revert from the File Menu to restore the document to its original condition (with
the original measure spacing).
7. Repeat the process with the next part.
There are two advantages to using Special Part Extraction: First, you don’t consume the disk
space needed for individual part documents, as you do when you use Extract Parts (which is
discussed in the next section). Second, when you edit the full score, you don’t have to worry
that your changes won’t appear in all the parts—because the extracted parts are the full score.
The disadvantage is, of course, that each time you proceed to a new staff to extract, the formatting
and page layout for the ones you’ve already done are gone forever. That’s why, in some cases, you
may prefer the first method of part extraction.

Close your string quartet document, saving it if you want.
In the next tutorial, we’ll cover some techniques to make your score sound as good as it looks. If
you won’t be playing back your scores with MIDI, feel free to skip ahead to Tutorial 7.

example:
CLEFS TRANSPOSING INSTRUMENTS
EXTRACTING PARTS TRANSPOSING (BY INTERVAL)
STAFF NAMES STAVES
STAFF STYLES HIDING STAVES
OPTIMIZING SYSTEMS
125
126
Tutorial 6: More MIDI Topics
It may be that you’re more interested in using Finale as a notation-based pseudo-sequencer than as
a notation program. If so, this tutorial will introduce you to some of Finale’s special MIDI capabili-
ties. If you don’t plan to playback with Finale, skip ahead to Tutorial 7.
Note that Finale’s Human Playback feature can automatically assign a style, such as classical,
romantic, or blues, to your piece for playback. If your goal is to create a MIDI performance that
sounds closer to a human performance, try these options first. On Windows, click the speaker icon
in the Playback Controls, or on Macintosh click the arrow on the left side of the Playback Controls.
Then, choose an option under Human Playback Style.
Caution: If you are using the Human Playback feature, MIDI data assigned to the document manu-
ally with the MIDI Tool or Expression Tool will not apply to the MIDI performance. To turn off
Human Playback, in the Playback Settings, under Human Playback Style, choose None. (You can
still apply Human Playback to regions of your score with the Apply Human Playback plug-in. See
HUMAN PLAYBACK).
ASSIGNING MIDI CHANNELS AND INSTRUMENTS

Up to this point, you’ve been listening to all of Finale’s playback over a single MIDI channel—the
default, channel 1. Not only can every staff play back on a different channel, but you can even have
separate voices within a single staff send their music to different channels. Furthermore, you can
put channel and patch changes in any staff at any time.
If you’re new to MIDI, just a reminder: to have each staff play its own sound, you must have a mul-
titimbral MIDI keyboard—it must be capable of playing more than a single sound, or patch, at
once. (Or you could use more than one monotimbral MIDI keyboard, each “tuned in” to a different
channel.) Most MIDI keyboards have multitimbral capabilities.
For this tutorial, you need to be sure your MIDI keyboard is in its mul- Windows soundcards
titimbral mode; check its manual. (Often this means setting the MIDI and Macintosh Internal
keyboard to “Poly” mode. “Omni,” which is sometimes the default, will
Speaker Playback are
play all incoming MIDI signals on a single patch. You definitely don’t
multitimbral.
want “Mono,” another common option which allows only one note to
sound at a time).
• Close any documents you have open, and open the document called “Tutorial 6.” This
document is a short arrangement for piano, bass, strings, and harp. (If you are having difficulty
seeing all of the staves on your monitor, select a different view percentage from the Scale View to
submenu of the View Menu.)
• From the Window Menu, choose Instrument List. The Instrument List appears—a staff-by-staff
listing of your score. Each staff name has several columns.
127
• Make sure that the Send Patches Before Play checkbox, found in the lower-left corner of the
Instrument List window, is checked.
Finale can play music through up to 64 virtual channels at once—depending on the number of
MIDI cards installed on your computer. (You must specify this configuration with the MIDI Setup
command in the MIDI Menu.) Using the Instrument List, you can assign a MIDI channel to each
staff—indeed, to each layer of a staff. (You can read more about the Layer feature in Tutorial 2.)
Click to Solo a staff (silences all other staves).
Click to silence a staff (the Click again to resume normal playback.
black square disappears). Click
Click and type to change the MIDI channel
again to un-mute the staff.
for the instrument
Click the
arrow to
expand the
staff listing, Use this
so that you column
can view the to enter
individual layer a bank.
assignments. Click to set this staff
as the recording staff.
Click the arrow to Click the arrow to

With Send Patches Before
choose an instrument choose a General MIDI
Play on, Finale will
for the staff from a list. instrument. Finale
use this program number
(or patch) when you play will fill in the program
back your score. number.
Finale offers even more flexibility by letting you create Instruments. An Instrument contains the
information needed to access a specific sound via MIDI. This contains a name for identification of
the Instrument, a MIDI channel number to send the information on, and Patch information, con-
sisting of Program change and optional bank change data. An Instrument can be assigned to sev-
eral staves—if you write a piano part, for example, you’ll certainly want both staves to play over the
same MIDI channel and the same piano sound, so you’d designate the two staves using the same
Instrument. An Instrument can also be used for just one layer of a staff. If you wrote a flute and a
clarinet part both on a single staff, but in different layers, each one could have its own Instrument,
and thus have its own MIDI channel and patch assignment.
As you can see from the previous diagram, the Instrument List gives you a convenient way to con-
trol which staves play back. Click in the Play column (P) to mute a staff—or click in the Solo col-
umn (S) to isolate a staff (and silence the others).
128
• From the Instrument drop-down list across from the Strings staff, choose New Instrument.
You’ll need to scroll up to see New Instrument. The Instrument Definition dialog box appears.
• Name this Instrument “Strings.” Type 3 in the Channel text box. You’ll need to set each
instrument to a unique channel, so we can send MIDI data to each instrument independently.
• Next to General MIDI, you’ll see “1: Acoustic Grand Piano.” Click on the down arrow and
choose “49: String Ensemble 1.” You’ll need to scroll down to see it. For further discussion of
the Bank Select, Program Change, and General MIDI options, consult the User Manual under
INSTRUMENT DEFINITION DIALOG BOX.
• Click OK. The Instrument List shows the new Instrument name for the first staff.
• From the Instrument drop-down list across from the Harp staff, choose New Instrument.
Name the Instrument “Harp,” and assign it to Channel 4. From the General MIDI Menu,
choose “47: Orchestral Harp.” Click OK.
Notice that the Piano and Piano (LH) staves are already assigned to an instrument called
“Grand Piano” on channel 1. You can leave these two staves alone. You don't have to create
new Instrument names. If you find it easier, you can just edit one of the existing names
provided by Finale.
• From the Instrument drop-down list across from the Bass staff, choose Acoustic Bass. Your
final setup should look like this:
129
• If necessary, drag the Instrument List box so that you can see the first measure.
• While pressing the Space bar, click the first measure. (Macintosh: just press the Spacebar.) If
your MIDI keyboard is correctly configured, you’ll hear this arrangement in all its four-part
multitimbral glory. Click the score to stop playback (Macintosh: Press the Spacebar again).
Now suppose you decide to play the piano part on a different channel—channel 11, for example.
Edit the “Chan.” column for one Piano staff. Since both Piano staves are assigned to the Piano
Instrument, Finale changes the channel assignment of both staves to channel 11 automatically.
When you do this, the general MIDI instrument will also change for both staves (since there is
another instrument definition using channel 11, in this case, Bassoon). Click the drop-down
(Macintosh: popup) menu under the GM column and choose the Piano sound for one of the
piano staves. They will both change to the piano sound.
Before you continue, close the Instrument List window by clicking its close button. Choose
Save from the File Menu so that this piece will be ready to play the next time you open it.
HUMAN PLAYBACK
Finale includes a powerful capability to interpret articulations, expressions, hairpins, and other
markings, and generate playback that simulates a live human performance. This feature, called
“Human Playback,” can be set to emulate a specific musical style, such as classical, baroque, or
jazz, and can even recognize and interpret expression text that appears in the score, such as “rit.”
or “cresc.”, and adjust the tempo or dynamic level accordingly. Human playback will even include
130
Smart Shapes in its interpretation including crescendos/diminuendos (hairpins), glissandos, and

trills. 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:
• Windows users, click the Playback Settings icon on the playback controls. Macintosh
users, click the expand arrow on the Playback Controls. The Playback Settings appear.
• 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.
• Windows users, click OK to apply these settings. Macintosh users can minimize the Playback
Controls if desired.
• Click the play button to review Human Playback’s interpretation. Click HP Preferences to
Windows users note that the Spacebar-click method does not pro- customize Human
cess measures for Human Playback.
Playback’s interpretation.
You can also apply Human Playback to a region of your score using
the Apply Human Playback plug-in. To do this, first, set human Play-
back to None in the Playback Settings (Mac: Playback Controls), then highlight a region of your
score with the Mass Edit Tool and from the Plug-ins Menu, choose New Plug-ins for Finale 2005 >
Apply Human Playback. See PLAYBACK in the User Manual for more details.
If you want more control over every detail of Finale’s MIDI performance, you can use the MIDI
Tool. If you use the MIDI Tool, set Human Playback to None in the Playback Settings dialog box
(Mac: Playback Controls). Note that if you use the MIDI Tool to customize MIDI data for parts of
your score, you can still apply Human Playback to other regions of your score using the Apply
Human Playback plug-in.
131
THE MIDI TOOL

If you want precise control over every aspect of the MIDI data, you can use the MIDI Tool instead
of applying Human Playback. The MIDI Tool lets you edit the raw MIDI data of your score, from a
single note to an entire staff. You can visually edit pitch bends, velocity, patch changes, and other
parameters. If Human Playback provides all the control you desire over your performance, you can
skip the rest of this chapter.
Captured MIDI information isn’t really part of the notation itself. Instead, it consists of variables
that a musician creates in a performance of the music—specifically, when recording with Hyper-
Scribe. Stress and accents, rushing the beat—all of these human elements constitute captured MIDI
data. When you use Human Playback, this data is added for you temporarily every time you play-
back the score. The MIDI Tool allows you to adjust this data for your score manually.
In Tutorial 1c you experimented with the “bouncing ball” playback option; at the end of the tuto-
rial, you listened to the original performance of a piece while looking at the notated version. Finale
always lets you choose which way you’d like to hear your music: as strict, perfectly even sheet
music, or as the original, unquantized MIDI performance, with a human feel and all captured MIDI
data intact.
As an experiment, try listening to the same piece twice—once with, and once without the captured
MIDI data.
• Close the open document, if you want. Open the document called “Tutorial 6a.” The docu-
ment—a passage from Ellmenreich’s “Spinning Song”—appears.
For the remainder of this chapter, you will be applying MIDI data manually. Since Human Play-
back is set (by default) to override all MIDI Tool data, so before continuing, we’ll need to ‘turn
off’ Human Playback:
• Windows users, click the Playback Settings icon on the playback controls. Macintosh
users, click the expand arrow on the Playback Controls. The Playback Settings appear.
• For Human Playback Style, choose None.
• (Windows users) Click OK. Now, Finale will not process the entire score for Human Playback
each time you playback your score. (You can still use the Apply Human Playback plug-in to
‘activate’ Human Playback for regions of your score).
• While pressing the Space bar, click the first measure. The piece plays back—technically per-
fect, but without any expression.
132
For comparison, listen to it now as it was originally performed. To tell Finale to use the cap-
tured MIDI data, you have to change some settings in the Playback Options dialog box. To pre-
pare for the MIDI Tool lesson, do the following:
• From the Options Menu, choose Playback Options. The Playback Options dialog box appears.
• Select all four “Play” checkboxes in the upper-left corner of the dialog box. Now listen to the
difference when Finale uses the captured performance data.
• Click OK; then spacebar-click the first measure. Finale plays back the score as it was recorded
in HyperScribe. For example, you should hear a natural crescendo in the first two measures
(that is, if your keyboard is touch-sensitive). Finale is using the performance data captured
from an actual performance. Click the mouse if you want to interrupt the playback.
CREATING A DECRESCENDO
Now that you have some understanding of captured MIDI data, let’s try manipulating this data.
133
• On Windows, click on the Window Menu and choose Advanced Tools Palette.
• Click the MIDI Tool p. A new menu appears, called MIDI Tool.
• Drag-enclose the first two measures (in both staves) to highlight them. (Remember that drag-
enclosing entails clicking and dragging from a point above and to the left of the first measure to
a point below the second measure, so that both are partially enclosed by the dotted-line rectan-
gle, and releasing the mouse button.)
j j
j
& b 24 ‰ œœ ‰ b œœ. ‰ # œœj ‰ œœ œœ œœ
. . . >. .
cresc.
? b 24 œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ.
Selecting music with the MIDI Tool is exactly like selecting music with the Mass Edit Tool
(with Partial Measure Selection off). Select a single measure by clicking it once; several
onscreen measures by drag-enclosing any part of them; a long region by clicking the first mea-
sure, scrolling to the last measure, and d-clicking the last measure; and an entire staff by
clicking to the left of the staff. You can also select the entire piece by choosing Select All from
the Edit Menu.
If you take a look at the commands in the MIDI Tool Menu, you’ll notice that there appear to
be three different elements you can edit: Key Velocities (how hard the keys were struck, which
usually determines their volume); Note Durations (how long they were held down); and Con-
tinuous Data (pedaling, pitch bend, patch changes, and the like). Be sure that Edit Key Veloci-
ties is selected.
To show you the power of the MIDI Tool, you’ll create a decrescendo over the first two mea-
sures, even though there’s now a crescendo when they play back.
• From the MIDI Tool Menu, choose Scale. The Scale dialog box appears. The Scale command
lets you program a gradual change from one dynamic level (or duration or MIDI controller set-
ting) to another. For this reason, it’s ideal for creating a smooth crescendo or decrescendo.
MIDI key velocity is measured on a scale from 0 to 127; 127 is the hardest (loudest) attack.
• Type 120 in the first box. Press Tab, and type 30 in the second box. Click OK. You’ve just
told Finale to decrease its volume over the course of the two selected measures. Try it:
134
• While pressing the Space bar, click measure 1 to play back the music. You should hear a
steady decrescendo that lasts for the first two measures. If not, be sure you’ve made the changes
to the Playback Options described in the introduction to this section.
NOTE: Some MIDI keyboards don’t respond to key velocity information at all. If the volume or
timbre of the notes on your keyboard doesn’t vary with the force you use to strike them, the keyboard
is not “touch-sensitive.” Unless you want to take this opportunity to connect a velocity-sensitive
MIDI keyboard, skip ahead to EDITING NOTE DURATIONS (START AND STOP TIMES).
Being able to scale performance data in this way may be useful, but it’s not very interactive—
you can only tell what changes you’ve made by listening to the music. Fortunately, you can also
see the changes you’ve made.
• Click anywhere on the screen to halt the playback.
• Drag-enclose the first two measures in the top staff only.
• Double-click the first highlighted measure. The MIDI Tool split-window opens. In this win-
dow, you can only edit the captured MIDI information for one staff at a time. If you want to edit
data on several staves simultaneously, therefore, don’t open the MIDI Tool split-window—just
use the menu commands after selecting the desired staves.
Because the MIDI Tool split-window differs significantly between Macintosh and Windows,
we’ve pictured each below.
Windows
Drag through the graph area to
select a region of music to edit.
Drag the dividing line

to increase or decrease
the view of the music.
Use the vertical scroll

bar to view and edit
different staves in the
score.
Click, Shift-Click, or drag enclose Use the horizontal scroll bar to view and
handles to select individual notes. edit different measures in the score.
135
Macintosh
Drag through this graph area to
select a region of music to edit.
Click these icons
as a shortcut for
choosing menu
commands.
Click these buttons to Click, Shift-click, or drag-enclose

view other measures handles to select individual notes.
and staves in the score.
At the bottom of the window, you’ll see the notes in the measures you double-clicked. Above
them is a graph. Each bar of the graph corresponds to the key velocity (volume) of the note
directly below it. Along the left side of the window you can see a legend of velocity values,
scaled from 0 to 127.
You can immediately see the effects of your Scale command—the bars representing the key
velocities grow steadily shorter over the first two measures. As an experiment, let’s now make
the second half of the phrase crescendo. You may need to move the display so that you can see
measures 3 and 4; if so, click the arrow buttons (on Windows, use the scroll bar at the bottom
of your screen).
• If you cannot see measures 3 and 4, click the right horizontal scroll bar arrow until measure
3 is at the left side of the window. A measure number appears in the middle of each measure,
between the notation display and the graph area.
• Click in the graph area at the beginning of measure 3, and drag to the end of measure 4, like
this:
136
& b œœ. œœ. œœ. œœ œœ n œœœ œœ

œ.
> . . >. >
Any region you select in the graph area automatically selects the handles of the corresponding
notes below it.
• From the MIDI Tool Menu, choose Scale. Type 30, press Tab, and then type 120. You’ve just
programmed a crescendo for the second half of the phrase.
• Click OK. Whenever you’re working in the MIDI Tool split-window, you can always get a
quick playback of the displayed music:
• From the MIDI Tool Menu, choose Play.
EDITING KEY VELOCITIES

The remaining experiments in this tutorial delve deeply into some The MIDI Tool Menu Play
of Finale’s powerful MIDI capabilities. If you don’t thrive on techni- command does not support
cal discussions, feel free to skip ahead to EXPRESSIONS: DEFINING Internal Speaker Playback on
PLAYBACK later in this chapter. the Mac. Use the Playback
Here’s a quick rundown of the remaining MIDI Tool Menu com- Controls.
mands. These descriptions assume you’ve first selected the music to
be edited. Remember that when you’re not in the MIDI Tool split-window, you select measures
exactly as you would with the Mass Edit Tool—by clicking a single measure, drag-enclosing sev-
eral, and so on. Within the MIDI Tool split-window, you can edit a single staff, and you select notes
137
either by dragging through the graph region or by selecting individual note handles in one of the
ways shown here:
3
& b œœ. œœ. œœ. œœ

3
& b œœ. œœ. œœ. œœ .

> . >
3
& b œœ. œœ. œœ. œœ

> .
To select individual notes in the MIDI Tool split-window, you can drag-enclose them or Shift-click individual
handles, or Shift–drag-enclose additional groups of notes.
Once you’ve selected the music, you can choose any of the MIDI Tool Menu’s transformation com-
mands from below the line.
Set To gives every note in the selected region exactly the same velocity (volume). You type a num-
ber between 0 and 127.
Scale produces a smooth, gradual change from one velocity value to another across the selected
region. If you select “Absolute,” you can enter values in the text boxes between 0 and 127. If you
select “Percent of Original,” Finale scales the selected notes’ velocities proportional to their current
values, thus preserving some of the original variations from note to note; in this case, you can enter
virtually any positive numbers in the text boxes. For example, if you entered 100 and 200 in the
boxes, respectively, the first notes would play back with their original velocities, and the last notes
would play back with twice their original velocities.
Add simply gives the selected notes greater velocity than they already have. If you enter a negative
number, you subtract velocity. Type a number between –127 and 127, keeping in mind that the
sum of this number and a note’s current velocity has to be between 0 and 127.
Percent Alter increases or decreases the selected music’s velocity by a percentage of its current
value. To make a passage twice as loud as it is now, choose Percent Alter and type 200 (percent).
Limit lets you set maximum and minimum key velocity levels for the selected music. You type in
numbers between 0 and 127. If you enter a maximum velocity of 90, for example, any existing
velocity values between 91 and 127 will be clipped down to 90.
Alter Feel lets you accent specific beats in the measure, by either a specified amount (Absolute) or
by a percentage of their current velocities (Percent of Original). If you enter negative numbers
(when Absolute is selected), you’ll be giving the specified music less velocity, and hence less
emphasis. In the Alter Feel dialog box that appears, you’ll see that you can provide either an abso-
lute or a percentage change independently for notes that fall on Downbeats, Other Beats, or Back-
beats. (For definitions, see BACKBEATS in the User Manual.)
138
As an example, suppose you have a rockabilly tune and you want to boost the backbeats to give
your playback more drive. In this case, you’d select the entire score (with the MIDI Tool), choose
Key Velocities and Alter Feel from the MIDI Tool Menu, select Percent of Original, and type 150
into the Backbeats text box. The result would be 50% more volume on the backbeats.
Randomize alters the selected music’s velocity by a random amount. 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 text box—between 10 and 20, for example (unless you really want some unpredictable, mad-
cap accents).
NOTE: Finale stores the velocity value for each note as the difference in velocity from the default velocity
value (the “Base Key Velocity”). You set the Base Key Velocity in the Playback Controls. Suppose,
for example, that this value is 60. If a note displayed in the MIDI Tool window has a velocity of 90,
Finale simply remembers that its velocity is 30 more than the Base Key Velocity value. Why does
Finale store velocity values this way? Because with this system, you can quickly and easily adjust
the overall velocity (volume) level of your piece by changing the Base Key Velocity value. The
dynamic nuances of your piece will be preserved—but the overall volume level will increase or
decrease accordingly.
EDITING NOTE DURATIONS (START AND STOP TIMES)

For the next experiment, restore all the velocity information to a uniform level. If the graph area
above measures 3 and 4 isn’t already highlighted, drag through it now.
• Press the $ (Mac: o) key. The $ (o) key removes all MIDI data alterations in
the selected region—even if you’re not in the MIDI Tool split-window. It doesn’t erase all MIDI
data, however—only the kind that’s currently selected in the MIDI Tool Menu (Key Velocities,
Note Durations, and so on).
If necessary, use the left horizontal scroll bar arrow to move back so that you can see measures
1 and 2. Restore these notes’ velocities to 64 as well.
Now you’ll try using the MIDI Tool to edit the playback durations of the notes in your score.
• From the MIDI Tool Menu, choose Edit Note Durations.
You’ll notice that the graph in the MIDI Tool split-window has changed. Now you’re seeing
each note represented by a thin horizontal line; the longer the line, the longer the note’s dura-
tion. You’ll also see several thin gray vertical gridlines; these gridlines represent the strict quan-
tized “locations” of the notated notes:
139
The piano
keyboard helps
you identify the
pitches of the
notes in the graph.
You can drag this
keyboard up or
down.
The menu commands you explored while editing Key Velocities also work on Note Durations.
In some of the dialog boxes for these commands, however, you’ll encounter the words Start
Time and Stop Time.
These terms seem clear enough; Start Time refers to the attack of a note, and Stop Time refers to
the release. What makes their usage trickier is that they don’t refer to the notated durations of the
notes. Instead, they relate those notated values to the captured MIDI information generated by
your original performance, before your performance was quantized and transcribed into nota-
tion.
140
In fact, Start Time measures the difference between the Start and Stop Times
notated (quantized) value’s starting point and the Start Time Stop Time
moment you actually struck the note in your
performance. In the figure on the right, the Start Time is
a positive number for the first note (because it was
played slightly after the beat), and the Stop Time is a 1 (a) (b)
negative number (because the note was released slightly

before the next beat).
The Start Time is the difference between the actual (per-
formed) attack point and the notated (quantized) attack
point. The Stop Time is the difference between the per-
2
formed and quantized release points. These differences
can be either positive or negative; Stop Time (a), above,
is a negative number, but Stop Time (b) is positive.
In fact, had you played precisely on the beat, with accu- 3q q q
racy to 1024ths of a quarter note, the Start and Stop 1. These bars represent the durations of
Times would both be zero. There would be no differ- the notes you played.
ence between the quantized and the actual attack point 2. Finale quantizes or rounds the durations
to the nearest beat.
of the note.
3. Finale produces notation.
The Start and Stop Times are measured in Finale’s own
very small durational units, called EDUs (ENIGMA Durational Units)—1024ths of a quarter
note. The following table has some common EDU equivalents (a full table appears under
EQUIVALENTS in the Appendix of the User Manual.
Value EDU Equivalent

Whole 4096
Half 2048
Dotted Quarter 1536
Quarter 1024
Dotted Eighth 768
Eighth 512
Sixteenth 256
Keeping this chart handy, take a look at some of the MIDI Tool’s Note Duration menu com-
mands:
Set to gives every note in the selected region exactly the same Start and Stop Times, measured
in EDUs. If, for example, you want every note in a certain region to sound a fraction of a beat
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early, you might set the Start Times of the notes in the region to –300. Set the Start and Stop
Times to zero if you want to “quantize” every note squarely to its strict notated duration.
Scale produces a gradual change from one Start or Stop Time value to another across the
selected region. You can enter EDU values in the text boxes, thus specifying that the attacks or
releases of the notes move steadily closer to (or further from) the beats.
Add increases or decreases the Start or Stop Time of every note in the selected region by an
equivalent amount. Note that this command preserves the relative existing differences in Start
and Stop Times. Enter a positive EDU value to increase the Start Time (a later attack) or Stop
Time (a later release) of all selected notes, and a negative number to decrease these times.
Percent Alter is a unique command in Note Durations mode, because it’s the only command
that directly affects the total durations of the selected notes, instead of their Start and Stop
Times. This command lets you increase or decrease the selected notes’ playback durations by a
percentage of their current values. This command doesn’t, of course, affect the notated values
of the notes—it just affects the way they play back. To create a staccato passage in which every
note plays back with only half its notated value, you could choose Percent Alter and type 50
(percent).
Limit lets you set a minimum and maximum Start and Stop Time value for the selected notes;
in other words, it can serve to “pull” the attack and release of each note closer to its notated
value. You can think of Limit as a pseudo-quantizer, because it decreases the difference
between the notated durations and your humanly imperfect performance.
Alter Feel changes the Start and Stop Times of Downbeats, Other Beats, and Backbeats as defined
in the section EDITING KEY VELOCITIES. A positive Start Time value pushes the playback attack of a
note later, relative to its notated value.
Randomize alters the selected notes’ Start and Stop Times by a random amount, giving the music
a less quantized, more human feeling. You might type an EDU value of A (or less) of the
predominant rhythmic values in the music; for example, to subtly soften the rhythmic precision
of a passage of eighth notes (512 EDUs each), you might type 32 into the Start and Stop Times
boxes.
MORE USES FOR KEY VELOCITY AND NOTE DURATION COMMANDS

You might also find the MIDI Tool useful for correcting characteristics in some of your MIDI key-
board’s sounds. For example, suppose you have a string patch with a very slow attack; upon play-
back, it sounds as though each note is entering late. You could solve the problem with the MIDI
Tool: Select the entire staff. Then, making sure that Note Durations is selected in the MIDI Tool
Menu, choose Add To. In this instance, you’d add a negative number to both Start and Stop Times,
thus forcing the strings to enter (and release) slightly early on playback. If you’ve entered an appro-
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priate EDU value (which you can calculate for yourself, remembering that –512 would be a full
eighth note early), the strings will seem to play right in time with the other instruments.
You can use the same technique to shift all notes slightly later in playback time. If you alter one of
two duplicate staves this way, you can create some interesting echo effects—a note on the unaf-
fected staff sounds first, followed a fraction of a second later by the same note on the shifted staff.
You might also consider using the MIDI Tool to accent the melody in a series of chords—to bring
out an inner voice. Once you’ve selected the region to be affected, double-click the highlighted area
to enter the MIDI Tool split-window. By clicking and d-clicking (or by drag-enclosing and
d-drag-enclosing), you can highlight only the handles of the individual notes you want to
change, even if they’re buried in chords. In the “Silent Night” example below, only the handles of
the melody—the middle voice—were highlighted.
Once the correct notes are selected, choose Percent Alter from the MIDI Tool Menu. Set all Key
Velocity values to 150% (for example) of their current values; instantly you’ve brought out the mel-
ody from the close voicings. (In the example above, you can see the effect on the velocity graphs
for the selected melody notes; they are indeed 50% greater than the harmony notes.)
EDITING MIDI CONTINUOUS DATA

Continuous data is displayed in a slightly different format when you look at it in the MIDI Tool
split-window. Instead of thin vertical or horizontal lines, you see a graph of solid black. In this
example, you can experiment with adding pedaling to a passage. We’ll assume that you’re viewing
the first two measures of the “Tutorial 6a” document in the MIDI Tool split-window.
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• From the MIDI Tool Menu, choose Edit Continuous Data. The View Continuous Data dialog
box appears, in which you can select the controller whose data you want to edit. The sustain
pedal, controller 64, is selected by default. (You could select any other controller from the
drop-down list.)
• Click OK. You return to the MIDI Tool split-window, where the display has changed. On the
left side is a scale of controller values—in this case, sustain pedal values—from 0 (pedal up) to
127 (pedal down).
The sustain pedal’s 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). At the moment, the window is
empty, because the pedal has not yet been used; its value throughout the piece is zero.
Pedaling will appear in this window in bar graph form. In the
example at right, the pedal was depressed just after the second
beat, and released after the fourth beat.
Note, too, that the notes in the display no longer have han-
dles. That’s because 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
on/off controller, or a patch change) by dragging through a sliver of the graph area.
• Drag through a small horizontal “slice” at the beginning of the graph area, as shown below.
Keep in mind that the actual pedal usage will occur at the beginning of the region you select, as
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 high-
lighted region.
• From the MIDI Tool Menu, choose Set To. The Set To dialog box appears. Remember that to
create the “pedal down” message, you need to set the pedal’s value to 127.
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• Type 127. Click OK. Suddenly the entire graph area is gray. That’s because you’ve just inserted
a “pedal down” message without any corresponding “pedal up” message. Therefore, your MIDI
keyboard will believe that the pedal was pressed during the entire piece. (There’s a small gap in
the gray area at each barline. This doesn’t mean that the pedal is released at that point, it is just
to help you identify the juncture of consecutive measures.)
Now insert a “pedal up” message.
• Drag through a small region in the middle of measure 2, as shown below. Remember that the
“pedal up” message will fall at the beginning of your selected region.
• From the MIDI Tool Menu, choose Set To. Click OK. You didn’t have to enter a number
because the default value was already zero.
When you return to the window, click anywhere in the MIDI Tool window except the graph
area to remove the selection highlighting. You’ll see that the bar representing the pedal is now
quite short:
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• From the MIDI Tool Menu, choose Play. You hear Finale “applying the pedal” to the region
you specified.
• Select the MIDI Tool p from the Main Tool Palette. (Mac: click the Close button.) Clicking
on the MIDI Tool (or any other tool in the Main Tool Palette) closes the MIDI Tool split-win-
dow. (Mac: you must click on the Close button to close the MIDI 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. You’ll find out about copying MIDI
Tool data in the next section.
REMOVING AND COPYING MIDI TOOL DATA

To delete any modifications you’ve made with the MIDI Tool, select the desired measures in the
score, and then press $(Mac: k) This procedure deletes only the currently selected data
type. In other words, if you’ve changed both Key Velocities and Note Durations, you can delete
only one at a time—depending on which one is currently selected (with a check mark) in the MIDI
Tool Menu. Similarly, if you’ve edited several different controllers, pressing the $(k) key
removes only the data of the currently selected controller type.
You can also copy MIDI Tool changes to other staves or parts of the score, much as you would copy
music with the Mass Edit Tool. Select the source measures with the MIDI Tool, and drag the first
selected measure’s “image” so that it’s superimposed on the first of the target measures. The
changes you’ve made to the captured MIDI information are copied to the target music. Once again,
however, this procedure copies only the currently selected data type.
A final note about MIDI Tool changes: They can greatly increase the size, in kilobytes, of your doc-
ument. Because Finale is recording velocity, duration, and other data about every single note in the
area you’ve changed, it’s possible to double the size of your document if you make MIDI Tool mod-
ifications over large areas.
EXPRESSIONS: DEFINING PLAYBACK

One of the most remarkable aspects of Finale is its ability to respond to musical markings in the
f
score during playback. When Finale sees , the music gets loud. When it sees a staccato mark, it
plays the note shorter. What’s more, you can create any symbol or textual phrase—whether or not
it’s a standard musical marking—and define the effects it will have on Finale’s playback.
As a first experiment, you’ll now perform some further transformations to the document you’ve
been working on. If you don’t already have the document “Tutorial 6a” on the screen, open it now.
• Click the Expression Tool y. Scroll to measure 5, if needed.
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• Double-click below the first left-hand note in measure 5. The Expression Selection dialog box
appears, filled with Text Expressions.
• Click Note Expression. Double-click the π mark. In j j
& b ‰ œœ ‰ b œœ.
the Note Expression Assignment dialog box, click .
OK. You’ve placed the π mark in your score. To adjust
its position, drag its handle. ?b œ. œ.
π œ. œ.
• Double-click below the first note, bottom staff, of
measure 7. Once more the Expression Selection dialog
box appears.
• Make sure Note Expression is selected. Double-click the F

mark. When the Note Expres-
sion Assignment dialog box appears, click OK. Adjust the position of the new expression.
Now listen to the new dynamics.
• If the Playback Controls aren’t on the screen, choose Playback Controls from the Window
Menu.
• Click Play 1. Sure enough, when Finale reaches measure 5, it obeys your dynamics. Now let’s
see why. (Click Stop 8 to interrupt playback.)
• Double-click the π mark’s handle. The Text Expression Designer dialog box appears.
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• Click the Playback tab. Options under the playback tab show the MIDI playback choices for
this marking.
Look at the playback definition of the π marking. Key Velocity is selected in the Type drop-
down list, and the number 36 appears in the Set to Value text box. In other words, the creator
of this marking decided that the π marking should give the notes it affects a Key Velocity of
36. (The scale of MIDI velocity goes from 0 [silence] to 127 [very loud].) When Finale reaches
theπ marking, it will play all notes (assigned to that instrument’s MIDI channel) at velocity
(volume) 36—at least until it encounters a new dynamic marking.
Some of the other MIDI variables you can attach to a score marking are also extremely useful.
For example, by selecting Patch from the Type drop-down list, you could make the phrase “To
Clarinet” switch the playback of its staff to a clarinet sound from an existing sax sound; just
type the number of your MIDI keyboard’s clarinet patch into the Program Change text box
when you create the expression.
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#
& # 43 # Ï Ï Ï Ï #Ï Ï Ï Ï
To Clarinet
By selecting Patch and entering a patch number (in the “Program Change” text box), you can create a playback
definition for the Text Expression “To Clarinet.”
Similarly, if you’re creating an √
marking, you could define it to transpose the affected music
up an octave. In this dialog box, you’d choose Transposition from the Type drop-down list and
type 12 in the Set to Value text box (up 12 half steps). Notice that the written notes don’t get
transposed—only their playback. Note, too, that Finale will continue to play the music up an
octave until it encounters another expression, such as loco, that you’ve defined to return the
playback to its normal register (by choosing Transposition and entering zero in the Set to Value
text box).
• Click Cancel to return to the score. To make sure you understand the concept, let’s create a
new expression—a Presto tempo indication.
CREATING AN INTELLIGENT TEMPO MARKING

• Click the Expression Tool y, and double-click just above the beginning of measure 4. The
Expression Selection dialog box appears. If you scroll through the list you’ll see that Presto, the
expression you want to create, doesn’t appear in the list.
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• Click Create. The Text Expression Designer dialog box appears, waiting for you to type in the
text for your new marking. Note, however, that you don’t have to have any text at all—it’s per-
fectly legal to attach a playback definition to an invisible marking. (You’ll see its handle in the
score.)
• Type Presto. Now, let’s add a metronome marking.
• From the Text Menu, choose Font. The Font dialog box appears.
• Under Font, choose Maestro, and set the size to 24, then click OK.
• Type “q” to add a quarter note.
• From the Text Menu, choose Font, and set the Font to Times New Roman (or Mac: Times),
and the size to 14. Then click OK. Your marking now appears in the entry window. You can
mix several fonts, sizes and styles in a single expression.
• Click the playback tab and choose Tempo. In the Set To Value text box, type 180. The num-
ber you type here indicates quarter notes per minute. If you wanted to, you could change this
base rhythmic unit using the drop-down list that appears beside the word Tempo.
• Click OK or Select in each dialog box until you To specify placement for an expression,
return to the score. To move the Presto marking, use the Note and Measure positioning
drag its handle anywhere you want. (You can
tabs. For example, to align the expression
delete any marking by clicking its handle and
with the opening time signature, click the
pressing k.) Now the fun part: listen to your
measure positioning tab.
sudden tempo change.
• From the Window Menu, choose Playback Con-
trols, if they’re not already showing.
• Click Play to hear the score playback as you defined it.
CREATING SWING PLAYBACK

Making your score play back with eighth notes in swing style is quick work with the Playback
Controls, but what if you want more control over when and how to swing?
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In a pure triplet swing feel, the second eighth note of every pair (the backbeat) is
j 3
played as though it’s the last note of a triplet, as shown here.
œœ œ œ=
In other words, it’s delayed (and the first eighth note is held longer). Delaying or
rushing the playback of notes with respect to their written rhythms is precisely the function of the
Swing command in the Expression Tool.
You can use the Swing command to delay the attack of If Jazz or Blues Human Playback is
every eighth note backbeat. All you need to do is decide applied, swing settings are set
how much to delay them. automatically. Swing settings are grayed
If you type 100 into the Set to Swing text box, you will out if the Human Playback style does not
hear true triplet swing in your playback. Needless to say, incorporate swing, as is the case with the
you can change this number, depending on the amount of Classical or Romantic styles.
swing you want; at a fast tempo, you’d probably want to
decrease this number (so the notes sound more like even eighths). At a slow tempo, you might
want to increase the number for an even more pronounced swing effect.
• Click the Expression Tool y, and double-click just above the beginning of measure 4. The
Expression Selection dialog box appears. The Swing indication of “two eighth notes equals a
triplet quarter and eighth” is a shape expression.
• Click Shape. Finale displays any shapes that are loaded into the document; your default file
comes with a selection of pre-made shapes. To select from the text expressions again, just click
the Text radio button.
• Click on the swing shape - “two eighth notes equals a triplet quarter and eighth.” It should
be the last shape in the selection box.
• Click Edit.The Shape Expression Designer dialog box appears, waiting for you to make
changes for your marking. Note, however, that you don’t have to have any text or shape at all—
it’s perfectly legal to attach a playback definition to an invisible marking. (You’ll see its handle
in the score.)
• Click the Playback tab. Finale displays the Playback Options.
• From the Type list in the Playback Options group box, choose Swing. In the Set To Value
text box, type 100 or select Standard from the menu. This number indicates a percent of
swing. If you wanted to, you could choose a heavier swing by increasing the number or a
lighter swing by decreasing the number.
• Click OK or Select in each dialog box until you return to the score. To move the Swing mark-
ing, drag its handle anywhere you want. (You can delete any marking by clicking its handle and
pressing k.)
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• Click Play 1 on the Playback Controls. You should hear genuine swing. Finale plays the sec-
ond of every eighth note pair slightly later, just as a jazz player might.

You can save expressions in a library of its own, if you want; click on the File Menu, choose Save
Library. Click Text Expressions, click OK, give the library a name, and click Save. If you want to add this
expression to the library you already created, follow the procedures outlined at the end of Tutorial 3.
Close your document, saving it if you want.

example:
CRESCENDO/DECRESCENDO MIDI CHANNELS
DYNAMICS PLAYBACK
EXPRESSIONS START AND STOP TIMES
KEY VELOCITY SWING
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Tutorial 7: Guitar Tab and Fretted Instruments
Finale 2005 offers a variety of features for notation of guitar and other fretted instruments. In this
chapter you will learn how to create a score with tablature, edit tab staves, enter bends, slides, ham-
mer-ons, pull-offs, and even enter music into your score using a MIDI guitar. If you do not plan on
notating for guitar (or another fretted instrument), feel free to skip ahead to the next chapter.
Note that if you have created tablature notation with Finale in the past (version 2002 or earlier),
you will find that much has changed. You will no longer need the Automatic Tablature plug-in and
Note Mover Tool to create and edit tablature. This functionality is now built into the Mass Edit,
Staff, and Simple Entry Tools. You will find it is now easier than ever to create and edit tablature
notation.
CREATING GUITAR TABLATURE

Let’s start by creating a new document containing both standard and tablature notation. We’ll use
the Document Setup Wizard to do this.
• Click the File Menu, choose New, then select Document with Setup Wizard. You will now see
page one of the Setup Wizard.
• Type “Guitar with Tab”.
• Click in the Composer box and type your name.
• Click Next. Page two of the setup Wizard appears.
• In the left column, click the Fretted Instruments category. A list of stringed instruments
appears in the second column.
• In the second column, click Guitar and then click the Add button. “Guitar” appears in the
third column.
• In the second column, click Guitar [Tab] and then click the Add button. Now, both “Guitar”
and “Guitar [Tab]” appear in the third column.
• Click Next. The Wizard asks for the time signature and the key signature. We’ll leave these set-
tings alone for now.
• Click Next. The Wizard asks you to specify a tempo, pickup measure and default music font.
Again, we can leave these settings alone.
• Click Finish. The document opens with a standard notation staff above a tablature staff. You are
now ready to begin entering your music.
The document you just created is already set up to take into account the standard guitar transposi-
tion which sounds an octave lower than written. Now, let’s learn the best way to enter music into a
guitar score.
153
COPYING MUSIC TO AND FROM A TAB STAFF

There are a few ways to enter into a tab staff. We’ll start with the most basic, copying music directly
from a standard staff into tablature. To demonstrate this we’ll start with a document that already
contains music in standard notation.
• Open the tutorial document called “Tutorial 7.” A score titled “Spanish Dance No. 2” appears.
The first eight measures contain standard notation, but no tab. Here’s how to create tab from
existing music in standard notation.
• Click the Mass Edit Menu and check Copy and Replace. This is usually selected by default.
• Click the first measure so it is highlighted.
• Hold down the Shift d key and click measure 4. Now measures one through four should
be highlighted.
• Drag the highlighted region down to the tab staff, and release the mouse button. You should
now see the Lowest Fret dialog box. We’ll talk more about this dialog box soon.
• Click OK. The first four measures of music will now translate into tablature notation. You
should now have tab of the melody line like the example below.
In this case, the fret numbers represent the pitch as played on the lowest possible fret in stan-
dard guitar tuning.
Now, let’s say you want the tab positioned farther up the neck. Here’s how to specify the lowest
fret for any music copied from a regular notation staff into a tab staff. The Mass Edit Tool should
still be selected.
• Click measure 5 so it is highlighted.
• Hold down the Shift d key and click measure 8. Now measures five through eight should
be highlighted.
• Drag the highlighted region down to the tab staff. You should now see the Lowest Fret dialog
box.
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• For Specify Lowest Fret, enter “5”. We’ll say you want to place all the numbers on the 5th fret
or above.
• Click OK. The tab staff will now have all notes fingered no
To set the lowest fret for an
lower than the 5th fret.
entire tab staff, click the Staff
This ability to copy music from standard notation into tab, Tool, double click the tab staff,
and specify a lowest fret, can be applied to smaller areas of then click the Select button at
the score by selecting part of the measure. To do this, click
the bottom. Enter a value for
the Edit Menu and enable Select Partial Measures.
Default Lowest Fret, then click
In addition to translating standard notation directly to tabla- OK back to your score.
ture, you can also copy tablature directly into a standard
notation staff. We will use the second half of “Spanish Dance
No. 2” to demonstrate this. For this example the tablature is entered for you already.
• With the Mass Edit Tool selected, click measure 9 of the tab staff.
• Hold down the Shift d key and click measure 16 of the tab staff. Now measures nine
through sixteen of the tab staff should be highlighted.
• Drag the highlighted region up to the standard staff. Measures nine through sixteen translate
directly into standard notation. You should now have notation of the melody line like the fol-
lowing example (starting with measure 9).
In addition to changing the lowest fret while copying, you can also change the lowest fret for any
region of tablature with the Mass Edit Tool. To do this, click the Mass Edit Tool and highlight a
region of the tablature staff. Then, from the Mass Edit Menu, choose Utilities >> Change Lowest
Fret. Enter the new Lowest Fret and click OK to apply your changes and return to the score.
CHANGING THE STRING AND FRET NUMBER
You can edit tab numbers and move them between strings manually with the Simple Entry Tool.
This method gives more control over the movement of single and non-contiguous fingerings.
155
If you look at measure five in the tablature staff you’ll see that the fourth note is played at the fifth
fret of the fourth string. It might be easier to finger this passage if that note was fingered at the
tenth fret of the fifth string. Simple Entry makes this task easy.
• While pressing the ! (Mac: b) key, on the fifth mea-
To enter tablature for lute or
sure, click the “5” on the fourth string and drag it down to
another instrument with
the fifth string. You will see that this fingering has moved to
the new string and fret, and the number has changed accord- alternate tuning, either use
ingly. You can also use the up arrow e and down arrow f to the Setup Wizard, or apply a
move selected tab numbers between strings, or the left arrow Staff Style. You will find
g and right arrow h to move selection between fret numbers information on entering a
horizontally. Staff Style in chapter 5 of
You can also easily change the fret number. The Simple Entry this tutorial manual.
Tool should still be selected.
• While pressing the ! (Mac: b) key click any fret number in the tab staff. The tab num-
ber changes color to indicate it is selected.
• In the Numeric Keypad (or while holding down !-d, or on Mac, a-d), type a
new number. You can now use the numeric keypad (numpad) to enter any one or two digit
number.
• Hit the “+” or “-” key to raise or lower the fret number by one. Remember that when you
change the fret number, you are effectively changing its pitch. To ensure the standard notation
accurately represents the tablature, drag the tablature up to the standard notation staff with
Mass Edit Tool.
ENTRY DIRECTLY INTO A TAB STAFF

In addition to copying from a standard notation staff, you can also enter tab directly into a tab staff.
This comes in handy if you are working with a tab staff only or already know the tablature and not
the standard notation. Again, we’ll continue to use the same file we’ve been working on to describe
how to do this, first by entering tablature with your mouse, and then with your computer key-
board.
• Click the Mass Edit Tool l and highlight the first two measures of the tab staff. Measures 1
and 2 of the tab staff should be highlighted.
• Press the Backspace $ (Mac: o) key to remove the existing tab notation from these
first measures. You should now see standard notation above an empty tab staff for the first two
measures.
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• Click the Simple Entry Tool 4. We are now ready to begin entering into the tab staff manually.
For now, we’ll enter tab for the existing notes in the standard notation staff. In the future, you
could use this procedure to enter into a score containing a tab staff only.
• Click the Eighth Note Tool 4 in the Simple Entry Palette. Use the up and down arrows to
You will need to choose the rhythmic value of the entry first so move a selected fret number up
Finale knows its duration, and how to properly space each fret or down a string. The number
number. will adjust to reflect the same
• Click the tab staff on the third (G) string directly below the pitch on the new string.
first note in the piece. A “0” appears. When you click directly
into a tab staff, you will always see a “0” first.
• Press numpad 2 (or while holding down !-d, or on Mac, a-d, press 2). The
“0” changes to “2”.
• Click the tab staff on the third string directly below the
If you do not have a numeric
second note in the piece. A “0” appears on the G string.
keypad, you can press j to add
• Press numpad 3. The second fret number changes to 3. a 0 on the caret pitch, then hold
You can use this method, first clicking the rhythmic down !-d (Mac a-
duration, clicking the string and then typing the fret
d) and type the number.
number to create all of your tab notation, but you can
also quickly enter tablature without the use of the mouse
with the Simple Entry Caret.
• Press the right arrow h key. The caret is now active on the second beat of the first measure.
• On your QWERTY keyboard, type 2. Notice the Caret moves to
the second (B) string. Use numbers 1 through 6 on your QWERTY
keyboard to specify the string for the fret number you are about to
enter. 1 is the top string, 6 is the bottom.
• Press numpad 3. Finale places a “3” on the B string and the caret
moves to the right. (Notebook users, see the tip at right.)
• Press numpad 1. Finale places a “1” on the same string. Now, lets say we want to add another
note below the “1” on the second beat.
• Hold down @ (Mac: b) and type 4 on the QWERTY keyboard. Finale adds a “0” on the
fourth sting below the fret number you just entered.
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• Hold down @ (Mac: b) and type numpad 3 (or, !-d (Mac:

a-d) 3). The “0” changes to a “3”. You can use the last two steps at any
time, first entering the string and then the fret number to create chords. You
can also use the up and down arrows to specify the string for an additional fret
number and then hold down ! (Mac: c) and press j) to add a note
on the same string displayed on the caret. Then hold down @ (Mac: b)
and type the desired number on the numeric keypad.
• Press k to remove the extra fret number. Now, let’s finish
To see a list of Simple Entry
the measure.
keyboard shortcuts from the
• On the QWERTY keyboard, type 3 to specify the G string, Simple Menu, choose TAB
then, on the numeric keypad, type 3 and then 2. You have Specific Commands.
completed tab for the first measure. The Caret should appear
at the beginning of measure 2. Note that you can always press
the left arrow g key to select the fret number you just entered, type a new number on the num-
ber keypad to replace the old, and then press the right arrow h key to continue entering.
• Type numpad 3 to enter the first fret number in measure 2.
Refer back to Tutorial 1a for
Now, we’ll enter a rest.
information on entering
• Press l. Finale adds a rest ‘on the and’ of beat 1. Since rests standard notation with the
are generally not displayed on tab staves, the rest is hidden. It Simple Entry Caret.
will display as a shaded rest in the score, and will not appear in
the printout. Now, let’s enter the half note on the second beat.
• Hold down !, @ and d (Mac: c, b and d) and then, on the QWERTY
keyboard, type 6. Notice the note on the Caret changes to a half note. The next fret number is
on the same string, so we can just type in the fret number.
• Press Enter. Finale places a 0 on the
string. You could have instead hit the 0
key on the numeric keypad. Measures 1
and 2 are now complete.
Instead of typing the string and fret
number, you can also use a MIDI device
to enter tablature with the Simple Entry
Caret. First, from the Simple Menu,
ensure Use MIDI Device for Input is checked. Then, with the Caret active, choose the rhythmic
duration (!, @ and d (Mac: c, b and d) and the number on the
QWERTY keyboard) and then play the note. Finale will place the fret number on the appropri-
ate string.
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There are many additional keystrokes you can use while entering tablature using the Simple
Entry Caret. For a complete list, from the Simple Menu, choose TAB Specific Commands.
ENTERING SLIDES, BENDS AND TREMOLOS

You can enter these common elements of tab notation into your score using the Smart Shape Tool.
Since these items often appear in both the standard and tab staff, we’ll start by entering them into
the standard staff and then copy them down to the tab staff. To prepare for this section open Tuto-
rial 7a “Blues Scale”.
• Click the Smart Shape Tool W.
• Click the Tab Slide Tool ∫ in the Smart Shape palette.
• Double click the first note of the scale. A line extends automatically
from the A to the C. Click the handles to manually edit the end points of œ œ
the line if necessary.
• Click the Bend Hat Tool ∑ in the Smart Shape palette. Now we’ll enter a bend and release
from third beat of the second measure to the first beat in the third measure.
• Double click the A on the third beat of the second measure.
Use pre-set metatools to
You should now see a bend hat extending from the A to the B
quickly enter Smart Shapes
flat.
into a tab staff. For example,
• Double click the B flat on the last beat of the second mea- hold down the B key and
sure. You should now see a bend hat extending from the B flat
double-click a fret number to
back to the A in the third measure.
enter a bend curve, N for a
• Click the Trill Extension Tool ‹. We’ll use this tool to add a bend hat or hold down E,
tremolo on the last note. double-click and drag for a
• Above the last note, double-click and drag to create a trem- tremolo.
olo marking. Your standard notation staff should now look
like this.
~~~~~~~
&c œ #œ œ œ œ bœ œ œ œ bœ œ œ ˙
œ œ
• Click to the left of the standard notation staff to highlight the entire staff.
• Drag the highlighted area down into the tab staff.
• In the Lowest Fret dialog box type “0”.
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• Click OK. The notes will convert to tab numbers and the markings will translate properly for
tab notation. The bend hats have converted to bend and release curves.
You will notice the last note is translated to the open A string. Now, let’s move this down to the
E string for the tremolo.
• While pressing the ! (Mac: b) key, click the last note so it is selected.
• Press the down arrow f key to move it to the sixth string. Now the tremolo is possible with-
out a whammy bar.
Now, let’s say we want to add a 1/4 bend on the second to last note.
• Click the Smart Shape Tool W.
• Click the Guitar Bend Tool ª.
• On the second to last fret number (3), hold down the! (Mac: b) key and double-click.
You should now see a curved line with an arrow pointing up and a “1/4” figure indicating a
bend of a quarter step. Note that you can also enter guitar bends in a tab staff by simply double-
clicking the first of two fret numbers. Finale will even attach the appropriate text based on the
pitch difference of the fret numbers.
Now, you may want to add a bend indication in the standard staff on the second to last note.
• Click the Slur Tool W in the Smart Shape palette.
• Double click the second to last note (C) in the standard notation staff.
• Click and drag the handles to edit the slur. You can use the slur handles to create a small curve
to the right of the note.
For compete information on entering all Smart Shapes, see the User Manual under the SMART
SHAPE TOOL.
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HAMMER-ONS, PULL-OFFS AND OTHER MARKINGS

We’ll continue to use the “Blues Scale” document to demonstrate how to enter hammer-ons and
pull-offs. This method can be used to enter a variety of other markings as well. The Smart Shape
Tool should still be selected.
• Click the Slur Tool W in the Smart Shape Palette.
• In the tab staff, double click the “1” on the last beat of the first measure. You should see a slur
from the last beat of the first measure to the first beat of the second measure.
• While pressing the ! (Mac: b) key, click the Custom Line Tool ¿.
• Scroll down until you find the H custom shape and click it so it is highlighted.
• Click Select.
• Double click the “1” on the last beat of the first measure and drag across the barline to the
first beat of the next measure. The “H” should appear above the slur.
Now, you can use the arrow keys to make fine adjustments. To enter a pull-off, follow the same
steps, only choose the “P” custom shape in the Custom Shape dialog box.
Use the above method to enter a variety of performance indications used regularly for fretted
instruments. In the Smart Line Style Selection window you will find figures for bends (B),
releases (R), palm mutes (P.M.), harmonics (A.H. and P.H.), picking and others. If you like, you
can also enter many of these items as articulations. For information on how to create a custom
articulation, see the User Manual under DESIGNING AN ARTICULATION.
ENTRY USING A MIDI GUITAR (OPTIONAL SECTION)

You can use a MIDI guitar to enter music into your score much like you can with a MIDI keyboard
using the HyperScribe Tool. Finale can even record the string you use for each pitch while entering
directly into a tab staff. Here’s how to use a MIDI guitar for entry.
• First, setup a guitar-to-MIDI interface with your computer. In order to communicate pitches
from your guitar to Finale, you will need an interface between the guitar and computer. This
interface is used to convert the pitches you play into MIDI information. It connects to your
computer like a MIDI keyboard. A Roland GR-33 was referenced in the preparation of this tuto-
rial, though any interface in this genre should work. Refer to the interface’s instruction manual
for specific setup instructions.
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• Coordinate MIDI channels for your guitar

strings. From the MIDI menu, choose Tabla-
ture MIDI Channels. The Tablature MIDI Chan-
nels dialog box appears as seen here.
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 and click OK. Consult your
interface’s instruction manual for information
on assigning strings to MIDI channels, or view-
ing the currently selected MIDI channel for each
string.
• Click the MIDI menu and choose MIDI Setup (then, if you are using Windows, click the
Advanced button to extend the lower portion). In the bottom left of the dialog box, you will
see a MIDI-In Latency setting. There tends to be a small, but consistent delay between the time
a guitar string is plucked and when the MIDI information reaches Finale. Finale can compen-
sate for this delay by anticipating the beat during a HyperScribe session.
• After MIDI In Latency, enter “25”. This is just a good first guess. You will probably need to
make further adjustments depending on the guitar-to-MIDI interface you are using and your
own performance habits. Try anywhere from 25 to 150ms or so.
• Click OK.
• Create a new document containing a standard and tab staff with the Setup wizard. Follow the
instructions at the beginning of this chapter to do this. We’ll use this document to demonstrate
entry with a MIDI guitar.
• From the Options Menu, choose Click and Countoff. The Click and Countoff dialog box
appears.
• For Countoff and Click, choose While Recording.
• For Source, choose MIDI Note.
• For Measures, choose 2.
• Click OK. You have just instructed Finale that a 2-measure countoff is to be used before record-
ing, and that a click is to be used during recording. Now, we’ll instruct Finale that it will be pro-
viding the tempo information.
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• Click the HyperScribe Tool g. A new menu appears on the menu bar called HyperScribe.
• From the HyperScribe Menu, choose Beat Source, then Playback and/or Click. Your default
settings should be Beat equals a quarter, Tempo is 96.
• For Start Signal for Recording, click the drop-down (Mac: popup) menu and choose Any
MIDI Data. This setting tells Finale to use any type of MIDI data as a cue to start the countoff.
Note also that you can access the Click and Countoff dialog box from here. For more details, see
the User Manual under CLICK AND COUNTOFF DIALOG BOX.
• Click OK. Finale is now ready to provide you with a metronome click.
• From the HyperScribe Menu, choose Record Mode. Make sure Record into One Staff is
selected. For this example, we will record into the tab staff only.
• Click the first measure of the tab staff. A frame surrounds the measure you clicked, indicating
that Finale is ready for you to begin. Finale is waiting for you to send a signal that you’re ready
because we set the Start Signal to Any MIDI data. It doesn’t matter which note or you play.
• Play a note on your MIDI guitar. Finale begins to click, and will give you two full measures to
get a feel for the tempo before it begins recording. If you don’t get a click, you may wish to
review the section called SETTING UP YOUR MIDI SYSTEM in the INSTALLATION CHAPTERS ear-
lier in this book. You may also wish to consult the User Manual under MIDI SETUP DIALOG BOX.
• At the conclusion of the second countoff measure, play a two-octave C scale, in quarter
notes, starting on middle C, as shown below.
As you play each measure, the numbers appear compressed together; only when you’ve com-
pletely filled a measure (and moved on to the next) does the full-fledged notation appear.
• When you’re finished, click the mouse button anywhere on the screen. The editing frame goes
away. Take a look at what Finale did: there should be a C scale in the tab staff with the fret num-
bers the same as the ones you played. If not, try entering a slower tempo in the Playback and/or
Click dialog box, or change the MIDI In Latency value in the MIDI Setup dialog box.
Now we’ll copy the tab you just entered into the standard notation staff.
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• Highlight the measures containing fret numbers, and then drag the region into the notation
staff. Your document should now look like the figure above.
HINTS AND TIPS FOR TABLATURE

For complete information, see TABLATURE in the User Manual.
1. Up and down pick markings can be entered with the Articulation Tool.
2. You can add stems and beaming to tablature by configuring the Staff Attributes of your tab
staff. Click the Staff Tool, double click the tab staff and click the Stem Settings button in the
Staff attributes dialog box.
3. To customize the smallest note value for a HyperScribe session, first configure your Quantiza-
tion Settings. From the Options menu choose Quantization Settings. For more information, see
QUANTIZATION in the User Manual.
4. If you are using a non-standard tuning, or other fretted instrument (lute, banjo etc.) you can
manually customize your string tuning in the Staff Attributes. Click the Staff Tool, double click
the tab staff, click the Select button at the bottom, then click the Edit Instruments button.
5. To use fret letters instead of numbers, click the Staff Tool, double click the tab staff, click the
Select button at the bottom, and check Use Letters.

example:
ARTICULATION DESIGNER SELECTING MUSIC
COPYING MUSIC SIMPLE ENTRY
HYPERSCRIBE STAFF STYLES
SMART SHAPE TOOL STAFF ATTRIBUTES
MIDI SETUP TABLATURE
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Tutorial 8: Other Notation Topics
In this section you’ll learn to use some of Finale’s most powerful scoring and notation tools.
THE SPECIAL TOOLS TOOL: FANCY BEAMING AND STEMMING

The Special Tools Tool provides you with fine-tuning control over spacing, beaming, ties, dots, and
stems.
• Open the tutorial document called “Tutorial 8.” A piece for flute and piano appears on the
screen. Since you’ll be jumping around quite a bit in this tutorial, you may prefer to work in
Scroll View.
• From the View Menu, select Scroll View. Scroll to measure 1.
• On Windows, click on the Window Menu and choose Advanced Tools Palette.
• Click the Special Tools Tool {. The Special Tools palette appears as a toolbar on the right side
of the screen, containing 18 tool icons, each of which controls some aspect of the music. (This
palette is just like the others you’ve encountered: You can hide it or turn it into a floating pal-
ette.)
Note Position Tool Notehead Position Tool

moves a note horizontally moves a notehead horizontally
Note Shape Tool Accidental Tool

changes a notehead shape moves an accidental
Stem Length Tool Broken Beam Tool
lengthens or shortens a stem flips a beam "stub" to other side of stem
Stem Direction Tool Double/Split Stem Tool
freezes a stem up or down adds a second stem; "splits" a chord's stem
Reverse Stem Tool Custom Stem Tool
moves a stem to "wrong" side of note lets you create a stem of any shape
Beam Angle Tool Secondary Beam Break Tool
changes the beam height and angle breaks 16th-note (and other) beams
Beam Extension Tool Secondary Beam Angle Tool
extends a beam (even across barlines) changes the angle of secondary beams
Tie Tool Dot Tool
changes a tie length and arc moves a dot up, down, left, or right
Beam Width Tool Beam Stem Adjust Tool

changes the width of a beam changes the length of a beamed stem
Using the Special Tools tool, you can edit one measure of music at a time. To edit any of the
above-listed musical elements, click the appropriate tool on the palette, then click the measure
you want to edit. Finale will normally display a small square handle on each note, stem, acci-
dental, beam, tie or dot (depending on which tool you’re using—to hide these handles, deselect
165
Show Handles in the Special Tools Menu). Select the handle or handles of the elements you
want to manipulate, and perform the desired action. (You select multiple handles by drag-
enclosing or d-clicking.)
For a complete discussion of all Special Tools functions, consult the User Manual under SPECIAL
TOOLS. For now, let’s try some experiments.
• Click the Note Position Tool B, if it’s not already selected.
• Click the first measure of the middle staff.
• Drag any note’s handle left or right. You can move any note, chord, or rest horizontally with
this tool, without affecting its playback. Of course, it’s easier to simply drag notes left or right
using the Speedy Entry Tool.
• Click the Notehead Position Tool C. Every notehead in the measure sprouts a handle. (Once
you have selected a measure with a Special Tool, Finale assumes you are continuing to work on
that measure until you tell it differently. You could click another measure to select it.)
• Drag any handle left or right. Because the Notehead Position Tool lets you move individual
noteheads, you could, for example, use it to rearrange the notehead configuration of a cluster
chord.
You can also change a notehead’s appearance:
• Click the Note Shape Tool Q, and double-click a note’s handle. The Symbol Selection dialog box
appears, containing every possible symbol in the Maestro font. You can double-click any shape in
this palette, and it will replace the normal oval notehead of the note you clicked. Using this tech-
nique, you can create X noteheads, diamond noteheads, triangle noteheads, or any other special
notehead.
• Double-click the X symbol (slot 192). The notehead has been replaced by the X, although it’s
obscured by its handle.
• From the Special Tools Menu, choose Show Handles to uncheck it. By turning off Show Han-
dles, you make the handles invisible. Now you can see the new notehead. (When Show Handles
isn’t selected, you can still use the Special Tools; just click where a handle would be if it were
visible.)
If you want to change noteheads for a all notes in a region of your score, choose the Mass Edit
Tool, select the region, and from the Mass Edit Menu, choose Change, Noteheads.
Note, by the way, that this technique is best for occasional notehead shape changes. If you plan
to create a rhythm part in which most of the noteheads are X’s or slashes, use the Staff Styles fea-
ture (see STAFF STYLES in the User Manual). You can also tell Finale where you want the stem to
attach to one of these nonstandard noteheads. See STEM CONNECTIONS DIALOG BOX in the User
Manual.
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Let’s try some other experiments.

• Choose Show Handles in the Special Tools Menu again. The handles reappear.
• Click the Accidental Mover Tool E. Every accidental in the measure now has a handle. Exper-
iment with dragging these handles—you can slide any accidental horizontally. This would be
useful if you wanted to rearrange the accidentals on a cluster chord, for example. To drag the
accidental vertically, double-click on the handle. In the Accidental Settings dialog box, check
Allow Vertical Positioning. You might use this feature for creating musica ficta, where the acci-
dental appears above the note. Click Cancel to return to the score.
• Click the Stem Length Tool M. Any note with an unbeamed stem sprouts two handles which
you can drag up or down to change the stem’s length. (In this example, the handles below the
notes control the stem for the note if it were to be flipped in the opposite direction.) Try length-
ening the stem of the second quarter note in the measure. Remember that in order to constrain
the cursor to perfectly vertical (or horizontal) movement, press d while dragging.
The next tool, the Broken Beam Tool R, is what you use to change the direction of a sixteenth-
note (or smaller) beam “stub,” as shown here:
Before After
• Click the Stem Direction Tool A. A handle appears above and below every note in the measure.
A click on any handle flips the stem in its direction—and “freezes” the stem that way (hence the
snowflake icon), even if the piece gets transposed. Click the handle again to restore the note to
“floating” status. (Of course, it’s easier to flip stems with the Simple or Speedy Entry Tool. Posi-
tion the insertion bar on a note and press the L key to freeze its stem in the opposite direction,
or !-L (Mac: b-L) to restore the stem to its “floating” status. Note that the keystroke
may different if you have edited the Simple Entry keyboard shortcuts.)
• Click the Double/Split Stem Tool N. When you click this tool, a handle appears on every note-
head in the measure; another appears above the staff, and another below. Click the lower handle of
a note or chord to create double stemming:
167
Try it now:
• Click the lower handle of each of the sixteenth notes in the piano part. The new, second stem
always points in the opposite direction from the original stem, no matter which handle (top or
bottom) you clicked.
The note handles provide an additional feature. They can produce split stemming within a
chord, giving the effect of a separate inner voice, like this:
There are two steps to creating this effect: First, click the bottom stem to let Finale know you
want to create split stemming. Then click the handle of each note you want to be a part of the
upper stem only.
• Click the upper notehead handle of each sixteenth-note chord. Deselect Show Handles (in
the Special Tools Menu) to hide the handles for a moment. You can see that you’ve made the
sixteenth notes appear to be stemmed separately. Select Show Handles again to restore the
handles.
You may not use the next two tools as frequently, but it’s a good idea to keep their functions in
mind; feel free to experiment as you read. The Reverse Stem Tool F simply flips the stem from
one side of its notehead to the other, a function that may be useful in conjunction with cross-
staff notes (see THE NOTE MOVER TOOL: CROSS-STAFF NOTES later in this tutorial):
&c œ œ œ œ
?c œ œ œ œ
The Custom Stem Tool L provides great flexibility in special beaming
For a single stemless
cases—for example, splayed beaming, where three mini-stems connect
a Cf, Cn, Cs chord cluster. That’s only one function of the Custom Stem note, change the stem
Tool. If you double-click a note’s handle, you’ll enter the Shape to a blank shape with
Selection dialog box, from which you can select a different shape (or the Custom Stem Tool.
create a new shape with the Shape Designer, covered later in this
tutorial) to use as a stem. See STEMS in the User Manual for full instructions in the use of these
tools.
168
• Click the first measure of the top staff, then click the Beam Angle Tool G. Any notes that are
beamed together sprout two handles, one at each end of the beam. The right handle changes the
beam angle; as you move it up and down, the left handle remains stationary. The left handle
changes the beam height; as you move it up or down, the right handle moves in tandem, and
the beam angle doesn’t change.
Try it now: drag the right and left handles of the beam on the pair of eighth notes at the end of
the measure.
Five tools provide additional control over beaming. For example, the Secondary Beam Break
Tool K lets you specify places where you’d like secondary beams (sixteenths, 32nds, and so on)
to break. The Beam Extension Tool H simply extends any beam past its last note. And there’s
also a Secondary Beam Angle Tool J that lets you give sixteenth-note (and lower) beams differ-
ent slants. This tool is useful for creating the modern feathered beaming notation of accelerandi
and ritards, where several secondary beams converge. The Beam Width Tool O lets you change
the thickness of beams themselves; and the Beam Stem Adjust Tool P allows you to adjust the
length of stems within beamed notes. For a more complete discussion of these tools, see SPECIAL
TOOLS in the User Manual.
• Click the second measure of the middle staff.
• Click the Tie Tool I. Four Handles appear on the tie. You can click and drag these handles to
adjust the tie shape manually.
• Double-click the tie’s left handle. The Tie Alterations dialog box appears. This dialog box
allows you to change the appearance and placement of individual ties in the score.
The Tie Placement Controls allow you to affect the vertical and
To flip a tie with the Tie Tool,
horizontal points at which the tie starts and ends. The Tie Control
select the tie’s handle and hit
Points offer you control over the shape of the tie. Note that under
c-F (Mac: a-F)
Tie Direction, Automatic is the default setting. This means that
Finale decides which direction the tie should appear based on your
settings in the Tie Options dialog box. For more details, see TIE ALTERATIONS DIALOG BOX in the
User Manual.
• Click Cancel.
• Click the Dot Tool D. Double-click the first dotted note’s handle. The Dot Offsets dialog box
appears, where you can specify the precise positioning of this dot. (This tool is best for making
changes to specific dotted notes. You can set the horizontal dot positioning globally, too; see DOT-
TED NOTES in the User Manual.)
The H offset is the horizontal distance between the dot and its default placement (a higher value
means farther to the right); the V offset sets the vertical location of the dot relative to its default
placement (a higher value means upward); the Inter-Dot Spacing sets the distance between the
169
dots of a note with several dots. For example, if you decide that a dot should be moved down to
the next space on the staff, add –.083 (inches) to the V offset. (You can determine which mea-
surement units are used in most Finale text boxes. From the Options Menu, choose Measure-
ment Units.)
• Click Cancel. As you have just seen, the two previous tools have dialog boxes associated with
them, in which you can control the positioning of the specified elements very precisely. How-
ever, you can also simply drag any handle that appears, as you would with all of the other Spe-
cial Tools.
If you don’t like what you’ve done, click the handle of the affected element (to select it), and press
k or $. You can also erase Special Tools modifications on a global basis: Select the
desired region with the Mass Edit Tool. From the Mass Edit Menu, choose Clear Items. Click
Only Selected Items, then Entries. Now specify the Special Tools alterations you want erased,
according to the following table.
To erase changes made with this tool Select this item in Items to Erase:
Notehead Position Tool Notehead, Accidental and Tablature
String Alterations
Note Shape Tool Notehead, Accidental and Tablature
String Alterations
Accidental Tool Notehead, Accidental and Tablature
String Alterations
Broken Beam Tool Stem and Beam Alterations
Stem Length Tool Stem and Beam Alterations
Custom Stem Tool Stem and Beam Alterations
Beam Angle Tool Stem and Beam Alterations
Secondary Beam Break Tool Secondary Beam Breaks
Beam Extension Tool Beam Extensions
Secondary Beam Angle Tool Stem and Beam Alterations
Beam Width Tool Stem and Beam Alterations
Beam Stem Adjust Tool Stem and Beam Alterations
Tie Tool Dot and Tie Alterations
Dot Tool Dot and Tie Alterations
You can remove changes you’ve made with the Stem Direction, Double/Split Stem, and Reverse
Stem tools using a slightly different method. Select the desired region with the Mass Edit Tool.
From the Mass Edit Menu, choose Utilities, then Remove Stem Changes.
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THE NOTE MOVER TOOL: CROSS-STAFF NOTES

The Note Mover Tool moves notes—one by one, or a measure at a time—horizontally or vertically
to other measures in the score. It’s particularly useful for HyperScribe users, because it can be used
to correct split point errors, as you’ll see in this tutorial. It can also be used for cross-staff beaming,
where notes with the same beam are in two different staves. This example assumes that you still
have the “Tutorial 8” document open; scroll so that you can see measure 4.
• Click the Note Mover Tool u. Click measure 4 of the middle
To quickly create cross-staff
staff. Every note in the measure now has a handle. Note the
notation, try the cross-staff
rhythmic figure in this staff: four sets of sixteenth notes. Sup-
pose that you want the last three notes of each four-note plug-in. Highlight the region
grouping to be cross-staff notes—in other words, for the note- you want to change with the
heads themselves to be written on the bottom staff. Mass Edit Tool, and then, from
the Plug-ins Menu, choose
• From the Note Mover Menu, choose Cross Staff. As always
with the Note Mover and Mass Edit tools, specify the action TGTools > Cross Staff.
from the menu before you perform the copy or move.
• Drag the mouse to enclose the notes you want to move, as shown. You can also select multiple
notes by d-clicking them. In either case, the handles should now be selected.
• Drag any selected handle straight down onto the bottom staff. As you drag any handle, all
selected handles move with it. You don’t have to drag the note to any particular pitch on the tar-
get staff—you just have to give Finale the general idea by dragging it onto the staff. When you
let go, you’ll see that Finale has correctly notated these cross-staff notes.
171
# #
& # # œ nœ œ œ
? #### œn œ# œ œn œ# œ œn œ# œ œ n œ# œ
œ œ œ œ
nœ œ œ œ
There are some interesting properties of cross-staff notes that you should know about. As far as
Finale is concerned, these notes still belong to the staff you took them from. If you click the
source measure with the Speedy Entry Tool, for example, you can edit them as though they are
still on their original staff. They play back with the original staff’s MIDI channel and patch set-
tings, too. This is also important to keep in mind if you used the TGTools Cross -Staff plug-in to
create cross-staff notes, and want to go back and edit them manually. The Cross-Staff plug-in
uses Note Mover Tool functionality to generate the cross-staff notation. See CROSS-STAFF PLUG-
IN in the User Manual for details.
If you want to restore the notes to their original staff, click the original staff to see the handles
appear. Select the cross-staff notes and then press k. You may have to redraw the screen
(!-D or a-D) to clean up the display.
Let’s keep working with this cross-staff measure to make the beam in the middle and with
reversed stems. You’ll use the skills you learned in the previous section about the Special Tools
Tool.
• Click the Special Tools Tool {. The Special Tools palette appears.
• Click the Reverse Stem Tool F then click on the middle staff. For notes you want above the
beam, click on the upper handle. For notes you want below the beam, click on the lower han-
dle.
• Click the appropriate handles to reverse stems for top staff notes above the beam and the
bottom staff notes below the beam, as shown.
172
• Click the Beam Angle Tool G. Click and drag the left handle of the beam down into the mid-
dle of the system. Your music should look like this:
CORRECTING SPLIT POINT ERRORS

A related function of the Note Mover Tool is its ability to correct occasional split point errors after
you’ve finished HyperScribing a real-time performance. It’s a rare piano piece in which the right
hand never crosses middle C (or whatever split point you’ve specified); here’s how you can correct
measures where it did.
• Scroll to measure 6. In this measure, you’ll see some notes in the right hand staff that obviously
belong to the left hand part. Let’s restore them to the left hand staff.
• Select the Note Mover Tool u.
• Click measure 6 of the middle staff. Every note in the measure now has a handle.
• From the Note Mover Menu, choose “Delete After Merge.” In other words, you want Finale to
delete the original notes after you move them to a different staff.
• Select the handles of the left-hand notes above middle C by drag-enclosing. We want the D
and F eighth notes ‘on the and’ of beats 2 and 4.
• Drag any highlighted handle directly downward onto the bottom staff. When you release the
mouse button, Finale redraws the music so that the notes you moved are seamlessly integrated
with the left hand part.
If you only have a few notes to correct the dragging method will work fine, but what if you have
20 measures of split point errors? Instead of tediously dragging individual notes, you can use
the Split Point Plug-in. For more details, see SPLIT POINTS or NOTE MOVER MENU in the User
Manual.
MEASURE NUMBERS
In the real world, measures are sometimes numbered A, B, C and D. Sometimes people cut sections
out of music, resulting in a measure numbering sequence like 52, 53, 70. Other times music is
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inserted, and the bars are called 33a, 33b, 33c. For these situations, Finale can create several differ-
ent numbering systems, one for each region of a piece.
In this example, however, you’ll simply number every measure sequentially. You’ll be using the
Measure Tool.
• Click the Measure Tool z. From the Measure Menu, choose Measure Numbers, then select
Edit Regions. The Measure Number dialog box appears.
The text box at the top of this dialog box is currently empty, indicating that no measure number
regions have been defined for this document. (The Tutorial 8.MUS file, that is. New default doc-
uments have a single measure number region by default starting with the first measure.)
• Click Add. Finale creates a measure number region, Region 1, encompassing measures 1
through 999. (There aren't anywhere near 999 measures in this document, but we’ve entered a
very high number to make sure that all the measures you do have are included in this region.)
• Click Set Font and choose Arial 9 point. Click OK to exit the Font dialog box. You can set the
font and size independently for each region.
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• Click Position. The Position Measure Number dialog box appears, letting you set the position
of the number relative to the beginning of the measure.
• Drag the number into place just below and to the right of the barline. You don’t have to drag
the 0 itself. You can drag anywhere within the display.
• Click OK. All that remains is to tell Finale how often you want the numbers to appear. If you
select Show Measure Numbers at Start of Staff System (the default), numbers will only appear
on measures that begin new systems. To make our changes easier to see, though, we’ll number
every measure.
• Click the radio button for Show Every __ Measures Beginning with Measure __. Make sure 1
is entered into both text boxes.
• Click OK. You’ve now numbered all the measures, but they appear under every staff. In a piano-
and-solo score like the one in this tutorial, the score might look best if they only appeared once
below the solo staff.
• Click the Staff Tool s; double-click any measure in the middle staff. The Staff Attributes dia-
log box for this staff appears.
• In the Items to Display section, uncheck Measure Numbers. From the Staff drop-down list at
the top of the Staff Attributes dialog box, choose [Staff 3] (to advance to the bottom staff)
and click Measure Numbers again. Click OK. You’ve just told Finale not to draw the measure
numbers under the piano staves. They now appear only under the top staff.
If you want to add another region, or if you want to change some aspects of the numbering for this
one, return to the Measure Number dialog box. For more details, see MEASURE NUMBERS in the
User Manual.
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THE SHAPE DESIGNER

Every now and then, you’ll run across a musical situation for which there’s no standard notation.
Maybe you’ll want to insert a diagram into your score, for harp pedaling, or musical-theatre stag-
ing, or an unusual instrument posture. For those situations, as well as for modern, alternative-
notation scores, Finale has a built-in drawing program called the Shape Designer. You visited the
Shape Designer in the previous tutorial, but this time you’ll really find out what it can do.
If you’ve ever worked with a graphics program, you’ll feel right at home in the Shape Designer. To
acquaint you with its features, in this exercise you’ll create a special diagram as part of a note to
your flutist.
• Click the Expression Tool y and double-click above measure 20. The Expression Selection
dialog box appears.
• Proceeding through the dialog boxes, click as follows: Shape (radio button); Create; Select;
Create. You arrive in the Shape Designer.
Use this popup

menu to zoom
in or zoom out.
These H (horizontal) and

V (vertical) measurements
specify the distance of a
point (or your cursor) from
the origin.
This small circle is the origin. It doesn't

print out; it just anchors your shape.
At the top of the window are twelve drawing tools.
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The Text Tool creates The Multiline Tool creates

text objects. multiple-segment lines.
The Selection Tool The Bracket Tool creates
selects, stretches, The Curve Tool makes
smooth arcs with no taper. a bracket or brace.
and moves objects.
The Graphics Tool
allows you to import
graphics.
The Hand Grabber Using the Rectangle The Polygon Tool
moves the entire or Ellipse tools, drag creates enclosed
drawing within the diagonally to create a straight-sided shapes.
window. rectangle or ellipse.
Using the Line Tool, drag The Slur Tool draws curves
to create a straight line. with tapered ends.
Let’s say that you want a special effect—you want the flute rotated 90 degrees and played verti-
cally.
In the steps below, the units shown in the H: (horizontal coordinate) and V: (vertical coordi-
nate) text boxes are measured in points (72 per inch).
• From the Shape Designer Menu, choose “Rulers and Grid.” The Rulers and Grid dialog box
appears.
• Click Points, then click OK. You’ve just set the measurement units to Points.
• If no grid points appear in the drawing area, from the Shape Designer Menu, choose Show,
and then Grid. Grid points now appear in the Shape Designer drawing area.
• From the View drop-down list, choose 200%. Everything on the screen now appears twice the
size it will be in the score.
• Click the Rectangle Tool S. You’re about to draw a tall thin rectangle that will represent the
flute itself.
• Starting on the origin, click and drag straight up and to the right
until H: is about 4 and V: is about 36. Release the mouse button.
The origin is the small white circle at the center of the screen. You
drew a rectangle, all right, but it’s too thick to look like a flute.
That’s easily remedied:
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• Click the Selection Tool c, and then click the “flute” rect-
angle. Black handles appear. From the Shape Designer
Menu, choose Line Thickness then choose Hairline. “Hair-
line” thickness is .25 points.
In the next step, you’ll create a curved arrow to indicate that
you want a rotation.
• Click the Curve Tool V. Starting to the right of the rectan-
gle, click and drag down and to the right to create a curve.
A shallow, downward-arcing curve appears. (If you had
dragged to the left, you would have created an upward arc.)
• Click the Selection Tool c. Click on the curve that was just created.
Three handles appear that govern the positions of the curve’s endpoints
and the arc of the curve itself. Drag these handles until the curve looks
like this:
To change its line thickness, click the line once and then, from the Shape
Designer Menu, choose Line Thickness and then select a different thickness.
Next, you’ll add an arrowhead to the curve.
• With the curve still selected, click on the Shape Designer menu and choose Arrowheads. The
Arrowheads dialog box appears. We want to add an arrow to the start of our curve.
• Click on the drop-down menu next to Start and select Preset Arrowhead.
In the Preset Arrowhead Selection dialog box, click on Select to choose
the first arrowhead. Click OK.
If you want to preserve the spatial relationship between the curve and the
rectangle, you can group them into a single unit. With the Selection Tool,
click one object, then d-click the other. From the Shape Designer Menu, choose Group.
From now on, these two objects will be locked together as though they’re a single object—until
you choose Ungroup from the Shape Designer Menu, of course.
As a final step, make a textual notation to the hapless flutist:
• Click the Text Tool [. Click to the left of the “flute,” and type “Tilt
flute straight up.” Tilt flute
straight up
If you want the text to wrap onto two lines, as shown above, press
j after the first two words. To change the type style, select the
entire text block using the Selection Tool, and choose Select Font from
the Shape Designer Menu.
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• While pressing ! (Mac: a), click OK. Then click OK and Select. In the Measure
Expression Assignment dialog box, choose Show on This Staff Only, and click OK. You return
to the score, where your special diagram appears near the measure you clicked. Drag its handle
to adjust its position.
You may not have much everyday need for the vertical-flute shape you just drew. But the Shape
Designer will come in handy for creating doits, harp diagrams, enclosures, logos, and other spe-
cial notational cases. For more information on using the Shape Designer, see SHAPE DESIGNER in
the User Manual.
SCANNING MUSIC
Finale offers a variety of ways for you to scan sheet music and bring the results into Finale. You can
bring your scanned files into Musitek’s MIDISCAN or SmartScore software, then import the result-
ing files into Finale. Or, you could directly acquire sheet music from you scanner, and translate it
to a Finale file using built-in SmartScore technology. The SmartScore Lite feature in Finale, like
many music scanning products, doesn’t recognize articulation marks, hairpins, double or repeat
barlines, or text. It will recognize 3 accidental types, 3 clefs, 16 staves per page, smallest note value
is a 32nd note, and a maximum of 1 augmentation dot.
Because scanning is not a perfect science, you will need to clean up any file after conversion.
Depending on the music, some users will 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).
Because scanners and scanning software varies widely, we cannot provide instructions on how to
prepare a file for every scanner. For some hints on how to prepare a scanned file from some popular
scanners, see SCANNING in the User Manual. The scanned sheet music image should be saved as a
black and white (or line art) graphic in TIFF format at a resolution of 300dpi.
• Place a sheet of music on your scanner. Ensure it is placed squarely on the scanner’s bed, and
the staff lines are not slanted on the page. Do not use hand-written or photocopied scores. If
you have already scanned and saved TIFF files (or want to use our demonstration TIFF file),
from the File Menu, choose SmartScore Scanning Lite, and then TIFF Import (and skip the next
three steps).
• From the File Menu, choose SmartScore Scanning Lite, and then Acquire. Finale opens your
scanning software. In most cases, all the settings you need to properly scan the file for Finale
import are configured.
• Scan the first page of your score. After the scan, click Yes to scan additional pages. Click No
once all your pages have been scanned.
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• Click OK. The SmartScore Lite dialog box appears.

• Click Add Files to List. The Open dialog box appears. If you just scanned, you files appear in
this list. Click the first file in this list and then hold down Shift and click the last file to select all
of them. Then click Open (and skip the next step). If you want to import the demonstration
TIFF file we have provided, continue with the next step.
• Navigate to the file called: Tutorial 6a.TIFF and double-click on it. The file appears in the file
list window.
• Click the filename to highlight it. A preview of the file appears in the left window.
• Click Begin Recognition. Finale will translate the image into a Finale document. The time it
takes to complete recognition will depend on the complexity of the file as well as the number of
files chosen. In the future, you can translate several files at once by selecting multiple files in the
Open dialog box, and then highlighting the ones you want to convert from the file list before
pressing Begin Recognition.
You can also import a .FIN file you have saved in SmartScore. Here’s how:
• From the File Menu, choose Import, and then SmartScore. Double-click on the Tutorial
6a.FIN file. Finale transcribes the SmartScore file and opens the new file. Note that the Smart-
Score engine also recognized the articulations, such as staccatos and accents. Creating FIN files
for import into Finale will require the full version of SmartScore which is created by Musitek.
For more information, visit www.musitek.com.
For both the converted TIFF and SmartScore file, you may wish to copy and paste the music
into a new Wizard-created document for a fast improvement in layout.
For more information, see SCANNING in the User Manual.
PERCUSSION MAPS
One of the more powerful aspects of Finale is Percussion Mapping. In General MIDI, each percussion
sound is assigned to a MIDI pitch (i.e. MIDI Note 36 is a bass drum sound). Percussion Mapping
allows you to map any MIDI note to any staff position.
Suppose you wish to create a score for your drum set player and you are interested in both how the
score looks and plays back.
• Click on File and choose New, then Document With Setup Wizard. Enter a title or composer,
if desired, then click Next. The second page of the Setup Wizard appears, where you can select
your percussion instruments.
• Click Drums in the first column. Double-click Drum Set in the second column. Click Next
twice then Finish to select the default settings and create a blank drum score.
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• Click the Simple Entry tool 4. Click the Quarter Note Tool 5 on the Simple Entry Palette.
• Click in the first space of the staff. Note that you hear a bass drum sound as you click. If you
don’t, from the Simple Menu, choose Simple Entry Options, check Playback on Mouse Entry
and click OK.
Because different drum instruments will often appear on the same staff but with different
rhythms, you’ll need to use layers for each instrument appearing at the same time. For example,
you’d normally notate the bass drum rhythms on the same staff as the snare drum.
• Next click in the space above the staff. Not only do you hear the closed high-hat sound, the
notehead appears as an X as well.
Sometimes, two different sounds appear on the same line or space in the staff. For example,
click in the third space of the staff, to enter a snare drum hit. Instead of the snare, you probably
heard a side stick sound instead of a snare drum. Simple solution: press numpad -(minus).
Click on the note in question. You should now hear a snare drum sound.
As an exercise, let’s enter the following passage:
yyyy yyy yyyyy yyyy yyyy yyy yyyyy yyyy yyyy yyy y y yy y yy yy
÷ c œ œœ œ œœ œ œœ œ œœ œ œœ œœ œ œ œ œœ œœ
• First, use the Eraser Tool ø to erase our earlier experiment.
• Enter the Hi-Hat and Crash notes above the staff. Enter the snare drum notes in the 3rd
space of the staff. Remember to get a snare drum sound, you’ll need a sharped note. Try using
the Sharp Tool m in conjunction with the sixteenth note. If you need a refresher on how to
enter notes with Simple Entry, see Tutorial 1a: SIMPLE ENTRY.
• From the View Menu, choose Select Layers, Layer 2. Enter the notes for the bass drum on the
first space. You could also choose Layer 2 from the layer selection in the lower left corner of the
screen, or hold down @ and d (Mac: a and b) and press 2.
• Play it back by hitting Play 1 on the Playback Controls. You should hear a simple drum
pattern with the appropriate percussion sounds.
For more information, see the User Manual under PERCUSSION.

If you worked through all of the Finale tutorials, congratulations! You’ve seen all of Finale’s major
features at work. Now begin a project of your own. Read the last chapter of this book for some tips,
and remember that the User Manual and QuickStart Video Tips are available under the Help Menu.
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Some of the entries in the User Manual contain discussions of topics you’ve just covered. See:
BEAM ANGLES SCANNING
BEAMING SELECTING MUSIC
BEAMING: SECONDARY BEAMS SHAPE DESIGNER
BEAMING ACROSS BARLINES SPLIT POINTS
CROSS-STAFF NOTES STEMS
NOTE SHAPES TIES
PERCUSSION TABLATURE
QUANTIZATION
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Making the Most of Finale
If you’ve followed the step-by-step procedures to this point, you’ve seen most of Finale’s tools at
work. You’re not expected to remember all this material, of course; you can always re-read the in-
depth discussions presented in this volume and consult the User Manual and QuickStart Video
Tips at any time (under the Help Menu).
But knowing which tools are at your disposal is only half the learning process. Now you need to
learn how to maximize the program’s speed and power to produce the most music, with the fewest
false steps, and in the shortest time.
WORKING FROM TEMPLATES

It’s a good idea never to build any score configuration more than once—save any such template,
with no music in it, so that you can open it the next time you need a similar system setup. When
you open a template document, Finale reads the template and brings an untitled copy to the screen
(so you don’t accidentally change the original).
For starters, you can look at the ready-made staff configurations in the Finale/Templates folder on
your hard disk. You’ll find more than 30 different kinds of blank scores (piano-vocal scores, choral
setups, chamber orchestra scores, and so on.)
There are several ways to preserve a blank original template while still having a duplicate to work
on:
• From the File Menu, choose New, then Document from Template. The Open dialog box
appears, allowing you to choose a document.
• Double-click the template you want to open. When the document comes to the screen, it’s
called Untitled. This technique achieves the same result as the Save As technique: it preserves
the original template for future use, and brings an untitled copy to the screen.
Actually, you’ve been using a template since you began learning Finale: the Maestro Font Default
document. This special document duplicates itself every time you start Finale (or choose the New
Default Document option from the New submenu of the File Menu), bringing an untitled copy to
the screen.
EDITING THE MAESTRO FONT DEFAULT

If there are items that you want to appear on every new document, such as a copyright at the bot-
tom of the page, you can edit the Maestro Font Default file and save it. Then, each time you start a
new default document, or begin a new document from the Setup Wizard, this item will appear in
the score. As mentioned earlier, you can also edit any document option and apply it to the Maestro
Font Default. Here’s how:
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• From the File Menu, choose Open. Navigate to the Finale/Component files folder. On Win-
dows, from the Files of Type drop down list, choose *.FTM.
• Double-click the file Maestro Font Default. A new default file opens.
• Make any desired changes. For example, from the Options Menu, choose Document Options.
Any settings you change here, such as the font size for any item, music spacing settings or any
of the other options will apply each time you open a new document.
• From the File Menu, choose Save.
• On Windows, from the Files of Type drop-down list, choose Coda Template File. Mac users
skip to the next step.
• Name the file “Maestro Font Default” and click save. You replace the old Maestro Font Default
with your new one. Now, the settings you made apply for new documents.
Note that you will only be able to use this feature if the Maestro Font Default file is located in the
Finale/Component Files folder. If this file is removed from the Component Files folder, Finale will
open a completely blank unformulated, one measure score when you choose File > New > New
Default Document or begin a new score with the Setup Wizard.
SAVING NEW TEMPLATES

In addition to saving a new Maestro Font Default, you can also save other templates that can be
used for starting new documents over and over again.
On Windows, open any document and make the desired settings. For example, if you plan to com-
pose a multi movement flute piece, you might add some flute staves and create a flute quintet tem-
plate. When you’ve setup your score, from the File Menu, choose Save. Then, from the Files of
Type drop-down list, choose Coda Template File *.FTM. Name the file whatever you wish and save
it to a memorable location, such as the Finale/Templates folder (which opens automatically when
you choose File > New > Document From Template). Note that you can save the .FTM file any-
where, and anytime you open it, Finale will create a duplicate copy and leave the original template
alone.
On Macintosh, open any document and make the desired settings. For example, if you plan to
compose a multi movement horn piece, you might add some horn staves and create a horn quintet
template. When you’ve setup your score, from the File Menu, choose Save. Name the file and save
it to the Finale/Templates folder. Then, when you want to use the file, from the File Menu, choose
New > Document from Template, and double-click to open the file. To open a file as a template,
you must choose New > Document From Template from the File Menu. In fact, on Macintosh, you
can open any file as a template as long as you first choose Document From Template. Using File >
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Open, will not create a duplicate file, and will save over the original file when you choose Save
from the File Menu.
ORDER OF ENTRY
In general, you can make the most of your time by creating your documents in the following order.
Save your work frequently. The list below is just one possibility; you may find a different order
suits your style better.
1. Use the Setup Wizard or a template to define the instruments and basic layout of your piece. If
needed, add, delete or edit staves with the Staff Tool.
2. Enter the music using the Simple Entry Tool, Speedy Entry Tool, or HyperScribe.
3. Edit the music with the Simple Entry Tool. Get familiar with the numeric keypad commands,
including duration shortcuts and keystrokes for selecting other tools. Remember, you can
right-click (Mac c-click) any entry to edit it with a context menu, or !-click (Mac
b-Click) to select any note and use a modifier keystroke to edit the note. To see a list of
keystrokes, from the Simple Menu, choose Simple Edit Commands.
4. Using the Playback Controls, listen to your piece to check for mistakes.
5. Put in the lyrics using either Type into Score or Click Assignment.
6. Use the Repeat Tool or one of the Repeat Plug-ins to place any repeats.
7. Add chord symbols and fretboards.
8. Put in all the expression markings: articulation, dynamics, slurs and so on. Assign your most
frequently used markings to Metatools.
9. Verify that the music is spaced correctly; if necessary, use the Music Spacing commands in the
Mass Edit Menu.
10. Use the Resize Tool to specify the overall size of the music (by clicking the upper-left corner of
the page).
11. Look the piece over in Page View. Fix bad page turns or system breaks, using the Mass Edit
Tool's Fit Music command.
12. Optimize systems, if necessary, by choosing Optimize Staff Systems from the Page Layout
Menu.
13. Add rehearsal notes, subtitles and page numbers with the Text Tool.
14. Use the Page Layout Tool to make final adjustments to your piece.
SPEED TIP: MINIMIZING SCREEN REDRAWS

Finale is a vast, graphics-intensive program; like any such program, it pushes the computer to its
processing limits.
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Completing your scores in the order described in the ORDER OF ENTRY section will help speed
Finale along. So will using Staff Sets whenever possible, to hide the staves you’re not working on.
There are several built-in features that speed Finale along, too, by minimizing the amount of
screen-painting (image processing) the program has to do.
• Sliding the music diagonally—You may notice that Finale redraws the screen every time you
move around the score using the scroll bars. But what about moving diagonally within your
score? Instead of using the horizontal scroll bar, then the vertical scroll bar, you can use the
Hand Grabber Tool } (on the Main Tool Bar) to move diagonally within your score in a single
movement. Even better—instead of changing tools just to adjust your view of the music, press
the right mouse button (Mac: a-b), and drag the music. Release the button, and resume
working with whatever tool was selected.
• Eliminating background redraws—You can further speed up your work by selecting “Redraw
Only the Active Window.” This option is in the View Menu, under Redraw Options. The
“Redraw Only the Active Window” option affects situations where you have several windows
open displaying the same document (or multiple documents); “Redraw Only the Active Win-
dow” prevents Finale from taking the time to update other views when you make a change in
the frontmost one.
• Hide whatever you can—Another way to cut down on the amount of image-processing Finale
must do is to hide the elements of the music you’re not working on. These options, too, are in
the View Menu’s Redraw Options dialog box.
Deselect any items (Music, Lyrics, Chord Symbols, etc.) you can do without for the time being.
If you’re editing notes, for example, it may be OK for Finale to hide the lyrics. The less Finale
has to draw, the faster you can work.
USING KEYBOARD SHORTCUTS

Many of the most commonly-used Finale commands and functions have keyboard shortcuts. You
may have noticed that pressing !-A (Mac: a-A) is the same as choosing Select All from the
Edit Menu, !-D (Mac: a-D) is the same as choosing Redraw Screen, and pressing !-U
(Mac: a-backslash) is the same as choosing Update Layout.
You may find it especially useful to select Finale tools without having to use the mouse. In Win-
dows, you can assign any Finale tool to one of the function keys F2 - F12 (F1 and F10 are reserved
by Windows). To assign a tool to a function key, select the tool to be assigned, then press d
and type a function key. To switch tools, type the tool’s function key. In Macintosh, you can assign
a Finale tool to one of eight keys (F, G, H, J, K, L, semicolon [;] and apostrophe [‘]). To assign a tool
to a key, press b-c and type the key to which the tool is to be assigned. In the Master Tool
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Palette, select the tool, then click OK. To switch tools, press c and type the tool’s key. To assign
a keystroke to any menu item, use the TGTools Menu Shortcuts plug-in.
And while it doesn’t actually qualify as a keyboard shortcut, Finale’s “power-OK” and “power-Can-
cel” techniques can save you a lot of time. Any time you’ve crossed through several dialog boxes to
make a certain setting (to create something in the Shape Designer, for example), you don’t have to
retrace your steps back through those dialog boxes. Instead, click OK or Cancel while pressing the
! (Mac: a) key. You’ll return directly to the score.
MACROS
The built-in keyboard shortcuts described above and Metatools are all well and good, but what
about commands that you use often but which have no keyboard equivalents? Furthermore, what
about multistep procedures (switch into Page View, Scale View to 75%, click Page Layout Tool,
indent first system, click OK) that you perform often?
If you’re even a moderate efficiency demon, you should try the FinaleScript plug-in. This plug-in
was designed to provide an easy way to automatize repetitive tasks, so a series of commands can be
run once for any number of documents, instead of over and over again manually. For example,
instead of opening, changing the spacing, transposition and layout of many documents manually,
this plug-in allows you to run the same set of commands to all of these documents at once. A series
of commands can also be applied to a single document. To access the FinaleScript plug-in, from the
Plug-ins Menu, choose New Plug-ins for Finale 2005, and select FinaleScript. Also, see FINALE-
SCRIPT PLUG-IN in the User Manual.
In Addition to the FinaleScript plug-in, you might also consider linking Finale up with a third-
party macro program. A macro is a series of steps—dragging, choosing menu commands, typing,
and so on—that’s been automated and programmed to execute itself when you press a certain key-
stroke.
Macro programs let you perform any such sequence with a single keystroke. QuicKeys (CE Soft-
ware: 1-800-5CE-SOFT), or Tempo Shortcutter (Affinity Microsystems: 1-800-367-6771), for
example, can make your life with Finale easier. If you’re unfamiliar with a macro program, you’ll
have to sit down with its manual and learn how it works. But it’s a worthwhile investment of time,
and will pay for itself many times over—every time you work with Finale, in fact, and get to watch
the macro program perform a routine multistep task for you.
Furthermore, you can use a macro program to map tool keyboard equivalents (since Finale pro-
vides only eleven). For example, you may decide to use !-T to switch to the Text Tool. For
Windows users, check out the Menu Shortcuts Plug-in for another built-in Finale macro program.
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LINKS TO THE REST OF THE WORLD

Finale is the most well-connected program you can imagine. It can share its images with graphics
programs, its lyrics and text blocks with word processing programs, and its music with sequencers,
or other notation programs. With the Finale Showcase, you can even post your files on the Finale-
music Website and share with friends across the globe.
One of the most useful examples of Finale’s cooperation with other software is its ability to handle
standard MIDI sequencer files. These special files contain MIDI playback data. Most sequencer pro-
grams (Digital Performer, Sonar, Cubase, and so on) can generate and read them, and so can
Finale. That means that you can create your music in your favorite sequencer; when it’s polished
and ready to be notated, save it on your disk as a MIDI file and open it with Finale; it will turn into
standard notation. When you attempt this process, you’ll discover that Finale offers literally dozens
of options for separating and recombining the music on the various tracks of the sequencer file. If
you want, Finale will even retain the velocity, rhythmic “feel,” and controller information from the
original sequence. See MIDI FILES in the User Manual for more details.
Note, too, that Finale 2005 can read files created in other music notation programs from MakeMu-
sic!, including Finale, Allegro, Finale Guitar, NotePad and MusicProse. Files created in earlier ver-
sions of Finale, as well as any of MakeMusic!’s notation programs, can be opened directly in the
opposite platform. For example, files created in Finale 2002 for Windows can be opened in Finale
2005 for Macintosh. You can also read older cross-platform files, including those from Allegro,
Finale Guitar, PrintMusic, NotePad and MusicProse. IMPORTANT: None of MakeMusic's older
products can read Finale 2005 files directly, including those saved as ENIGMA Transportable Files
(ETFs). To share your files with others who do not own the most recent version of Finale, have
them download Finale Notepad 2005 which is available for free at www.finalemusic.com and will
open any file saved from Finale 2005. Also, you can use the Music XML plug-in to save files in
XML format which can be opened by older Finaleversions (back to Finale2000) using a special
third-party Dolet Music XML plug-in (developed by Recordare®) installed to the plug-ins folder.
See the User Manual under MUSIC XML EXPORT PLUG-IN. See also IMPORTING in the User Manual for
more details.
In addition to the plug-ins available with Finale 2005, there are also a number of additional plug-
ins available created by third-party developers that can improve efficiency and automate tasks. For
example the TGTools and Patterson Plug-ins Lite options under Finale’s Plug-ins menu are samples
of the full TGTools collection available at www.tgtools.de and the Patterson Plug-in collection
available at www.robertgpatterson.com. There are also a number of other plug-in available. See
www.finaletips.nu for a list of several.
In addition to third party plug-ins, you can also use music fonts created by third party vendors. A
wide variety of music fonts are now commercially available and can be used with Finale. See FONTS
in the User Manual.
188
THE NEXT FINALE

Your response to Finale is extremely important to us; the version of Finale you’re now using
reflects the comments and suggestions of thousands of users. Please send us your ideas and “wish
lists” as you get to know the program. We’ll read and consider everything we receive; Finale will
continue to become better, faster, and easier to use. Make sure you’ve sent us your registration card
so that you’ll be notified when the next version becomes available.
In the meantime, you have at your disposal a musical tool of tremendous power and flexibility.
You’ve seen some of what Finale can do, and you’ll discover other useful features as you become
acquainted with it. With this volume and the User Manual as your guides, you should now be
ready to work on a project of your own.
A fascinating experience awaits you. Here’s hoping that Finale enhances your musical productivity
and creativity in ways you’ve never imagined possible.
189
190
License Agreement
IMPORTANT—READ THIS AGREEMENT BEFORE OPENING DISK PACKET!

BY OPENING THE SEALED PACKET, YOU AGREE TO BE BOUND BY
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price and license fee you paid for the PRINTMUSIC! package.
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this disk packet and the FINALE package (collectively “the SOFTWARE”) to you on the following
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This License Agreement is NOT a sale of the SOFTWARE.
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that the SOFTWARE is used on only one computer at a time. You may not install or use the SOFT-
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191
License Agreement
6. SUPPORT AND UPDATE POLICY. MAKEMUSIC! is not responsible for maintaining or helping
you to use the SOFTWARE, except through MAKEMUSIC’s FINALE SUPPORT SYSTEM. From
time to time, MAKEMUSIC! may update the SOFTWARE. By registering the SOFTWARE with
MAKEMUSIC!, you will be able to use MAKEMUSIC’s FINALE SUPPORT SYSTEM. In addition,
you will receive information regarding updated versions of the SOFTWARE. Future updates may
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paid an Update Fee.
7. TERMINATION. This License Agreement is effective upon opening the sealed disk packet and
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The FINALE SOFTWARE and accompanying documentation materials may also be protected
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terms and conditions of this License Agreement.
SOFTWARE DISCLAIMER OF WARRANTY AND LIMITED WARRANTY FOR MEDIA THE
SOFTWARE AND ACCOMPANYING DOCUMENTATION MATERIALS ARE PROVIDED SOLELY
ON AN “AS IS” BASIS, WITHOUT WARRANTY OF ANY KIND. THE ENTIRE RISK AS TO THE
QUALITY AND PERFORMANCE OF THE SOFTWARE AND ACCOMPANYING DOCUMENTA-
TION MATERIALS IS WITH YOU. YOU ASSUME ALL RESPONSIBILITY FOR SELECTION OF
THE SOFTWARE AND ACCOMPANYING DOCUMENTATION MATERIALS TO ACHIEVE YOUR
INTENDED RESULTS, AND FOR THE INSTALLATION, USE, AND RESULTS OF THE SOFT-
WARE. IF THE SOFTWARE OR ACCOMPANYING DOCUMENTATION MATERIALS PROVE TO
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EMPLOYEES, ASSUME THE ENTIRE COST OF ANY AND ALL NECESSARY SERVICING,
REPAIR, OR CORRECTION.
MAKEMUSIC! warrants to the original licensee of the SOFTWARE that the media on which the
SOFTWARE and accompanying documentation materials are recorded will be free from defects in
materials or workmanship under normal use for a period of 90 days from the date of purchase of
the media and documentation materials as evidenced by a receipt. This warranty will be null and
void if the media appears to have been damaged due to unauthorized service, modification, acci-
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to defective media shall be replacement of the defective media. MAKEMUSIC! will replace any
192
License Agreement
defective media you return during the 90 day warranty period, without charge, provided you have
registered the SOFTWARE with MAKEMUSIC!. Prior to returning the defective media, you must
call MAKEMUSIC! for a return authorization number. Returned media should be shipped in a pro-
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TION ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE 90 DAY LIMITATION MAY
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OR EXCLUSION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITA-
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MAKES NO WARRANTIES REGARDING THE SOFTWARE, DOCUMENTATION MATERIALS,
OR MEDIA, EITHER EXPRESS OR IMPLIED, INCLUDED BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. No oral or written
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shall create any other warranty or increase in any way the scope of this warranty, and you may
NOT rely on such information or advice. THIS LIMITED WARRANTY GIVES YOU SPECIFIC
LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY FROM STATE TO
STATE.
IMPORTANT NOTE: This Software may be used to reproduce materials. It is licensed to you only
for reproduction of non-copyright materials, materials in which you own the copyright or materi-
als you are authorized or legally permitted to reproduce. If you are uncertain about copyright law
you should contact your legal advisor.
193
License Agreement
194
Index
Beat Source . . . . . . . . 47, 49, 51, 163

Numerics Bend Hat . . . . . . . . . . . . . . . . . . . 159
6/8 meter . . . . . . . . . . . . . . . . . . . . 50 Block rest . . . . . . . . . . . . . . . . . . . 122
8va markings . . . . . . . . . . . . . . . . . 76 Brackets . . . . . . . . . . . . . . . . . . . . . 76
A C
Accents . . . . . . . . . . . . . . . . . . . . . 73 Check for Extra Notes . . . . . . . . . . . 15
Accidental Mover Tool . . . . . . . . . 167 Chord Menu . . . . . . . . . . . . . . . . . . 65
Accidentals Edit Learned Chords . . . . . . . . . . . 65
Simple Entry . . . . . . . . . . . . . . . . . 15 Manual Input . . . . . . . . . . . . . 65, 68
Speedy Entry . . . . . . . . . . . . . . . . 31 MIDI Input . . . . . . . . . . . . . . . . . . 65
Adding Measures . . . . . . . . . . . . . . 26 One-Staff Analysis . . . . . . . . . . . . . 65
Position Fretboards . . . . . . . . . . . . 68
Advanced Tools . . . . . . 106, 134, 165
Show Fretboards . . . . . . . . . . . . . . 68
Anacrusis . . . . . . . . . . . . . . . . . . . . 93 Two-Staff Analysis . . . . . . . . . . . . . 65
Apply Note Spacing . . . . . . . . . . . . 94 Type Into Score . . . . . . . . . . . . . . . 65
Apply Staff Style . . . . . . . . . . . . . . 118 Chord Symbols . . . . . . . . . . . . . . . . 65
Arrow Keys . . . . . . . . . . . . . . . . . . 83 Chord Tool . . . . . . . . . . . . . . . . . . 65
Articulation Tool . . . . . . . . . . . . . . 73 Chords . . . . . . . . . . . . . . . . . . . 17, 30
Articulations . . . . . . . . . . . . . . . . . . 73 Clear Items . . . . . . . . . . . . . . . 59, 170
Adding a single articulation . . . . . . . 74 Clefs . . . . . . . . . . . . . . . . . . . . . . 111
Adding in Simple Entry . . . . . . . . . 12 Changing the Clef in Simple Entry . . 19
Adding multiple . . . . . . . . . . . . . . 77
Click and Countoff . . . . . . . . . . . . . 46
Deleting a single articulation . . . . . . 74
Deleting multiple . . . . . . . . . . . . . . 80
Click Assignment . . . . . . . . . . . . . . 60
Automatic Music Spacing . . . . . . . . 94 Coda . . . . . . . . . . . . . . . . . . . . . . . 63
Composer credits . . . . . . . . . . . . . 104
Compound meter . . . . . . . . . . . . . . 50
B Continuous Data . . . . . . . . . . . . . 143
Copy and Replace . . . . . . . . . . . . . . 87
Backups . . . . . . . . . . . . . . . . . . . . . 23
Copying Music . . . . . . . . . . . . . . . . 39
Beam Angle Tool . . . . . . . . . . . . . 169
Copying music . . . . . . . . . . . . . . . . 10
Beam Extension Tool . . . . . . . . . . 169
Copyright . . . . . . . . . . . . . . . . . 1, 104
Beam Stem Adjust Tool . . . . . . . . . 169
Create new Measures . . . . . . . . . . . 15
Beam Width Tool . . . . . . . . . . . . . 169
Crescendos . . . . . . . . . . . . . . . . . . . 76
Beaming . . . . . . . . . . . . . . . . . 50, 165
Cross Staff . . . . . . . . . . . . . . . . . . 171
6/8 meter . . . . . . . . . . .. . . . . . . . 50
Joining or breaking beams . . . . . . . . 41 Cue notes . . . . . . . . . . . . . . . . . . . 102
Beat Charts . . . . . . . . . . . . . . . . . . . 95 Cue staff . . . . . . . . . . . . . . . . . . . . 102
195
Index
Custom Stem Tool . . . . . . . . . . . . 168 Creating Expressions . . . . . . . . . . . 81
Defining Playback . . . . . . . . . . . . 146
Multimeasure Rests . . . . . . . . . . . . 84
D Tempo Marking . . . . . . . . . . . . . 149
Extract Parts . . . . . . . . . . . . . . . . . 122
Dates . . . . . . . . . . . . . . . . . . . . . . 104
Default Document . . . . . . . . . . . . . 46
Delete Staff Systems . . . . . . . . . . . 101 F
Deleting Measures . . . . . . . . . . . . . . 39
Document Setup Wizard . . . . . . . . . . 1 Fermatas . . . . . . . . . . . . . . . . . . . . 73
Dot Tool . . . . . . . . . . . . . . . . . . . 169 File Menu
Double/Split Stem Tool . . . . . . . . . 167 Close . . . . . . . . . . . . . . . . . . . . . . . 4
Close All . . . . . . . . . . . . . . . . . . . 23
Exit . . . . . . . . . . . . . . . . . . . . . . . 23
E Extract Parts . . . . . . . . . . . . . . . . 122
New
Edit Learned Chords . . . . . . . . . . . . 65 Default Document . . . . . . . . . . . . 46
Edit Lyrics . . . . . . . . . . . . . 58, 59, 62 Document from Template . . . 25, 183
Edit Margins . . . . . . . . . . . . . . . . . . 99 Document with Setup Wizard . . . . . 1
Edit Menu Open . . . . . . . . . . . . . . . . vii, 4, 65
Automatic Music Spacing . . . . . . . . 94 Open Library . . . . . . . . . . . . . . . . 88
Partial Measure Selection . . . . . . . . . 40 Print . . . . . . . . . . . . . . . . . . . . . 106
Select All . . . . . . . . . . . . . . . . . . . 59 Print Parts . . . . . . . . . . . . . . . . . 123
Select Partial Measure . . . . . . . . . . 114 Quit . . . . . . . . . . . . . . . . . . . . . . 23
Select Region . . . . . . . . . . . . . . . . 39 Revert . . . . . . . . . . . . . . . . . . . . 125
Special Part Extraction . . . . . . . . . 123 Save . . . . . . . . . . . . . . . . . . . 23, 43
Undo . . . . . . . . . . . . . . . . . . . . . 30 Save Library . . . . . . . . . . . . . . . . . 88
Update Layout . . . . . . . . . . . . 93, 95 Fill with Rests . . . . . . . . . . . . . . . . . 15
Edit Staff Attributes . . . . . . . . . . . . 111 First Ending Repeats . . . . . . . . . . . . 63
Editing the Maestro Font Default file Fit Music . . . . . . . . . . . . . . . . . . . . 92
Templates Frame Attributes . . . . . . . . . . . . . . 105
Editing the Maestro Font Default . 183 Fret Number . . . . . . . . . . . . . . . . 155
EDUs . . . . . . . . . . . . . . . . . . . 51, 141
EPS file . . . . . . . . . . . . . . . . . . . . 106
Eraser . . . . . . . . . . . . . . . . . . . . . . 10 G
Erasing Music . . . . . . . . . . . . . . . . . 40 Grace notes . . . . . . . . . . . . . . . . . . 41
Erasing music . . . . . . . . . . . . . . . . . 10 Graphics Menu
Expression Libraries . . . . . . . . . . . . 88 Export Selection . . . . . . . . . . . . . 106
Expressions . . . . . . . . . . . . . . . . . . 73 Place Graphic . . . . . . . . . . . . . . . 108
Adding in Simple Entry . . . . . . . . . 13 Graphics Tool . . . . . . . . . . . . . . . . 106
Copying and Pasting . . . . . . . . . . . 87 Guitar Bends . . . . . . . . . . . . . . . . 159
196
Index
Guitar Tablature . . . . . . . . . . . . . . 153

J
H Jump to Next Measure . . . . . . . . . . 29
Hammer-ons . . . . . . . . . . . . . . . . 161
Hand Grabber Tool . . . . . . . . . . . . 186 K
Help . . . . . . . . . . . . . . . . . . . . . . . vi Key
Hiding Changing the Key in Simple Entry . . 19
Notes or Rests . . . . . . . . . . . . . . . . 41 Changing the Key Signature . . . . . . . 55
Staves (permanently) . . . . . . . . . . 118 Setting the Key Signature . . . . . . . . . 2
Staves (temporarily) . . . . . . . . . . . 115 Key Signature Tool . . . . . . . . . . . . . 55
Home Position . . . . . . . . 40, 102, 104 Key Velocities . . . . . . . . . . . . . . . . 137
Horizontal scroll bar . . . . . . . . . . . . . 6 Keyboard Shortcuts . . . . . . . . . . . 186
Human Playback . . . . . . . . . . . . . 130
HyperScribe . . . . . . . . . . . . . . . . . . 45
Record Mode . . . . . . . . . . . . . . . . 52 L
Transcribing a Melody . . . . . . . . . . 49
Transcribing a Scale . . . . . . . . . . . . 47
Layer Options . . . . . . . . . . . . . . . . . 68
Two-handed HyperScribing . . . . . . . 51 Layers . . . . . . . . . . . . . . . . . . . . . . 41
HyperScribe Menu Libraries . . . . . . . . . . . . . . . . . . . . . 88
Beat Source . . . . . . . 47, 49, 51, 163 Expressions . . . . . . . . . . . . . . . . . 88
Playback and Click . . . . . . . 47, 163 Staff Styles . . . . . . . . . . . . . . . . . 118
Tap . . . . . . . . . . . . . . . . . . 49, 51 Lyrics
Record Mode . . . . . . . . . . . . 48, 163 Click Assignment . . . . . . . . . . . . . 59
Split into Two Staves . . . . . . . . . . 52 Type into Score . . . . . . . . . . . . . . . 57
Lyrics Menu
Click Assignment . . . . . . . . . . . . . 60
I Edit Lyrics . . . . . . . . . . . . 58, 59, 62
Shift Lyrics . . . . . . . . . . . . . . . . . . 61
Inner Voices . . . . . . . . . . . . . . . . . . 41 Type into Score . . . . . . . . . . . . . . . 57
Insert mode . . . . . . . . . . . . . . . . . . 35 Lyrics Tool . . . . . . . . . . . . . . . . . . . 57
Insert Page Break . . . . . . . . . . . . . 101
Insert Staff Systems . . . . . . . . . . . . 101
Inserting Notes or Rests . . . . . . . . . . 35 M
Installing Finale
Macros . . . . . . . . . . . . . . . . . . . . . 187
Macintosh . . . . . . . . . . . . . . . . .xiii
Windows . . . . . . . . . . . . . . . . . .
. vii Maestro Font Default . . . . . . . 46, 183
Instrument Definition dialog box . . 129 Main Tool Palette . . . . . . . . . . . . . . . 6
Instrument List . . . . . . . . . . . . . . . 127 Mass Edit Menu
Clear Items . . . . . . . . . . . . . . 59, 170
Internal Speaker Playback . . . . . . . . 42
Copy and Replace . . . . . . . . . . . . . 87
197
Index
Fit Music . . . . . . . . . . . . . . . . . . . 92 Multiple Voices . . . . . . . . . . . . . . . . 41
Music Spacing . . . . . . . . . . . . . . . . 94 Music Spacing . . . . . . . . . . . . . . . . 94
Apply Note Spacing . . . . . . . . . . . 94 Music Spacing Options . . . . . . . . . . 71
Transpose . . . . . . . . . . . . . . . . . 114 Music XML
Unlock Systems . . . . . . . . . . . . . . . 93 see Dolet Music XML plug-in
Utilities . . . . . . . . . . . . . . . . . . . 170 Musica ficta . . . . . . . . . . . . . . . . . 167
Remove Stem Changes . . . . . . . . 170
Mass Edit Tool 10, 59, 87, 92, 94, 114
Measure Layout . . . . . . . . . . . . . . . 91 N
Measure Numbers . . . . . . . . . . . . . 173
Measure Tool . 20, 26, 39, 91, 95, 174 New Staves . . . . . . . . . . . . . . . . . . 111
Measurement Units . . . . . . . . . 96, 170 New Staves (with Wizard) . . . . . . . 116
Measures Note Durations . . . . . . . . . . . . . . . 139
Adding . . . . . . . . . . . . . . . . . 20, 26 Note Mover Menu
Deleting . . . . . . . . . . . . . . . . . . . . 39 Cross Staff . . . . .
. . . . . . . . . . . . 171
Selecting Several Measures . . . . . . . 38 Delete After Merge . . . . . . . . . . . . 173
menu bar . . . . . . . . . . . . . . . . . . . . . 6 Note Mover Tool . . . . . . . . . . . . . 171
Message Bar . . . . . . . . . . . . . . . . . . . 6 Note Position Tool . . . . . . . . . . . . 166
Metatools . . . . . . . . . . . . . . . . . . . . 77 Note Shape Tool . . . . . . . . . . . . . . 166
Articulations . . . . . . . . . . . . . . . . . 77 Notehead Position Tool . . . . . . . . . 166
Expressions . . . . . . . . . . . . . . . . . 78 Notes, Hiding . . . . . . . . . . . . . . . . . 41
Tuplets . . . . . . . . . . . . . . . . . . . . 34 Nudge Keys . . . . . . . . . . . . . . . . . . 83
Metronome Click . . . . . . . . . . 48, 163
MicNotator . . . . . . . . . . . . . . . . . . . 45
MIDI Channels . . . . . . . . . . . . . . . 127
O
MIDI Setup Dialog Box Open Library . . . . . . . . . . . . . . . . . 88
Macintosh . . . . . . . . . . . . . . . . xviii Optimizing Systems . . . . . . . . . . . 118
Windows . . . . . . . . . . . . . . . . . ...x Options Menu
MIDI System basics Click and Countoff . . . . . . . . 46, 162
Macintosh . . . . . . . . . . . . . . . . .xiv Document Settings
Windows . . . . . . . . . . . . . . . . . .viii Layer Options . . . . . . . . . . . . . . . 68
MIDI Tool . . . . . . . . . . . . . . . . . . 132 Music Spacing Options . . . . . . . . . 71
Copying MIDI Tool data . . . . . . . . 146 Internal Speaker Playback . . . . . . . . 42
Removing MIDI Tool data . . . . . . . 146 Measurement Units . . . . . . . . 96, 170
MIDI Tool Menu . . . . . . . . . . . . . . 134 Playback Options . . . . . . . . . . . . 133
MIDISCAN . . . . . . . . . . . . . . . . . . 179 Quantization Settings . . . . . . . . . . . 51
Moving music . . . . . . . . . . . . . . . . . 10 More Settings . . . . . . . . . . . . . . . 52
Multimeasure rest . . . . . . . . . . . . . 122 Order of Entry . . . . . . . . . . . . . . . 185
Multimeasure Rests Simplified . . . . . . . . . . . . . . . . . . xx
Expressions . . . . . . . . . . . . . . . . . 84 OS X
198
Index
Configuring MIDI with OS X 10.2.x . xv

Overwrite . . . . . . . . . . . . . . . . . . . . 19 Q
Quantization Settings . . . . . . . . . . . 51
P QuickStart Video Tips . . . . . . . . . . xix
Page Breaks . . . . . . . . . . . . . . . . . 100

Page counter . . . . . . . . . . . . . . . . . . . 6 R
Page Layout Menu Read Me file . . . . . . . . . . . . . . . . . . vi
Delete Staff Systems . . . . . . . . . . . 101 Record Mode . . . . . . . . . . 48, 52, 163
Fit Music . . . . . . . . . . . . . . . . . . . 93
Redraw Options . . . . . . . . . . . . . . 186
Insert Page Break . . . . . . . . . . . . . 101
Insert Staff Systems . . . . . . . . . . . 101
Rehearsal letters . . . . . . . . . . . . . . . 83
Optimize Staff Systems . . . . . . . . . 119 Remove Stem Changes . . . . . . . . . 170
Space Systems Evenly . . . . . . . . . . 100 Repeat Barlines . . . . . . . . . . . . . . . . 63
Systems Repeat Tool . . . . . . . . . . . . . . . . . . 63
Edit Margins . . . . . . . . . . . . . . . 99 Repitch . . . . . . . . . . . . . . . . . . . . . 19
Page Layout Tool . . . . . . . . . . . . . . 96 Resize
Page Numbers . . . . . . . . . . . 104, 105 Note . . . . . . . . . . . . . . . . . . . . . 102
Page View . . . . . . . . . . . . . . . 21, 117 Notehead . . . . . . . . . . . . . . . . . . 101
Part Extraction Page . . . . . . . . . . . . . . . . . . . . . 103
Print Parts . . . . . . . . . . . . . . . . . 123 Staff . . . . . . . . . . . . . . . . . . . . . 102
Special Part Extraction . . . . . . . . . 123 Staff System . . . . . . . . . . . . . . . . 102
Splitting into Separate Documents . 122 Resize Tool . . . . . . . . . . . . . . . . . . 101
Partial Measures . . . . . . . . . . . 40, 114 Reverse Stem Tool . . . . . . . . . . . . 172
Piano music, cross staff notes . . . . 171 Reversed stems . . . . . . . . . . . . . . . 172
Pickup Measures . . . . . . . . . . . . . . . 93 Revert . . . . . . . . . . . . . . . . . . . . . 125
Playback . . . . . . . . . . . . . . 42, 53, 67
Scrubbing . . . . . . . . . . . . . . . . . . 43 S
Playback and Click . . . . . . . . . 47, 163
Playback Controls . . . . . . . . . . . . . . 42 Save Library . . . . . . . . . . . . . . . . . . 88
Playback During Drag . . . . . . . . . . . 30 Saving . . . . . . . . . . . . . . . . . . . . . . 22
Playback Options . . . . . . . . . . . . . 133 Scale View . . . . . . . . . . . . . 21, 46, 57
Plug-ins . . . . . . . . . . . . . . . . . . . . 173 Scanning Music . . . . . . . . . . . . . . 179
Print Parts . . . . . . . . . . . . . . . . . . 123 Scroll View . . . . . . . . . . . . . . . 21, 111
Printing . . . . . . . . . . . . . . . . . . . . 108 Scrubbing playback . . . . . . . . . . . . 43
Program Staff Set . . . . . . . . . . . . . 115 Second Ending Repeats . . . . . . . . . . 63
Pull-offs . . . . . . . . . . . . . . . . . . . . 161 Second Verse . . . . . . . . . . . . . . . . . 62
Secondary Beam Angle Tool . . . . . 169
Secondary Beam Break Tool . . . . . 169
199
Index
Select All . . . . . . . . . . . . . . . . . . . . 59 Beam Extension Tool . . . . . . . . . . 169
Select Notes on Entry . . . . . . . . . . . 15 Beam Stem Adjust Tool . . . . . . . . . 169
Select Staff Set . . . . . . . . . . . . . . . 116 Beam Width Tool . . . . . . . . . . . . 169
Selecting music Custom Stem Tool . . . . . . . . . . . . 168
Select Region . . . . . . . . . . . . . . . . 39 Dot Tool . . . . . . . . . . . . . . . . . . 169
Shift-click . . . . . . . . . . . . . . . . . . 38 Double/Split Stem Tool . . . . . . . . . 167
Selection Tool . . . . . . . . . . . . . . . . . 77 Note Position Tool . . . . . . . . . . . . 166
Note Shape Tool . . . . . . . . . . . . . 166
Serial number . . . . . . . . . . . . . . . . . vi
Notehead Position Tool . . . . . . . . 166
Set Default Name Positions . . . . . . 112 Reverse Stem Tool . . . . . . . . . . . . 172
Setup Wizard . . . . . . . . . . . . . . 1, 153 Secondary Beam Angle Tool . . . . . 169
Shape Designer . . . . . . . . . . . . . . . 176 Secondary Beam Break Tool . . . . . . 169
Shift Lyrics . . . . . . . . . . . . . . . . . . . 61 Stem Direction Tool . . . . . . . . . . . 167
Shortcuts . . . . . . . . . . . . . . . . . . . 186 Stem Length Tool . . . . . . . . . . . . 167
Show Staff Styles . . . . . . . . . . . . . . 118 Tie Tool . . . . . . . . . . . . . . . . . . . 169
Simple Entry . . . . . . . . . . . . . . . 7, 19 Special Tools Menu
Accidentals . . . . . . . . . . . . . . . . . . 15 Show Handles . . . . . . . . . . . . . . . 166
Changing the Key Signatures, Time Signature, and Speed Tips . . . . . . . . . . . . . . . . . . 185
Clef . . . . . . . . . . . . . . . . . . 19 Speedy Entry . . . . . . . . . . . . . . . . . 26
Chords . . . . . . . . . . . . . . . . . . . . 17 Accidentals . . . . . . . . . . . . . . . . . . 31
Eraser . . . . . . . . . . . . . . . . . . . . . 10 Chords . . . . . . . . . . . . . . . . . . . . 30
Overwrite . . . . . . . . . . . . . . . . . . . 19 Editing . . . . . . . . . . . . . . . . . . . . 29
Repitch . . . . . . . . . . . . . . . . . . . . 19 Tuplets . . . . . . . . . . . . . . . . . . . . 32
Repitch Tool . . . . . . . . . . . . . . . . . 19 Speedy Entry Keypad Commands
Tuplets . . . . . . . . . . . . . . . . . . . . 18 Macintosh . . . . . . . . . . . . . . . . . . 28
Simple Entry Palette . . . . . . . . . . . . . 7 Windows . . . . . . . . . . . . . . . . . . . 28
Simple Entry Rests Palette . . . . . . . . . 7 Speedy Menu
Simple Menu Insert . . . . . . . . . . . . . . . . . . . . . 35
Check for Extra Notes . . . . . . . . . . 15 Jump to Next Measure . . . . . . . . . . 29
Create new Measures . . . . . . . . . . . 15 Playback During Drag . . . . . . . . . . 30
Fill with Rests . . . . . . . . . . . . . . . . 15 Use MIDI Keyboard . . . . . . . . . . . . 26
Playback . . . . . . . . . . . . . . . . . . . 15 Split into Two Staves . . . . . . . . . . . . 52
Select Notes on Entry . . . . . . . . . . . 15 Split Point Plug-in . . . . . . . . . . . . 173
Slides . . . . . . . . . . . . . . . . . . . . . . 159 Split Points . . . . . . . . . . . . . . . . . . 173
Slurs . . . . . . . . . . . . . . . . . . . . . . . 76 Staccatos . . . . . . . . . . . . . . . . . . . . 73
Smart Shape Tool . . . . . . . . . . . . . . 76 Staff Lists . . . . . . . . . . . . . . . . . . . . 83
SmartScore Lite . . . . . . . . . . . . . . 179 Staff Menu
Space Systems Evenly . . . . . . . . . . 100 Apply Staff Style . . . . . . . . . . . . . 118
Special Tools . . . . . . . . . . . . . . . . 165 Edit Staff Attributes . . . . . . . . . . . 111
Accidental Mover . . . . . . . . . . . . . 167 New Staves . . . . . . . . . . . . . . . . . 111
Beam Angle Tool . . . . . . . . . . . . . 169 New Staves (with Wizard) . . . . . . . 116
200
Index
Set Default Name Positions . . . . . . 112 Pull-offs. . . . . . . . . . . . . . . . . . . 161

Abbreviated Staff Names . . . . . . . 113 Slides . . . . . . . . . . . . . . . . . . . . 159
Full Staff Names . . . . . . . . . . . . 113 Tap . . . . . . . . . . . . . . . . . . . . . 49, 51
Show Staff Styles . . . . . . . . . . . . . 118 Technical support . . . . . . . . . . . . . . vi
Staff Names . . . . . . . . . . . . . . . . . 111 Templates . . . . . . . . . . . . . . . . . . . 25
Staff Sets Saving new . . . . . . . . . . . . . . . . . 184
Programming . . . . . . . . . . . . . . . 115 On Macintosh . . . . . . . . . . . . . 184
Selecting . . . . . . . . . . . . . . . . . . 116 On Windows . . . . . . . . . . . . . . 184
Staff Styles . . . . . . . . . . . . . . . . . . 117 Working from . . . . . . . . . . . . . . . 183
Staff Tool . . . 111, 115, 116, 117, 123 Tempo . . . . . . . . . . . . . . . . . . 43, 149
Start and Stop Times . . . . . . . . . . . 139 Tempo Marking . . . . . . . . . . . . . . 149
Starting Finale Text Menu
Macintosh . . . . . . . . . . . . . . . . . xvii Font . . . . . . . . . . . . . . . . . . . . . 104
Windows . . . . . . . . . . . . . . . . . . . ix Frame Attributes . . . . . . . . . . . . . 105
Status Bar . . . . . . . . . . . . . . . . . . . . . 6 Inserts
Staves Page Number . . . . . . . . . . . . . . 105
Hiding . . . . . . . . . . . . . . . . 115, 118 Placement . . . . . . . . . . . . . . . . . 105
Inserting . . . . . . . . . . . . . . . . . . 116 Center Horizontally . . . . . . . . . . 105
Stem Direction Tool . . . . . . . . . . . 167 Right . . . . . . . . . . . . . . . . . . . 105
Stem Length Tool . . . . . . . . . . . . . 167 Size . . . . . . . . . . . . . . . . . . . . . . 104
Stems . . . . . . . . . . . . . . . . . . . 69, 165 Text Tool . . . . . . . . . . . . . . . . . . . 104
Changing Length . . . . . . . . . 167, 169 Ties
Custom . . . . . . . . . . . . . . . . . . . 168 Simple Entry . .................9
Flipping . . . . . . . . . . . . . . . . . . . 167 Special Tools . . . . . . . . . . . . . . . 169
Layers . . . . . . . . . . . . . . . . . . . . . 68 Speedy Entry . . . . . . . . . . . . . . . . 41
Reversed . . . . . . . . . . . . . . . . . . 172 TIFFs . . . . . . . . . . . . . . . . . . 107, 180
Subtitles . . . . . . . . . . . . . . . . . . . . 104 Time
Swing Playback . . . . . . . . . . . . . . . 150 Changing the Meter in Simple Entry . 19
Systems Changing the Time Signature . . . . . . 56
Indenting . . . . . . . . . . . . . . . . . . . 98 Setting the Time Signature . . . . . 2, 50
Inserting or Deleting . . . . . . . . . . 101 Time Signature Tool . . . . . . . . . 50, 56
Time Signatures . . . . . . . . . . . . . . . 50
Titles . . . . . . . . . . . . . . . . . . . . . . 104
T Transcribing a Melody . . . . . . . . . . 49
Tablature . . . . . . . . . . . . . . . 153, 164 Transcribing a Scale . . . . . . . . . . . . 47
Changing the string and fret number 155 Transposing . . . . . . . . . . . . . . . . . 114
Copying Music To and From a tab staff 154 Transposing Instruments . . . . . . . . 116
Entering with a MIDI Guitar . . . . . 161 Triplets see Tuplets . . . . . . . . . . . . . 18
Entry directly into a tab staff . . . . . 156 Tuplet Tool . . . . . . . . . . . . . . . 18, 32
Hammer-ons . . . . . . . . . . . . . . . 161 Tuplets . . . . . . . . . . . . . . . . . . . . . 32
201
Index
Simple Entry .
. . . . . . . . . . . . . . . . 18
Speedy Entry. . . . . . . . . . . . . . . . 32 Z
Two-handed HyperScribing . . . . . . . 51 Zoom Tool . . . . . . . . . . . . . . . . . . . 22
Type Into Score . . . . . . . . . . . . . . . 57
U
Undo . . . . . . . . . . . . . . . . . . . . . . . 30
Unlock Systems . . . . . . . . . . . . . . . 93
Upbeat . . . . . . . . . . . . . . . . . . . . . . 93
Update Layout . . . . . . . . . . . . . 93, 95
Use MIDI Keyboard for Input . . . . . 26
User Manual . . . . . . . . . . . . . . . . . xix
Utilities . . . . . . . . . . . . . . . . . . . . 170
V
Verses . . . . . . . . . . . . . . . . . . . 58, 62
Vertical scroll bar . . . . . . . . . . . . . . . 6
View Menu . . . . . . . . . . . . . . . . . . 116
Home Position . . . . . . . 40, 102, 104
Page View . . . . . . . . . . . . . . . . . 117
Program Staff Set . . . . . . . . . . . . . 115
Redraw Options . . . . . . . . . . . . . 186
Scale View . . . . . . . . . . . . 21, 46, 57
Scroll View . . . . . . . . . . . . . . 21, 111
Voices . . . . . . . . . . . . . . . . . . . . . . 41
W
Window Menu
Advanced Tools . . . . . 106, 134, 165
Cascade/Stack . . . . . . . . . . . . . . . . 22
Instrument List . . . . . . . . . . . . . . 127
New Window . . . . . . . . . . . . . . . . 22
Tile . . . . . . . . . . . . . . . . . . . . . . . 22
Word Extensions . . . . . . . . 58, 59, 63
202

Finale 2005 Tutorial

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INSTALLATION AND TUTORIALS

FOR WINDOWS ® AND MACINTOSH®

Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .v

Tutorial 1a: Simple Entry . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Spacing the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

The Special Tools Tool: Fancy Beaming and Stemming . . . . . . . . . . . . . . 165

License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

ABOUT THIS BOOK

REGISTRATION CARD/GETTING HELP

PREPARING FOR PRINTING

SETTING UP YOUR MIDI SYSTEM

Computer To Game/Joystick port

• Turn on all your equipment.

THE MIDI SETUP DIALOG BOX

PREPARING FOR PRINTING

TO SETUP YOUR PRINTER:

SETTING UP YOUR MIDI SYSTEM

MAC From serial

MIDI Out MIDI In

• Turn on all your equipment.

THE MIDI SETUP DIALOG BOX

SETTING UP MIDI WITH OS X

• Click OK. You’re all set to explore Finale on your own.

SIMPLIFIED ORDER OF ENTRY

CREATING A NEW DOCUMENT WITH THE DOCUMENT SETUP WIZARD

Page Counter Horizontal

Page Counter Page Scroll Horizontal

ENTERING MUSIC WITH THE SIMPLE ENTRY TOOL

Sixteenth Note Double Whole Rest

32nd Note Whole Rest

64th Note Half Rest

128th Note Quarter Rest

Dot Eighth Rest

Sharp Sixteenth Rest

Flat 32nd Rest

Natural 64th Rest

Half Step Up 128th Rest

Half Step Down

•Click the Quarter Note Tool 5 on the

Congratulations! You’ve completed your first Finale melody.

...or the end of the score.

SAVING YOUR WORK

WHEN YOU’RE READY TO CONTINUE

FOR MORE INFORMATION

A WORD ABOUT MIDI

CREATING A NEW DOCUMENT FROM A TEMPLATE

• Play middle C on your MIDI keyboard. While holding down the

Windows Speedy Entry Keypad Commands

With Ctrl: With Ctrl: With Ctrl:

Macintosh Speedy Entry Keypad Commands

SPEEDY ENTRY KEYBOARD COMMANDS

F Flat L ; ' return With 4 5 6 –

With a number (1-8):

EDITING WITH SPEEDY ENTRY

all four notes in this measure to eighth notes. They’re

WORKING WITH CHORDS

Drag this handle to independently Drag this handle to change

You can modify the triplet you made in Measure 3, too.

INSERTING NOTES OR RESTS

Your example should now look like this: