How to get there
Choose Document > Document Options.
What it does
This dialog box allows you to change the global settings for a number of musical items. You will find global settings for augmentation dots, barlines, ties, text inserts and many other items. Choose one of the categories on the left side of this dialog box to display its options on the right.
- Load Library • Save Library. Click the Save button to select from a list of document elements to save in a library. Click the Load button to open an existing library.
- Units. Click the drop-down list to select the measurement unit you want Finale to understand—and display—in all of its dialog boxes.
- OK • Cancel • Apply. Click OK (or press enter) to save the new settings and return to the score. Click Cancel and you will be prompted to save or discard changes that have not been applied. Click Apply to save the selected changes in your dialog box and keep the Document Options box open.
How to get there
Choose Document > Document Options and select Accidentals.
What it does
These options control the spacing of accidentals in relation to both the notes they are attached to and other accidentals in an entry. Accidentals are added with one of the note entry tools.
- Space Between Accidental and Note. This number determines the horizontal distance between the accidental and the notehead to which it is attached.
- Space Between Accidentals on Notes.This number determines the distance between accidentals that appear on notes that are a second apart or greater.
- Space Within Multi-character Accidentals. This number sets the distance between accidentals that appear on the same line or space. In general, this parameter only occurs in nonstandard key signatures where there are so many sharps or flats that triple sharps and flats are introduced, or where triple sharps or flats appear on a note in the score; in each case, this measurement defines the distance between the double-sharp (or double-flat) symbol and the next sharp or flat to its left.
- Minimum Vertical Spacing Between Accidentals. The number in this text box, measured in lines and spaces, specifies the minimum vertical distance between noteheads in a chord that will require Finale to rearrange the positions of accidentals to avoid overcrowding. If two accidentals are closer together than the Vertical Spacing Between Accidentals number (measured in half spaces), one of them will be forced into the next “accidental slot” to the left, as shown. The default is 6.
When the Vertical Spacing Between Accidentals is 4, both flats may occupy the same vertical position, because their noteheads aren't less than four lines and spaces apart. If the Vertical Spacing Between Accidentals is 6 however, one of the flats must move to the left to avoid crowding, because the noteheads are indeed less than six lines and spaces apart.
- Adjustment at Start of Measure. This is an adjustment to the Spacing Before Music value displayed in Document Options Notes and Rests. If you do not want to leave as much space for notes with accidentals to the right of barlines, you can use this value to move notes with accidentals to the left.
- Music Characters: Select. Here, specify font characters to use for accidentals in your notation. Select an accidental type from the drop-down list, then click Select to choose the character for the accidental. The available characters will depend on the default font for accidentals specified in the Document Options - Fonts dialog box.
- Use Cross-Layer Accidental Positioning. Check this box to automatically avoid collision of accidentals between layers and voices (instead of superimposing them) and to align accidentals an octave apart vertically. Also, with this option checked, manually adjusting an accidental’s positioning will not modify the positioning of other accidentals attached to the entry. Note that this option does not apply to cross-staff notes moved to an adjacent staff with the NoteMover Tool.
If a pre-2014 document with this option enabled is opened in Finale 2014 or later, accidentals on unison notes will retain their cross-layer positioning rather than being consolidated. Disabling this option does not combine the accidentals, but retains the superimposing behavior of previous versions of Finale. If you want the accidentals to be consolidated, you can re-enter the notes, or you can use the Retranscribe command.
How to get there
Choose Document > Document Options and select Alternate Notation.
What it does
Use these options to specify spacing and font characters for alternate notation applied to a staff with the Staff tool or Staff Styles. Alternate notation can be applied to any staff or a portion of a staff.
- Vertical Offset for Two bar Repeat Number. The number in this text box controls the vertical placement of the number for the two-bar repeat alternate notation.
- Rhythmic Notation Vertical Positioning: Quarter Note (Small) Slash: Baseline Adjust • Stem Connection • Half Note Diamond: Baseline Adjust • Stem Connection • Whole Note Diamond: • Double Whole Note Diamond. Use these settings to control the exact placement of slash and diamond noteheads and how these symbols attach to note stems when you’re using rhythmic notation, such as percussion notation. Enter values in the text boxes for the amount that Finale should vertically adjust the stems to connect them properly. The units are whatever you've selected under
Finale> Measurement Units.
- Music Characters; Select. Here, specify font characters to use for alternate notation. Select the alternate notation item from the drop-down list, then click Select to choose the character for that item. The available characters will depend on the default font for alternate notation specified in the Document Options - Fonts dialog box.
Noteman says: When entering values in the Baseline Adjust field, positive values position the alternate notation above the baseline and negative values position the alternate notation below the baseline. When entering values in the Stem Connection field, positive values extend the stem above the connection point and negative values disconnect the stems below the baseline.
How to get there
Choose Document > Document Options and select Augmentation Dots.
What it does
This dialog box has several controls for fine-tuning the placement of augmentation dots in your music. To set the default measurement units used in this dialog box, choose
- Space Between Dot and Note. This text box controls the placement of the first dot on a dotted note. Enter a value for the horizontal distance between the notehead and the first dot.
- Space Between Dots. This text box controls the distance between the dots on a note with more than one dot. Enter a number to set the horizontal distance between the dots.
- Vertical Adjustment of Dot. By default, Finale positions the dot between two staff lines. Depending on the font character you use for the dot, you may need to adjust the placement of the dot. Enter a larger value to raise the dot, a smaller value to lower the dot.
- Horizontal Adjustment for Upstem Flags. Use this setting to position dots on upstem flagged notes. By default, Finale positions the dot to the right of the flag to avoid collision. Enter a larger value to move the dot to the right, a smaller value to move the dot to the left.
- Adjust Dot for Multiple Voices. Finale automatically adjusts dot positions in multiple layer and inner voice situations (where stems are frozen up). When you select this option, Finale places dots below the staff line when necessary.
- Music Character; Select. Click Select to choose a character for your augmentation dots. The characters available will depend on the default augmentation dot font (specified in Font options).
How to get there
Choose Document > Document Options and select Barlines.
What it does
The Barlines options provide global settings that allow you to tailor barlines to a consistent appearance and placement in your score, without having to edit each barline individually. You can fine-tune the appearance of barlines by separately specifying the thicknesses of the thin and heavy lines, by setting line spacings for thin, thick and final barlines, and by defining the dash length and dash spacing for dashed barlines. You can also direct Finale to display or hide left barlines on single and multiple staves, and place final barlines through all staves at the end of each system or at the end of the piece. To set the default measurement units used in this dialog box, choose
- Display All Barlines. When selected, Finale displays all barlines in your score. Note that barlines hidden by Staff Attributes or Staff Styles will remain hidden.
- Close Barline at End of Each System. Select this check box if you want Finale to ignore the regular staff grouping at the end of each staff system, and draw the barline you selected for the end of each staff system through all the staves.
- Close Barline at End of Piece. Select this check box if you want Finale to ignore the regular staff grouping in the last measure, and draw the barline you selected for the last measure of the piece through all the staves.
- Final Barline at End of Piece. Select this check box if you want Finale to automatically place a final barline at the end of the piece. Even if you add or delete measures, the last measure will always have a final barline.
- Double Barline
BeforeKey Changes. Choose this option to automatically display a double barline before all key changes in your document.
- Left Barlines: Display on Single Staves • Display on Multiple Staves • Default Style is Normal Barline • Default Style is Previous Measure’s Right Barline. In Finale, a left barline refers to the first bar line of a system. In other words, only the first measure in a system has a left barline. You can control whether Finale draws the left barline on a single staff, or on all staves in each staff system in the piece. Select the Single Staves option to have Finale draw barlines in each staff system that contains only a single staff, such as a solo line. If this is not selected left barlines will not display on a single staff no matter which left barline style is selected. Select the Multiple Staves option to draw the left barline in staff systems that contain two or more staves, such as a piano part. If you want Finale to display every left barline on every staff system, select both check boxes. Deselect both options if you want to hide every left barline on every staff system. These options are useful when you prepare a score for creating parts. Before extracting parts, select the Multiple Staves option so that the left barline is drawn through the staves in each system, and deselect the Single Staves option. Finale knows to omit the left barline on each part. You can also set the default for the left barline style, whether it will be a normal barline, or if it will follow from the previous measure. For example, if you have a double barline in the previous measure and would like to start the next measure at the start of the system with a double barline, select Default Style is Previous Measure’s Right Barline. If you prefer a different style of left barline, you can override the defaults using the left barline settings in the Measure tool .
- Heavy Line Thickness. This setting defines the line thickness of the heavy line used for the Final and Solid barlines. Enter a value for the desired heavy line thickness. Finale’s default thickness is .042 inches (three points).
- Thin Line Thickness. This setting defines the thickness of the thin line used for barlines. Enter a value for the thin line thickness. Finale’s default value for thin line thickness is .008 inches.
- Space Between Double Barlines. This setting defines the amount of distance between the two lines used for double barlines. The default distance is one half-space. Enter a larger value to move the two lines farther apart and increase the space between the lines. Enter a smaller value to bring the lines closer together.
- Space Between Final Barlines. This setting controls the distance between the two lines used for final barlines. The default distance is one half-space. Enter a larger value to move the two lines farther apart and increase the distance. Enter a smaller value to move the lines closer together.
- Dash Length. This setting controls the length of the dash used for dashed barlines. The default value is .0625 inches (4.5 points). Enter a larger value to lengthen the dash. Enter a smaller value to shorten the dash.
- Dash Space. This setting controls the space between dashes used for dashed barlines. The default value is .0625 inches (4.5 points). Enter a larger value to widen the gap between dashes. Enter a smaller value to narrow the gap between dashes.
How to get there
Choose Document > Document Options and select Beams.
What it does
This dialog box allows you to customize the beaming for your document. You can set the degree of flat beams by using the Beaming Style setting. Specify how you prefer your eighth notes beamed in common time. Improve the look of beams over rests, and disallow beams to cross the space in a staff. To set the default measurement units, choose
- Beaming Style: Base Slant on End Notes Only. With this option, Finale draws beams at the angle created between the first note in the beam group and the last note in the beam group. This is also the beam angle style used previous to Finale 2000.
- Beaming Style: Flatten Beams Based On Standard Note. Using this option the beam angle will be determined by the note which is closest to the center staff line—the Standard Note. Where there are two notes equidistant from the center staff line, the note closest to the beam will be used as the Standard Note. If this note is on the outside of the beam group, the beam is angled, otherwise the beam is flattened. If there are two Standard Notes in the beam group the beam angle is flat.
- Beaming Style: Flatten Beams Based On Extreme Note. Using this option the beam angle will be determined by the note which is closest to the beam—the Extreme Note. If this note is on the outside of the beam group, the beam is angled, otherwise the beam is flattened.
- Beaming Style: Flatten All Beams. In standard notation, beams on eighth notes (and smaller values) slant at an angle corresponding to the melodic contour of the notes they connect. You may prefer non-slanting, horizontal beams—for example, to minimize the jaggedness of beams in lower resolution situations. Select this option if you want only horizontal beams.
- Beam Four Eighth Notes Together in Common Time. Deselect this option to have eighth notes beamed in groups of 2 when in common time. Otherwise, Finale beams eighth notes in groups of four when in common time.
- Include Rests when Beaming in Group of Four. Select this option to include any rests between eighth notes when the above option is selected.
- Beam Three Eighth Notes Together Before An Eighth Rest. Select this option to beam three eighth notes together as opposed to two when there is a rest in the first or last position of the group of 4 eighth notes.
- Allow Primary Beam Within a Space. Select this option to allow beams to cross over spaces in the staff.
- Allow Rests to Float. This option is enabled by default. When disabled, rests are not allowed to move away from beams.
- Extend Beams Over Rests. Select this option if you want Finale to extend primary beams over rests on the outside of a beam group.
- Extend Secondary Beams Over Rests. Select this option to extend sixteenth and smaller beams over rests on the outside of a beam group.
- Display Half-Stems for Beamed Rests. If you’ve turned on Extend Beams Over Edge Rests in Beaming Options, you may also wish to select this option, which places a half-stem, or stem stub, for each rest that’s bridged by a beam.
- Beam Thickness. Change the thickness of beams globally using this text box.
- Broken Beam Length. Enter a value for the length of all broken beams in the score. To change the direction of a broken beam use the Special Tools Broken Beam Tool.
- Secondary Beam Separation. The number in this text box specifies the vertical distance between beams. For example, it sets the distance between the eighth and sixteenth note beams.
- Max Slope. This number specifies the maximum vertical distance between the high and low ends of any beam, measured vertically in the currently selected measurement units.
- Max Distance from Middle Staff Line. This setting pertains to the stem length of notes that are very far above or below the staff. In essence, the number in this text box specifies the maximum distance the endpoint of any beam may be from the middle staff line, based on its attachment to the note farthest from the middle staff line in the currently selected measurement units.
The Maximum Distance from Middle Staff Line setting specifies the maximum distance a beam may be from the middle line of the staff. It’s calculated based on the note that’s farthest from the middle line. There are a number of variables governing the angle of beams and the length of stem lines (such as Max Slope). Therefore, if you change the default value for this parameter, you may not see any immediate changes in the score.
How to get there
Choose Document > Document Options and select Chords.
What it does
Here, you can specify the font of elements in chord symbols, adjust their baselines and change their font characters.
- Chord Alteration Baseline Adjustment: Sharps • Flats • Naturals. Use these controls to set baseline values individually for sharp signs, flat signs and naturals placed on chord suffixes. To set the vertical distance of sharps, flats and naturals from the baseline, enter a value in each text box. Double sharps will use the offset for sharps and double flats will use the offset for flats.
- Scale All Chords By • Scale All Fretboards By. Use these values to specify the global chord symbol and fretboard scaling. (Note that to retain consistent scaling of chords with suffixes, use the Chords Symbol option in the Document Options - Fonts dialog box.) The scaling percentage specified here is in addition to any staff or page resizing applied with the Resize tool. (Chord symbols and fretboards are no longer note-attached, and therefore do not adjust according to the note size). To change the scaling of specific chord symbols or fretboards by region, use the Change > Chords command under the Utilities menu. See Change Chord Assignments dialog box.
- Music Characters; Select. Here, specify font characters to use for accidentals in chords. Select an item from the drop-down list, then click Select to choose the character for that item. The available characters will depend on the default font for chord alterations specified in Font options.
How to get there
Choose Document > Document Options select Clefs.
What it does
Finale treats each clef intelligently, correctly re-notating the music that follows it. Use these options to specify when to display clefs, modify clef spacing, configure settings for clef changes, load and save clef libraries, and design your own clefs. Finale supplies you with eighteen standard clefs for use in your pieces.
- Display Clef Only on First Staff System. When selected, Finale displays the clef on the first staff system of each page only. This option is particularly useful for lead sheets.
- Display Courtesy Clef at End of Staff System. If a clef change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by displaying the incoming clef at the rightmost end of the preceding system. Check this box to display these courtesy clef changes.
- Spacing: Before Clef • After Clef. These numbers determine the amount of space to the left and right of a clef in the score, respectively. The first text box specifies the distance from the left barline to the clef; the second text box specifies the distance from the clef to the key signature.
- Extra Space Between Clef and Key Signature. Here, specify the space between clefs and key signatures. You can use this setting as an alternative to the Before Clef and After Clef setting.
- Extra Space Between Clef and Time Signature. Here, specify the space between clefs and time signatures. You can use this setting as an alternative to the Before Clef and After Clef setting.
- Default Clef Change: Clef; Select • Percent Reduction • Offset. This text box identifies, by number, the default starting clef of a new staff and any floating measures you create with the Ossia tool. (Finale’s usual default starting clef is the treble clef, number 0.) If you know the number of the clef you want to specify for all new staves, you can enter it in this text box (the available clefs are numbered 0 through 17). You may find it easier, however, to click Select; Finale displays a palette of all eighteen available clefs. Double-click the clef you want; Finale enters its number in this text box automatically.
The number in the Percent Reduction text box specifies the default size of an inserted clef (one that appears in mid-staff), expressed as a percentage of full size. The default value is 75%. (You can override this default reduction on a case-by-case basis. See Clef tool.)
The number in the Offset text box sets the distance between an inserted clef and the barline it precedes:
This offset applies only to “single” Finale clefs—those that appear just before the left barline of the measure they’re to modify. (Contrast with mid-measure clefs, which can appear anywhere in a measure.) The default value is –.028 inches (a negative number, because it’s being measured leftward from the barline).
- Clef Designer. Click the Clef Designer button to display the Clef Designer dialog box, where you can replace or edit any of the clefs—including their appearance, placement, and effect on the music.
How to get there
Choose Document > Document Options and select Flags.
What it does
With these options, specify global settings for flag type, positioning and spacing. You can also choose new font characters for each type of flag.
- Use Standard Flags • Use Straight Flags. Click Use Standard Flags to use Finale’s default flag characters. Click Use Straight Flags to place straight flags on note stems (angled or horizontal straight flag symbols are available). You must select Finale’s Tamburo font in the Fonts options before you select Straight Flags. If Straight Flags is not selected, Finale places curved flags on stems.
- Flag Positioning: First Upstem Flag • First Downstem Flag • Second Upstem Flag • Second Downstem Flag • 16th Note Upstem Flag • 16th Note Downstem Flag • Straight Upstem Flag • Straight Downstem Flag; H: • V:. Choose the flag style that you want to adjust from the drop-down list, then enter a different value for H: and V: to adjust the horizontal and vertical placement of the character. You may need to adjust the placement of flags if you choose to use a font other than Maestro or Petrucci for flags.
- Flag Spacing. Type in the amount of space between flag symbols. You may need to change this value if you use a music font other than Maestro or Petrucci. For Petrucci this value is one space (24 EVPUs), as defined by Ted Ross in Teach Yourself The Art of Music Engraving & Processing. However, flag characters in other music fonts, such as Sonata, are not designed to be placed one space apart. In order to support the accepted standard of notating flagged notes where the eighth and 16th notes are the same height, we have added this control, which lets you move the flag symbols closer together or further apart. For example, if you use Sonata, you need to set the Flag Spacing to slightly less than one space in order to get consistent looking spaces between the flag characters. This is due to the shape of the flag character.
- Secondary Group Adjust. Type in the amount to shift 16th and smaller flags (the secondary flags) away from the eighth flag. Hint: A larger number moves the secondary flags further from the eighth flag. A smaller number moves the secondary flags closer to the eighth flag. You may need to change this value if you use a music font other than Maestro or Petrucci. For example, if you use Sonata, you need to set the Secondary Flag Adjust to pull the secondary flags close to the eighth flag. This is due to the shape of the flag character.
- Music Characters; Select. Here, choose any character in the default flag font to use for any flag type. Select the flag type from the drop-down list, then click Select to choose a character for that flag. The available characters will depend on the default font for flags specified in the Document Options - Fonts dialog box. Finale supports two styles of notating 16th and smaller notes: one style for which flagged 16th notes are taller than flagged eighth notes (for files created in versions of Finale before 3.5), and another style for which flagged 16th notes match the height of flagged eighth notes (used in files created with version 3.5 and later).
How to get there
Choose Document > Document Options and select Fonts.
What it does
These options allow you to globally change the font for almost every element in your score. It lets you change all occurrences at once, or set the primary font to the one you most often use. Set the initial font for full and abbreviated staff names and group names. Choose a name item from the drop-down list, then click Set Font to specify the initial font for full and abbreviated staff names and group names. This font is used when you first create a name. Use the Chord drop-down list where you can specify separate fonts and sizes for chord roots and chord suffixes, and setting the baseline positioning of sharps, flats and naturals that appear on some chord roots. Maestro, a music font provided with Finale, is the default font for the musical symbol elements such as Music, Clef, Key, and Time. However, Finale offers you the option of setting these musical elements in any other music fonts, such as Engraver, Jazz, Petrucci (also provided), Sonata or Crescendo you can mix and match fonts to suit your taste. For information regarding the positioning of individual font characters, see Font Annotation.
- [Font display]. The font, size and style specified for an item appears below the selected item, so you can see what font is selected without entering the Font dialog box.
- Lyrics: Verse • Chorus • Section; Set Font. Choose this command, then click Set Font to display the Font dialog box, where you can specify the default font, size and style for Lyrics. These three types of lyrics are technically identical, as far as Finale is concerned, except that each type may have its own default font. (When you enter the text for lyrics, use the Set Font button in the Lyrics window to specify variations from the primary font.)
- Text: Text Repeat • Ending Repeat • Text Block • Measure Number • Staff Names (Full) • Staff Names (Abbreviated) • Group Names (Full) • Group Names (Abbreviated); Set Font. Choose this command, then click Set Font to choose the default font, size and style of various text elements.
- Choose Text Repeat to specify the primary (default) font for these text repeats, such as Fine, that you create.
- Choose Ending Repeat to specify the primary (default) font for the text under a repeat barline bracket ("1,2,3,", for example, or "Repeat and fade").
- Choose Text Block to specify the primary (default) font for text blocks.
- Choose Measure Number then click Set Font to set the initial font for measure numbers in this dialog box. (You can still change the fonts for each measure number region in the Measure Number Map for Region dialog box.). The fonts you select for full staff names and full group names will also be used for the default, non-printing staff and group names.
- Notation: Noteheads • Percussion Noteheads • Tablature • Augmentation Dot • Accidentals • Flags • Rests • Clef • Key • Time • Time Signature Plus Sign • Alternate Notation • Alternate Notation Number • Repeat Dot • Multimeasure Rest • Tuplet • Articulation; Set Font. You can separately define a different font for each music element—notes, flags, rests and so on. Use the drop-down list to set the font for each item. There’s also an option for setting the initial font for articulations and the number displayed over multimeasure rests. Choose a notation type, then click Set Font to choose the font, size and style for the element.
- Chord: Symbol • Suffix • Alteration • Fretboard; Set Font. Items in the Chord drop-down list include Alteration and Symbol, Suffix and Fretboard. Suffix allows you to specify separate fonts, sizes and styles for chord roots and chord suffixes. This will ensure correct font and character spacing when you enter new chords directly into the score using Finale’s Type Into Score method.
Tip: Define default fonts for expression categories in the Category Designer dialog box.
How to get there
Choose Document > Document Options and select Grace Notes.
What it does
- Grace Note Size. The number in this text box specifies the size of grace notes in your document, expressed as a percentage of normal-sized notes. The default is 60%.
- Tablature Grace Note Size. The number in this text box specifies the size of grace notes in a tablature staff, expressed as a percentage of normal-sized notes. The default is 50%.
- Grace Note Offset on Entry. This option controls the distance of the first grace note from the note it is attached to, as well as the distance between grace notes. The units are whatever you've selected under
Finale> Measurement Units
- Grace Note Slash Thickness. This value controls the thickness of grace note slashes. The units are whatever you've selected under
Finale> Measurement Units
- Always Slash Flagged Grace Notes. It’s customary to place a small diagonal slash through the flag of any grace note that’s not beamed to other notes. Select this option if you want the slash to appear by default on all unbeamed grace notes. If this option is on, the Simple Entry and Speedy Entry tools will only toggle between slashed grace note and full note.
- Playback Duration _ EDUs • Set Duration. Enter a value in the EDUsEDUs, or ENIGMA Duration Units, are Finale's high-resolution measurement for the duration of notes and rests, defined as 1024 EDUs per quarter note. text box to specify the grace note duration (there are 1024 EDUs in one quarter note), or click Set Duration to display the Set Duration dialog box where you can choose a duration value from the note palette. Finale automatically enters the corresponding EDU value in the text box. Grace notes on any given note will play back according to the duration that you specify.
How to get there
The Grids and Guides dialog box can be accessed in two ways:
- Choose View > Grid/Guide Options.
- Choose Document > Document Options then select Grids and Guides.
What it does
Use the Grid/Guide Options dialog box to set the various options for the grids and guides on your page.
- Grid Line Every. Type in the number and select the units for your grid spacing.
- Display One In ___ . You can set how dense the grid is displayed. Even though you are snapping every quarter inch, you can display the grid every half inch.
- Gravity Zone Size. Use this text box and units selection to specify the area around the guide that will be affected by Snap to Guide.
- Grid Line Style • Guide Line Style: Solid • Dashes • Dots • Cross hairs. Select the type of grid and guide to be displayed.
- Grid Color • Guide Color. Click on these buttons to set the Grid and Guide color.
- Items to Snap to Grid • Items to Snap to Guide. Click on these buttons to display the Items to Snap to Grid dialog box or Items to Snap to Guides dialog box where you can select which items will be affected by snapping.
- Show Grid • Show Guides. Select these check boxes to display the grids and guides. This is the same as selecting View > Grid/Guides > Show Grid or Show Guides.
- Snap to Grid • Snap to Guide. Select these check boxes to activate Snap to Grid or Snap to Guide. This is the same as selecting View > Grid/Guides > Snap to Grid or Snap to Guides.
How to get there
Choose Document > Document Options and select Key Signatures.
What it does
- Display Key Signature Only on First Staff System. When selected, Finale displays the key signature on the first staff system of each page only. This options is particularly useful for notating lead sheets.
- In C, Display Naturals at Start of Staff System. If a key change to the key of C occurs at the end of a line, select this item if you want Finale to repeat the display of canceling accidentals by drawing them at the beginning of the new line. (The naturals appear at the end of the previous line whether this option is selected or not, if you’ve specified that you want "courtesy" key signatures to appear at the ends of lines.)
- Redisplay Key Signature if Only Mode is Changing. Using the Key Signature tool , you can create virtually any key signature; each can have any note of the scale as its root. This option has to do with key changes from one key to another that have identical sharps or flats in the key signature, but aren’t actually the same key (and are instead in different modes)—for example, from C minor to E major. Select this item if you want Finale to treat such a key change in the usual way—by canceling the first key signature before displaying the second. If you don’t select this option, Finale won’t cancel the first key signature before displaying the second.
- Cancel Outgoing Key Signature • When Switching Between Sharps and Flats. If the key is changing from a "sharp" key to one with fewer sharps, or a "flat" key to one with fewer flats, select Cancel Outgoing Key Signature if you want Finale to display "canceling" naturals in the courtesy key signature for any sharps (or flats) that are no longer sharped (or flatted) in the new key signature. Otherwise, no naturals appear in the courtesy key signature. Deselect When Switching Between Sharps and Flats to only display the new flat or sharp key signature rather than using naturals to cancel the previously sharp or flat key signature respectively.
- Display Courtesy Key Signature at End of Staff System. If a time signature change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by displaying the incoming time signature at the rightmost end of the preceding system. If you want this "courtesy" key or time signature to appear, select this checkbox. If not, leave it unselected, and the new key or time signature only appears at the beginning of the new line.
- Preserve Octave When Simplifying Keys. When using Simplify Keys in a Staff Transposition, Finale displaces a note by an octave in some rare circumstances. Checking this box prevents the octave jump while attempting to simplify the key for transposing instruments. This box is unchecked for documents converted from earlier versions.
- Space Before Key Signature • Space After Key Signature • Canceled Key. The top two numbers determine the amount of space before and after a key signature in the score, respectively. The Canceled Key number sets the distance between a "canceled" (outgoing) key signature and a new one.
- Space Between Key Signature Accidentals. This number determines the distance between accidentals in key signatures.
- Extra Space Between Key and Time Signature. Here, specify the space between the key signature and time signature. You can use this setting as an alternative to the Space Before key signature setting.
- Music Characters; Select. Here, specify characters to use for accidentals on key signatures. Select an accidental type from the
pop-upmenu, then click Select to choose the character for the accidental. The available characters depend on the default font for key specified in the Document Options - Fonts dialog box.
How to get there
Choose Document > Document Options and select Layers.
What it does
The easiest way to notate simultaneous independent voices on a single staff in Finale is to use layersAn independent overlay of music in the same measure. Each Finale document consists of four transparent layers, each of which can contain its own rhythmically independent inner voice. Only one layer can be active (frontmost) at a time, however; the layer selection pop-up menu appears in the lower left corner of your Finale window, indicating which layer is active. Note that each layer may also contain 2 independent voices.. Using these options, you can define the behavior of music in each layer—for example, you might want the second layer’s note stems always to go down, and you might want to make sure that second layer rests are out of the way of the upper layer. Note that the system of Voice 1/Voice 2 uses a completely independent method of flipping the stems.
- Settings for Layer 1 • Layer 2 • Layer 3 • Layer 4. Using this
pop-upmenu, choose the layer for which you’re establishing your settings. For example, you may decide that stems in Layer 1 should go up, and stems in Layer 2 should go down. How you handle Layers 3 and 4—because there aren’t any more stem directions to choose from—depends on the structure of the inner voices in the particular piece you’re working on. This dropdown affects all settings except for Consolidate Rests Across Layers.
- Freeze Stems and Ties • Freeze Stems Up/Down. When you select this check box, you can choose an automatic stem direction for stems. Choose either Up or Down from the drop-down list. Most of the time you’ll want to freeze Layer 1 stems up and Layer 2 stems down, and also to select Apply Settings Only if Notes are in Other Layers; with this setup, Finale flips all stems up only when necessary—when there’s another voice (that is, in another layer) on the same staff.
- Freeze Ties in the Same Direction as Stems. When there’s only a single voice on a staff, a tie customarily arcs away from the noteheads it’s attached to—hence, in the opposite direction from the note stems. If there are two voices on the staff, however, ties that followed this scheme would overlap and be difficult to read. This option, then, tells Finale to flip ties the "wrong way"—in other words, if notes in Layer 2 are present, you’ll want ties in Layer 1 to flip upward, even though the Layer 1 stems are upward.
- Adjust Floating Rests by ___ Steps. If you select this item, you can enter a number in the text box that tells Finale, in lines and spaces, how much higher (or lower) than usual you want it to position rests in this layer. For example, you may want to enter a 4 in the text box and also select Apply Settings Only if Notes are in Other Layers; with this setup, Finale moves the upper voice’s rests up out of the way only when there’s a second voice on the same staff. (Of course, you could accomplish the same thing manually, by dragging any rest vertically using the Speedy Entry Tool; position the insertion bar on it and then drag it up or down.) A typical setup might be an Adjust Floating Rest setting of 4 for Layer 1, and –4 for Layer 2.
- Hide Layer When Inactive. When this item is checked, the notes for the selected layer in the Settings For
pop-upmenu only appear when it is the active editing layer.
- Apply Settings Only if Notes are in Other Layers. Select this option if you want the other options—involving stems, ties, and rests—to apply only when there’s another voice (in another layer). If you don’t select this option, Finale flips all Layer 1 stems (for example), or adjusts all Layer 1 rests, even when Layer 1 is the only voice in a measure.
- Ignore Layers Containing Only Hidden Notes • Ignore Hidden Layers. Check Ignore Hidden Notes to have Finale skip Layer Options settings for measures where only hidden notes appear in other layers. Uncheck this box to have hidden notes affect when Finale applies the Layer Options settings, if the Apply Settings Only box is checked. For example, you may wish to check this box if you’re using hidden notes in another layer for playback of a notated trill. Check Ignore Hidden Layers to have Finale skip Layer Options settings if the entire layer is hidden by the Hide Layer when Inactive check box above.
- Playback. If you select this item, notes in this layer will playback as normal. If you uncheck this item, notes in this layer won’t playback. For example, you may wish to leave layer 1 unchecked for playback for a notated trill. Note that the Play setting in the ScoreManager provides the same function.
- Affect Music Spacing. If you select this item, notes in this layer will be considered when music spacing is applied. If you deselect this item, notes in this layer will be ignored during music spacing. For example, you may wish to leave layer 4 unchecked for Affect Music Spacing for written-out playback-only trills.
- Consolidate Rests Across Layers. When checked, rests in two or more layers occurring on the same beat and have identical durations are combined and centered vertically on the staff (they can be manually repositioned like any other rest). Rests are combined in this manner only if there are no sounding notes in any layer on that beat. When combined, the rest is displayed as the currently selected layer. If a combined rest is hidden, the rest is hidden in all layers; any currently hidden rests are not combined even if this option is enabled. This option is enabled by default when creating a new document and disabled when opening older documents. It applies to the entire document and affects all layers. It must be enabled to make the manual Combine/Split Rests command available in the Speedy menu and Simple menu; see these topics in the User Manual for more information on behavior of combined rests.
How to get there
Choose Document > Document Options and select Lines and Curves.
What it does
Lines means staff lines, ledger lines, underlines, and so on. Here, you can change their thickness. In the Curves section, you can specify the resolution for curves displayed on the screen and for Non-PostScript printers. The resolution settings apply to all slurs, ties and curves for on-screen display and non-PostScript printing.
- Line Thickness: Enclosures • Staff Lines. In these boxes, enter the desired thickness for enclosures and staff lines.
- Ledger Lines: Thickness • Left Half • Left Half Rest • Right Half • Right Half Rest. Enter a value after Thickness to globally set the thickness of ledger lines. For the remaining parameters in this section, you can specify the lengths of the left and right halves of ledger lines independently; that is, the portion that protrudes from the left and right sides of the note or rest. A positive number makes the ledger half longer.
- Resolution • Lower Resolution • Medium Resolution • High Resolution. Technically speaking, these settings determine how many tiny, vertical line segments Finale uses to compose the display of each slur, tie, and brace. Instead of clicking one of the three general-setting buttons, you can also enter a number from 1 to 128 directly into the Resolution text box. The higher the number, the finer the resolution of these curves will be—but (as indicated in the wording of the dialog box) the longer it’ll take the program to draw them on the screen. For that reason, you may want to leave the Curve Resolution on Low while you’re preparing your piece, and then change it to High just before you print on a non-PostScript printer. If you have a PostScript laser printer, these settings have no effect on your printouts.
- Underline Depth. The number in this text box sets the distance, for underlined text, between the underline itself and the baseline of the text.
- Underline Thickness. The number in this text box sets the thickness, for underlined text, of the underline itself.
- Shape Designer Slur Tip Width. This setting determines the thickness of the curved line at the end of a slur in the Shape Designer dialog box.
How to get there
Choose Document > Document Options and then select Lyrics.
What it does
Here, you can specify the alignment and justification of specific types of lyric syllables in your piece such as syllables with word extensions, or syllables starting a system. You can also set the hyphen spacing, word extension line thickness and the position of word extensions (vertically and horizontally).
- Syllables with Word Extensions • First Syllable in Lyric • Syllables at Start of System • Others; Alignment • Justification: Center • Left • Right. You can select the global alignment and justification option for your score with these settings. (See the Lyrics submenus for examples of syllable alignment and justification.) The order of the alignment and justification items in the dialog box also indicate order of precedence. For example, if you have a syllable which is the first syllable in the system, but also has a word extension, the Syllables with Word Extensions settings will be used instead of the Syllables at Start of System (assuming you have both these items checked). If you have a syllable that starts a system as well as has a word extension, the setting for word extensions will be used. Select the check box next to the options you would like to affect your score.
- Ignore Syllable Edge Punctuation • Punctuation to Ignore. Check this box and enter the characters to be ignored and in the adjacent text to ignore punctuation at the beginning or end of a lyric for improved alignment and centering. A core set of punctuation characters are available here by default.
- Use Smart Hyphens. With this box checked, Finale can create hyphens over system breaks automatically and also uses the hyphen character of the font specified for lyrics.
- Always. Choose Always to place a hyphen at the start of the following system whenever the last syllable on the previous system has a hyphen. With this option selected, a hyphen will appear at the start of the second system even if the lyric is attached to the first note.
- Only when the first syllable is attached to the second note or later. Choose this option to only show hyphens at the start of the second system if the lyric appears on the second note of the system or later.
- Never. Choose this option to never put a hyphen at the start of the second system.
- Maximum Space Between Hyphens. Enter the distance between multiple hyphens that appear between lyric syllables. When the distance between hyphens matches this value, Finale creates another hyphen between the lyric syllables. If you only want a single hyphen to appear between syllables, set this value to a large distance, such as 12 inches.
- Hyphen Character; Select. Manually enter the desired hyphen character in the text field or click Select to choose a character from the Symbol Selection dialog box.
- Use Alternate Hyphen Font; Select. Choose this option to change the font used for the hyphen character selection using the Font dialog box.
- Automatic Lyrics Numbers. Choose one of these options to either left-justify the lyric numbers (place them all under the same note) or place the number directly to the left of the first syllable. ("Left-justified," in this case, does not refer to Finale's lyric justification settings, rather the format of the lyric text.) Lyric numbering can be turned on by choosing the Lyrics menu > Auto-Number > Verse/Section/Chorus.
- Word Extensions. Click Word Extensions to open the Word Extensions dialog box where you can modify the appearance and behavior of Smart Word Extensions.
How to get there
You can access the Multimeasure Rest options from a number of places, depending on whether you’re setting up global values for multimeasure rests, extracting parts, or creating and editing multimeasure rests in your music.
- Choose Document > Document Options and select Multimeasure Rest to change the default settings for multimeasure rests.
- In Scroll View, select one or more staves with the Staff tool, then choose Edit > Special Part Extraction.
- Choose Document > Manage Parts > Part Creation Preferences, then click Multimeasure Rests.
What it does
Use this dialog box to define how Finale displays multimeasure rests for the score or parts. In this dialog box, you can set up the appearance of newly created multimeasure rest measures in the score. Here, you will be define the initial appearance of each multimeasure rest Finale creates. (Finale also uses the multimeasure rest settings from the Document Options when you create a multimeasure rest by choosing Create from the Multimeasure Rests submenu in the Measure menu.) To change the appearance of an existing multimeasure rest, use the Multimeasure Rest dialog box. To set the default measurement units used in this dialog box, choose
- Select. The shape for the multimeasure rest itself is identified by the number in the text box next to the Select button. If a number other than zero appears in the text box, a rest has already been selected. If a zero appears in the text box, click Select to enter the Shape Selection dialog box, which contains the shapes available in this file. Click Select if you want to select an existing rest shape. If you want to create your own shape, click Create in the Shape Selection dialog box to enter the Shape Designer dialog box.
- Adjust Start Point • Adjust End Point. Use these values to adjust the start and end points of the shape used for the multimeasure rest. Changing these values lengthens or shortens the shape. You usually won’t need to change these settings, but you may find them useful if you have a cautionary clef sign that appears in the multimeasure rest grouping. Enter positive values to shift the shape’s start or end point to the right; enter negative values to shift the start or end point to the left.
- Update Automatically. With this box checked, Finale automatically redistributes multimeasure rests to show measures containing notes added within the measure region of a multimeasure rest. (Notes can be entered into one of these measures in Scroll or Studio View where multimeasure rests are not visible). With this box checked, multimeasure rests will never overwrite notation. If this box is not checked, notes can appear in Scroll or Studio view, but be hidden by a multimeasure rest in Page View. Note that Finale does not automatically re-create multimeasure rests if the notes are deleted. Update Automatically is not checked in files converted from Finale 2006 or earlier.
- Number Adjustment: H: • V:. Set the horizontal and vertical position of the rest number by entering values in the Number Adjustment fields. Enter a positive value in H: to move the number to the right. Enter a positive value in V: to raise the rest number higher on the staff.
- Start Numbering at ___ Measures. There are certain cases in which you may not want a number to appear over a multimeasure rest. If you have a section that’s vamping, for example, you may prefer to have no number appear, then add an expression that says to vamp a certain number of times, or until a singer or instrument comes in. This value is also useful when you’re notating rests with symbols instead of a shape. Standard notation practice advises using symbols for rests that are less than nine measures. If you don’t want a number to appear over the symbols, enter "9" in this text box. A number will only appear on rests of nine or more measures.
- Measure Width. The value in this text box specifies the minimum width of a multimeasure rest measure. Rests may actually be stretched somewhat wider when Finale justifies the systems on a page. You can also use the Measure tool to adjust the measure width of a single measure right on the score.
- Use Symbols for Rests Less Than ___ Measures. Select this option if you want to use the alternate symbolic style of notating rests instead of using a shape. You can use a combination of double and whole rest symbols. Finale defaults to nine measures as the maximum for using symbols, adhering to standard practice. If you prefer to use the symbolic style and don’t want numbers to appear over the rests, be sure to change the Start Numbering at ___ Measures text box to reflect the number of measures for which Finale should display a number over the rest.
- Space Between Symbols. This value controls the distance that appears between each rest symbol when you’re using the symbolic style to notate multimeasure rests.
How to get there
Choose Document > Document Options then select Music Spacing.
What it does
Because the matter of music spacing is one of personal taste, this dialog box lets you determine how Finale handles music spacing; for example, you can specify whether or not extra space should be allotted to accommodate lyrics or chord symbols, or specify the minimum distance between tied notes. To set the default measurement units used in this dialog box, choose
- Avoid Collision of: Notes and Accidentals • Articulations • Chords • Lyrics • Expressions • Clefs • Unisons • Seconds • Ledger Lines. Because lyric syllables, accidentals, and other elements are "attached" to their notes, they may require that extra space be allotted to their notes. If the appropriate options are selected, Finale adds enough additional space to each beat or note to ensure that none of these elements overlap (or, in the case of Notes and Accidentals, that no accidentals overlap other notes or a barline).
- Minimum Measure Width • Maximum Measure Width. Using these text boxes, you can specify a minimum or maximum width for the measures in the region you respace with the Music Spacing command. If any measures are narrower or wider than you’ve specified, Finale adjusts them so that they fall within the specified range.
This feature can be useful for setting whole-rest and whole-note measures to some width that’s wider than Finale’s spacing feature would ordinarily allot.
- Minimum Distance Between Items. Enter the minimum distance you want to appear between elements selected for collision avoidance.
- Minimum Distance Between Notes with Ties. Enter the minimum distance you want to separate ties notes.
- Manual Positioning: Clear • Ignore • Incorporate. Manual positioning refers to any manual dragging you’ve done with the Speedy Entry tool or the Special Tools Tool. Choose Clear from the drop-down list to remove all manual adjustments while spacing the music. Choose Ignore from the drop-down list to have Finale space the music as if it weren’t manually positioned; after spacing, Finale adds the positioning to its result. Finally, choose Incorporate to include any manual adjustments into Finale’s calculations while spacing the music.
- Grace Note Offset on Entry: Automatic Distance Between • Keep Current • Reset to Grace Note Offset. Enter a value here to specify the distance between consecutive grace notes. Choose Keep Current to leave grace notes at their current positions upon music spacing (use this option if you want to retain manual positioning applied to grace notes). Choose Reset to Grace Note Offset to set grace notes back to the positions specified by the Grace Note Offset on Entry option in Document Options - Grace Notes.
- Use Fonts and Resolution from: Screen • Printer. These options account for the differences between the screen and printer resolution. Choose Printer to ensure that computations use printer fonts and resolution from the currently selected printer.
- Use Spacing Width Table; Widths. Select Use Spacing Width Table to use the spacing setting in the currently loaded Spacing Table. Click the Widths button to enter the Spacing Widths dialog box, where you can view or change the actual pairings of rhythmic values to width allotments. (See Duration Allotments dialog box.)
- Use Default Width If Duration Not In Table. In each of the Spacing Width Libraries Finale uses to calculate the appropriate spacing to give each note, there are width allotments assigned to each of two dozen note values. For example, Finale knows precisely how much space to give a quarter note, an eighth note, and so on.
Sometimes, however, Finale encounters a note in your score for which it doesn’t have a predetermined width value—a quintuplet sixteenth note, for example. If you leave Use Default Width unselected, Finale automatically consults its Spacing Library to find out the widths assigned to the nearest note values—a sixteenth note and a 32nd note, in the quintuplet example—and interpolates a new value automatically. This intelligent method will always give you the most professional results.
If you select Use Default Width, Finale assigns all unknown note values to a single default catch-all width value. See Duration Allotments dialog box for instructions on setting this default value, whose Duration is called zero.
- Use These Values: Reference Duration; Duration • Reference Width • Scaling Factor. Select Use These Values to use a spacing ratio for all values instead of setting individual values using the Spacing Table. The Reference Duration is the selected note to base the spacing on, such as the quarter note or whole note. Click Duration to bring up the Set Duration dialog box to select from a palette instead of typing in the EDU for the specified duration. See Set Duration dialog box. The Reference Width tells Finale the amount of space to allocate to the Reference Duration.
The Scaling Factor (a number from 1.0 to 2.0) determines the spacing relationship between the Reference Duration and other durations in the document. For example, if a quarter note has a Reference Width of 72 EVPUs and the Scaling Factor is set to 2.0, the half note will receive 144 EVPUs (or twice as much) space. Conversely, a Scaling Factor of 1.0 will give the same amount of space to every note. The Scaling Factor for Fibonacci Spacing, a commonly used relationship in many fields, not just music spacing, is 1.618.
- OK • Cancel. Click OK to confirm, or Cancel to discard, the changes you’ve made in this dialog box. You return to the score.
Tip: Music Spacing can be applied when notes are entered with Automatic Music Spacing (Preferences-Edit) or select a region of music with the Selection tool and choose Utilities > Apply Music Spacing.
How to get there
Choose Document > Document Options and select Notes and Rests.
What it does
This dialog box contains options for choosing specific characters for note and rest durations. Also specify rest positioning and the amount of space before and after each barline in your document.
- Use Note Shapes. This check box is the switch for the settings you make in this section. When it’s selected, the score displays your selected notehead shapes; deselect this check box to restore normal noteheads (until you re-select it). The Special Tools tool lets you change normal noteheads to X noteheads, diamond noteheads, and so on, on a case-by-case basis. There may be times, however, when you need every occurrence of a certain pitch to have a certain shape. "Shape-note" gospel music uses such a system, for example, as do many drum parts. This section not only lets you specify a different note shape for every note of the scale, but even a different note shape for every rhythmic value for every note of the scale. You can also use this feature for creating rhythm part slashes by using the slash mark instead of a notehead.
- Replace: Double Whole • Half • Quarter. Using this drop-down list, select the traditional notehead shape you want to change.
- Noteheads on Scale Degree ___ • [Arrow controls] • At Pitch. Either type, or click the arrow controls to select, the scale degree number for which you want to change the selected notehead shapes. For example, to change every occurrence of G to an X-notehead in the key of C, enter 5 in this text box, because G is the fifth note of the scale. Alternatively, click the At Pitch
pop-upmenu and choose a pitch letter to assign the selected notehead character to a specific pitch (in any octave). Assigning a noteheads to pitches is particularly useful if you would like to use the Finale AlphaNotes font.
- With This Symbol: ___ • Select. The character displayed in this text box is the alphabetic equivalent of the particular notehead shape you’re specifying; it appears in the system font, regardless of what it looks like in the music font. For example, even if you’ve selected an X notehead in the Maestro music font, you’ll see an upside-down question mark in this text box. Instead of having to look up the alphabetic equivalent for the music symbol you want, simply click Select. Finale displays a palette containing every symbol in the music font; double-click the shape you want to use as the replacement notehead. When you return to the dialog box, Finale enters the symbol’s alphabetic system font equivalent in the text box automatically.
- Vertical Rest Positioning: Eighth • 16th • 32nd • 64th • 128th. You can specify the exact vertical position of different rests. Enter a value in the text boxes and Finale shifts each rest type according to your setting. The default rest position values in EVPUs for various fonts are:
Rests Maestro, Petrucci, Engraver Sonata 8th 0 12 16th 0 -12 32nd 0 -12 64th -24 -36 128th -48 -60
- Spacing Before Music • Spacing After Music. These numbers determine the amount of space before and after the music in each measure. The first number is the distance between the end of the measure header (key and time signatures) and the first note or rest; the second number sets the distance between the last note or rest and the measure's barline.
- Scale Manual Positioning of Notes. This option pertains to adjustments you make by dragging notes sideways (using the Speedy Entry tool or the Special Tools Tool). This setting has the most relevance when you consider notes in different voices (or layers) that are an interval of a second apart—an F in the stems-down voice and a G in the stems-up voice, for example—which you must drag apart so that their noteheads don’t overlap. But even if you make such notes look perfect in Scroll View, they may look askew in Page View, because measures are slightly wider in Page View (Finale stretches them so that they’re fully justified with the page margins). As the measure gets stretched, so does the relative distance between notes. To eliminate this problem, deselect this check box. From now on, Finale remembers the specific amount you dragged a note—a quarter-inch, for example—instead of storing the notehead positions relative to the measure width. Therefore, even when the measures change width, notes that you’ve carefully dragged into position in Scroll View will be exactly the same distance apart in Page View. Note: When you open documents created with versions earlier than 3.0, you’ll find that this check box is selected. Moreover, if you then deselect this check box, notes that you had positioned manually in the older file may shift positions, requiring you to re-adjust them.
- Display Cross-Staff Notes in Original Staff. If this check box is selected, Finale draws all cross-staff notes on their original or "source" staves, to make editing and proofreading easier for you. To restore cross-staff notes to their cross-staff positions, deselect this check box. (Even when the option is selected, you can still create cross-staff notes with the Note Mover— you just won’t see the results until you deselect this check box.)
- Notehead Characters, Select. The items in this drop-down list refer to the shapes used as the basis of Quarter notes and smaller values. Use the drop-down list to choose the type of notehead you want to change, then click Select to choose an alternate shape. The available characters will depend on the default font for noteheads and rests specified in the Document Options - Fonts dialog box.
- Rest Characters, Select. The items in this drop-down list govern the character to be used for rests of the indicated values: Double Whole and so on. Use this drop-down list to choose the type of rest you want to change, then click Select to choose an alternate shape. Choose Default Measure Rest to select the rest character to be used in measures without entries. If you choose a non-rest character, Finale resets to the whole measure rest. The available characters will depend on the default font for noteheads and rests specified in Font options.
- Colored Noteheads • Show Border Around Color Noteheads • Reset Colors • C • D#/Eb • …B. These colors apply to noteheads in any staff designated to use color noteheads (in the ScoreManager). Choose Show Border Around Color Noteheads to display a black border surrounding the colored noteheads:
Finale's default colors are based on the Chroma-Notes™ Colored Music System for use with Boomwhackers® Tuned Percussion Tubes. (See Boomwhackers® Tuned Percussion Tubes / Chroma-Notes™ Instruments for details). To customize a pitch's color, click its corresponding button to open the Color dialog box where you can select a new color. Click Reset Colors to revert to Finale's default notehead color settings.
How to get there
Choose Document > Document Options and select Piano Braces and Brackets.
What it does
Using these options, you can adjust the curvature, thickness, and overall shape of the curly piano braces used in your document. To set the default measurement units used in this dialog box, choose
- [Display and handles]. Finale creates a piano brace by drawing two sets of curves, then filling the space in between with black to produce a smoothly tapered brace. By tugging on handles that control the curves, you can make different sections of the brace thicker or thinner.
- H: • V:. These values for each of the items listed below describes the horizontal and vertical placement of the corresponding handle (as shown in the diagram above). To move a handle to the right, enter a positive number in the H: text box. To move a handle down, enter a negative number in the V: text box, and so on.
- Outer Tip • Inner Tip. These handles (and their corresponding H: and V: coordinates) control the thickness of the brace near the outer tips.
- Outer Body • Inner Body. These handles (and their corresponding H: and V: coordinates) control the thickness of the brace near the center—the main curve.
- Width of Brace. This variable controls the overall width of the brace, from its leftmost point (the center point) to the rightmost (the points of the tips).
- Center Thickness. Enter a value for the thickness of the center point of the piano brace. Increase the value to make the center point thicker, decrease the value to make the center point thinner.
- Tip Thickness. Enter a value for the thickness of the tips of the piano brace. Increase the value to make the tips blunter; decrease the value to make the tips thinner.
- Default Distance from Left Edge of Staff. Here, you can specify the space between group brackets and the left edge of the staff.
- Reset. Reset restores the piano brace to its original default settings.
How to get there
Choose Document > Document Options and select Repeats.
What it does
This dialog box provides a number of powerful options that enable you to define global settings for repeats. The changes you make affect the appearance of all repeat bars in your score. You can set the thickness of both thin and thick lines of a repeat, tell Finale how much space to leave between repeat lines or between lines and dots, and draw repeats that have curved, single, or double "wings". You can also set the amount of space to leave before a forward repeat that is placed after a starting clef, or a key or time change. You can define the appearance of repeat dots and position them in relation to the repeat, independently of each other. Finale also offers three choices of back-to-back repeat styles. To set the default measurement units used in this dialog box, choose
- Wing Styles: None • Curved • Single • Double. Click to select a wing style for all repeat bars in your score.
- Back-to-Back Styles: Thin • Mixed • Thick. Click to select a style for back-to-back repeats in your score, using thin lines, a mixture of thin and thick lines, or only thick lines.
- Line Options: Heavy Line Thickness. Enter the line thickness of the thick lines used in repeat bars. This setting affects the thick lines in all repeats currently in your score, as well as those not yet created.
- Line Options: Thin Line Thickness. Enter the line thickness of the thin lines used in repeat bars. This setting affects the thin lines in all repeats currently in your score, as well as those not yet created.
- Line Options: Space Between Lines. Enter a value to set the distance between the thin and thick lines in repeat bars.
- Forward Repeat Spacing: After Clef • After Key • After Time. These three new controls ensure that enough space appears before forward repeat bars in your score. Enter a positive value =to change the distance between forward repeats and any starting clefs, or key or time signatures at the start of staff systems.
- Space Between Dot and Line: Forward Repeat • Backward Repeat. These settings enable you to position a repeat dot horizontally in relation to the thin line of a repeat. Enter a value in Forward Repeat =to set the horizontal spacing between a dot and the thin line in a forward repeat. As the value increases, so does the distance between the dot and the line. Enter a value in the Backward Repeat text box =to set the horizontal spacing between a dot and the thin line in a backward repeat. As the value increases, so does the distance between the dot and the thin line.
- Vertical Dot Adjustment: Upper Dot • Lower Dot. By default, Finale places repeat dots vertically in the center of the spaces above and below the middle line of the staff for the Upper and Lower Dot respectively. These settings allow you to vertically reposition dots in relation to their default positions. Enter a positive value =to raise the upper or lower dot above its default position. As the value increases, the dot moves higher up the staff. Entering a negative value moves the dot below its default position. As the negative value increases, the dot moves further down.
- Show On: All Staves • Top Staff Only • Staff List: New Staff List • (All defined Staff Lists); Edit. These options control the default "Show On" setting for all repeat dialog boxes including the Backward Repeat Bar Assignment, Text Repeat Assignment, and Edit Ending dialog boxes. Select All Staves to indicate you want to show repeat markings on every staff in the score and parts. Select Top Staff Only to indicate you want repeat markings to appear on the top staff only. Select New Staff List to display the Staff List dialog box, where you define which staves will display repeat markings. To select a Staff List already created for use in the score, choose its name from the
pop-upmenu. Click Edit to display the Staff List dialog box for the selected Staff List, and change which staves repeat markings should appear in. The settings in this subsection do not apply to existing repeats.
- Add Period After Number. Check this box to automatically place a dot after the number that appears in repeat ending brackets (the number that appears after "Ending Number(s)" in the Create Ending dialog box or Edit Ending dialog box. This option does not apply to Alternate text specified in these dialog boxes.
- Repeat Dot Character: Select. Click Select to choose the character used for the repeat dots.
- Reset. Click Reset to restore the built-in Finale default settings.
- Maximum Repeat Passes. Enter a value in this text box to specify the maximum number of times a repeated section is allowed to playback. This option overrides a repeated section defined to repeat a greater number of times. Most importantly, if any repeated section in the document is defined to loop back on itself at every pass, this setting prevents Finale from processing these measures infinitely (which effectively hangs the program upon initiating playback).
- Repeat Endings. Click this button to open the Repeat Endings dialog box. See Repeat Endings dialog box.
How to get there
Choose Document > Document Options and select Staves.
What it does
- Default Topline to Topline Distance. This is the default distance between new staves (in currently selected measurement units (see Measurement Units), measured from the top line of one staff to the top line of the next. Enter a value to place the staves closer or farther apart in scores using these settings as part of a Document Style.
- Always Use Default Topline to Topline Distance • The Default Topline to Topline Distance is a Preferred Value that can Change if Necessary. Choose Always Use Default Topline to Topline Distance to apply this setting to all new files using this Document Style (when starting new documents with the Setup Wizard). Choose The Default Topline to Topline Distance is a Preferred Value that can Change if Necessary to tell Finale to make adjustments to the staff spacing in order to make the most of space available on the page. If this option is selected, for example, Finale might squeeze the staff spacing in order to fit more systems on a page.
- Setup Wizard "Add Vertical Space"
Value. This is the amount of vertical space added when the Add Vertical Space button is used to add space between staves in the Document Setup Wizard. See Setup Wizard.
Noteman says: Finale always measures Topline to Topline Distance from the top line of a standard, 5-line staff. To locate Finale’s “Topline” position on staves with fewer than five lines (such as percussion staves), look for the staff handle; it always indicates the top line position.
How to get there
Choose Document > Document Options and select Stems.
What it does
This dialog box contains options for controlling stem length, thickness and offset from notehead as well as options for customizing your stem connections. To set the default measurement units used in this dialog box, choose
- Normal Stem Length • Shortened Stem Length. These numbers determine the lengths of note stems, measured in the currently selected measurement units. (Set both boxes to zero if you want stemless notes.) The first number is the length of a normal stem. The Shortened Stem Length specifies the length of a stem that’s been flipped in the "wrong" direction, on a note a line (or more) away from the middle staff line.
- Half-Stem Length. Enter a value for the length of all half-stems placed over rests. Use the Document Options dialog box to set whether Finale displays half-stems over rests in your score.
Reverse Stem Adjust. A reverse stem is one that’s attached to the "wrong" side of its note-head, often in conjunction with cross-staff notes or notes in different registers, as shown here:
The number in the Reverse Stem Adjust text box specifies where a note’s stem should end, measured in the currently selected measurement units from its normal location, in those cases where the stem direction is also reversed.
Note, however, that Finale also considers a number of other variables when it decides how long a stem should be, including the Max Slope and Max Distance From Middle Staff (in Document Options - Beaming) parameters, as well as standard notation rules for stemming. Therefore, if you change the value for this parameter you may not see any immediate changes in the score.
- Stem Line Thickness. Enter a value here to specify stem line thickness throughout your document.
- Stem Offset for Noteheads. This value, which you may need to change if you use a music font other than Maestro or Petrucci, adjusts the vertical position of the note stems relative to their noteheads. The number specifies the distance between the note-head and the bottom of the stem. The default is .5 points (or the equivalent unit of measurement). You can also specify the settings for each individual notehead type.
- Display Reverse Stemming. A reverse stem is one that’s drawn on the "wrong" side of its notehead; it’s encountered most frequently in conjunction with cross-staff notes (see image above).
You may find your score easier to edit, however, if these stems are temporarily drawn on the correct sides of their noteheads; if so, select this option. At any time, you can restore these stems to reverse-stem status by turning this option off again. (You might want to select this option at the same time you select Display Cross-staff Notes in Original Staff, so that all notes are temporarily drawn without their unusual beaming configurations.)
- Use Stem Connections. When Use Stem Connections is selected, Finale uses all the special stem connections defined in the document. If you have X noteheads or other custom noteheads in the piece and Use Stem Connections is selected, Finale adjusts the stems on the noteheads shown in this dialog box. When this option is not selected, no special stem connection settings are used. Click the Stem Connections button to display the Stem Connections dialog box, where you can define custom stem connections.
How to get there
Choose Document > Document Options and select Text.
What it does
In these text options, specify the number of spaces in place of one tab number. Use the Text Inserts subsection to change the global definition of the sharp, flat, natural, double sharp, and double flat signs used as text inserts. The default settings are based on the Maestro font. These settings, which are saved with the document, are available if you wish to use a music font other than Maestro. Also, modify the format of the time stamp.
- Use __ Spaces in Place of One Tab Character. You enter a number in this text box to specify how many spaces you want Finale to "type" for you when you press TAB while entering the text for lyrics or text blocks. (Finale considers a tab in a set of lyrics an "end-of-syllable" mark, just like a space or hyphen.)
- Symbol: Sharp • Flat • Natural • Double Sharp • Double Flat. Choose the symbol that you want to change from the Symbol drop-down list. Any change you make to these global settings affects the appearance of all inserts of the same type in your score. You may want to change these if you’re using a font other than Maestro for your music font.
- Symbol: Select. Enter the text font equivalent for the symbol, or click the Select button to display the Symbol Selection dialog box, where you can choose the character you want to use for the currently selected insert. The symbol you select will be used when you place the insert into the text.
- Set Font. Click this button to display the Font dialog box, where you can choose the font and style for the currently selected insert.
You cannot select a specific size for the insert character in the Font dialog box, because the size of the character is proportional to the preceding text. (If no text is entered yet in the text block, the insert will be proportional in size to the default font in the Document Options - Fonts dialog box.
- Options: Font Size • Baseline Shift • Tracking Before • Tracking After. Enter values to size and position the insert proportionally, in relation to the point size of the font preceding the insert. Enter percentages for Font Size and Baseline Shift to adjust the size of the font and vertical position of the insert, respectively. Because music characters usually seem smaller than text characters at the same font size, you may want a value larger than 100%. Enter values, in ems (1/1000 of the current font size), in Tracking Before and Tracking After to adjust the amount of horizontal space before and after the insert, respectively.
- Apply Settings to All Symbols. Click this button if you want the current settings (except for the selected character) applied to each symbol. Finale updates the font, baseline, and tracking values for each symbol.
All Symbols. Click this button to restore the default settings, including their default Maestro characters, for each symbol. Finale updates all symbols in the score.
- Include Seconds in Time Stamp. Select this option if you want to include seconds (2:43:15) in the time stamp you apply to a document (using the text inserts in the Text tool).
- Date Format. From this drop-down list, choose a short or long date form when Finale date-stamps its printouts. Finale is sensitive to the date, time, and decimal settings in the International portion of the Control Panel. You create such a date stamp using the Text Inserts in the Text Tool.
How to get there
Choose Document > Document Options and select Ties.
What it does
Use the Ties Options to define global settings for the appearance and placement in the score of short, medium and long ties. Changes to these settings affect all ties to be added to the score as well as ties already in the score (note that you can override some Tie Options settings for individual ties in the Tie Alterations dialog box). To set the default measurement units used in this dialog box, choose
- Tie Placement: Over/Inner • Under/Inner • Over/Outer/Note • Under/Outer/Note • Over/Outer/Stem • Under/Outer/Stem. These six settings let you precisely place ties in your score for different situations. Over and Under refer to ties over the notes or chords and ties under the notes or chords, respectively. Inner ties are ties that sit inside of a tied chord. Finale uses the Inner settings to draw and place all ties in the score unless Use Outer Placement is selected. When either type of Outer tie is selected in the drop-down list, Finale uses these settings to draw and place outer ties on chords (an "outer" tie is the tie on the notehead farthest away from the stem end) when Use Outer Placement is selected.
- Start H: • End H: • Start V: • End V:. Enter a value into the Start H: text box for the tie’s distance horizontally from the inside edge of the first note tied note. A larger number moves the tie to the right, further away from the note. A smaller number moves the tie to the left, closer to the note. Enter a value into the Start V: text box for the vertical distance of the tie’s left end over or under the first tied note. A larger number moves the tie up and a smaller number moves the tie down. Enter a value into the End H: text box for the tie’s distance horizontally from the inside edge of the second tied note. A smaller number moves the tie to the left, farther away from the note. A larger number moves the tie to the right, closer to the note. Enter a value into the End V: text box for the vertical distance of the tie’s right end over or under the second tied note. A larger number moves the tie up and a smaller number moves the tie down.
- Use Outer Placement. Click the check box if you want to use the global Outer settings to draw single ties and ties on the outer notes for chords (the "outer" note is the notehead farthest from the stem end of a chord, or highest and lowest ties on stemless chords) differently than ties on the other notes. Use Outer Placement will override the four check boxes directly below it. When Use Outer Placement is not checked, Finale uses the Inner settings for all ties in the score; there is no difference in the appearance of ties on the outer notes of chords.
- Start After Single Dot • Start After Multiple Dots. Click the Start after single dot check box to start ties after the augmentation dot on dotted notes. When unchecked, ties start before the dot (which is the default setting). Click the Start after multiple dots check box to start ties after the last dot on multi-dotted notes. When unchecked, ties start before the first dot (which is the default setting).
- End Before Single Accidental. When this option is selected, ties will end before a single accidental. If this option is not selected, ties will end after a single accidental.
- Shift For Seconds. When this option is selected, ties will shift left or right to account for noteheads being on either side of the stem. When this option is not selected, ties will be aligned even though there are seconds in the chord.
- Tie System Breaks: System Start Adjustment • System End Adjustment • Extra System Start Space. When a tied note pair is divided by a system (line) break, Finale breaks the tie before the break and continues after the new system. Enter a value into System Start Adjustment for the tie’s position after the new system. A larger number moves the tie to the right, away from the system; a smaller number moves it to the left, closer to the system. Enter a value into System End Adjustment to specify the tie’s position before the system break. A smaller number moves the tie to the left, away from the system; a larger number moves it to the right, close to the system. Enter a value for Extra System Start Space to adjust the Spacing Before Music value displayed in Document Options Notes and Rests. If you do not want to leave as much space for notes with ties to the right of barlines, you can use this value to move notes with ties to the left.
Chords: Stem Reversal. Select Stem Reversal from the drop-down list to set tie direction on chords based on the stem reversal point of notes on the staff. You can modify the stem reversal point in the Staff Setup dialog box. Ties on the top and bottom notes of chords always curve in opposite directions. Ties on inside notes at or above the stem reversal point go over tied notes. Ties on inside notes below the stem reversal point go under tied notes.
Finale ignores this global Tie Direction setting when you set an individual tie’s direction to Over or Under in the Tie Alterations dialog box.
Chords: Split Evenly. Select Split Evenly from the drop-down list to set the direction of ties on chords as follows: Ties on the top and bottom notes always curve in opposite directions. In chords with an even number of notes, ties on inside notes are split evenly—ties in the upper half of the chord go over tied notes, and ties in the lower half of the chord go under tied notes.
In chords with an uneven number of notes, ties on inside notes at or above the stem reversal point go over tied notes. Ties on inside notes below the stem reversal point go under tied notes. For information about the stem reversal point, see Staff Setup dialog box.
- Chords: Inside/Outside. This selection has been provided for compatibility with previous version only. Older files converted from before Finale 97 will have this option set.
- Opposing Seconds. Click to select the check box. When checked, the two ties on second intervals curve in opposite directions. When not selected, Finale determines tie direction based on the Tie Direction setting.
- Mixed Stems: Over • Under • Opposite First Stem. Select the desired setting for tie direction that you prefer when the stems of the tied notes are in opposite directions.
- Time: Left Gap • Right Gap. Click to choose this option. When selected, Finale always breaks a tie before a time signature change and continues it after the new signature. Enter a value into Left Gap for the distance to leave after ending the tie before the new time signature. Enter a value into Right Gap for the distance to leave before continuing the tie after the new time signature.
This setting affects ties already in the score only when Default is the Break for Time Signature setting in the Tie Alterations dialog box for an individual tie.
- Key: Left Gap • Right Gap. Click to choose this option. When selected, Finale always breaks a tie before a key signature change and continues it after the new signature. Enter a value into Left Gap for the distance to leave after ending the tie before the new key signature. Enter a value into Right Gap for the distance to leave before continuing the tie after the new key signature.
This setting affects ties already in the score only when Default is the Break for Key Signature setting in the Tie Alterations dialog box for an individual tie.
- Tie Contour. Click to display the Tie Contour dialog box, where you define the global appearance and overall shape of short, medium, and long tie spans.
- Reset. Click Reset to restore the original settings.
How to get there
Choose Document > Document Options and select Time Signatures.
What it does
You can vertically adjust the abbreviated cut and common time symbols, and you can also separately adjust the top time signature symbol that shows the number of beats and the bottom symbol that shows the duration of the beat. You can easily create enlarged time signatures by choosing a larger point size for the time signature font (in the Select Default Fonts dialog box), then adjusting the placement of the top and bottom symbols within this dialog box. This dialog box also contains the settings for selecting the abbreviated cut and common time symbols, as well as spacing options. Because the appearance of time signatures sometimes differs between the part and score, separate settings are available - one for the score and one for parts.
- Abbreviate Common Time to • Abbreviate Cut Time to; Select. These options allow you to select the symbol for Common or Cut Time signatures. Click the check box to use the symbols for Cut and Common Time. Click Score to choose a different symbol to use for the score (or just type the keyboard equivalent into the text box). Click Part to choose a different symbol to use for linked parts (or just type the keyboard equivalent into the text box).
- Vertical Adjustment: Abbreviated Symbol • Top Symbol • Bottom Symbol. Enter values to change the vertical placement of the abbreviated time signature symbols used for cut and common time, the top symbol that shows the number of beats, and the bottom symbol that shows the duration of the beat. Enter a positive value to raise the symbol. Enter a negative value to lower the symbol. Use the Score column to apply these settings to the score. Use the Parts column to apply these settings to linked parts.
- Display Courtesy Time Signature at End of Staff System. If a time signature change occurs at the end of a line (system) of music, it’s traditional to forewarn the musician by displaying the incoming time signature at the rightmost end of the preceding system. If you want this "courtesy" time signature to appear, select the appropriate check box here. If not, leave these check box unselected, and the new time signature will only appear at the beginning of the new line.
- Space Before Time Signature • Space After Time Signature. These numbers determine the amount of space to the left and right of a time signature in the document, respectively. Use the Score column to apply these settings to the score. Use the Parts column to apply these settings to linked parts.
- Decimal Places for Composite Meters. When you create a composite meter (using the Time Signature tool) that includes a fraction in the upper number, it’s displayed in decimal notation when it appears in the score. This number specifies the maximum number of decimal places you want Finale to use when it expresses these fractional numerators.
- Composite Time Signature Plus Sign Character; Select. Click this button to open the Symbol Selection dialog box, where you can choose the character for the plus sign in composite time signatures. Choose the font for this character in the Document Options - Fonts dialog box, under Notation. Click Score to choose a different symbol to use for the score (or just type the keyboard equivalent into the text box). Click Part to choose a different symbol to use for linked parts (or just type the keyboard equivalent into the text box).
How to get there
The Document Options - Tuplet Definition dialog box can be accessed in two ways:
- CTRL+click the Tuplet tool .
- Choose Document > Document Options and select Tuplets.
What it does
When you create a new tuplet, Finale usually places a number over it (such as the 3 above a triplet). In this dialog box, you can change the default tuplet notation; for example, you could tell Finale to display a slur or bracket in addition to the number. Thereafter, each new tuplet you create will appear with all of these visual aspects already in place. To set the default measurement units used in this dialog box, choose
- Manual • Stem/Beam Side • Note Side • Above • Below. When Manual is selected in this dropdown list, Finale uses the settings from the Default Tuplet Visual Definition dialog box to position the tuplet on the notes in the score. Drag to reposition the tuplet in the score. When Beam Side is selected and you create a tuplet on beamed notes, Finale automatically places the tuplet on the beam side and matches the beam angle. If Beam Side is selected and you create a tuplet on unbeamed notes, Finale places the tuplet using the Default Tuplet Visual Definition dialog box settings. You can then drag to adjust the tuplet in your score. Choose Above to place the tuplet above the staff by default. Choose Below to place the tuplet below the staff by default.
- Engraver Tuplets. Check this box to enable Engraver Tuplets. Engraver tuplets automatically reposition to account for raised or lowered notes in the staff. They also update to avoid rests and staff lines. Bracket placement and slope for engraver tuplets is determined by the stem direction of the majority of stems in the tuplet (rather than the first stem in the tuplet as is the case when this box is not checked).
- Avoid Staff. Check this option to instruct Finale to always place tuplet brackets above the top line, or below the bottom line of the staff.
- Allow Horizontal Drag. Check this box to enable the ability to drag tuplet markings horizontally in the score. If this box is not checked, tuplets can only be adjusted vertically in the score.
- Use Bottom Note. If the first note in the tuplet group is a chord, the numbers in the Position text boxes are generally measured from the top note; if you transpose that note up or down, the entire tuplet moves with it. Select this option, however, if you want these numbers measured from the bottom note instead.
- Number: Nothing • Number • X:Y, X:Yq, Xq:Yq. Use this drop-down list to specify whether Finale should place a number, a ratio, or no mark on a tuplet. If you choose, for example X:Y, Finale displays "3:2" for triplet numbers. If you choose Xq:Yq for a quarter note triplet, Finale displays "3:2".
- Shape Nothing • Slur • Bracket. Use the Shape drop-down list to display the tuplet with no shape appearing over it, or with a slur or bracket. Tuplets with slurs actually use slurs (with tapered ends), unless the slur is "broken" (Break Slur or Bracket is selected) in which case Finale uses curves (with non-tapered ends).
- Break Slur or Bracket. If you’ve chosen a slur as the shape for the tuplet, then select Break Slur or Bracket, to have Finale break a slur or bracket to allow for a number to be placed there.
- Always Use Specified Shape • Bracket Unbeamed Notes Only • Never Bracket Beamed Notes on Beam Side. Choose Always Use Specified Shape to place a bracket (of the shape defined above) on all tuplets. Choose Bracket Unbeamed Notes Only to instruct Finale to place brackets on unbeamed groups of notes only. Choose Never Bracket Beamed Notes on Beam Side to instruct Finale to place brackets on tuplets defined to appear on the note side of the staff (for example, if the beam appears above notes tuplets will only contain brackets if placed below the staff).
- Tuplet: Horizontal • Vertical. Enter values to adjust the horizontal and vertical position of the tuplet number and bracket displayed in the score.
- Center Number Using Duration. Check this box to position tuplet numbers based on the rhythmic center of the tuplet (rather than equidistant from the first and last note/rest of the tuplet).
- Ignore Horizontal Number Offset. If you have specified a global sideways shift for the numbers in your tuplets, select this option if you don’t want it to apply to this tuplet.
- Shape: Horizontal • Vertical. Enter values here to specify the horizontal and vertical adjustments for placing the shape (slur or bracket) in relation to the tuplet number. Enter a smaller or larger value for H: to change the position of the entire shape in relation to the notes. To move the shape closer to or further away vertically from the note, enter a smaller or larger value for V:.
- Always Flat. Check this box to instruct Finale to always use flat brackets for tuplets.
Full Duration. Check this option to extend the right edge of the bracket to enclose the full duration of the tuplet.
- Match Lengths of Hooks. Check this box to always use same length for left and right hooks. If the values for Hook Length are different, Finale uses the smallest value for both hooks.
- Left Hook • Right Hook. These options replace the Left Offset and Right Offset text boxes that controlled the length of the left and right hooks on horizontal brackets in previous versions of Finale. Enter a value in Left Hook or Right Hook to set the length of the left-most or right-most hook. Negative values cause the hooks to move away from the staff. If Match Length of Hooks is selected, Finale updates the Right Hook text box with the new Left Hook value. If Match Length of Hooks is not selected, you can enter different values in each text box.
- Left Extension • Right Extension. By default, Finale initially creates a tuplet that surrounds the position of notes in the measures. However, in some cases it’s easier for a musician to interpret the music if the tuplet can encompass the visual space of the beat instead of just surrounding the notes. You can accomplish this by using these settings to specify how far the bracket or slur should extend beyond the notes. Enter a larger value to lengthen the bracket or slur.
- Manual Slope Adjustment. Enter a positive value to specify the angle of brackets or slurs when the right side is higher than the left. Enter a negative value to specify the angle when the right side of the tuplet lower than the left.
Horizontal Number Offset
- Upstem Side of Note • Downstem Side of Note. When Finale places the number above a tuplet grouping (such as the "3" above a triplet), it chooses a position that’s aligned precisely with the central notehead of the group. When the number appears on the stem side of the triplet, Finale follows the same rule—it aligns the number with the central notehead of the group as shown here:
However, a few publishers feel that the number appears to be off-center when positioned that way as shown here:
Some publishers prefer that the number be aligned with the central stem instead of the notehead. These two text boxes let you nudge the tuplet numbers in your piece to the right or left (by entering a positive or negative number, respectively). The first text box controls only stems-up notes; the second text box controls stems-down notes. As an example, entering -14 (EVPUs) into the second text box would nudge each tuplet number just enough to align it with a triplet’s central stem. You can override this global tuplet-number positioning offset on a case-by-case basis, using the Ignore
Horizontal Number Offset check box in Tuplet Definition dialog box.
- Bracket Thickness. In this box, enter the desired thickness for all tie brackets.
- Maximum Slope __ Degrees. Enter a positive value to specify the maximum angle of brackets or slurs when the right side is higher than the left. Enter a negative value to specify the maximum angle when the right side of the tuplet lower than the left.