Digging up the dirt on Finale's whole rests

by Tom Johnson 7. September 2010 10:17

Last weekend I was in my garden pulling weeds. I expected my wife to be delighted with the results, but she sadly informed me that I’d removed some “good” plants as well. They looked the same to me!

Or, rather, my expertise wasn’t such that I could tell the difference. So, with that in mind…

What’s the difference between these two measures?

“Nothing,” you say.
Okay, I agree, they do look the same, but the measure on the left contains a default whole rest while the measure on the right has a “real” whole rest.

What is the difference?

  • A default whole rest is purely visual, and one that Finale automatically places in every blank measure.
  • A real whole rest is an entry—something you placed in the score—just like a note or any other kind of rest.

In other words, Finale starts out every piece with default whole rests, and these change to real whole rests only when we consciously enter a whole rest. Because the default rest doesn’t quite have the clout of something you’ve intentionally entered, they work differently:

  • Lyrics, articulations, and other note-attached items cannot be attached to a default whole rest.
  • Only a real whole rest can be moved (in either Simple or Speedy Entry).
  • Only default whole rests can be consolidated into multi-measure rests.

The lesson learned from the third bullet above? When creating a score from which you’ll want to generate parts with multi-measure rests, don’t enter real whole rests; just leave those default whole rests alone.

As I re-read what I’ve written above I suspect that someone is going to read this and think, “Dang, now I have to keep track of what kind of whole rests I’ve used,” and that’s not the case. For most of what we do in Finale it doesn’t make a bit of difference. The only time it matters is when you plan to make multi-measure rests or are having difficulty attaching items to a whole rest. My approach is to only enter real whole rests when I know I want to attach something to them. Done!

Should you ever need to change a real rest to a default whole rest, simply click on a full measure or group of measures and press the backspace key (Windows) or the clear key (Macintosh) to make sure it contains only default whole rests. If you need to convert multiple rests, there are two related plug-ins in the Note, Beam, and Rest Editing folder called “Change to Default Whole Rests” and “Change to Real Whole Rests.”

Would you like some more detail on their use or anything else in this post? Please let me know by clicking on “Comments” below!

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Tom Johnson

Comments

8/31/2010 10:17:05 AM #

Derrek

One challenge I have found is putting a fermata (for example) on a whole rest in 3/4 (or another non-4/4) time. While I can make the whole rest a 4:3 tuplet with the tuplet marks hidden, that is a time-consuming work-around if needed for a large number of instruments.

(Turning off the automatic measure beat-checking could work, but in a "rebar" situation would wreak havoc.)

Derrek United States

8/31/2010 4:16:12 PM #

David Holsinger

I have some weeds at my house if you're free . . .

David Holsinger United States

8/31/2010 5:31:47 PM #

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8/31/2010 7:28:26 PM #

Barbara

Do you happen to know which one will show up if I edit a measure that ends up being a whole note rest? I was working on a piece this evening where it's just the trumpet part for a song (backup). I started to write my notes in measure 37 then realized that measure was supposed to be a rest for me, so I used the eraser to clean the notes out.  In a case like that, which type of rest does Finale input?

My next challenge is this same song has 3 verses; the first is a simple repeat but the second is really just a D.S. al Coda with a repeat on the final measure and the third verse ends up as the Fine. I haven't seen a column yet on multiple repeats which is something I use a lot (not necessarily very well though). I can write it out well enough to follow, but the MP3 doesn't play back correctly.

Barbara United States

8/31/2010 9:07:10 PM #

Chip

Informative post, however an important question to ask of the program after this many years in is why isn't Finale intuitive enough to know when we want to attach something to a default whole rest, and then instantly (and transparently) convert it to a "real" rest upon attaching said item? Is this really such a far-fetched idea that it couldn't be implemented, and would this not alleviate some of this "insider" knowledge which impairs beginning and even long-time users?

Chip United States

9/1/2010 4:19:45 AM #

Alan Thomas

I would appreciate it if a future release of Finale used a different screen colour for default whole rests (such as slightly opaque or something). This would make it much easier to differentiate between manual ("real") whole rests and default whole rests.

Or maybe even remove the distinction between the two types altogether - allow items to be attached to a default whole rest, and allow them to be moved. And, when a measure is cleared, replace it cleanly with the "default" default whole rest. That would be super-intuitive!

Alan Thomas Australia

9/1/2010 6:16:41 AM #

Fernando Rivas

I found an interesting issue that may be related to your discussion on whole rests in Finale, the virtual as opposed to the entered rests.  Recently I was working on a big band arrangement and had a ten bar segment where I wanted musicians to do hand claps. I wrote the one bar clap pattern out once in each part and then selected the next nine bars for all the parts and applied staff styles, one bar repeat.  When I extracted parts I found that Finale refused to acknowledge the existence of the nine bars and only showed a single of the repeated bars with the repeat sign, leaving the other eight bars out completely. I then went in and wrote rests in each of the bars WITHOUT REMOVING STAFF STYLES. Finale still refused to acknowledge the 'missing' bars. Apparently if one attaches certain staff styles to virtual bars they are not captured on extraction.  Once I removed the staff styles and set apply staff styles for Score only, the missing bars re-appeared in the parts. Weird.

FR

Fernando Rivas United States

9/1/2010 12:27:33 PM #

Scott Yoho

Hi Derek,

Personally I'd put in a regular whole rest and exercise caution should a subsequent rebar be required, but I agree this is a situation that could be handled more gracefully in the future. Thanks for the input!

Scott at MakeMusic

Scott Yoho

9/1/2010 12:30:11 PM #

Scott Yoho

Hi David,

My son Erik and I would gladly pull some weeds in exchange for train layout viewing time!

Scott at MakeMusic

Scott Yoho

9/1/2010 12:35:03 PM #

Scott Yoho

Hi Barbara,

If you delete the contents of a measure you are left with a default whole rest.

Thanks too for the suggestion for a future blog post on the playback aspects of more complext repeats -- that's a great idea!

Scott at MakeMusic

Scott Yoho United States

9/1/2010 12:59:40 PM #

Scott Yoho

Hi Chip,

Thanks for the input. I agree this should be simplified in future version. Out of curiosity, where would this improvement fall in your prioritization? What would you put above it?

Scott at MakeMusic

Scott Yoho

9/1/2010 1:22:46 PM #

justin w. phillips

Hi Fernando,

To avoid the staff style issue in extracted parts, enter 4 quarter rests or something similar in each measure then apply the one bar repeat staff style over the section. Everything should display correctly then when you extract your parts.

Justin at MakeMusic

justin w. phillips United States

9/1/2010 2:06:32 PM #

Scott Yoho

Hi Alan,

Thanks for the input!

Scott at MakeMusic

Scott Yoho

9/3/2010 1:48:34 AM #

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9/20/2010 2:25:16 AM #

Jake Murphy

I recently just got a new Korg M50 and have started to use Finale. A bit of a learning curve, but you give some great pointers and clear up some of the problems I have been having not knowing the differences between the types of whole rest.

Jake Murphy United States

9/20/2010 2:27:45 AM #

Scott Yoho

Hi Jake,

Glad it helped. Let us know how it's going!

Scott at MakeMusic

Scott Yoho

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