The greatest challenges with this case use were the old challenges of interacting with MIDI, controlling playback in rehearsal, programming tempo changes, and having that become accustomed to how an accompaniment should sound when a live pianist, in performance, does not hold a steady tempo and makes mistakes!Īdmittedly, my own use of Finale has decreased over the last few years, partly because of platform, and partly because of features. Generally, I have not used Finale as much as a publishing tool, but instead as an accompanist for my choirs. That said, I’ve used Finale as a tool as a choral music educator, in the classroom, since my first position in the Dominican Republic since 1996. I don’t claim to be the expert on Finale that Robert Puff and Philip Rothman are and I wouldn’t dream of pitting my skills against the publishing teams at Hal Leonard or Alfred, nor against the team at Make Music.

That means a quarter century of Finale use. I have been teaching 23 years, so I imagine that puts me at over twenty-five years of Finale use. If you have been in the music world for any period of time, you’ll know that Coda Music eventually became MakeMusic, and Vivace later became SmartMusic. We were expected to use Finale, and even played with the “new” Vivace hardware (at the time). My first exposure to Finale was in college, where one of my professors had worked at Coda Music.

I have been using Finale for a very long time.

This posting curated from – So many music educators have Finale background this one music educator’s view of Finale 26 Finale 26: Thoughts from a Music Educator

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