MakeMusic's Finale is the one constant in a rapidly changing notation software market, and the 2014 version is better than ever. Finale is one of the longest-established notation packages for Mac OS and Windows, and was last reviewed in SOS back in 2012. We found the venerable Mac and PC notation package a capable performer, if a little weighed down with the baggage from several decades of development.

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There was never any doubting its power and potential, but it readily upheld its reputation as a complex application with roots in the 'old school' of software design. Two years have flown by, and we have the latest iteration, Finale 2014, which enters a notation‑software market in mild turmoil. Its main competitor, Sibelius, was bought by Avid in 2006, and though it has gained features in recent years, some of these, such as its ribbon interface, have alienated some loyal users. What's more, rumours of its imminent demise are amazingly persistent, even though there's nothing to suggest that'll actually happen. And just to make things more interesting, the old UK‑based Sibelius development team,deemed surplus to requirements by Avid, have been head‑hunted by Yamaha, and that has generated its own gossip, with talk of some all‑singing, giant‑slaying new application waiting in the wings. Interesting, but pure speculation. Amidst all this angst, MakeMusic, who develop Finale (and also Garritan software instruments) have striven on, with every sign that things at their Minnesota HQ are going swimmingly.

Intel core i3 2310m processor. Programma postroeniya zubchatih kolyos. Certainly there's everything to play for in the notation market, so does Finale 2014 have what it takes to re‑establish the dominance of past eras? One thing's for sure: Finale 2014 is, to recycle an old saying, evolutionary rather than revolutionary.

Users of the most recent few versions could dive right in and feel completely comfortable. And for that reason I'll refer readers to my Finale 2012 review at for an in‑depth examination of key Finale concepts, design and interface aspects. In this review, I'm going to concentrate only on things that have actually changed. First, MakeMusic have taken the opportunity to do some backroom work in Finale 2014. The Mac code has received considerable attention, and now has a Cocoa‑based graphical interface.

As a core OS X technology, Cocoa allows the new version to offer a proper native full‑screen mode, support for high‑resolution Retina displays, and enables multi‑touch gestures like pinch‑to‑zoom. Carbon, the transitional graphics technology used in Finale 2012 and earlier, isn't a safe bet for future versions of OS X, so this change is timely.

There's room for a bit of improvement still: for example, Scroll view scores get stubbornly magnetised to the top of your monitor in full‑screen view, when you might prefer to be able to place them where you want. But in general, it's great to have the option to work like this. Next, there's an entirely new file format, with a '.musx' extension, and the promise of version independency from here on, meaning that Finale 2014 should be able to open documents created in any future version of the application — though of course it wouldn't support any new features that those versions introduced, it should at least handle documents that use them with some elegance.

Finale has in the past been limited in its ability to save scores that can be opened by older versions, so this will be a very welcome development. Finale 2014 can also export scores as native format documents for Finale 2012, and as EPUB files for tablets and e‑readers.

Rounding up this clutch of software infrastructure changes is an integrated software update system, supported by some new menu commands. Finale 2014 can check for a new version automatically, or when you ask it to, and automate the download and update process when one's available. What of Finale 2014's more tangible changes? These boil down into three main areas: notation improvements, interface enhancements and better support around the program in the form of sound libraries and support material.

The new notation stuff isn't mind‑blowing, but is certainly good to see. First, there's proper support for so‑called 'keyless' scores. These are typically used to notate atonal pieces for which the concept of key is moot, and there are some individual instruments (such as French Horn) which have often been notated without key signature.