On 9/30/02 11:02 PM or thereabouts, Christopher BJ Smith <[EMAIL PROTECTED]> intoned:
> Is the string section going to be exceptionally small? If it isn't, > then I suggest splitting the seconds and leaving it at that, which > puts a little more body on the top line where it belongs, and still > at least 4-8 players per part for the lower two parts, depending on > the size of the orchestra. Especially if the passage is short, just > decide on one section splitting, and don't worry about it. Hmm... the top line is already doubled in the flute. The violas double the top line 8vb, doubled with clarinet. Plus, I suspect (and it's infuriating to not know this for certain...) that those two winds will be amplified.[1] Oh, and the top line is also doubled in the solo violin, which will *definitely* be amplified. So I'm actually more worried about losing the two inner voices between the top violin line and the viola line an octave lower than I am about the top line not coming through. Will it really cause that much confusion to divide the violins three ways instead of two? Doesn't this happen often enough in the standard rep that everyone knows what to do? - Darcy [1] For this project, the deal is, there is an 11-piece klezmer band out front in addition to the full orchestra. I know for certain that the voice, violin, mandolin/banjo, piano, and bass in the klezmer ensemble will be amplified. I don't know if the winds will be amplified as well, but that's a pretty likely bet, since the klez group will be doing the first set by themselves and everyone will be certainly mic'ed for *that.* This makes it especially difficult for me to try to figure out how to balance e.g., the clarinet and flute in the klezmer band with like instruments in the orchestra. Ultimately, my arrangements will be entirely at the mercy of whatever sound tech happens to be working that night, who may or may not know enough to back way off on the solo mics when the winds in the klezmer band are trying to blend with the winds in the orchestra. The other option is to just assume the worst -- that winds in the klezmer band will always stick out like sore thumbs -- and double/triple all of the orchestral wind parts that need to blend with (/compete with) the amplified winds. But that's not an especially attractive option either, for obvious reasons. ------ [EMAIL PROTECTED] Boston, MA _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
