At 9:26 AM -0500 11/7/02, Aaron Sherber wrote:
I've written percussion both ways, depending on a number of factors... whether I'm doing a quick score for a studio recording or actually engraving. I've seen percussion parts written as you describe (Wozzeck, e.g.) and players I've used in the studio, or in orchestras that play my music, seem to just read whatever is put in front of them.At 08:30 AM 11/07/02, Darcy James Argue wrote:It's not actually a timpani staff -- I used that as an example only because I'm most familiar with the way those parts look. But I've just checked a few scores (Wozzeck, e.g.), and even non-pitched percussion parts are engraved with regular whole notes, not unstemmed half notes.I seem to recall you mentioning that this was a timpani staff? If so, why are you using a percussion map for pitched percussion? IMO, the only time you should be using percussion maps is for unpitched percussion.
I have lately gone more toward regular staff/notehead, because it's a whole lot easier to do in Finale, and especially for studio stuff which is not for actual publication, it saves me the time of wrestling with the percussion staff.
I agree that this is something Finale could improve, but on the other hand, when there doesn't seem to be one single Kosher traditional way it HAS to be, then how do they set up a percussion part that will please everyone?
I'd be interested to hear how other composers/arrangers on this list create their Finale percussion parts for various uses (orchestra, band, pop, pit orchestra, etc.).
Linda Worsley
--
Hear the music at:
http://www.ganymuse.com/
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