On the senza misura question, I know from personal experience that many performers want to know exactly when to play, and don't do well with approximate rhythmic notation. But as soon as one makes the notation more specific, then the freeness is hopelessly lost.
Tim
I do some of my Renaissance choral editions without barlines, which may not be entirely what you're thinking of. The originals almost never had barlines, so the singer could see the shape of his part and--having been brought up singing chant in groupings of 2s and 3s--find the proper phrasing for each part. That is completely destroyed by "accurate" modern notation with barlines, whether through the staves or between them. But about half of my singers end up marking in the bar lines anyhow. I do put in bar numbers for rehearsal purposes, and I do put the parts in score, not separately as in the originals.
What I would not call this is "approximate" rhythmic notation. It is very exact notation, but the singer has to sing the individual note lengths accurately without the crutch of bar lines.
John
-- John & Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
