The tendency to do things in ways that delineate the formal outline surely stems from the necessity for the jazz musician to be fully and quickly aware of these parameters in order to function well. I have no argument with those who choose to to things differently, but I find it useful to separate the "intro" elements from the start of the form so, when those measures need numbers, I use a,b,c, etc. and start the actual form with measure 1. As long as there's an identifier so people can find the place they need to locate in the occasional chaos of rehearsals and performances, it seems OK to me.
Chuck
On Mar 18, 2005, at 2:06 PM, Andrew Stiller wrote:
On Mar 17, 2005, at 9:45 PM, Chuck Israels wrote:Chuck Israels
On Mar 17, 2005, at 4:46 PM, Christopher Smith wrote:
I have always NOT included any pickup measures in the measure count, even when there is more than one measure as a pickup. ...
This has always been my practice, and I've had no reason to change it (all of the above).
Chuck Israels
This seems to be yet another difference between jazz and classical notation practices. In the classical world, the first full measure is number 1, period. If it were any other way, there would be endless disagreements as to what constituted an introduction, and exactly where it ended in any given piece.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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