I don't know what you mean by everybody else. Especially in show music, production music, and on a great many recording sessions, the intro's are likely to be lower case a, b, ect. One of the reasons is that, in many cases, intro's are changed (halfed, doubled, vamped, ect.) to fit time issues or voice overs, ect. In that case bar 1 begins the main body of the music for everyone regardlees of hackings.
Also, in jazz, when letter "A" or the first bar of the TUNE is bar 1, it's easier to visualize the form. Jim ----- Original Message ----- From: "Darcy James Argue" <[EMAIL PROTECTED]> To: <finale@shsu.edu> Sent: Friday, March 18, 2005 4:33 PM Subject: Re: [Finale] pick-up measure > Hi Chuck, > > Measure numbers don't delineate form. We have other, better tools for > that. > > That said, I don't particularly *object* to your practice of using "A, > B, C" etc. so long as every complete measure has a unique ID. I just > don't think it's particularly helpful, either. Why not just start > numbering from "1" like everyone else? > > - Darcy > ----- > [EMAIL PROTECTED] > Brooklyn, NY > > > On 18 Mar 2005, at 5:15 PM, Chuck Israels wrote: > > > Andrew, > > > > 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: > >> > >>> > >>> 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/ > >> _______________________________________________ > >> Finale mailing list > >> Finale@shsu.edu > >> http://lists.shsu.edu/mailman/listinfo/finale > >> > > Chuck Israels > > 230 North Garden Terrace > > Bellingham, WA 98225-5836 > > phone (360) 671-3402 > > fax (360) 676-6055 > > www.chuckisraels.com > > _______________________________________________ > > Finale mailing list > > Finale@shsu.edu > > http://lists.shsu.edu/mailman/listinfo/finale > > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.308 / Virus Database: 266.7.3 - Release Date: 3/15/2005 > > _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
