On 15 Aug 2005 at 0:27, Johannes Gebauer wrote: > David W. Fenton schrieb:
[] > That's another reason why I made my own font. I used the same keyboard > layout pretty much as Ansgar, but with more variants of slashed > figures. > > While I don't know that converting the variant of figures > > in a source to a single modern version in any way compromises > > transmission of the figures, I much prefer conveying the exact text > > of the source, and I couldn't do that with a font that didn't have > > all the variations. > > But you can't do that with any font, other than a homemade one, which > is why I did exactly that. I just add other figures if and when I need > them. On the contrary, the Sibelius figured bass font has every single variation I've ever encountered. Here's a printout of it: http://dfenton.com/SibeliusFiguredBass.pdf I just noticed today that the keyboard layout is logical, in that variations on, say 3, are vertically aligned with the 3 key in different rows of the keyboard. I don't much need to know that, because my method is to put all the figures in once and then click assign from there, so it's only a problem when I'm changing the variation (e.g., changing to #6, as is used in the Charpentier I'm transcribing this week from slashed 6, as used in the Bernier I was transcribing last week). I don't see anything at all missing there, including more variations on some of them than I'd ever encountered in my own transcription of Baroque music. > > What I don't like about using the font with vertically-defined > > variants is that you then have to put in the whole string of figured > > bass (or, at least, every unique vertical configuration that > > occurs), > > I don't understand what you mean. If you want to enter > 6 > 4 > 2 > you press 6,r,s and it is there. Much easier than having to switch > between lyrics. But perhaps I am not seeing your problem. YOu're not. I'm click assigning *everything*. That means I put in the lyric text "# b 2 3 #3 4 #4 5 #5 6 #6 7 8 9" (in whichever variation is used in the source I'm transcribing, i.e., if it uses slashed 6, I'd use that instead of #6) at the beginning in each of the 3 verses, then click assign the numbers from that list. Since I base my figured bass pieces on a template, I don't even have to do the basic entry, just adjust the variants (which I don't even have to bother with until the point at which I encounter it, though the danger there is losing a dual usage within a particular source; but I've never actually encountered that). Then I click assign. By far most of the figures are single figures, so it's pretty easy. Now that I've discovered the vertical scrollbar, switching verses is quite simple, as well. > > whereas the method I use doesn't require that at all. I find it much > > easier to click assign from a list of unique single figures, rather > > than from a list of the unique combinations of figures. > > But that's not what Ansgar's font does. Have you tried the demo? No, I haven't tried it, and I'm trying to explain why I wouldn't like using it. It requires too much work! > > Figuring out > > the latter is too much work, and would then make click assignment > > really difficult. Either you have to go through and figure out all > > the unique combinations first, and then put them in in a logical > > order, or you create them as needed, which means they are very hard > > to find for click assignment. Of course, the other option is putting > > everything in, including duplicates, and then just linearly click > > assigning the numbers. > > I have a feeling you have not quite understood how Ansgar's font > works, but perhaps I am wrong and just not understanding your problem. Well, his font would require me to type in 6/4 as a single syllable, and 6/3 as a single syllable and 6/# as a single syllable and 6/5 as a single syllable. Whereas my method requires that I put in 6, #, 3, 4 and 5, and then I'm done, as opposed to having to put in all the 2- and 3-figure combinations. It doesn't sound like much of a time saver when you describe a single set of combinations, but if you consider that with your method, you'd stll have to enter bottom row 6, #, 3, 4 and 5, in addition to the combinations of 6 and those digits, whereas I don't have to do any of the combinations. I understand that it's easy to construct the groups of figures as a single syllable, but I find it easier to work from individual numbers, rather than having a large group of combinations, simply because it's much easier to manage the single numbers than it is to manage the combinations. > > > As I said, the only thing that was a lyrics feature request that > > was specific to figured bass was switching verses easily within the > > click assignment window. Since I discovered that the scrollbar > > already allows you to do that, there are no longer any figured-bass > > specific feature requests in my list -- all of my requests would > > make lyrics entry easier in all contexts. > > I think the way Ansgar's font works actually would make your life even > easier. YMMV. No, it wouldn't. It would require too much setup, and I'd end up with lots more lyrics text to sort through to figure out where the configuration I wanted to click assign as located. And if I skimped on the setup, then I'd end up with an illogical ordering of the resulting combinations, and that would be even harder to navigate for click assignment. That kind of font works great if you're *not* click assigning, just typing in as though you were putting in actual lyrics for vocal music, but I hate type-in-score as a general rule, and find it too much trouble remembering the keyboard layout (for any font). And I'm not about to go through and type in all the figures through a piece as lyrics -- there's too much chance for things to go wrong and for things to get out of order. -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
