And that is where your control ends. The final decisions will be reached by the conductor, concertmaster and/or section leaders, so you MUST leave them with no other choice in the matter if you can't accept the tradeoff. And the interesting thing (and don't ANYBODY tell the orchestras' accountants this!) is that the reason it's always done is that you can't hear the difference. Two violins are not twice as loud as one violin, and 6 violins are not half as loud as 12 violins. The section sound is not additive. It may be logarithmic or something--I don't pretend to understand the acoustics--but my guess is that it takes from 6 to 10 violins to be twice as loud as one violin, always has, always will, unless they are amplified. That's why string sections are empirically the size they are.

John


At 11:07 PM +0000 2/18/06, John Bell wrote:
Because something is commonplace doesn't mean it's OK. I would always rescore the music rather than allow half of a section drop out for a few bars.

John


On 18 Feb 2006, at 22:52, Owain Sutton wrote:



John Bell wrote:
On 18 Feb 2006, at 22:38, Darcy James Argue wrote:
However, with string sections, you have a lot more leeway than you do with winds or solo strings, as half the section can keep playing while their stand partners turn the page.

No Darcy please! That is not acceptable!
John


While not ideal, it's commonplace in standard repertoire. Context is all: if it's a long drawn-out passage, this method is fine, because the turns will be staggered, or at least *can* be staggered. If it's at an important moment, then avoid at all costs.

(I'm currently rehearsing the Holberg Suite, and there's a divisi line in the 1st violins, at a climax, obviously put there solely to make a page turn fit. Yes, I'm giving them photocopies of page 2 instead...)
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