There is a situation where I've felt compelled to use a repeat in spite of the circumstances you mention. It's when I've been hired to orchestrate and record a choral piece that is already in print or well on its way. For the sake of future live performances (the publisher offers the score and parts) I try to keep the orchestration road map the same as that of the octavo/book, even though I would write things out any other time.
Sometimes things need to be so drastically different that I will write out a section twice and number, e.g. 33a-40a for the repeat of 33-40. A couple of jobs for a particular composer of children's musicals stick out in my mind. Don Hart on 5/28/06 3:20 PM, Christopher Smith at [EMAIL PROTECTED] wrote: > Some of the circumstances that work against a repeat are: > > If the performer needed to turn a page backwards, I would avoid the > repeat. > > If there are any kind of complex instructions, like Tacet 3rd X, Play > 2nd X only, 8va 2nd X, etc., that do not apply consistently to the > entire iteration, then I would avoid the repeat. > > If a part is meant to be sight read with no rehearsal, like touring > shows and stage acts that hire local musicians, I would avoid a repeat. > > If I had a long 2nd ending, then a 3rd ending, I might avoid a repeat > just to avoid, as Hiro says, "the performer jumping around" either in > frustration or while looking for the next passage he is to play. At > least with a coda I can indent it and space it lower to draw the eye to > it. Harder to do with an ending. > > If I am saving four measures or less, no repeat. > > Christopher _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
