Hey, I hear you, man!
I am dealing with your exact situation right now, and I have used a
number of workarounds, including the alternate numbering system you
describe.
In one case, I wrote a double staff part for the repeated section,
indicating to play the top staff 1st time and the bottom staff 2nd
time, just like those old Johnny Warrington stock arrangements. I
wouldn't recommend this, though.
Christopher
On May 29, 2006, at 1:33 PM, Don Hart wrote:
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
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