On Jun 20, 2007, at 7:09 PM, keith helgesen wrote:
Your site simply proves my point.
I freely admit I like music in straight lines!
Well, your (or my) personal likes are not really the point. A bunch
of us who use Finale need to be able to accommodate odd requests from
composers we don't particularly like (the request, I mean, not the
composer!) and need the tool to do it with.
I don't want or need staggered barlines,
Britten's "A Young Person's Guide To THe Orchestra" would be undoable
then. It isn't that far-out a work. "Roundabout" by Yes uses
superimposed time signatures, and it got a lot of radio play when I
was a teenager. Some modern, but very listenable, jazz uses
superimposed time signatures these days. Robin Eubanks, Chris Potter,
Andy Milne, are some of my favourites. Since you mentioned Charlie
Parker, you might really enjoy Chris Potter's music. He's really not
difficult at all to someone who can understand Parker.
Un-metered music? Not my scene-
You've never played a cadenza? A recitative in an oratorio or opera?
No early music either?
and I suspect that there are a lot of
Finale-ists out there who would never use 'circles', 'tapers' etc.
I go a fair amount of time between needs like that myself, but I want
to be ABLE to do it when I need to!
I recently did a rather conservative hymn-like choral setting, and
adding a extra eighth note to one of the verses (multiple verses
stacked below one staff) proved to be a real kludge in Finale! The
extra eighth note was reduced in size, you see, and the syllable kept
reducing with it, and if I put it in another layer Finale thought it
was a melisma and added an extension line, and the hyphen didn't
work... arrggh! I really didn't expect to get so hung up on such a
simple departure from the norm. I can only imagine what people like
jef chippewa and Dennis B-K go through on a regular basis.
I want to produce printed music for a band, orchestra or smaller
combos to
play, enjoy playing and for Joe Public to enjoy listening to.
And every once in a while one needs to do something unusual, and
shouldn't be hampered by the tools.
I could take exception to the implication that some of the notation
techniques mentioned thus far could somehow cause the music to be
unenjoyable to listen to by the lay public, but that would just be
starting a fight.
The question of Brahms v Stockhausen? I wouldn't know- but check
the sales
figures of recordings of both!
You aren't seriously saying that SALES figures are a valid criteria
by which to judge music? I only mention Britney Spears for comparison...
Christopher
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