On 20 Nov 2007 at 5:50, dhbailey wrote: > Barbara Touburg wrote: > > David W. Fenton wrote: > >> On 19 Nov 2007 at 15:26, Barbara Touburg wrote: > >> > >> I agree -- I wouldn't add any cautionaries at all. It seems perfectly > >> fine to me, a "problem" that shows up only when reading the score. > >> That kind of mode shift is standard for the repertory and I don't > >> think it would give a singer a problem at all. > > > > David, I think we might be purists! > > Purists or not, you're obviously part of the initiated who have already > learned much about the period and the style of music.
Huh? The music as presented in the example follows all the modern rules for accidentals, which last for a full measure are automatically cancelled at the end of the bar. That means that the original, with no courtesy accidentals is correct. The only thing the F natural would be doing would be reminding the person who has forgotten the modern notational rules that the F# was cancelled by the bar line. Others have raised the issue of orchestral musicians, but I think that's a red herring. This is not a score for them, but for singers, and singers and pro orchestral musicians need completely different kinds of approaches to supplying courtesy accidentals. > For people used to singing modern school choral works based in style on > jazz/pop/broadway styles and who might select that particular edition as > a first venture into a much older style, the cautionaries may well make > for a better performance. Or it might be a good tool to teach the students to read *what's on the page* and nothing else. > Which gets back to the point several have made about who is the audience > the edition is intended for. I just don't see the utility of attempting to make clearer what is already explicit in the printed music. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
