On Sep 8, 2008, at 7:31 PM, Williams, Jim wrote:
As I get my feet wetter and wetter with linked parts, I'm finding it less to my liking...I've had to do the "score for score" and "score for parts" thing...I'm used to that, but the finagling that has to be done to get voiced parts from combined staves, euphonium TC and BC, piccolo in and out, etc is a boatload of trouble. Perhaps linked parts are not optimal for band/wind ensemble work. Maybe some combination of linked parts and extracted parts is the least-labor strategy. If a part has to be processed in any way, the optimal strategy seems to be to extract, for Horn in Eb/F, euph TC/ BC, flute & picc on same staff w/picc in & out, euph to baritone (these are mix & match internationsl parts), and, yes, even the DREADED Bb BASS CLEF TRANSPOSITION for euphs and tubas.
What's with flute/picc? What's the problem exactly? If a player switches between the two, a staff style in the score is all that's needed, and those can even be different between score and linked parts.
I don't extract any more for any reason. If I need an extra part that transposes differently without it appearing on the score, I create a new part called, say, "Eb horn (replaces F horn)", I include the F horn staff, and I change the transposition with a staff style, which can be different between score and parts, you understand, so nothing changes in the score or in the "real" F horn part. It's all very neat.
You can even make composite parts that have a few staves of Clarinet 1 then a few staves of Clarinet 2. Just make a part that includes both staves and hide the ones you don't want. You can even have this part transpose differently (say, alto sax or something.)
Christopher _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
