On 11 Dec 2010 at 10:23, Christopher Smith wrote: > I ended up working from > 16 or so open parts books laid in a big semicircle around my desk.
I'm curious about your methods here, as this is the situation I find myself almost exclusively with the stuff I'm working with (i.e., starting from parts, as there was never any full score available). Did you write your new orchestration direct from the parts, or did you score up the original and then work from that? When I do my arrangements for viols from the Fitzwilliam Virginal Book, even when my target is a 3-part arrangement or 4-part arrangement, I start out with a straight transcription into 4 parts (and keyboard music never has a fixed number of parts, ranging from 2 to 6 parts at any time), neither adding nor substracting any notes. Then I work from that to get the arrangement for a particular final disposition. And if I'm arranging for 3 parts, I generally do a 4- part first, for two reasons: 1. my group can likely use the 4-part arrangement, AND 2. 3-part music by definition is very often a reduced 4-part texture, and starting from the 4-part disposition results in more completeness in the final result (though one has to remember that 3-part music doesn't require complete chords -- as long as there's a third above the bass, it's going to work). Anyway, just curious... -- 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
