Offer to the other piece correctly for him (for a fee of course)

Cheers,

Lawrence

On 13 January 2011 22:06, Ryan <ry.squa...@gmail.com> wrote:

> Raymond, I'd LOVE to use Crumb's notation, but there's no quick & easy way
> to get that into Finale.
>
> Thanks for all your opinions. Seems like I agree with most of you. Now,
> here's a follow-up:
>
> I'm working on a piece in 5/4. The composer wrote this as kind of a
> "sequel"
> to another piece he wrote in 5/4. Someone else engraved that other piece
> and
> used the whole-tied-to-quarter method. For consistency's sake, I'm
> wondering
> if I should follow the same convention. The composer is expecting these
> pieces to be paired together in performances.
>
>
>
>
> On Thu, Jan 13, 2011 at 1:51 PM, Raymond Horton <horton.raym...@gmail.com
> >wrote:
>
> > Or, you could use Crumb's 5-beat note:
> >
> > .o.
> >
> >
> > A whole note with a dot before and after.    The thinking is - the dot
> > before the note takes away half of the value of the dot after.
> >
> >
> > Actually, I only saw this in smaller note values - 5/8 or 5/16.  Like so
> > many recent composers, Crumb prefers little notes.
> >
> > Raymond Horton
> >
> >
> >
> >
> > On Thu, Jan 13, 2011 at 4:02 PM, Dennis Bathory-Kitsz <
> > bath...@maltedmedia.com> wrote:
> >
> > > On Thu, January 13, 2011 3:27 pm, Ryan wrote:
> > > > What is your preferred method of writing a note that sounds for the
> > > duration
> > > > of a 5/4 bar?
> > >
> > > The rhythmic division. 1+4, 2+3, 3+2, 4+1. The inner pair is more
> common,
> > > but
> > > the measure fill adheres to the underlying pulse. If the pulses differ
> in
> > > the
> > > different parts, then the nearest in character.
> > >
> > > Dennis
> > >
> > >
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> > >
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