Thanks Mark and Jef, I will check out the value of 2 in engraving settings. I couldn't really wrap my head around that, so thanks for the tips!
I am about to start a new piece, so will give this all a go and if I run into grief, I'll send specific queries through. Thanks again, Vincent Giles 0402655177 vgiles.net Sent from my iPhone (please excuse any inconsistencies) > On 29 Aug 2016, at 08:38, SN jef chippewa <shirl...@newmusicnotation.com> > wrote: > > > mark already gave some practical advice but there is not really any > such thing in practice as "real" proportional music spacing. or > rather, all music spacing is proportional to varying degrees but some > circumstances warrant an *almost* 2:1 ratio in horizontal spacing of > doubled durational values. > > however, to properly implement "real" 2:1 spacing you would have to > have each system (on all systems and pages) exactly the same > real-time duration or adjust every single system width according to > the amount of music (i.e. elapsed time). plus you have to account > for the extra space needed for everything from clefs to accidentals > (think 10-note piano chords vs. a monodic line...) to even the > barline widths. the resulting minimum space needed for the smallest > durational value encountered in the piece has to be the measure for > everything else. you can see how this very quickly becomes > unmanageable. > > you don't have to be an expert in new music notation (with much > greater irregularity in the range of durational values, melodic leaps > [larger ones benefit greatly from wider spacing], widths of > accidentals and accidental clusters, etc.) to understand the many > hindrances to "real" 2:1 spacing. > > all notation is a compromise on various levels, so it is possible to > successfully notate music that warrants being spaced closer to the > 2:1 proportion, by -- first -- accepting that "true proportionalty" > does not exist. > > there are many tricks to "time-space" or supposed "proportional" > notation, but the most important is giving the score LOOOOOOTS of > space / don't cramp the music. whether you are notating non-metric > or metric-based music with no barlines, break it down into the > smallest parts and hide barlines as needed. this gives ouy a > HUUUUUUUUUUGE advantage in working out an appropriate layout. > > if you can post an example of what you are going to notate i might be > able to offer some more concrete tips. > > another thing, again, depending on the music, if possible, refuse to > make individual parts, because there are not only HUUUUGE problems > doing parts with such notation, musicians need cues even more to > coordinate themselves when there are no common meter / rhythmic > structures to guide them. > > (a good start: use a music spacing of "2" [don't use time sig > spacing, you will inevitably have unresolvable collisions]; check out > robert patterson's spacing plugin (yay! compresses for ledger lines; > in doc options possibly set spacing before music larger than normal; > check other global settings that can improve things in 80% of the > cases BEFORE you start making individual changes and adjustments; > prepare to become an expert in adjusting the beat charts) > > -- > > neueweise -- fonts for new music (and traditional) notation > [JAN 2016] v. 1.002 for Finale 2014.5 and PC > http://newmusicnotation.com/fonts.html > > shirling & neueweise | http://newmusicnotation.com > new music notation + arts management + translation > [FB] http://facebook.com/neueweise | [TW] http://twitter.com/neueweise > > _______________________________________________ > Finale mailing list > Finale@shsu.edu > https://lists.shsu.edu/mailman/listinfo/finale > > To unsubscribe from finale send a message to: > finale-unsubscr...@shsu.edu _______________________________________________ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
