Re: [Finale] Unequal notes tied together
On Fri Oct 1, at FridayOct 1 8:53 PM, John Howell wrote: >> >> If the A sharp is at the end of a line, then the B flat would be at the >> beginning of the next line. >> That's the only way around it, as far as I can determine. > > I don't think that would solve it. There's still going to be a key signature. Actually, that would solve the problem of a tie going THROUGH a key signature, because Finale won't do that at the beginning of the system. I think that's what he's talking about. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Unequal notes tied together
Just brief comments on what Bill wrote: If you tie A# to Bb, then the notes will be on separate lines or spaces. Yes, clearly they will be. Which MAY mean that while the mark is technically a tie, you might have to enter it as a slur so it will LOOK right. Either that or adjust the endpoints. But that would require a key change, for example B major to B flat major. Unless you use accidentals, of course. Not necessarily. It could be a transition to a temporarily new key, but without changing the key signature. It happens a lot. And it happens when the composer/arranger/engraver considers the new altered note to be definitely part of the new phrase and not the old one. As I said, at transition points, and as part of the transition. The key signature would have to be between them. So how would the tie mark be accomplished? It would have to go THROUGH the key signature change. Good question, but hand copyists and metal-on-metal engravers have done it for a long, long time, so there must be a way. But as I picture it, key signatures stay within the staff, while ties can be raised or lowered if necessary. But I certainly wouldn't move the key change if the only reaso to do so were to avoid a tie through the signature change! If the A sharp is at the end of a line, then the B flat would be at the beginning of the next line. That's the only way around it, as far as I can determine. I don't think that would solve it. There's still going to be a key signature. That would be very confusing to read anyway. I doubt that someone using standard music notation would do that. So if you see any examples in REAL music, please point one out. I'm afraid I can't oblige you by coming up with specific examples off the top of my head, BUT I have seen it and played it many times, so yes, it is perfectly "standard" notation in orchestral music and in Broadway books, and probably in concert band music as well, although it tends to be less adventurous in terms of key changes. And yes, it is ALWAYS confusing to sightread because you have to make an intellectual adjustment and not just unthinkingly put your fingers in a certain place. But it's still done when the alternative would be even more confusing. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts & Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html "We never play anything the same way once." Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Unequal notes tied together
On 10/1/2010 5:43 PM, billsi...@aol.com wrote: Well, an example: If you tie A# to Bb, then the notes will be on separate lines or spaces. But that would require a key change, for example B major to B flat major. Unless you use accidentals, of course. The key signature would have to be between them. So how would the tie mark be accomplished? It would have to go THROUGH the key signature change. The tie would be accomplished the same way that a tie from, for example a D in the key of G to a D in the key of A would be accomplished, right through the key change. There's nothing peculiar about that. If the A sharp is at the end of a line, then the B flat would be at the beginning of the next line. That's the only way around it, as far as I can determine. That would be very confusing to read anyway. I doubt that someone using standard music notation would do that. So if you see any examples in REAL music, please point one out. I wish I could, because I've got several of them in my library, standard music, but I really don't have time to go through the hundreds of works in my library to try to convince you that they do exist. Just because you've never seen them doesn't mean they don't exist. Heck, they're even in a couple of places in my community band's library. I believe Ed Madden has one at least in the 1st trumpet parts in Colonial Rhapsody. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Unequal notes tied together
Well, an example: If you tie A# to Bb, then the notes will be on separate lines or spaces. But that would require a key change, for example B major to B flat major. Unless you use accidentals, of course. The key signature would have to be between them. So how would the tie mark be accomplished? It would have to go THROUGH the key signature change. If the A sharp is at the end of a line, then the B flat would be at the beginning of the next line. That's the only way around it, as far as I can determine. That would be very confusing to read anyway. I doubt that someone using standard music notation would do that. So if you see any examples in REAL music, please point one out. Now obviously, if you have two adjacent pitches like G and G flat, then they are unequal pitches, and therefore a tie mark would be wrong. It would be a SLUR instead. I have found instances where it WILL put a tie mark between a G and G flat. And like I said earlier, it does NOT put the accidental in front of the second pitch, even when the G flat is not in the key signature. I can try to generate some specific examples. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
