Re: [Finale] Measure numbering with repeats

2007-03-24 Thread YATESLAWRENCE
I find that most conductors don't use the bar (measure) numbers on first  and 
second time bars anyway - they say first time for for the second (or  third 
or fourth or whatever) time 
 
Cheers,
 
Lawrence
 
lawrenceyates.co.uk



   
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Re: [Finale] Measure numbering with repeats

2007-03-24 Thread Johannes Gebauer

On 24.03.2007 [EMAIL PROTECTED] wrote:
I find that most conductors don't use the bar (measure) numbers on first  and 
second time bars anyway - they say first time for for the second (or  third 
or fourth or whatever) time 


That is my experience, too.

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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Johannes Gebauer

On 22.03.2007 Darcy James Argue wrote:

That's a straw man. I agreed from the beginning that there are different 
conventions for historical music. At first, the original poster didn't indicate 
whether they were working with new music or not.


Darcy,

I replied to John, not to you, so whatever you agreed with is 
irrelevant. John took a very strong standing, and I disagreed with that.


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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Johannes Gebauer

On 22.03.2007 Darcy James Argue wrote:

And contra Johannes, the before indications are always unambiguous. There's no possible 
confusion about what measure three before [C] refers to.


Ay? Did I ever say anything else? I never implied that the before 
indications are ambiguous. Please read again.


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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Johannes Gebauer

On 22.03.2007 Andrew Stiller wrote:

This is definitely completely non-standard for classical music. Look into any 
complete edition, NBA, NMA, you name it. Never will it be done like this.




First always and now never? The world doesn't work like that.

Look into my ongoing Heinrich gesamtausgabe (now up to 28 vols. , w. a 29th 
currently in press) and you will find the measures numbered in *exactly* that 
way.


Ok, any _major_ complete edition (of historical composers). Satisfied? 
Please look yourself and name one which doesn't agree. I am afraid your 
own Heinrich edition doesn't count.


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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Johannes Gebauer

On 22.03.2007 David W. Fenton wrote:

The point of measure numbers it to allow conductors and scholars to
 unambiguously refer to a particular measure without fear of being
 misunderstood. That being the case, measures in first and second
 endings *must* be numbered differently, one way or another.


Do you consider 1st ending measure 16 and 2nd ending measure 16 
to be one way or another that they are numberd differently? If not, 
I'd like to know why. If so, then you don't have a beef with 
Johannes.




In fact I expect the confusion greater if you number them seperately and 
say measure 17. Undoubtedly several orchestra members, at least on 
this side of the globe, will ask Is that the second ending?, and that 
last viola player (sorry folks) will still start after the double bar.


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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Johannes Gebauer

On 22.03.2007 dhbailey wrote:

Nobody needs to number Baroque dance movements because the sections are so 
short that it's easy for everybody to find the 9th measure of the second 
section.


What? That's ridiculous.

You get 24 measure sections, 32 measure sections. Do you want your 
rehearsal to stop while everyone goes 1...2...3...17?


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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Darcy James Argue

On 23 Mar 2007, at 3:28 AM, Johannes Gebauer wrote:


On 22.03.2007 Darcy James Argue wrote:
And contra Johannes, the before indications are always  
unambiguous. There's no possible confusion about what measure  
three before [C] refers to.


Ay? Did I ever say anything else? I never implied that the before  
indications are ambiguous. Please read again.


I read it fine the first time. You were replying to Hiro, who wrote:


Go from bar 21 second time is clear.  Also I'd like to point out
calling measure number is only for where it is too far from rehearsal
letter, or it would be much clearer to say:
Go from 4 bars before [C].


He didn't say anything about after [C]. But you replied as if he had.

Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY


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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Johannes Gebauer

On 23.03.2007 Darcy James Argue wrote:

He didn't say anything about after [C]. But you replied as if he had.


No I didn't. Here is what I said:
You come from a different music culture. Where I play people never 
agree on what 4 bars after C means. Do you count C as 1, or 0?


I know he didn't say after, but as you say, there isn't any confusion 
with before, whereas there is with after. He made the point that 
letters are always clear, to which I objected. They certainly aren't in 
this country.


You then said, that I disagreed about before indications being 
unambiguous, which I definitely did not. That was my point, and either 
you didn't read carefully, or you are deliberately misinterpreting me.


Sorry Darcy, I know this is splitting hairs, but you are misinterpreting 
me, and there is no reason for that in anything I wrote.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread David W. Fenton
On 23 Mar 2007 at 8:34, Johannes Gebauer wrote:

 On 22.03.2007 David W. Fenton wrote:
  The point of measure numbers it to allow conductors and scholars to
   unambiguously refer to a particular measure without fear of being
   misunderstood. That being the case, measures in first and second
   endings *must* be numbered differently, one way or another.
  
  Do you consider 1st ending measure 16 and 2nd ending measure 16
  to be one way or another that they are numberd differently? If
  not, I'd like to know why. If so, then you don't have a beef with
  Johannes.
 
 In fact I expect the confusion greater if you number them seperately
 and say measure 17. Undoubtedly several orchestra members, at least
 on this side of the globe, will ask Is that the second ending?, and
 that last viola player (sorry folks) will still start after the double
 bar.

For me, measure 17 is the beginning of the second section, after the 
2nd ending. Or, it should be in a conventionally structured piece.

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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread David W. Fenton
On 23 Mar 2007 at 8:30, Johannes Gebauer wrote:

 On 22.03.2007 dhbailey wrote:
  Nobody needs to number Baroque dance movements because the sections
  are so short that it's easy for everybody to find the 9th measure of
  the second section.
 
 What? That's ridiculous.
 
 You get 24 measure sections, 32 measure sections. Do you want your
 rehearsal to stop while everyone goes 1...2...3...17?

Yes, and the B sections can be the same length as the A, twice the 
length, or some other length.

Second, in movements other than binary forms, there are often more 
than two repeated sections, and the more sections there are, the more 
variability there is in section length. It's very often the case that 
you'll have a piece if 4 sections, 3 of which are 8 bars each, 
repeated, and one of which is 16 bars, no repeat, because there's 
written-out variation of the repeat.

This kind of thing happens *all the time*. While it's usually the 
case that the sections are some multiple of 4 bars, you can never 
tell for certain without some looking whether it's 8, 12, 16, 24, 32 
or what. The longer the section, the more pages it will span, and the 
harder it is to tell just by looking what the length is.

So, yes, I agree that David Bailey's suggestion is not very good 
advice.

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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Andrew Stiller


On Mar 22, 2007, at 6:20 PM, David W. Fenton wrote:


Do you consider 1st ending measure 16 and 2nd ending measure 16
to be one way or another that they are numberd differently?


Sure--if you want to put that clumsy formulation in the score. My 
argument was/is that such a convention cannot be tacitly assumed (i.e., 
unwritten), since there are other conventions. You cannot blithely 
leave the 2d ending (or the 1st) unnumbered and assume that a 
reduplication of numbers is taking place, and that this will be 
universally understood, for it won't.


If a conductor tells *my* orchestra 2nd ending measure 16,  and the 
measure is not specifically labeled as such in both the score and 
parts, I can assure you that more than several hands will go up asking 
exactly which measure that is, or complaining that measure 16 was in 
the first ending, so there must be some mistake.


The second ending *must* be numbered differently--one way or 
another--than the first, or confusion will reign. Voilà tout. People 
like Johannes can use 16a and 16b if they want--but they cannot 
leave everything blank,  or they are doing a disservice to the 
performers.


Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/kallisti.html

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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Mark D Lew


On Mar 22, 2007, at 9:43 AM, Johannes Gebauer wrote:

[answering John Howell]

Am I the only one to whom this discussion seems equivalent to  
medieval theologians arguing how many angels can dance on the head  
of a pin?  (And why the head, anyhow, when dancing on the point  
would take much more skill?!!!)


I always thought the argument was about the point...


The earliest references actually say the point of a *needle*.  I'm  
not sure how that evolved to the head of a pin.


It should be noted that there is no documentation of theologians  
actually debating this particular question (though they did debate  
some similar abstractions), only critical references to the alleged  
debate.


mdl
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Re: [Finale] Measure numbering with repeats

2007-03-23 Thread Carl Dershem

Mark D Lew wrote:


On Mar 22, 2007, at 9:43 AM, Johannes Gebauer wrote:

[answering John Howell]

Am I the only one to whom this discussion seems equivalent to 
medieval theologians arguing how many angels can dance on the head of 
a pin?  (And why the head, anyhow, when dancing on the point would 
take much more skill?!!!)


I always thought the argument was about the point...


The earliest references actually say the point of a *needle*.  I'm not 
sure how that evolved to the head of a pin.


The Angel's Union kept complaining about the point being bad on their 
bunions.


cd
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 A-NO-NE Music wrote:

17.
If you want to use 33, I believe you need to put both 1 and 17 to the
first measure.  Do you not think?



This is interesting, since you seem to come from the same music area as 
Darcy, yet you disagree...


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread dhbailey

Darcy James Argue wrote:
My own feeling is that measure numbers refer to measures on the PAGE. So 
each individual measure, no matter how many times it is played, gets one 
and only one measure number, and that number is the same number in the 
score and all the parts.


This is the method that is maximally clear to conductors and performers. 
(If you're doing a purely historical/analytical edition, you may have 
different needs.)


So, in your example, the measure under the first ending is m.16, the 
measure under the second ending is m.17, and the first measure following 
the second ending is m.18.




I agree with Darcy on this point. The numbers are only to locate the 
physical measure on the page, so all full measures should be counted in 
a straight line from the first one through the final one.


If there are partial measures, ignoring a pickup measure at the start of 
the piece, such as a 4/4 piece with a 3/4 measure and a 1/4 measure (not 
marked as such because it's a 4/4 measure with a double bar or a repeat 
sign) the first part of that gets a number and the second part of the 
partial measure does not get a number.


On the other hand, as long as score and parts are all marked exactly the 
same, however it is done isn't that important.


What is important is when the score might have each measure number shown 
and the parts only have the measure numbers shown periodically, then 
there should be a clear and obvious and unambiguous numbering system in 
place or valuable rehearsal time is wasted trying to get everybody to 
start in the same place.


--
David H. Bailey
[EMAIL PROTECTED]
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 dhbailey wrote:

I agree with Darcy on this point. The numbers are only to locate the physical 
measure on the page, so all full measures should be counted in a straight line 
from the first one through the final one.


Well, even if you agree, you are still in disagreement with all major 
publishers, at least in Europe, which publish classical music, including 
contemporary as far as I can see.


There are two possible systems which all editions I have seen stick 
with: Either number the first and second time endings with the same 
numbers, or include numbers for the repeats as well, so that every 
repeated measure gets two numbers, ie 1(17). These two systems are the 
only ones I have ever seen in major publications.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread dhbailey

Johannes Gebauer wrote:

On 22.03.2007 dhbailey wrote:
I agree with Darcy on this point. The numbers are only to locate the 
physical measure on the page, so all full measures should be counted 
in a straight line from the first one through the final one.


Well, even if you agree, you are still in disagreement with all major 
publishers, at least in Europe, which publish classical music, including 
contemporary as far as I can see.


There are two possible systems which all editions I have seen stick 
with: Either number the first and second time endings with the same 
numbers, or include numbers for the repeats as well, so that every 
repeated measure gets two numbers, ie 1(17). These two systems are the 
only ones I have ever seen in major publications.


Johannes



I'm basing my statements on the system which more than one orchestra 
conductor has told groups I've been in concerning numbering our measures 
in the old BH publications which didn't have measure numbers in them.


But it really doesn't matter which system is used as long as the music 
is clear where everybody should play when the conductor says Let's 
start at measure 17.


What is really stupid is when music has the double numbers for repeated 
times, so that the same measure is measure 1 the first time and measure 
17 the second time, when calling for the group to start at measure 17, 
some fool is always going to ask First time or second time?


Like, why even bother making things clear!  Stupidity will always show. 
 And if the conductor has to say Start at 17, second time through 
there's really no reason for an engraver to have spent that extra time 
adding those extra measure numbers.


But I also think that the numbering is dependent on the tradition -- 
American band music publishers seem to have gotten together and agreed 
that no single publisher shall use the same numbering system on any two 
consecutive publications, nor shall more than three publications from 
any publisher in any give year use the same numbering system.  It's a 
real mess!


--
David H. Bailey
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 21 Mar 2007 at 18:15, Chuck Israels wrote:

 sometimes a  
 longer 1st and second ending (3 or 4 measures) does come at the 
 beginning of a line. 

That raises an other issue -- the 2nd ending with more (or fewer) 
measures than the 1st ending. In the case of *more*, I'd skip 
numbering the 1st, and number the remaining measures. In the case of 
fewer, I don't know what I'd do.

Ideas?

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 3:28, dhbailey wrote:

 If there are partial measures, ignoring a pickup measure at the start
 of the piece, such as a 4/4 piece with a 3/4 measure and a 1/4 measure
 (not marked as such because it's a 4/4 measure with a double bar or a
 repeat sign) the first part of that gets a number and the second part
 of the partial measure does not get a number.

There is no issue with counting pickup bars -- you only number bars 
having downbeats. That convention is universal in my experience, and 
across historical periods.

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 8:33, dhbailey wrote:

 I'm basing my statements on the system which more than one orchestra
 conductor has told groups I've been in concerning numbering our
 measures in the old BH publications which didn't have measure numbers
 in them.

If you're instructing a group of players on how to number by hand, 
yes, numbering every single measure is the least problematic method. 
But you still have to check that everyone got the numbers right (by 
checking the count for each movement/section). I've done this 
numerous times in coaching chamber music, and the only way to do it 
is by numbering all measures, as anything else results in people 
miscounting much more often than happens when they count every single 
measure. The hard part is getting them to notice internal pickup 
measures when quickly counting measures (pickup measures are not 
numbered, only measures with downbeats, complete or not).

But I still think that in a printed work, the 2nd endings should not 
be numbered whenever the 2nd ending has the same number of measures 
as the 1st ending. When then number of measures differs in the two 
endings, then I think you should do whatever is going to be most 
clear for the situation. There the argument for numbers that 
represent balanced periodic phrasing (as in a minuet and trio) likely 
don't apply, so numbering all measures is not going to confuse those 
who are accustomed enough to the conventions to recognize m. 17 as 
the beginning of a new 16-bar period.



-- 
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 21 Mar 2007 at 18:25, Darcy James Argue wrote:

 So, in your example, the measure under the first ending is m.16, the 
 measure under the second ending is m.17, and the first measure 
 following the second ending is m.18.

I would do that in the vast majority of situations. The one exception 
would be a binary form with clear 8- or 16-bar sections, where the 
numbers will then come out wrong if you count the 2nd endings. If the 
B section begins in measure 10 instead of measure 9, it will confuse 
those who are accustomed to the conventions of these historical 
forms.

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 0:38, Johannes Gebauer wrote:

 It is actually very 
 common in classical music to have a second ending only in some parts
 and not in others. You simply cannot number these separately.

I would say it's common in *historical* parts, but it's not a good 
idea to reproduce it in modern parts.

When I'm coaching chamber music and the parts are un-numbered at the 
first coaching, I tell the players to number all the measures, 
including 1st and 2nd endings, because I can't depend on them to do 
it right if they skip the 2nd endings in their numbering. Then at the 
next rehearsal, the first thing we do is check that everyone's 
measure numbers agree.

But in a *printed* score, I would *not* number the 2nd ending. It's 
only when you're manually numbering that counting all the measures is 
the easy way to do it.

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 David W. Fenton wrote:
That raises an other issue -- the 2nd ending with more (or fewer) 
measures than the 1st ending. In the case of *more*, I'd skip 
numbering the 1st, and number the remaining measures. In the case of 
fewer, I don't know what I'd do.




Unless there is a third ending as well the number of measures in the 
second ending is actually completely irrelevant. That's why the normal 
procedure is to just have a second ending bracket over one measure.


Another reason to not number the first ending in Finale. It makes things 
more obvious.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread A-NO-NE Music
Johannes Gebauer / 2007/03/22 / 02:57 AM wrote:

This is interesting, since you seem to come from the same music area as 
Darcy, yet you disagree...

Well, measure numbering for me is for rehearsing only, and double
numbering isn't that convenient.

Go from bar 21 second time is clear.  Also I'd like to point out
calling measure number is only for where it is too far from rehearsal
letter, or it would be much clearer to say:

Go from 4 bars before [C].

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com


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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Christopher Smith


On Mar 22, 2007, at 8:33 AM, dhbailey wrote:

.

What is really stupid is when music has the double numbers for  
repeated times, so that the same measure is measure 1 the first  
time and measure 17 the second time, when calling for the group to  
start at measure 17, some fool is always going to ask First time  
or second time?


Like, why even bother making things clear!  Stupidity will always  
show.  And if the conductor has to say Start at 17, second time  
through there's really no reason for an engraver to have spent  
that extra time adding those extra measure numbers.



Unless someone has the passage written out without a repeat while  
others HAVE a repeat.


That's why I think it is important for ALL parts and score to have  
exactly the same roadmap—IOW, no repeats unless EVERYBODY has one, no  
first and second endings unless EVERYBODY has them, etc.


I know that there are traditions where some instruments have repeats  
where other instruments have things written out (just played William  
Tell Overture, I forget the edition, this caused mucho problems in  
rehearsal trying to figure out where to start) but this is BAD  
tradition. There are all kinds of kudges designed to save paper/ink/ 
copyist's time that are bad ideas—this is one.


As someone said earlier (David Bailey?) as long as all the parts and  
score agree with each other, we can deal with any kind of numbering  
scheme.


Christopher

(who prefers to number each measure sequentially, so second ending  
would be 17 and next measure 18, but hey, I don't do much 200 year  
old music these days.)




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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 David W. Fenton wrote:
But I still think that in a printed work, the 2nd endings should not 
be numbered whenever the 2nd ending has the same number of measures 
as the 1st ending.



It really makes no difference whether you print the bracket over the 
same number of measures as the first ending or not. A second ending 
doesn't normally have any number of measures. It is simply the place to 
jump to when you play for the second time. It is only a mark, not a 
passage. Unless there is a third ending, of course.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 David W. Fenton wrote:
It is actually very 
 common in classical music to have a second ending only in some parts

 and not in others. You simply cannot number these separately.


I would say it's common in *historical* parts, but it's not a good 
idea to reproduce it in modern parts.


Well, I see it quite frequently in such famous editions like the Henle 
Haydn string quartets, Doblinger parts, and I believe I have even seen 
this in the NMA parts from Bärenreiter. Ok, I change very common to 
quite common.




When I'm coaching chamber music and the parts are un-numbered at the 
first coaching, I tell the players to number all the measures, 
including 1st and 2nd endings, because I can't depend on them to do 
it right if they skip the 2nd endings in their numbering. Then at the 
next rehearsal, the first thing we do is check that everyone's 
measure numbers agree.


But in a *printed* score, I would *not* number the 2nd ending. It's 
only when you're manually numbering that counting all the measures is 
the easy way to do it.




I do not disagree with the practical reasons, but in a published edition 
the correct way to number measures is to give the first measure of the 
endings the same measure number, at least as far as music up to the 
second Viennese school goes. After that I couldn't care less how you 
number your measures. I would still number it the same way, but hey, 
anything is allowed in contemporary music, right? You could even write a 
piece where someone shouts out the measure numbers at the top of his/her 
voice. Would be quite funny going ...14!...15!...17! Perhaps the 
review will read the performers left out measure 16 the second time. 
Perhaps not.


Damn, I should have written that piece myself, now someone else is going 
to steal the idea...


Johannes

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 A-NO-NE Music wrote:

Go from bar 21 second time is clear.  Also I'd like to point out
calling measure number is only for where it is too far from rehearsal
letter, or it would be much clearer to say:

Go from 4 bars before [C].



You come from a different music culture. Where I play people never agree 
on what 4 bars after C means. Do you count C as 1, or 0?


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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread A-NO-NE Music
Johannes Gebauer / 2007/03/22 / 11:05 AM wrote:

You come from a different music culture. Where I play people never agree 
on what 4 bars after C means. Do you count C as 1, or 0?

Interesting.  4 bars after [C] means we are starting at the 5th bar from
[C].  I have never experienced any confusion during my rehearsals so
this is new to me.

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com


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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Aaron Sherber

At 11:05 AM 3/22/2007, Johannes Gebauer wrote:
On 22.03.2007 A-NO-NE Music wrote:
 Go from 4 bars before [C].


You come from a different music culture. Where I play people never agree
on what 4 bars after C means. Do you count C as 1, or 0?

Well, for starters, '4 before C' is unambiguous.

'After' can be trickier in theory, but in practice I haven't had 
problems; C is always 0, as you say. But note that in English there's 
a difference between '4 bars after C' and 'the fourth bar of C'. The 
latter is one bar before the former.


Aaron.

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 11:19, A-NO-NE Music wrote:

 Johannes Gebauer / 2007/03/22 / 11:05 AM wrote:
 
 You come from a different music culture. Where I play people never
 agree on what 4 bars after C means. Do you count C as 1, or 0?
 
 Interesting.  4 bars after [C] means we are starting at the 5th bar
 from [C].  I have never experienced any confusion during my rehearsals
 so this is new to me.

See, I would have immediately played the previous measure.

In my viol consort we just say measure 13 because we always use 
music with measure numbers. But because our coach is slightly 
dyslexic, she might actually mean measure 17 -- it depends on where 
the numbered measures are, but if the point of reference is measure 
15, she will often count in the wrong direction. It's pretty weird, 
but we're all used to it now! :)

-- 
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David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread John Howell

At 9:24 AM +0100 3/22/07, Johannes Gebauer wrote:

On 22.03.2007 dhbailey wrote:
I agree with Darcy on this point. The numbers are only to locate 
the physical measure on the page, so all full measures should be 
counted in a straight line from the first one through the final one.


Well, even if you agree, you are still in disagreement with all 
major publishers, at least in Europe, which publish classical music, 
including contemporary as far as I can see.


Am I the only one to whom this discussion seems equivalent to 
medieval theologians arguing how many angels can dance on the head of 
a pin?  (And why the head, anyhow, when dancing on the point would 
take much more skill?!!!)  A disputation full of sound and fury, 
signifying nothing!!!


There are two possible systems which all editions I have seen stick 
with: Either number the first and second time endings with the same 
numbers, or include numbers for the repeats as well, so that every 
repeated measure gets two numbers, ie 1(17). These two systems are 
the only ones I have ever seen in major publications.


The discussion also reminds me (painfully) of entirely too many 
faculty committee meetings in which the universal and irresistible 
urge to jump right into the details defeats any rational attempt to 
first agree on first principles!!  There are obviously MORE than just 
those two systems that are possible.


Clearly Johannes is arguing from conventions which have the authority 
of precedent, and believes those conventions to be proper.  And just 
as clearly, David, Darcy and I are arguing from more recent 
conventions, including the convention of numbering every single bar 
in commercial music like that for recording sessions and touring 
shows that use a different orchestra every night, and we believe that 
newer practicalities trump the conventions of 19th century European 
publishers.


So how about this for a first principle?  Every measure SHOULD have 
and MUST have a unique identifying number, assigned in serial order 
to aid quick and accurate locating of that measure.  Period.  End of 
statement.


Would anyone care to argue against that principle?  And explain why? 
Without appealing to convention or other authority?


(Yes, as stated that could be read to mean that partial bars and 
pickup bars also should have unique numbers, but that's a DETAIL, so 
keep it outa here!!!)


John


--
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Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Aaron Sherber

At 11:45 AM 3/22/2007, David W. Fenton wrote:
On 22 Mar 2007 at 11:19, A-NO-NE Music wrote:

 Johannes Gebauer / 2007/03/22 / 11:05 AM wrote:

 You come from a different music culture. Where I play people never
 agree on what 4 bars after C means. Do you count C as 1, or 0?

 Interesting.  4 bars after [C] means we are starting at the 5th bar
 from [C].  I have never experienced any confusion during my rehearsals
 so this is new to me.

See, I would have immediately played the previous measure.

I do understand the potential for confusion, but really it's just 
logic. Where would you start if I said 1 bar after C? You wouldn't 
start at C, I assume -- you'd start the next bar (that is, the second 
bar of C). So 4 bars after C therefore has to be 3 bars later than that.


Aaron.

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Kim Patrick Clow

On 3/22/07, John Howell [EMAIL PROTECTED] wrote:


Am I the only one to whom this discussion seems equivalent to
medieval theologians arguing how many angels can dance on the head of
a pin?


Heh, you should join the Bach cantatas discussion list on Yahoo, it's
a real wank fest there.


Cheerio :)


Kim Patrick Clow
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Dennis Bathory-Kitsz
At 11:57 AM 3/22/2007 -0400, John Howell wrote:
So how about this for a first principle?  Every measure SHOULD have 
and MUST have a unique identifying number, assigned in serial order 
to aid quick and accurate locating of that measure.  Period.  End of 
statement.
Would anyone care to argue against that principle?  And explain why? 
Without appealing to convention or other authority?

Oh, well, here I am again. :)

Modular music or partly modular music is problematic, whether or not the
score can have a form that appears to be written from beginning to end.

My own Mantra Canon (1986) is for orchestra, chorus, six percussionists,
two pianos, and descant soprano. It is created from fully linear areas and
multiply looped areas. The loops differ from player to player in both
length and number of repetitions. Cuing the piece is very difficult, and
although the full score contains a number of every measure (1110 of them)
and the loops are written out in full, the individual parts contain cue
points, measure numbers, and position indicators (because some loops begin
and end mid-measure). I used all three because it was composed and
rehearsed very quickly (a month from beginning of composition to premiere)
and it wasn't clear which would work in rehearsal. Measure numbers turned
out to be useless, and only cue points were valuable.

This is one of my pieces that hasn't yet been reset in Finale. The score
can be done eventually (it's huge, and all those cross-bar loops, ack!),
but the parts will be like separate miniature scores in themselves, and
they're already pretty nice in inked form.

Dennis






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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 12:04, Aaron Sherber wrote:

 At 11:45 AM 3/22/2007, David W. Fenton wrote:
  On 22 Mar 2007 at 11:19, A-NO-NE Music wrote:
  
   Johannes Gebauer / 2007/03/22 / 11:05 AM wrote:
  
   You come from a different music culture. Where I play people
  never  agree on what 4 bars after C means. Do you count C as 1, or
  0?   Interesting.  4 bars after [C] means we are starting at the
  5th bar  from [C].  I have never experienced any confusion during
  my rehearsals  so this is new to me.  See, I would have
  immediately played the previous measure.
 
 I do understand the potential for confusion, but really it's just
 logic. 

Most people think the year 2000 was the first year of the 21st 
century (rather than the last of the 20th). It's not logical, but 
that's what everyone believes.

 Where would you start if I said 1 bar after C? You wouldn't
 start at C, I assume -- you'd start the next bar (that is, the second
 bar of C). So 4 bars after C therefore has to be 3 bars later than
 that.

It doesn't matter how logical it is. When I hear it I'm equally 
likely to choose the 4th or 5th bar.

Since it's quite easy to say 5th bar after C I don't see why you'd 
ever say 4 bars after C.

In any event, this is why I actually prefer running measure numbers 
instead of rehearsal letters, because then you can just say start at 
measure 23 and there's no possible way it can be misinterpreted.

I know that's not customary in orchestral music, though, or in stage 
works.

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 11:57, John Howell wrote:

 At 9:24 AM +0100 3/22/07, Johannes Gebauer wrote:
 On 22.03.2007 dhbailey wrote:
 I agree with Darcy on this point. The numbers are only to locate the
 physical measure on the page, so all full measures should be counted
 in a straight line from the first one through the final one.
 
 Well, even if you agree, you are still in disagreement with all major
 publishers, at least in Europe, which publish classical music,
 including contemporary as far as I can see.
 
 Am I the only one to whom this discussion seems equivalent to 
 medieval theologians arguing how many angels can dance on the head of
 a pin?  (And why the head, anyhow, when dancing on the point would
 take much more skill?!!!)  A disputation full of sound and fury,
 signifying nothing!!!

No, no, no! It's much more like the discussion

[]

 So how about this for a first principle?  Every measure SHOULD have
 and MUST have a unique identifying number, assigned in serial order to
 aid quick and accurate locating of that measure.  Period.  End of
 statement.
 
 Would anyone care to argue against that principle?

Yes.

 And explain why?

Because you're describing the *music*, not the score.

If you were listening to someone play, the 2nd ending of a 16-bar 
period would still be the 16th bar after the first measure of the 
period. It's 16 twice, or it's 16 for first ending and 32 for the 
second. I find this latter overly fussy, so would never do it, as 
it's easy enough to say 2nd ending.

 Without appealing to convention or other authority?

I'm appealing to *music*, i.e., what is heard. 

In the case of single-bar 2nd endings, there is simply no ambiguity 
in identifying which measure is being discussed, as the 1st and 2nd 
ending brackets clearly differentiate the two measures 16.

However, in cases where there's some reason this is ambiguous, if it 
makes it clearer, then I would say to number in whatever fashion 
makes the most sense for the *musical* situation.

 (Yes, as stated that could be read to mean that partial bars and
 pickup bars also should have unique numbers, but that's a DETAIL, so
 keep it outa here!!!)

There's an unambiguous convention for partial bars and pickups -- 
number any bar with a downbeat. Period. That's how you determine 
phrase lengths, too (and a measure that constitutes an ellision 
between two phrases can be counted in both, but that's entirely 
*different* can of worms!).

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 John Howell wrote:

Would anyone care to argue against that principle?  And explain why? Without 
appealing to convention or other authority?


Well, for me this would make baroque dance movement numbering completely 
illogical. And I actually see no reason for it.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 John Howell wrote:

So how about this for a first principle?  Every measure SHOULD have and MUST 
have a unique identifying number, assigned in serial order to aid quick and 
accurate locating of that measure.  Period.  End of statement.


I can already see problems when the next edition of a Mozart symphony 
comes out, obliging your new conventionl, and disagreeing with all 
previous editions. Thanks. And no thanks.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 Aaron Sherber wrote:

I do understand the potential for confusion, but really it's just logic. Where 
would you start if I said 1 bar after C? You wouldn't start at C, I assume -- 
you'd start the next bar (that is, the second bar of C). So 4 bars after C 
therefore has to be 3 bars later than that.



Some musicians are not exactly the most logical people.

Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 John Howell wrote:

Am I the only one to whom this discussion seems equivalent to medieval 
theologians arguing how many angels can dance on the head of a pin?  (And why 
the head, anyhow, when dancing on the point would take much more skill?!!!)



I always thought the argument was about the point...

Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Johannes Gebauer

On 22.03.2007 John Howell wrote:

Would anyone care to argue against that principle?  And explain why? Without 
appealing to convention or other authority?


By the same logic you could start writing out minor keys with extra an 
extra raised 7th. So that G minor would have 2 flats and one sharp. 
There is a lot of reasons to do that, and only convention stops you.


So why don't we?

Sorry, John, but I really, really disagree with you, as far as any music 
in classical form is concerned. After that, do whatever works best.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Darcy James Argue

On 22 Mar 2007, at 8:47 AM, David W. Fenton wrote:


But I still think that in a printed work, the 2nd endings should not
be numbered whenever the 2nd ending has the same number of measures
as the 1st ending.


So for works with long first and second endings, the conductor has to  
specify Okay, let's begin in the fifth bar of the first ending? or  
Take it from the seventh bar of the second ending? Why would you  
want to deal with a situation where m.16 could potentially refer to  
two different measures, or some measures don't have an individual  
measure number at all?


Even worse is the system of assigning multiple measure numbers to  
repeated measures, as the system quickly breaks down when you have  
sections that are repeated many times, or vamps/loops that are  
repeated an indeterminate number of times.


Really, from a rehearsal perspective, for new music where nobody  
expects measure numbers to have anything to do with phrasing, this  
system has nothing to recommend it. I understand that it's a  
convention used by some publishers (especially for historical music),  
but it's an ambiguous convention, which is why virtually everyone in  
my field uses one measure = one number.


I don't know why you'd agree that one measure=one number is the  
least ambiguous numbering method when players have to number their  
parts themselves, and then recommend a different, more ambiguous  
numbering system for publication.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY


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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Darcy James Argue
I am confident that neither Chuck nor Hiro would assign multiple sets  
of measure numbers to, for instance, an open solo section, even  
though the music is played multiple times. If the solo section is  
just a simple repeat, each measure would get one set of numbers. Even  
if a solo section is not open, but repeated a set number of times  
(say, 3Xs), I very much doubt that Chuck or Hiro would assign three  
sets of numbers to that section. But perhaps I'm mistaken, in which  
case I'm sure they will correct me.


The question then arises: what do you do if the solo section has  
multiple endings? Often, in solo sections, you'll keep taking the  
first ending every time, until the cue to go on, when you take the  
Last X Only second ending. Would either Chuck or Hiro assign two  
sets of numbers to that solo section, one corresponding to every  
time but the last time and another corresponding to last time -  
going on?


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 22 Mar 2007, at 2:57 AM, Johannes Gebauer wrote:


On 22.03.2007 A-NO-NE Music wrote:

17.
If you want to use 33, I believe you need to put both 1 and 17 to the
first measure.  Do you not think?


This is interesting, since you seem to come from the same music  
area as Darcy, yet you disagree...


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Darcy James Argue

Hi David,

Just to be clear, I agree with this -- as you say, historical forms  
in which the numbering system you describe is what's expected. But I  
would never recommend that this numbering system be used for a piece  
of new music.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 22 Mar 2007, at 8:31 AM, David W. Fenton wrote:


On 21 Mar 2007 at 18:25, Darcy James Argue wrote:


So, in your example, the measure under the first ending is m.16, the
measure under the second ending is m.17, and the first measure
following the second ending is m.18.


I would do that in the vast majority of situations. The one exception
would be a binary form with clear 8- or 16-bar sections, where the
numbers will then come out wrong if you count the 2nd endings. If the
B section begins in measure 10 instead of measure 9, it will confuse
those who are accustomed to the conventions of these historical
forms.

--
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David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Darcy James Argue
That's a straw man. I agreed from the beginning that there are  
different conventions for historical music. At first, the original  
poster didn't indicate whether they were working with new music or not.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 22 Mar 2007, at 12:44 PM, Johannes Gebauer wrote:


On 22.03.2007 John Howell wrote:
So how about this for a first principle?  Every measure SHOULD  
have and MUST have a unique identifying number, assigned in serial  
order to aid quick and accurate locating of that measure.   
Period.  End of statement.


I can already see problems when the next edition of a Mozart  
symphony comes out, obliging your new conventionl, and disagreeing  
with all previous editions. Thanks. And no thanks.


Johannes
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread A-NO-NE Music
Darcy James Argue / 2007/03/22 / 01:07 PM wrote:

I am confident that neither Chuck nor Hiro would assign multiple sets  
of measure numbers to, for instance, an open solo section, even  
though the music is played multiple times. If the solo section is  
just a simple repeat, each measure would get one set of numbers. Even  
if a solo section is not open, but repeated a set number of times  
(say, 3Xs), I very much doubt that Chuck or Hiro would assign three  
sets of numbers to that section. But perhaps I'm mistaken, in which  
case I'm sure they will correct me.

Sorry I wasn't too clear.  My measure numbers are strictly sequencial. 
I don't care if it matches phrasings, besides many of my compositions
has odd phrasings.  So, I never assign multiple sets of measure
numbers.  Again, strictly sequential regardless of repeats.  On the
other hand, I am very careful to put rehearsal letters organically to
the music.

The question then arises: what do you do if the solo section has  
multiple endings? Often, in solo sections, you'll keep taking the  
first ending every time, until the cue to go on, when you take the  
Last X Only second ending. 

Yes, this is very common.

Would either Chuck or Hiro assign two  
sets of numbers to that solo section, one corresponding to every  
time but the last time and another corresponding to last time -  
going on?

Again, mine is strictly sequential.  I use a lot of rehearsal letters
even within an open solo section, so it would be like:
OK, let's start from [Solo D] last time
which means take the last ending.  I have not experienced anyone getting
confused with my charts.

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com


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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Chuck Israels


On Mar 22, 2007, at 9:52 AM, Johannes Gebauer wrote:


On 22.03.2007 John Howell wrote:
Would anyone care to argue against that principle?  And explain  
why? Without appealing to convention or other authority?


By the same logic you could start writing out minor keys with extra  
an extra raised 7th. So that G minor would have 2 flats and one  
sharp. There is a lot of reasons to do that, and only convention  
stops you.


Oh boy!  A big can of worms.

Part of the point here is that this is a language - a written one  
describing an aural tradition and aural communication.  It has been  
my experience that all attempts to write down what is heard (spoken  
or played) are both woefully incomplete and often ambiguous.  What we  
hear as tonality is no exception.


A Blues in Bb, which can be predominantly mixolydian, is written in  
two flats rather than three.  (We like to preserve the leading tone  
in our idea of the key.)  Why we don't feel that way about G minor  
is one of those mysteries of convention where logical arguments can  
be made for more than one point of view.  (Do optimists want F Sharp  
and pessimists F natural?)


I am trying to make sense of the numbering discussion, and can find  
compelling arguments for different methods.  The numbers represent  
heard form to me, so I am inclined to practices that support that  
experience.  From a purely graphic point of view, however, that is  
harder to support.  YMMV


Chuck




So why don't we?

Sorry, John, but I really, really disagree with you, as far as any  
music in classical form is concerned. After that, do whatever works  
best.


Johannes
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Chuck Israels
230 North Garden Terrace
Bellingham, WA 98225-5836
phone (360) 671-3402
fax (360) 676-6055
www.chuckisraels.com

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread John Howell

At 11:19 AM -0400 3/22/07, A-NO-NE Music wrote:

Johannes Gebauer / 2007/03/22 / 11:05 AM wrote:


You come from a different music culture. Where I play people never agree
on what 4 bars after C means. Do you count C as 1, or 0?


Interesting.  4 bars after [C] means we are starting at the 5th bar from
[C].  I have never experienced any confusion during my rehearsals so
this is new to me.


Hmmm.  Assuming that a rehearsal letter is over a bar line, as it 
should be, and not over the middle of a bar, then the first bar to 
the right of that letter is indeed one bar after C, neh??


John


--
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Chuck Israels


On Mar 22, 2007, at 10:07 AM, Darcy James Argue wrote:

I am confident that neither Chuck nor Hiro would assign multiple  
sets of measure numbers to, for instance, an open solo section,  
even though the music is played multiple times. If the solo section  
is just a simple repeat, each measure would get one set of numbers.  
Even if a solo section is not open, but repeated a set number of  
times (say, 3Xs), I very much doubt that Chuck or Hiro would assign  
three sets of numbers to that section. But perhaps I'm mistaken, in  
which case I'm sure they will correct me.


The question then arises: what do you do if the solo section has  
multiple endings? Often, in solo sections, you'll keep taking the  
first ending every time, until the cue to go on, when you take the  
Last X Only second ending. Would either Chuck or Hiro assign two  
sets of numbers to that solo section, one corresponding to every  
time but the last time and another corresponding to last time -  
going on?


Normally, only one set of numbers, but I have encountered a few  
situations where I have found it useful (to me) to use two.  If I  
have an AABA, 32 measure repeated solo section that, for reasons of  
space saving, has its first A section written as 8 measures with a  
repeat (with or without 1st and 2nd endings), I will use two sets of  
numbers for that A section, even though it is only written once.  To  
my ear, there are 16 measures there so, when I get to B, it's measure  
17, not 9.  I can accept arguments to the contrary, but that's the  
way I do it, and I am at least consistent in my practice.


I have also saved space on one part where there is a simple repeat of  
a solo section, but other instruments have a variety of entrances  
throughout the two choruses.  Those parts that require 64 measures to  
appear on the page are numbered consecutively, while the simple solo  
section can comfortably, even more efficiently, have 32 measures with  
two sets of numbers.  (Can't do that with linked parts!)  Assuming  
conventional form with the solo starting at 33, it is then  
sufficiently clear to say, Take it from 41, or 73.


On the other hand, if it is a simple repeated chorus, I am  
comfortable with one set of numbers.  Take it from 65, second time.


Chuck




Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 22 Mar 2007, at 2:57 AM, Johannes Gebauer wrote:


On 22.03.2007 A-NO-NE Music wrote:

17.
If you want to use 33, I believe you need to put both 1 and 17 to  
the

first measure.  Do you not think?


This is interesting, since you seem to come from the same music  
area as Darcy, yet you disagree...


Johannes
--
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http://www.camerata-berolinensis.de

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Andrew Stiller


On Mar 21, 2007, at 6:47 PM, Johannes Gebauer wrote:


First and second endings always _start_ with the same measure number.


Sometimes, I imagine,  they do. But always? Hardly! Nor, in my view 
is such a practice desirable.


The point of measure numbers it to allow conductors and scholars to 
unambiguously refer to a particular measure without fear of being 
misunderstood. That being the case, measures in first and second 
endings *must* be numbered differently, one way or another.


Andrew Stiller
Kallisti Music Press
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Andrew Stiller


On Mar 21, 2007, at 6:49 PM, Johannes Gebauer wrote:


On 21.03.2007 Darcy James Argue wrote:
So, in your example, the measure under the first ending is m.16, the 
measure under the second ending is m.17, and the first measure 
following the second ending is m.18.


This is definitely completely non-standard for classical music. Look 
into any complete edition, NBA, NMA, you name it. Never will it be 
done like this.





First always and now never? The world doesn't work like that.

Look into my ongoing Heinrich gesamtausgabe (now up to 28 vols. , w. a 
29th currently in press) and you will find the measures numbered in 
*exactly* that way.


To me, measure numbers are written labels for written objects, and I am 
hardly the only person--nor the most radical--in the past century to 
question standard notational practices. A few years back on this list 
there was a Spanish horn player who insisted passionately that key 
signatures for horns were always and forever improper. This current 
discussion smells a lot like that...


Andrew Stiller
Kallisti Music Press
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Darcy James Argue

Hey Chuck,

Normally, only one set of numbers, but I have encountered a few  
situations where I have found it useful (to me) to use two.  If I  
have an AABA, 32 measure repeated solo section that, for reasons of  
space saving, has its first A section written as 8 measures with a  
repeat (with or without 1st and 2nd endings), I will use two sets  
of numbers for that A section, even though it is only written once.


While I understand why you might want to use this space-saving  
notation, most copyists would avoid it because it contains nested  
repeats, which are to be avoided whenever possible. The usual thing  
to do is to write out both A sections, even if they are identical.


I have also saved space on one part where there is a simple repeat  
of a solo section, but other instruments have a variety of  
entrances throughout the two choruses.  Those parts that require 64  
measures to appear on the page are numbered consecutively, while  
the simple solo section can comfortably, even more efficiently,  
have 32 measures with two sets of numbers.  (Can't do that with  
linked parts!)  Assuming conventional form with the solo starting  
at 33, it is then sufficiently clear to say, Take it from 41, or 73.


Again, the overwhelming majority of copyists would not choose this  
solution. If the backgrounds are such that they cannot be handled  
with Play 2nd X only indications, then we would write out the two  
choruses consecutively, for band AND soloist, so that everyone has  
the same roadmap.



it is then sufficiently clear to say, Take it from 41, or 73.


YMMV, of course, but to me, this does not seem clear at all! Imagine  
there's an impending trainwreck on a gig and you need to shout out:  
41! Or 73! [grin]


I'm just not comfortable with a score where different instruments  
have different roadmaps, or different measure numbers refer to the  
same point in time (except in certain asynchronous situations like  
Dennis described). I have to say, I just don't understand the desire  
to want to make measure numbers delineate form and phrasing. We  
already have so many other tools much better suited to that purpose  
-- rehearsal letters, double bars, the physical layout of the page,  
etc. To my mind, trying to make measure numbers do double duty as (A)  
unique identifiers of measures on the page, and (B) form/phrasing  
cues often leads to confusion. Why not just let measure numbers be  
measure numbers?


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread dhbailey

Johannes Gebauer wrote:

On 22.03.2007 A-NO-NE Music wrote:

Go from bar 21 second time is clear.  Also I'd like to point out
calling measure number is only for where it is too far from rehearsal
letter, or it would be much clearer to say:

Go from 4 bars before [C].



You come from a different music culture. Where I play people never agree 
on what 4 bars after C means. Do you count C as 1, or 0?


Johannes



Good point -- when I'm leading a rehearsal I always say Count with me, 
counting C as measure 1, then 2, 3, 4, 5 is where we'll start.  If 
anybody gets that wrong, they're obviously not the brightest bulb on the 
porch.


--
David H. Bailey
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Darcy James Argue
I always use first measure of [C], second measure of [C], etc.,  
which is unambiguous.


And contra Johannes, the before indications are always unambiguous.  
There's no possible confusion about what measure three before [C]  
refers to.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 22 Mar 2007, at 3:07 PM, dhbailey wrote:


Johannes Gebauer wrote:

On 22.03.2007 A-NO-NE Music wrote:

Go from bar 21 second time is clear.  Also I'd like to point out
calling measure number is only for where it is too far from  
rehearsal

letter, or it would be much clearer to say:

Go from 4 bars before [C].

You come from a different music culture. Where I play people never  
agree on what 4 bars after C means. Do you count C as 1, or 0?

Johannes



Good point -- when I'm leading a rehearsal I always say Count with  
me, counting C as measure 1, then 2, 3, 4, 5 is where we'll  
start.  If anybody gets that wrong, they're obviously not the  
brightest bulb on the porch.


--
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[EMAIL PROTECTED]
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread dhbailey

Johannes Gebauer wrote:

On 22.03.2007 John Howell wrote:
Would anyone care to argue against that principle?  And explain why? 
Without appealing to convention or other authority?


Well, for me this would make baroque dance movement numbering completely 
illogical. And I actually see no reason for it.


Johannes


Nobody needs to number Baroque dance movements because the sections are 
so short that it's easy for everybody to find the 9th measure of the 
second section.


--
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Andrew Stiller


On Mar 22, 2007, at 12:04 PM, Aaron Sherber wrote:

I do understand the potential for confusion, but really it's just 
logic. Where would you start if I said 1 bar after C? You wouldn't 
start at C, I assume -- you'd start the next bar (that is, the second 
bar of C). So 4 bars after C therefore has to be 3 bars later than 
that.


The question really is whether C designates a given measure, or the 
spot where that measure begins. It really ought to be the latter, and 
careful publishers take pains to put rehearsal letters right above the 
barline to (hopefully) make that clear.


In every ensemble I've ever played in, 12 after C unambiguously 
includes the first measure following the letter C as #1. The only time 
there is trouble is if the conductor asks for one or two after C. Since 
1 after C makes no sense if that means the first bar of C (why not 
ask just to start at C?), he must mean the second bar *of* C--but 
that would be *two* after C--so there is always confusion in such cases 
unless the conductor takes care to phrase his request with of, or 
says something like the second full measure  after C.


Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/kallisti.html

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Christopher Smith


On Mar 22, 2007, at 2:01 PM, John Howell wrote:


At 11:19 AM -0400 3/22/07, A-NO-NE Music wrote:

Johannes Gebauer / 2007/03/22 / 11:05 AM wrote:

You come from a different music culture. Where I play people  
never agree

on what 4 bars after C means. Do you count C as 1, or 0?


Interesting.  4 bars after [C] means we are starting at the 5th  
bar from

[C].  I have never experienced any confusion during my rehearsals so
this is new to me.


Hmmm.  Assuming that a rehearsal letter is over a bar line, as it  
should be, and not over the middle of a bar, then the first bar to  
the right of that letter is indeed one bar after C, neh??



That is what I learned. C indicates the barline.

Everyone I work with says Start at the 5th bar of C, which is a  
little more precise than Four (or five) bars after C.


Now, if you were say rehearse next Saturday when today is Thursday,  
half the band will show up in two days, the other half in nine days.  
However, the French-Canadians will ALL show up in two days, because  
the meaning of samedi prochain in French is perfectly clear,  
whereas it isn't in English, for some strange reason.


Christopher


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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread A-NO-NE Music

Woa, wait a minute.

The rehearsal letter [INTRO] is sitting on the 1st measure of the piece,
and [INTRO-17] is the 17th measure of the piece, which is 16 bars after
where [INTRO] was.  'After' means that portion has been completed.  I
don't think it can be clearer than this, no?

By the way, when I write a head chart, which has open solo section for
soloist(s) which will be determined on stage, I don't give measure
numbers to that section.  I give rehearsal letters, and at the end of
the harmonic phrases, say '8' for standard 32 bars form, I put (8)
underneath of the 8th bar.

This is more important for the music I write when the last measure of
the phrase I wrote isn't 8, but odd number instead.

P.S. Did anyone have any idea about my Peek-A-Boo issue I posted?

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com


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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread John Howell

At 12:32 PM -0400 3/22/07, Dennis Bathory-Kitsz wrote:

At 11:57 AM 3/22/2007 -0400, John Howell wrote:

So how about this for a first principle?  Every measure SHOULD have
and MUST have a unique identifying number, assigned in serial order
to aid quick and accurate locating of that measure.  Period.  End of
statement.
Would anyone care to argue against that principle?  And explain why?
Without appealing to convention or other authority?


Oh, well, here I am again. :)

Modular music or partly modular music is problematic, whether or not the
score can have a form that appears to be written from beginning to end.

My own Mantra Canon (1986) is for orchestra, chorus, six percussionists,
two pianos, and descant soprano. It is created from fully linear areas and
multiply looped areas. The loops differ from player to player in both
length and number of repetitions. Cuing the piece is very difficult, and
although the full score contains a number of every measure (1110 of them)
and the loops are written out in full, the individual parts contain cue
points, measure numbers, and position indicators (because some loops begin
and end mid-measure).


OK, fair enough.  When one writes music that requires a new notation 
it follows that even such things as measure numbers and/or rehearsal 
marks/letters/numbers will have to be rethought.  I seldom (perhaps 
never is closer to the truth) am involved in such music, to my own 
loss, I'm sure.


John


--
John  Susie Howell
Virginia Tech Department of Music
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread John Howell

At 12:39 PM -0400 3/22/07, David W. Fenton wrote:

On 22 Mar 2007 at 11:57, John Howell wrote:


 At 9:24 AM +0100 3/22/07, Johannes Gebauer wrote:
 On 22.03.2007 dhbailey wrote:
 I agree with Darcy on this point. The numbers are only to locate the
 physical measure on the page, so all full measures should be counted
 in a straight line from the first one through the final one.
 
 Well, even if you agree, you are still in disagreement with all major
 publishers, at least in Europe, which publish classical music,
 including contemporary as far as I can see.

 Am I the only one to whom this discussion seems equivalent to
 medieval theologians arguing how many angels can dance on the head of
 a pin?  (And why the head, anyhow, when dancing on the point would
 take much more skill?!!!)  A disputation full of sound and fury,
 signifying nothing!!!


No, no, no! It's much more like the discussion

[]


 So how about this for a first principle?  Every measure SHOULD have
 and MUST have a unique identifying number, assigned in serial order to
 aid quick and accurate locating of that measure.  Period.  End of
 statement.

 Would anyone care to argue against that principle?


Yes.


 And explain why?


Because you're describing the *music*, not the score.


Yes, or rather no, because someone (Darcy, I think) made the point 
that measure numbers DO apply only to what's on the page, and that's 
what I base my usage on and have always done.


I understand exactly what you're saying, of course.  You want to use 
measure numbers for a DIFFERENT purpose, that of analysis rather than 
rehearsal convenience.  This is much the same as saying that Roman 
numeral analysis is superior to either chord symbols or figured bass, 
because it was designed for analysis rather than performance, whereas 
each system has its own advantages and is very useful for different 
things from the others.



If you were listening to someone play, the 2nd ending of a 16-bar
period would still be the 16th bar after the first measure of the
period. It's 16 twice, or it's 16 for first ending and 32 for the
second. I find this latter overly fussy, so would never do it, as
it's easy enough to say 2nd ending.


 Without appealing to convention or other authority?


I'm appealing to *music*, i.e., what is heard.


Yes, I understand perfectly.  And repeat that in practical terms 
rehearsal efficiency far outweighs analysis in the kinds of 
situations I have found myself in.



That's how you determine
phrase lengths, too (and a measure that constitutes an ellision
between two phrases can be counted in both, but that's entirely
*different* can of worms!).


And one that belongs in the realm of analysis, of course, and can 
lead to quite wonderful musical insights, but once again, we are not 
arguing for analysis but for rehearsal practicality.  If one has to 
make a choice between one or the other, I know which is more 
important to me, just as you seem to know which is more important to 
you.  I was taught to analyze phrases by bar groupings, of course, 
but the actual numbers on the bars are not a necessary part of that 
analysis.  They are arbitrary identifiers.


John


--
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Virginia Tech Department of Music
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Re: [Finale] Measure numbering with repeats (OT)

2007-03-22 Thread John Howell

At 12:48 PM -0400 3/22/07, David W. Fenton wrote:

[not sure what happened here]

  No, no, no! It's much more like the discussion

... the discussion of whether 2000 or 2001 was the first year of the
21st century. It's all about whether you're thinking 0-based counting
or 1-based.


Yes, you're right, it is.  And I certainly don't want to reopen THAT 
discussion, but I will briefly point out that the Christian calendar 
is not and never has been a construct designed by mathematicians and 
logic-driven.  It is simply a King List, which is how people kept 
track of the years back then (and even further back, with the 
Egyptian Dynastic lists).  Only it's a king list with only a single 
king, and with no terminus.  Anything beyond that strikes me as 
wishful thinking, since the date of New Year has been all over the 
map without triggering cries of outrage against logic, and since Pope 
Gregory thought nothing about removing--what was it, 10 
days?--arbitrarily from the calendar in the 16th century.


John


--
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Virginia Tech Department of Music
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Chuck Israels

Darcy,

I don't disagree with trying to avoid this, and maybe I should have  
kept my mouth (typing fingers) shut.  It is an unusual situation and  
not at all normal practice for me.  I have only used it when there  
seemed to be real space constraints.  (I know - paper is relatively  
cheap compared to rehearsal time.)


Chuck


On Mar 22, 2007, at 12:01 PM, Darcy James Argue wrote:


Hey Chuck,

Normally, only one set of numbers, but I have encountered a few  
situations where I have found it useful (to me) to use two.  If I  
have an AABA, 32 measure repeated solo section that, for reasons  
of space saving, has its first A section written as 8 measures  
with a repeat (with or without 1st and 2nd endings), I will use  
two sets of numbers for that A section, even though it is only  
written once.


While I understand why you might want to use this space-saving  
notation, most copyists would avoid it because it contains nested  
repeats, which are to be avoided whenever possible. The usual thing  
to do is to write out both A sections, even if they are identical.


I have also saved space on one part where there is a simple repeat  
of a solo section, but other instruments have a variety of  
entrances throughout the two choruses.  Those parts that require  
64 measures to appear on the page are numbered consecutively,  
while the simple solo section can comfortably, even more  
efficiently, have 32 measures with two sets of numbers.  (Can't do  
that with linked parts!)  Assuming conventional form with the solo  
starting at 33, it is then sufficiently clear to say, Take it  
from 41, or 73.


Again, the overwhelming majority of copyists would not choose this  
solution. If the backgrounds are such that they cannot be handled  
with Play 2nd X only indications, then we would write out the two  
choruses consecutively, for band AND soloist, so that everyone has  
the same roadmap.



it is then sufficiently clear to say, Take it from 41, or 73.


YMMV, of course, but to me, this does not seem clear at all!  
Imagine there's an impending trainwreck on a gig and you need to  
shout out: 41! Or 73! [grin]


I'm just not comfortable with a score where different instruments  
have different roadmaps, or different measure numbers refer to the  
same point in time (except in certain asynchronous situations like  
Dennis described). I have to say, I just don't understand the  
desire to want to make measure numbers delineate form and phrasing.  
We already have so many other tools much better suited to that  
purpose -- rehearsal letters, double bars, the physical layout of  
the page, etc. To my mind, trying to make measure numbers do double  
duty as (A) unique identifiers of measures on the page, and (B)  
form/phrasing cues often leads to confusion. Why not just let  
measure numbers be measure numbers?


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread John Howell

At 3:44 PM -0400 3/22/07, Christopher Smith wrote:


Now, if you were say rehearse next Saturday when today is 
Thursday, half the band will show up in two days, the other half in 
nine days. However, the French-Canadians will ALL show up in two 
days, because the meaning of samedi prochain in French is 
perfectly clear, whereas it isn't in English, for some strange 
reason.


That may also be a generational thing.  I would show up in two days. 
Our kids in 9 days!!


John


--
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 13:11, Darcy James Argue wrote:

 Just to be clear, I agree with this -- as you say, historical forms 
 in which the numbering system you describe is what's expected. But I 
 would never recommend that this numbering system be used for a piece 
 of new music.

Well, if you'll reread what I actually posted in this thread, you'll 
see that I never advocated that.

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 14:35, Andrew Stiller wrote:

 The point of measure numbers it to allow conductors and scholars to
 unambiguously refer to a particular measure without fear of being
 misunderstood. That being the case, measures in first and second
 endings *must* be numbered differently, one way or another.

Do you consider 1st ending measure 16 and 2nd ending measure 16 
to be one way or another that they are numberd differently? If not, 
I'd like to know why. If so, then you don't have a beef with 
Johannes.

-- 
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David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread Darcy James Argue

On 22 Mar 2007, at 6:18 PM, David W. Fenton wrote:


On 22 Mar 2007 at 13:11, Darcy James Argue wrote:


Just to be clear, I agree with this -- as you say, historical forms
in which the numbering system you describe is what's expected. But I
would never recommend that this numbering system be used for a piece
of new music.


Well, if you'll reread what I actually posted in this thread, you'll
see that I never advocated that.


Nor did I claim, or intend to imply, that you had.

Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 18:08, John Howell wrote:

 At 3:44 PM -0400 3/22/07, Christopher Smith wrote:
 
 Now, if you were say rehearse next Saturday when today is 
 Thursday, half the band will show up in two days, the other half in
 nine days. However, the French-Canadians will ALL show up in two
 days, because the meaning of samedi prochain in French is perfectly
 clear, whereas it isn't in English, for some strange reason.
 
 That may also be a generational thing.  I would show up in two days.
 Our kids in 9 days!!

It might be regional. I'm pretty certain I'm closer to your age than 
your kids, and I'd show up in 9 days (raised in the Midwest).

-- 
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David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread David W. Fenton
On 22 Mar 2007 at 17:36, John Howell wrote:

  You want to use 
 measure numbers for a DIFFERENT purpose, that of analysis rather than
 rehearsal convenience. 

No, I want to use them for both analytical purposes and for clarity. 
I see nothing unclear about 1st ending m. 16 and 2nd ending m. 
16.

-- 
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David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread dhbailey

John Howell wrote:

At 3:44 PM -0400 3/22/07, Christopher Smith wrote:


Now, if you were say rehearse next Saturday when today is Thursday, 
half the band will show up in two days, the other half in nine days. 
However, the French-Canadians will ALL show up in two days, because 
the meaning of samedi prochain in French is perfectly clear, whereas 
it isn't in English, for some strange reason.


That may also be a generational thing.  I would show up in two days. Our 
kids in 9 days!!


John




Naw, it isn't generational -- I'd show up in 9 days and my wife would 
show up in 2.  So we've learned to be very careful to say this coming 
Saturday which is a pretty good transliteration of the French samedi 
prochain when we mean 2 days and next Saturday as meaning not THIS 
Saturday but the following one, 9 days later.


And my wife and I agree that no matter what the situation, no matter how 
clear anything is to one party, it will be totally confusing to the 
other party.


--
David H. Bailey
[EMAIL PROTECTED]
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Re: [Finale] Measure numbering with repeats

2007-03-22 Thread YATESLAWRENCE
 
 
In a message dated 23/03/2007 00:25:02 GMT Standard Time,  
[EMAIL PROTECTED] writes:

no  matter how 
clear anything is to one party, it will be totally confusing to  the 
other party.

And the confused party is usually a woman!  :-)
 
Take this true scenario:
 
Who but a woman would seriously believe that a sensible answer to the  
question When are you coming home is We only arrived on Monday  It  took 
ten 
minutes, four questions and a very unhealthy degree of  frustration, to say 
nothing of a dangerously high blood pressure, to  finally get the answer, Next 
Saturday
 
Each repetition of the question was slightly different.  I numbered  them all 
the same.
 
Cheers,
 
Lawrence
 
 

 
lawrenceyates.co.uk



   
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RE: [Finale] Measure numbering with repeats

2007-03-22 Thread Richard Yates
 
Most people think the year 2000 was the first year of the 21st 
century (rather than the last of the 20th). It's not logical, 
but that's what everyone believes.

Hey! Don't start that one again. (For those not present seven (!) years ago
the topic of when the millennium was to begin occupied several hundred
posts. At least this time numbering is music-related).

RY



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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread nraspa

Dennis,

I've seen it done with 16 and with 33.  It's my feeling that you should 
always count every measure including the repeated measures.  I would 
mark it as measure 33.


Nick Raspa
NJR Music Enterprises

-Original Message-
From: [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Wed, 21 Mar 2007 4:26 PM
Subject: [Finale] Measure numbering with repeats

   Say you have a piece that begins with 16 measures repeated with the 
last measure different for the second ending. What number does the next 
measure get 17? 33? 

 
Thanks, 
 
Dennis 
 
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AOL now offers free email to everyone.  Find out more about what's free 
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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Darcy James Argue
My own feeling is that measure numbers refer to measures on the PAGE.  
So each individual measure, no matter how many times it is played,  
gets one and only one measure number, and that number is the same  
number in the score and all the parts.


This is the method that is maximally clear to conductors and  
performers. (If you're doing a purely historical/analytical edition,  
you may have different needs.)


So, in your example, the measure under the first ending is m.16, the  
measure under the second ending is m.17, and the first measure  
following the second ending is m.18.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 21 Mar 2007, at 5:26 PM, dc wrote:

Say you have a piece that begins with 16 measures repeated with the  
last measure different for the second ending. What number does the  
next measure get 17? 33?


Thanks,

Dennis


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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Barbara Touburg

17b?

dc wrote:
Say you have a piece that begins with 16 measures repeated with the last 
measure different for the second ending. What number does the next 
measure get 17? 33?


Thanks,

Dennis


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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Johannes Gebauer

On 21.03.2007 dc wrote:

Say you have a piece that begins with 16 measures repeated with the last 
measure different for the second ending. What number does the next measure get 
17? 33?



First and second endings always _start_ with the same measure number. So 
the next measure in your case would be 17 I guess.


Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de

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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Chuck Israels
From my point of view, there are logical reasons for either, but I'd  
probably use 33.  Not 34.  In 2k7, you can use measure attributes to  
exclude the 2nd ending from the measure number region.



Chuck


On Mar 21, 2007, at 2:26 PM, dc wrote:

Say you have a piece that begins with 16 measures repeated with the  
last measure different for the second ending. What number does the  
next measure get 17? 33?


Thanks,

Dennis


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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Johannes Gebauer

On 21.03.2007 Darcy James Argue wrote:

So, in your example, the measure under the first ending is m.16, the measure 
under the second ending is m.17, and the first measure following the second 
ending is m.18.


This is definitely completely non-standard for classical music. Look 
into any complete edition, NBA, NMA, you name it. Never will it be done 
like this.


Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de

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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Kim Patrick Clow

On 3/21/07, Johannes Gebauer [EMAIL PROTECTED] wrote:


First and second endings always _start_ with the same measure number. So
the next measure in your case would be 17 I guess.



Yep, it's odd this question came up because my editor told me exactly
that's his preference.

Good luck
Kim Patrick Clow
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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread John Howell

At 6:25 PM -0400 3/21/07, Darcy James Argue wrote:
My own feeling is that measure numbers refer to measures on the 
PAGE. So each individual measure, no matter how many times it is 
played, gets one and only one measure number, and that number is the 
same number in the score and all the parts.


Yes, I agree with this completely, IF AND ONLY IF the numbering is 
exactly the same in score and all parts.  Every measure needs to have 
one and only one unique identifier in any context I can think of.


BUT, where you get into trouble is with sloppy copying and multiple 
revisions, as those of us involved with Broadway musical scores and 
partbooks have inevitably tripped over.  There was one point in King 
 I--and I can't recall which number it was in--where some part 
books had a repeat, others had the repeat written out, and neither 
one matched the piano-vocal score.  That's the mark of quick and 
dirty copying where some shortcuts are taken because they can be, 
without considering the overall effect.  We stumbled over that 
particularly bad example when we were asked to make a cut involving 
that section--a real mess and an unnecessary waste of rehearsal 
time!!!


John

So, in your example, the measure under the first ending is m.16, the 
measure under the second ending is m.17, and the first measure 
following the second ending is m.18.


Agreed.  Bar numbers are to speed up rehearsals, not to outline musical form!!

John


--
John  Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread John Howell

At 11:49 PM +0100 3/21/07, Johannes Gebauer wrote:

On 21.03.2007 Darcy James Argue wrote:
So, in your example, the measure under the first ending is m.16, 
the measure under the second ending is m.17, and the first measure 
following the second ending is m.18.


This is definitely completely non-standard for classical music. Look 
into any complete edition, NBA, NMA, you name it. Never will it be 
done like this.


Agreed.  But it's still the best practical way to do it.  Anything 
else is a convention, and almost certainly NOT the composer's idea 
since bars were hardly ever numbered in original scores.


John


--
John  Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Johannes Gebauer

On 22.03.2007 John Howell wrote:

This is definitely completely non-standard for classical music. Look into any 
complete edition, NBA, NMA, you name it. Never will it be done like this.


Agreed.  But it's still the best practical way to do it.  Anything else is a 
convention, and almost certainly NOT the composer's idea since bars were hardly 
ever numbered in original scores.


It has got little to do with what the composer intended. In my opinion 
the convention is by far the most logical way to number measures, and in 
addition it is the only which allows individual parts to differ on 
endings while still having the same measure count. It is actually very 
common in classical music to have a second ending only in some parts and 
not in others. You simply cannot number these separately.


I also find it very strange especially in baroque movements which are 
symmetric when the second section starts with measure 18, bringing the 
measure count to 33. Makes no sense to me.


Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Johannes Gebauer

On 21.03.2007 Chuck Israels wrote:

From my point of view, there are logical reasons for either, but I'd probably 
use 33.  Not 34.  In 2k7, you can use measure attributes to exclude the 2nd 
ending from the measure number region.


Actually, I would exclude the first ending, as this is very unlikely to 
be placed at the beginning of a staff system.


Johannes
--
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http://www.camerata-berolinensis.de
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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Darcy James Argue
I agree that it's nonstandard for an edition of big-C Classical  
music. It's absolutely standard for new music, though. How else would  
you number an open repeat or repeat till cue section?


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY



On 21 Mar 2007, at 6:49 PM, Johannes Gebauer wrote:


On 21.03.2007 Darcy James Argue wrote:
So, in your example, the measure under the first ending is m.16,  
the measure under the second ending is m.17, and the first measure  
following the second ending is m.18.


This is definitely completely non-standard for classical music.  
Look into any complete edition, NBA, NMA, you name it. Never will  
it be done like this.


Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de

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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Darcy James Argue

On 21 Mar 2007, at 7:38 PM, Johannes Gebauer wrote:

It has got little to do with what the composer intended. In my  
opinion the convention is by far the most logical way to number  
measures,


Strongly disagree.

and in addition it is the only which allows individual parts to  
differ on endings while still having the same measure count.


I would see that as a bug, not a feature. All parts and the score  
ought to have the same roadmap, IMO (absent some exceptional cases  
like some instruments looping while others go on, or asymmetrical  
barlines or whatnot).


I also find it very strange especially in baroque movements which  
are symmetric when the second section starts with measure 18,  
bringing the measure count to 33. Makes no sense to me.


Only if you feel measure numbers have anything at all to do with  
phrasing or form. In the kind of copying/engraving I do, they don't.  
They're just labels.


Cheers,

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY




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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Chuck Israels
What you have said about this makes sense to me, but sometimes a  
longer 1st and second ending (3 or 4 measures) does come at the  
beginning of a line.  I do try to make sure that 1st and 2nd endings  
are on the same line, though there are rare occasions where things  
work out better with them on different lines (really long endings).


Chuck


On Mar 21, 2007, at 4:40 PM, Johannes Gebauer wrote:


On 21.03.2007 Chuck Israels wrote:
From my point of view, there are logical reasons for either, but  
I'd probably use 33.  Not 34.  In 2k7, you can use measure  
attributes to exclude the 2nd ending from the measure number region.


Actually, I would exclude the first ending, as this is very  
unlikely to be placed at the beginning of a staff system.


Johannes
--
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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread A-NO-NE Music
dc / 2007/03/21 / 05:26 PM wrote:

Say you have a piece that begins with 16 measures repeated with the last 
measure different for the second ending. What number does the next measure 
get 17? 33?

17.
If you want to use 33, I believe you need to put both 1 and 17 to the
first measure.  Do you not think?

-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com


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Re: [Finale] Measure numbering with repeats

2007-03-21 Thread Chuck Israels


On Mar 21, 2007, at 8:50 PM, A-NO-NE Music wrote:


dc / 2007/03/21 / 05:26 PM wrote:

Say you have a piece that begins with 16 measures repeated with  
the last
measure different for the second ending. What number does the next  
measure

get 17? 33?


17.
If you want to use 33, I believe you need to put both 1 and 17 to the
first measure.  Do you not think?


I have been know to do this, in order to facilitate starting a  
rehearsal segment from the beginning of, or from within the second  
time through.  It's fussy, and maybe redundant, but I have done this  
sometimes.  However, Lately I have simply used one number per measure.


Chuck






--

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com


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