Robert Patterson wrote:
...If you take nothing else away from a reading
of Ted Ross's book, you should take away that
communication of the composer's intent to a
performer in the most efficient and clear way
was his overriding concern.
I agree that clear communication of the
At 8:53 AM 05/28/03, James O'Briant wrote:
All I can tell you is that I regularly and repeatedly receive
compliments from my customers on the readability of the music I sell,
and that I have never had one single complaint about my use of
accidentals or the method in which I engrave key changes.
-Original Message-
From: James O'Briant [mailto:[EMAIL PROTECTED]
But I stand firmly against notation gimmicks for purposes of style or
engraving aesthetics or the like.
What composers do is one thing, but what engravers do is another. One can argue about
the pros and cons of
From: Andrew Stiller [EMAIL PROTECTED]
I was recently looking thru my copy of the Doors _Waiting for the
Sun_ printed anthology, and noticed a variant of this that I don't
think Finale can currently do w.o a workaround: when changing from F
to Bb at the end of a line, the cautionary key sig.
At 8:41 AM 05/27/03, Christopher BJ Smith wrote:
[answering me]
I would add one point, though. The rule I've often seen, and which I
prefer, is that when you're switching from sharps to flats or vice versa,
you do not cancel the outgoing signature, but if you're switching from
several sharps to
At 5:56 PM 05/27/03, John Howell wrote:
I could be wrong, but the change I think I've seen between late 19th
century orchestral engraving and 20th century engraving is not a
change in whether to cancel accidentals, but in where to put the
cancelation. Cancelling before the bar line gives a
[John Howell (on newer tendency to omit naturals in key signature change):]
I could be wrong, but the change I think I've seen between late 19th
century orchestral engraving and 20th century engraving is not a
change in whether to cancel accidentals, but in where to put the
cancelation.
