Craig wrote:
So far so good. Right now I'm working on an orchestration for full
symphony orchestra + jazz combo + several other instruments not
normally in an orchestral score. I set this up as usual, with each
instrument having its own staff. I did that so I could easily do an
extraction wh
I too am keenly interested to hear responses to these questions, while
we are all waiting for Finale to incorporate some sort of smart part
management system.
Tim
On Wednesday, August 13, 2003, at 03:02 PM, Craig Parmerlee wrote:
This may be a message mainly for Tobias, as part of it seems to
On Wednesday, August 13, 2003, at 12:45 PM, Craig Parmerlee wrote:
At 02:26 PM 8/13/2003 -0500, Richard Huggins wrote:
Maybe I'm not getting something, but ...
You mentioned that you have everything on separate staves at the
moment--why
wouldn't you extract those into parts before combining the
Yes, I was thinking mainly of wind parts. I've seen so many horrendous
combined parts that I cringe when I see them. I understand that a string
section is managed differently, and when there are divisi parts in cello,
e.g., that is almost always "vertical" i.e. same rhythms, harmonized
notes.
Well, maybe I'm STILL not getting something, but
> I'd rather not have to also do a major editing job to produce a consolidated
> score.
I thought in your original message you said you had chosen to do it the way
you did. In this case, you have to consolidate the score anyway, since
you've al
Maybe I'm not getting something, but ...
You mentioned that you have everything on separate staves at the moment--why
wouldn't you extract those into parts before combining them? If you did,
then you're only dealing with the implosion issue (making a more-handy
conductors score), not trying to fig
Craig Parmerlee:
I want to know how others approach organizing the instruments on
their scores. I have done mainly small ensembles in the past. ...
Right now I'm working on an orchestration for full symphony
orchestra + jazz combo + several other instruments not normally in
an orchestral sco
At 02:26 PM 8/13/2003 -0500, Richard Huggins wrote:
Maybe I'm not getting something, but ...
You mentioned that you have everything on separate staves at the moment--why
wouldn't you extract those into parts before combining them? If you did,
then you're only dealing with the implosion issue (maki
I typically do the score doubling up parts on staves as needed. If there are solos or
unisons, I use note-attached exps to denote them. I used to use meas-attached, but
since Tobias introduced Smart Part Extraction I use note-attached because SPE works so
well with them.
To extract the parts, I
>>>On Behalf Of Craig Parmerlee
I think what I would like to do is to combine the
same-family instruments (all the trumpets on one staff, e.g.). But I
insist that each trumpeter (e.g.) gets only his/her own part.<<<
If I'm understanding you correctly, you'll want to check the *leave origina
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