Richard Yates wrote:
At 10:01 PM 5/27/2006, Richard Yates wrote:
have used this layout scheme since it seemed logical and compact, but
realized that I may have just made it up.
Yes, I think you made it up. It looks awfully confusing to me, and
probably impossible to sight read.
Aaron.
How
At 10:01 PM 5/27/2006, Richard Yates wrote:
I have used this layout scheme since it seemed logical and compact,
but
realized that I may have just made it up.
Yes, I think you made it up. It looks awfully confusing to me, and
probably impossible to sight read.
Aaron.
How is it
Richard Yates / 2006/05/28 / 09:05 AM wrote:
I understand that if the situation were someone, or a band, sightreading
along for the first time in performance and coming across this unexpectedly
it would likely trip them up, but that circumstance would never occur with
this music.
In my opinion,
On May 28, 2006, at 9:05 AM, Richard Yates wrote:
You almost have it correct. You shouldn't reverse the 2nd and 1st
endings ever, in my opinion.
But you can make the first ending be one measure, then have 1st ending
and 2nd ending but without a repeat sign in the 1st ending. People
would
At 6:05 AM -0700 5/28/06, Richard Yates wrote:
Two replies said that the top example was 'confusing'. Could someone say
what is confusing about it? Aside from it being unusual, after looking at it
is there any chance of someone actually misunderstanding the intent?
Yes, absolutely!! If I
On May 28, 2006, at 9:05 AM, Richard Yates wrote:
http://www.yatesguitar.com/misc/ABA.gif ?
The second example is by far the best way, IMO.
The third example has been used before (I have seen it in Strauss
waltzes and polkas in orchestra), but without the final barline at the
second
At 6:05 AM -0700 5/28/06, Richard Yates wrote:
Two replies said that the top example was 'confusing'. Could someone say
what is confusing about it? Aside from it being unusual, after looking at it
is there any chance of someone actually misunderstanding the intent?
Yes, absolutely!! If I
Two replies said that the top example was 'confusing'. Could someone say
what is confusing about it? Aside from it being unusual, after looking at
it
is there any chance of someone actually misunderstanding the intent?
Yes, absolutely!! If I came across it I would ASSUME that the
reversal
Richard Yates wrote:
At 10:01 PM 5/27/2006, Richard Yates wrote:
I have used this layout scheme since it seemed logical and compact,
but
realized that I may have just made it up.
Yes, I think you made it up. It looks awfully confusing to me, and
probably impossible to sight read.
Aaron.
I understand the difference between a shorthand version to be read by
one person - learning a piece, and ensemble parts, so I have some
sympathy for Richard's question. Still, to paraphrase a familiar
saying, When in doubt, write it out! Personally, as a reader, I
dislike backtracking
Le 06-05-28 à 13:03, Richard Yates a écrit :
Where do you see defensiveness or (most puzzling) attack? I think
you may be
reading a reaction into my response that is not there. I really did
want to
know if and how the intent could be genuinely misunderstood. No one
has said
that they did
Hi Bob,
Bill Duncan in his Finale Productivity book said: Be impossible to
misunderstand. I live by this phrase when I am doing parts.
bob Florence
Would you please tell me about this book? availability? scope? Source? date
of publication? Finale versions it covers?
Thanks.
Ken
Go to:
http://gwmp.com/
**Leigh
On Sun, May 28, 2006, D. Keneth Fowler [EMAIL PROTECTED] wrote:
Hi Bob,
Bill Duncan in his Finale Productivity book said: Be impossible to
misunderstand. I live by this phrase when I am doing parts.
bob Florence
Would you please tell me about this book?
If I may be permitted to yank this thread in another direction, I am
convinced that in many (certainly not all) cases, the use of repeats,
endings, DS, al Coda, al Fine, ect. is obsolete. Current practice is
often stuck in the habits of previous centuries and does not reflect the
capabilities
Bill's stuff is great. Big time signatures, articulations, and more.
http://www.gwmp.com
D. Keneth Fowler wrote:
Hi Bob,
Bill Duncan in his Finale Productivity book said: Be impossible to
misunderstand. I live by this phrase when I am doing parts.
bob Florence
Would you please tell me
On 28 May 2006 at 13:41, Richard Smith wrote:
If I may be permitted to yank this thread in another direction, I am
convinced that in many (certainly not all) cases, the use of repeats,
endings, DS, al Coda, al Fine, ect. is obsolete. Current practice is
often stuck in the habits of previous
To the wisdom of the list,
Piano score, several chords roll through both staves.What is considered
good practice in locating the upper and lower termination points for the
roll signs? DoI key on the termination points of the stems or on the
highest and lowest note heads?
Thanks for your
Hi Richard,
read Christopher response to your question again. It is as clear as I
could describe it myself in English. You seem to have convinced
yourself with that way of writing it, and there is nothing we can do
to make you change your mind I guess.
I am sincerely puzzled that anyone thinks I
Hey Carl,
Page turns aren't a problem. Only *bad* page turns are a problem.
However, most jazz charts have terrible page turns. In my own band, I
use booklets (made with VPC tape) with proper page turns: i.e., break
only at multimeasure rests, on every odd-numbered page. There is no
Hi Darcey;
I go to the extreme and try to make a page turn on page one. Every so
often you have a crowded bandstand. I agree with all of you comments
about page turns. For me, it has become a game.
Bass parts can be done with chords that use open strings or else in
passages where the bass
At 01:34 PM 5/28/2006, dhbailey wrote:
Your third example is how it is done in all the engraved music I've ever
seen.
Really? David, I think you're misunderstanding the intent. #3 looks
like AABA with a missing repeat sign. That is play A through the
first ending, repeat A, take second ending,
Hi Bob,
Yes, as I said, I use VPC-taped booklets, which require a valid turn
on page one. (Except that occasionally on very busy charts, this
isn't possible, I need a fold-out page.)
I should also have mentioned the soloist's part should *never*
include a page turn in mid-solo. This
On May 28, 2006, at 2:56 PM, D. Keneth Fowler wrote:
To the wisdom of the list,
Piano score, several chords roll through both staves.What is
considered good practice in locating the upper and lower termination
points for the roll signs? DoI key on the termination points of the
stems or on
On May 28, 2006, at 2:53 PM, David W. Fenton wrote:
On 28 May 2006 at 13:41, Richard Smith wrote:
If I may be permitted to yank this thread in another direction, I am
convinced that in many (certainly not all) cases, the use of repeats,
endings, DS, al Coda, al Fine, ect. is obsolete.
On May 28, 2006, at 4:01 PM, Christopher Smith wrote:
On May 28, 2006, at 2:56 PM, D. Keneth Fowler wrote:
To the wisdom of the list,
Piano score, several chords roll through both staves.What is
considered good practice in locating the upper and lower termination
points for the roll
At 10:03 AM -0700 5/28/06, Richard Yates wrote:
There are many assumptions being made about the situation in which the score
would be used. I absolutely believe that in the one you, and others, have
assumed (sight-reading with a group of players) that you are correct.
Your third example
On 28 May 2006, at 19:03, Richard Yates wrote:
It is a solo classical guitar transcription of a piano work by
Onslow.
How is the repeat notated in the original piano piece?
___
Finale mailing list
Finale@shsu.edu
At 3:55 PM -0400 5/28/06, Darcy James Argue wrote:
I should also have mentioned the soloist's part should *never*
include a page turn in mid-solo. This seems glaringly obvious, but
you wouldn't believe how often composers/arrangers who copy their
own parts make this mistake.
Well, such
Like your second example, of course. It's conventional and
unambiguous. And pulling a single measure onto the previous page is
trivial. John
Sorry if I was not clear about that last point. There are two-thirds of the
B section is on the last page so it is not simply a matter of pulling one
It is a solo classical guitar transcription of a piano work by
Onslow.
How is the repeat notated in the original piano piece?
It is written out. Makes it too many pages for my purposes (publication page
requirement OR music stand)
Richard
___
Richard Smith wrote:
Current practice is often stuck in the habits of previous centuries and does not reflect thecapabilities of our software. Finale or Sibelius (even most of the toy
notation programs) eliminate the need for repeats to save the engraver'stime. Just copy and paste (and edit as
That's funny: didn't somebody say that repeat sections were used in
previous centuries and now with modern software there's no reason
not to write it all out? And here precisely the contrary is happening.
I would tend towards presenting the arrangement in the same form as
the original:
the standard I use would be one line or space above or below the
chord. For instance, if you had a chord in a staff that was the first,
second and third space, you would make the arpeggio line begin at the
bottom line of the staff and go to the line one down from the top. If
the chord ends or
These are parts people are bringing into a sight-reading workshop! So
many jazz composers don't even consider page turns -- the issue is
not even on their radar. For this, and many other issues, the
prevailing attitude is overwhelmingly: the computer will take care
of it.
Regardless,
Darcy James Argue wrote:
These are parts people are bringing into a sight-reading workshop! So
many jazz composers don't even consider page turns -- the issue is not
even on their radar. For this, and many other issues, the prevailing
attitude is overwhelmingly: the computer will take care
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