At 7:31 PM -0400 10/01/02, Darcy James Argue wrote:
>
>Actually, this was one of the original solutions I was 
>contemplating, and I somehow lost sight of it until others on the 
>list reminded me that "Div in 3" within a section is much more 
>common than "Div in 3" across both violin sections.  In light of the 
>discussion here, it seems obvious that it's the right way to go, 
>since that's what players are used to seeing.  However, I can't 
>resist pointing out that this allegedly terrible problem about who 
>is to play which part in a 2:1 divisi is *exactly* the same as the 
>problem as to who is to play which part in a true 3-way divisi. 
>It's just that in the former case the "first" part and the "second" 
>part are the same.


I hope you won't make the "first" and "second" part the same, but 
split both sections identically into 3, the top part played by 2nd 
and 1sts, the middle played by both 2nds and 1sts, and the bottom 
part too. This will save the inevitable questions about how to split 
it so that each part is properly balanced, and you don't want that.

You aren't taking into account adequately the way an orchestral 
player's mind works. They don't understand that two thirds of the 
firsts playing one line while one third plays another will be 
properly balanced when the seconds add their part in (refer to my 
previous message about what happened when I tried to indicate this!) 
unless lots of valuable rehearsal time is spent explaining it to 
them, and even then they will keep "forgetting" to take the right 
split, since it makes no sense to them. A divisi in 3 (into 3 
different notes!) on the first part (and the same thing on the 
seconds) is perfectly understandable to them with no explanation, 
they can see all three notes and believe that it will be balanced, 
and the small amount of management by the concert master to divide it 
properly will take no time at all. Plus, the second violins are 
perfectly capable of playing the (presumably) higher notes on the top 
voice of the "in 3" split.

In the interests of saving valuable rehearsal time,

Christopher
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