Mark D. Lew wrote, in part: > [This has become] ... a debate about > publishers trying to suppress non-standard > notation, which as far as I can tell nobody > is defending.
What I've written in that discussion may come across that way. And in traditional music -- that is, traditional in the sense that it uses the key and meter systems that we all know and love -- I believe that traditional notation is best. On the other hand, I have some "non-traditional" pieces in my catalog as well, and they are notated as the composer wished. One is Ginger Mayerson's "Paths and Destinations" for unaccompanied tuba. In the first of its three parts, there are six different sections; each is notated with a meter and tempo marking, but with out key signature and using accidentals where needed. The performer plays these six sections as written, but in any order he/she chooses. In the second part, there are also six sections. Each contains notes only -- quarter notes, for convenience -- but no time signature, key signature, or bar lines. The performer plays all the notes in order, in any rhythm. The third section has "suggested" rhythm. That is, there are quarters, eighths, dotted eights, ties, etc. -- but no time signature and no bar lines. The player plays it once, using the notated rhythm as an approximate guide to the relative note durations. This piece uses a lot of non-traditional and non-conventional notation. But I'd never typeset Mozart this way. Jim O'Briant Bayside Music Press Gilroy, CA 95020 http://www.baysidemusicpress.com _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
