> From: Harold Owen <[EMAIL PROTECTED]> > It's hard to imagine such a situation. Are you asking your singers to accent > each note when singing just one syllable - by giving it a kind-of pulsing > effect?
This is a TTBB adaptation (mine) of a Moses Hogan SATB arrangement of a spiritual. I am incorporating all of his markings and articulations, and he used the accents as I described. Yes, I would say he desired a pulsed effect on the syllable. > Is the "two-part choral line" on a single staff with the parts having opposing > stems? No. > If this is the case, I would put the accents just below the beam and the slur > below the accents. If the part you describe has a staff to itself, I would put > the accents just above the note heads and the slur above the accents. In any > case, I think it would be important to have the accents and the slur together. I ended up slurring from the middle of the first accent to the middle of the last accent, per Noel's reference to Reed. That looks best, but actually is my sole departure from the Hogan arrangement (which is from Hal Leonard, 1999). He (or they) started the slur from a point between the first and second accent, actually slightly dividing the two--apparently so that the starting point would be closer to the notehead it referred to--and ended it midway over the final accent. --Richard _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
