Thank you for reply, I'm afraid I was not clear in my question. If I do as you say, I will have in any case two separate parts, not one single part which content will be trumpet + bass (following my example). My needing would be obtaining from a, let's say, trumpet+sax+piano+bass+drums main score, a new score with trumpet+bass grouped. I did not found something like that in part extraction menus, so I thought the only way is making a copy of main score and deleting not wanted staves to get a new let's call reduced main score where bass could read trumpet's part as a guide (maybe reducing the size of the guide part). Sorry for my confused explanation. Thank you Marcello
Marcello,
Not confused at all, very clear. You have the right idea about the procedure. The only other way (other than what I outline below) is to create a group and extract that, but that only works for staves that are directly above and below each other.
This is what I would do:
I would save the score under a new name (say, "bass"), select the trumpet staff and the bass staff in Scroll View with the Staff Tool, go into the Edit Menu and select Special Part Extraction. Switch to Page view, where only those staves would appear. Then using the Zoom tool, I would click on the trumpet staff and reduce it to say, 65% or so. I would then go through the trumpet staff, clearing sections that I don't need cued. Invoke Note Spacing with Mass Mover 4 key, alter the layout to what I want, freeze layout, then Optimise away the trumpet staff where it is empty. Add an instrument name Text block, check the Page 2 and up blocks for correct title and instr. name, and print!
Tangential topic follows:
You have brought up a very good point about how to communicate with jazz rhythm section players in a written arrangement. For many "lead sheet" style arrangements, everyone gets the same concert lead sheet or sketch, and they read what pertains to them, referring to the other parts for detail. Everyone sees the melody, everyone sees the chords, rhythm section punches can be added above or below the staff, and everyone sees them too, and can react accordingly. Jazz musicians are great at reading those kinds of sketches, and can add a lot that isn't on the page.
Now the problem shows up when you have a written-out arrangement. The arranger is expected to work out and notate what all the musicians play, which is somewhat at odds with the jazz musician's experience and esthetic. What if you WANT the pianist, or bassist, or drummer to make their own decisions about how to accompany a lead instrument? Drum parts have always been sketches, and there are set methods of indicating punches (cues above the staff) and stop time (rhythmic notation) in a part that might otherwise be only slashes (perhaps after an initial example of a beat.) A cue on a drum part is widely regarded as additional info to deal with as he sees fit, rather than a firm instruction to "play this!" But how to indicate on a piano or bass part that there are punches going on in another part? Rhythmic notation tells the pianist "Play this rhythm, and only this rhythm, with your choice of voicings". What if you would prefer that the pianist chooses which punches to catch, or to try to play around the punches rather than catch them? I suppose it is possible to write rhythmic cues under the staff (not above like drums, as there are already chord symbols up there that would cause collisions), or you could do as you are doing with your bass part: cue the entire trumpet part on a separate staff. This could make a much longer part, up to twice as many pages in a part that is already unwieldy because of its length.
Or, you could do as too many arrangers do: nothing, depending on lots of rehearsal and the quick ear of the player to make something happen that works. Not my first choice, most of the time!
Any other opinions out there on how to deal with this in a jazz situation?
Christopher _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
