>> At times it would help the layout process if 3 and 3 were used (stem
>> directions would shift), and since I am using slurs it seems to me
>> that 3
>> and 3 with a slur would, interpretively, be the same as 6 beamed
>> together,
>> so if I can help myself using 3 and 3 it's acceptable.
>> 
>> Agree or disagree?

I agree too.

>some composers don't want to even think about things like beaming.
>  From their point of view, that's the engraver's business, and they
> expect us to do "whatever's right."

This is how my primary client works. He expects me to take his very bad
chicken scratch scores and turn them into something others can read easily.
He doesn't care how it is done. He trusts me to make descisions on layout
and beaming.

(of course I run a lot of things by him for approval...)


On 6/22/04 11:06 PM, "Mark D Lew" <[EMAIL PROTECTED]> wrote:

> On Jun 22, 2004, at 2:53 PM, Richard Huggins wrote:
> 
>> I am engraving some piano works where also I've been given quite a bit
>> of
>> latitude as regards editing-type decisions. In some situations of
>> arpeggiated LH passages the composer sometimes has, for example, used 6
>> notes beamed togather (12/8 meter) or other times 3 and 3. There's no
>> material difference in the passages and interpretively they would be
>> played
>> with 6-note phrasing. I attribute his doing them differently to
>> capriciousness as much a anything else.
>> 

> 
> Agree.  The key information here is, "I've been given quite a bit of
> latitude as regards editing-type decisions".
> 
> The real answer depends on your relationship with the composer, but in
> my experience when I am given that latitude it's precisely because the
> composer wants me to normalize stuff like this.  Strange as it seems to
> us, some composers don't want to even think about things like beaming.
>  From their point of view, that's the engraver's business, and they
> expect us to do "whatever's right."
> 
> mdl
> 
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