On Dec 8, 2004, at 6:40 PM, [EMAIL PROTECTED] wrote:
I should mention here also that I don't use staff styles or rhythmic notation to do my slash notation. I change the noteheads (using the change noteheads plugin). This allows me to transpose and move things easily for example when moving a treble clef rhythm section part to a bass clef part.
-K
I'm not challenging you here, but what in your system makes it easier to move chords over slashes to a bass clef staff? It looks like there would be more transposition to do.
It doesn't make it any easier in a very straight ahead situation. But when dealing with clients that make changes at the last minute, or if the chart is more complex I like to have more flexibility. The question for me then is really what if I need to move chords or slashes/rhythmic notation but not both into another part.....and/or what if I need my slashes/rhythmic notation to be somewhere other than on the B line in treble clef or the D line in bass clef. Even if I am just moving slash/rhythmic notation from treble to bass clef...as in taking an already copied guitar part for example and moving the chord changes and slashes into the bass part or left hand of a piano part. It really isn't a big deal to me to transpose the slashes so they land on the D line bass clef rather than the B line they were on in the treble clef of the guitar part. By isolating layer three with show active layer only when I do the transposition, the chords stay the same. If there is a key sig, I'd have to transpose the chords separately anyway. So what I lose in an extra step or two, I make up for in flexibility which is time saving for me in the long run.
Also, a client can call and say something like "could you please put chord changes in the Tenor part throughout?" at the last minute and I can pop those chords into layer 4 really quickly, show active layer only in layer 4 and transpose the chords, regardless of what may be already going on notewise in layer one. I can also use the same slashes and kicks that I already copied in the guitar part for instance in the drum part to show kicks over time on the top staff in some areas if I need to. Or I can indicate rhythmically where the chords are changing (especially if they aren't changing on the beat) in a piano conductor part by floating the rhythmic notation between the staves in the places I need to (hide ledger lines) without having to redo work I have already done.
plus everything would get discombobulated when (if) you switch from concert pitch to transposed viewing.
I rarely do this...I'm used to thinking transposed.
It's pretty easy to set the mass edit to copy staff styles, and all chord moving becomes a one-shot operation after that.
But I don't necessarily want to move everything at once. And staff styles can conflict with each other in some cases as Hiro is discovering.
I just try to anticipate the last minute changes that a client may ask for. This system allows me to make these changes very quickly without having to recopy a lot of things. I guess some of this comes down to personal preference as well.
-K -- _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
