> From: Darcy James Argue <[EMAIL PROTECTED]> > > The pizz notes are in the lower range for all of the strings -- > everyone in the bottom octave of their instrument except the first > violins, who go up to Bb1. > > However, looking at the passage again -- since the pizz. notes are part > of a quasi-tutti section involving a number of winds and (muted) brass, > I think *that* passage is more important than the one immediately > preceding, where unmuted strings will likely do just as well as muted > ones. So I think I'd better leave the pizz. notes unmuted. > > I think if I were to experiment with muted pizz., it would have to be > in a more sparsely scored section. >
Has it been up for discussion, whether the strings a played with one or with more players on each part? If the latter is the situation, you maybe could split the sections in halves. Then the one half could finish the muted passage. The other half couch release discretely from the muted passage just early enough to have the mutes off for the pizz. Debussy made an interesting use of unisono harp and flute. One does the attack, the other the sustain. I never thought of combining pizz with muted brasses. Sounds like a good idea. Klaus _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
