Being a band director, I have grown accustomed to music numbered every bar
an I agree that music numbered every measure is very easy to rehearse.
However, I prefer numbers at the first of the line and frequent rehearsal
marks that are also the measure numbers. From and engraver's viewpoint, I
have never been able to get numbers in every bar to not collide with
something in some part. I think the parts look cluttered. My parts rarely
have more than 6 or 7 bars between either a bar number or a rehearsal mark
and I think that's a workable compromise.
I agree completely with the comments about numbering every 5 or 10 bars.
Those numbers are never where they should be and often create more confusion
than clarity. I think that was an idea from the middle of the last century
that (thankfully) is not used much today.
Richard Smith'
www.rgsmithmusic.com
[EMAIL PROTECTED]
With all due respect to MOLA, I learned my lesson on this way back in the
'60s. For recording studio charts, every bar is numbered, because even a
few seconds spent searching for a specific bar adds up to minutes during a
session and minutes cost big money. Same thing is true, even if the costs
are less, of rehearsals with backup bands (which is what I was doing in
the '60s). If it's good enough for them, it's good enough for me, and I
continue to number every bar in everything I write. The numbers are
small, but they're there for when they're needed. And I too have recently
started using enclosed bar numbers rather than rehearsal letters or
consecutive numbers, and I place them to delineate form, always.
The biggest no-no in my estimation is numbering (and breaking multimeasure
rests) every 10 bars, which NEVER lines up with the phrasing. Drives me
nuts to have to read from parts done that way.
John
I do my best to get the beginnings of phrases to start at the beginning of
the line, but that sometimes leads to too many or too few notes in one
line of music, and my judgment call on this is to balance the readability
of more or less uniform "content per line" weighed against the preference
for formal clarity.
*60- or 70-lb offset paper, printed both sides.
Well, not for accordion fold parts, which are what most of my charts call
for. I have a VPS jig w/their special tape, which is nice for booklet
type parts, but that is not as practical a solution for jazz charts.
So if I were more industrious I would look to see what reductions those
are in Finale, but this should give you something to go on, anyway!
PS: WHERE DO YOU GET THE PARTS PAPER???
Dave Berger orders it in big lots from time to time and asks his friends
to go in on the order with him. I usually order two boxes of 3000 sheets
at a time. I think the more people who are in on these orders, the less
expensive and more practical it is. I see no reason why you couldn't join
the consortium.
Chuck
Chuck Israels
230 North Garden Terrace
Bellingham, WA 98225-5836
phone (360) 671-3402
fax (360) 676-6055
www.chuckisraels.com
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
