To me where I put dolce et al ---depends on who it's for. For the
whole band -- on top but for particular instruments below.
At least that's how I seen things done.
i agree with David accents next to notes -- but I except that where a
whole patch of notes is accented and spacing makes note side cramped to
the eye.
Jerry
Gerald Berg
On 5-Mar-06, at 3:26 AM, Karen wrote:
Hi David,
I don't think there is anything iron-clad per se. Many of the
orchestrators I work with put dolce, espr. marcato etc. above the
staff. But there are a couple of very well schooled, accomplished
orchestrators here who put these below the staff.
The latter are very "traditionally schooled" if you will. But the
orchestrators who put expression marks above the staff are by no means
considered to be doing things "wrongly." Just a different way of
doing things.
In my understanding, while "Lively", "Slowly" etc. may be expressive
in nature, they are still considered tempo indicators rather than
expressions.
-K
On Mar 4, 2006, at 10:23 AM, David Froom wrote:
It seems to be a slow day, so here is a copying question:
For years, for non-vocal music, I have always put expressive marks
(like
espressivo and dolce and feroce and so on) above the line. I have
seen this
in some published music, and I like keeping it cleanly separated from
dynamics. And thinking was, since tempo markings often include
expression
(like Lively, or Slow, with great expression), and since these go
above, why
not keep all expressive marks above?
I was looking over something someone gave me maybe 10 years ago -- a
style
manual from Schirmer that is also used by Peters (and others, I
assume).
They say that expression marks ALWAYS go below the staff.
Is there variability on this? Is it a matter of style? Or is it
iron-clad
(like "slurs always above stems going in different directions" or
dynamics
always below the staff)?
Opinions?
David Froom
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