I understand the difference between a shorthand version to be read by
one person - learning a piece, and ensemble parts, so I have some
sympathy for Richard's question. Still, to paraphrase a familiar
saying, "When in doubt, write it out!" Personally, as a reader, I
dislike backtracking and, as a composer/arranger, writing out repeats
encourages the addition of small, refreshing, variations. (I realize
this last comment is not germane to Richard's question.)
Chuck
On May 28, 2006, at 10:03 AM, Richard Yates wrote:
Two replies said that the top example was 'confusing'. Could
someone say
what is confusing about it? Aside from it being unusual, after
looking at
it
is there any chance of someone actually misunderstanding the intent?
Yes, absolutely!! If I came across it I would ASSUME that the
reversal of first and second endings was a typo. That is MUCH more
probable than assuming that you really meant it, if I even bothered
to flick my eyes up to the numbers in the first place. It would
require stopping the rehearsal and discussing it at some length. It
is so totally unusual as to be not just confusing but
incomprehensible!
Richard, you asked for opinions. Now you've become defensive and are
attacking the opinions you're getting. You can lay out your music
any way you want to, so why did you bother to ask?
Where do you see defensiveness or (most puzzling) attack? I think
you may be
reading a reaction into my response that is not there. I really did
want to
know if and how the intent could be genuinely misunderstood. No one
has said
that they did not understand what was meant - only that they
thought other
people in a sight-reading situation would misunderstand it. Your
idea that
someone could assume it was a typo is something that I had not
considered
and does answer my question substantively. Thanks.
I understand that if the situation were someone, or a band, sight-
reading
along for the first time in performance and coming across this
unexpectedly
it would likely trip them up, but that circumstance would never
occur
with
this music.
Never? Dream on! Have you never heard of a substitute coming in and
having to sight-read the book? I've had to do it with Stravinsky!!
Yes, never. It is a solo classical guitar transcription of a piano
work by
Onslow. It could very well be published but I am certain that no
one will
ever come in and sight-read it for performance.
Have you never noticed that one non-standard use of the expected and
understood conventions of notation can confuse readers over and over
again and, as someone said, require an explanation before beginning
EVERY SINGLE TIME!
There are many assumptions being made about the situation in which
the score
would be used. I absolutely believe that in the one you, and
others, have
assumed (sight-reading with a group of players) that you are correct.
Your third example still has me absolutely stumped, with no repeat
sign or double bar between the first and second endings. I would
have to stop playing and wait for an explanation. And every single
part will end up with pencil marks all over it, even as the musicians
cuss you out for being really weird!!!
I was just trying to write out what I understood David Bailey's
suggestion
to be. Do you understand his differently?
But go ahead and make up your own notation. Good luck!
Well, aside from the good wishes, I still do not know how you would
do it.
Richard Yates
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Chuck Israels
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