I should also have mentioned the soloist's part should *never*
include a page turn in mid-solo. This seems glaringly obvious, but
you wouldn't believe how often composers/arrangers who copy their
own parts make this mistake.
The above can become a challenge. My wonderful hand written copyist
who I used for years would make that mistake. Sometimes I add a blank
page before a solo so I can get the chords on 2 pages. Occasionally I
have to crowd 8 measures on one line and then resize bars that have 2
chords to a bar.
If the parts are done right, a fiendishly difficult part will be just
difficult. :-P
Bob F.
On 28 May 2006, at 3:45 PM, Bob Florence wrote:
Hi Darcey;
I go to the extreme and try to make a page turn on page one. Every
so often you have a crowded bandstand. I agree with all of you
comments about page turns. For me, it has become a game.
Bass parts can be done with chords that use open strings or else in
passages where the bass player can "float". Drum page turns can be
done if he or she is just keeping time. However, a chart with
straight 8ths is harder to turn the pages.
Sometimes i have to turn on even numbered pages. I always add a
blank with the title and composer for the person who tapes the
pages.
Bob Florence
Page turns aren't a problem. Only *bad* page turns are a problem.
However, most jazz charts have terrible page turns. In my own
band, I use booklets (made with VPC tape) with proper page turns:
i.e., break only at multimeasure rests, on every odd-numbered
page. There is no compulsion to fill the page, either -- if the
only available page turn is a multimeasure rest at the top of page
3, I'll leave the rest of the page blank. (Of course, I include a
page turn arrow to let the player know.) If the only available
page turn is a multimeasure rest in the middle of page 2, I'll
leave half of page 2 and *all* of page 3 blank except for a giant
page turn arrow -- a trick picked up from Broadway books, where
good page turns are crucial.
This works best with booklets (music printed on both sides of the
page) but also works fine with accordion-fold parts -- players
open the first three pages, then turn at the bottom of page 3, 5,
etc. With proper page turns, there is never any need to open the
entire part and have half of it spilling off the stand.
Obviously, the exception is drum and bass charts, which need to be
as compact as possible because they often have few or any
multimeasure rests, and page turns are cumbersome on both
instruments.
- Darcy
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Brooklyn, NY
On 28 May 2006, at 2:55 PM, Carl Dershem wrote:
Richard Smith wrote:
If I may be permitted to yank this thread in another direction,
I am convinced that in many (certainly not all) cases, the use
of repeats, endings, DS, al Coda, al Fine, ect. is obsolete.
Current practice is often stuck in the habits of previous
centuries and does not reflect the capabilities of our software.
Finale or Sibelius (even most of the "toy" notation programs)
eliminate the need for repeats to save the engraver's time. Just
copy and paste (and edit as needed).
While I see the truth in what you say, I often run across parts
(I primarily play jazz and big band stuff) that, even with
repeats and DS/DC/etc. come out 5 or 6 pages long, which
necessitates page turns, some of which can be very difficult or
troublesome. Expanding that out to its logical conclusion, you
end up with absurdly long parts (and I won't even mention charts
like "Sambanice" or "BeBop Charlie" that are great to play, but
take up a *lot* of room on the stand.
There always has to be a functional balance.
cd
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