Hi Chuck,
I thought I'd respond as as open email rather than directly.
The use of four bars a line in commercial copying is the result of
many factors. One of the most important is phrasing and seeing the
form at a glance (which you mentioned). Having four bars a line
allows the player to see navigate the part with ease… no searching
for beginnings of sections or an illusive sign. Another reason is to
allow the player plenty of room to pencil in changes… especially
crucial for Broadway shows and scoring sessions. This is also an
argument for allowing half to a full line for a multi-measure rest.
In general, having a part predetermined at four bars a line
eliminates one more decision for the copyist that's burning to finish
a part when an orchestra might be waiting to record that next cue…
speed, baby speed!
…and of course there is the economic factor. We all need to make a
living.
BTW, are you using TG tools>modify>accidentals to tighten the
spacing? The default global spacing doesn't very well for chords with
multiple accidentals.
Later,
Greg
Greg Hamilton Music Service
2980 Corona Drive
Burnaby, BC V3J 1B8
Tel: 604.444.9218
www.greghamiltonmusic.com
[EMAIL PROTECTED]
From: Chuck Israels <[EMAIL PROTECTED]>
Date: October 21, 2006 8:35:36 AM PDT (CA)
To: [email protected]
Subject: [Finale] Re: spacing
Reply-To: [email protected]
Tight vs. loose spacing is something that has concerned me in my
own work. I have written some complex piano vocal arrangements in
which this issue has become important, and page turns are certainly
a governing factor. I have tried to emulate the general density of
classical art songs (Debussy, for example), and that means I do a
bit of manual tweaking, especially when there are three or more
accidentals on chords. I just assumed that this kind of work was
necessary and have not considered the limitations of Finale's own
spacing, though the discussion in the last weeks has lead me to
understand that it could be better.
I use Bill Duncan's lyric fonts (Times Lyrics and Helvetica
Lyrics). I believe they are slightly condensed and/or have tighter
kerning, so they are easier to work with and are still plenty legible.
On the issue of wider spacing in pop and jazz publications: I
wonder if any of that is a holdover from the hand copying days when
rates were charged by page and the standard was (maximum) 4
measures on a line. This made economic sense for the copyist, and
even lined up with the form of most popular and jazz music. I use
tighter spacing on my own parts, because I don't like making the
reader's eye travel so far to see ahead to the next measures, so I
am careful to include other clues to the form.
Chuck
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