I'm with Chuck on this -- I think pitch and rhythm, and I certainly
don't think about articulations and dynamics until all the
rhythms/pitches are entered. It may be that this is simply because I've
been programmed to think this way by Finale itself, back in the days
when Simple was the older, less versatile version. But I'm not so sure
about that. Perhaps I'm drawn to Speedy Entry because it works as I do
-- when I compose with pencil/paper, I'm always worried about
pitch/rhythm and don't begin to write articulations and dynamics until
after the notes are written. Which may be why Speedy and I get along so
well, and Simple Entry and I remain strangers.
David H. Bailey
Chuck Israels wrote:
Every time I see Tom Johnson (from MM) at the IAJE convention, I see him
use Simple entry, and he puts in articulations and dynamics at the same
time as he enters notes. It is fast when he does it (about 40% faster,
he says), but I have yet to make the conversion. Resistance to change?
Obstinacy? I don't know. Maybe it's the order of things that confuses
me in Simple. I am used to thinking pitch - then rhythmic value, and
Speedy works that way. I don't think that's any more logical than the
other way around, but I'm used to it.
I'm interested to see if anyone responds to this question differently.
Chuck
On Dec 11, 2006, at 3:13 PM, Johannes Gebauer wrote:
I know this comes up every so often, but I wonder whether there are
any true Speedy to Simple converts.
Are there people on this list, who would consider themselves to have
been really quick in Speedy entry, but got converted to Simple after
Simple was improved? Can Simple be as fast or faster than Speedy is
when it is used by a competent note enterer?
Johannes
--http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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Chuck Israels
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phone (360) 671-3402
fax (360) 676-6055
www.chuckisraels.com
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David H. Bailey
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