On Jan 3, 2007, at 9:17 PM, Christopher Smith wrote:



As a rule, I try to let the drummer have every measure notated, as in Chuck's example. It might seem wasteful when there are long passages of just playing time, but if you number elapsed measures (there is a plugin for this!) and take care with the layout to have phrases starting systems it is very easy to read. It also allows the drummer to write in his own cues if needed in the middle of a phrase. You know, when you decide that you REALLY want him to catch that trombone hit in bar 6, but all he has written is "Play 16 bars" so he has no place to write it, it really slows things down.

I think this is necessary in most cases. Every once in a while there's a simple, functional arrangement in which a chorus or two goes by with no "arrangement" inside. I think these passages can be efficiently described as Mike does it - with a mm rest with the rest symbol removed and an indication to play so many measures.


Chuck, I notice you have changed the stem attachments on X heads so that the stem is in the middle of the X instead of the 1:30 or 7:30 position.

This is simply what I like to see - how I did it by hand. I have no quarrel with the stem placement you suggest when I see it in other people's music. I just like it this way.


This seems unnecessary to me, but everything else about the part is very nice and clear. I especially like the 3D enclosures (Bill Duncan's!) that make important info pop out.

These are nice, and I love them, but even more important to me are Bill's slashes and rhythmic notation. They make Finale's symbols look crude to me in comparison.

I have been in email contact with Bill''s sister, Marj Strouse, and Nick Carter is in touch with her about the possibility of continuing to keep Bill's material available. There will be a Memorial in Seattle on January 27th. Greg Hamilton and I are trying to organize our plans to attend.

Chuck


Christopher


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Chuck Israels
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