Hey Chris,
The dotted barline thing would be too much of a kludge right now, I
think, especially since the music is already entered and the parts
need to get out the door today.
I'm not afraid of 7/4 and have notated several works in 7, but this
piece has a lot of flowing, rhapsodic sixteenth-note subdivisions and
_definitely_ needs to be notated in alternating bars of 4 and 3. I
think numbering the consecutive empty measures is the best solution,
even though it makes the parts longer than I'd like.
Cheers,
- Darcy
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[EMAIL PROTECTED]
Brooklyn, NY
On 29 Sep 2007, at 9:27 AM, Christopher Smith wrote:
I was faced with this exact situation once in a piece, and I ended
up notating it in 7/4 with a dotted barline between the 4 part and
the 3 (added as an expression) in the bars that had music in them.
It was surprisingly easy to read, as musicians can deal with this
sort of thing more easily than I had foreseen. We pretty much sight-
read it with no problem. It was back in the days of extracted
parts, so the score had the dotted barlines added in EVERY measure
after part extraction. I guess this particular example doesn't help
you in linked parts.
In Altsys Jazz Orchestra we play some wacky stuff, including a
piece by Robin Eubanks called World Citizen that starts in 7 and
gets into bigger prime-numbered metres as it progresses. The part
in 7 Bill Mahar (the arranger) didn't even use dotted barlines and
we read it fine. For the parts in 11 and 17 he did use dotted
barlines, but at the end in (I think) 33 it is divided into smaller
measures with no ill effects as to length.
Christopher
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