> Hi all:
> 
> In my scores, I tend to avoid abbreviations; e.g. 
> "pizzicato." Now in the manuscript sources I am using, I'll 
> see the word used either with no abbreviation, or sometimes 
> as "pizz." I tend to keep things uniform, so I'll spell it 
> out. But a friend told me the standard is just "pizz." or 
> "arco" not "col arco." If in my sources I only see the word 
> "Pizz." above the first violin and the continuo, I'll add the 
> word to the 2nd violin and viola, and put "pizzicato" in 
> italics, because the brackets make it look unsightly and 
> they're a pain to align properly, especially on a new system 
> on the first note, because the bracket gets very close to the barline.
> 
> I suppose I'm coming at this spelling issue more from a 
> graphic designer background versus the "standard engraving 
> rules," but honestly I think my habit looks much nicer and 
> it's easier on the eyes-- which means easier for performers 
> to play. Any thoughts or suggestions?
> 
> Thanks so much
> Kim
> 


As a performer, I find the consistent use of a single
spelling/abbreviation makes things easier to keep track of, especially
when sightreading.  So always 'pizz.'.  The other day I played
Vaughan-Williams' London Symphony, and it's hideously inconsistent.
'Pizz.', 'Pizzicato', 'pizzicato', 'pizz.'.  'Con sord', 'sord',
'mutes'.  And so on.  I know it's not just me that hated this, because
previous people using the hire copies had written in 'con sord' over
most of the 'mutes' instructions, in addition to the graphic reminder.
(From memory, I think the parts for La Mer are another example of such a
approach.)

As for the editorial addition, you can't put 'pizz.' in italics?  Or, to
make square brackets easier to align, have them as a separate expression
with the correct horizontal alignment/positioning already set up so that
you can enter them over the relevant 'pizz.' markings.

Owain

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