At 8:55 AM -0500 12/10/08, Christopher Smith wrote:
The last thing you want is to say in rehearsal "Take it at the second ending" and have half the band say, "What?" The aspect of Finale that forces you to have the same roadmap between all parts and the score has probably saved more rehearsal time worldwide than any other single thing I can point to.
Hear, hear!!! I've actually run into that very thing in Broadway books, specifically in "The King & I." I was asked to make a cut at a certain point in a certain number, discovered that some parts had repeated bars (and LONG endings!) while others did not, and it probably took us at least 15-20 minutes to solve that stupid problem. It probably saved the copyist something like 10 minutes work, and has been plaguing musical directors and wasting time in the pit ever since!
This does, however, bring up the question (again! it's been discussed before) of how to handle bar numbers in multiple endings. Number the first ending bars but not the second? Use duplicate numbers in the 2nd ending? Just number straight through, giving each ending it's own numbers? My feeling (and my practice) has always been that every bar should have its own unique number to avoid confusion in rehearsal, regardless of repeat marks, and I have NEVER thought of bar numbers as "outlining the form of the piece." Is there actually a standard?
John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts & Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html "We never play anything the same way once." Shelly Manne's definition of jazz musicians. _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
