On Sun, June 6, 2010 9:49 pm, Noel Stoutenburg wrote:
> If you literally mean counting to 60, I disagree, preferring instead to
> count to 12 five times, or 15 four times. In my experience, large counts
> are more likely lead to miscounting than repeating smaller ones.

This topic is interesting to me because I have a score waiting to be set into
Finale, a half-hour high-minimalist piece from 1986 for orchestra, chorus,
descant soprano, 2 pianos and 6 percussionists.

The score itself (1110 measures) is written straight through (in pencil right
now; it's here
<http://maltedmedia.com/people/bathory/music/pdf/mantra-canon.pdf> but don't
bother since it's 138MB).

The parts are not written straight through. They have repeating patterns, but
here's the catch: the repeats do NOT match other parts nor do they match the
barlines. The piece is in 10/4 but the repeats might start on, say, beat 3 of
measure 20 and repeat from beat 7 of measure 27 and repeat 9 times, while
another part might start on beat 6 of measure 21 and repeat from beat 1 of
measure 26 and repeat 12 times. The chorus each repeats solfege syllables in
overlapping patterns of prime numbers that do not change at all (in fact the
length of the piece is determine by the syllables all coming back into sync).

In the original performances (2 different orchestras/choruses), the inked
parts with their staggered repeats seemed to cause no confusion. The chorus,
whenever there was a rehearsal stop, got their re-starting syllables from the
conductor and began there. The instrumentalists would get their repeat figure
and point of entry.

But when I Finale-ize it, I'm wondering about parts. Those repeats created no
problems in rehearsal once the players got the hang of it, but recreating them
in Finale will actually be much *more* trouble than simply keeping the old
inked ones.

Should I just keep the inked parts, make Finale parts to match them, or create
full-through parts? Any opinions?

Dennis


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