On Mon, December 13, 2010 12:34 pm, John Howell wrote: > I would agree with everything except string bowing. Bowing is > phrasing, and no bowings indicates that you don't care.
I indicate the phrasing, but not bow direction unless I'm interested in a specific sound (such as a series of up bows at the tip). I leave the actual bowing to the performer or section leader -- who will often change the phrasing anyway. I never get psychologically invested in bowing as I was once a string player and know the little one-upship that comes with it! > Wind > fingerings seldom offer alternatives, and when they do players often > have individual preferences. But they make a different sound, particularly around the register changes. There are many contemporary scores where unisons with different fingerings are exploited. Daniel Goode's pieces (written largely for himself) take advantage of these sound differences as well as microtones. Again, unless I want an effect, I leave this alone. > But one thing you did not mention should also be left to the player, > unless it is for a very specific special effect, and that is string > fingerings. You're right. I indicate them rarely anymore -- such as when I want something like a hollow sound high on the low string. D _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
