Raymond, I'd LOVE to use Crumb's notation, but there's no quick & easy way to get that into Finale.
Thanks for all your opinions. Seems like I agree with most of you. Now, here's a follow-up: I'm working on a piece in 5/4. The composer wrote this as kind of a "sequel" to another piece he wrote in 5/4. Someone else engraved that other piece and used the whole-tied-to-quarter method. For consistency's sake, I'm wondering if I should follow the same convention. The composer is expecting these pieces to be paired together in performances. On Thu, Jan 13, 2011 at 1:51 PM, Raymond Horton <horton.raym...@gmail.com>wrote: > Or, you could use Crumb's 5-beat note: > > .o. > > > A whole note with a dot before and after. The thinking is - the dot > before the note takes away half of the value of the dot after. > > > Actually, I only saw this in smaller note values - 5/8 or 5/16. Like so > many recent composers, Crumb prefers little notes. > > Raymond Horton > > > > > On Thu, Jan 13, 2011 at 4:02 PM, Dennis Bathory-Kitsz < > bath...@maltedmedia.com> wrote: > > > On Thu, January 13, 2011 3:27 pm, Ryan wrote: > > > What is your preferred method of writing a note that sounds for the > > duration > > > of a 5/4 bar? > > > > The rhythmic division. 1+4, 2+3, 3+2, 4+1. The inner pair is more common, > > but > > the measure fill adheres to the underlying pulse. If the pulses differ in > > the > > different parts, then the nearest in character. > > > > Dennis > > > > > > _______________________________________________ > > Finale mailing list > > Finale@shsu.edu > > http://lists.shsu.edu/mailman/listinfo/finale > > > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
