Christopher ... all really good info, which in this particular journey, I'm beginning to relate to (bad grammar, but what the hell). What I've decided to do, is stay in Linked Parts mode, and move a system to the next page as warranted, following all the dicta you've described inre a given instrument, (luckily, I've played a lot of the instruments, so kind of have a remembrance of a lot of the problems) and sometimes, pushing one or two measures at a time into the next system (on the next page, I mean). It's going to be a long haul doing all the parts that way, BUT, I think the players will be thanking me for the effort. You are correct, I ain't liking it, and I'm jumping through a lot of hoops .... but hey, what I'm REALLY interested in is getting my music played ... so .....
Thanks a lot ... Dean On Nov 4, 2011, at 6:21 PM, Christopher Smith wrote: > You're not going to like it. > > Don't do it. > > That's all. I jump through hoops to avoid having bad page turns, > which has included at one point ONE system on a left hand page > ending in a multimeasure rest, then the ENTIRE next right hand page > blank, then the next two pages jammed from top to bottom. Might > look stupid and waste paper, but EVERYONE made the page turn > easily. It is rare in a wind ensemble to have any instrument > playing for more than two pages without a break, so there is ALWAYS > a way to do it. > > There are numerous tricks, too. Schedule a page turn during a > sustained note that the player can finger one-handed. For trumpets, > that means almost anything that isn't too technical or high, but > trombone and tuba need open notes. There isn't much for horns and > it requires a bit of technical knowledge for the woodwinds. For kit > drummers, it is best to turn pages when they are playing straight > time for a bit, rather than during a passage with a lot of hits. > Bassists can pluck left-handed on an open string while turning with > the right, but usually they have the pages open accordion style > across two stands. > > If worse comes to worst, stagger the page turns so that the entire > section doesn't drop out on the same measure as they miss a bit of > music while turning the page. > > Christopher > > > On Fri Nov 4, at FridayNov 4 6:28 PM, Dean M. Estabrook wrote: > >> As I'm sure you have all encountered, I'm redoing parts for a rather >> long Wind Ensemble transcription, which, ergo, has parts lasting up >> to 6 or 7 pages (presently printed on both sides back to back). A >> group managed to read it reasonably well a few nights ago, but most >> of the page turns occur with no breaks at all between measures. What >> is the best solution for this problem (if, in fact, there is one)? >> >> Thanks, >> >> >> Dean >> >> >> The perfect drive......a diminishing sphere of white impaling the >> azure >> heavens in a graceful elliptic........height and distance vying for >> supremacy......compatriot's jowls lax, eyes huge, their raucous >> paeans >> thinly veiling jealousy......one stroke justifying a capricious >> investment >> in the titanium industry. >> >> Dean M. Estabrook >> >> http://sites.google.com/site/deanestabrook/ >> >> _______________________________________________ >> Finale mailing list >> [email protected] >> http://lists.shsu.edu/mailman/listinfo/finale > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale The perfect drive......a diminishing sphere of white impaling the azure heavens in a graceful elliptic........height and distance vying for supremacy......compatriot's jowls lax, eyes huge, their raucous paeans thinly veiling jealousy......one stroke justifying a capricious investment in the titanium industry. Dean M. Estabrook http://sites.google.com/site/deanestabrook/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
