I agree entirely with this post!
It's an object lesson in page-turning for copyists.
So much so that I'm going to duplicate it because it's easy to miss..

1. Blank or mostly blank pages are often preferable to bad turns - especially 
if you are copying for live or studio rather than publication (where other 
people have opinions on how much paper..)

2. Learn (or ask the players) the kinds of playing passages than be turned 
through.

3. If all else fails make sure that page turns are not all in the same place. 
Sections of doubled notes even in different sections are ok choices.

Steve P.

On 5 Nov 2011, at 01:21, Christopher Smith wrote:

> 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.

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