Hi Chuck, I just sent you an edited version. Because of the tuplets, the 1/4 solution won't be optimal. I used my solution instead.
Hey, it's great that there ARE so many ways around this! Christopher On Sun Sep 16, at SundaySep 16 6:43 PM, Chuck Israels wrote: > Hi Darcy, > > I just sent you the score - to get a more specific opinion. But just so you > and Christopher know what I'm facing here, this is the bridge of Bill Evans' > "Five", in which not only are the measures divided as I describe, but the > melody is overlaid in groups of 4 quarters in the space of three quarters > (4:3 tuplets), starting on the second beat of the 4/4 measure. (Of course, > these are two rhythmically symmetrical phrases, so you only have to solve it > once). > > I played the bass part to this hundreds of times and never once thought about > how it might be notated. This score supports my contention that there was > extraordinary invention in Bill's rhythm - a largely ignored element when > people discuss his music. > > I'll send this to Christopher too. > > Chuck > > > On Sep 16, 2012, at 2:11 PM, Darcy James Argue <[email protected]> wrote: > >> Hi Chuck, >> >> Chris has given you the solution for what you want (system-long measures >> with barlines and time signatures added as expressions/articulations). >> >> Depending on the complexity of the part, and whether you need the drum part >> to appear in the score, there is also the option of creating the drum part >> as a completely separate Finale document. >> >> Another option -- and I'm sure you've considered this -- might be to notate >> the entire thing in 4/4, using accents to create the implied downbeats in >> the horns etc. (and perhaps even a dashed line showing the implied meters). >> This is a strategy that has worked well for my music in the past -- implying >> different meters superimposed onto the 4/4 grid, without changing the actual >> underlying time signature. >> >> This approach might not be suitable for what you've written, but it does >> have the advantage of being much easier to do in Finale than asymmetrical >> barlines, and also gives you consistent measure numbers in the drum part vs. >> the other parts. >> >> Cheers, >> >> - DJA >> ----- >> WEB: http://www.secretsocietymusic.org >> >> >> >> On 16 Sep 2012, at 3:09 PM, Chuck Israels <[email protected]> wrote: >> >>> I have a drum part with an independent time signature (that has been >>> selected in the attributes for this staff), but I don't know how to rebar >>> the music for the drum part. >>> >>> All other parts have one measure of 4/4, 4 measures of 3/4, one measure of >>> 4/4 and 4 measures of 3/4 again. This adds up to 8 measures of 4/4 for the >>> drummer, and I want the drummer to see only that - not to be distracted by >>> what the other players are doing. When I change the time signature on the >>> drum part for the affected measures, the 3/4 measures are changed to 4/4, >>> but there are too many bar lines, and too many beats. >>> >>> What am I doing wrong? >>> >>> Thanks, >>> >>> Chuck >>> >>> >>> Chuck Israels >>> 8831 SE 12th Ave. >>> Portland, OR 97202-7097 >>> >>> land line: (503) 954-2107cell phone: (360) 201-3434 >>> >>> <www.chuckisraels.com> >>> <www.chuckisraelsjazz.com> >>> >>> _______________________________________________ >>> Finale mailing list >>> [email protected] >>> http://lists.shsu.edu/mailman/listinfo/finale >> >> _______________________________________________ >> Finale mailing list >> [email protected] >> http://lists.shsu.edu/mailman/listinfo/finale > > Chuck Israels > 8831 SE 12th Ave. > Portland, OR 97202-7097 > > land line: (503) 954-2107cell phone: (360) 201-3434 > > <www.chuckisraels.com> > <www.chuckisraelsjazz.com> > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
