jef: don't dis Broadway players. They are some of the best players on the planet, and not all their gigs are on Broadway. They fill the ranks of NY's most adventuresome new music ensembles, too.
In traditional music, as a performer, I find cross-bar beaming to be quite clear when used sparingly. For example, to show a syncopation across a barline, like in the Pathetique Sonata or the Mirliton Movement of Nutcracker. I find myself using it not to show phrasing, which I agree is not particularly clearly, but metric overlays at variance with the notated meter. But I don't typically do it in orchestra music. On Wed, Oct 31, 2012 at 9:50 PM, SN jef chippewa < [email protected]> wrote: > > >But having spent entirely too much time trying to figure out what > >some orchestrator for a Broadway show actually wanted to hear, when > >some weird indication for playing a harmonic just doesn't make any > >sense, I'm quite happy to see what they've provided, and I suspect > >that others who are not string players will appreciate it, too. > > this i agree with in principal, there is of course no justification > for using any other *way* of notating the harmonics than they outline > and the appropriate fingers should be rapped for notating otherwise. > > my issue here (in relation to the harmonics section of the > "guidelines") is the limitation of scope. i find it deplorable, in > fact, for a university. you would think they are encouraging their > composition students to write at a level of highschool band or > something: > > >Avoid large meters of 7, 8, 9, or more beats in a bar. [...] Players > >sometimes get lost when following a conductor through measures with > >seven or more beats. > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
