>On issues of notation, I always take everything jef says as if it was gospel.

are you sure that is a good idea? ;-)

for new music i never use parentheses for accis. 
if there is a need, i put the full-size acci; i 
don't work with key sigs so very very rarely ever 
encounter a case where it could be useful.  my 
fonts include them (accis + parentheses) but only 
because i know this is standard in classical and 
jazz notation.

sure, there is no system that is failproof but i aim towards it...


>However, a parenthesized courtesy accidental is 
>a prime example of a notation saying ³this is 
>not a typo² and a non-parenthesized one is 
>similar. I sometimes put the eyeglasses glyph 
>over a passage that is likely to make musicians 
>look twice, in order to make them look twice and 
>improve the chances that they will perform it 
>correctly (this is jazz notation). I think there 
>are notations that are more authoritarian and 
>less authoritarian. jef, you must deal with 
>degrees of aleatoric-ness all the time, no?
>
>Christopher
>
>
>>  On Dec 9, 2016, at 7:17 AM, SN jef chippewa 
>><[email protected]> wrote:
>>
>>
>>  this issue of apologetic notation is one i come
>>  across often, more commonly in north america but
>>  also in europe.  i can't speak for jazz
>>  charts/musicians, but if you are working with
>>  professional musicians, you MUST take it for
>>  granted they know what the hell a bartók pizz is,
>>  or a quarter tone.
>>
>>  no musician working professionally today and
>>  playing new music can justify ignorance of these
>>  (and a host of other) basic things.
>>
>>  what happens when the composer notates everything
>>  is that the musician has to read a novel to
>>  discover the one thing that is unique or special
>>  to the composer/notation and given some don't
>>  read the legend anyways (!) you are making it
>>  even more likely your notation explanations won't
>>  get read.  at least until after the rehearsals
>>  without the composer present.
>>
>>  when you overannotate you can also come across as
>>  condescending to musicians who know what the hell
>>  a bartók pizz is.  again, if they know it and see
>>  it in your legend, they can easily assume they
>>  don't need to read any further because you have
>>  written a score for newbies or high school bands,
>>  which you should NEVER do.
>>
>>  if the musicians you are working with are
>>  inexperienced (for whatever reason) provide them
>>  with a glossary of terms as a separate sheet, but
>>  prepare a professional score, with only the
>>  ESSENTIAL information in it.  a win-win
>>  situation: whoever needs the supplement can read
>>  it, whoever doesn't can make a paper plane out of
>>  it to throw at the composer during the dress
>>  rehearsal (i know someone this happened to...).
>>
>>  side note: scans of fingerings from published
>>  texts should NEVER be included in your score,
>>  that is a copyright infringement.  this is the
>>  kind of thing that can be sent as a separate
>>  sheet (along with your glossary, for example).
>>
>>  --
>>
>>  neueweise -- fonts for new music (and traditional) notation
>>  http://newmusicnotation.com/fonts.html
>>
>>  shirling & neueweise | http://newmusicnotation.com
>>  new music notation  +  arts management  +  translation
>>  [FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise
>>
>>
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>
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-- 

neueweise -- fonts for new music (and traditional) notation
http://newmusicnotation.com/fonts.html

shirling & neueweise | http://newmusicnotation.com
new music notation  +  arts management  +  translation
[FB] http://facebook.com/neueweise  |  [TW] http://twitter.com/neueweise


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