I don’t use parenthesized courtesy accidentals any more, either, because of lack of legibility. Yet, even a non-parenthesized one is kind of a confirmation of “yes this note is meant” since it would otherwise be superfluous.
I guess all I’m saying is we’re writing for humans, not a rigorous, all-seeing machine. I see no problem with notating that way. I learned that partly from you! C > On Dec 9, 2016, at 9:24 AM, SN jef chippewa <[email protected]> > wrote: > >> >> On issues of notation, I always take everything jef says as if it was gospel. > > are you sure that is a good idea? ;-) > Yes. No winky-face. > 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 >>> >>> >>> _______________________________________________ >>> Finale mailing list >>> [email protected] >>> https://lists.shsu.edu/mailman/listinfo/finale >>> >>> To unsubscribe from finale send a message to: >>> [email protected] >> >> >> _______________________________________________ >> Finale mailing list >> [email protected] <mailto:[email protected]> >> https://lists.shsu.edu/mailman/listinfo/finale >> <https://lists.shsu.edu/mailman/listinfo/finale> >> >> To unsubscribe from finale send a message to: >> [email protected] <mailto:[email protected]> > > > -- > > neueweise -- fonts for new music (and traditional) notation > http://newmusicnotation.com/fonts.html > <http://newmusicnotation.com/fonts.html> > > shirling & neueweise | http://newmusicnotation.com > <http://newmusicnotation.com/> > new music notation + arts management + translation > [FB] http://facebook.com/neueweise <http://facebook.com/neueweise> | [TW] > http://twitter.com/neueweise <http://twitter.com/neueweise> > > > _______________________________________________ > Finale mailing list > [email protected] <mailto:[email protected]> > https://lists.shsu.edu/mailman/listinfo/finale > <https://lists.shsu.edu/mailman/listinfo/finale> > > To unsubscribe from finale send a message to: > [email protected] <mailto:[email protected]> _______________________________________________ Finale mailing list [email protected] https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: [email protected]
