In my experience, the singer reads from score, with the proviso that the vocal line is immediately above the piano line and that the other instruments on are reduced-size staves above the vocal line. (See, for example, the score of Pierrot Lunaire <https://imslp.org/wiki/Pierrot_Lunaire,_Op.21_(Schoenberg,_Arnold)>.)
The other option would be to provide a piano/vocal score with a piano reduction of all the instrumental parts. But that may be more trouble than you need for this particular project. On Sun, May 5, 2019 at 5:00 AM SN jef chippewa < shirl...@newmusicnotation.com> wrote: > > i only rarely encounter voice in the ensemble scores i do, so any > advice would be appreciated. > > i've been asked to create the vocal part (no other parts) for a > late-18th century french song for voice, violin, cello and piano. > just wanted to make sure that nothing aside from a couple of cues > would be needed and the part only requires the vocal line. or is it > standard to make voice parts as a piano-vocal part (perhaps for > rehearsal purposes)? > > the job is for a professional ensemble that could probably sightread the > score. > > thanks, > jef > > -- > > 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 > Finale@shsu.edu > https://lists.shsu.edu/mailman/listinfo/finale > > To unsubscribe from finale send a message to: > finale-unsubscr...@shsu.edu > _______________________________________________ Finale mailing list Finale@shsu.edu https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: finale-unsubscr...@shsu.edu
