Re: [Finale] stem direction in linked parts with voices
That is checked. What I needed to check was "Ignore Layers Containing Only Hidden Notes." But, the ties are still flipped in the wrong direction. On Wed, Nov 16, 2011 at 4:54 PM, Christopher Smith < christopher.sm...@videotron.ca> wrote: > Make sure Layer 2 is set to only switch stem directions when there are > items in other layers. This should show up correctly in the part. If it > doesn't, maybe stems were flipped manually (L) or there is file corruption. > > Christopher > > > On Wed Nov 16, at WednesdayNov 16 7:09 PM, Ryan wrote: > > > Trying to solve a mystery with linked parts with voices. > > A part voicing is specified to show Layer 2 when more than one layer is > > present. How do I get the stem direction to show correctly on the linked > > part? The stems are all downward, even though the notes are at the bottom > > of the staff. > > Finale 2010 Mac OS 10.5. > > ___ > > Finale mailing list > > Finale@shsu.edu > > http://lists.shsu.edu/mailman/listinfo/finale > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction in linked parts with voices
Make sure Layer 2 is set to only switch stem directions when there are items in other layers. This should show up correctly in the part. If it doesn't, maybe stems were flipped manually (L) or there is file corruption. Christopher On Wed Nov 16, at WednesdayNov 16 7:09 PM, Ryan wrote: > Trying to solve a mystery with linked parts with voices. > A part voicing is specified to show Layer 2 when more than one layer is > present. How do I get the stem direction to show correctly on the linked > part? The stems are all downward, even though the notes are at the bottom > of the staff. > Finale 2010 Mac OS 10.5. > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction in linked parts with voices
Hi, Ryan, Are the layer settings interfering with the directions of the stems? By the way, I have problems with the layer dialogue box trying to show and hide layers and set stem directions properly and adjacent chord notes and accidentals under different circumstances and would like to have a solution, also. Michael mmathew_musicp...@yahoo.com http://www.musicengravers.com/cgi-bin/engravers.pl http://oregonmts.com/mathew/ > >From: Ryan >To: finale@shsu.edu >Sent: Wednesday, November 16, 2011 4:09 PM >Subject: [Finale] stem direction in linked parts with voices > >Trying to solve a mystery with linked parts with voices. >A part voicing is specified to show Layer 2 when more than one layer is >present. How do I get the stem direction to show correctly on the linked >part? The stems are all downward, even though the notes are at the bottom >of the staff. >Finale 2010 Mac OS 10.5. >___ >Finale mailing list >Finale@shsu.edu >http://lists.shsu.edu/mailman/listinfo/finale > > > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction question
On 27 Jan 2010 at 8:57, Harold Owen wrote: > Dennis writes: > > >Say you have three voices on one staff, as in the first bars (left > >hand), of the Goldbergs (see link to scan below). Assuming the upper > >voice has all its stems upwards, the lower voice all stems > >downwards, what is the rule for the middle part? > > > >http://www.collins.lautre.net/files/goldberg.jpg > > > >(By the way, shouldn't the rests in these bars be horizontally aligned?) > > I believe the standard treatment for a third voice is to jave it > offset a bit to the right of the other voices, which is true of the > example for beat 2. I think the rests are not aligned because the > first one represents the upper and the middle voice and the second > one represents only the upper voice. I find the fact that there aren't two quarter rests on the 1st beat confusing, to be honest. I know it would be hard to do, but it really is the only accurate way to notate it (or a quarter rest and a half rest). If it were not for the division of the hands, I'd put the 3rd voice on the top staff. But if you do that, then you have to indicate that explicitly, which is yet another problem. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction question
Dennis writes: Say you have three voices on one staff, as in the first bars (left hand), of the Goldbergs (see link to scan below). Assuming the upper voice has all its stems upwards, the lower voice all stems downwards, what is the rule for the middle part? http://www.collins.lautre.net/files/goldberg.jpg (By the way, shouldn't the rests in these bars be horizontally aligned?) Thanks, Dennis I believe the standard treatment for a third voice is to jave it offset a bit to the right of the other voices, which is true of the example for beat 2. I think the rests are not aligned because the first one represents the upper and the middle voice and the second one represents only the upper voice. Hal -- Harold Owen 1375 Olive Street #402, Eugene, OR 97401 mailto:hjo...@uoregon.edu Visit my web site at: http://uoregon.edu/~hjowen/ FAX: (509) 461-3608 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction question
dc wrote: Say you have three voices on one staff, as in the first bars (left hand), of the Goldbergs (see link to scan below). Assuming the upper voice has all its stems upwards, the lower voice all stems downwards, what is the rule for the middle part? What you coud do, is notate the three voices as a chord (scratch staff, of course), then you can see which way the middle note's stem goes. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] stem direction question
I frequently run into this situation in guitar music. I have never found a rule for the stem direction of the middle stems and so always point the stems to best minimize confusion caused by wrongly reading the notes of two voices with stems in the same direction as one voice (and not adding up correctly, of course). I think it is often better if the top line is the only one with up stems, but there are exceptions. Richard's idea of changing the middle voice half notes to two tied quarters is a practical solution that completely avoids ambiguity. And, yes, the alignment of the rests in your example (both horizontally and vertically) does not look right to me. No reason for the first in each measure not to be higher. Richard Yates > Say you have three voices on one staff, as in the first bars > (left hand), of the Goldbergs (see link to scan below). > Assuming the upper voice has all its stems upwards, the lower > voice all stems downwards, what is the rule for the middle part? > > www.collins.lautre.net/files/goldberg.jpg > > (By the way, shouldn't the rests in these bars be > horizontally aligned?) > > Thanks, > > Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction question
There is no rule as far as I know, but I would have thought legibility would be improved by having the stems in the middle voice down, so as not to have to avoid a collision with the rest on beat 2. In the last measure though, the stem should be up, otherwise there would be a collision with the tie. Maybe the original editor thought that consistency was more important, and kept the stems all up for that reason. It's a good argument. I don't think three quarters tied together all in one voice, is a good solution. It is too cluttered. I'm not even that crazy about tying beat 2 to beat 3 with stems up, adding the note to make a dyad on beat 3. The three separate voices are much more clear with three sets of stems, as written. If this were Chopin, they might put the bass note alone on its stem, stem down, then the the rest of the arpeggio all in the same voice stems up with a slur, to indicate that all notes are sustained. But for Bach keyboard music it is an anachronism, I would think. If anyone else knows the contrary, please speak up. Christopher On Wed Jan 27, at WednesdayJan 27 5:44 AM, dc wrote: Say you have three voices on one staff, as in the first bars (left hand), of the Goldbergs (see link to scan below). Assuming the upper voice has all its stems upwards, the lower voice all stems downwards, what is the rule for the middle part? www.collins.lautre.net/files/goldberg.jpg (By the way, shouldn't the rests in these bars be horizontally aligned?) Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction question
If you must have three distinct voices, using Goldberg as an example, Im not aware of a rule governing the stem of the third note. My point was that you coould have a G on beat one, a G-B on beat 2, and a G-B-D on beat 3, with Gs and Bs tied. If a pianist played the Goldberg acc to the example or acc to my way the ear result is the same. If the Goldberg or similar is a transcription, and the notes rep different instruments, that might be diff. Sent from my iPhone On Jan 27, 2010, at 7:02 AM, dc wrote: Richard Huggins écrit: If you're not otherwise bound by some editorial edict you could use tied quarter notes across the three beats. Not sure I quite understand what you mean, unless it's replacing the three voices by one, which is not an option. I do need to have three voices on one staff. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction question
If you're not otherwise bound by some editorial edict you could use tied quarter notes across the three beats. Sent from my iPhone On Jan 27, 2010, at 4:44 AM, dc wrote: Say you have three voices on one staff, as in the first bars (left hand), of the Goldbergs (see link to scan below). Assuming the upper voice has all its stems upwards, the lower voice all stems downwards, what is the rule for the middle part? www.collins.lautre.net/files/goldberg.jpg (By the way, shouldn't the rests in these bars be horizontally aligned?) Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction
On 2.1.2009, at 15:24, Lawrence David Eden wrote: Currently suffering from a brain freeze: How do I change the stem direction on a single note? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Speedy Entry / pointer on note / keyboard L Cortez ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction
In a message dated 02/01/2009 15:38:40 GMT Standard Time, rich...@yatesguitar.com writes: Speedy, "L" That's the one!!! lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction
In Finale 2006 it's: tools-advanced tools - special tools - stem direction. But I'm sure there's a much simpler, quicker way but i can' remember it either. Cheers lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] stem direction
Speedy, "L" >-Original Message- >From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] >On Behalf Of Lawrence David Eden >Sent: Friday, January 02, 2009 7:24 AM >To: FinaleList >Subject: [Finale] stem direction > >Currently suffering from a brain freeze: > > > >How do I change the stem direction on a single note? >___ >Finale mailing list >Finale@shsu.edu >http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction for grace notes?
At 5:55 PM +0100 12/3/07, Raimund Lintzen wrote: What is the rule for stem direction when a single (8th) grace note (flag not crossed) If the flag is not crossed it would be an appoggiatura rather than a grace note. And I would put the stem up by instinct, although I don't know any rule about it. John -- John R. Howell Virginia Tech Department of Music College of Liberal Arts & Human Sciences Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction for grace notes?
Read's The Elements of Style: "The stems, flags, and beams of the single grace-note or grace-note group are usually drawn up, regardless of their position on the staff, although publishers are by no means consistent in this practice." Hope that helps. Jack - Original Message - From: dhbailey<mailto:[EMAIL PROTECTED]> To: finale@shsu.edu<mailto:finale@shsu.edu> Sent: Monday, December 03, 2007 12:04 PM Subject: Re: [Finale] stem direction for grace notes? Raimund Lintzen wrote: > What is the rule for stem direction > > when a single (8th) grace note (flag not crossed) > > preceed a note: > > Is there a fixed rile for stem direction? > > Thank you for helping! > I don't think there's any hard-and-fast rule. I seem to recall seeing grace note stems mostly going opposite to the stem-direction of the notes they precede, but I don't think I would say it's always the case. -- David H. Bailey [EMAIL PROTECTED]<mailto:[EMAIL PROTECTED]> ___ Finale mailing list Finale@shsu.edu<mailto:Finale@shsu.edu> http://lists.shsu.edu/mailman/listinfo/finale<http://lists.shsu.edu/mailman/listinfo/finale> ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] stem direction for grace notes?
Raimund Lintzen wrote: What is the rule for stem direction when a single (8th) grace note (flag not crossed) preceed a note: Is there a fixed rile for stem direction? Thank you for helping! I don't think there's any hard-and-fast rule. I seem to recall seeing grace note stems mostly going opposite to the stem-direction of the notes they precede, but I don't think I would say it's always the case. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction?
> I also can't find anything about changing > stem direction. I have a vocal part that > splits the soprano and the chords must show > stems as up and down, but I can't find > anything that refers to stem direction settings. > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > Go into speedy entry, put the cursor on your stem, and enter an L to flip it. Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Stem direction?
In 2008, DOCUMENT OPTIONS>LAYERS is where you need to look. Set the options as you want them. Jim From: [EMAIL PROTECTED] Sent: Thu 12-Jul-07 15:52 To: finale@shsu.edu Subject: [Finale] Stem direction? I also can't find anything about changing stem direction. I have a vocal part that splits the soprano and the chords must show stems as up and down, but I can't find anything that refers to stem direction settings. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
Owain: a pet peeve of mine is string players' belief that they can overrule a composer's explicit indications at will. Quite how somebody interprets "sul G" as "sul G until you don't like it very much, or until you get above 4th position, and then do whatever you want" is beyond me. Not just string players. Experience (and numerous available recordings) show that many, even most, conductors think "attacca" means "stop dead and then start the next movement whenever you feel like it." And I once had a sul tasto overruled by a conductor in favor of a sul ponticello. However, in defense of the string players mentioned above, there are unfortunately many composers who will write an instruction like "sul G" and then never cancel it. The player doesn't know if you are one of those or not, and so will stop playing sul G when they think you're done with it. Moral for composers: all expressions should be explicitly cancelled or overruled when no longer applicable. -- Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
This work contains many other instances of double-stops that need to be played by each player for the above mentioned reason of resonance. This observation is spot-on. It is a simple fact that the timbre of double stops is completely different to single stops on multiple instruments. Examples similar to yours can be found in huge numbers of well-known pieces. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
I add my voice to this discussion. Dividing double stops is usually not done to improve intonation. It is an axiom that the string player never really plays in tune until mastering double-stops. When the player sounds both pitches they not only hear the correct temperament, they feel it. When the sounded pitches align with the overtone series the instrument vibrates with greater resonance. Dividing double-stops is done for ease of execution. Some double-stop passages are incredibly awkward, especially when written by a composer who is not a skilled string-player. Dividing the notes can make the passage more secure. In string writing the use of stems in opposing directions indicates that "divisi" is appropriate; stems in the same direction indicate double-stops. I am currently preparing to conduct Brahms "Academic Festival Overture". In the third measure double notes in the cellos are marked with up/down stems and should be divided. At the end of measure 16 the violas have a double stop with a single up-stem. This is not divided. At measure 36 for several measures the cellos have two independent parts which are not possible on one instrument; again, divided by the composer for facility. In measure 46 the violas have double notes with a single stem, the understanding being that these notes are played "non divisi". Beginning in measure 198 the second violins suddenly have a double stem on a unison third line B (half note in 2/4). This is followed by three measures of up/down stems for two separate parts. The players divide these four bars. At measure 247 the violas have what could begin as double-stops marked up/down stems and "divisi" for facility and security. Measure 248 includes a chord that can not be played on one viola (Db, F, G) This work contains many other instances of double-stops that need to be played by each player for the above mentioned reason of resonance. Brahms, even though not a string-player by training, was meticulous. I trust that he knew what he wanted and how to communicate his intentions. Part of learning to play in a string ensemble is understanding the circumstances where an understood division is acceptable and where it is not. The point is that a single rule of always dividing double-stops is not uniformly applicable. "Different strokes for different folks!" Guy Hayden, Minister of Music St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, Virginia 23606 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
On Sep 7, 2004, at 11:41 PM, Raymond Horton wrote: To reopen an old can of worms, orchestral string sections divide nearly everything, even passages marked as double stops, to get maximum sound and best intonation. So, generally, don't sweat the notation to differentiate. The players don't. And yet, the sound IS different. I have found that most string players WILL change double stops willy nilly, as you said, but not for maximum sound. All you have to do is ask two players to play a diad in double-stop, and then again in divisi. Which sounds louder? They do it for easier intonation, which is usually for their own comfort and ease rather than for the music, as pros are perfectly capable of executing reasonable double-stops perfectly. This is the kind of thing that a strong conductor can wrestle with, but the poor composer probably has bigger issues to deal with, when they listen to him. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
Raymond Horton wrote: To reopen an old can of worms, orchestral string sections divide nearly everything, even passages marked as double stops, to get maximum sound and best intonation. So, generally, don't sweat the notation to differentiate. The players don't. I've never ever come across this - I wonder if there's an America/Europe difference in standard practice? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
On Sep 7, 2004, at 11:39 AM, Brad Beyenhof wrote: Oh, and as a side note: Vocal staves should never share stems (Stone, Music Notation in the Twentieth Century, p. 165). Don't know what Stone means by "vocal staves", but if you're writing SATB on two staves in "hymnbook" style, sharing stems is common so long as the parts are homophonic. mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
To reopen an old can of worms, orchestral string sections divide nearly everything, even passages marked as double stops, to get maximum sound and best intonation. So, generally, don't sweat the notation to differentiate. The players don't. Even chamber groups will do this. I once observed a group rehearsing the Brahms Clarinet Quintet taking out double stops that were doubled. (That is, if both violins had the same two notes written, they would each play one of the two notes.) (And please remember - don't shoot the messenger!) Raymond Horton Bass Trombonist Louisville Orchestra Owain Sutton wrote: Oh, and as a side note: Vocal staves should never share stems (Stone, Music Notation in the Twentieth Century, p. 165). Brad Beyenhof wrote: I wish this was also common practice for divisi string parts, to clearly distinguish them from double stops. Alas, it isn't the case, and things get played wrongly as a result. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
Dennis Bathory-Kitsz wrote: At 12:29 PM 9/7/04 -0700, Brad Beyenhof wrote: There seems to be a clear way of notating any possible outcome; perhaps this method is not held to very widely among composers? Or if it is, is it possible that string players themselves are not well-versed with the convention? If my recent piece is any guide, they will change it from double-stops to divisi or divisi to double-stops anyway, just to be perverse. Dennis Yes they will - a pet peeve of mine is string players' belief that they can overrule a composer's explicit indications at will. Quite how somebody interprets "sul G" as "sul G until you don't like it very much, or until you get above 4th position, and then do whatever you want" is beyond me. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
At 12:29 PM 9/7/04 -0700, Brad Beyenhof wrote: >There seems to be a clear way of notating any possible outcome; >perhaps this method is not held to very widely among composers? Or if >it is, is it possible that string players themselves are not >well-versed with the convention? If my recent piece is any guide, they will change it from double-stops to divisi or divisi to double-stops anyway, just to be perverse. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
Brad Beyenhof wrote: On Tue, 07 Sep 2004 20:15:44 +0100, Owain Sutton <[EMAIL PROTECTED]> wrote: Oh, and as a side note: Vocal staves should never share stems (Stone, Music Notation in the Twentieth Century, p. 165). I wish this was also common practice for divisi string parts, to clearly distinguish them from double stops. Alas, it isn't the case, and things get played wrongly as a result. According to Stone, multiple notes are always to be played divisi, and there should be a square bracket preceding them if they are to be played as a double stop. Prolonged passages of multiple notes should be marked either "non div." or "div." to indicate the desired style. There seems to be a clear way of notating any possible outcome; perhaps this method is not held to very widely among composers? Or if it is, is it possible that string players themselves are not well-versed with the convention? Of course, Stone's book deals mainly with Twentieth-Century convention, and may not be applicable to every piece that is encountered. That method is certainly unambiguous - but square-bracketing double stops is often horribly messy. And I very much dislike the idea that divisi should be seen as the 'default' method. In any case, there is no such convention - it seems that Stone is choosing one method as his prefered recommendation. Glancing through a Stravinsky score at random, some violin double stops are both scquare-bracketed and marked 'non div.', while others have neither. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
On Tue, 07 Sep 2004 20:15:44 +0100, Owain Sutton <[EMAIL PROTECTED]> wrote: > > > Oh, and as a side note: Vocal staves should never share stems (Stone, > > Music Notation in the Twentieth Century, p. 165). > > I wish this was also common practice for divisi string parts, to clearly > distinguish them from double stops. Alas, it isn't the case, and things > get played wrongly as a result. According to Stone, multiple notes are always to be played divisi, and there should be a square bracket preceding them if they are to be played as a double stop. Prolonged passages of multiple notes should be marked either "non div." or "div." to indicate the desired style. There seems to be a clear way of notating any possible outcome; perhaps this method is not held to very widely among composers? Or if it is, is it possible that string players themselves are not well-versed with the convention? Of course, Stone's book deals mainly with Twentieth-Century convention, and may not be applicable to every piece that is encountered. -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
Oh, and as a side note: Vocal staves should never share stems (Stone, Music Notation in the Twentieth Century, p. 165). I wish this was also common practice for divisi string parts, to clearly distinguish them from double stops. Alas, it isn't the case, and things get played wrongly as a result. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
On Tue, 07 Sep 2004 13:59:42 -0400, D. Keneth Fowler wrote: > Using one stem where rhythms are identical is less busy and seems to offer > added open space between staves. For each pair the rhythm is the same, > except for several short rhythmically independent moments. Does common > practice call for one stem for areas of identical rhythm, and opposing > stems where rhythms do not match, or should I leave it as it is with > opposing stems throughout? I always do as you suggest (same stem where possible, split stems where necessary) in both editing and engraving. Gardner Read suggests the same on page 342 of "Music Notation." However, I have established a few rules for myself regarding this practice. Firstly, I *never* include both joined and split stems in the same measure. If split stems are required only on beats 3 and 4, I will still split the stems for the entire bar. Secondly, I will *do my best* not to jump back and forth indiscriminately between split and joined stems. For example, if a staff generally has joined stems, and measures 33 and 35 both require split stems, I will split the stems in measure 34 as well to avoid changing styles four times in a row. This, of course, is my own system; feel free to disagree and/or modify to suit yourself, the piece, and the client (though not necessarily in that order). Oh, and as a side note: Vocal staves should never share stems (Stone, Music Notation in the Twentieth Century, p. 165). -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction
D. Keneth Fowler wrote: To the wisdom of the list, FinWin 2004b. Full score for anthem with instrumental accompaniment. Question regards handling stems in the wind parts: Flutes 1 and 2, Clarinets 1 and 2, Horns 1 and 2. In each case 1 and 2 share the same staff. At the moment I have set two stems in opposing directions throughout in each staff. Using one stem where rhythms are identical is less busy and seems to offer added open space between staves. For each pair the rhythm is the same, except for several short rhythmically independent moments. Does common practice call for one stem for areas of identical rhythm, and opposing stems where rhythms do not match, or should I leave it as it is with opposing stems throughout? My immediate reaction was to reply that split stems are typically used throughout. Luckily I looked through a few scores, and found free alteration of the kind you're describing. What seems to be common practise is to keep consistency within each individual bar, ie if just a couple of notes need split stems, then the whole bar acquires them. As a footnote, my personal preference is for separate staves for each part. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stem direction change
On 5/19/04 3:57 PM, David McKay wrote: > Can anyone tell me how to make an extracted part's stem direction revert to > normal convention, please? Mass Edit tool, Select All, then Mass Edit > Utilities > Remove Stem Changes -- Brad Beyenhof [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
