For the plugin to work, you need the bars to match exactly, and for there to be
more than three of them. Since I often put in one-bar repeats (or slashes, in
the case of a drum part) that messes up the count. Even a dynamic in the first
bar will cause the plugin to consider it as different. I
At 2:37 AM +1000 9/28/11, Nigel Hanley wrote:
Thanks Chuck and Darcy, you have together proven
my dilemma. I'm in Australia, and was always led
to believe in the hand drums, stems up, and foot
drums stems down system. Apparently this isn't
gospel truth. I can see both arguments, so I'm
On Wed Sep 28, at WednesdaySep 28 12:11 PM, John Howell wrote:
And while I understand and approve of the
logic of separating hands and feet, I've never
thought that stems-down for the hat made any
sense.
The stems down on the hihat only applies to the stomp, or chick sound, played
by
Hi Darcy,
I see your point, and perhaps from a purely pedagogical standpoint it helps
to see everything line up in the same layer. However, most if not all
drummers I know prefer and are used to seeing the bass drum and foot hi-hat
stems down as a separate layer. That way they can see the rhythm
On Sep 28, 2011, at 1:11 PM, Christopher Smith wrote:
Generally, though, you don't need to indicate the hihat stomp, because it is
usually obvious, unless you are in 11/8 or something.
Generally right, but I need to write a measure of two feel or double time feel
(with HH stomps) in
I put the snare parts in the same layer as the cymbals. The guiding principle
for me seems to be - hands on one layer, feet on another. So, when I have to
notate the high hat part played by the pedal (which is a rare occurrence), the
part is written below the staff in the same layer as the
My experience is that drummers like *everything* in their part written the same
layer -- hihat/cymbal, snare, toms, bass drum, etc -- all with stems up. It's
much easier to see how things line up that way. Most drumers do not like having
the part separated into multiple layers.
However, if you
Thanks Chuck and Darcy, you have together proven my dilemma. I'm in Australia,
and was always led to believe in the hand drums, stems up, and foot drums stems
down system. Apparently this isn't gospel truth. I can see both arguments, so
I'm pleased to hear both sides.
cheers,
Nigel Hanley
Chuck, that is my experience too, until on the gig last Saturday night, when a
veteran of the Sydney scene pointed his preference out to me and was backed up
by the bass player, both arrangers. I was taken aback as I have always written
in the manner you describe, and have had no problem with
Hi Nigel, Chuck,
I concur with Chuck that if you are separating into layers, then pedal hihat
chiks should be notated below the staff, in the stems-down layer. But I don't
recall ever seeing a drum part split into layers using Chuck's hands up, feed
down method. It's not that it's not logical
Darcy that heightens my dilemma in a way, that the two of you disagree,
although it's also reassuring.
I needed to check with arrangers outside of my local scene. It's good to know
that what I have been writing isn't completely wrong. In future, I'll notate on
a case by case situation.
-
When I do big band charts, drummers complain that there is too much
stuff in the part. They (drummers) like more sketches rather than a
literal part. Like just with ens hits, important rhythms, etc..
Sent from my iSomething
--
Eric Dannewitz
Musician/Polymath/Evil Genius
There doesn't seem to be much of a standard, except for the first-space bass
drum and 3rd space snare that Chuck mentioned, but I have mostly adhered to
Modern Drummer magazine's conventions, since that is a widely-read publication
written for and by drummers. I didn't have much success with
I have always written drum parts like Chuck described: hands up, feet down.
The majority of written-out drum parts in the Los Angeles commercial and
studio music scene follow this convention.
That's not to say that there are some exceptions. Darcy makes a good
argument for cymbals up, drums down.
Hi Brian,
Actually, my argument is for everything all in the same layer. This way, any
drums or cymbals that are played simultaneously share the same stem. It's
definitely preferred by every drummer I've talked to. Chris mentioned Modern
Drummer -- this is how they do it. Here's an example:
From: Eric Dannewitz ericd...@jazz-sax.com
When I do big band charts, drummers complain that there is too much
stuff in the part. They (drummers) like more sketches rather than a
literal part. Like just with ens hits, important rhythms, etc..
Haha! When I do brass band parts, drummers
I'd like to add my two bits to the conversation about layers and stems up
or down in drumset parts.
I think the discussion might be better served by not being concerned about
layers, but by thinking about what is easiest to read.
When notating drum parts (and I notate as a performer who will need
On Tue Sep 27, at TuesdaySep 27 8:03 PM, Whittall, Geoff wrote:
I
usually use a cymbals layer and a pedals (bass drum and hi hat) layer, and
the snare drum moves back and forth as necessary/convenient/desirable to
maximise clarity.
So, you agree with me, then! 8-)
Christopher
I have never tried this in this way until I followed your
instructions. Sure enough, in FinMac 2009, the drum part suddenly
turns into individual bars rest upon hitting Print.
I suspect that multimeasure rests are automatically broken when staff
styles are applied, and you don't see it
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