Hi,
Also keep in mind your trombone players!
Unless playing 1st-position notes,
both hands are in-play, as it were...
-Steve S
NYC
Message: 4
Date: Thu, 11 Dec 2008 13:30:38 -0500
From: Christopher Smith christopher.sm...@videotron.ca
Subject: Re: [Finale] Endings in repeats - advice
In a message dated 12/12/2008 21:14:47 GMT Standard Time, steves...@aol.com
writes:
Also keep in mind your trombone players!
Unless playing 1st-position notes,
both hands are in-play, as it were...
And horn players who, if they take the hand out of the bell to turn pages
will
Haha, since I inadvertently started this interesting debate I dare to
comment it :-)
My original situation was quite simple - a big band arrangement with an
open 32 -bar section for solos. All repeats but the last are identical. No
backgrounds or anything in this particular solo section (there
Good repeats are nice simple ones that just repeat a whole passage,
especially if they economise on pages turns.
Bad repeats are those that say first time round jump to B, second
time round play these 8 measures, then jump to D, third time round
play everything up to E, then jump to Coda
[EMAIL PROTECTED] wrote:
As this whole repeat thing is one of my pet peeves, I'm now going to mount
my soapbox.
Realizing that in some circumstances repeats may be necessary or even
preferable, I believe that in most cases they are outdated. Since music no
longer needs to be
On 11 Dec 2008 at 8:19, Dan Tillberg wrote:
And as a musician myself I can also
get a little frustrated sometimes that from the old
complex-repeat-structure-to-save-paper-and-time to the new era of
copy-paste-everything-since-this-is-done-on-a-computer!.
I had a case just yesterday where
At 9:51 AM +0100 12/11/08, Florence + Michael wrote:
Good repeats are nice simple ones that just repeat a whole passage,
especially if they economise on pages turns.
Bad repeats are those that say first time round jump to B, second
time round play these 8 measures, then jump to D, third time
On 11-Dec-08, at 11-Dec-08 12:44 PM, John Howell wrote:
As a string player I'm used to having a stand partner to turn
pages--or to being that stand partner myself. But as a wind player
I really feel like cussing out editors who blithely ignore bad or
impossible page turns. And of
On 10 Dec 2008, at 2:59 AM, Dan Tillberg wrote:
Would it be advicable to make the parts so that only instruments with
differences have these different endings, while others don't?
Definitely not.
Or would it
be better to anyway, for rehearsal simplicity, make all parts equal in
this
Well I almost expected that answer :-) Just wanted to be fully convinced
myself.
Thanks for putting it straight-forward!
/D
On 10 Dec 2008, at 2:59 AM, Dan Tillberg wrote:
Would it be advicable to make the parts so that only instruments with
differences have these different endings, while
On Dec 10, 2008, at 2:59 AM, Dan Tillberg wrote:
When looking at a part where there are for example full bar rests
in both
first and second ending, it makes sense in a way but it looks a
bit...unnecessary...or even a bit funny perhaps.
I know Darcy got to you within minutes (he must
At 8:55 AM -0500 12/10/08, Christopher Smith wrote:
The last thing you want is to say in rehearsal Take it at the
second ending and have half the band say, What? The aspect of
Finale that forces you to have the same roadmap between all parts
and the score has probably saved more rehearsal
On Dec 10, 2008, at 11:27 AM, John Howell wrote:
This does, however, bring up the question (again! it's been
discussed before) of how to handle bar numbers in multiple
endings. Number the first ending bars but not the second? Use
duplicate numbers in the 2nd ending? Just number
On 10 Dec 2008 at 11:27, John Howell wrote:
I've actually run into that very thing in Broadway
books, specifically in The King I. I was asked to make a cut at
a certain point in a certain number, discovered that some parts had
repeated bars (and LONG endings!) while others did not, and
David W. Fenton wrote:
On 10 Dec 2008 at 11:27, John Howell wrote:
I've actually run into that very thing in Broadway
books, specifically in The King I. I was asked to make a cut at
a certain point in a certain number, discovered that some parts had
repeated bars (and LONG endings!) while
As this whole repeat thing is one of my pet peeves, I'm now going to mount
my soapbox.
Realizing that in some circumstances repeats may be necessary or even
preferable, I believe that in most cases they are outdated. Since music no
longer needs to be hand copied, it make
I like repeats - it's means I don't have to tax tired and precious brain
cells on working out that I'm playing what I just played and sorted out five
minutes ago.
Cheers,
Lawrence
lawrenceyates.co.uk
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If think the Broadway books are bad (and I've played them), wait till
you see brass band music published by the Salvation Army. I don't know
if they're trying to save paper or what, but one part will have two
baqrs and a six-bar 1st ending, another will have four bars and a
4-bar ending, another
On 10 Dec 2008 at 17:02, [EMAIL PROTECTED] wrote:
As this whole repeat thing is one of my pet peeves, I'm now going to mount
my soapbox.
Realizing that in some circumstances repeats may be necessary or even
preferable, I believe that in most cases they are outdated. Since
On Dec 10, 2008, at 8:50 PM, Horace Brock wrote:
If think the Broadway books are bad (and I've played them), wait till
you see brass band music published by the Salvation Army.
I hate to play topper (no really, I kind of like it!) but the worst
by far are salsa and merengue charts,
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