I do see the notation (1,3) in choral music. Not often, and maybe it's
dependent on the publishing house. While it's reasonably clear, for the
environment of a church choir setting, where sight-reading can unfortunately
become the norm, I find this confusing. I once had to read through an
David W. Fenton wrote:
On 22 Mar 2010 at 17:11, dhbailey wrote:
Perhaps if you were to explain more fully the road map for
the work in question, we could offer better insight to help
you make the music the clearest.
Maybe it's my early music background, but for one particular
situation, I
dc wrote:
What's the clearest way to write an |:A:|BACA piece if I don't write out
in full the three A sections (to avoid page turns). The original simply
has Da Capo at the end of B and C, and a fermata on the last note of A.
People with experience in the music of the period you're
Thanks Howard,
The Bach fonts are quick and easy to use (and free).
Michael Lawlor
From: Howard Weiner h.wei...@online.de
Subject: Re: [Finale] OT Time Signatures in MS Word documents
To: finale@shsu.edu
Message-ID: 4ba64c66.3090...@online.de
Content-Type: text/plain; charset=ISO-8859-1;
At 9:33 PM +0100 3/22/10, dc wrote:
I have a piece with three endings, where 1 3 are identical. Is it
kosher to put them both under the same bracket, say, with
1. 3.
and then
2.
Thanks,
Dennis
I would say not, unless what follows 3 is exactly what follows 1.
The purpose of multiple
Many of the old marches (certainly the ragtime marches) used an unusual
repeat system: the first strain has a first ending, second ending which
moves to the 2nd strain, and a fine' ending. After the third strain, one
will D.S. back to the first strain and take the fine' ending. Although this
seems
Mike McGowan wrote:
Many of the old marches (certainly the ragtime marches) used an unusual
repeat system: the first strain has a first ending, second ending which
moves to the 2nd strain, and a fine' ending. After the third strain, one
will D.S. back to the first strain and take the fine'
At 9:13 AM +0100 3/23/10, dc wrote:
What's the clearest way to write an |:A:|BACA piece if I don't write
out in full the three A sections (to avoid page turns). The original
simply has Da Capo at the end of B and C, and a fermata on the
last note of A.
Thanks,
Dennis
Ah!! The famous
Never having played the marimba (due to being a clarinettist), or having
had access to a marimba player in the last ten years, I am now faced
with printing a piece to send to a marimbist in the US. I'm currently
unsure of how they prefer their music to be laid out for solo work. The
piece is
At 12:35 PM -0300 3/23/10, Adam Taylor wrote:
Never having played the marimba (due to being a clarinettist), or
having had access to a marimba player in the last ten years, I am
now faced with printing a piece to send to a marimbist in the US.
I'm currently unsure of how they prefer their
On 23 Mar 2010 at 6:34, dhbailey wrote:
dc wrote:
What's the clearest way to write an |:A:|BACA piece if I don't write out
in full the three A sections (to avoid page turns). The original simply
has Da Capo at the end of B and C, and a fermata on the last note of A.
People with
Hi alI:
About a year ago, I showed a copy of one of my Graupner editions to
my former supervisior (Ph.D. in musicology from Columbia)-- where I
duplicated the autograph score (i.e. no written out repeats of the A
section, and Da Capos under each section). He has no idea how to read
the movement,
On 23 Mar 2010 at 13:30, Kim Patrick Clow wrote:
About a year ago, I showed a copy of one of my Graupner editions to
my former supervisior (Ph.D. in musicology from Columbia)-- where I
duplicated the autograph score (i.e. no written out repeats of the A
section, and Da Capos under each
On Mar 23, 2010, at 12:56 PM, John Howell wrote:
For questions like this I turn to How to Write for Percussion by
Samuel Z Solomon. He ... points out that it's important to know the
instrument you're writing for (ALWAYS a good idea!), since they vary
from 4-octave to 5-octave instruments.
At 4:11 PM -0400 3/23/10, Andrew Stiller wrote:
On Mar 23, 2010, at 12:56 PM, John Howell wrote:
For questions like this I turn to How to Write for Percussion by
Samuel Z Solomon. He ... points out that it's important to know
the instrument you're writing for (ALWAYS a good idea!), since
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