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Date Joined Dec 1998
Total Posts : 500
| Posted 4/25/2011 8:12 PM (GMT -6) |
|Hi...this is from 2011b.|
Please look at the sharps...are the sharps for C and D mispositioned?
Am I wrong in assuming that:
1. the sharp for the C should not be displaced?
2. The sharp for the D should be the outermost sharp?
Jim Williams--Indianapolis Brass Choir
WinFin 2010, 2011, TGTools , Core 2 Duo portables, XP Pro/Win 7 , 4gB RAM, 360 gB HDD, Full GPO, JABB, & CoMB, Echo Indigo I/O, Miraphone 5050 & Yamaha 321 euphoniums, Yamaha 621 Baritone Horn, Holton 58 Bass Trumpet, Guinness, briefs.
Post Edited (Snorlax) : 4/25/2011 8:15:30 PM (GMT-5)
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Michel R. E.
Date Joined May 2003
Total Posts : 7430
| Posted 4/25/2011 9:39 PM (GMT -6) |
|according to Elaine Gould, I believe the "G#" should be moved out, while the two lowest adjacent 2nds should be as they normally would be (the # closer to the D, the sharp a bit away from the C).|
the problem here is that the G# is very close to both the D# and the C#. the interval leaves very little room for "normal" placement of the accidentals.
Michel R. Edward
Finale versions: 3.0 -> 2011b
currently installed: 2006c, 2007c, 2008a, 2009, 2010, 2011b
GPO 4, Garritan J&BB 3, CoMBand, Stradivari Violin, Gofriller Cello
Xsample Chamber Ensemble
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Date Joined Oct 2006
Total Posts : 3151
| Posted 4/25/2011 9:40 PM (GMT -6) |
|It's technically correct. If the G# were not there, it would look optimal.|
woodwind specialist and doubler - Finale 2011b using Speedy Entry - no capslock, GPO 2nd ed. Full version, Garritan Jazz & Big Band, Garritan Concert and Marching Band, Windows Vista 32-bit SP1, 4GB RAM, Soundblaster Audigy II zs
If the composer says in effect to the performer: "I do not care whether you perform my music or not," we cannot argue the matter. But if he indicates: "I want you to perform and respond to this music," then his fundamental duty is to write his music so that it is accessible to interpretation. When the performer cannot approach the composer's meaning because of capriciously obscure notation, he may in effect say to the composer: "Why should I bother to puzzle out your music?" - Gardner Read
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