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Date Joined Mar 2000
Total Posts : 820
| Posted 9/26/2016 3:40 PM (GMT -6) |
|Daz, that is much improved and the overall impression is attractive and inviting to play. I notice that you are being even more faithful to the original in various ways, which is laudable. You might be right about the purpose of this piece. The cut-out score was more a thought than a suggestion. |
A few more suggestions:
You should include the composer's measure numbers. And system dividers are usually centered under the left bar lines as in the composer's score. This does create a spacing issue with the margin that doesn't exist in orchestral scores where the instrument labels compensate. (Maybe one reason you don't see this in solo piano music.) Of course they could be made much smaller and thinner to fit better in the margin.
A few small suggestions regarding your engraving: your slurs are often little too arched for my taste, and the tempo markings are sometimes too far and sometimes too close to the notes.
This piece could definitely lead to a discussion of how faithful an engraver should be to a composer's manuscript, about which a book should be written. This particular piece is a mix of logical if unusual notation but also some illogical things that an engraver should bring up with the composer, assuming that the composer is open to discussion.
For example, in the opening measures of the LH the slur would be better above the note heads and out of the way of the tempo indication such as at 37 in the LH. Also, the composer's placement of the tempo markings is OK for handwriting but not for engraving and would be better aligned with the first note of each phrase.
There is also an issue where a dynamic precedes (or follows!) a tempo marking separated by a comma. Normally, they would be independent which would aid placement. This needs to be addressed.
The composer's one cautionary accidental is non-standard for an original work, prevents fingering from being above the notes where it belongs, should be corrected, and other needed cautionary accidentals added. And one also suspects that the composer has accidentally omitted some slurs here and there. All of these things would be discussed with the composer.
The biggest problem concerns the last measure: it is fingered for the RH! If played by the RH, which is more pianistic, why is it on the lower staff?
Mac mini (OS 10.8.5) with dual monitors, Finale 2014d (Finale 2011 as a backup) with GPO 4
Kurzweil Mark 5 with M-Audio Midisport 2 x 2, Adobe InDesign CS4 SmartScore X Pro, JW Plug-ins
The better the composer, the better the notation.
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Date Joined Jun 2000
Total Posts : 8331
| Posted 9/26/2016 4:47 PM (GMT -6) |
John Ruggero said...
… You should include the composer's measure numbers …
I could be wrong here, but I suspect that those numbers are not the composer’s measure numbers, but rather “auxiliary measure numbers” for the Finale solution where each system in the manuscript is created as two (independent) systems in the Finale document.
John Ruggero said...
… The biggest problem concerns the last measure: it is fingered for the RH! If played by the RH, which is more pianistic, why is it on the lower staff?
Generally the quick tempi are in the lower staff, and the slow tempi are in the upper staff.
My guess is that the composer put the last measure in the lower staff because of its tempo.
Mac Finale, 2012c, 2014d & 2014.5, Dolet 6.6 plug-in, Mac OS X 10.11.6, iMac Intel Core i7, 2.93 GHz, 16 GB RAM
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