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Ron Dough
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« Reply #120 on: 20:01:02, 12-08-2008 » |
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Dough scores are rather more basic than Maestro Barrett's, hh, so yes, it would be as well to test on something more appropriate.  |
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martle
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« Reply #121 on: 20:05:39, 12-08-2008 » |
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Been away from the machine. But yes, the spacing thing hh is on about is a doddle using that method. Sibelius really is quite flexible that way. And quick. And then you can 'lock' each page as and when you're happy with it.
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Green. Always green.
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harmonyharmony
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« Reply #122 on: 21:38:02, 12-08-2008 » |
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OK First stage shows all notes inputted with additional lines (semiquavers to show the even spacing, 512ths to ensure even spacing):  Second stage shows how it looks if I delete the two extra lines (not terribly good):  Third stage shows a screen shot with the 512ths added as voice 2 to bass clarinet stave (semiquavers preserved to show even spacing) and then hidden:  Final stage shows end result (512ths remain as voice 2 but are hidden, some notes moved so that all accidentals are clear):  Cotitsalv for all graphics. Obviously if this was a serious attempt, I would have spent longer getting the flags right on the separate demisemis, and on perfecting the symbol for stopped crescendos, but I think it gets pretty close to the original score. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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martle
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« Reply #123 on: 22:13:58, 12-08-2008 » |
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Nice work, hh.
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Green. Always green.
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harmonyharmony
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« Reply #124 on: 22:26:36, 12-08-2008 » |
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the symbol for stopped crescendos
My apologies. Just read the performance instructions... 'tongue against reed immediately after a diaphragm-only attack'. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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richard barrett
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« Reply #125 on: 00:19:26, 13-08-2008 » |
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Gosh! Thanks for that demo, hh, you clearly know your way around this software (and of course around music notation). That is a highly convincing-looking hoon. Sold. Do you work for them or something? |
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harmonyharmony
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« Reply #126 on: 00:41:24, 13-08-2008 » |
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Gosh! Thanks for that demo, hh, you clearly know your way around this software (and of course around music notation). That is a highly convincing-looking hoon. Sold. Do you work for them or something? No, but I'm beginning to think that I should have approached them for sponsorship for my PhD...  Maybe I should get some sort of commission... |
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« Last Edit: 00:47:58, 13-08-2008 by harmonyharmony »
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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oliver sudden
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« Reply #127 on: 02:56:36, 13-08-2008 » |
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hh, that's quite extraordinary. Chapeau. What did you do for the straight flags? I'd been led to believe that that was impossible.
Ron was exaggerating when he mentioned that I use both: I have both installed, with every intention of getting to know Finale at some point, but for the moment (being as I am a performer not a [self-]publisher) every notation thing I've done has been something reasonably basic that I've needed in a hurry. That or Graupner chalumeau music (still indeed reasonably basic but not needed for some years yet I expect... if ever).
Richard, I would still suggest a quick talk to Mr Cassidy, late of these boards, who uses Finale for all his (spectacularly complex) gear. But given the pithiness and excellence of h2's demo it looks like that might just be for completeness' sake...
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harmonyharmony
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« Reply #128 on: 03:12:08, 13-08-2008 » |
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What did you do for the straight flags? I'd been led to believe that that was impossible.
That's a compromise for a quick solution. I treated each pairing of note then rest as the beginning and end (respectively) of a beamed pair, and Sibelius does that automatically. I don't like the lack of control that this solution gives you, and it's difficult to specify how long each of the flags actually is. There is probably a solution which involves substituting the standard character for flags with a customised one, but I haven't yet had the energy to do that! Watch this space... |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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oliver sudden
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« Reply #129 on: 03:14:06, 13-08-2008 » |
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(now I know what my excuse for being awake is but what's yours? ) |
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Notoriously Bombastic
Posts: 181
Never smile at the brass
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« Reply #130 on: 07:42:53, 13-08-2008 » |
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It doesn't necessarily have to be that small, hh: I've just done it with 64ths. I created a single percussion line in an existing score, and filled it up with 64ths: the score went proportional. I then deleted the percussion from the Instrument Creation panel, and the spacing stayed as it was - no need to hide anything.
Ha! I think this is the program for me. A note of caution - what work is involved for part extraction, in particular when multirests change the flow of the music? (I still use Sibelius 3, so dynamic parts might make this an irrelevance for Sibelius 5) NB |
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harmonyharmony
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« Reply #131 on: 08:33:07, 13-08-2008 » |
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A note of caution - what work is involved for part extraction, in particular when multirests change the flow of the music? (I still use Sibelius 3, so dynamic parts might make this an irrelevance for Sibelius 5)
NB
I've always been rather suspicious of the automatic part extraction that Sibelius offers and have tended to do it manually, which is a little bit time consuming but at least you feel in control at every stage. If you combine a hidden voice in one part with the equally spaced small durations, as I did on my final example, and then you delete that part, you will lose the spacing (I've never found that locking the format really does anything significant - am I looking at the wrong menu?). I suppose that's something to bear in mind. You can constantly have a hidden stave above the whole score. One qualm I have about this whole idea is the amount of processor power that calculating all of this costs Sibelius. Using the smallest possible note values for one bar gives it pause for thought, so if the whole score is full of 512ths, you're probably going to have a crash every now and then. For the passage that I put into Sibelius, the spacing is only proportional if you use 256ths. I have no idea how the software will cope with hundreds of bars of this. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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oliver sudden
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« Reply #132 on: 09:11:19, 13-08-2008 » |
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It might be worth having a look at pages 3 and onwards of this very thread which does feature some email exchanges with the makers of Sibale and Finelius on the subject of time-spacing, and one or two amusing moments to boot...  |
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richard barrett
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« Reply #133 on: 10:02:16, 13-08-2008 » |
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What did you do for the straight flags? I'd been led to believe that that was impossible. Straight flags are important to me. Are they easier to do in Finale? Otherwise, I think that for anything smaller than an orchestra I'm going to continue using mediaeval technology. (I'm also about three-quarters of the way through a piece for 17 instruments, which of course i'm doing with pen and paper.) The main reason for getting the software is that orchestras expect it, and in some if not all cases (eg. all member organisations of the Association of British Orchestras, I think) won't accept handwritten parts any more. |
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oliver sudden
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« Reply #134 on: 12:01:09, 13-08-2008 » |
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Finale already contains a non-curly but nonetheless angled flag which can be substituted for the traditional curly one. (In my tinkerings with the toolbox even I got that far.) Someone does seem to have custom-made a non-curly flag which stays perpendicular to the stem, judging from this piece of Aaron's I'm looking at. I don't know how easy it would be to do the same in Sibelius - h 2? |
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