(...are you still not really here?...)
Best,

Alistair

Quite right, Richard - all those bloody leger-lines can really take it out of you, eh? 

Too bloody right, Reiner, though perhaps I should explain that it's written in a kind of tablature, this being the only way I could work out of getting it down on paper, because it consists pretty much entirely of microtonal intervals and glissandi derived directly from flute fingerings, so that the latter give a more accurate indication of what pitch (and of course timbre) is intended than any system of home-made accidentals could... well I could go on...



This piece doesn't, by the way, have an embarrassing and cringeworthy title because it doesn't have any title at all at the moment. I am scanning this thread daily for inspiration.

If you're interested, I shall endeavour to do so once I've got to the point of being sure about it. (I'll have to scan it in because I still use ancient technology for writing music down.) Basically, above the stave showing the resultant pitches (to the nearest eighth-tone), there's a nine-line stave divided into three (left thumb, left fingers, right fingers), on whose lines there might be "closed" or "open" noteheads or a few other possibilities - half-open, for the keys with rings, square noteheads for the trill keys and note names for the right fourth finger keys. The difference between this and just notating fingerings in one of the usual ways is that there's only a notehead (or whatever) where that finger actually moves (except at the beginning of each system, where the full fingering is given), which makes the whole thing look much less cluttered than it would be otherwise, especially when there are lots of notes (and the music is so structured that, in general, the faster it gets, the fewer finger-movements per note are involved); it's also easier to specify how glissandi are to be fingered.

Well, nobody needs to see it now, probably.

Title Richard ? Hows about  "A Good Fingering " or something similar.

By that, do I assume you to mean that funny old stuff called pens, inks, papers and all that? How incredibly antediluvian! Just like me! Someone (either the composer or someone else) can always "translate" what one does into Finalius afterwards, after all...

On the contrary, I think that everyone does! And I take back my comment about someone else typesetting one's pen-and-ink work, for this would seem to be a massive challenge for anyone other than the composer (or, indeed, even for the composer) in the context that you detail above. Just out of curiosity, do you play the flute yourself?

Best,

Alistair

Your very lucky Richard. Do you know any piccolo players with a GSOH ?

So you leave your work in handwritten form, then? Well, that's what I've always done too and, since I've been too much of a - er - what's the term - ah, yes - "lazy git" - to master Finalius myself, I'm just fortunate when someone takes it upon him/herself to process a score into one of those programmes.

Mustn't forget that there's also blowing involved.
[/quote]
Ah, yes, indeed - Opening of the Mouth then, perhaps? (unless for any reason it had to be Son of... ditto, which really wouldn't do...).

Alternatively, of course, there's always Blow by Blow Account (except that this might lead some people into thinking that the piece is by Blow); I'm afraid that I'll have to charge you my usual fee of sodall if you decide to use that but, since it's you, I'll give you a decent discount...

Best,

Alistair