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  Playing parts of editions  MartinY at 08:37 on 14 November 2008
 


We have been talking quite a bit in the forums about the appearance of music, and I do not know of the right forum to say this.

I know, now from bitter experience, that just because you have a good looking computerised score in modern software you do not therefore have a practical set of parts. I now allow several hours for preparing a set of parts, not the 10 minutes you might think you could get away with. There are allsorts of considerations. Page turns is one, and for an active small ensemble with few rests still very problematic. Typeface size another. Too small and the players can't read it. Too big and it looks ugly and they also can't read it. Collisions between objects in the parts which are not in the score can occur.

Also the piece might need to be rebarred in order to be conductable. The edition without a conductor might optimally be different.... This is really true.

Lastly, for real printing, I know cases where the layout was carefully worked out starting on a left hand page. When it went to print the printer started on a right hand page as printers traditionally do, thereby making every page turn impossible. Another book's content was as near perfect as can be. The composer's name was misspelt on the spine.

  Re: Playing parts of editions  Team Gaughan at 14:16 on 14 November 2008
 

Couldn't agree more more!!! I figured that Sibelius would print off the parts as they looked in the score, but no. Recently I wrote a piano sonata, the bottom line of each page didn't show the low left hand parts or pedal mearkings when I printed it out. And yes you have to edit each and every orchestral part to make sure it makes sense to each player. Very annoying. Saying that however I would rather spend a while editing parts thgan writing out endless parts by hand in the old way!!!

  Re: Playing parts of editions  MartinY at 08:32 on 15 November 2008
 

Despite Sibelius' annoying little foibles it is incomparably better than hand copying, cutting and pasting etc.. Because it is possible eventually to produce a more or less perfect set of scores and parts, there is a danger of forever tinkering and a document which in the old days would have gone through two revisions now gets one hundred and fifty revisions and on the last look through you still find something to change.

Discipline yourself and modern software is fantastic.