Started by c#minor, September 05, 2008, 03:57:27 PM
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Quote from: karlhenning on October 17, 2008, 09:24:23 AMHave yet to try out the staff-hiding advice.Meanwhile . . .Near the beginning of the Overture, I have a fermata over a ingle measure's rest, which I want to last five-ish measures' duration. Suggestions on how to get playback to reflect that?TIA!
Quote from: k a rl h e nn i ng on March 30, 2009, 10:42:13 AMAnother question:Consider m. 226 below. In my MS., I actually had the A and G connected with the same stem. This is a case where I don't particularly need to insist on that 'style' for that measure . . . but I wound up making them independent stems.I entered both notes on the treble clef, and tried to cross the G down to the bass clef . . . what happened was, that both notes were crossed down.As I say, this measure I can leave be; but in the closing section practically every bar will have eight-note chords, and the stemming will indicate the two hands, and the right hand will often have notes on both staves.Help!
Quote from: k a rl h e nn i ng on March 30, 2009, 10:45:40 AMWhile I'm at it . . . the final eighth-note dyad in m.224 . . . how may I add 'let-ring' "ties"?Thanks again!
Quote from: k a rl h e nn i ng on April 08, 2009, 09:52:10 AMWith parts for The Mousetrap, I borrowed one of Hindemith's ideas (or anyway, as a performer, I noted this practice first in the Hindemith Clarinet Sonata). Where there isn't the layout space for full cues on a separate staff, to cue the rhythm of the other part on a single line. This was quite a time-sink in Finale, but it paid dividends in efficient rehearsal with Pete Cama-Lekx for so involved a piece. I should be so delighted to learn that such a cue-line in Sibelius is as simple and intuitive as so much else in the software . . . .Guidance, please?!
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