These brand new arrangements are going to the Winnipeg Symphony and the Toronto Symphony respectively. Thought I’d use that copyright token a bit differently. Hope I’m not breaking any rules!
Wonderful! I think you have a typo in there, though, on the second line “or got” should presumably be “or go to”.
Corrected before your response! All good now …
Excellent … congratulations Claude!
Many friends in both orchestras, especially TSO. I’m sure I’ll hear back.
Claude, out of interest, which method did you use for the harp pedalling graphic?
Go here:
http://hindson.com.au/info/free/free-fonts-available-for-download/
He has a font called Harp Pedals (1.1). It works like this:
3=pedal down
6=pedal in the middle
9=pedal up
+=divider
For note letters, you use these capital letters to get notes from C to B:
QWERTYU=flats
ASDFGHJ=naturals
ZXCVBNM=sharps
I make a paragraph style called “Harp Pedals” based on default but parented to none and I set the font size to 15 points relative to staff size. The glyphs are a bit thin for my liking but they’re still quite useable.
Thanks for the detail Claude. I will investigate.
it is very nice engraving, but I did notice a few issues in no. 1:
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The sixteenth flags in violins 1-2 (ms. 8, 10) run into the following notes.
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All triplet indications in violin 1 and the first two in violin 2 are too far from the beams. Gould allows them partially on the staff. This would also keep the f indications from running into the triplet numerals in m. 1 in violins 1-2.
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A few of the dynamics are not consistently- or well-placed in relation to the notes. See the mf’s in measure 8 in the upper strings, the p in the snare drum.
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The slurs could be more pleasingly shaped (less flat) and as a result are getting lost in the staff lines in m. 3 of violin 2.
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The last eighth note in m. 1 of the viola is not lining up correctly with the triplets in the violins and almost looks like it falls under the last triplet note.
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There is too much space at the end of m. 2 possibly as a result of too much space given to the last notes in the harp and too much space at the end of m. 3 for an unknown reason.
As a matter of notation, I personally don’t care for beaming over the rests in the viola. It is not consistent with the beaming style elsewhere (cello) and conflicts with the rhythmic phrasing. If done to help comprehension, I doubt the players need it.
I have a list of engraving issues which I will publish later and include 1 and 2. I have moved some dynamics manually in the parts and have also used a system break in about five of the parts to deal with the flag issue. Sometimes no spacing is less than ideal when multirests are on the same system. Non-mathematical lining up (6.) is something we could perhaps achieve manually in the next update but was certainly not achieved in Sibelius either, I’m not sure it is always desirable. The SD piano was moved manually from a previous layout, i forgot to move it back.
Also, the practice of lining up objects mathematically, therefore creating blank spaces in complex scores, has a long history. The clef change in the Glock is creating the space at the end of the violins. However, opening almost any page of a Mahler Symphony score will reveal exactly the same practice. Here’s an example among about 10,000!
I am glad that you are going to submit a list of such issues, Claude, which is also why I posted my list.
In my comment no. 6 I meant only that there is TOO much space at the end of m. 2, given this situation, not that there is anything wrong with allowing space as necessary.
I just noticed that it may be the clef leading to the Glockenspiel in m. 3 that is causing the extra space in m. 3. If that is the case, this is not appropriate In an orchestral score, where interior clefs should be ignored in terms of spacing of the other instruments:
When Dorico confronts an example such as the one that you have provided above, it handles the situation without putting a space as there is no music to displace. Therefore in the case of my example it is not so much the change of clef as much as the change of staff and clef that is creating the problem, and I agree that in this case the space is not necessary. But I will reiterate that once music is displaced, these types of blank spaces are extraordinarily common in full scores, as in the example that I have quoted.