Great suggestions! I know that the fermata one has been kicking around for a while.
One aspect of the fermata is that on a multi-part score with different time value notes in the affected measures in each score (e.g. a whole note rest with fermata in staff 1 and a straight-time dotted half note rest and a played quarter note with the fermata in staff 2) there has to be a way to reconcile the entire measure. The average musician won't be able to figger out that the quarter note fremata gets a (for example) 1.5 multiplier while the whole rest fermata gets a 1.125 (?) multiplier.
I'm traveling with an under-equipped notebook and can't provide a visual example - I'll post one later today when I get home.
Sounds good to me too.Doug Kerr wrote:â€¢ By just suspending the clock during the note for a duration described in fractions of a beat (perhaps specified in "ticks").
I am really most attracted to the latter.
Denkster wrote:Some issues must be detailed further.
- If 'the clock stops in one voice' that clock should be 'stopped' for all voices of all staves at the same time, for the same duration.
- Meaning: if you put such a mark in one staff, it should be placed automatically in all other staves, at that same point in time.
- Another complication: One voice in one staff has a fermata, the other voices rest. Where will the fermata in the other staves be attached to?
If the user removes a fermata or breath pause from one voice, should the system remove all corresponding fermata's?
commnthings wrote:Here's the example I talked about.
Doug Kerr wrote:A comma placed above the staff (usually between two notes) indicates a "breathing place". This can have either of both of two meanings:
â€¢ A place in which the player of a wind instrument is advised to take a breath. This may or may not indicate a disruption in the meter; if it does not, the breathing time is presumably stolen from one of the adjacent notes.
â€¢ Corresponding brief pause in the rhythm.
This sign is a "double slash" normally starting on the second staff line from the top and crossing the top staff line.
It indicates a brief interruption in the music, and is ordinarily placed between two notes.
commnthings wrote:My feeling regarding the "tick" is that it should behave more like the caesura than the comma. The only hymn book I normally see (Episcopal 1982) typically breaks a measure across two staves at the point you'd insert the tick and ignores any associated meter changes.
I think the fermata should be a high priority. If you do implement that then the caesura/tick might be fairly easy. Giving the user the ability to select an attached/playable pause (caesura/tick) and a simple unattached text item (comma) would be a good thing.
Indeed.Doug Kerr wrote:Seems perfectly reasonable musically, but it does illustrate why our doctrine can't be trivial!
Isn't music always supernatural?Doug Kerr wrote:And in fact, the scorist might in fact have to do something "supernatural" in this particular case.
Agreed!Doug Kerr wrote:Our job might not be to take care of it but to ensure that the tools are available!
I would rather try to approach it from the musical side.Doug Kerr wrote:This might be a case where the scorist just needs to apply a 100 tick "stretch" for each of the eighths on staff 1 and a 200 tick stretch on the dotted 'arf in staff 2 (telling some dialog when these were applied "not to try and synchronize these across staves,").
IMHO Encore being a notation program should refrain from bothering the writer with MIDI playback issues, like the length of fermata playback. If the writer demands 'correct' playback, that would be another line of work, where the program could su7ggest solutions as well as emit warnings.Doug Kerr wrote:But in fact the program could in fact audit what was done and show a warning (a red light over the measure, or such) if it didn't add up.
- If there is a fermata in one voice of one staff,
Then all musicians (all voices, all staves) must have a fermata at a moment in time, covered by the face value of the note with the fermata.
- If all musicians have - at a moment in time, covered by the face value of the note with the fermata - a note or rest with the same face value as the one with the first fermata,
Then add the fermata sign to all these notes
Doug Kerr wrote:Well said, though perhaps the comma should be attachable (but not playable).
Doug Kerr wrote:Presumably fermatas and caesuras would have a voice property (as they would need to, having an association with a note). But that boon brings with it a complication.
Doug Kerr wrote:Imagine an SATB short score, with two parts on the each staff. If the two parts on a staff have a consistent meter (at least in the measure of interest, or at least in the pertinent portion of teh measure), then presumably in the printed notation, a single fermata would suffice for both notes of the "chord". But with the fermata having a "voice" property, it would presumably only generate a hiatus in one of the notes.
Denkster wrote:IMHO Encore being a notation program should refrain from bothering the writer with MIDI playback issues, like the length of fermata playback. If the writer demands 'correct' playback, that would be another line of work, where the program could su7ggest solutions as well as emit warnings.
Denkster wrote:IMHO Encore being a notation program should refrain from bothering the writer with MIDI playback issues, like the length of fermata playback.
commnthings wrote:Attaching these things to a voice will indeed be tricky since you only put one on a staff and it applies to all the notes immediately under (for a fermata) or preceding (for a caesura/Tick) regardless of the number of voices present. This talks to Doug's "plenary" fermata.
While I'd really like the playable fermata/caesura/Tick because I produce MIDI files as learning toold, I have to agree with Eveline. . .
. . . For me the greatest feature of Encore has been its ability to produce a very readable score. If the coding gets so complex as to get in the way of that overriding feature then it defeats its purpose.
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