Robin123 Posted April 7, 2013 Posted April 7, 2013 Something i've always wanted to know is if it's possible, in Sibelius 7, to write augmented unisons like this that are found in a lot of 20th century music. And if not, how happy are performers to read augmented unisons in the way that sibelius automatically places them (I always thought it looked very confusing)? Thanks very much! Quote
Phrygian Queen Posted April 7, 2013 Posted April 7, 2013 It is possible, however it is not practical at all. Most likely you would have to do a lot of manual editing and line everything up yourself. Quote
p7rv Posted April 7, 2013 Posted April 7, 2013 Is this possible in Finale? I've been wondering for a while 1 Quote
Tokkemon Posted April 7, 2013 Posted April 7, 2013 It's possible but I would recommend doing a different method since that style of notation isn't very clear anyway. Quote
Phrygian Queen Posted April 7, 2013 Posted April 7, 2013 It's possible but I would recommend doing a different method since that style of notation isn't very clear anyway. I would agree, the only time I've seen that style is with large clusters that simply won't fit all together. If all you are doing is an augmented unison, there is absolutely nothing wrong with the more traditional style. Quote
Cadenza91 Posted April 8, 2013 Posted April 8, 2013 Instead of D/D#, do D/Eb. There's no reason to use that kind of notation when there are only 2 notes. Quote
Phrygian Queen Posted April 8, 2013 Posted April 8, 2013 Instead of D/D#, do D/Eb. There's no reason to use that kind of notation when there are only 2 notes. It could be justified in the proper context. Quote
Cadenza91 Posted April 8, 2013 Posted April 8, 2013 It could be justified in the proper context. The only one I can think of is if the composer is prioritizing the preservation of spelling to relate function (something I've done in the past myself which yielded impractical scores littered with double sharps/flats and things). Other than this, I couldn't imagine stem-splitting to be a viable solution until at least 3 adjacent notes come into the picture. Quote
Phrygian Queen Posted April 8, 2013 Posted April 8, 2013 The only one I can think of is if the composer is prioritizing the preservation of spelling to relate function (something I've done in the past myself which yielded impractical scores littered with double sharps/flats and things). Other than this, I couldn't imagine stem-splitting to be a viable solution until at least 3 adjacent notes come into the picture. Some people prefer impractical scores. Quote
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