- #Sibelius 5 finale bass bowing software#
- #Sibelius 5 finale bass bowing professional#
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In these very first years of Sibelius, it ran only on Windows and Risk computers, only a little later making its way onto the Macintosh computers. The result was Sibelius, named after the Finnish composer Jean Sibelius.
#Sibelius 5 finale bass bowing software#
These guys had had enough of writing out music by hand and decided, very profitably as it turns out, to design a piece of software that could make the task less laborious. Sibelius was the first notation program I spent money on back in 1993 when it was first released by Cambridge based brothers Jonathan and Ben Finn.
For this article, I am going to take a look at two of the leading software programs that are in the first category that musical notation. These are ones designed to produce professional-looking scores, the same as you would buy from a publisher, and those created to produce ‘sequenced’ compositions that use virtual instruments. *here I don't refer to pitch, but to force, power, accenting, acoustical differentiation.Īnd if the acoustical result between two tied and two nontied notes of the same pitch is the same and the bow maneuver is the same, than the tie is redundant.Essentially, there are two different types of software programs in common use amongst composers today. = same execution and same audible result*) (Simple explained using tremolo and two notes: The final argument against the tied tremolos is that two non-tied and two tied notes are technically performed exactly the same and the audible result is exactly the same and their result completely equals with the technical execution and audible result of two tremolo notes of different pitch. I only see a need to write ties (dashed!) in the case music is extraordinarily complex (ferneyhough like).
#Sibelius 5 finale bass bowing professional#
Not writing ties within tremolo is a very long tradition and is clearly understood and prefered by professional musicians.
In tremolo playing no musician will play accent on every single note, in the case when the accent is not present. Good musicians can change the bow inaudible.Īvoiding accents by tying, when accents are not present, is tautology. Knut, if your argument is valid than you have to accept the legato (slur) within the tremolo, do you?Īlso, the need to change the bow within very long tied notes doesn't argue anything contrary. So I will now reveal that that my previous tremolo examples have been for the marimba. On page 294 Gould actually forbids omitting the ties: "The older style of omitting ties for unbroken rolls should not be used". Or maybe they just don't like the look of those untied notes, which seems to be going on with Bartok.īut the percussion section has a long history of tied tremolo notes. So I don't think that Gould's concern is spurious. However, there appear to be some composers who want to make sure there is no downbeat emphasis and do use ties. Perhaps emphasizing a downbeat is not a natural thing for the bow to do in a tremolo and so the tie is usually redundant. I think that OCTO is reporting what we have both discovered, that there is a tradition in string writing of omitting the tie that a keyboard-oriented player would expect. Rehearsal 210 tied measured tremolos in the cellos and violas, 211 and 212 violinsĪnd there are numerous examples in the percussion in both pieces, as one would expect sometimes with a tr symbol and sometimes with slashes.
Rehearsal 180 and 181 unmeasured tremolo tied because of syncopation and also Rehearsal 186 Bass David, tied measured tremolos also occur in La Valse in the upper strings at Rehearsal 58 and in
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