Re: E. Gould and Piano Pedaling
Posted: 15 Dec 2015, 20:15
I agree with you that if it can be done quicker or automated in a useful way then fine. The point I was really making was, when it can't be, it doesn't bother me.
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E. Gould and Piano Pedaling
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Re: E. Gould and Piano Pedaling
Posted: 15 Dec 2015, 20:59
That's a great attitude to have, Peter. It doesn't yet bother me either, since I don't use the notation at all now; however, if I start engraving a lot of music for student-use again, well…all bets are off.
Re: E. Gould and Piano Pedaling
Posted: 16 Dec 2015, 00:29
Here is an example with 5 pedaling styles. I leave it to the reader to decide which style he or she prefers. All are by this writer: none are by Chopin.
A traditional
B partial brackets
C all-brackets
D modified traditional
E reduced and modified traditional
Comments:
1. The traditional system A obviously cannot cope with such intricate pedaling, where overlapping and complete releases follow each other in quick succession.
2. However the traditional system can be modified as at D and E to do a pretty good job distinguishing overlapping from complete releases of the pedal.
3. Note also the difficulty that all but style C has at the starred spot, where a very quick complete release and retaking of the pedal takes place.
This was my first foray into Sibelius after many years of using Finale. I was often irritated yet also sometimes pleasantly surprised by this experience, as a Sibelius user would be when first using Finale. Needless to say, it was not smooth sailing, especially since I was trying to notate a pedal system C which is not native to Sibelius. My initial impression is that the philosophy behind Sibelius is different from Finale in that it seems designed to "protect" the user from missteps. This is both good and bad.
- Chopin Etude.jpg (162.94 KiB) Viewed 4268 times
B partial brackets
C all-brackets
D modified traditional
E reduced and modified traditional
Comments:
1. The traditional system A obviously cannot cope with such intricate pedaling, where overlapping and complete releases follow each other in quick succession.
2. However the traditional system can be modified as at D and E to do a pretty good job distinguishing overlapping from complete releases of the pedal.
3. Note also the difficulty that all but style C has at the starred spot, where a very quick complete release and retaking of the pedal takes place.
This was my first foray into Sibelius after many years of using Finale. I was often irritated yet also sometimes pleasantly surprised by this experience, as a Sibelius user would be when first using Finale. Needless to say, it was not smooth sailing, especially since I was trying to notate a pedal system C which is not native to Sibelius. My initial impression is that the philosophy behind Sibelius is different from Finale in that it seems designed to "protect" the user from missteps. This is both good and bad.