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Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 17 Aug 2017, 10:01
by Anders Hedelin
Thanks Knut!
I look forward to reading this thread more carefully.
A.

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 17 Aug 2017, 15:26
by OCTO
Knut wrote: 17 Aug 2017, 08:56 Edit: FYI, I've now replaced all (I think) my missing pdf uploads with jpegs.
:)
Thank you for your effort!!

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 02 Oct 2017, 21:27
by liuscorne
To all Sibelius users: How did you resolve the beaming issue ("beam corners") in bar 1, which can be seen in odod's first attempt (sorry for pointing that out again):
viewtopic.php?p=2797#p2797

Whatever I do, I can't seem to resolve the problem in Sibelius itself; the manual doesn't help either.
Apparently, it's a known issue in Sibelius, as pointed out by Daniel Spreadbury in the Dorico blog:
http://blog.steinberg.net/2015/03/devel ... y-part-10/

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 03 Oct 2017, 12:05
by RMK
Sometimes if you change the original staff (from upper to lower or vice versa) the situation resolves itself.

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 03 Oct 2017, 20:28
by OCTO
RMK wrote: 03 Oct 2017, 12:05 Sometimes if you change the original staff (from upper to lower or vice versa) the situation resolves itself.
Not having Sibelius on this machine to test, I think it might be the case.

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 05 Oct 2017, 14:47
by liuscorne
So, here is my attempt. I must admit that I found it quite challenging to do this in Sibelius. I didn't find a way to resolve the beaming issues in mm. 1, 9 and 11 in Sibelius, I had to use Illustrator for that.
With regard to editorial decisions: I simply followed the new Henle edition, which can be studied here:
http://www.henle.de/de/detail/index.htm ... .+119_1250

Unfortunately, for a detailed discussion of their editorial decisions they refer to the commentary section of their Brahms Gesamtausgabe (2011), which cannot be accessed online:
http://www.henle.de/de/detail/index.htm ... BCcke_6014

It would have been interesting to learn about their reasons for retaining some of the passages in the first edition that John pointed out as problematic in his commentary.

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 11 Oct 2017, 13:33
by liuscorne
I had a look at the Bärenreiter edition of Brahm's op. 119 today. It's surprisingly bad. Some of the details scream "computer-engraved", and not in a good way.
https://www.baerenreiter.com/shop/produ ... ls/BA9631/

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 11 Oct 2017, 15:37
by John Ruggero
Excellent engraving, liuscorne! Perhaps someone will add a Dorico example, and the original intent of this thread will begin to be fullfilled. Bärenreiter, seems to be losing its way. See
http://www.finaleforum.com/viewtopic.php?f=5&t=15639

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 11 Oct 2017, 19:23
by Knut
John Ruggero wrote: 11 Oct 2017, 15:37 Perhaps someone will add a Dorico example ...
I did the first page as a test case when I first got Dorico, but I was not particularly impressed with the results. Of course, with an equivalent amount of time spent on manual adjustments as I did with my Finale engraving, the results would have been almost just as good, but I was very disappointed to discover that Dorico will not allow centred beaming at the interval of a second, as in m. 11 etc. I'd say that is a deal-breaker for this particular piece.

Re: [WORKBENCH] Brahms Op. 119, No. 1

Posted: 11 Oct 2017, 20:08
by OCTO
John Ruggero wrote: 11 Oct 2017, 15:37 Excellent engraving, lluscorne! Perhaps someone will add a Dorico example, and the original intent of this thread will begin to be fullfilled. Bärenreiter, seems to be losing its way. See
http://www.finaleforum.com/viewtopic.php?f=5&t=15639
Sorry to interrupt the flow here, apropos MuseScore. I have done the first row in MS2 (didn't have much time than), and the result is here:
https://notat.io/viewtopic.php?f=3&t=148&start=40#p2582
So we have an example of that software as well. I don't think that MS2 is far behind the current competitors, still one must know the notation far more better than, I guess the case is with, Dorico.