#91
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Also, Finale and Sibelius have lots of different fonts and styles. You have Sibelius right? You could mess around with some different fonts and document styles in Sibelius and see if you can find something that at least looks hand written something like what you have in mind.
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https://www.christophervolak.com/ https://www.youtube.com/channel/UCen...TNrJcTiGu9aPkw Last edited by Guitar Slim II; 10-28-2017 at 07:22 PM. |
#92
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There's already a sound-clip of it, check my posts above.
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https://www.christophervolak.com/ https://www.youtube.com/channel/UCen...TNrJcTiGu9aPkw Last edited by Guitar Slim II; 10-28-2017 at 07:41 PM. |
#93
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I ordered a Wacom graphic tablet last night for $80 and I’ve just contacted someone on Etsy who does custom calligraphy work for wedding invitations, etc. I’m not sure if they’d do music, but I guess I’ll find out. It might seem like I’m going to great lengths, but this IS permanent (more or less). The finished product will be worth all of this effort to me. Honestly, I take comfort knowing how many of you guys have contributed to this. This tattoo actually has even more meaning now. If I could have someone handwrite it with calligraphy as well, it would be a piece of art on multiple levels. Last edited by mistertomlinson; 10-29-2017 at 03:16 AM. |
#94
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Here's the samples I mentioned in my last post. The image shows two versions of the disputed bar (bar 3 below). As I said before, I think the second one is closest to the original, but the first is probably good enough.
The sound clip (Sibelius's sound samples) plays through the notation twice (the midi following the repeat instruction shown), so you hear versions 1-2-1-2 in that order. Obviously you only need one of these lines - your choice!. Notice the repeat saves a bar by looping the last bar back to the first, but you can add that final bar to the beginning (less the first high E) if you think it needs an additional intro bar. Design-wise, note the slopes of the beams. Try to preserve these angles (not too extreme) when handwriting. (Oh, I left off the "repeat and fade" Good luck with the calligrapher! Give them one of these print-outs to show the thick-thin lines. (A music engraver would be the ideal person, of course, but a calligrapher should be OK. The whole style of printed music engraving is derived from quills and flat pen nibs!)
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. Last edited by JonPR; 10-29-2017 at 04:36 AM. |
#95
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So, if you like the slightly offset rhythm (as opposed to the straight triplet ornament), then example one, as written, is certainly the easiest to read (don't like the triplet grouping with the 32nd note, confusing.) My vote is for Example 1.
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https://www.christophervolak.com/ https://www.youtube.com/channel/UCen...TNrJcTiGu9aPkw Last edited by Guitar Slim II; 10-29-2017 at 04:28 PM. |
#96
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Well crap. The second one sounds perfect to me, but I like the look of the first one. ONE question. I noticed the tie on the bass e in measure 3 and 4 connects the note heads instead of the stems. This is correct and acceptable? This would definitely save a little room on my arm. I would prefer this way of notating the tie instead of stem to stem like I had it notated. Also, I'll use that corrected measure but I'm gonna keep my unnecessarily long version because I need those 7 measures to fill up my arm. As for the calligrapher, I think I'll be going it alone. The Etsy seller I contacted told me they didn't do that sort of calligraphy work so I gave up on Etsy as all of the calligraphy listings are similar and I have a feeling no one wants to get into sheet music if they're advertising lettering. I don't think any of them are gonna feel comfortable doing it unless I got lucky and found someone who actually knew music. I did find a woman online who does custom calligraphy jobs and WAS actually willing to do it, but quoted me $250. That would be worth it if I knew it would turn out how I wanted it to, so I asked her if she could offer some kind of partial guarantee where I pay her a percentage up front and only pay the full price after viewing a sample of the finished product. I'd hate to spend $250 on something I won't use. Alas, she required full payment up front. So, plan C (because I still have that graphic tablet on the way): I ordered a couple of these Tomboy Fudenosuke brush pens that look excellent for calligraphy and much more forgiving than using a flex nib fountain pen. They're supposed to be great for beginners. I think this will be easier than using the graphic tablet. I'll get the pens Tuesday and try to write up what I believe will be the final design. This time I'll try to ease up on those beam angles. I don't know why I keep slanting them so much. Thank you guys for your continued help and patience. Edit: I have to go with the second example. It's busier than I had hoped, but it clearly sounds accurate to me. It was most important to me that the music be represented as accurately as it could be. Last edited by mistertomlinson; 10-29-2017 at 04:34 PM. |
#97
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#98
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Just to reiterate my question and one additional question (I really think these will be the last questions I have).
1. Should that tie on the bottom of measures 3 and 4 be between the note heads or stems? 2. In the second example for measure 3 with the triplet and that 3 bracket, would I be able to move the slur under the note heads and leave the bracket above? That would kind of clean it up... but only if it's acceptable and accurate. |
#99
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Now we're getting into typesetting and layout. You have considerable freedom there. You can move stuff around to some extent, to fit in what you need to fit, or to fit everything into a limited space. Moving the slur is no problem, IMO. |
#100
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For the slur, you can move it to the notehead side if it feels better to you. That's perfectly acceptable.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#101
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Of course, there are reasons to break the rule for readability...just look at the high Bs & Cs (1st & 2nd ledger lines above the staff). Those stems are shorter because they are beamed with notes much lower. It would produce overly angled beams that would feel awkward to the eye. Notation is an art, so remember it comes down to making it look beautiful and readable. It should have a flow. I'm sure this was all mentioned somewhere in the thread - Guitars Slim & JonPR seem to have the bases covered. I just wanted to point it out again so that you have a good starting place. I don't think you need to worry too much...not like you need a copy of Gould's "Behind Bars" or anything...but just to help you get in the ballpark...then let your eyes help you fine tune. That's what every music notator does. Let the rules get you close then fine tune with your eyes.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#102
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Look up a couple of famous guitar composers like Fernando Sor, Mauro Giuliani, etc. and see what their work looked like a century ago, when it was first published -- and was still typeset using movable print!
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https://www.christophervolak.com/ https://www.youtube.com/channel/UCen...TNrJcTiGu9aPkw Last edited by Guitar Slim II; 10-29-2017 at 11:26 PM. |
#103
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*Let alone tattoo accurately!
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#104
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The advantage of the fancier version, of course, is just that it looks fancier! I'm no tattoo expert, but it strikes me that looking fancy is the whole point of a lot of them. Good luck with the calligraphy, and make sure you study the print versions closely for proportions and thick/thin lines (on the time sigs as well as beams etc). (I have done calligraphy myself in the past - I have a design/illustration degree - and I would charge less than that woman, but I think you should do it yourself. Take your time, get it right.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#105
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In fact, I just checked my notation guide (pages and pages on slurs!), and when a slur is combined with a tuplet, the tuplet (the 3 and bracket) should go above the slur. I.e.,the other way round than Sibelius's default has it. That would mean the slur would look like it does in the first version (angled up to avoid the staccato dot), while the "3" bracket would also need to be angled up to avoid the slur! All in all - if you're using the version with the triplet - I think I'd go with putting the slur underneath - even if technically incorrect, I think it would look a little more elegant. Alternatively, the triplet bracket could go beneath, but I think that's probably more visually confusing against the stave - and probably harder for the tattooist. (More elegant still to use the version without the triplet, even if not precisely the way it sounds... )
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. Last edited by JonPR; 10-30-2017 at 04:13 AM. |