Engraving in MuseScore

[OCTO]

I have managed to make a workaround for the problem, here is what I get (and how it was done).

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Screenshot_2017-12-07_08-53-40.png (26.93 KiB) Viewed 32497 times

Simply creating one tuplet 25:2 was not possible.

[OCTO]

One thing that I love in MS is its smoothness. This is what I miss in Finale.
Here zoom at 1600%:

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Screenshot_2017-12-07_09-07-56.png (7.39 KiB) Viewed 32497 times

[OCTO]

One nice thing in MS is that you can drag all elements in a grid-mode, so that objects are always positioned stepwise in 0.5sp distance when you move them with mouse (that is the activated symbol |||).
Also, offset numbers can be entered exactly therefore it is possible to copy-paste these numbers into another object, thus securing uniformity of the score.

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[OCTO]

Here is my first output. Please comment/ask.

Screenshot_2017-12-07_12-55-49.png (147.92 KiB) Viewed 32488 times

[Knut]

This looks very good to me as a first pass. It is in need of some adjustments, but I'm guessing you'll come back to that.

Watch out, though, for the faulty kerning between the a and t in spicatissimo.

I'm also not entirely sure what is meant by the eight-notes in parenthesis, as long as they aren't present on the first system. I'm curious about your rationale for notating it that way.

All in all, very nice.

[John Ruggero]

Aside from the ugly clefs and kerning issues in all of the text expressions, MM yields fine results.

Bringing in the 8va and 15ma in the middle of the run looks quite strange to me. Wouldn't it be clearer to place the 8va and 15ma over the last notes only and connect with a single gliss line and without the headless notes? If the intention is to show that that the notes are to form complete fingered G major scales, there don't seem to be the correct number of headless notes up to the final note.

The size of the auxiliary sharps after the tr symbols look a little big to me. And putting them directly over the tr symbol would avoid the spatial conflicts with the slurs.

[OCTO]

This looks very good to me as a first pass. It is in need of some adjustments, but I'm guessing you'll come back to that.

Ok, just shoot them!

Watch out, though, for the faulty kerning between the a and t in spicatissimo.

This is the standard MS2 font. I might change it than.

I'm also not entirely sure what is meant by the eight-notes in parenthesis, as long as they aren't present on the first system. I'm curious about your rationale for notating it that way.

I am still experimenting with that. The first top is perfectly playable on the violin, while the second is on the edge of the fingerboard, while the last goes far behind it, yet a tricky to perform, for someone impossible. It is to high and if one misses it, the very very high pitch will just not be recognisable. Perhaps I can remove the parenthesis than?

Thank you, Knut!

[OCTO]

Aside from the ugly clefs and kerning issues in all of the text expressions, MM yields fine results.

You mean MS not MM?
I must confess that I started to like these clefs. As it is with strange food, at the first you could vomit, than after you used it for a while you start to like it.

Bringing in the 8va and 15ma in the middle of the run looks quite strange to me. Wouldn't it be clearer to place the 8va and 15ma over the last notes only and connect with a single gliss line and without the headless notes?

Hm, that is interesting, I see a clear reason for that. Good you pointed it out.

If the intention is to show that that the notes are to form complete fingered G major scales, there don't seem to be the correct number of headless notes up to the final note.

There are not exact numbers of diatonic tones, but a quasi-Gmaj scale (it should sound/look as virtuoso as possible).

The size of the auxiliary sharps after the tr symbols look a little big to me. And putting them directly over the tr symbol would avoid the spatial conflicts with the slurs.

Right. I couldn't find how to resize it, and than I forgotten. Putting the accidental above would increase the vertical space, I will experiment with that.

Thank you!

[John Ruggero]

Sorry, OCTO. MS. All these years of MakeMusic are showing!

I must confess that I started to like these clefs. As it is with strange food, at the first you could vomit, than after you used it for a while you start to like it.

On the other hand, there is the case of beets. I literally did vomit the first time I ate one at 6 years old and still can't look a beet in the face. That clef looks a little like a beet to me.

There are not exact numbers of diatonic tones, but a quasi-Gmaj scale (it should sound/look as virtuoso as possible)

It is an interesting problem. A simple gliss. straight line might not be adequate to express what you want. Maybe the remark "brilliante quasi-gliss." or "ad lib.", "a piacere" or something like that over the line? The original would cause me to assume that one should continue exactly as shown before the line. Another possibility would be to write out the first one exactly as you find yourself actually playing it. You might discover that you play it somewhat the same way each time even if it is irregular.Then "sim." over a gliss. line for the others.

[David Ward]

… … … I am still experimenting with that. The first top is perfectly playable on the violin, while the second is on the edge of the fingerboard, while the last goes far behind it, yet a tricky to perform, for someone impossible. It is to high and if one misses it, the very very high pitch will just not be recognisable.… … …

As a non-vioinist, but one contemplating the writing of a violin concerto, I don't think I'd even write quite as high as no 2 (the B a minor 3rd below that D might be my notional highest), so it's interesting to see a violinist writing way higher.

I've recently had premiered a piece I wrote which included some rather high natural harmonics for the cello on different strings. They were inclined to be a bit wayward (especially on the C string), even in the hands of a great cellist, but that was expected and appropriate to the situation.