Page breaks in parts
Could someone please explain why the page breaks in the attached score appear in the score but disappear in the parts? Are page breaks not supposed to appear in parts? That might be a justified style, but as you'll notice it means the top frame of each section gets squunched up.
| Attachment | Size |
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| pagebreak.mscz | 109.84 KB |
Comments
Page breaks in parts rarely make sense to follow page breaks in scores with more than one instrument so the page breaks are not promulgated to the parts.
On further study, I see that the frames are squunched up against the staves because you put the bottom margin for the frames at 1 space, which it not enough room for text above the staff. This was only done in the parts. You will still need to manually enter the page breaks in the parts.
I have an unrelated question, Why did you reenter the treble clefs at the beginning of new sections on some of the staves to force the courtesy clefs?
Also you may want section breaks at the last measure before a new vertical frame (that would also avoid those courtesy clefs, time- and keysigs)
Thanks for the replies. I'll look at the score and respond to all of them soon.
Choral works are rarely, if ever, produced in parts today; that hasn't been the practise for many years. In the 18th century, choral works were hand-copied from the score into individual part-books for performance use. Today, modern editions of choral works are, without exception, published in full score for the singers. I am told that this is because (for reasons I, as an instrumentalist, do not understand personally!), singers cannot count well enough to keep their place in a single part. They need to work from a score to avoid getting lost. I know it sounds absurd, but that's the way it is. Ask a choral director if you want a more detailed explanation....
So, all that to say, there is no point in you producing parts for the singers. Instead, you will need to produce full-score 'offprints' for them at a price which the choral director can afford.
Thanks for all the information.
Changing the bottom margin for the frames to a larger value prevents the squeezing of the top frame text.
I appreciate the clarification about not usually having parts for choral works. I don't usually send parts in response to calls for scores since the calls usually don't mention them, but I've always been uncertain whether they would ever be required. This piece however was intended as a vocal trio (though it could be sung by a SSA chorus with the same score,) so maybe I would need parts for it at some point? I don't know if small vocal ensembles, as opposed to chorus, would want parts. I suspect it would be the same (no parts.)
As for repeating the clefs and time signatures at the beginning of each song, these were originally composed as three separate songs, which I decided to make into a set. I really consider the piece a set of three songs rather than a single song with various parts (and would not at all mind if they were performed separately,) so I formatted them separately. I'm not sure if this is the right convention for scores of sets of related songs; the books on notation I've consulted don't cover this question.
In reply to Thanks for all the… by jcorelis
That indeed is what section breaks are for.
In reply to That indeed is what section… by Jojo-Schmitz
Thanks, I will try using those.