Encore 5 manual V3.1 - "Melisma"

[q]

 
Here's another try Eveline, with edits and editorial comments in red.


A melisma is the vocal technique in which a single syllable is sung over two or more notes. The notation of a melisma is indicated with an extender line—an underscore that extends from the syllable to the last note to which it is sung. This applies whether the syllable is a single-syllable word or the last syllable of a multi-syllable word.

It is not uncommon to refer to the extender line itself as a melisma, which is a little bit like referring to a calendar as time itself. Encore's User Manual uses the term "melisma extender line". Though verbose it nicely couples the vocal technique with the notational convention, without misusing the term melisma.

Entering a melisma

To enter a melisma extender line, type as many spaces as needed to advance to the last note involved. Then type underscore ([shift]+[hyphen]). This last step completes the entry of the melisma, but it will not immediately appear. It will appear when we exit Lyrics mode, which we can do by selecting the Arrow tool or pressing [escape].
NOTE: In cases like this where some introductory material (general discussion) is warranted, the User Guide should highlight the "how to" section with a header, such as Entering a melisma.

q

[Doug Kerr]

Hi, q,

[list] 
Here's another try Eveline, with edits and editorial comments in red.

[list]A melisma is the vocal technique in which a single syllable is sung over two or more notes. The notation of a melisma is indicated with an extender line—an underscore that extends from the syllable to the last note to which it is sung. This applies whether the syllable is a single-syllable word or the last syllable of a multi-syllable word

The problem with last red passage is that it leaves rather hanging what if it is neither (the alert reader will recognize that this is not exhaustive - "Hey, what if it is a non-final syllable of a multi-syllable word?") And of course that does have a different notation, one we are not talking about here, or anyplace else, since it requires no special entry technique.

This is of course the problem of trying to seem as if everything is being carefully described, whereas we have intentionally decided not to mention things that aren't being taught here.

So if you are not going to mention all three possibilities (even to blow the third one off), you should perhaps quit while you are ahead.

Best regards,

Doug

[q]

 
Hmmm, I fully agree with your accessment, but the line in red is actually your addition, isn't it?

I too felt that it left one hanging, which is why I moved it to out of the first sentence, where you had inserted it.

q


 A melisma is the vocaltechnique in which a single syllable is sung over two or more notes. The notation of a melisma is indicated with an extender line—an underscore that extends from the syllable to the last note to which it is sung. This applies whether the syllable is a single-syllable word or the last syllable of a multi-syllable word




The problem with last red passage is that it leaves rather hanging what if it is neither (the alert reader will recognize that this is not exhaustive - "Hey, what if it is a non-final syllable of a multi-syllable word?") And of course that does have a different notation, one we are not talking about here, or anyplace else, since it requires no special entry technique.

This is of course the problem of trying to seem as if everything is being carefully described, whereas we have intentionally decided not to mention things that aren't being taught here.

So if you are not going to mention all three possibilities (even to blow the third one off), you should perhaps quit while you are ahead.

[Doug Kerr]

Hi, q,

Hmmm, I fully agree with your accessment, but the line in red is actually your addition, isn't it?

But that was when I really intended to explain everything, before it was pointed out to my that real musicians already know everything, or don't need to know everything to make (this kind of) melisma (notation).

Best regards,

Doug

[q]

Hi, q,

Hmmm, I fully agree with your accessment, but the line in red is actually your addition, isn't it?

But that was when I really intended to explain everything, before it was pointed out to my that real musicians already know everything, or don't need to know everything to make (this kind of) melisma (notation).

Best regards,

Doug

"When I was a boy of forteen, my father was so ignorant I could hardly stand to have the man around. But when I got to be twenty-one, I was astonished at how much he had learnt in seven years." -- Mark Twain (1835-1910)

"Human beings are the only creatures that blush, and the only ones that need to." -- Mark Twain (1835-1910)

q

[Doug Kerr]

Hi, Andre,

I would tend to prefer "melisma line", though it's not classical... but I think it's clear to everybody, while still avoiding ambiguity.

I am very attracted to that. I have often used that term in correspondence.

I'm not happy with the wording [shift]+[hyphen] to designate the underscore character; [underscore] is a character by itself, though it actually uses the combination [shift] and [hyphen] on the US keyboard, and on some other ones, but not all (e.g. the French keyboard).

Vive AZERTY!

I fully agree. In my recent drafts on this topic, I stayed with that notation just to dodge the issue because it is a problem throughout the manual. I have never been comfortable with it.

I think nobody wanting to type an @ will want to say [shift]+[2], or [shift]+[4] for the dollar sign!

I fully agree. We should probably take up that matter in general with the "manual people" ("Are there manual people?").

Thanks so much.

Best regards,

Doug

[q]

I'm not happy with the wording [shift]+[hyphen] to designate the underscore character; [underscore] is a character by itself, though it actually uses the combination [shift] and [hyphen] on the US keyboard, and on some other ones, but not all (e.g. the French keyboard).

I think nobody wanting to type an @ will want to say [shift]+[2], or [shift]+[4] for the dollar sign!

Good point Andre. We don't want Encore "localized" for US Keyboard only!

q

[Doug Kerr]

Good point Andre. We don't want Encore "localized" for US Keyboard only!

And that notation is dumb even for the US keyboard (as André pointed out!).

Best regards,

Doug

[Rob M.]

The difference between a melisma and the extender line used in the lyrics to indicate the melisma has been discussed above. I won't rehash that discussion.

But I'm not comfortable with referring to the extender (or extender line, if you prefer) as a melisma or as a melisma extender (line). The extender gets used in other places -- such as where a final note is held for a bar or more at the end of the piece or section. No melisma is necessarily involved, but the extender is often used in such circumstances.

For that reason, I'd prefer to see the extender referred to as just that: "extender", or "extender line". It isn't a melisma, nor is it used just for melismas.

But then, I've already identified myself as a purist in such matters. But purists have a tendency to want to preserve single meanings for single words. It's less confusing when "melisma" refers only to a sequence of notes, and "extender" therefore refers to the lyric element under the melisma and elsewhere.

[Doug Kerr]

Hi, Rob,

The difference between a melisma and the extender line used in the lyrics to indicate the melisma has been discussed above. I won't rehash that discussion.

But I'm not comfortable with referring to the extender (or extender line, if you prefer) as a melisma or as a melisma extender (line). The extender gets used in other places -- such as where a final note is held for a bar or more at the end of the piece or section. No melisma is necessarily involved, but the extender is often used in such circumstances.

Indeed.

For that reason, I'd prefer to see the extender referred to as just that: "extender", or "extender line". It isn't a melisma, nor is it used just for melismas.

I agree. When all else fails, call it what it is. Usually works for me.

Thanks.

Doug Kerr

[q]

Hi, Rob,

The difference between a melisma and the extender line used in the lyrics to indicate the melisma has been discussed above. I won't rehash that discussion.

But I'm not comfortable with referring to the extender (or extender line, if you prefer) as a melisma or as a melisma extender (line). The extender gets used in other places -- such as where a final note is held for a bar or more at the end of the piece or section. No melisma is necessarily involved, but the extender is often used in such circumstances.

Indeed.

For that reason, I'd prefer to see the extender referred to as just that: "extender", or "extender line". It isn't a melisma, nor is it used just for melismas.

I agree. When all else fails, call it what it is. Usually works for me.

Thanks.

Doug Kerr

I'm fine with "extender", or "extender line" ... however I was thinking the "melisma extender line" actually well implied that it was a special case of an extender line, which indeed it is. The important part is to avoid using the term melisma to mean extender line, and it's clear we're in agreement about that.

q

[Rob M.]

Well, I guess it's up to the editor(s) of the manual to decide which expression to use.

[Doug Kerr]

Well, I guess it's up to the editor(s) of the manual to decide which expression to use.

Are there editors for the manual?

Is there anybody for the manual?

Doug

[anaigeon]

You deserve a kick in your ass for this spam, and with your shoes I guess it might be rather painful.