In the aftermath of my cleanup after completing
Yesterdays, I thought I would try to extrapolate some of the new tricks Sherry taught me.
Specifically, Sherry and David showed me how to notate glissandi by having two staves for each instrument, one hidden which contains the written-out (and hard to read) glissando, and the other visible staff showing the clean, easy to read notation for printing (see the visible and hidden staves for the baritone sax in measures 1 through 4). I thought I would try to do the same thing with the turns in measures 56 and 57. It turns out (no pun intended) that the way we were taught to play turns at Berklee is not what Mark implemented in the Notation Software, and I assume Mark's implementation is the strict classical form.
The turns we were taught at Berklee sound like the way I notated them in measures 56 and 57. When I tried to implement the Notation turns (tu) in their stead, the resulting sound is not at all what I wanted to hear the horns playing, so I will stick with the way I had originally notated the turns.
See/listen to the attached sample of those two measures: the first two measures are the way I notated the turns; the second two measures have Notation performing the turns. I'm certain that the Notation implementation of turns is legitimate -- it just doesn't fit in a jazz/swing score. You can see the way Notation has handled the turns by using the qsor command. For some reason, Notation hides the eighth notes in measure 4 for the trumpet and tenor.
There may be some refinements that I can make to the Notation turns that could capture the sound I want, but that research will have to come at a later date. Of course, I can still use the visible/hidden staves to clean up the printed parts.
Ralph