Search found 2464 matches
- 19 Apr 2018, 15:00
- Forum: Notation Rules and Standards
- Topic: When should interpretation should become?
- Replies: 10
- Views: 13967
Re: When should interpretation should become?
I don't see exactly why the dotted 8 would be performed shorter, since there is no indication for that. We've had discussions about "unmarked" articulation being shorter in the past here - but that was always in the context of a pre-Romantic piece, generally. I have always understood the ...
- 15 Apr 2018, 19:28
- Forum: Notation Rules and Standards
- Topic: When should interpretation should become?
- Replies: 10
- Views: 13967
Re: When should interpretation should become?
You are very welcome, gogreen. I agree completely; clean and uncomplicated is always best.
- 15 Apr 2018, 01:56
- Forum: Notation Rules and Standards
- Topic: When should interpretation should become?
- Replies: 10
- Views: 13967
Re: When should interpretation should become?
The slurs in example 1 mean to make breaks between the dotted eighths and sixteenths. If that is all you want, then the first example is simpler and therefore better. However, if you want the value of exactly one eighth note, followed by a rest of exactly one sixteenth note, you will need to write i...
- 14 Apr 2018, 17:25
- Forum: Engraving Commentaries
- Topic: "Instructional" editions
- Replies: 2
- Views: 8399
Re: "Instructional" editions
As mentioned in a previous post, I think that such editions are very helpful for reference purposes, since it is always good to know the opinion of excellent musicians. And since so many original sources are available online and good urtext and critical editions are so prevalent, and no one is now a...
- 10 Apr 2018, 20:38
- Forum: Notation Rules and Standards
- Topic: Composers vs. Engravers: Logic pt 2
- Replies: 11
- Views: 15360
Re: Composers vs. Engravers: Logic pt 2
Chopin seems to be doing something unusual with several of the slurs in the Etude op. 25 no. 4. Examples 1 and 2 are from the composer's autograph. What can be the logic behind: Chopin Etude op 25 no 4 slurs 1.jpg Chopin Etude op 25 no 4 slurs 2.jpg The slur at * in example 1 overshoots the last not...
- 09 Apr 2018, 17:12
- Forum: Notation Rules and Standards
- Topic: Composers vs. Engravers: Logic pt 2
- Replies: 11
- Views: 15360
Re: Composers vs. Engravers: Logic pt 2
Thanks so much worldwideweary! I really appreciate that. Some of this material will appear in my edition of the etudes. I usually use Maestro or MaestroTimes musical characters of the proper size and position in publications, but as you say, it is pretty convenient to use the ready-made ones here, e...
- 07 Apr 2018, 15:03
- Forum: Notation Rules and Standards
- Topic: Indicating voice types?
- Replies: 3
- Views: 5283
Re: Indicating voice types?
Your descriptions seem very helpful to me as well, David.
- 06 Apr 2018, 19:07
- Forum: Notation Rules and Standards
- Topic: Composers vs. Engravers: Logic pt 2
- Replies: 11
- Views: 15360
Re: Composers vs. Engravers: Logic pt 2
The most well-known example of esoteric accidentals in Chopin’s music occurs at the end of the first section of the Etude op. 25 no. 10. This piece is in a A-B-A form with a serene middle section in B major surrounded by stormy octave sections in B minor. Chopin Etude op 25 no 10 Notatio example 1A....
- 06 Apr 2018, 02:15
- Forum: Engraving Commentaries
- Topic: So what is generally considered the best all-around Beethoven piano sonatas edition?
- Replies: 19
- Views: 30778
Re: So what is generally considered the best all-around Beethoven piano sonatas edition?
The Ratz might be considered superior in that some misprints were corrected, and the measure numbers are out of the way of the text. However, I use the original because there has been criticism of some of Ratz's changes. It has been a long time since I compared the two, however. Actually, having Rat...
- 02 Apr 2018, 02:07
- Forum: Notation Rules and Standards
- Topic: Composers vs. Engravers: Logic pt 2
- Replies: 11
- Views: 15360
Re: Composers vs. Engravers: Logic pt 2
In the next examples, Chopin seems to be trying to distinguish different levels of structure by means of his spelling. The end of the Etudes op. 10 no. 1 and op. 10 no. 7, both in the key of C major, use G :s diminished seventh chords instead of B diminished seventh chords, which, of course, would o...