NOTATIO

Hi everybody,

I've been analyzing some contemporary scores and I still can't figure out what a big slash through a note's stem and beam means. So far, I've only seen it happen with quavers, semiquavers, and lesser values, either grouped or as single notes. The examples I attach are both from solo cello works. They are unusual on their own, but please focus on the infamous slash.

If anyone can help with this one, I would appreciate it so much. I've been trying to figure this out for a long, long time. Thanks!

Yes, that is very common in the contemporary music.
They usually means a free rhythm, free tempo, or simplyfing the notation picture. So for instance to write a very complex tuplet it is just shown a group of notes with the slash.
The bigger slash is not different from the smaller slash, it is just proportionally augmented to be visible on real size notes.

In your first example the tempo should be followed but the whole phrase will be performed more free, with emphasizing the rhythm values.

The second example is a bit overnotated. The first grace note can be completely omitted, and the second grace in the group can be notated as a steamless note. Basically, composer wants to start gliss imidiately and finish it just before the next gliss. The slashes here are to represent a quasi rhythm, but that is found already in Ravel (he uses no slash and no graces, just two connected with a line)

Thank you so much, OCTO! Very thorough explanation.

Do you think if the following example is overnotated, or even contradictory? The slash would mean in this case to take an approximation of how this rhythm would sound (I took notice of your mention "to write a very complex tuplet it is just shown a group of notes with the slash"; in this case, it is not such a complex group of tuplets).

Cheers!

IMHO I think it is overnotated. The slashes here don't have any function, since it is perfectly valid rhythm, and the player will be forced to play it exactly. (if you don't want to be played exactly, you can write rubato - but the question is if it is possible in the overall texture).

I would find the strong notes and everything else around to be graces, if you really want to utilise more free rhythm with graces.
Example: grace grace REAL grace grace grace grace REAL. So tone E and tone E are the real notes, maybe + , everything else graces. Perhaps, it is just an idea, since I don't know anything more about the piece.

p.s. otherwise, just removing these slashes makes the perfect sense for me for the moment.

Thanks again OCTO, you have provided me with many valuable insights. I come from the visual arts and I'm still struggling with notation, as I sometimes get too caught up with the graphic aspect of it disregarding the practical one. I will probably come back with different questions in the near future, I hope you and the folks at this forum don't mind.

BTW, one last thing concerning this topic: what are some of those Ravel scores/pieces that you mention in your first reply? I'm very curious to see how Ravel solves this issue in graphical terms.

PS: My 2 web browsers are warning me about invalid certificates upon entering this site. The very first time they didn't (when I registered and checked the forums). Just a heads up, if it's worn anything...

If you are coming from the visual arts, and have a very good knowledge in music theory or composition, it might happen that you will do very good music in the future. Many aspects of composing is "visualisation" of the sound (yet NOT in positivistic way, rather metaphysical!).

rikichi wrote:...and I'm still struggling with notation, as I sometimes get too caught up with the graphic aspect of it disregarding the practical one.

You are not the only one!
I would highly recommend to "perform" your music by fake-singing, clapping or so. Than you will discover how playable it is. If you can get a very similar result by easier notation, it will always be the good way to do.

rikichi wrote:what are some of those Ravel scores/pieces that you mention in your first reply? I'm very curious to see how Ravel solves this issue in graphical terms.

Well, that was connected with the example No 2 in your firs post. Here it is from Ravel's Piano Concerto G: No tuplets, no graces, no slashes, no two voices.

rikichi wrote:PS: My 2 web browsers are warning me about invalid certificates upon entering this site. The very first time they didn't (when I registered and checked the forums). Just a heads up, if it's worn anything...

Notat.io uses a self signed certificate if you enter site by using https://notat.io
It is a self-signed, otherwise buying one is an additional cost, which for now is not needed.
More here: viewtopic.php?f=11&t=81

Another way in using grace notes, 100 years after Ravel, in Zivkovic's (well, mine) "On the Guarding of the Heart":
https://youtu.be/JafpIyzXtfw

OCTO what font etc did you use for the wavy line after vib.? I've tried various lines to follow a direction for 'wide slide vibrato' in trombone parts, but I think your example looks a bit better than mine (attached).

It is a custom font made by a friend of mine. Use symbols 1, 2, 3 and 4 to get different waving sizes. Let me know if it works.