Slur placement/shape

Discuss the rules of notation, standard notation practices, efficient notation practices and graphic design.
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David Ward
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Re: Slur placement/shape

Post by David Ward »

Anders, that's a vast improvement on mine. Thank you.

Now to attempt to apply that same principle to all the many similar or related passages… It's a rather daunting prospect for this old man, but I shall do my best.
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Anders Hedelin
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Re: Slur placement/shape

Post by Anders Hedelin »

You are very welcome. Glad to be of help.
I have nothing much to do this summer (my clients are already on holiday apparently), so if you would need some more assistance, just ask.
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David Ward
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Re: Slur placement/shape

Post by David Ward »

Anders Hedelin wrote: 23 Jun 2021, 11:23… …  so if you would need some more assistance, just ask.
Thank you very much.
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Anders Hedelin
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Re: Slur placement/shape

Post by Anders Hedelin »

You are welcome.
I was wondering about an English word for the pianist accompanying the singers in an opera rehearsal - could it be 'repetitor', 'corepetitor' or what? I couldn't find it in my dictionaries.
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David Ward
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Re: Slur placement/shape

Post by David Ward »

We use the French word: repetiteur. (In the UK anyway, I'm not certain about the US, but I think they do the same.)
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OCTO
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Re: Slur placement/shape

Post by OCTO »

David Ward wrote: 22 Jun 2021, 09:24 Is it acceptable for the first slur in the piano (this is a vocal score) to be like this, crossing the hairpin, wide sweeping untamed shape etc etc?

To me, in purely aesthetic terms, it looks OK, but I suspect it is breaking several rules of engraving.
I would simply copy the dynamics from the instruments above since musically looks perfectly clear. Remember that the musicians will play 50% by eye and 50% by situation, following each other.

This way it is unnecessary complex, for a simple effect.
The rule: notate as simple as possible that gives the same acoustical result as wanted.
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Anders Hedelin
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Re: Slur placement/shape

Post by Anders Hedelin »

I think the issue here is transferring an orchestral score into a piano reduction. In the score/parts it's quite logical to have the detailed dynamics in the different woodwind instruments, "knowing nothing about each other", or not exactly. In the piano reduction they are not necessary.
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