Re: [Finale] O.T. 18th century notation question
At 5:26 PM -0400 9/2/11, Kim Patrick Clow wrote: > >And on a side note: I can't tell you how frustrating the parts are-- the >inconsistencies on everything- dynamic marks, articulations. I don't know >how the musicians >performed the music in really acceptable manner, but I know, performance >standards were much much different back then. Hi, Kim. You say that as if you think performance standards were LOWER, and I have to question that. For one thing we know perfectly well that they didn't use equal temperament, so their tuning would have been much more accurate and pure than most of ours. For another, and potentially more important thing, they were working within single or just a few well-known and mutually-understood stylistic millieus, and not inventing new styles with every composition, so they wouldn't really have NEEDED to spell out everything in minute detail, and they would have automatically corrected copyist's errors on the fly, by ear, because they knew what it should sound like. In that respect I can only compare them with the finest studio musicians today, who are just as good musically as the composers whose music they're playing, and who KNOW their styles and don't have to guess. There's also the super-simple fact that the composer was most often the leader or a band member, and could explain any new symbols in a few words. 19th century conservatories raised the technical standards of professional musicians hugely, no question. But there IS a question whether they raised musicianship standards to the same extent, compared with players (or singers) who learned their business through years of apprenticeship and on-the-job training. Or maybe I'm wrong! John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts & Cinema College of Liberal Arts & Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html "Machen Sie es, wie Sie wollen, machen Sie es nur schön." (Do it as you like, just make it beautiful!) --Johannes Brahms ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
Your score gave another answer than expected by me, yet I fully agree with your footnote. If an embellishment had been wanted, it very likely would have been marked in the oboes voiced in unisono with the violins. Klaus > >From: Kim Patrick Clow >To: finale@shsu.edu >Sent: Saturday, September 3, 2011 12:08 AM >Subject: Re: [Finale] O.T. 18th century notation question > >Here is the first page of my (very much a work in progress score): > >http://i.imgur.com/zuEQR.png > >Thanks Klaus! > >On Fri, Sep 2, 2011 at 5:48 PM, Klaus Smedegaard Bjerre < >yorkmaster...@yahoo.com> wrote: > >> I have tried establishing scores from old, that is pre-1900, band parts >> made available in scans by the US-LOC. Also there inconsistency is a >> problem. However comparative reading of parts often is helpful. >> >> Maybe not very scholarly, but just down to earth practical, I would like to >> know the articulations in the other parts for the two beats in question. My >> immediate suspicion is that the harmony changes between them, or that the >> same chord is redistributed in a way leaving only this part repeating the >> same note. I might guess that the moving parts have these two beats >> slurred. >> >> Klaus >> >> >> >> >____________ >> >From: Kim Patrick Clow >> >To: finale@shsu.edu >> >Sent: Friday, September 2, 2011 11:26 PM >> >Subject: Re: [Finale] O.T. 18th century notation question >> > >> >Thanks for all the help everyone. >> > >> >I don't know why I didn't think of this before, but Peter Brown's thematic >> >index has this symbol as tied notes with staccato markings above the >> notes. >> > >> >I'm working on a source from Florence, Italy, and there are only two >> others >> >(one is in Vienna, and another in the Czech Republic). Maybe the other >> >sources are more clear. >> > >> >But I showed the screen shot to Dr. Paul Bryan (editor of the Wanhal >> >thematic index) and he said that the Florence source was in a Vienna >> >copyist's handwriting). >> > >> >And on a side note: I can't tell you how frustrating the parts are-- the >> >inconsistencies on everything- dynamic marks, articulations. I don't know >> >how the musicians >> >performed the music in really acceptable manner, but I know, performance >> >standards were much much different back then. >> > >> >Thanks again! >> > >> >Kim >> > >> > >> > >> ___ >> Finale mailing list >> Finale@shsu.edu >> http://lists.shsu.edu/mailman/listinfo/finale >> >___ >Finale mailing list >Finale@shsu.edu >http://lists.shsu.edu/mailman/listinfo/finale > > > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
Kim, Score looks excellent. If I may offer some unsolicited advice, I think it would be helpful to indicate whether the horns are in Bb Alto or Bb Basso. You mention it's a work in progress, so perhaps you were planning to address this later. In any case, as a horn player, I feel that indicating Alto or Basso would greatly help the rehearsal and performance process. Ryan On Fri, Sep 2, 2011 at 3:08 PM, Kim Patrick Clow wrote: > Here is the first page of my (very much a work in progress score): > > http://i.imgur.com/zuEQR.png > > Thanks Klaus! > > On Fri, Sep 2, 2011 at 5:48 PM, Klaus Smedegaard Bjerre < > yorkmaster...@yahoo.com> wrote: > >> I have tried establishing scores from old, that is pre-1900, band parts >> made available in scans by the US-LOC. Also there inconsistency is a >> problem. However comparative reading of parts often is helpful. >> >> Maybe not very scholarly, but just down to earth practical, I would like to >> know the articulations in the other parts for the two beats in question. My >> immediate suspicion is that the harmony changes between them, or that the >> same chord is redistributed in a way leaving only this part repeating the >> same note. I might guess that the moving parts have these two beats >> slurred. >> >> Klaus >> >> >> >> >________________ >> >From: Kim Patrick Clow >> >To: finale@shsu.edu >> >Sent: Friday, September 2, 2011 11:26 PM >> >Subject: Re: [Finale] O.T. 18th century notation question >> > >> >Thanks for all the help everyone. >> > >> >I don't know why I didn't think of this before, but Peter Brown's thematic >> >index has this symbol as tied notes with staccato markings above the >> notes. >> > >> >I'm working on a source from Florence, Italy, and there are only two >> others >> >(one is in Vienna, and another in the Czech Republic). Maybe the other >> >sources are more clear. >> > >> >But I showed the screen shot to Dr. Paul Bryan (editor of the Wanhal >> >thematic index) and he said that the Florence source was in a Vienna >> >copyist's handwriting). >> > >> >And on a side note: I can't tell you how frustrating the parts are-- the >> >inconsistencies on everything- dynamic marks, articulations. I don't know >> >how the musicians >> >performed the music in really acceptable manner, but I know, performance >> >standards were much much different back then. >> > >> >Thanks again! >> > >> >Kim >> > >> > >> > >> ___ >> Finale mailing list >> Finale@shsu.edu >> http://lists.shsu.edu/mailman/listinfo/finale >> > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
Here is the first page of my (very much a work in progress score): http://i.imgur.com/zuEQR.png Thanks Klaus! On Fri, Sep 2, 2011 at 5:48 PM, Klaus Smedegaard Bjerre < yorkmaster...@yahoo.com> wrote: > I have tried establishing scores from old, that is pre-1900, band parts > made available in scans by the US-LOC. Also there inconsistency is a > problem. However comparative reading of parts often is helpful. > > Maybe not very scholarly, but just down to earth practical, I would like to > know the articulations in the other parts for the two beats in question. My > immediate suspicion is that the harmony changes between them, or that the > same chord is redistributed in a way leaving only this part repeating the > same note. I might guess that the moving parts have these two beats > slurred. > > Klaus > > > > > > >From: Kim Patrick Clow > >To: finale@shsu.edu > >Sent: Friday, September 2, 2011 11:26 PM > >Subject: Re: [Finale] O.T. 18th century notation question > > > >Thanks for all the help everyone. > > > >I don't know why I didn't think of this before, but Peter Brown's thematic > >index has this symbol as tied notes with staccato markings above the > notes. > > > >I'm working on a source from Florence, Italy, and there are only two > others > >(one is in Vienna, and another in the Czech Republic). Maybe the other > >sources are more clear. > > > >But I showed the screen shot to Dr. Paul Bryan (editor of the Wanhal > >thematic index) and he said that the Florence source was in a Vienna > >copyist's handwriting). > > > >And on a side note: I can't tell you how frustrating the parts are-- the > >inconsistencies on everything- dynamic marks, articulations. I don't know > >how the musicians > >performed the music in really acceptable manner, but I know, performance > >standards were much much different back then. > > > >Thanks again! > > > >Kim > > > > > > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
I have tried establishing scores from old, that is pre-1900, band parts made available in scans by the US-LOC. Also there inconsistency is a problem. However comparative reading of parts often is helpful. Maybe not very scholarly, but just down to earth practical, I would like to know the articulations in the other parts for the two beats in question. My immediate suspicion is that the harmony changes between them, or that the same chord is redistributed in a way leaving only this part repeating the same note. I might guess that the moving parts have these two beats slurred. Klaus > >From: Kim Patrick Clow >To: finale@shsu.edu >Sent: Friday, September 2, 2011 11:26 PM >Subject: Re: [Finale] O.T. 18th century notation question > >Thanks for all the help everyone. > >I don't know why I didn't think of this before, but Peter Brown's thematic >index has this symbol as tied notes with staccato markings above the notes. > >I'm working on a source from Florence, Italy, and there are only two others >(one is in Vienna, and another in the Czech Republic). Maybe the other >sources are more clear. > >But I showed the screen shot to Dr. Paul Bryan (editor of the Wanhal >thematic index) and he said that the Florence source was in a Vienna >copyist's handwriting). > >And on a side note: I can't tell you how frustrating the parts are-- the >inconsistencies on everything- dynamic marks, articulations. I don't know >how the musicians >performed the music in really acceptable manner, but I know, performance >standards were much much different back then. > >Thanks again! > >Kim > > > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
Thanks for all the help everyone. I don't know why I didn't think of this before, but Peter Brown's thematic index has this symbol as tied notes with staccato markings above the notes. I'm working on a source from Florence, Italy, and there are only two others (one is in Vienna, and another in the Czech Republic). Maybe the other sources are more clear. But I showed the screen shot to Dr. Paul Bryan (editor of the Wanhal thematic index) and he said that the Florence source was in a Vienna copyist's handwriting). And on a side note: I can't tell you how frustrating the parts are-- the inconsistencies on everything- dynamic marks, articulations. I don't know how the musicians performed the music in really acceptable manner, but I know, performance standards were much much different back then. Thanks again! Kim On Thu, Sep 1, 2011 at 2:30 PM, John Howell wrote: > At 11:25 AM -0400 9/1/11, Kim Patrick Clow wrote: > >Good day kind Finale users! > > > >I have a question about an Ordonez symphony source. There is a squiggly > line > >above two notes, almost like a tie, but it's not. > > > >It's used several times and my editor and publisher is stumped by it (and > >he's a violinist). > > > >Any guesses? > > > >A screen shot is viewable @ http://i.imgur.com/6YbcE.png > > > >Thanks very kindly > > > >Kim > > Kim: I've never seen this, but my first reaction > was that it was probably an ornament sign, > perhaps even an indication to add vibrato (which > was still considered an ornament). But since in > every case it appears over two repeated notes, > that doesn't make much sense. My best guess (and > it's only a guess, based on the context) is that > it's some kind of articulation mark, as you said, > almost like a tie, but perhaps indicating a > portato bowing with both notes in the same bow. > That would make very good sense in terms of the > bowing that would result, but again, it's only a > guess. > > When I have time I'll look for an article on > Articulations in New Grove and see whether it > turns up. > > John > > > -- > John R. Howell, Assoc. Prof. of Music > Virginia Tech Department of Music > School of Performing Arts & Cinema > College of Liberal Arts & Human Sciences > 290 College Ave., Blacksburg, Virginia 24061-0240 > Vox (540) 231-8411 Fax (540) 231-5034 > (mailto:john.how...@vt.edu) > http://www.music.vt.edu/faculty/howell/howell.html > > "Machen Sie es, wie Sie wollen, machen Sie es nur schön." > (Do it as you like, just make it beautiful!) --Johannes Brahms > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
At 11:25 AM -0400 9/1/11, Kim Patrick Clow wrote: >Good day kind Finale users! > >I have a question about an Ordonez symphony source. There is a squiggly line >above two notes, almost like a tie, but it's not. > >It's used several times and my editor and publisher is stumped by it (and >he's a violinist). > >Any guesses? > >A screen shot is viewable @ http://i.imgur.com/6YbcE.png > >Thanks very kindly > >Kim Kim: I've never seen this, but my first reaction was that it was probably an ornament sign, perhaps even an indication to add vibrato (which was still considered an ornament). But since in every case it appears over two repeated notes, that doesn't make much sense. My best guess (and it's only a guess, based on the context) is that it's some kind of articulation mark, as you said, almost like a tie, but perhaps indicating a portato bowing with both notes in the same bow. That would make very good sense in terms of the bowing that would result, but again, it's only a guess. When I have time I'll look for an article on Articulations in New Grove and see whether it turns up. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts & Cinema College of Liberal Arts & Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html "Machen Sie es, wie Sie wollen, machen Sie es nur schön." (Do it as you like, just make it beautiful!) --Johannes Brahms ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
Am 01.09.11 17:25, schrieb Kim Patrick Clow: > I have a question about an Ordonez symphony source. There is a squiggly line > above two notes, almost like a tie, but it's not. Just means on one bow, modern notation would probably put a slur on top, possibly with dots. Nothing to do with vibrato or Bebung if you ask me. It's not a slur to make sure they are still separate. Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
At 7:33 PM +0200 9/1/11, Florence + Michael wrote: >I've already seen this marking in baroque music: >in a string part it denotes a measured >"Bogenvibrato", a change in intensity (not in >pitch), created with the bow. Basically you >should play the notes completely legato, in the >same bow stroke, with a < > effect on each note. That's entirely possible, as specified (but I don't know how) in Marais' "The Kidneystone Operation" at "trembling at the sight of the surgical instruments"! John > >If it were written in a keyboard piece, it would >signify a Bebung on a clavichord. Yes, but on two repeated notes? John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts & Cinema College of Liberal Arts & Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html "Machen Sie es, wie Sie wollen, machen Sie es nur schön." (Do it as you like, just make it beautiful!) --Johannes Brahms ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
On 1 Sep 2011 at 14:43, Steve Larsen wrote: > I've never seen anything quite like it. My guess from the context is > that it may be an eccentric way of notating a hooked bowing. There wasn't any such practice of indicated precise bowing in the period. It's either one of the two suggestions: 1. some form of tremolo/bow vibrato (the latter not at all unheard of, though most common in the viol repertory, where the underhand bow makes it possible to vary the tension on the bow hair). 2. a notational alternative for staccato under a single bow (which really wasn't common at all in our modern notation until the 1790s). I would lean towards the former, but that's because of my orientation as a viol player. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
On 1 Sep 2011, at 18:33, Florence + Michael wrote: > I've already seen this marking in baroque music: in a string part it denotes > a measured "Bogenvibrato", a change in intensity (not in pitch), created with > the bow. In this instance, which has a minuet feel, the placement of markings mitigates against it being bogen-vibrato or indeed really any kind of ornament. Steve P. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
At 6:22 PM +0100 9/1/11, Steve Parker wrote: >This is consistent with how it's played on my cd too. > >Steve P. > >On 1 Sep 2011, at 18:08, Andrew Levin wrote: > >> t's the equivalent of a slur over staccato. Source: Clive Brown's >> *Classical and Romantic Performing Practice, 1750-1900 Right. That would be a portato, as I suggested. No real reason to think so, except that no other explanation makes any better sense. There is an article on Articulation in New Grove (1980), but it's remarkably short and gives no table of markings. It does say, "Articulation signs other than ornaments remained relatively rare through the Baroque era. Even in the late 18th century, when articulation signs of the modern, more abstract type became common, the distinction between staccato and staccatissimo was notated differently by different composers and interpreted unpredictably by their publishers or printers." Looking for uniform standards and practices in 18th century music is usually a losing proposition, as Kim has discovered previously. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts & Cinema College of Liberal Arts & Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html "Machen Sie es, wie Sie wollen, machen Sie es nur schön." (Do it as you like, just make it beautiful!) --Johannes Brahms ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
I've never seen anything quite like it. My guess from the context is that it may be an eccentric way of notating a hooked bowing. Steve Larsen -Original Message- From: Steve Parker [mailto:st...@pinkrat.co.uk] Sent: Thursday, September 01, 2011 11:05 AM To: finale@shsu.edu Subject: Re: [Finale] O.T. 18th century notation question They look a lot like trills/mordents from the period, but they are placed unidiomatically. I have a recording and they're played straight on that. Steve P. On 1 Sep 2011, at 16:49, Dick Hauser wrote: > You're way beyond my knowledge, Kim, but if I were playing that, I'd > be tempted to use them as mordents. > > Dick H > Olympia, Wa > > On Sep 1, 2011, at 8:25 AM, Kim Patrick Clow wrote: > >> Good day kind Finale users! >> >> I have a question about an Ordonez symphony source. There is a >> squiggly line above two notes, almost like a tie, but it's not. >> >> It's used several times and my editor and publisher is stumped by it >> (and he's a violinist). >> >> Any guesses? >> >> >> A screen shot is viewable @ http://i.imgur.com/6YbcE.png >> >> Thanks very kindly >> >> Kim >> ___ >> Finale mailing list >> Finale@shsu.edu >> http://lists.shsu.edu/mailman/listinfo/finale > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
I've already seen this marking in baroque music: in a string part it denotes a measured "Bogenvibrato", a change in intensity (not in pitch), created with the bow. Basically you should play the notes completely legato, in the same bow stroke, with a < > effect on each note. If it were written in a keyboard piece, it would signify a Bebung on a clavichord. Michael On 1 Sep 2011, at 19:00, Guy Hayden wrote: > Neumann says this mark means "Vibrato". > > Guy Hayden > > --Original Message- > From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of > Kim Patrick Clow > Sent: Thursday, September 01, 2011 11:25 AM > To: finale@shsu.edu > Subject: [Finale] O.T. 18th century notation question > > Good day kind Finale users! > > I have a question about an Ordonez symphony source. There is a squiggly line > above two notes, almost like a tie, but it's not. > > It's used several times and my editor and publisher is stumped by it (and > he's a violinist). > > Any guesses? > > > A screen shot is viewable @ http://i.imgur.com/6YbcE.png > > Thanks very kindly > > Kim > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
This is consistent with how it's played on my cd too. Steve P. On 1 Sep 2011, at 18:08, Andrew Levin wrote: > t's the equivalent of a slur over staccato. Source: Clive Brown's > *Classical and Romantic Performing Practice, 1750-1900 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
Neumann says this mark means "Vibrato". Guy Hayden --Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Kim Patrick Clow Sent: Thursday, September 01, 2011 11:25 AM To: finale@shsu.edu Subject: [Finale] O.T. 18th century notation question Good day kind Finale users! I have a question about an Ordonez symphony source. There is a squiggly line above two notes, almost like a tie, but it's not. It's used several times and my editor and publisher is stumped by it (and he's a violinist). Any guesses? A screen shot is viewable @ http://i.imgur.com/6YbcE.png Thanks very kindly Kim ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] O.T. 18th century notation question
Patrick wrote: I have a question about an Ordonez symphony source. There is a squiggly line above two notes, almost like a tie, but it's not. === Ooh ooh, I know this one! It's the equivalent of a slur over staccato. Source: Clive Brown's *Classical and Romantic Performing Practice, 1750-1900 Andrew Levin (Who is working on a similarly-dated concerto from manuscript) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
They look a lot like trills/mordents from the period, but they are placed unidiomatically. I have a recording and they're played straight on that. Steve P. On 1 Sep 2011, at 16:49, Dick Hauser wrote: > You're way beyond my knowledge, Kim, but if I were playing that, I'd > be tempted to use them as mordents. > > Dick H > Olympia, Wa > > On Sep 1, 2011, at 8:25 AM, Kim Patrick Clow wrote: > >> Good day kind Finale users! >> >> I have a question about an Ordonez symphony source. There is a >> squiggly line >> above two notes, almost like a tie, but it's not. >> >> It's used several times and my editor and publisher is stumped by it >> (and >> he's a violinist). >> >> Any guesses? >> >> >> A screen shot is viewable @ http://i.imgur.com/6YbcE.png >> >> Thanks very kindly >> >> Kim >> ___ >> Finale mailing list >> Finale@shsu.edu >> http://lists.shsu.edu/mailman/listinfo/finale > > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
Kim Patrick Clow wrote: > Good day kind Finale users! > > I have a question about an Ordonez symphony source. There is a squiggly line > above two notes, almost like a tie, but it's not. > > It's used several times and my editor and publisher is stumped by it (and > he's a violinist). > > Any guesses? Could it be a Bebung? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. 18th century notation question
You're way beyond my knowledge, Kim, but if I were playing that, I'd be tempted to use them as mordents. Dick H Olympia, Wa On Sep 1, 2011, at 8:25 AM, Kim Patrick Clow wrote: > Good day kind Finale users! > > I have a question about an Ordonez symphony source. There is a > squiggly line > above two notes, almost like a tie, but it's not. > > It's used several times and my editor and publisher is stumped by it > (and > he's a violinist). > > Any guesses? > > > A screen shot is viewable @ http://i.imgur.com/6YbcE.png > > Thanks very kindly > > Kim > ___ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] O.T. 18th century notation question
Good day kind Finale users! I have a question about an Ordonez symphony source. There is a squiggly line above two notes, almost like a tie, but it's not. It's used several times and my editor and publisher is stumped by it (and he's a violinist). Any guesses? A screen shot is viewable @ http://i.imgur.com/6YbcE.png Thanks very kindly Kim ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
