JG Having seen many 18th century editions I think one can make the
JG case that in the majority of cases there simply is no
JG distinction between dot and wedge, most of the time the two are
JG used pretty randomly.
Yes. The issue is whether to use the now-universal dot throughout, or
to
On 30 May 2003 at 18:02, John Howell wrote:
David W. Fenton wrote (much snipped):
Slurring, or hooking (i.e., two separate bows going in the same
direction)? Dance movements are *certainly* a place where you
definitely need lots of compensating bow.
I wrote:
Good distinction between
On 29 May 2003 at 22:03, John Howell wrote:
David W. Fenton asked:
Do modern string players recognize phrasing at any level but bowings?
Of course, but I would choose different wording. Any musical player
who has learned to do it will recognize and play phrasing without a
roadmap. . . .
At 6:20 PM -0400 5/29/03, David W. Fenton wrote:
On 29 May 2003 at 17:50, Christopher BJ Smith wrote:
We wind/piano players are looking for a way to show string players
that a long line should NOT have an audible break between bows. Macro
slurs are the most intuitive way, I suppose. Or what
Johannes Gebauer wrote:
JG I haven't seen any Alfredo editions and cannot comment. However, it seems to
JG me that this kind of thing would not be possible in Finale, would it?
Hm...good question. I haven't tried to use dashed slurs in Finale,
but if they're not there already, one could add
Le 30/05/03 16:43, [EMAIL PROTECTED] [EMAIL PROTECTED] a écrit:
Johannes Gebauer wrote:
JG I haven't seen any Alfredo editions and cannot comment. However, it seems
to
JG me that this kind of thing would not be possible in Finale, would it?
Hm...good question. I haven't tried to use
On 30 May 2003 at 18:02, John Howell wrote:
David W. Fenton wrote (much snipped):
[]
For instance, in Mozart's String Quintets, there are many passages
with cross bar phrasing, e.g., all measures are straight 8th-notes,
but the slurs start on the 2nd 8th and connect to the first 8th of
the
On 30.05.2003 22:43 Uhr, [EMAIL PROTECTED] wrote
Another interesting thing about this manuscript is that Bach very
selectively inserts additional flats or sharps on accidentals that are
repeated within lengthy and complex measures.
This is just normal 18th century practice - the rule that an
On 31.05.2003 1:41 Uhr, Éric Dussault wrote
Hm...good question. I haven't tried to use dashed slurs in Finale,
but if they're not there already, one could add a smart shape, no?
There's no problem with multiple levels of shapes on the same notes.
But maybe you're thinking of some other
David Fenton wrote:
d.f. I value beaming quite highly in historical manuscripts and printed
d.f. editions, as I think beaming says something not about accents or
d.f. rhythmic patterns but about *phrasing*, but phrasing at a level that
d.f. one would not indicate with slurs. For
At 4:58 PM -0500 5/29/03, John Howell wrote:
David Fenton wrote:
d.f.For example, one of the problems
d.f. with slurs in string music is that, in general, they will be
d.f. interpreted as bowings.
I reply: No, they will ALWAYS be interpreted as bowings. That is
precisely how bowings are
On 29 May 2003 at 16:58, John Howell wrote:
Just replayed the Barber Adagio in a concert, and it's interesting
that he used two levels of slurs, a macro level which obviously
indicates overall phrasing, and a micro level which are actually
bowings. And they work. The question is, what is
On 29 May 2003 at 17:50, Christopher BJ Smith wrote:
We wind/piano players are looking for a way to show string players
that a long line should NOT have an audible break between bows. Macro
slurs are the most intuitive way, I suppose. Or what about breaking
the phrase, but keeping the bow
With respect to slurs being interpreted as bowings
it should be rememberedthat a single slur does not always meanthat the
phrase will be played in one bow. Every string section leader bowsthe parts
for his/her section. For example in a Brahms symphony the doublebasses would
not be expected
David W. Fenton asked:
Do modern string players recognize phrasing at any level but bowings?
Of course, but I would choose different wording. Any musical player
who has learned to do it will recognize and play phrasing without a
roadmap. More capable players will recognize it at several levels
David Fenton wrote:
d.f. I value beaming quite highly in historical manuscripts and printed
d.f. editions, as I think beaming says something not about accents or
d.f. rhythmic patterns but about *phrasing*, but phrasing at a level that
d.f. one would not indicate with slurs. For
On 29.05.2003 16:46 Uhr, Leon Story Jr USG wrote
I've often wondered why bowings that don't agree with the slurs aren't
regularly shown by dashed slur markings, and editorial ones by grey dashed
slur markings of the sort seen in some of the (remarkably easy to read)
Alfred piano editions. A
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