Terry--

Someone did work out the ossia and it might be in Cornelius Noack's "tips
and tricks". If not and if no one else provides a link, let me know and I'll
ferret it out. It wasn't easy to do...lots of inline TeX required.

On the slurs and ties in chords, I certainly respect both Grieg's intentions
and Jean-Pierre's more realistic view. But there's a third way of looking at
the question, from the standpoint of "accepted typesetting practice,"
whatever that means. Many folks on this list swear by Gardner Read's "Music
Notation", and quite coincidentally, I had an interchange with Cornelius
about this very question within the week, which prompted me to see what Read
had to say. He says that if individual chord notes are tied, then draw the
individual ties, and if there are more than two of them, the outer ones
should curve oppositely. But if any notes of successive chords are slurred,
then only one slur should be drawn, either above or below the chord. It's
obvious from your tiff that Grieg didn't follow that advice.

--Don


>-----Original Message-----
>From: tex-music-boun...@tug.org [mailto:tex-music-boun...@tug.org] On
Behalf Of
>Terrence Enger
>Sent: Friday, June 24, 2011 8:05 AM
>To: tex-music@tug.org
>Subject: Re: [Tex-music] adjusting the starting position of a tie
>
>On Fri, 2011-06-24 at 15:26 +0200, Jean-Pierre Coulon wrote:
>> On Fri, 24 Jun 2011, Terrence Enger wrote:
>>
>> > For the terminally curious, I attach an image of the part of the
>> > manuscript which led me into this situation.
>>
>> I cannot answer, but may I express a personal opinion?
>
>Of course.
>
>>
>> You have 2 slurs and 2 ties. For the musician who reads the piece it is
rather
>> difficult to rapidly play each one correctly.
>>
>> Therefore I think you should notate the ties only. Due to the rather
legato
>> character of this piece the average musican
>
><aside>
>
>My spell checker objects, but that's how Deral Johnson
><http://thewholenote.com/index.php?option=com_content&view=article&id=4837:
deral-
>johnson&catid=102:wholenote-blog&Itemid=222> used to say it, so I like it.
Especially
>when he was accusing us of being mechanical or inattentive: "Come on, you
>musicans!"
>
>I remember being in a conversation with him in a corridor.  An
>undergraduate--oh-so-young, oh-so-sweet, oh-so-timid--came up and asked
>if she could bother him.  His response, in high dudgeon, was "Absolutely
>not."  But then, with the utmost graciousness, he added "But I would be
>*delighted* were you to interrupt."
>
></aside>
>
>>                                             will certainly guess that the
>> "changing" notes must be played legato.
>
>Just for reference, the manuscript in question is
><http://erato.uvt.nl/files/imglnks/usimg/b/b1/IMSLP28202-PMLP61902-
>Grieg_Andante_con_moto_EG_116.pdf>.
>
>I have been trying quite hard to follow the manuscript closely.  I do
>not know of any printed version of this music; google keeps leading me
>back to the manuscript image from which I am working.  (There is,
>however, a commercial recording.  Now if my latest customer will just
>get around to paying that last big invoice ... <grin />)
>
>I have divided purposes here (even beyond learning the typesetting).  I
>think I would like to try playing the piece.  (I have roped in a
>cellist, looking for a violinist, am somewhat worried that our pianist
>(yikes, that's me!) may not be up to the job.)  Meanwhile, I hope to
>have something worth contributing back to imslp.org.  For this last
>purpose, I think faithfulness to the original trumps practicality.
>
>An important upcoming decision is the treatment of Grieg's pencilled-in
>revisions.  Especially in the last three measures, they are quite thick
>upon the page.  If I can figure out how to do an "ossia" in pmx, then I
>can punt the decision to the reader by entering the music both ways.
>
>So, I guess I am saying that I shall see it as an accomplishment if I
>can reach the point where practicality is relevant.  It is by no means
>clear that I shall persist that far.
>
>Sigh.
>
>
>
>
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