On 3/31/06, Trevor Bača <[EMAIL PROTECTED]> wrote: > On 3/31/06, Erlend Aasland <[EMAIL PROTECTED]> wrote: > > Hi > > > > > > On 3/31/06, Trevor Bača <[EMAIL PROTECTED]> wrote: > > > Yeah, you've definitely got the idea; the best examples are in scores > > > of Sciarrino's recent music and I'll have time to dig through some > > > this weekend and make a few small scans. > > > > > > Great! > > OK, here are two nice examples. > > The first is near the end of the second page of Sciarrino's 'All'aure > in una lontananza' and the second is the very last bit of 'Come > vengono prodotti gli incantesimi?'. > > Note, too, the use of back-to-back hairpins in the first example, with > the 'niente' circle at the center. > > [While we're looking at the notation, I'd like to take a moment to > plug these pieces: the complete set of Sciarrino's flute music is one > of the most attractive, hypnotic bodies of work you can ever hope to > find. The small motions that build up each piece come from a > pleasantly, bewilderingly different number of directions, and the > cumulative psychological effect of listening through any one of the > pieces is, for me anyway, a disassociation with time that is almost > total. Also the notation is really cool. Very much recommended.]
Also the attachments would help. -- Trevor Bača [EMAIL PROTECTED]
all'aure.png
Description: PNG image
come-vengono.png
Description: PNG image
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