Hans Åberg <haber...@telia.com> writes: >> On 9 Nov 2016, at 13:37, David Kastrup <d...@gnu.org> wrote: >> >> Hans Åberg <haber...@telia.com> writes: >> >>>> On 9 Nov 2016, at 10:45, David Kastrup <d...@gnu.org> wrote: >>>> >>>> The problem with appoggiature is that their timing is loose as the >>>> transition to the main note is not supposed to be a rhythmical accent. >>>> If you listen to https://www.youtube.com/watch?v=hQseNJP_bzk in >>>> comparison to most renditions, you'll find that I execute the >>>> appoggiature on the long side, passing the "proper" moment (and yes, >>>> I know that I have only executed the explicitly written ones in the >>>> manuscript with "violine concertante" as I was too lazy to figure out a >>>> strategy myself when the top voice is almost but not quite a solo voice >>>> in a string quartet). >>> >>> You need an expert: one of my teachers could do Baroque improvisations. >>> >>> The long grace notes, I usually prefer toward the half written value, >>> though some perform the full value. >> >> An appoggiatura does not feel like a "grace note" to me. Vaccai states >> in his singing exercises that the appoggiatura should be _at least_ the >> written value. The point being that the _main_ note pitch is >> uninteresting and is what the note relaxes rather than resolves to. > > The execution varied considerably, according to Harvard Concise, > giving an example of a 1/8 in small print connected to a 1/2-note: The > French might execute it before the main note, otherwise as half the > written value, the value, or longer, plus some. > >> Of course masking this change by executing it simultaneously with >> _significant_ changes in other voices is a perfectly valid kind of >> execution. But it becomes almost impossible to do this with an >> articulation that differentiates the appoggiatura from a regular note: >> when transcribing music played in that manner, no appoggiatura would >> ever appear. >> >> Which is vaguely disturbing to me. So I might be overdoing my "musical >> pronunciation" as a sign of me being unable to convey very subtle >> differences in a sovereign manner. > > I prefer no overlap in the ornaments, that is, legato style.
Hm? I was not talking about overlap (and when referring to a singing manual, overlap with the main note would be quite a feat). I was talking about _when_ to change to the main note with an appoggiatura. I don't know any school that would make a nonlegato execution of an appoggiatura a serious option. > Even in Balkan music, overlap does not seem necessary. You completely lose me here but it's not like that would be anything new. -- David Kastrup _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
