Am 09.08.2018 um 21:16 schrieb Torsten Hämmerle:
Noeck wrote
Probably, that also means that using separate voices is the appropriate
syntax, isn’t it? Can I make the slur aware of other voices’ notes?
Hi Joram,
Sometimes, decisions whether to use separate voices, temporary parallel
contexts, etc., are often more of a technical nature (coding-wise).
But in this case, at least that's my personal opinion, I think we have to
distinguish between the musical idea/content (the "illusion" created by the
pianist) and how one can actually play all this with only two hands (and the
sustain pedal).
I'd see the musical line (the semiquavers, even with a phrasing slur) as one
voice and therefore code it as one voice. The stem directions, to me, are
mere hints for the player (very valuable hints, though).
Rachmaninov managed to incorporate the intended rapid transitions between
the two hands without having to clutter the music with m.g./m.d. remarks
(main gauche/left hand, main droite/right hand) and he even hints about
pedaling without clumsy \sustainOn/Off symbols.
Pedaling is very delicate there, anyway, sometimes one might even use
half-pedaling (not just on/off).
When I was a teenager my piano teacher made it a big event introducing
me to "half-pedal" which he claimed to be an extraordinary effect.
I got my first degree in piano after studying with a teacher who was
infamous for his overuse of the sustain pedal (which was one of the rare
flaws in his teaching, and the one that eventually made me search for my
own way).
Only years later I came to realize that (of course depending on the
style of the composer) my use of the pedal had evolved to resemble a
Gaussian distribution, with "on" and "off" only being the exceptions to
the rule. The sustain pedal of a real (grand) piano is nothing like the
MIDI pedal of the same name, but much closer to the MIDI volume pedal
;-) The exact pedal position is a function of the imagined sound, the
characteristic of the instrument and the acoustics of the room. And it
is (should be) only partially controlled consciously, mostly it is a
subconscious feeback loop between the ears and the muscles.
Scrjabine reportedly said to an admirer that she shouldn't pay attention
to his hands but rather to his feet. And I really appreciate a saying by
a great pianist (unfortunately I forgot who this was attributed to) who
concluded "Pedal spielt man mit den Ohren" ("the pedal is actually
played with the ears" (i.e. not the feet)).
Just using \stemUp and \stemDown seems appropriate to me, because it's one
single voice (just being divided up into two hands for physiological
reasons) and the dynamics stay where they are, it's easier to start and end
phrasing slurs, …
And, last but not least: these "encrypted playing instructions" are, just
like fingerings in general, not carved in stone and hardly justify a strict
separation of voices.
Just look at the last two down-stemmed semiquavers in the measure: Some
(most?) play them using the right hand, even if their stems are down.
While this is generally the case (and I'd agree to it personally) I
recall that for example Claudio Arrau went to great length arguing that
the distribution of hands is a means of expression and that even if
(well, actually *because*) it imposes additional demands on the player
it should be faithfully executed. I found this to be a very interesting
thought, although I didn't adopt it personally.
Best
Urs
Later on, I'd still use a single voice that changes staves.
A single voice for "the line" seems most natural to me. But opinions may
differ, of course.
All the best,
Torsten
--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
