David Nalesnik <david.nales...@gmail.com> writes: > This sort of notation is very common. Rather than notating only what > is physically possible for the player, the notator tries to show the > musical sense of the passage.
It's not actually even physically impossible: most instruments allow you more than a binary tone-on/tone-off, and even with a binary tone-on/tone-off, you have the choice to play notes with different duration. In the case of the guitar, you would pick the note as loud (and using the same picking fingers) as with the faster voice, but let the note sustain in line with the slower voice while picking the next note of the faster voice just as loud as the previous one. "voicing" is an important and advanced skill for most instruments: guitar, violin, pianoforte (much more so than with plucked keyboards like harpsichord and spinett), accordion: the important thing is to lend each _voice_ a consistent character (loudness, articulation) independent from the distribution across fingers, hands, strings, and even given colocation with another voice on the same notes. Of course, string instruments have a bit more voicing possibilities by the decision which string to take. The violin works of Bach offer interesting voicings. A rather prominent (and mostly monophonic but still multivoice) example is the first motion from the violin solo partita 3: the voicing made very explicit in the autograph can be straightforwardly mapped to different strings. -- David Kastrup _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
