Looks to me that the cross tie stuff lies easily under the left hand alone.

Shane

On Wed, Aug 29, 2012 at 3:09 PM, Curt <accou...@museworld.com> wrote:

>
> Thank you for the perspectives!  It's nice to know that it comes across
> clearly.  I was afraid it might look too cluttered but I can always also
> just play with the staff spacing a bit.
>
> Curt
>
> On Aug 29, 2012, at 5:06 AM, David Nalesnik wrote:
>
> > Hi Curt,
> >
> > On Wed, Aug 29, 2012 at 2:30 AM, Francisco Vila <paconet....@gmail.com>
> wrote:
> >> 2012/8/29 Curt <accou...@museworld.com>
> >>> The actual question is wondering if anyone thinks there is a
> >>> better/clearer way to notate the following figure.  Hands alternating,
> with
> >>> melody in the pinky.  The pattern continues throughout the piece (with
> >>> different notes).  Right hand stays in the same general location,
> right hand
> >>> wanders down an octave or so at times.
> >>
> >> Now to your actual question: at first sight, beaming on 16ths suggests
> >> same hand despite of being cross staff. In this case I would indicate
> >> clearly R.H. on the 16ths in upper staff. It would be more kludgy but
> >> also doubtless (on how to play it) to use alternate 16ths and silences
> >> instead of cross beaming.
> >>
> >
> > I think the way you notate this is perfectly clear.  Distributing
> > notes between the staves depending on which hand the player should use
> > is expected in notation for the piano.  (You can find many instances
> > of this in Debussy's Preludes, for example).  Indicating R.H. and L.H.
> > shouldn't be necessary if the staff distribution makes this obvious,
> > whether the cross-staff notes are beamed together or not (certainly a
> > good idea here).
> >
> > The passage itself is not hard with alternating hands and 3-4-5 on the
> > melody, but it's a different story with taking the accompaniment in
> > the left hand.  Though doable, I don't imagine that would be a
> > pianist's first impulse!
> >
> > -David
>
>
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