Well... future patterns later in the piece are larger than hand size, and, it plays fast and soft enough that I find it unreasonable to play with one hand. Audio of the complete improvisation is at my site: http://curtsiffert.com/anelusivesweetness .
On Aug 29, 2012, at 5:04 PM, Shane Brandes wrote: > 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 > > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user >
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