It gets played as a sort of echo effect. 'f-p' is written to tell the player that it's forte for the first time through, and the repeat is piano. So your third idea is just right. It couldn't be written in a meaningful manner without directly being related to a repeated section.
The notes which have two dots below their heads also happen to have a half-time tremolo sign (the dash across the stem). This implies that you should play those notes as groups of two eight notes instead of one quarter, and the two dots are meant to make clear that both notes should be played staccato.
In the example below, the first measure is equivalent ...
Unless you are one of King Henry's wives, you don't need to worry too much!! The '6' there is indicating six notes in the time of four. Like double triplets.Called sextuplets in the trade.
It looks like a slightly different font from the fingerings on the music stave - and again different on the tab.
The lower numbers are the suggested fingerings.
There are actually four possibilities:
IMHO all of these are acceptable, although I find the first one easiest to read. The third one looks unneccessarily complicated and the fourth looks a bit 'unusual', but would probably be a good choice if there was half a page of this rhythm.
Brief answer: time signatures were not really standardized until the 20th century. Schubert used one of the many variations still seen in his time for this unusual meter, which is basically what we would write today as 4/2.
For some more detail, originally C was used in the late renaissance typically to indicate what we'd now think of as a 4/2 or 2/1 meter,...
These are harmonics. In this case, they're called artificial harmonics because they're not on open strings.
The player fingers the low (regular) note, and also places a finger at the point that would finger the diamond note but without pressing down. This results in a harmonic two octaves above the fingered note, which is indicated by the small black note ...
"forte-piano" is written as: fp ... without this: - (thread)
f-p means: 1. time = forte, repetition = piano
(As it only appears in the book at the start of a repeated section) it could mean play f on the first play through, and p on the repeat.
Like you’re saying ...this reading is correct!
But your other suggestions are wrong.
You can use the override: \override RepeatSlash.Y-offset = #3 in the layout block.
\new Staff \notes
\override RepeatSlash.Y-offset = #3
NB Lilypond uses objects of 4 different types to engrave the symbol, so what sort of repeating figure determines which type-name you need to use in the override ...
SeuMenezes is right, and below is just the first example I found, even more extreme (bass clef and e flat major signature omitted):
Contrary to my assumption this is fine (as far as those abbreviations are ever), since Elaine Gould in Behind Bars writes in chapter Single-note tremolos, Repeated articulation:
Center on the notehead the number of ...
The typical use of square brackets is, to indicate an addition made by the editor, but not present in the original (urtext, in that case of the piano duet; this is actually by Dvořák and preceded the orchestral version (see Wikipedia). Its first printing can be found at IMSLP).
Your proposed meaning is in my experience only expressible as text (e.g. "2nd ...
First, I view the ties above the notes (last beat and a half of the measures) as a phrasing indicator, to ensure you lead the final triplet into the last beat smoothly.
Next, I suspect the composer wants you to maintain the initial note (the down-stem quarter notes) thru the beat as a "drone" under the triplets. So, double-stops.
Finally, the tie ...
How similar or different are the music for the 1st and 2nd times through those 8 bars for the other instruments/singers? All parts must be notated with the same repeat-volta arrangement, so that if someone says "let's start again from bar 9" (or whatever) everyone has the same notion of where in the music that is.
So it might be necessary to write all the ...
I disagree that Ab/C is a useful way to label the first chord, at least in the context of Laura Palmer's theme. It completely obscures the modal flavour of the composition. Someone above described it as being in either C Aeolian or C Phrygian - in my interpretation, it is unambiguously in C Aeolian.
C - D - Eb - F - G - Ab - Bb
There is in fact space for a ...
Slurs are ambiguous: they may mean ties between note heads (notational convention), bow direction (technical instruction), or phrasing (musical expression). There's no particular reason why all three couldn't be in effect at some point.
The first arrow is tying into the eighth note. The quarter notes at the beginning of the phrases indicate a three count, at D, D, DE in the first bar, so the sixteenth notes would be a sextuplet run, tying the last note of the second sextuplet into the eighth note. I suspect that the last two eighth notes would be played Portato, separating the notes with ...
It is C♯! The piece is in key A major, and that has its key signature at the start of the line, including a ♯ sign on the C space. It only needs to be there to tell us that every C in the piece must be C♯.
EDIT: The key of the piece is A major. The chord/s in each bar are chords formed by the notes in that bar, or the chords which can be ...
I would do it differently. Eighth rest, eighth note tied to quarter note tied to half note. (I can't post graphics easily.) The suggested pattern avoids breaking any "normal" divisions and makes sight reading easier.
It's not 'correct' use of 1x and 2x brackets. It's occasionally done in song copies where 'writing it out' would mean a LOT of extra bars, paper and therefore expense.
In this particular case you could do this. (But it isn't always that easy!)
This example is following Bob Gjerdingen's convention for schemata.
From the introduction to his Music in the Galant Style (pp. 20-21):
Names of scale steps. When I refer to the steps of a scale or key
from an eighteenth-century perspective, I often use the names favored
at that time. In place of the nineteenth-century English syllables
doh, ray, ...
So finally I've found the answer. The piece in question is Chaconne in G major by Anonymous from Schwerin. It's from the book Guitar Music from 16th - 18th Centuries, vol. 2 edited and transcribed by Adalbert Quadt. In the book he gives instructions on how to play ornaments:
Ornamentation constitutes an important element in music of the seventeenth and ...
Place all the poems together in the front matter.
This lets someone who's investigating the text independently of the music
do so for all the poems together, instead of having to leaf back and forth.
Placing each poem before its song would be slightly more convenient for someone who's interested in only one song of the cycle.