The music is written as if RH and LH are played by separate instruments. There would be no problem, of course, in one instrument sustaining the B while the other instrument played its own B. The musical intention is clear. But to achieve it on one piano keyboard requires a compromise.
No, you can't omit the second B. It needs to be heard. The ...
The transcription looks OK and a pianist would easily work out how to finger it. It does need phrasing, slurs and pedal-marks though.
So I've laid it out to show which hand does what, but it's a less elegant way to do it than the original.
Your second phrase would be fingered like this:
Is this something with the transcription and it needs adjustments? if so, how??
Yes, maybe this is a transcription. A simple solution would be playing the r.h. an octave up.
For example in the 2nd attached picture, can I just omit the B on the left hand?
You can, but the melody won’t be heard the same way. But if you repeat this B as written ...
You try using a key signature of one flat for a basic Bb Lydian sound and then use Gb accidentals in the score.
If I understand where you are going with the tonality, it's like Lydian with a lowered sixth. Kind of Lydian on the bottom, but a harmonic tetrachord on the top of the scale.
The Gb flat in the score may be easier to read as it's reminder to not ...
It's possible to just have Bb and Gb. Look at Bartok's Mikrokosmos for some examples. It may take some wrestling in your notation program (and may not be possible on free ones).
However, this is likely to be distracting, and the best way is probably to use a standard key signature corresponding to the closest tonality and use lots of accidentals. What you'...
Well now, your question has made me stop and think. As an elementary question, I would respond with "timing" and "pitch" indicated by the Time Signature and the Key Signature. Without these two elements sheet music really has no clear relevancy to anything at all. I find it disconcerting that many people don't really understand these items on the stave, ...
Yeah, they almost certainly meant to write this:
[V:T1] (6f,g,a,b,cd z2 (3f,g,a, (6b,cdefg (6abc'f,g,a,
But it got somehow clobbered up in the typesetting process.
God, is this a badly written bar. Since it's in 3/2, here is my take on it:
Here are the 3/2:
So that is one voice on the left hand (pretty clear) and the first voice of the right hand.
This would be the second voice of the right hand, which lasts only 2/2, followed by a rest:
These just seem to be grace notes not written as grace notes:
I am saying ...
The tenuto mark is there to inform the player that the curve connecting the two notes is not a tie but a slur -- a bowing mark. This is two notes to be played without reversing the direction in which the bow is traveling.
In a piece for piano such a tied note with a tenuto sign doesn’t make much sense. Wood wind -, Brass- and String instrument could interprete this as legato and added tenuto eighth note: da-a-a daat.
But I assume this bow is not a tie but a phrasing bow.
To take Laurence's examples, I would definitely prefer to read B. A is terrible for me, C is tolerable, B give me the easiest understanding of what's going on.
Incidentally, Beethoven used this device a great deal, and A is how he usually did it. Here's an example (bars 15-20):
The wedges are one of Schnabel (the editor)'...
It's just a fingering. It shows you that you need to play C with the 3rd finger and thus Ab* with the 1st one. You'd also play the low F with your pinky (5th finger).
It's quite common to include the fingerings in pieces; it's a way to help the player. Usually, you'd find the numbers on top of the note.From the link I'm providing below, you can see that:
Terminology-wise, for equally-divided octaves, there's, well... Equally-Divided Octave (wow, you theorists are great at naming things, huh). This generally will be used to describe alternate tuning stsyems like 17-EDO, where the octave is divided into 17 equally (logarithmically) spaced intervals.
Another way that tuning systems will generally handle this ...
On many instruments, slurs indicate a particular technique. For wind instruments, it means to play without tonguing. For orchestral strings, it means to play in one bow motion. In these cases, it's critically important for slurs to be in the right places.
Outside of that, I think it's simply tradition to use a slur to visually group the grace note in with ...
As Peter explained, ties are not used in hand percussion. I agree with his suggestion to use the rest because it would be easier to sight-read for most performers. Also, your stem directions need to be adjusted if you're concerned about "correct" stems. Here's what that would look like:
Note: StackX does not allow photos in comments, so that is why I posted ...
Only if it's a full measure. So if you've got a half rest, an eighth rest, and then a beat and a half of pickup notes, it counts. If you just lead in with a beat and a half of pickup notes, the first numbered measure is the next one.
No, a pickup measure will not be counted as measure 1 in a score. Instead, the first full measure following the pickup will be labeled as measure 1.
But it's not that this pickup will never be counted; traditionally, the last measure of a piece will have the duration of the pickup subtracted from its total duration. As such, the final measure will be ...
No. Pickup measures by definition are partial measures and do not count as "bar no. 1" or the "first measure."
However, if your "pickup" measure is actually a full measure with rests in the first beat(s) then yes, that would be the first full "measure" of the song.
Don't forget to add the remaining beats of that pick-up measure to the end of your score. If ...
Ties are not usually used in percussion notation because they are considered unnecessary, since the player doesn't sustain the tones like wind or string players. There are a few exceptions to this rule, like piano and vibraphone, but generally percussion notation just needs to indicate the beginning the notes.
So the second option is the better of those two,...
Both notes are played together on beat 1. The composer is thinking in terms of two instruments. If there was e.g. a cello and a double bass, the cello could play the half-note A, the double bass the two quarter-note ones. On piano, FEEL that, but all you can actually do is play the A once.
Don't over-think this! There are still only two beats in that ...
Just thought of another idea. A whole note with a following dot (sorry, I grew up around musicians but never went to School for Serious Musos, so I call them "dots") -- a following dot means "plus one half again." So, Whole note, four beats, plus dot adding two beats equals six beats.
Maybe a dot after the other dot could be accepted or explained to mean "...
"Whole notes" are four beat notes, "whole" or expressing one whole measure if you are in a time signature whose "fractional expression" (reading a time signature like it was a regular fraction) equals one (four quarter notes or one whole note, hence the name). So, 4/4 time or 2/2 or but not 3/4 or 2/4 or 6/8 or 5/4.
"Whole" is a little unfortunate. "...
In chanted music there are two notations for "notes held as long as you need to." One is to put vertical bars on either side of the whole note, as shown here
Another is to use the double whole note as shown here
I agree with you. If the intention of the composer is the exact rhythm posted, don't use a tuplet. Write out the dotted eighths, so one can see how they line up against the beats. For additional comprehension, one could use both: I've definitely seen scores with the literal (in this case, dotted eighth) rhythm written on the staff, with tuplets stemmed ...
I would like to add a detail to Richard's answer.
The bars sometimes has a 3+2 rhythm and other times a 2+3 rhythm. You could notate the long held chords in synchronization with that.
So when it is 3+2 the chords can be notated with a dotted halfnote tied to a halfnote, and when it is 2+3 a halfnote tied to a dotted halfnote. Try it out and decide whether ...
You're correct that a whole rest is used for this purpose, but I've never seen actual note values used in that way. The whole+quarter construct seems to me the smart way to go.
This is especially important when multiple voices occupy a single staff; in such a case, using a whole note only would lead to certain confusion on the part of the performer as to ...
Looking at the whole piece, I'd say the the first 5 measures are a rather rhapsodic introduction to an otherwise fairly metrical main section and I think the slightly odd rhythmic notation helps to emphasise this. There isn't a 3rd or 4th beat in the measure, and I don't think that renotating in dotted eighth-notes would help much. Play the first two quarter-...
Any meaningful argument either way needs more context.
These two bars don't exist in isolation from the rest of the piece, which we haven't seen. For all we know, the "best" notation might be something completely different, like
The interpretation is rhythmically free and a natural phrasing - even a little rubato - like we are used in songs like this.
I don't think you should worry about the interpretation of grace notes in this case. In my opinion this are just a kind of shortcuts for notation of an upbeat.
Folksongs, cabarets and chansons often are interpreted close to the ...
I think the equals sign actually works perfectly well for this purpose. For starters, "enharmonic" itself is really a short way to say "enharmonically equivalent", so from a language perspective, = makes a lot of sense. In any context where it is important to note that two things are enharmonically equivalent, it will be obvious that the normal distinctions ...
As far as I know, there is no sign. Why should there be? That statement and other similar ones aren't commonplace, and whenever there's a need to use it, simply write the fact down.
There are, as Dom rightly states, many mathematical signs and symbols which actually mean completely different things musically. + and - and o come to mind. And = isn't going to ...
F# - Gb or F#/Gb
(I know you use the slash to indicate a secondary dominant or any other degree of another degree).
I agree that / is used to assign F/G = F chord above G. So how about back slash: F#\Gb
After reading the other answers here I think a good and clear solution will be ...
This is a specific kind of tremolo called a "measured tremolo." It means repeating the same note a steady, measured rate.
When a quarter note has one slash through the stem, you play two equal notes in its place, so a quarter note with a slash means to play two eighth notes. When that stem has two slashes though the stem, you play four equal notes in its ...
The S probably means "slide" which is another word for glissando. In your example only one of them has a wavy line but they should probably all have a wavy line. In my music notation program it sometimes happens that the wavy line isn't printed if there is a short distance between the notes in which case only the letter or word is printed. Personally I ...
The 2 S's in measures 29 and 31 may stand for "Subject" which is a motive which is stated and developed throughout the work.In J.S. Bach's inventions he stated a Subject ( or a motive ) early in each piece which was often associated with a complementary motive called a "Countersubject". The Subject and Countersubject would be recurring often in two-part ...
Why you would want to mix time signatures in a composition comes down to why we use time signatures. The time signature gives you a sense of the "pulse" of the music as determined by the count and where the strong or emphasized beats are. (this is a generalization)
The main emphasized beat in a time signature is the first count of the measure or bar. ...
B♭ chord is the first, third and 5th notes of the B♭major scale. That's B♭, D and F.
B♭6 adds the 6th note of the scale. So that's B♭, D, F, and G.
Not sure quite how that fits in with the notation you showed us. But that's what B♭6 means. I guess you know what an arpeggio is?
B♭6 means B♭-D-F-G (the formula for a major 6th chord is R, W+W, W+H, W, where R is root, W - whole tone and H - semitone).
As for arpeggios and how they are notated - I do not know for sure. I play 2 monophonic instruments and rarely deal with this sort of symbols. I think notation depends on time period and what instrument it was written for (I vaguely ...
A common notation in violin sheet music for chords to be played with the upper note first is a straight vertical line with a down arrow. Wavy lines are usually not applied.
Here are two examples:
The first one where the violin player has drawn a down arrow by hand.
The second one where the publisher has printed down arrows.