On 8 May 2006 at 20:11, Johannes Gebauer wrote: > On 08.05.2006 David W. Fenton wrote: > > I'm with Johannes on this one -- it looks inconsistent for no > > meaningful reason. > > Except that it could be like this in the source. In which case I, too, > would leave it like that and let the performer decide which logic if > any he/she wants to deduct from it.
Well, of course. But even if it's drawn directly from the original source, both surely can't be correct -- I can't see an interpretation of the differing rhythmic values that would make any sense. > The problem with grace note length is that some composers try to be > very consistent, . . . The problem is, of course (and this is something I know you know perfectly well), that the source may be several layers removed from the composer's intention, with one or more additional layers of intervention, intentional and accidental, from copyists and engravers. A copyist who is trained not to pay attention to consistency of appoggiatura length can easily corrupt a very consistent composer's text. > . . . and it seems to me that some, if not many, were > indicating the more or less exact length they want them to be (CPE > Bach reports that as a new practice, and it seems to make a lot of > sense, eg in the Mozart string quartets, contrary to what the NMA is > trying to suggest in certain cases). The NMA is so completely wrong on so many of these issues that I'd almost take the statement of editorial principles as a directive for what *not* to do. > Of course I am aware that there was not always difference between a > slashed 8th grace note and a 16th grace note in print, so no need to > discuss this. I would go so far as to say there is *never* a difference, as a slashed 8th note is simply an alternate notation for a 16th note (one flag plus as many slashes as necessary to indicate the number of additional flags that modern printed notation would use). The "slash" only acquired an independent meaning in the 19th century, with the invention of the concept of what we now call the "grace note." And in that concept, there was little if any consistent rhythmic meaning to it at all. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
