In Bartok's Sonata for Two Pianos and Percussion there are a large variety
of glissandi notated in different ways (in the Boosey & Hawkes miniature
score).
1) Some are written out completely with gliss. marked above them.
2) Some have straight lines (not wavy) from first to last note with gliss.
marked above them. Of these, some start and finish on white notes, others
on black notes: none have 'black note gliss.' specifically indicated. It
seems obvious to me that these correspond with white note glissandi and
black note glissandi.
3) Some have the first few notes written out and straight lines continuing,
with gliss. above them.
Take your pick! I hope this helps.
Regards,
Michael Lawlor
----- Original Message -----
Date: Sun, 30 Nov 2008 13:37:29 -0500
From: Darcy James Argue <[EMAIL PROTECTED]>
Subject: Re: [Finale] Black key gliss
To: <finale@shsu.edu>
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset="US-ASCII"; format=flowed; delsp=yes
Guys,
1) It's not my piece, and the composer wants a (wavy) gliss line. The
only issue is whether it's necessary to add the text "black key gliss"
or not.
2) If I wrote it out, the player's first instinct would be to finger
the notes instead of playing it as a key rip. It would also imply a
degree of accuracy that is not intended and is not desirable.
Seriously, it's a piano gliss! We already have a perfectly good way of
notating that. My only question is whether it is generally understood
that glisses that start on white notes are played as white note
glisses, and glisses that start on black notes are played as black
note glisses.
Cheers,
- Darcy
-----
[EMAIL PROTECTED]
Brooklyn, NY
_______________________________________________
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
