On 18 Jun 2010 at 10:26, Howard Weiner wrote: > On 18.06.2010 04:29, David W. Fenton wrote: > > That does raise the question if you think that I've handled the > coloration correctly. I would have liked to have used tuplets, but in > this particular meter, I just think it would have confused things, so I > wrote out the literal note values, instead. It seems perfectly clear to > me. > > Actually, your interpretation of the coloration worries me. I've > never seen anything like this, and I have a lot of experience > transcribing and playing music from this era (and yes, even > Capricornus). How is the original notated, for example, in measure 138 > of the soprano 1 part?
There is always one colored note fewer than under my bracket, because I'm indicating which notes have altered values. When there are three that I've notated as dotted whole and two dotted halves, it's a normal semi-breve followed by filled-in semi-breves. The colored notes change the length of the note that comes before them (which would be a whole note without coloration), so I include it under the bracket. The one recording of this realizes the rhythms of the coloration precisely the same as I do, so I think this is just a question of notating the coloration in the modern score. > If there are three colored whole notes (or one regular and two colored > whole notes), they should still be transcribed as whole notes, since > coloration at this time does not involve altering the length of the > notes, but merely indicates a rhythmic shift: from ONE two three | ONE > two three to ONE two THREE | one TWO three. No, there are only two colored notes, but since those two alter the length of the one before, I put the bracket over all three (to show that those are notes that are not exactly the same identical rhythmic value). > And how is the ending (m. 245-end), for example, of the Tr 1 part > notated in the original? This looks really weird. That one was actually a real puzzler. I took it as a substitution of two minims for a semi-breve, so the same figure as I've described above, but with the first note divided in half. This works out perfectly with the other parts in terms of rhythm and harmony, so I went with this interpretation. I put the bracket over all four notes on the same principle I put it over the three, as described above. Certainly nobody in my ensemble gives a rat's ass about the coloration (though with the two-note pairs that indicate the shift from 2 groups of 3 to 3 groups of two, they are useful markers), but as this has never been published, I probably need to follow standard practice. I assume that I should be putting the bracket over the colored note only? -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
