Am 04.05.2017 um 18:47 schrieb David Kastrup:
Simon Albrecht <[email protected]> writes:
Am 04.05.2017 um 18:13 schrieb Johannes Roeßler:
With the direction of the stems indicating the hand
I think in order to really judge it one needs more context. From what
time is the music, are you in touch with the composer, what kind of
editorial policies are imposed, … ?
If it were 18th century music, the voice notation and stem direction
would certainly not indicate hand distribution and turning the lower
two voices into chords of one voice would be a sensible editorial
decision (if I played it I’d probably distribute hands like that).
If it were 18th century music, mushing together separate voices into
chords would be a complete no-no. Even when played on a simplistic
one-manual keyboard (or the new-fangled pianoforte), the player would be
expected to keep the separate voices coherent or he could without loss
be replaced with an automaton.
Come on, don’t exaggerate. If they’re written as chords, an intelligent
player like you envisage would still recognise them as two voices and
play them appropriately.
I’m very much in favour of sticking with the original notation, but I
agree with Urs that that’s not really feasible here. So you have to die
one death: either change stem direction, change beaming, move it on two
staves, interlock beams in a very unpleasant way or write chords. The
New Bach Edition for example often went with the latter, because with up
to five homophonic voices on one staff not sharing any stems everything
else is not compatible with modern engraving.
Also, it depends on whether it’s a strict contrapunctal composition like
a fugue or not.
Best, Simon
_______________________________________________
lilypond-user mailing list
[email protected]
https://lists.gnu.org/mailman/listinfo/lilypond-user
