On 2018-04-24 00:06, Gianmaria Lari wrote:
My question is off topic. I hope it will not be a problem.
The following is one excerpt from the Sitt book, 20 studies in Double
Stops.
Why in the first three measures the G, D and A are written as g4~4~4~4
d
4~4~4~4 a4~4~4~4 instead of g1 d1 a1? Any idea?
I am not familiar with how this work is intended to be performed nor am
I a music theorist by any standard, but I found a copy online for
reference.
It is possible that the composer (or engraver) felt that keeping the
open string paired with the moving voice in quarters made more sense
visually. At the end of the day, the following two snippets should
basically express the same thing:
%%%%
<g~ d'>4 ( <g~ e'> <g~ fs'> <g~ g'> )
%%%%
<< { \voiceOne d'4 e' fs' g' } \\ { \voiceTwo g1 } >>
%%%%
One difference I can imagine with the explicit tied quarters is a sense
of emphasis. A whole note would imply a steady volume throughout,
whereas the quarters could be indicating a subtle, pulsing volume change
in time with the upper voice.
-- Aaron Hill
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