Lilypond-user-request,
Best regards, Peter mailto:[email protected] www.ptoye.com ------------------------- Monday, May 30, 2022, 2:40:08 PM, [email protected] wrote: > Message: 4 > Date: Mon, 30 May 2022 15:07:48 +0200 > From: David Kastrup <[email protected]> > To: Kieren MacMillan <[email protected]> > Cc: Simon Bailey <[email protected]>, Lilypond-User Mailing List > <[email protected]> > Subject: Re: Piano pedalling in (conductor) scores > Message-ID: <[email protected]> > Content-Type: text/plain; charset=utf-8 > Kieren MacMillan <[email protected]> writes: >> Hi Simon, >>> when preparing a conductor's score that also includes a piano (as an >>> ensemble, not soloist) part, do you also include the pedalling >>> information for the piano? >> IMO, a conductor’s score should contain essentially all the >> information in the performers’ parts, although possibly in a slightly >> different presentation (e.g., different clef, combined staves, >> shorthand, etc.) > I disagree. There is no point in cluttering the conductor's part with > stuff like fingerings (only relevant to the player) and bowing > directions (section leader material). >>> How useful is that information for a conductor? >> Very! For example, let’s say the piano part says “senza ped.” and the >> conductor’s score has no marking — the conductor would likely assume >> the part would be played with pedal (ad lib.), and there might be >> confusion in rehearsal when the conductor hears no pedal. > Pedalling is musically relevant to some degree (but often applied by the > player at will) but it really depends on whether we are talking about > information mandated by the composer or editorial suggestions. If the > latter, there seems little point in giving the conductor the information > necessary to enforce the editor's rather than the composer's vision of > execution. I agree with Kieren here. If the conductor doesn't know what the performer sees, they're going to have to stop the rehearsal to clear it up. Norman del Mar mentions this about the harmonium part of Strauss's 'Ariadne auf Naxos' which apparently contains copious detailed instructions about what stops to use where, all of which is missing from the score.
