I've always thought of the spaces as being similar to playing something
like a glockenspiel/hammer dulcimer (with one hammer) or even a piano
(with one finger) where it's very difficult to play legato or slur notes
into one another. The fact I have six fingers and a thumb covering the
holes doesn't mean one can use them all at the same time (OK, you'd drop
the chanter but you get the idea). There has to be a slight delay as the
one finger is moved from one note to another - the use of several
fingers doesn't alter the fact that each finger must complete it's task
on it's own - and before the next. That's the way I have tried to make
sense of it anyway.
The use of a music program (or even a music box) shows just how poorly
the actual dots can sound without the "feel" of the musician even though
perfectly executed mechanically.
That's the bit they still haven't invented notation to show ("with
feeling" doesn't really help on a music score, does it). That's how I
understand the bit about the spaces between the notes anyway.
Fortunately I'm rubbish at reading music (I'm an "every good boy"
reader) so need, very much, to know the tune by ear before looking at
the dots and then the coded message in the dots becomes much clearer.
Colin Hill
On 23/06/2011 11:49, Francis Wood wrote:
On 23 Jun 2011, at 11:20, Julia Say wrote:
"The most important thing in a tune is the spaces between the notes, not the
notes
themselves."
This is also consistent with the musical principles of the composer Bruno Heinz
Jaja, demonstrated by the musicologists Dr Klauss Domgraf-Fassbaender and
Professor von der Vogelweide at the Hoffning Interplanetary Festival 1958
"Each note is dependant on the next".
"Each note is like a little polished diamond"
"There are three bars of silence . . . the second bar is in 3-4 and this gives to
the whole work a quasi-Viennese flavour"
Francis
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