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Re: Odd output

From: Michael Ellis
Subject: Re: Odd output
Date: Sat, 18 Dec 2010 09:18:06 -0500

Thanks Phil, I'm curious about the vocal part.  Why is the stemming different than the piano reduction?  As written, it indicates SAA division on the first chord and SSS  (no Alto!)  on the second.  This may seem trivial and skilled singers will generally do the right thing. OTOH, I've frequently seen rehearsals of a 100+ member chorus interrupted when notation less confusing than this causes someone to ask which notes s/he should be singing.


On Sat, Dec 18, 2010 at 6:21 AM, Phil Holmes <address@hidden> wrote:
----- Original Message ----- From: "Neil Puttock" <address@hidden>
To: "James Lowe" <address@hidden>
Cc: "Keith OHara" <address@hidden>; <address@hidden>
Sent: Friday, December 17, 2010 11:37 PM
Subject: Re: Odd output

On 17 December 2010 23:09, James Lowe <address@hidden> wrote:

I am not a vocal specialist but just using this one simplistic example of C seems erroneous. Isn't the idea of the notes printed at the same moment to show that they need to be sung at the same moment if you see what I mean? Yes I am sure that a vocalist can make their own mind up, but if that is the reasoning then it doesn't matter what we use then does it and you can provide instruction accordingly.

I've only seen this notation in piano music (I guess Phil's Mikado
example is part of the piano reduction accompanying the voices),
whereby the melodic line is kept separate from the accompaniment.

Attached is another example from the Mikuli edition of Chopin's
Impromptu in G flat major.



The beamed version is indeed the piano reduction.  I've put some extra info about this in the tracker, but for the record, here's the vocal and piano parts.

Phil Holmes

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