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Re: New context modifier \CompletionRhythms?

From: David Kastrup
Subject: Re: New context modifier \CompletionRhythms?
Date: Sun, 10 Apr 2016 14:39:42 +0200
User-agent: Gnus/5.13 (Gnus v5.13) Emacs/25.1.50 (gnu/linux)

"Phil Holmes" <address@hidden> writes:

> ----- Original Message ----- 
> From: "David Kastrup" <address@hidden>
>> Why would you even split note values across bars in "ancient music"?
>> I much prefer unmolested note values and bar lines _between_ staves
>> there.  Makes the motives stand out clearer and avoids boorish
>> accentuation of mid-syncopes by the singers.
>> -- 
>> David Kastrup
> I regularly sing music from the Renaissance  and prior periods
> re-typeset into modern musical style, and in all the books and scores
> we sing from, notes that bridge modern bars are _always_ split with
> ties.  I have never some across anyone who regularly sings this kind
> of music who does not understand this style of typesetting.

"Understand" and "execute as if it were written without relation to the
bar separations in the first place" are two different things.  Modern
syncopation tends to be executed with a stress on the tension to the
"straight" timing that just isn't appropriate for Renaissance music
since a shifted theme is just a shifted theme and does not warrant
hacking every note into accentuated pieces.

It's like circling every stave in alliterative verse, with the speaker
making an artificial pause before them.

I mean, those are bar lines.  Not crowbar lines.  I find that stuff
flows more naturally when one does not need to sew notes back together
that ventured across a bar line or even a beat.

David Kastrup

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