On Sat, Mar 16, 2013 at 12:22 AM, Sarah k Alawami
<address@hidden> wrote:
Ok. so based on the example I played I have no choice. so do I just put the whole shebang on beat one and hope the pianist, in this case either me or the prof or a class mate would have the sense to do what I did, better then me of corse. lol.
I know how to build the cord in lily pond but I'm wondering if I need to do something special or will they just know, unless they have hands that can stretch 2 octaves lol!
do I need that bracket or how ever my sighted friend described it to me when we put it in to a piece I was composing about 5 years ago? the teacher rolled that cord the way we had indicated.
I've seen this notation, but I'm not having much luck producing a workable example. It would be done with a hidden voice and an arpeggio modified to look like a bracket.
Simpler would be a very common notation using tied grace notes to indicate the quick displacement between the parts of the chord. Something like this:
\version "2.16.0"
\new Staff {
\relative c, {
\clef bass
\tieDown
\slashedGrace <a a'>8 ~
<a a' e' a cis>1
}
}
Hope this helps.
David