Two notation questions

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Bo
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Two notation questions

Post by Bo »

OK, the files I am attaching here are from a recorder book, so I am not sure the strange notation has to do with the recorder (although I also have a recorder, but I have never seen anything like that).

In the file called "Meditation", what are those lines? Are they like ties?
And in the one called "March", what are the white notes that look like half notes or whole notes but obviously are not?

Thank you!!!!!! :D
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Meditation.jpg
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March.jpg
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Fox
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Re: Two notation questions

Post by Fox »

I think the white notes are tremolo, but not sure about that. As for the lines, I have no idea.

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Bo
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Re: Two notation questions

Post by Bo »

Thank you, Fox. :)
I have found out in a book at the library that this notation is peculiar to the composer (Gerhard Braun): the lines are called "space notation" and should give an idea of the duration of the notes, while the hollow notes indicate non-tempered pitches (notes pitched between those of the chromatic scale). (You have to remove the recorder's footjoint in order to reach this effect.) :D

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Fox
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Re: Two notation questions

Post by Fox »

That's crazy! A composer using his own secret method? What is the world coming too?

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Bo
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Re: Two notation questions

Post by Bo »

Well, yes. :D There was a similar discussion on a piano board. Modern composers drive people crazy sometimes as they use they own secret code...
There is even a totally new system invented by someone. I have to go out soon and can't remember its name right now, but I think it is even in the Wikipedia.... (It has not established itself though.)

It's a crazy world! :roll:

Mindermast
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Re: Two notation questions

Post by Mindermast »

The first example has an explanation, there is a line marked "1 second". This is obviously the reference for the note durations.

I wouldn't call this world crazy because some composers use odd notation systems. This is only due to the fact, that our traditional system is so limited and composers sometimes want to write down exactly, what they have in mind. I have seen scores that consists of more explanation than actual music. Also, some composers have moved away from using our traditional scales and tunings and they do need some means of telling the musicians.

In former times, composers often relied on the abilities of the musicians to guess, what exactly he was expected to play. This worked locally, on well established contemporary styles, but even Bach found it necessary to explain some of his notation methods because he knew that people would play it differently otherwise. Other composers such as Brahms, Beethoven and Mozart have written compendiums to explain, what they expected a well educated musician to know. Today, a well educated musician knows about various styles of interpretation from different musical periods, but he can only guess what a contemporary composer has recently developed, unless he already knows.

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