![]() This is compounded these days by the fact that any idiot can self-publish music now thanks to programs like Finale and Sibelius. ![]() a lot of what shows up in print today has been incorrectly notated for years, and in many cases are just photocopies of older, incorrect additions. In the example I posted, beat 3 is a "strong" beat in 4/4, thus requiring ties to allow for actual noteheads on the strong beat. Unfortunately, most of my text books are already packed away for our move, so I can't give you specific book listings.Ī syncopation must not camouflage a strong beat. I am basing my information off the 5 engraving manuals I have here, including the Gardner Reed book. I thought I was pretty clear about that in my initial post. I know you will probably disagree, but then you are free to just ignore my advice and continue to do as you please.Īs I did say, however, there are situational exceptions. That said, "seeing something in print" does not make it correct notation. Many editions where you will find exact reproductions of the beaming the composer wrote, without correcting for proper notation. There is actually a lot of "incorrect" engraving being done, and this by "professional" engravers. Unless you are referring to the dotted line I put in to indicate the strong-beat separation of the measure? That is purely to help show where the the strong beat is and is not actually PART of the notation. Please check any manual on engraving, where you will find that that is in fact the "correct" way to notate the syncopation in question. I have never seen a score like the 'correct' example by Qcc, and I have seen a lot of scores. ![]() (Well, the concept of "syncopation" doesn't make much sense there anyways.) In additive rhythms like the ones Messiaen uses, there would be little point in dividing notes into such groups. These practices of course only make sense if there -is- an underlying pulse. Hmm, I don't think I explained this one well. In such a case it's still written as quaver-crotchet-quaver-tie-quaver-crotchet quaver, instead of quaver-3 crotchets-tie, to make the chord change in the other instruments apparent. If you have a semiquaver followed by eight quavers, followed by another semiquaver for example it might be helpful for the musician to either divide them in groups of semiquaver-3 quavers-semiquaver and tie them to the next group so you still see a half note pulse, or even use semiquaver-quaver-semiquaver groups tied together so you see the underlying crotchet pulse, which would be especially recommendable in a slow tempo.Īpart from this most common reason, there is another one that you will sometimes find in orchestral parts (Brahms for example): When a whole register (say, 4 Horns, for example) plays plays the same syncopic rhythm of two groups of quaver-crotchet-quaver, for example, where the chord changes between the two groups, the instruments that stay on the same note before and after the chord change may have a tied over note. ![]() Mostly the reason for dividing a crotchet into two tied quavers is just readability, so you don't get lost in a long array of off-beat notes but still see the underlying pulse. ![]()
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