Page 1 of 1
accidentals (corrected)
Posted: 03 Nov 2023, 20:40
by musicus
I'm interested in knowing what is the "correct" notation for the
attached passage, particularly the dyads moving downward. For my
taste I'd like them to appear as fourths, to be visually pleasing.
But I'd also like them to follow the rule of flattening the succeeding
notes because the passage is moving downward. (My understanding is that
if the passage were moving upward I'd be using sharps instead.)
Someone please educate me on this. Thanks.
Re: accidentals (corrected)
Posted: 04 Nov 2023, 10:03
by David Ward
musicus wrote: ↑03 Nov 2023, 20:40
… … …But I'd also like them to follow the rule of flattening the succeeding
notes because the passage is moving downward.… … …
I'm not sure how strongly that need apply when you have a sharp key signature. Even without a key signature, I think it might depend on the general musical context. Any such ‘rule’ might be trumped by your wish to notate in fourths.
Re: accidentals (corrected)
Posted: 04 Nov 2023, 12:34
by John Ruggero
Since the piece is tonal, the older convention might apply in which one would use the notes in the diatonic major scale in preference to chromatic replacements both ascending and descending. So G# instead of A flat, C# in stead of D flat etc.
I also replaced E flat with D# even though it's not in the A major scale, just as you did in m. 3, because it is the leading tone in the dominant key. And in your example, there are two chromatic melodic lines (named A and B in the following example) swapping places. I think it would be logical to spell them the same way.
- Chromatic.png (101.35 KiB) Viewed 18802 times
Re: accidentals (corrected)
Posted: 05 Nov 2023, 15:37
by musicus
Thanks. I'm gathering that there is no rule, therefore "best judgment" might be the guiding principle (not using the word "rule.) I am one who prefers easy-to-read visuals, generally. None of the options is perfect, but as long as the overall impression is clear, then fine with me.
David Ward wrote: ↑04 Nov 2023, 10:03
musicus wrote: ↑03 Nov 2023, 20:40
… … …But I'd also like them to follow the rule of flattening the succeeding
notes because the passage is moving downward.… … …
I'm not sure how strongly that need apply when you have a sharp key signature. Even without a key signature, I think it might depend on the general musical context. Any such ‘rule’ might be trumped by your wish to notate in fourths.
Re: accidentals (corrected)
Posted: 05 Nov 2023, 15:43
by musicus
Thanks. I like your keen observation about swapping places. Basically what I want is the appearance of 4ths but I see that this will result in a coupla strange-looking spellings. So, as I mentioned to Mr. Ward (above) as long as the overall impression is clear then I'm OK with it. I certainly don't want the performer to get a headache over it, and I would not want to get a headache myself. Looking at printed music should be a pleasure.
John Ruggero wrote: ↑04 Nov 2023, 12:34
Since the piece is tonal, the older convention might apply in which one would use the notes in the diatonic major scale in preference to chromatic replacements both ascending and descending. So G# instead of A flat, C# in stead of D flat etc.
I also replaced E flat with D# even though it's not in the A major scale, just as you did in m. 3, because it is the leading tone in the dominant key. And in your example, there are two chromatic melodic lines (named A and B in the following example) swapping places. I think it would be logical to spell them the same way.
Chromatic.png