Pianophilia

This is normal when you need to save space

You find it fairly often in 18th century pianoforte publications. It has no extra meaning other than that.

Regards
Fred

fredbucket wrote: ↑Fri Jan 28, 2022 7:14 am This is normal when you need to save space

You find it fairly often in 18th century pianoforte publications. It has no extra meaning other than that.

Sorry but I'm none the wiser as to what this "normal" means. The turn is applied to the first note?

bingo wrote: ↑Fri Jan 28, 2022 11:57 am Sorry but I'm none the wiser as to what this "normal" means. The turn is applied to the first note?

Yes, but actually in between the two notes.

Regards
Fred

Is that any different to a normal turn within the allotted time of the first note? Or is time robbed from the next?

bingo wrote: ↑Fri Jan 28, 2022 10:43 pm Is that any different to a normal turn within the allotted time of the first note? Or is time robbed from the next?

No, it’s not. If the turn is above the note, the turn starts on the note. If the turn comes in between the notes, the turn starts after the first note and finishes before the next note. The next note is unaffected.

Regards
Fred

From Rodkiewicz's Op.3 Amour en Reve, measures 27-30, an example of music notation that would make performers and type-setters pull their hair out trying to play literally.

m27: the first treble chord needs to be quadruple-dotted in order for the next note to fall after the bass arpeggio.
m29: the last note of the bass-arpeggio coincides with the first treble note of the next beat
m30: note for note, the same as m27, but this time the final bass arpeggio note is played with, rather than before the second treble chord.

I don't think there's anything wrong with this at all. Each of those arpeggios are grace notes - i.e. they have no formal length and like all grace notes and appogiaturas do not add to the number of beats in the bar. In bar 37, for example, in the right hand there is a dotted quaver + semiquaver+ 2 x crotchets = three beats, as in the time signature. There is no problem with the composer specifying in bars 39-40 that the last note in the arpeggio is to be played at the same time as the chords above them.

Given that the movement is marked Andante, there would in performance be some flexibility in the timing, but in a formal sense the notation is correct.

Regards
Fred