This would also allow you the opportunity to discuss any disagreements you have with that typesetting. If you were to play this piece, or offer a lecture on it, you would want to clarify that you are using that particular typesetting. 6, and not a G♭/B♭ dyad.Īnd all in all, the IMSLP typeset version looks pretty accurate. Consult page 2/system 3/measure 1, left hand:īased on these two facts (and your two points about the tie and melodic contour), I agree with the single A♭ in m. But perhaps this is just an idiosyncrasy of her notation let's look elsewhere to see whether she ever wrote both dots for pitches a third apart. But we can take it one step further: Boulanger wrote only one dot in m. That alone, in my opinion, is enough to show that this is just a single A♭. But a quick analysis of the piece shows that everywhere else in the music, this top line is a single voice (like in page 2/system 1/measure 3): I agree: at first glance, the manuscript does look like G♭/B♭. My first composition This charming piece uses a consistent broken chord pattern that accompanies a beautiful melody in the bass. Whenever you're unsure what a specific pitch/rhythm is, oftentimes an analysis of the piece can limit your options of even clarify what the pitch/rhythm "should" be.Īnd this last sentence is what informs this particular question you're asking. As such, the best way to guarantee the accuracy of a reproduction is by verifying it yourself. 28, Raindrop by Yu Chen, Yu Chen was born in China in 1984 and studied piano performance in Vienna with. Manuscript study always involves some interpretation on account of some unclear notation by the original composers. For the word puzzle clue of prelude in d flat major, the Sporcle Puzzle Library found the following results. Also, there's no way the G♭-B♭ chord is a typo it was explicitly written with the octave D♭ in the bass clef as the 2nd inversion of the IV chord. Rhythmically G♭-G♭-F, E♭-E♭-D♭ is more symmetrical than A♭-G♭-F, E♭-E♭-D♭. While A♭ is the better choice harmonically, melodically the G♭-B♭ chord isn't too out-of-place, and sounds more "haunting". Notice that the manuscript's tie seems to contradict the G♭-B♭ chord. The manuscript's sixth measure excludes a would-be crossed-out measure 5. Measure 6: typeset on the left, manuscript on the right. Are there any reasons to assume the typeset editions are correct?Ī picture is worth a thousand words. The manuscript is incomplete, error-prone, and difficult to read. While a single A♭ in these editions, per the manuscript the second beat in the treble clef of measure six is clearly a G♭-B♭ chord. I'm not sure if I can trust either typeset versions. The original manuscript/facsimile is also available via IMSLP. This music sheet has been read 14335 times and the last read was at 00:56:36. Preview prelude in d flat major op 28 no 15 raindrop prelude chopin is available in 3 pages and compose for advanced difficulty. I've found two type-settings of the prelude: Prelude In D Flat Major Op 28 No 15 Raindrop Prelude Chopin.
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