Re: Acciaccatura question

In article <Q6sJe.5232$vD.334@trnddc05>, "Steve Latham"
<llatham@xxxxxxxxxxx> wrote:

But what are you doing Hans - are you notating them and looking
> for ornament symbols, or do you want to use them and are looking for
> notation that works (what I gave above)????

I am experimenting with LilyPond, attempting to write down a rachenitsa. I
have put it temporarily up at
http://www.math.su.se/~haberg/Rachenitsa.pdf
http://www.math.su.se/~haberg/Rachenitsa.mp3
It is not finished yet, so you can see the notation varies.

> An acciaccatura is a "crush" - a non harmonic tone sounded simultaneously
> wiht other chord tones, that is not prepared or resolved.

There seems to be some variation. See:
http://en.wikipedia.org/wiki/Ornament_%28music%29
It could be played as a crush on a ketboard, it says.

> > The first form I want to indicate is that it is performed so that the main
> > note starts at the time it is written, also in the case when the main note
> > is not the first note in the bar.
>
> In notation? If it's modern, I might put, say a quarter note C stems up, and
> then (let's assume the B to be the crush), a very short note, such as a 32nd
> note with the appropriate rests stems down. Alternatively you might put C
> with a tenuto line, and B with a stacatto dot if you don't want the value of
> the shorter note to be specific - this strikes me as the leat cluttered -
> the tenuto line is really superfluous but you might include it in
> parentheses to show that a staccato wasn't accidently left out on the C
> note, and it's supposed to read the way you have it.

I think the first variation might be suitable. In the example above, it is
in measure 9, 11, 13.

> > The second form is on a keyboard, and is initiated at the same time as the
> > main note, and then quickly released (often attached to a main 16th note
> > and often the chromatic semitone above the main note).
>
> This is what I know as an acc - the other one above you seem to be
> describing is appogiatura possbily. What I gave above relates to this second
> paragraph.

In measure 25, I made an experimental double-note acciaccatura to make
sure it is played as a crush.

--
Hans Aberg
.

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