| I didn't include a tempo marking but I should clarify that the tempo is fast enough that the tremolo would probably be too difficult to play with one hand. Throughout the piece the emphasis is on the alternating hand pattern with the melody in the "right half" of the right hand (You can hear the piece at http://curtsiffert.com/anelusivesweetness )
I was thinking the fingering would help to communicate that idea, but maybe the cross-staving helps to communicate that enough. I think option three is the most elegant looking, but I would play the tremolo in the left hand alone with the fingering <a-3 cis-1> <e-5 b-2> in order to free the right for better control. I also agree with David unless there is something peculiarly awkward to get around or some texture you are trying to achieve it is generally best to leave the fingering off. Especially since after a certain point of skill you could navigate passages with different fingerings with equal advantage.
Shane
On Mon, Jan 28, 2013 at 11:06 PM, David Nalesnik <address@hidden> wrote:
Hi Curt,
Hi, I am very torn about how to notate a piano figure of a simple piano prelude I wrote. Below are four screenshot snippets of the figure in question (the entire prelude is made up of such figures). Can someone help recommend the best approach or suggest an improvement? I can forward source for any of them if anyone needs it.
#2 - treble clef (sample of those four bars in a different file) <PastedGraphic-4.png>
Of the four, #2 is the version I prefer. BTW, you don't need to specify fingerings for every note. The initial "3" is certainly sufficient for the melodic line (and, in any case, the pianist might choose to change fingers on the last E.)
#3 - bass clef <PastedGraphic-5.png>
This is perfectly readable too, and might be chosen based on the context.
HTH, David
_______________________________________________
lilypond-user mailing list
address@hidden
https://lists.gnu.org/mailman/listinfo/lilypond-user
|