Re: Aligning a tempo marking with a note

[David Sumbler]

The markings that have been discussed relate either to "dynamic" (e.g.
"mf" or "dim.), or to tempo (e.g. "Allegro", rit.").  

They also indicate either a state ("mf", "Allegro") or a continuous
change ("dim.", "rit.").  Both "mf" and "Allegro" could apply to a whole
piece lasting, say, half an hour, but "dim. and "rit." could not
sensibly do so.

There is a third classification that one might consider: does the mark
apply to the whole ensemble, or can it apply to just some of it?
Clearly, in conventional music tempo markings (whether immediate or
gradual) must apply to the whole ensemble, whereas dynamic markings of
either sort can apply to just some of the instruments.

For this reason it is natural that, whereas dynamic marks are shown
separately for each instrument, tempo markings (of both sorts) should
appear just once in a score (normally above the top stave).  This is one
reason I favour marking "rit." etc. by using \tempo: it automatically
puts the mark once in the score and once in each individual extracted
part.

The situation is slightly confused because the distinction is not so
clear in music written for one instrument (typically piano).  It is not
unreasonable to have "rit. e dim." in a piece of solo music.  However
even in a piano piece, one occasionally gets differential dynamics
between one "voice" and another.  But one would not usually find, say,
"rit." in the right hand and "accel." in the left (except in Nancarrow's
music!)

David


> > From: Kieren MacMillan <address@hidden>
> > To: Noeck <address@hidden>
> > Cc: Lilypond-User Mailing List <address@hidden>
> > Subject: Re: Aligning a tempo marking with a note
> > Date: Thu, 19 Nov 2015 18:24:58 -0500
> > 
> > Hi Joram,
> > 
> > > Well, they are closer than cresc and rit for example.
> > 
> > Definitely!  =)
> > 
> > > marks like 'Allegro' are valid for a whole piece or at least large parts 
> > > of it
> > 
> > Not really… A metronome marking is only valid until the next time the tempo 
> > changes in any way. That change could be immediate and extreme (e.g., 
> > “Molto Lento”) or immediate and not-so-extereme (e.g., “Poco meno mosso”) 
> > or gradual (e.g., “poco accel.”). The tempo is then reset, either 
> > explicitly (e.g., “Allegro”) or by reference (e.g., “A tempo”).
> > 
> > > A similar thing (not fully equivalent) is this: bar numbers and
> > > rehearsal marks. Both can be used to identify a point in time, the
> > > latter are for larger chunks, the former more fine grained.
> > 
> > I agree that the analogy is not fully equivalent.
> > 
> > Cheers,
> > Kieren.
> > ________________________________
> > 
> > Kieren MacMillan, composer
> > ‣ website: www.kierenmacmillan.info
> > ‣ email: address@hidden
> > 
> > 
> > 
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