Re: Notational conventions

[David Kastrup]

Hans Åberg <address@hidden> writes:

>> On 9 Nov 2016, at 14:47, David Kastrup <address@hidden> wrote:
>> 
>> Hans Åberg <address@hidden> writes:
>
>>> I prefer no overlap in the ornaments, that is, legato style.
>> 
>> Hm?  I was not talking about overlap (and when referring to a singing
>> manual, overlap with the main note would be quite a feat).  I was
>> talking about _when_ to change to the main note with an appoggiatura.  I
>> don't know any school that would make a nonlegato execution of an
>> appoggiatura a serious option.
>> 
>>> Even in Balkan music, overlap does not seem necessary.
>> 
>> You completely lose me here but it's not like that would be anything new.
>
> In your video, I got the impression you had chosen a style with heavy
> overlap on a trill there.

Uh, the topic I talked about were appoggiatura.  You are quite correct
about the heavy overlap on some trills but I am afraid that this is not
deliberate but just bad technique: I'd rather have a clean, even
non-legato execution there.

Let's talk about this in a few years again.  Trilling on adjacent
buttons on a chromatic button accordion turns out to be sort-of tricky
since you cannot really employ the wrist.  And the buttons, as opposed
to piano keys, don't have significant bounce of their own for shaping
the trill.  So it's really the fingers that must deliver.  On a 5-row
instrument, you can always adjust your fingering using the redundant
help rows in order to be trilling on non-adjacent buttons, making it
easier to have a nice pizzaz.  On my 4-row instrument, some trills
require trilling on adjacent buttons, and this piece's voice
distribution makes it hard to use anything but 3-4 fingering here.

So with regard to the execution of the trills, this recording is just a
consequence of me being an incompetent player.  Sorry if you got
confused into assigning more meaning to it.

-- 
David Kastrup