Bartok - Syncopation (1): Meaning of notes in between Grand Staff The 2019 Stack Overflow Developer Survey Results Are InDo accidentals in one staff apply to notes in other staffs?Meaning of “actual notes” above staffMeaning of diamond-shape notes on guitar staffMe and the grand staff: how to achieve pacific coexistencePiano with two treble clefs and 8va on grand staffThe development of the musical staff: If and when did it have fifteen lines?How should I distinguish between syncopation or un-metrical rhythm?Is it Necessary to Follow Chord Instruction Above Grand Staff (Piano)?How can I change slur from above to below notes when switching staff in Lilypond?How to identify syncopation?
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Bartok - Syncopation (1): Meaning of notes in between Grand Staff
The 2019 Stack Overflow Developer Survey Results Are InDo accidentals in one staff apply to notes in other staffs?Meaning of “actual notes” above staffMeaning of diamond-shape notes on guitar staffMe and the grand staff: how to achieve pacific coexistencePiano with two treble clefs and 8va on grand staffThe development of the musical staff: If and when did it have fifteen lines?How should I distinguish between syncopation or un-metrical rhythm?Is it Necessary to Follow Chord Instruction Above Grand Staff (Piano)?How can I change slur from above to below notes when switching staff in Lilypond?How to identify syncopation?
Bartok - Mikrokosmos Book 1 - 91)* Syncopation(1)
What's the meaning of the notes in between the Grand Staff?
piano notation syncopation
asked Mar 30 at 20:07
xvanxvan
2005
add a comment |
Bartok - Mikrokosmos Book 1 - 91)* Syncopation(1)
What's the meaning of the notes in between the Grand Staff?
piano notation syncopation
asked Mar 30 at 20:07
xvanxvan
2005
add a comment |
Bartok - Mikrokosmos Book 1 - 91)* Syncopation(1)
What's the meaning of the notes in between the Grand Staff?
piano notation syncopation
asked Mar 30 at 20:07
xvanxvan
2005
Bartok - Mikrokosmos Book 1 - 91)* Syncopation(1)
What's the meaning of the notes in between the Grand Staff?
piano notation syncopation
piano notation syncopation
asked Mar 30 at 20:07
xvanxvan
2005
asked Mar 30 at 20:07
xvanxvan
2005
asked Mar 30 at 20:07
xvanxvan
2005
asked Mar 30 at 20:07
xvanxvan
2005
asked Mar 30 at 20:07
xvanxvan
2005
2005
add a comment |
add a comment |
1 Answer
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The star in the middle of the staff actually points us to a footnote given at the end of this first book. In my edition (Boosey & Hawkes), the footnote states:
The rhythmic feeling of the suspensions should be emphasized by some energetic movement such as tapping with the foot in the places marked by rhythmic signatures between the staves.
From a pedagogical standpoint, this helps the performer place the next pitch accurately within the measure. Young musicians often speed through long held notes, so forcing a young player to think about beat 1 of the second measure will help them more successfully play beat 2.
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
3
"Young musicians often speed through long held notes" Good point. Also relevant here is the related flaw that shorter notes following longer notes can be accelerated: long waits make for impatience. Classic example: the Bb minor fugue in WTC Book 1. This gets a rant in Neuhaus' book.
– replete
Mar 30 at 21:26
add a comment |
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1 Answer
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1 Answer
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The star in the middle of the staff actually points us to a footnote given at the end of this first book. In my edition (Boosey & Hawkes), the footnote states:
The rhythmic feeling of the suspensions should be emphasized by some energetic movement such as tapping with the foot in the places marked by rhythmic signatures between the staves.
From a pedagogical standpoint, this helps the performer place the next pitch accurately within the measure. Young musicians often speed through long held notes, so forcing a young player to think about beat 1 of the second measure will help them more successfully play beat 2.
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
3
"Young musicians often speed through long held notes" Good point. Also relevant here is the related flaw that shorter notes following longer notes can be accelerated: long waits make for impatience. Classic example: the Bb minor fugue in WTC Book 1. This gets a rant in Neuhaus' book.
– replete
Mar 30 at 21:26
add a comment |
The star in the middle of the staff actually points us to a footnote given at the end of this first book. In my edition (Boosey & Hawkes), the footnote states:
The rhythmic feeling of the suspensions should be emphasized by some energetic movement such as tapping with the foot in the places marked by rhythmic signatures between the staves.
From a pedagogical standpoint, this helps the performer place the next pitch accurately within the measure. Young musicians often speed through long held notes, so forcing a young player to think about beat 1 of the second measure will help them more successfully play beat 2.
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
3
"Young musicians often speed through long held notes" Good point. Also relevant here is the related flaw that shorter notes following longer notes can be accelerated: long waits make for impatience. Classic example: the Bb minor fugue in WTC Book 1. This gets a rant in Neuhaus' book.
– replete
Mar 30 at 21:26
add a comment |
The star in the middle of the staff actually points us to a footnote given at the end of this first book. In my edition (Boosey & Hawkes), the footnote states:
The rhythmic feeling of the suspensions should be emphasized by some energetic movement such as tapping with the foot in the places marked by rhythmic signatures between the staves.
From a pedagogical standpoint, this helps the performer place the next pitch accurately within the measure. Young musicians often speed through long held notes, so forcing a young player to think about beat 1 of the second measure will help them more successfully play beat 2.
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
The star in the middle of the staff actually points us to a footnote given at the end of this first book. In my edition (Boosey & Hawkes), the footnote states:
The rhythmic feeling of the suspensions should be emphasized by some energetic movement such as tapping with the foot in the places marked by rhythmic signatures between the staves.
From a pedagogical standpoint, this helps the performer place the next pitch accurately within the measure. Young musicians often speed through long held notes, so forcing a young player to think about beat 1 of the second measure will help them more successfully play beat 2.
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
answered Mar 30 at 21:19
RichardRichard
45.3k7106195
45.3k7106195
3
"Young musicians often speed through long held notes" Good point. Also relevant here is the related flaw that shorter notes following longer notes can be accelerated: long waits make for impatience. Classic example: the Bb minor fugue in WTC Book 1. This gets a rant in Neuhaus' book.
– replete
Mar 30 at 21:26
add a comment |
3
"Young musicians often speed through long held notes" Good point. Also relevant here is the related flaw that shorter notes following longer notes can be accelerated: long waits make for impatience. Classic example: the Bb minor fugue in WTC Book 1. This gets a rant in Neuhaus' book.
– replete
Mar 30 at 21:26
3
3
"Young musicians often speed through long held notes" Good point. Also relevant here is the related flaw that shorter notes following longer notes can be accelerated: long waits make for impatience. Classic example: the Bb minor fugue in WTC Book 1. This gets a rant in Neuhaus' book.
– replete
Mar 30 at 21:26
"Young musicians often speed through long held notes" Good point. Also relevant here is the related flaw that shorter notes following longer notes can be accelerated: long waits make for impatience. Classic example: the Bb minor fugue in WTC Book 1. This gets a rant in Neuhaus' book.
– replete
Mar 30 at 21:26
add a comment |
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