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Post by fuguestate on Oct 3, 2017 16:14:12 GMT
This seems like a very basic question, but I can't seem to find a clear answer online. What's the correct notation for a glissando that begins on some pitch (let's say C) and ends on another pitch (let's say G just below it), without any held tone either at the beginning or the end?
The common notation of two notes joined by a straight line seems to be interpreted as holding the starting pitch until the nearest beat division before beginning the pitch slide. But I don't want the starting pitch held at all; the slide should begin immediately. How do I notate that?
Also, how do I indicate the total duration of the glissando?
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Post by Mike Hewer on Oct 3, 2017 17:35:05 GMT
Hi Teoh,
The straight line between the 2 notes should be interpreted as an immediate gliss from the starting note. Can you give us the context, instrument and actual music and I'm sure we'll be able to help.... PS There are ways to notate duration and beats within the gliss timeframe. Post what you want to notate and I will post back the correct notation.
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Post by Bob Porter on Oct 3, 2017 18:48:48 GMT
As I understand it. A straight line between two notes is called a slide. The note at the end of the slide is re-articulated. A glissando is a wavy line, and the second note is not re-articulated. Not all sources agree, as is the case with just about everything.
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Post by fuguestate on Oct 3, 2017 19:04:26 GMT
Hi Mike, I only have (very) crude sketches at the moment, so unfortunately there's not much of a context to give. Currently I envision it will be played on (unfretted) string instruments, because of the need for rather wide glissando slides. Here's a rough sketch (no idea whether the notation is correct): Basically, the two pairs of 8th notes are supposed to be played as a smooth glide from the first pitch to the second, and the length of the glide should be exactly 1 beat. The last pair of quarter notes similar denote a slow glide lasting exactly 2 beats. The exact pitches are actually only approximate, but let's leave that for another discussion.
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Post by fuguestate on Oct 3, 2017 19:07:04 GMT
Bob Porter: Haha, yeah, terminology is also a problem; there hardly seems to be much consistency esp. in this area. There's the articulated glissando (or just "glissando", depending on who you're talking to), meaning articulate all semitones or scale notes in between, vs. smooth glissando or slide, as is the case here, representing a gradual bending of pitch without any intervening articulated notes.
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Post by Mike Hewer on Oct 3, 2017 20:06:09 GMT
Teoh, from what you have said what you want, this might be an option as it takes into account a gliss for the full duration of the beat. The trick is to place the destination note of the gliss where you want the gliss to end. The straight line is the correct way to notate and it is best to add a slur for the bowing. Attachments:teoh.pdf (10.21 KB)
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Post by fuguestate on Oct 3, 2017 20:19:27 GMT
Thanks! And how would I go about notating this if the ending pitch of the gliss is indeterminate? Leave out the slashed note? What about the slur?
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Post by fuguestate on Oct 3, 2017 20:22:04 GMT
Hmm, also, does the same notation still work if it's not aligned on beat boundaries? E.g., if I want a glide from the last 8th of a bar to the 3rd 16th of the next bar?
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Post by Bob Porter on Oct 4, 2017 2:53:56 GMT
Perhaps you should just write what you think is best, and put an asterisk by it and explain what you want in a footnote.
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Post by fuguestate on Oct 4, 2017 3:48:19 GMT
True, I could do that. I might just end up creating my own notation, because the piece in question is almost entirely made of such glides. Or invent my own articulation marks for this purpose.
I was hoping there was a standard notation I could use, though. It's more likely to be accepted and understood by would-be performers that way.
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Post by Mike Hewer on Oct 4, 2017 8:30:37 GMT
Teoh, These are the standard conventions understood by all. Always notate slurs. The use of headless stems defines rhythmic syncopation as you can see. Attachments:teoh22.pdf (17.49 KB)
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Post by Dave Dexter on Oct 4, 2017 9:52:47 GMT
Headless stems? I'll be writing some unsettling string rises sometime so that's a good one to remember, never occurred to me as a thing.
FS, someone posted a score & recording on the old forum that I recall made much use of gliss and sound effects, it was excellent and could be good for study. I'll try and find it. Was called "The Black Hole" or similar.
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Post by fuguestate on Oct 4, 2017 16:26:11 GMT
Dave Dexter: I know Lara Poe used to post pieces on the Old Forum that used all sorts of interesting effects like glissandi, quartertones, (very) wide vibratos, knocking your knuckles on your instrument, that sort of thing. Unfortunately I didn't pay detailed enough attention to her scores to remember the various notations she used.
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Post by Dave Dexter on Oct 4, 2017 16:47:39 GMT
Hence me never really being a fan of her work, sadly! I imagine she's ok with that. If the forum's gone for good I will have to ask the composer for the score, but the track I had in mind was soundcloud.com/michael-ducharme/x-1-for-orchestra-ubcso-run-throughUpdate - turns out I downloaded the score when viewing it last year. Attached - I'll check with Michael and remove it if he prefers (he won a composer contest with it - fair play!).
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Post by fuguestate on Oct 4, 2017 19:02:10 GMT
Thanks for the link to the score. It jives with what Mike said about gliss notation.
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