This is an excellent thing to try for any pianist – it challenges both your rhythmic ability and your right-left hand coordination.
Quaver piano series#
I would be inclined to conclude that the alignment on the last page is less likely to reflect Beethoven's intentions.This is the next in the series of using Latin Rhythms to change the style of songs. In the two cases where the triplet is on the lower staff, the stems and beams are colliding with one another, so everything is a bit crowded, and the alignment might have suffered because of that. In two of the four cases, though, the triplet is on the other staff, with a bit of crossing out and correcting/editing in one of those spots. On the other hand, when the figure appears in the bass, at the end of the movement, the 16th notes do appear to be aligned with the third triplet notes. There's a case to be made that this layout is not significant, especially if you see how quarter notes and half notes are not generally aligned with the first note of the corresponding triplet figure, but in the other place where the dotted figure appears in the upper staff with a written-out triplet (as opposed to the slash abbreviation), on page 5, the spacing is the same. This seems like very strong evidence that the dotted rhythm should not be assimilated to the triplet. If you look at the first surviving page of the manuscript, at the end of the third line of music, in the right hand, you will see the triplet written directly below the dotted rhythm, and the head of the second note of the dotted figure is placed distinctly after that of the last note of the triplet. I despaired of ever being able to achieve that, but with some practice (less than I had thought), I was able to do it, at least to my own satisfaction.īut the reason for this answer is to address this part of your question, about Beethoven's intentions: That can be particularly difficult for a player of "amateur abilities," but I encourage you not to give up. I have always thought that the ideal should approximate two independent voices played by different people. Other answers have made a good case for the common interpretation.
Quaver piano software#
I wouldn't expect it to sound acceptable in MuseScore without tinkering, as the software won't be phrasing and balancing the parts as a human would. Hand, there are cases in romantic music where the slight distortion of On rhythm - you should of course be very precise. Variation of the Schumann Symphonic Etudes, a variation built mostly
Rhythm should be veryĮlastic, the notation of rhythm being only approximate. Sometimes figures are played too precisely. A comment by Claudio Arrau springs to mind, from Dean Elder's interview book "Pianists at Play":ĭo you think of rhythmic figures that often are not played precisely enough? Another view, reading between the lines, is that Beethoven was expressing a contrast of rhythm and the degree is up to the player. The other issue is how accurately rhythms in general should be observed.
In former times this was used conventionally rather than putting a quarter note and an eighth note under a triplet. One is the combination of dotted notation with triplets. Some celebrated performers are closer to a double dot - I'll add some examples when I track them down. I've never heard a recognized pianist merge it into the triplets.Īnecdotally, I want to say it is often shortened in performance. The normal interpretation is to play the dotted rhythm distinctly from the triplets.
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