trill tie
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In the attached example, I would like the trill to not continue into meas.3. So the G-sharp in meas.2 is trilled but then the G-sharp in meas.3 is played straight, w/o trill. Is that clear from my notation? or should there be a tie between the two G-sharps? The thing is, I don't want the notation to look strange even if it is technically correct.
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- N Grossingink
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N. Grossingink
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- ebiggs1
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I would do exactly as Mr. Grossingink example shows.
I prefer that the musicians know exactly what the music wants. If it serves that purpose I don't care what the rules say. MHO, of course.I don't want the notation to look strange even if it is technically correct.
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- John Ruggero
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If you want the final G sharp distinctly played on the first beat of the last measure, don't tie it to the previous trilled G sharp. if you want an amorphous conclusion to the trill, the tie might be a good way to get that point across.
And actually what you wrote in your OP was fine. But you could put in a (no trill) as suggested by N Grossingink as a precaution.
In my opinion, adding a longer slur is clutter. Trills are legato by default.
And actually what you wrote in your OP was fine. But you could put in a (no trill) as suggested by N Grossingink as a precaution.
In my opinion, adding a longer slur is clutter. Trills are legato by default.
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- Michel R E
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my only concern, performance-wise, is that quintuplet.
The trill starts after a tied note of the quintuplet and COULD imply there is a tiny pause as that G# is held.
I would rather see the 16th notes as simply four 16th notes, then the trill starting on the dotted half note.
The gradual movement from the triplets, to the four 16th notes, to the trill then becomes obvious.
As it is notated presently, there is an ambiguity as to whether there is a slight pause on that tied note or not.
Notating as four 16th notes also allows you to use a slur that ends before the trill starts.
The trill starts after a tied note of the quintuplet and COULD imply there is a tiny pause as that G# is held.
I would rather see the 16th notes as simply four 16th notes, then the trill starting on the dotted half note.
The gradual movement from the triplets, to the four 16th notes, to the trill then becomes obvious.
As it is notated presently, there is an ambiguity as to whether there is a slight pause on that tied note or not.
Notating as four 16th notes also allows you to use a slur that ends before the trill starts.
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I like Ngrossingink's text clarification of no trill. But instead of a quintuplet, wouldn't just a G# whole note trill sound the same? I mean if the first beat is written out as a tuplet, why not write out the whole measure that way and avoid using a trill indication at all?
- Michel R E
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it actually wouldn't.
the first beat would be a measured tempo, while the trill itself - unmeasured - would begin on the 2nd beat.
if one simply placed a whole note with a trill there is the risk that the transition from the previous measure to the unmeasured trill would be too drastic.
this notation suggests that one desires a gradual movement into the full trill.
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GPO, Garritan Solo Stradivari violin, Gofriller Solo Cello.
XSamples Chamber Ensemble.
Absolute convert to NotePerformer3.
Trills often end with a couple of Grace Notes.
This is starting to sound like discussion of Chord Symbols and Harmony.
Everyone has their own opinion and method!
No Exact Rules, and/or disagreement over what the Rules really are.
Like what Mike said about slurs attaching to the end of a Tied Note.
I read that here, and I always do it.
Trills connecting to another note need a Slur , to avoid re-articulating the next note.
This is starting to sound like discussion of Chord Symbols and Harmony.
Everyone has their own opinion and method!
No Exact Rules, and/or disagreement over what the Rules really are.
Like what Mike said about slurs attaching to the end of a Tied Note.
I read that here, and I always do it.
Trills connecting to another note need a Slur , to avoid re-articulating the next note.
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Skip the tie after the quintuplet.
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