![]() NOTE: To mark your submissions solved reply "Solved!" to the oldest comment with the answer. New to reddit? Check out this tutorial on how to post successfully to this sub. Read the rules and suggestions for tips on how to get the most out of TOMT. Submit a Question Submit NSFW Join TOMT Discord for live discussion Please read the FAQ before posting!Ĭan't remember the name of that movie you saw when you were a kid? Or the name of that video game you had for Game Gear? This is the place to get help. Such is the one of the integral joys of this music, variationâ¦Ä«est of luck on future contributions.Reply Solved! to the comment that answers your post. The notation I gave allows for that but also supports the basic structure for a waltz, and the freedom to interpret it either way, or the choice to do it sometimes and someplaces and not others. It was good that you attempted to notate his swing to the tune, waltzes can be taken a number of ways. If you havenât the understanding, skill or patience, then it is best to just leave things âbasicâ, plain⦠For grace notes they tend to be filed between ⦠For âbasicâ notation most tend to notate without ornamentations, leaving that up to the interpretation of anyone missing, however, if one has the ear and the patience and the accuracy to notate the ornaments of a particular player, including themselves, and some of us are particularly fond of the latter, it is much appreciated. The tilde, or â~â, is a specific ornament group, rolls in their various guises. On notating it this way, or L: 1/4, you have another problem in what is suggested, and that is that this is more like a 3/8 tune, bunching the notes up in groups of 3 instead of in seperate beats, in other words, rather than | NNN | ~ | N N N | or even better, L: 1/8 ~ | NN NN NN | or | N2 N2 N2 |, which more clearly lays it out visually as a 3/4 waltz⦠But, what the hell, if you like your beets jullienneâ, câest la vie⦠⡠â³Äª good introduction to ABCs ( the âprogramsâ tend to have their peculiarities, so it is always good to have a hand on doing it longhand ): ![]() ![]() By notating it the way Iâd done you can see some of the possibilities. These tunes arenât in straight jackets, even the composed ones. That isnât the only reason for doing it that way, it is also about âchoicesâ⦠First, a short example, but Iâd better get my âlettersâ right this time:Ä®2- ec e2 | d2 c2 B2 | A2- Ac e2 | f2- fg a2 |e2- ec A2 | f2- fe d2 | dc- c2 A2 |Ä«4 c/d/ | ~ another mistake! ~ I was using her notes and forgot to stash the slashes hereâ¦Ä®2 ec e2 | d2 c2 B2 | A2 Ac e2 | f2 fg a2 | e2 ec A2 | f2 fe d2 | dc c2 A2 |Ä«2 B2 cd | ~ corrected, the slashes removed⦠This can be used whenever the length of a note extends across beats, as Iâve notated it, in this case across two of the three internal beats, or across beats between two measures/bars, for example ~ | N2- NN N2- | N6 || With equal values, where the length of a note is two or three full beats, then N4 and N6 still preserves the treble identity of the measure. Instead of a dotted quarter note, or N3, or N> (âNâ = a generic note), in the transcription above, the length is represented so ~ N2- N, which ties those two notes together and is the same value as the other two ways. When notating a 3/4 or 3/8 tune, a âtrebleâ tune, it is one practice to notate it in a way that preserves the structural and visual identity of the three beats in each measure.
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