Bartok - Syncopation (1): Meaning of notes in between Grand Staff The Next CEO of Stack...
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Bartok - Syncopation (1): Meaning of notes in between Grand Staff
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Bartok - Mikrokosmos Book 1 - 91)* Syncopation(1)
What's the meaning of the notes in between the Grand Staff?
piano notation syncopation
asked 1 hour ago
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Bartok - Mikrokosmos Book 1 - 91)* Syncopation(1)
What's the meaning of the notes in between the Grand Staff?
piano notation syncopation
asked 1 hour ago
xvanxvan
1464
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xvan is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
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Bartok - Mikrokosmos Book 1 - 91)* Syncopation(1)
What's the meaning of the notes in between the Grand Staff?
piano notation syncopation
asked 1 hour ago
xvanxvan
1464
New contributor
xvan is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
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 1 hour ago
xvanxvan
1464
New contributor
xvan is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 1 hour ago
xvanxvan
1464
New contributor
xvan is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 1 hour ago
xvanxvan
1464
New contributor
xvan is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked 1 hour ago
xvanxvan
1464
asked 1 hour ago
xvanxvan
1464
1464
New contributor
xvan is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
xvan is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
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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 29 mins ago
RichardRichard
44.2k7103188
1
"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
22 mins ago
add a comment |
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1 Answer
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1 Answer
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active
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votes
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 29 mins ago
RichardRichard
44.2k7103188
1
"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
22 mins ago
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 29 mins ago
RichardRichard
44.2k7103188
1
"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
22 mins ago
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 29 mins ago
RichardRichard
44.2k7103188
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 29 mins ago
RichardRichard
44.2k7103188
answered 29 mins ago
RichardRichard
44.2k7103188
answered 29 mins ago
RichardRichard
44.2k7103188
answered 29 mins ago
RichardRichard
44.2k7103188
44.2k7103188
1
"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
22 mins ago
add a comment |
1
"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
22 mins ago
1
1
"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
22 mins ago
"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
22 mins ago
add a comment |
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