Hi,
in the chorals Nr 6 and 10 of the cantata BWV 147 „Herz und Mund und Tat und Leben“ by J.S.Bach there are notated eights notes in triplets (violins) against dotted eights with sixteenth notes (violas), what must be played like quarter and eights notes as a triplet. Is there a way to motivate Sibelius playing this correctly?
Thank you
Albert
triplets against dotted eights + sixteenth notes
I think you are wrong about the interpretation. The dotted quaver/semiquaver pattern should be played as written. The SQ will strike just after the start of the last triplet quaver.
Sib 6.2, 7.5 and 2023.6, Windows 11, 32GB RAM, 16TB 7200RPM Storage, 2TB SSD, Note Performer 3.3.2, EWQLSO, EWQLSC, Harmony Assistant and some others. mike@mike-lyons.co.uk
Hallo, Mike, thank you for your answer. But I don’t think so. I have learnt, that especially in barock music (not in the french style of barock) the dotted quaver/semiquaver pattern often means the rhythm of a triplet. But, whatever, my question was referring to this ability of Sibelius.
Albert,
I suspect that you will need to re-notate the viola part to play as you want. You can change the "feel" of a few things, but that changes all parts.
FWIW, when I was in college some 50 years ago, the latest craze about Baroque music was that strings of quarter notes should be swung. I think that this was based on an obscure German Appalachian mountain village with little outside contact since the late 1700s. They played their music that way. Meaning that we have no real credible evidence telling us much about Baroque music. Except the notes themselves. They seem like a pretty good guide to me. Besides, things were probably played differently from city to city. As well as country to country.
Is a dotted eight and sixteenths shorthand for triplet feel? What about when it's not?
I suspect that you will need to re-notate the viola part to play as you want. You can change the "feel" of a few things, but that changes all parts.
FWIW, when I was in college some 50 years ago, the latest craze about Baroque music was that strings of quarter notes should be swung. I think that this was based on an obscure German Appalachian mountain village with little outside contact since the late 1700s. They played their music that way. Meaning that we have no real credible evidence telling us much about Baroque music. Except the notes themselves. They seem like a pretty good guide to me. Besides, things were probably played differently from city to city. As well as country to country.
Is a dotted eight and sixteenths shorthand for triplet feel? What about when it's not?
Bob Porter
Sibelius 7.5, W10,i5,16 GB ram,desktop
Sibelius 7.5, W10,i5,16 GB ram,desktop