Extremes within CMN

Music 253/CS 275A

Stanford University

Common Music Notation (CMN)

Pitch 8va indicators Ossia readings (ed.) Ornaments Articulation marks Finger numbers Lyrics

Durations (monophonic) Tuplets Dots not WYSIWYG

Durations (polyphonic)

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Simple within one program; often omitted in data translation

Large number of complex situations

http://www.ccarh.org/publications/reprints/ieee/

Duration and Alignment

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Poly-sub-meters: 2:3, 3:4 Beethoven: “Harp” Quartet

Duration and alignment

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4:5:6 (vertical) in 3/4 (triple meter) Mahler: Das Lied von der Erde: “Die Abschied”

Duration and Alignment

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Szymanowski: Songs of the Infatuated Muezzin, No. 47:1, 6:1, 5:1 (horizontal)

Lyrics=Polish, French, German

Aleatoric contexts

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Irregular metersIrregular subdivisionsAd libitum passages

Text underlay: alignment

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Bach chorale

Lyrics (and text) in non-Roman scripts

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Masato Yako (1998): Shamisen intro for nagauta play

Shamisen neumes:Shape: presence/absence of pitch or vocal qualityDirection of curvature: pitch variationAngle between neumes: pitch changeLength of neume: durationThickness: voice intensity, tone

Grammar of vocal and instrumental parts

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Text extendersB. Marcello: cantata

Multi-bar rest

Grammar of vocal and instrumental parts

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Text extendersB. Marcello: cantata

Multi-bar rest

Beethoven: 7th Symphony

Clarinet No. 1 (in A)Multi-bar restsCue-sized notes

Vertical spacing extras (basso continuo)

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Basso continuo figuration Handel: Ottone, “Bel labbro formato

Vertical spacing extras (ornamentation)

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C. Ph. E. Bach

Stems and beams (non-coincident)

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Slurs (collisions)

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J. S. Bach

Slur and beam extremes

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Left: very high slursBelow: very long slur

Follow the clef changes!

Slurs (multi-octave, inverted, et al.)

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Ravel: “Gaspard de la nuit”