Hey everyone, up until now with this score I've been writing ties for every note despite the intention being for the use of the sustain pedal, and now that i'm writing the score for classical performers, I'm having some trouble deciding how I should notate notes vs rests in order to make it easiest to read. If anyone knowledgeable on the subject could look through this excerpt from the score and give me some suggestions on making it as clear as possible I'd be really grateful. Thanks.

concertopart3score.sib

You need to be a member of Composers' Forum to add comments!

Join Composers' Forum

Email me when people reply –

Replies

  • heres the .pdf

    concertopart3score.pdf

    https://storage.ning.com/topology/rest/1.0/file/get/8608093096?profile=original
  • It looks very easy to read like it is. Any particular reason for putting 'cello in tenor clef?

  • As a pianist, I can tell you that most sustain pedal markings will be ignored or interpreted rather freely.  Pedal markings are usually seen by concert pianists as mere suggestions, and they will generally follow their ear more then what is on the score.  If the effect you're going for is the "wash" of sound that is achieved by blurring the sonorities together using that specific pedal marking, make sure to indicate that the pedal marking is to be followed exactly, something like"blurred (pedal markings to be strictly observed)," otherwise, a pianist's natural instincts not to blur the harmonies together might take precedence over what is written on the score.

  • In general however, leave the pedal markings to the performer, the subtleties of piano pedaling are best left up to performers in most cases (except in cases where very particular effects are desired).  Simply indicate with expression markings the effect desired (blurred, legato, secco, marcato, etc.) and the performer will execute the pedaling accordingly.

  • Thanks a lot, that does sound much simpler than what I have there. It seems that using phrase marks is something I'm yet to fully grasp in writing actual performed scores as opposed to up until recently making most of them purely for midi data. Thanks again.

  • it shows up only one page for me but anyway. I would agree with Nate, but: if Thomas clearly wants the harmonies to sound together (for example, measures 1 and 2) he should note it (as he has already done). I consider it a very basic decision wether those rest should be heard or covered with a pedal.

    So my take is, mark it on the first appearence of the specific figure (ie, bars 1-2) and note "likewise" or something similar. And use the P and asterisk marks for the pedal, it is more legible than the line.

This reply was deleted.