Notation Question

[jeopardymaster]

This is way off-topic, but I figure someone on this Board ought to know the answer for sure. I'll be singing a 12th century motet next month, and there is a notation that appears throughout, an eighth note with a slash through the stem, rather like a grace note, but that clearly isn't what is meant.

I can't figure out how to attach a pdf here to display it but if/when I do, I will.

Meanwhile, I'll try to describe it textually, which stinks, I know.

An example occurs where a g is held for 5 counts, then an eighth note a (with the slash) and then an f.

I think it means the a becomes 2 16ths, a and g, moving to f. But later I get f quarter, e eighth (w/slash) and d quarter. So maybe that's f quarter, f-e 16ths, and d quarter. Or e-d 16ths. Or something else. Or the editor doesn't follow consistent rules.

I don't know - what do you think?

[DavidB]

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[Tom]

It is hard to say for sure without seeing the part, but a few thoughts I had:

1. Shorthand notation for subdivided notes (not repeated notes), meaning that it would turn an 8th note marked with the "slash" into two 16th notes.

2. An appoggiatura, which is an ornamental note played/sung on the beat replacing the "main note" for just an instant prior to resolving to the pitch of the "main note." This might be what you've got, but could also very well not be what you've got, as much of this depends on context.

3. It still could be just a grace note (???).

HOWEVER, seeing the example would answer a lot of questions about what it is.

[DavidB]

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[jeopardymaster]

Clrearly it's not in the style of the period to make this into a grace note in either formulation. Besides, all it has in common with standard grace note notation is the single slash only. And it isn't repeated notes or a percussion part. It's a transliteration of 12th century vocal music. And I'm still trying to figure out how to post the pdf on this site.

[iiipopes]

The one thing that can be said for certain is that neums bear almost no resemblance to "modern" musical notation in their meaning or execution. Is it one of these?

http://interletras.com/canticum/Eng/notation_ENG.htm" target="_blank" target="_blank

[jeopardymaster]

Thank you, that's great link! This is French, by the way - Leonin. Based on the context, I have a strong hunch that the editor is interpreting a clivis. Without the original score in all its ugliness I can't be certain of it, nor where to take the note from or to. I'm trying to talk the director into reinterpreting the music so as to put an effect to the mark, but absent some concrete evidence I fear I may not prevail.

[iiipopes]

With the general pattern of emphasis in Gregorian Chant being on the "first note," then grace note analogy does not hold, either for appogiatura, which is a non-chordal tone, even if stressed, as in Haydn, because the purpose of appogiatura is to create harmonic tension, not linear stability as in chant. And of course, it cannot be an acciaccatura because a "quick note at the beginning to ornament a chordal tone" is not a concept that existed in Gregorian Chant, or, if at all, hardly in any pre-diatonic era music for that matter.

Therefore, a Clivis is a possible interpretation. However, there were some more complex neums as well:

http://lphrc.org/Chant/" target="_blank" target="_blank" target="_blank

If it seems that some of the notation on some of the neums is "backwards," think about this: the notation would have been drawn by hand by a right-handed monk with a quill and well. When you think about how the notation would have to have been drawn to avoid smearing the ink, then the manner of notation makes a little more sense.

Since your particular chant is French in origin, also try this:
http://books.google.com/books?id=4qFY1j ... on&f=false" target="_blank" target="_blank" target="_blank" target="_blank