Case Studies for Transcription (Argentine Tango)
1. Four, for Tango (1988)
by Astor Piazzolla (1921-1992)
Commissioned by Kronos Quartet
Primary Source: Printed Score (Paris: Editions Henry Lemoine, 1989)
Transcription in progress
Critical comments:
This late Piazzolla work is famous for the massive use of extended techniques on strings. These special sound effects are so pervasive that the publisher actually prepares an instruction chart ahead of the music score, explaining how to produce these whip, drum, sand paper, and whistle sounds. （See Figure 1）
Figure 1 The Instruction Chart of Four, for Tango (1988)
I would suggest:
1) While in the original edition, various special effects are expressed with the same conventional percussive notation symbol (and add word description within parenthesis), in this digital edition, we could use different symbol to denote each special sound so as to make every category more differentiated and recognizable by the performer and the user.
2) Along with the written instructions on how to perform these special sounds, we could provide some video clips to demonstrate the performance samples visually. In this way, with the multimedia advantage of the digital edition, the performer and the user could understand the meaning of these word instructions more easily and quickly by looking at the visual examples.
Eduardo Rovira (1925-1980)
Serial dodecafónico (1961)
Source: Recording from the LP Vinyl Album Tango Vanguardia (Buenos Aires: Microfon Argentina S.R.L., 1961)
Critical comments:
In Progress
by Astor Piazzolla (1921-1992)
Commissioned by Kronos Quartet
Primary Source: Printed Score (Paris: Editions Henry Lemoine, 1989)
Transcription in progress
Critical comments:
This late Piazzolla work is famous for the massive use of extended techniques on strings. These special sound effects are so pervasive that the publisher actually prepares an instruction chart ahead of the music score, explaining how to produce these whip, drum, sand paper, and whistle sounds. （See Figure 1）
Figure 1 The Instruction Chart of Four, for Tango (1988)
I would suggest:
1) While in the original edition, various special effects are expressed with the same conventional percussive notation symbol (and add word description within parenthesis), in this digital edition, we could use different symbol to denote each special sound so as to make every category more differentiated and recognizable by the performer and the user.
2) Along with the written instructions on how to perform these special sounds, we could provide some video clips to demonstrate the performance samples visually. In this way, with the multimedia advantage of the digital edition, the performer and the user could understand the meaning of these word instructions more easily and quickly by looking at the visual examples.
Eduardo Rovira (1925-1980)
Serial dodecafónico (1961)
Source: Recording from the LP Vinyl Album Tango Vanguardia (Buenos Aires: Microfon Argentina S.R.L., 1961)
Critical comments:
In Progress