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Difficult Widor

It is said that Widor’s favourite piece was his “Andante sustenuto “ from his “Symphonie Gothique” Op 7
I have transcribed this and played it, using NWC2

I have come to the conclusion that Widor used too many notes and that not all of them were useful !! 

The piece is an acquired taste.

In parts it is not easy to notate within the constraints of NWC2. In bar 25 I could not replicate Widor’s writing as shown in the Hamelle score, no matter how I manipulated two staffs.

Tony

Re: Difficult Widor

Reply #1 –
Quote from: tony smedley –
In bar 25 I could not replicate Widor’s writing as shown in the Hamelle score, no matter how I manipulated two staffs.

The secret is to use three layers, not two! (At least that's one way of doing it - make sure that layering is active when you look at this example).

Rich.

Re: Difficult Widor

Reply #2 –
Richard,

Thank you for that advice!.
 As is often the case it is a bit annoying when you have to add an extra staff with all the complications of unwanted bars for a very small part of a long piece.!

Tonyl

Re: Difficult Widor

Reply #3 –
Hi Tony,

I just copy the staff with the fewest notes and set it to play the desired instrument,  mute everything, and make it all visibility never except for changes in time signature. Add the notes you want  in the appropriate measures, with default 0visibility and unmuted. If you need to, make text and other changes visible, and replace notes with rests.

Carl
Carl Bangs
Fenwick Parva Press
Registered user since 1995
 

Re: Difficult Widor

Reply #4 –
Quote from: Richard Woodroffe –
The secret is to use three layers, not two!
Three voices. Three rhythms. Three staves in the layer. Makes sense. Looks good.

But two layers are all that is needed. The rhythm is sufficiently complex that it really needs the spacers added to NWC 2.5 (currently in Beta). A Beta file is attached.
Registered user since 1996