I’m trying to determine the best way to write the supporting arpeggio in the attachment. It is the 2nd voice (in pink) for this guitar part. Since the piece is in 12/8, the arpeggio is spread over the measure. Any suggestions?
Take C as a base, but include some kind of extender line making clear exactly the extent of the ‘let ring’. Independent of this choice, I vote for rewriting the initial rest as two eighths.
Not really appropriate for guitar. In pop/modern guitar notation, “Let ring …” is used with dashed continuation. In classical works, holding chords is implied by the fingering and short-circuited by intentional rests. E.g., this is implied:
I’d go with D; possibly A. D is actually what you want, and anyone reading it knows what the harmony is, and how it fills out as the bar proceeds. A is ok, as well. B and C can work, but it’s clear that the writer (or engraver) is not a guitarist.
I’m not sure. If you look at my fingering above, it falls pretty nicely on the fret board. Getting to the C# (6) would take a tiny bit of practice but so do most other things.
I was referring to the original post. But yes, your fingering makes it clear(er). As guitarists we know that durations can be longer than notated. In the original top voice B is notated to sustain through the end of the bar - this can’t be fully realized, and your fingering is a good compromise. Still, one might choose your fingering and not let the notes sustain - it still works. That’s why I’d opt for the notation to do the heavy lifting - in this case.
Everyone, thank you for the suggestions. I realize that [D] is the clearest and probably the most accurate notation (Dorico did have problems with the ties, which I had to manually adjust) but it also looks “messy” to me. Dorico alternatively allows for [A] but in 12/8, I don’t like the open E note stem being covered by the ties. The beat starts becoming less clear. [B] using Laissez vibre ties and [C] using “Let notes ring” look neater but they appear less accurate. In any event, all of the choices require a reader who is comfortable in 12/8 meter with multiple voices. Thanks again.
Personally I would have used C with just the default small l.v. on each. (I presume you considered this anyway.) You did not mention tempo which might be a factor.
Anyway you know what you intend to convey—glad you have made a decision
Just for the sake of completeness… if the B in the upper voice is played as a harmonic (2nd string, XII fret), then the entire chord can be fingered, and all the durations respected as in letter A.
I like your fingering suggestion. (The tempo is dotted quarter = 110.)
On which string are you picking up the D# in the arpeggio: (1) the D String (string 4); or (2) the G string (string 3)?
Attached please find the measure in question (measure 28) in context with most of this section of the piece shown. (Contact me directly if you’d like to see the entire piece. I’d rather not place it in the forum, since I have not yet recorded it.)
I need to take a closer look at the fingerings, which always comes last when I’m writing something and over time fingerings can change based on playing the piece repeatedly.
That is a great way to finger it but it is beyond me to play it at tempo. Maybe over time. Your suggestion may also make me rethink the fingerings that I’ve suggested overall in the piece. Thank you very much for your post.