The "lead singer" would sing a half-note D followed by the eighth note D-E. The underlying idea is to imagine two people/instruments are playing the passage.
Unison music plus#
The combination of the pedal plus a soft left-hand articulation of the D will give an effect like and echo or a gentle reinforcement of the pitch. Light use of the sustain pedal will also help with this. In this way, you will get the effect of a sustained D in the melody, and the left hand will be perceived as a minimal interruption. To do this most effectively, play the left-hand D quietly in comparison to the right-hand Ds.
Unison music Patch#
And in the 21st century, there's no expectation that you are even playing both lines on the same physical keyboard: You could be using one patch for the left hand and another for the right.įinally, it's worth mentioning that many pianists will reflexively play a passage like this with pedal, in which case you don't have to use your finger to hold down the long notes and playing them again presents no problem.Īs explained previously, each of the three Ds is articulated separately. In piano music, overlapping or crossed voices are common enough that everyone has to learn to play them at some point. The notation is fine, but is it sloppy writing? I don't think so. Moreover, if I saw a rest on LH beat 3 of measure 4 but not in the same place in measure 3, I might assume they are to be articulated differently. In theory, you could write in quarter rests to resolve the "ambiguity" of having to play a note that is already ringing, but I consider this a solution to a problem that doesn't exist-there is no ambiguity to begin with. If this is indeed what the arranger desires, then writing half notes in the left hand chords keeps the rhythmic pattern visually consistent, while this right hand notation conveys the cohesion of the melody. In contrast to some of the other answers, I don't consider this to be sloppy notation. Actually, I can't think of a context in piano music where you wouldn't attack a harmonic unison on two different beats as notated (unless there was a tie written in, of course). The melody and chords are clearly two distinct voices.
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