My 2nd question was about the absence of rests - I had tentatively posed something like your answer for that, but nice to discuss things. I think by seeing it as 3 voices (I was looking at it as 2) I may subdue my confusion. Of course, that's only mental confusion. I still will need to sort out the digital chaos. Brouwer is my next personal project. This is my 1st piece. Articulating voices isn't my best thing...robert e wrote: ↑Sat Jun 22, 2019 3:28 amSorry for the cryptic response above.
Are you seeing two voices or three?
I'm a terrible reader, and my interpretations of notation should be considered highly suspect, but what strikes me initially is not so much a surfeit of notes here, or a shortfall there, but an absence of rests. Combined with the odd tie/grace in the bass voice, I take that as an invitation to let strings ring freely throughout, campanella style, without being too fussy about note values one way or the other. That, to me, is consistent with the indicated fingerings, and with the "comodo" (comfortable) direction. For the same reason, I would not play this too fast nor too slow, but at a pace that shows off the ringing voices to best effect.
Also, this Brouwer fan thanks you for drawing my attention to the Nuevos Estudios--I knew they were out there, but hadn't given them a proper look or listen until now.
I'm far from an expert, but at first glance I think you may be in luck with this piece because Brouwer has largely done the work for you. I'd have to take a closer look, but it looks to me like the voices here are often assigned separate strings, and when they share a string, they seem to assign themselves naturally to different RH fingers. In fact, one might think it's a tutorial on the very topic, or a... study?
Brouwer is telling us:
Right. That's why there are these "odd" ties..