separation of closely-adjacent notes

[iandg]

Hallo again, Sherry, and thanks for your further reply. I'm posting a *.not of the edit I've achieved.

Ian

[rrayner]

Hi Ian,

Nothing to do with your questions, but I love the chord progressions in the piece you selected. The moving lines are beautiful. Do you know who the composer is?

Ralph Rayner

[iandg]

Well, the actual piece does have a traceable existence other than this midi-file - try looking it up on You Tube for some instances. But I first knew it through this midi-file which I found online some ten years ago, and which contains no 'internal' information that I can discover. On an earlier transcription attempt I credited it as 'possibly by Al Massari', though I don't now remember what that was based on, and a recent attempt to clarify by Google wasn't very helpful.

As you can see/hear, the midi file has the single great advantage that its pulse (bpm) fits the playing, but the barring doesn't match the stresses, and there are a lot of empty staves, which makes me think someone probably simply played live into a file that was originally something else entirely.

And so to the harmonies. I agree, it's a piece I keep coming back to at intervals. (The fact that it never subsides rhythmically into a simple shuffle is also important). I take it that a lot of it circles round the G#/Ab enharmonic in the hammer-ons, but I certainly still don't entirely understood the harmonic logic. Notation Composer's transcriptions require me/you to do quite a lot of enharmonic attributions, and there are still some chords that I'm not sure which way to 'go' on.

Sincerely

Ian