Kwestion about Kaloola

[Jody Stecher]

Can anyone explain to me, a self-taught note reader,  why in the score of Kaloola there are some tiny notes, double stops, and chords? For instance in the second measure of the sixth line, why is the first note (g) small and the others big? And why is there a rest over the G? Something must be intended, but what? the previous measure sort of makes sense. The big notes are quarter notes and meant to sustain. But why is there a rest over the G. I don't get it.

A friend suggested that the small notes might indicate another voice, such as a second banjo part. But I've seen the second banjo part and it's completely different. 

Thanks!

[thereallyniceman]

Hi Jody,

The time signature is 2/4 so 2 crotchet beats per bar...  as we know, BUT a second voice has been added to certain bars so there are  effectively "too many" notes and rests in the bar if you add their values all together.

The tune can be played by completely leaving out the small notes which are a second voice (still played on the same banjo). These small notes are usually played quieter as an accompaniment or addition to the tune.

In your example  6 lines down 2nd Bar there are two voices. The note stems upwards are the tune, the stems down ( the G) is the accompaniment and is not stressed and played  more quietly.

Basically the "tune" is just the big notes. We have multiple voices in our handbell music and this method of notation is often used.

[Jody Stecher]

Thank you, Ian.

[Joel Hooks]

Since this is a Weidt piece I'll reference his Elementry Studies (saying what Ian already has).  Book 2, page 6 states;

"… there are two separate parts: the melody and the accompaniment.  The notes with their stems down is the melody; the chord with its stem up the accompaniment… The accompaniment is written in small notes to assist the player in distinguishing between  the melody notes and those of the harmony (the accompaniment)."

I've found that in many pieces the small notes are added for solo play.  I seem to remember reading this on the bottom of a Weidt piece at some point, or maybe it was a Walter Jacob's publication.  With the volume of music I've acquired in the last couple of years it starts to all run together.