craigvanhise wroteChanging the duration on grace notes makes no difference in the playback.
They all play back as 32nd notes.

As best as I can determine, the playback speed of grace notes in NOTION 6.5 is arbitrary and is done this way primarily because in practice the actual speed is something that is determined by the musician or vocalist rather than by a computer algorithm . . .

THOUGHTS

This is the key bit of information I found in Wikipedia regarding grace notes . . .

"A Grace note or notes is always noted in terms of exactly half of its principal note, but may be double or more. Where they are multiple, their proper notation must always equal exactly half of the principal note. (i.e. If the principal note is a quarter-note the grace note must be notated as an eighth- note, two sixteenth notes, four thirty-second notes, or eight sixty-fourth notes, if we are to set aside the concept of unnatural subdivisions of the beat such as the triplet, etc.) Grace notes, unlike what are referred to as cue-notes, never affect the rhythmic subdivision, or musical "count" of the bar in which they are contained - and therefore, do not require other notes to be dropped from the bar to keep the time signature intact."

"As either an appoggiatura or an acciaccatura, grace notes occur as notes of short duration before the sounding of the relatively longer-lasting note which immediately follows them. This longer note, to which any grace notes can be considered harmonically and melodically subservient (except in the cases of certain appoggiaturas, in which the ornament may be held for a longer duration than the note it ornaments), is called the principal in relation to the grace notes."

[SOURCE: Grace note (Wikipedia)

At present, I have nearly no idea what this actually means, but so what . . .

This is an experiment I did to explore the way NOTION 6.5 plays grace notes, and some of the measures are interesting in curious and perhaps unexpected ways . . .



Grace notes are related to ornamentation, and in this regard it appears there are two general strategies, where (a) one strategy is to indicate ornamentation but leave its implementation to the musician or vocalist, while (b) the other strategy is to be explicitly precise in the music notation so there is no doubt whatsoever in the way the ornamentation is to be performed . . .

During the Baroque period, it appears that musicians and singers were expected to know how to ornament or embellish regular notation, hence ornamentation and embellishment were either (a) not made explicit or (b) were not notated, since it was something considered to be so obvious that there was no need to notate it . . .

Ornamentation (Wikipedia)

On a related note, a few years ago I had a bit of FUN learning about ornamentation and embellishment, mostly because after watching the motion picture about Amadeus Mozart, I developed a better sense of his particular type of musical humor, although whether the humorous aspect is correct historically is another matter . . .



I know a good bit about music theory and music notation, but primarily I am a "by ear" musician, vocalist, and composer; and the practical aspect of this "by ear" focus here in the sound isolation studio is that when I construct a reasonably accurate persona for a musician, vocalist, composer, arranger, audio engineer, lyricist, or producer, I can use the persona to do things that I like to think at least are what one might call "ballpark" . . .

This is an example of a thought exercise where I transcribed a few measures of a Mozart piano piece and then composed a "big ending" using the persona I call "Pretend Mozart" . . .

[NOTE: The thought exercise or puzzle aspect is to determine where the music switches from (a) Real Mozart to (b) Pretend Mozart . . . ]



Lots of FUN!