David W. Fenton wrote (much snipped):
That is, if the phrasing the composer intends happens to fit the conceptual models of appropriate phrasing that the performer brings to it. If the composer wants something *else*, something that is specifically different from the norm, what does the composer do?
Yes, I agree that this is a valid point. A majority of music, of course, does go with the norm, or rather stays in the particular stylistic realm it represents. To want something specifically different is to change the style, and in some cases the simple use of slurs or other notations devices cannot and will not do that. I'm thinking in particular of the difficulty a classically-trained performer has in grasping jazz style, even though the notation might be exactly the same.
For instance, in Mozart's String Quintets, there are many passages with cross bar phrasing, e.g., all measures are straight 8th-notes, but the slurs start on the 2nd 8th and connect to the first 8th of the next measure (something of an upbeat phrasing). This is quite clearly and consistently indicated in the composer's autographs.
And clearly shows the composer's intention and should have been retained in any prints. But those are bowings, not phrasings.
So, why should a composer trust performers to come up with appropriate or "correct" phrasings without having explicitly notatted them?
Within an understood style, no problem; outside an understood style there have to be either notational indications or written instructions.
The fetish is for legato as the default style, and minimizing the number of bow changes and hiding the audibility of the bow changes.
OK, I understand what you're saying now. It's true. Legato is the default style. I'm glad I had a teacher good enough to teach me the "Leopold Auer" bow change technique that approximates a continuous tone. But I use it when it's appropriate. I would not use in in Copland's Hoedown fer darn' sure!
Slurring, or hooking (i.e., two separate bows going in the same direction)? Dance movements are *certainly* a place where you definitely need lots of compensating bow.
Good distinction between slurring and hooking, two of an almost infinite number of ways the bow can be used for subtle articulation.
So, what's the notational solution for the composer who knows string bowing and knows what she wants to hear?
She will know! A pianist won't. And that's not to denigrate pianists at all. I would be hesitant to try to write a good, idiomatic harp part, or to suggest organ registrations, because I don't know those instruments well enough.
John
-- John & Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
