How interesting, I'm not a fan of Kalmus scores because they notoriously have errors, but mine leaves the g-sharp in the bass and gives the a-flat to the tenor to avoid the enharmonic. Looking back on it, there are some other places in this edition where the voices have odd diminished or augmented intervals to sing, and I wonder if it's to avoid enharmonic relations. Ah, well, that's what I get for stealing scores form school.
Am 08.08.2004 6:43 Uhr, schrieb: "Dennis Bathory-Kitsz" <[EMAIL PROTECTED]> > At 12:54 AM 8/8/04 -0700, James E. Bailey wrote: >> Okay, so I decided to go downstairs and look at my Liebeslieder. I only see >> an enharmonic shift in Nm. 15 in the second piano part from mm 14-15, but >> it's not tied: B Dom 7 to F-flat maj 6-4. > > No. 15 is the one. I found my old marked copy of the Peters Edition. I had > circled the bass part mm. 15-16 ... it's G-sharp to A-flat, not tied, but > A-flat tied to A-flat in the piano part. I suppose the vertical > piano/A-flat bass/G-sharp in the piano part was preferable to an > inscrutable tie! > > Dennis > > > > > > > _______________________________________________ > Finale mailing list > [EMAIL PROTECTED] > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
