On 3 May 2005 at 13:06, Andrew Stiller wrote: > > I take it there's no tradition whatsoever in which the cb bass > > clef is played 8ba and the cb treble clef 16ba? That means that > > the recording I have is just fulla beans, eh? ... > > > -- > > David W. Fenton > > Use of the treble clef in any cb part of that era is so very rare > that one can hardly speak of a tradition of any kind, and I would > imagine each case has to be treated as unique. I would agree with > you, then, that the meaning of the notation must be determined by > examining the musical results produced by various interpretations. > > Unfortunately, it is a rare performer indeed who thinks that way.
Well, it's clear that the performer in this instance *did* consider the problems and made a choice that required rewriting the musical text in order to be able to play it (i.e., having to make an octave leap that does not exist in the written text). I've never understood why musicians ever choose interpretations that require additional adjustments. It just seems overly complicated. The only explanation that makes sense is that playing it correctly is somehow impossible or extremely difficult on the modern contrabass. Is there anyone on the list who plays contrabass and is familiar with Per questa bella mano? I could certain scan some of the score and put it up for people to look at, if they need to see it (also maybe an MP3 of the recording). -- David W. Fenton http://www.bway.net/~dfenton David Fenton Associates http://www.bway.net/~dfassoc _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
