On 23 Feb 2008 at 17:18, Ray Horton wrote: > Darcy, you have a point, but from an orchestral players standpoint, they > see much of what is written in the name of scordatura as merely > unnecessary: In _Pines_ why should cellists detune when there is a bass > section that can divide (the passage in question is very soft); in > __heldenleben__ the 2nds play into the viola range, something the violas > can do much better;
Well, there's quite an obvious answer: IT SOUNDS COMPLETELY DIFFERENT FROM THE ALTERNATIVE SCORING. It's not even a subtle difference in the case of a violin playing below its normal range as compared to a viola played on the bottom string. > in the original example that started this thread a > novice orchestrator did not know she had exceeded the low range of the > violin by several notes, etc. I introduced the topic of scordatura in response to that *as a joke*. > These players do not want to risk a > problem, even a temporary one, to their instrument for what they see as > a musical situation that can be solved in an easier and better fashion > than by one that causes its own problems.. I think it's ridiculous to worry about such a thing, even with a very fine instrument. If it's really that unstable that you can't retune it and have it hold its tune, then the instrument needs work! -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
