Just listen to the example (Pines, mvt 4) and get back to me.
RBH
Darcy James Argue wrote:
On 25 Feb 2008, at 2:01 AM, Ray Horton wrote:
Darcy James Argue wrote:
Because the sound of an open string on cello -- especially that
scordatura B! -- is very different from the sound of a stopped bass
string. (When the basses divide, do the top ones at least play the B
without vibrato?)
Pizz, very soft, not so much.
Strongly disagree. Pizz open strings are every bit as distinctive as
arco open strings, and detuned strings are *always* distinctive
because we don't hear them that often. (In classical music, anyway --
folk fiddlers employ alternate tunings all the time.)
What if the composer wants the sound of a violin section taking their
bridges off? It _would be_ a striking sound, and can't be imitated
any other way. Reductio ad absurdum, perhaps, but if the composer
should always get exactly what he/she wants...
Clearly, in this case, you'd either do it as written or refuse to play
the piece. Or, in the case of a living composer, have some
representative of the orchestra call up the composer and express the
section's concerns. Either one is acceptable -- unilaterally
substituting some other effect is not.
Cheers,
- Darcy
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Brooklyn, NY
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