Re: TAN: Anomalies in 'Le Sacre...' Score (was Re: [Finale] Clef refuses to display)
At 11:05 PM 10/14/02, shirling & neueweise wrote: << a look at the two piano reduction - by igor himself - would likely clear up the confusion regarding 'proper' register in at least some of the cases. >> I don't think there's any confusion about the intended register. It's quite clear what he wants. (Playing the bass clef parts in a lower octave puts it well out of range). The confusion is why he chose to write it out in such a strange way, switching back and forth between the two styles. I've got that two-piano version (which I know quite a bit better than I know the full score), so if there are any specific questions, I can check on them. mdl ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: TAN: Anomalies in 'Le Sacre...' Score (was Re: [Finale] Clef refuses to display)
I checked with a colleague who has conducted the piece. He confirmed that our interpretation of the flute part is correct. (Rereading your note, Colin, I believe you were describing the same thing I was, but in different words). As for the bass clarinet part, he tells me that Stravinsky went back and forth between French and German style for no apparent reason, and then eventually settled on French. Looking ahead in the score I see plenty more clef switching. Perhaps an inquiry on the clarinet list would turn up some opinions? -- At 11:40 AM 10/13/02, Aaron Sherber wrote: >Looking at the score, I would actually guess that it *is* to avoid ledger >lines -- which would collide with the bassoon part just below it. I was starting to think that, too, but the rest of the score doesn't follow the pattern. After [6] there's more usage of the bass clef, with no high notes in the staff below. Then later at [8] it's back in the treble clef, even though there are written low G's. mdl ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: TAN: Anomalies in 'Le Sacre...' Score (was Re: [Finale] Clef refuses to display)
Not so much an anomaly, but another controversy (at least in the horn world) is the question of which octave the "Tenor Tuba" parts sound in. (These parts are actually played on Wagner Tube by the 7th and 8th horn players.) Some people say the Tenor Tubas should be in unison with the Bass Tubas. Others say they should be an octave higher. I personally find the arguments and sources for the octave higher camp to be more persuasive. But you can hear the discrepancy on recordings. For example Boulez/NYPO is octave higher while Solti/CSO is unison. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Re: TAN: Anomalies in 'Le Sacre...' Score (was Re: [Finale]Clef refuses to display)
At 06:58 AM 10/13/02, Mark D. Lew wrote: >At 11:47 PM 10/12/02, Colin Broom wrote: > >>Ok, I'll come clean. For reasons that are too uninteresting to explain, >>I've been putting the Introduction of Part 1 of of Stravinsky's 'The Rite of >>Spring' into Finale. Suffice to say it's related to the lecturing work at >>University. So the bass clarinet example I cited in the previous post is >>from bar 13 of the Introduction. In both the Boosey and Hawkes study score >>and the Dover Edition score there is a bass clef at preceding bar 13 >>followed by a A (transposed) on the first space. > >Hm, that IS strange. I'm fairly certain that the bass clarinet is moving >down just a half step from the previous note. Why it suddenly switches to >bass clef is beyond me. (Surely it's not just to avoid ledger lines below >the treble clef?) Looking at the score, I would actually guess that it *is* to avoid ledger lines -- which would collide with the bassoon part just below it. Does anyone have access to a copy of the part? Chances are that the part remains in treble clef. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
TAN: Anomalies in 'Le Sacre...' Score (was Re: [Finale] Clef refuses to display)
- Original Message - From: "Mark D. Lew > It's possible that there is some good reason to be using the bass clef that > you're unaware of. Ok, I'll come clean. For reasons that are too uninteresting to explain, I've been putting the Introduction of Part 1 of of Stravinsky's 'The Rite of Spring' into Finale. Suffice to say it's related to the lecturing work at University. So the bass clarinet example I cited in the previous post is from bar 13 of the Introduction. In both the Boosey and Hawkes study score and the Dover Edition score there is a bass clef at preceding bar 13 followed by a A (transposed) on the first space. Now the note that sounds in performance is a concert pitch G situated on the bottom line of staff in bass clef. But this should be notated for the bass clarinet as an A a 9th above, and in treble clef (2 leger lines below bottom line). The note that actually appears in the score to 'The Rite...' is outwith the bs.cl. range. Can anyone with access to the score (or a good knowledge of it) shed any light on this? I'm sure this is probably old news, and there is some reason for it, but I find it kind of puzzling. While we're on the subject of apparent anomalies in the Rite score, there are a few rhythms in the score that seem to me to not quite add up. For example the Flute 1 tuplet in bar 25 (rehearsal point 5). By my count, there seem to be too many notes in this measure. Is this correct? The only way I can see this adding up is if there were 2 additional nested triplets (or 1 sextuplet) over the 2nd and 3rd notes, and also the 4th, 5th & 6th notes. Once again, I'll be amazed if this hasn't been discussed to death already, but if someone could shed some light on these issues for someone who was obviously asleep at the time, I'd be grateful. Regards, Colin. Colin Broom, composer [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
