[Finale] editing question
Big symphony, 1953. Winds in threes. Lots of bitonal harmonies. In a near-tutti (trps, hns, timp resting) with everybody playing an E-minor chord (the key sig. is Gb), the 2d bassoon, and only the second bassoon, has an F (natural), sustained across 2 bars. Is this an error? (FWIW, bn. 1 bcl have G natural a 9th higher; cb, vc, btrb, tuba have melody Bn En Dn Bn An Gn). Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] editing question
Andrew, Given the keysig, is there any evidence that the composer had originally spelled that chord as Fb but decided to simplify to E later? (I'm assuming that you're working off a manuscript) If so, the F in Bsn II could have the flat missing...possible?? Jim From: [EMAIL PROTECTED] on behalf of Andrew Stiller Sent: Thu 08-Dec-05 12:34 To: finale@shsu.edu Subject: [Finale] editing question Big symphony, 1953. Winds in threes. Lots of bitonal harmonies. In a near-tutti (trps, hns, timp resting) with everybody playing an E-minor chord (the key sig. is Gb), the 2d bassoon, and only the second bassoon, has an F (natural), sustained across 2 bars. Is this an error? (FWIW, bn. 1 bcl have G natural a 9th higher; cb, vc, btrb, tuba have melody Bn En Dn Bn An Gn). Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale winmail.dat___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] editing question
Andrew, Given the keysig, is there any evidence that the composer had originally spelled that chord as Fb but decided to simplify to E later? (I'm assuming that you're working off a manuscript) If so, the F in Bsn II could have the flat missing...possible?? Jim Nice theory, but this composer (Lejaren Hiller) just likes being harmonically perverse. He even writes atonal stuff with key signatures--and in remote keys, too. As you might imagine, he tends to have lots of accidental and transposition errors, wh. is what made me question this note in the first place. Anyway, after posting my query, I found the answer, since it turns out the trombones reinforce the bn-2 note toward the end of the two measures--so what it's supposed to be is a minor harmonic irritant that later becomes a prominent part of the chord. --Andrew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] editing question
Ah, there's the rub, Andrew... Since I have NO acquaintance with perversion of any kind, since it is SUCH a foreign concept to me, such a thought would never have crossed my mind. ;-) But it was a good guess ;-) Saint Jim From: [EMAIL PROTECTED] on behalf of Andrew Stiller Sent: Thu 08-Dec-05 17:21 To: finale@shsu.edu Subject: Re: [Finale] editing question Andrew, Given the keysig, is there any evidence that the composer had originally spelled that chord as Fb but decided to simplify to E later? (I'm assuming that you're working off a manuscript) If so, the F in Bsn II could have the flat missing...possible?? Jim Nice theory, but this composer (Lejaren Hiller) just likes being harmonically perverse. He even writes atonal stuff with key signatures--and in remote keys, too. As you might imagine, he tends to have lots of accidental and transposition errors, wh. is what made me question this note in the first place. Anyway, after posting my query, I found the answer, since it turns out the trombones reinforce the bn-2 note toward the end of the two measures--so what it's supposed to be is a minor harmonic irritant that later becomes a prominent part of the chord. --Andrew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale winmail.dat___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
