At 11:05 AM +0200 5/5/08, dc wrote:
John Howell écrit:
And for a lot of us (who don't see it all THAT
often), it's harder to read than one of the C
clefs, because it looks like it should be
regular treble clef, while with the C clefs we
know we're in trouble and have to solve the
puzzle!
B
On May 4, 2008, at 2:38 PM, [EMAIL PROTECTED] wrote:
the only place outside of Finale that
I've seen a "French violin clef" that puts the g' on the bottom line of
the staff is in Dover's edition of "Die Kunst der Fuge." Has anyone
else
here had practical experience with it?
Every recorder
On Sun, May 4, 2008 at 2:38 PM, <[EMAIL PROTECTED]> wrote:
> ...and speaking of moveable clefs, the only place outside of Finale that
> I've seen a "French violin clef" that puts the g' on the bottom line of
> the staff is in Dover's edition of "Die Kunst der Fuge." Has anyone else
> here had prac
On 04.05.2008 [EMAIL PROTECTED] wrote:
...and speaking of moveable clefs, the only place outside of Finale that
I've seen a "French violin clef" that puts the g' on the bottom line of
the staff is in Dover's edition of "Die Kunst der Fuge." Has anyone else
here had practical experience with it?
At 1:38 PM -0500 5/4/08, [EMAIL PROTECTED] wrote:
...and speaking of moveable clefs, the only place outside of Finale that
I've seen a "French violin clef" that puts the g' on the bottom line of
the staff is in Dover's edition of "Die Kunst der Fuge." Has anyone else
here had practical experience
...and speaking of moveable clefs, the only place outside of Finale that
I've seen a "French violin clef" that puts the g' on the bottom line of
the staff is in Dover's edition of "Die Kunst der Fuge." Has anyone else
here had practical experience with it?
ajr
Yes, this gets to be a fun exercise for the little grey cells. I work
for a band director who, on occasion decides that a given "bass" line
needs to be done on either an Eb contra-alto clarinet or Eb tuba. Read
the F clef as if it were a G clef, decide what octave is where on the
notation, add
Hi John,
Thank you for the lucid explanation and history review. I do read the
various clefs and various notations for non-Eurocentric instruments
that, in reality is more a form of tablature than notation as we think
of it, so learning new "fingering charts" is not an issue.
Yes, I regard
>So yes, you need to
>learn two different sets of fingerings to be an all-around
>recorder player, but the advantage is that you can select the
>size recorder that makes sense to you rather than being forced
>to take an editor's decision.
Another advantage is that you can do some easy at-sig
At 11:45 PM -0700 5/2/08, Bruce Hunter wrote:
Sorry, I'm the one who was not clear. Actually I hadn't meant to
suggest anything, just reporting what a reproduction of the original
score indicated.
Andrew Stiller has reminded me that recorders aren't transposing
instruments. I guess, like the
At 1:11 PM +0200 5/2/08, Johannes Gebauer wrote:
I have sort of lost touch with this discussion,
but I remember that there are theories that Bach
wrote the 4th Brandenburg concerto for recorder
instruments not in F but in G. Can anyone here
shed some light on this for me? Would such
instrumen
--- dhbailey <[EMAIL PROTECTED]>
wrote:
>
> Speaking as a person for whom recorder was my first
> woodwind (I started
> on trumpet and played that and euphonium only before
> learning recorder),
> it took me all of a week or so to learn alto
> recorder as a separate
> instrument. It's not har
Bruce Hunter wrote:
Sorry, I'm the one who was not clear. Actually I hadn't meant to suggest
anything, just reporting what a reproduction of the original score
indicated.
Andrew Stiller has reminded me that recorders aren't transposing
instruments. I guess, like the bass clef instruments that
Sorry, I'm the one who was not clear. Actually I hadn't meant to suggest
anything, just reporting what a reproduction of the original score
indicated.
Andrew Stiller has reminded me that recorders aren't transposing
instruments. I guess, like the bass clef instruments that don't
transpose. Th
I think alto recorders in in "g" , while the rule in the 16th and
early 17th centuries, had pretty much disappeared by the beginning of
the 18th c. except possibly in the "Stadtpfeifereien", which were
also in many others ways archaic. In any case, Ulrich Prinz, in his
useful book: Johann
On 02.05.2008 Bruce Hunter wrote:
My facsimile copy of the score shows the "fiauti d'echo" lines to be written in
the old French violin G clef (G clef indicating that the _bottom_ line of the staff is
G), and the key signature to be the same as all the other instruments, G.
Bruce Hunter
I am
On May 2, 2008, at 11:15 AM, Bruce Hunter wrote:
My facsimile copy of the score shows the "fiauti d'echo" lines to be
written in the old French violin G clef (G clef indicating that the
_bottom_ line of the staff is G), and the key signature to be the same
as all the other instruments, G.
Br
My facsimile copy of the score shows the "fiauti d'echo" lines to be
written in the old French violin G clef (G clef indicating that the
_bottom_ line of the staff is G), and the key signature to be the same
as all the other instruments, G.
Bruce Hunter
Johannes Gebauer wrote:
I have sort of l
Hi,
If you write to me off list, I can email you a PDF of an article that
discusses this very issue.
Gutten tag
Kim
On 5/2/08, Johannes Gebauer <[EMAIL PROTECTED]> wrote:
> I have sort of lost touch with this discussion, but I remember that there
> are theories that Bach wrote the 4th Brandenbur
I have sort of lost touch with this discussion, but I remember that
there are theories that Bach wrote the 4th Brandenburg concerto for
recorder instruments not in F but in G. Can anyone here shed some light
on this for me? Would such instruments have been built for a pitch of
415 Hz?
Johanne
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