Ah--Muskalisches Exequien is GORGEOUS! I like the way the soloist states
the phrases subsequently expounded (at least in a musical sense) by the
ensemble.
ajr
> At 6:35 PM -0500 12/20/08, David W. Fenton wrote:
>>
>>We played two concerts last week, and we played a couple of pieces
>>where we had
The original term was "bassetto." Its geographical origin was Poland, not Italy
as the name suggests.
I came across it in a German treatise by a German from Wroclaw, thus his
knowledge of Polish terminology.
Oddly, it later appeared in GROUT, almost as an afterthought;-)
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On 22 Dec 2008 at 13:30, Andrew Stiller wrote:
> I've lost track of what the situation is in the particular work under
> discussion, but this sounds to me like an example of what is called "la
> petite basse" in French and "das Bassetchen" in German, in which the
> viola temporarily takes the b
On Dec 21, 2008, at 4:11 PM, David W. Fenton wrote:
On 21 Dec 2008 at 11:39, Eric Fiedler wrote:
I think what Telemann " and/or his copyist " is doing here in TVWV
1:644 is to alert the viola player to the fact that he is playing the
same line as the bass, albeit an octave higher... a pheno
David,
Good question, and one that I've given somef thought to, without
coming to any satisfactory conclusions other than the one suggested
in my first post. But there it is, in quite a few cases, by the way.
If your German isn't too rusty, you might want to take a look at an
article I wro
On 21 Dec 2008 at 11:39, Eric Fiedler wrote:
> I think what Telemann " and/or his copiest " is doing here in TVWV
> 1:644 is to alert the viola player to the fact that he is playing the
> same line as the bass, albeit an octave higher. This happens a lot in
> Telemann manuscripts, with even
On 20 Dec 2008 at 23:21, John Howell wrote:
> At 6:35 PM -0500 12/20/08, David W. Fenton wrote:
> >
> >We played two concerts last week, and we played a couple of pieces
> >where we had 7 viols playing. That's a pretty amazing sound, but not
> >one you're going to hear very often!
>
> Apologies,
At 11:39 AM +0100 12/21/08, Eric Fiedler wrote:
Kim,
I think what Telemann - and/or his copiest - is doing here in TVWV
1:644 is to alert the viola player to the fact that he is playing
the same line as the bass, albeit an octave higher. This happens a
lot in Telemann manuscripts, with even t
dc wrote:
dhbailey écrit:
I'm confused -- is the C3 clef that's being mentioned the Alto Clef
and the C4 clef really the Tenor Clef? Or are these special clefs
which designate different octave Cs? How do they do it?
C3 is C clef on the third line, alto clef. C4 the same on 4th line,
tenor c
Kim,
I think what Telemann — and/or his copiest — is doing here in TVWV
1:644 is to alert the viola player to the fact that he is playing the
same line as the bass, albeit an octave higher. This happens a lot in
Telemann manuscripts, with even the violins often being written in
bass clef
At 6:35 PM -0500 12/20/08, David W. Fenton wrote:
We played two concerts last week, and we played a couple of pieces
where we had 7 viols playing. That's a pretty amazing sound, but not
one you're going to hear very often!
Apologies, List; this should have been private,
but I don't have David
On Sat, Dec 20, 2008 at 9:13 PM, David W. Fenton
> Which cantata?
TWV 1:644 "Gott fahret auf mit Jauchzen" which is for Ascension Sunday,
but it's odd that it's so meagerly scored.
>> I guess it's weak because of the two voice writing.
>
> Telemann gets such a bad rap because it's not Bach.
Wel
On 20 Dec 2008 at 21:03, Kim Patrick Clow wrote:
> David W. Fenton wrote:
>
> > Telemann wrote a lot of music that uses viols, some of it quite
> > spectacular. What are you working on?
>
> Well the Sinfonia isn't spectacular really, in fact my editor said
> "it's not a really strong piece I'm
David W. Fenton wrote:
> Telemann wrote a lot of music that uses viols, some of it quite
> spectacular. What are you working on?
Well the Sinfonia isn't spectacular really, in fact my editor said
"it's not a really strong piece I'm afraid." I don't know what the
quality of the rest of the cantat
On 20 Dec 2008 at 20:50, Kim Patrick Clow wrote:
> I was working on a Telemann cantata sinfonia, and essentially it's in two
> voices for strings: violin 1/2 and viola/basso continuo. The viola part
> was throwing me, because Telemann has it in the bass clef, and most of the
> lower notes are unpl
Hi all:
Thanks for this viol thread. Viral thread? Ha, I crack myself up sometimes.
I was working on a Telemann cantata sinfonia, and essentially it's in
two voices for
strings: violin 1/2 and viola/basso continuo. The viola part was
throwing me, because
Telemann has it in the bass clef, and
On 20 Dec 2008 at 18:06, John Howell wrote:
> There is a smaller "pardesus" but I'm not entirely sure of the tuning.
The pardessus has a variable number of strings (5 or 4) and no really
set tuning. It's purpose was to extend the viol range into the violin
range. It's an incredibly difficult in
On 20 Dec 2008 at 17:48, John Howell wrote:
> And if David Fenton disagrees with my comments
So far as I can tell, David Fenton does *not* disagree...
But I'm not...oh, wait...
--
David W. Fentonhttp://dfenton.com
David Fenton Associates http://dfenton.com/DFA/
_
At 11:06 PM +0100 12/20/08, dc wrote:
Barbara Touburg écrit:
I think you can answer your own question: modern edition, modern clefs.
Then let me ask another one: what are the modern
clefs for alto et tenor viols?
Dennis
You REALLY don't want to ask that question! The
English and German
At 4:30 PM -0500 12/20/08, dhbailey wrote:
John Howell wrote:
At 8:35 PM +0100 12/20/08, dc wrote:
I'd editing a Charpentier piece with two viol (both marked
"viole") parts, one in C3 and one in C4. What is the best for a
modern edition? To keep the original clefs? Or use C3 for both
parts? O
On 20 Dec 2008 at 14:59, John Howell wrote:
> At 8:35 PM +0100 12/20/08, dc wrote:
> >I'd editing a Charpentier piece with two viol (both marked "viole")
> >parts, one in C3 and one in C4. What is the best for a modern
> >edition? To keep the original clefs? Or use C3 for both parts? Or?
>
> C3
On 20 Dec 2008 at 23:06, dc wrote:
> Barbara Touburg écrit:
> >I think you can answer your own question: modern edition, modern clefs.
>
> Then let me ask another one: what are the modern clefs for alto et tenor
> viols?
The alto viol doesn't really exist any more (and it barely did in the
pas
dc wrote:
Barbara Touburg écrit:
I think you can answer your own question: modern edition, modern clefs.
Then let me ask another one: what are the modern clefs for alto et tenor
viols?
Dennis
Hahaha! You're the expert, not me! :)
___
Finale mail
John Howell wrote:
At 8:35 PM +0100 12/20/08, dc wrote:
I'd editing a Charpentier piece with two viol (both marked "viole")
parts, one in C3 and one in C4. What is the best for a modern edition?
To keep the original clefs? Or use C3 for both parts? Or?
C3, which is known by most solo viol pla
At 8:35 PM +0100 12/20/08, dc wrote:
I'd editing a Charpentier piece with two viol (both marked "viole")
parts, one in C3 and one in C4. What is the best for a modern
edition? To keep the original clefs? Or use C3 for both parts? Or?
C3, which is known by most solo viol players above the begin
dc wrote:
I'd editing a Charpentier piece with two viol (both marked "viole")
parts, one in C3 and one in C4. What is the best for a modern edition?
To keep the original clefs? Or use C3 for both parts? Or?
I think you can answer your own question: modern edition, modern clefs.
Barbara
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