Re: [Finale] what does a copyist do? now scordatura

Ray Horton wrote: I read somewhere that Respighi had some instruments made for the piece, but I don't know where I read it. The parts (3 pairs, sop, alto, ten/bass) say something like "Buccina (flicorno basso)" etc. I believe the alto parts do give flugelhorn in parenthesis. The parts are usu

Re: [Finale] what does a copyist do? now scordatura

John Howell wrote: At 6:07 AM -0500 2/27/08, dhbailey wrote: Interesting, if they're supposed to detune their lowest string by a semitone, how do you feel about modern basses playing the part with the extension on the low string? It would certainly be a different tone than a detuned string

Re: [Finale] what does a copyist do? now scordatura

At 10:37 AM -0600 2/27/08, [EMAIL PROTECTED] wrote: Hmm--would be interesting to see who (if anyone) uses the 78-rpm disc for that Respighi specified for the "Janiculum" section. (Are you listening, Roger Norrington?) According to Daniels IV, the recording is supplied with the (presumably rent

Re: [Finale] what does a copyist do? now scordatura

Not to mention the low b-flat(s) for the basses in "Frau ohne Schatten." ajr > The basses have a low B. So he wants those with the low C extension to > detune to B. > > Cheers, > > - Darcy > - > [EMAIL PROTECTED] > Brooklyn, NY > > > > On 27 Feb 2008, at 6:07 AM, dhbailey wrote: > >> Darcy Ja

Re: [Finale] what does a copyist do? now scordatura

"No matter what happens, I'll be OK." Darcy James Argue wrote: Nobody's blaming you for anything, Ray. The only thing under attack here is the idea that retuning a string or two by a semitone will harm someone's instrument, a belief that does not seem to be founded in reality. Nobody doubts t

Re: [Finale] what does a copyist do? now scordatura

Nobody's blaming you for anything, Ray. The only thing under attack here is the idea that retuning a string or two by a semitone will harm someone's instrument, a belief that does not seem to be founded in reality. Nobody doubts that this belief exists -- that's why we are complaining about

Re: [Finale] what does a copyist do? now scordatura

I read somewhere that Respighi had some instruments made for the piece, but I don't know where I read it. The parts (3 pairs, sop, alto, ten/bass) say something like "Buccina (flicorno basso)" etc. I believe the alto parts do give flugelhorn in parenthesis. The parts are usually played on tru

Re: [Finale] what does a copyist do? now scordatura

The basses have a low B. So he wants those with the low C extension to detune to B. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 27 Feb 2008, at 6:07 AM, dhbailey wrote: Darcy James Argue wrote: Ray, I don't see what the controversy is. Obviously it's better to have the inst

Re: [Finale] what does a copyist do? now scordatura

On 27 Feb 2008 at 11:47, John Howell wrote: > As David pointed out, bass gamba players routinely tune their low D > strings down to C when necessary, just as classical guitarists often > tune their low E down to D, all without damaging the instruments or > even changing the pitch of the other s

Re: [Finale] what does a copyist do? now scordatura

At 6:07 AM -0500 2/27/08, dhbailey wrote: Interesting, if they're supposed to detune their lowest string by a semitone, how do you feel about modern basses playing the part with the extension on the low string? It would certainly be a different tone than a detuned string on a traditional bas

Re: [Finale] what does a copyist do? now scordatura

Hmm--would be interesting to see who (if anyone) uses the 78-rpm disc for that Respighi specified for the "Janiculum" section. (Are you listening, Roger Norrington?) ajr > At 1:46 PM -0500 2/26/08, Ray Horton wrote: >>And you ignored my question about the buccini, which is a much >>bigger case of

Re: [Finale] what does a copyist do? now scordatura

Darcy James Argue wrote: Ray, I don't see what the controversy is. Obviously it's better to have the instruments the composer actually calls for whenever possible. I would love to hear a performance with buccini. But it's not like cellos and basses aren't generally available for a performan

Re: [Finale] what does a copyist do? now scordatura

At 1:46 PM -0500 2/26/08, Ray Horton wrote: And you ignored my question about the buccini, which is a much bigger case of ignoring the composer's wishes! That's very valid, Ray, but it really breaks down into two separate questions (at least!). (1) What, exactly, was the Roman Buccina; and (

Re: [Finale] what does a copyist do? now scordatura

OK Ray Darcy James Argue wrote: Ray, I don't see what the controversy is. Obviously it's better to have the instruments the composer actually calls for whenever possible. I would love to hear a performance with buccini. But it's not like cellos and basses aren't generally available for a

Re: [Finale] what does a copyist do? now scordatura

Ray, I don't see what the controversy is. Obviously it's better to have the instruments the composer actually calls for whenever possible. I would love to hear a performance with buccini. But it's not like cellos and basses aren't generally available for a performance of _Pines_. Respighi

Re: [Finale] what does a copyist do? now scordatura

And you ignored my question about the buccini, which is a much bigger case of ignoring the composer's wishes! Thanks, 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 scordat

Re: [Finale] what does a copyist do? now scordatura

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

Re: [Finale] what does a copyist do? now scordatura

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Re: [Finale] what does a copyist do? now scordatura

On 25 Feb 2008 at 17:59, Ray Horton wrote: > I believe that needing "perhaps some slight adjustment to bridge angle" > in the middle of a piece, for the entire section of violins, is exactly > what we are discussing here as often impractical. Slight adjustments to the bridge are pretty much ro

Re: [Finale] what does a copyist do? now scordatura and trombone low B

OK, you win! I looked that one up again on Wikipedia: --- In Haydn's Symphony No. 60 in C (/Il Distratto/), the first and second violins start the finale of this unusual six-movement symphon

Re: [Finale] what does a copyist do? now scordatura

I believe that needing "perhaps some slight adjustment to bridge angle" in the middle of a piece, for the entire section of violins, is exactly what we are discussing here as often impractical. RBH David W. Fenton wrote: On 25 Feb 2008 at 14:25, Ray Horton wrote: This would play into m

Re: [Finale] what does a copyist do? now scordatura and trombone low B

On 25 Feb 2008 at 14:47, Ray Horton wrote: > OK - that's one reported pro "Distratto" performance! (No report on how > many, if any, of the fiddlers brought their alternate instruments.) Some Googling turned up this: Cleveland Orchestra, 2002 http://www.andante.com/article/article.cfm?id=18550

Re: [Finale] what does a copyist do? now scordatura

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?

Re: [Finale] what does a copyist do? now scordatura

On 25 Feb 2008 at 14:25, Ray Horton wrote: > This would play into my earlier points concerning relative power of > conductor and players, also value of instruments. I'm certain I heard the Cleveland Orchestra do it back in the 80s when I lived in Cleveland. And just a quick Google picks up a re

Re: [Finale] what does a copyist do? now scordatura now ergobone (REALLY TAN)

inale@shsu.edu Subject: Re: [Finale] what does a copyist do? now scordatura First position - trombone - I get it! I made reference to this in another post. This retuning to which you refer on bass trombone takes a lot longer than five minutes to learn, and remains confusing forever. I know, I

Re: [Finale] what does a copyist do? now scordatura and trombone low B

OK - that's one reported pro "Distratto" performance! (No report on how many, if any, of the fiddlers brought their alternate instruments.) Trombone low B: I teach my tenor trombone students to fake a low B - lipping down the C, since most of them don't have an E pull anyway. I have a ni

Re: [Finale] what does a copyist do? now scordatura

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Re: [Finale] what does a copyist do? now scordatura

on't recall any particular problems, though I was watching from the horn section. Bruce Clausen - Original Message - From: "Ray Horton" <[EMAIL PROTECTED]> To: Sent: Sunday, February 24, 2008 11:04 PM Subject: Re: [Finale] what does a copyist do? now scordatura

RE: [Finale] what does a copyist do? now scordatura

n 25-Feb-08 11:56 To: finale@shsu.edu Subject: Re: [Finale] what does a copyist do? now scordatura Well, there were the quarter-tone-flat-to-A-440 woodwinds in John Eaton's operas years ago... ajr On 25 Feb 2008 at 1:13, Ray Horton wrote: As far as scordatura for winds That

Re: [Finale] what does a copyist do? now scordatura

Well, low B isn't exactly a staple for trombones--not quite a pedal tone, and not that versatile as a first harmonic. Esp for tenor 'bone. I've always found it worthwhile to work around the challenges of instrumental limitations to solve my problems--after, look at what Haydn pulled out of the same

RE: [Finale] what does a copyist do? now scordatura

! The stage crew that eventually destroyed those sets did so with a vengeance I had never seen before and haven't seen since. Jim From: [EMAIL PROTECTED] Sent: Mon 25-Feb-08 11:56 To: finale@shsu.edu Subject: Re: [Finale] what does a copyist do? now scordatura Well, there were the quarter

Re: [Finale] what does a copyist do? now scordatura

Well, there were the quarter-tone-flat-to-A-440 woodwinds in John Eaton's operas years ago... ajr > On 25 Feb 2008 at 1:13, Ray Horton wrote: > >> As far as scordatura for winds > > That phrase makes my head hurt. > > -- > David W. Fentonhttp://dfenton.com > David Fenton Assoc

Re: [Finale] what does a copyist do? now scordatura

At 1:13 AM -0500 2/25/08, Ray Horton wrote: As far as listing unusual techniques and unusual instruments in the auditions, it depends on how many players you want to eliminate from considering the auditions. That's what I sort of figured. (Of course the teaching jobs I've held both here and

Re: [Finale] what does a copyist do? now scordatura

Horton" <[EMAIL PROTECTED]> To: Sent: Sunday, February 24, 2008 11:04 PM Subject: Re: [Finale] what does a copyist do? now scordatura And you've seen it played, by a pro symphony, when? RBH [EMAIL PROTECTED] wrote: And don't forget Haydn't "Distratto"

Re: [Finale] what does a copyist do? now scordatura

On 25 Feb 2008 at 1:13, Ray Horton wrote: > As far as scordatura for winds That phrase makes my head hurt. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@

Re: [Finale] what does a copyist do? now scordatura

No, not at all, this does not happen. We are simply not talking about "taking the easy way out." In fact, players will do quite the opposite. Once, we were playing a piece written by a prominent bluegrass/crossover violin soloist who was obviously a novice orchestrator. He had written an

Re: [Finale] what does a copyist do? now scordatura

And you've seen it played, by a pro symphony, when? RBH [EMAIL PROTECTED] wrote: And don't forget Haydn't "Distratto" (Symphony #60) in terms of re-tuning written into the music! ajr I think the phrase "the exception that proves the rule" comes to mind. Thanks for the example. RBH

Re: [Finale] what does a copyist do? now scordatura

Darcy James Argue wrote: Hi Ray, On 23 Feb 2008, at 5:18 PM, Ray Horton wrote: Darcy, you have a point, but from an orchestral players standpoint, they see much of what is written in the name of scordatura as merely unnecessary: In _Pines_ why should cellists detune when there is a bass

RE: [Finale] what does a copyist do? now scordatura

ECTED] on behalf of Ray Horton Sent: Mon 25-Feb-08 1:36 To: finale@shsu.edu Subject: Re: [Finale] what does a copyist do? now scordatura First position - trombone - I get it! I made reference to this in another post. This retuning to which you refer on bass trombone takes a lot longer than

Re: [Finale] what does a copyist do? now scordatura

First position - trombone - I get it! I made reference to this in another post. This retuning to which you refer on bass trombone takes a lot longer than five minutes to learn, and remains confusing forever. I know, I went back to a single-valve for a few years, a few years ago, in an effor

Re: [Finale] what does a copyist do? now scordatura

As far as listing unusual techniques and unusual instruments in the auditions, it depends on how many players you want to eliminate from considering the auditions. Sax is a good example of what I mean. Clarinet players often play sax, orchestras often need sax for pops and the occasional Fre

Re: [Finale] what does a copyist do? now scordatura

I had answered this before, as Carl probably assumed a double-valve bass trombone (which is standard now), but I just saw a show today where the tenor trombonist had to play a low B FOR THE FIRST TIME IN HIS CAREER! He is 47 and has held first trombone positions in major orchestras and play

Re: [Finale] what does a copyist do? now scordatura

A low b natural, such as is found in Bartók's Concerto for Orchestra? ajr > John Howell wrote: >> >> OK, to ask something seriously, did you have any trouble learning to >> adjust your slide positions when you had to pull your F slide to E? > > To E?? I've played on horns that allowed you to swi

RE: [Finale] what does a copyist do? now scordatura

At 10:58 PM + 2/23/08, Owain Sutton wrote: > Well, no one is defending ignorance. But I am inclined to suspect that Respighi, Strauss, and Stravinsky had good reasons for wanting the scordatura they asked for. Absolutely. Stravinsky in particular makes some very unexpected and awk

Re: [Finale] what does a copyist do? now scordatura

At 5:49 PM -0500 2/23/08, Darcy James Argue wrote: Hi Ray, On 23 Feb 2008, at 5:18 PM, Ray Horton wrote: Darcy, you have a point, but from an orchestral players standpoint, they see much of what is written in the name of scordatura as merely unnecessary: In _Pines_ why should cellists detune

RE: [Finale] what does a copyist do? now scordatura

> -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton > Sent: 24 February 2008 02:32 > To: finale@shsu.edu > Subject: RE: [Finale] what does a copyist do? now scordatura > > > On 23 Feb 2008 at 21:28, Owai

RE: [Finale] what does a copyist do? now scordatura

> -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of David W. Fenton > Sent: 24 February 2008 02:43 > To: finale@shsu.edu > Subject: RE: [Finale] what does a copyist do? now scordatura > > > On 23 Feb 2008 at 22:55, Owa

RE: [Finale] what does a copyist do? now scordatura

On 23 Feb 2008 at 22:55, Owain Sutton wrote: > And unless a bridge or > soundpost actually needs replacing, I don't have much respect for > somebody who charges money to set things up again. It's NOT that big or > skilled a task. I would have to disagree with that. You definitely need someone wi

Re: [Finale] what does a copyist do? now scordatura

On 23 Feb 2008 at 17:18, Ray Horton wrote: > Darcy, you have a point, but from an orchestral players standpoint, they > see much of what is written in the name of scordatura as merely > unnecessary: In _Pines_ why should cellists detune when there is a bass > section that can divide (the passa

RE: [Finale] what does a copyist do? now scordatura

On 23 Feb 2008 at 21:28, Owain Sutton wrote: > I've played a piece where all four strings are > gradually detuned by two assistants, over the course of several minutes, > to the point where the bridge falls down. And when discussing this > piece, many other players have said they would never do t

Re: [Finale] what does a copyist do? now scordatura

At 3:08 PM -0800 2/23/08, Carl Dershem wrote: John Howell wrote: OK, to ask something seriously, did you have any trouble learning to adjust your slide positions when you had to pull your F slide to E? To E?? I've played on horns that allowed you to switch it to G, but ... what possible b

Re: [Finale] what does a copyist do? now scordatura

On 23-Feb-08, at 6:08 PM, Carl Dershem wrote: John Howell wrote: OK, to ask something seriously, did you have any trouble learning to adjust your slide positions when you had to pull your F slide to E? To E?? I've played on horns that allowed you to switch it to G, but ... what possibl

Re: [Finale] what does a copyist do? now scordatura

And don't forget Haydn't "Distratto" (Symphony #60) in terms of re-tuning written into the music! ajr > I think the phrase "the exception that proves the rule" comes to mind. > > > Thanks for the example. > > > RBH > > > Darcy James Argue wrote: >> Hi Ray, >> >> IIRC, when I saw her do it, Laura

Re: [Finale] what does a copyist do? now scordatura

John Howell wrote: OK, to ask something seriously, did you have any trouble learning to adjust your slide positions when you had to pull your F slide to E? To E?? I've played on horns that allowed you to switch it to G, but ... what possible benefit would you getb from tuning to E? cd --

Re: [Finale] what does a copyist do? now scordatura

I remember that the debut concert of the IU New Music Ensemble featured a cellist playing Pendercki's "Capriccio per Siegfried Palm." The cellist sitting next to me in piano class said that you couldn't give here $3000 to do that to her cello, and I found out later that the guy who played it borrow

RE: [Finale] what does a copyist do? now scordatura

> > Well, no one is defending ignorance. But I am inclined to > suspect that > Respighi, Strauss, and Stravinsky had good reasons for wanting the > scordatura they asked for. Absolutely. Stravinsky in particular makes some very unexpected and awkward demands on string players at times, a

RE: [Finale] what does a copyist do? now scordatura

> -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of John Howell > Sent: 23 February 2008 22:39 > To: finale@shsu.edu > Subject: Re: [Finale] what does a copyist do? now scordatura > > > At 5:18 PM -0500 2/23/08, Ray Ho

RE: [Finale] what does a copyist do? now scordatura

> > Perhaps orchestral auditions should include a warning that the > players will be expected to make any adjustments to conventional > techniques required by the composers whose music is played. How > about it, Ray; would professional orchestra players agree to that, or > are they too hideb

Re: [Finale] what does a copyist do? now scordatura

I'm done talking out of my area, since we now have string players weighing in. I work with them and have parented a couple, but never got _really_ comfortable out of first position, myself. On the trombone! ;-) Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 ph

Re: [Finale] what does a copyist do? now scordatura

Hi Ray, On 23 Feb 2008, at 5:18 PM, Ray Horton wrote: Darcy, you have a point, but from an orchestral players standpoint, they see much of what is written in the name of scordatura as merely unnecessary: In _Pines_ why should cellists detune when there is a bass section that can divide (t

Re: [Finale] what does a copyist do? now scordatura

At 5:18 PM -0500 2/23/08, Ray Horton wrote: I'm done talking out of my area, since we now have string players weighing in. I work with them and have parented a couple, but never got _really_ comfortable out of first position, myself. Gee, that's a real limitation for a 'bone player! OK, to

Re: [Finale] what does a copyist do? now scordatura

On Feb 23, 2008, at 1:16 PM, Darcy James Argue wrote: Hi Chuck, The discussion has not been about the difficulty of learning to play in an unfamiliar tuning, but rather the allegation that detuning a string instrument can cause serious, lasting problems to the instrument itself. Sorry,

RE: [Finale] what does a copyist do? now scordatura

At 9:28 PM + 2/23/08, Owain Sutton wrote: That's nothing ;) I've played a piece where all four strings are gradually detuned by two assistants, over the course of several minutes, to the point where the bridge falls down. And when discussing this piece, many other players have said they wo

Re: [Finale] what does a copyist do? now scordatura

Darcy, you have a point, but from an orchestral players standpoint, they see much of what is written in the name of scordatura as merely unnecessary: In _Pines_ why should cellists detune when there is a bass section that can divide (the passage in question is very soft); in __heldenleben__ th

Re: [Finale] what does a copyist do? now scordatura

At 12:44 PM -0800 2/23/08, Chuck Israels wrote: HI Darcy, I haven't been following all of this discussion (sorry), but there is a not so superficial issue with scordatura for anything but short passages. Players depend on deeply ingrained kinesthetic patterns for controlling their instrument

Re: [Finale] what does a copyist do? now scordatura

I think the phrase "the exception that proves the rule" comes to mind. Thanks for the example. RBH Darcy James Argue wrote: Hi Ray, IIRC, when I saw her do it, Laura Frautschi made the adjustment using the pegs. And yes, the soloist finishes the concerto in the new F#C#AE tuning. The p

RE: [Finale] what does a copyist do? now scordatura

> -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of Darcy James Argue > Sent: 23 February 2008 18:54 > To: finale@shsu.edu > Subject: Re: [Finale] what does a copyist do? now scordatura > > > Hi Ray, > > IIRC, when

Re: [Finale] what does a copyist do? now scordatura

Hi Chuck, The discussion has not been about the difficulty of learning to play in an unfamiliar tuning, but rather the allegation that detuning a string instrument can cause serious, lasting problems to the instrument itself. (I should add that the harmonic gliss passage from The Firebird

Re: [Finale] what does a copyist do? now scordatura

HI Darcy, I haven't been following all of this discussion (sorry), but there is a not so superficial issue with scordatura for anything but short passages. Players depend on deeply ingrained kinesthetic patterns for controlling their instruments (obviously), and some are more adept at th

Re: [Finale] what does a copyist do? now scordatura

Also: If anything, the issues you bring up ought to be of even more concern for a soloist, since they can't substitute an inferior instrument and must detune their main instrument. Any lasting tuning problems this might cause would be even more exposed and serious for a soloist, so if the

Re: [Finale] what does a copyist do? now scordatura

At 1:42 PM -0500 2/23/08, John Howell wrote: We've just been going through some wild weather swings that have affected all the stringed instruments, and I can guarantee that the tuning variations people are finding when they open their cases are LESS than most of the scordature we've been dis

Re: [Finale] what does a copyist do? now scordatura

Hi Ray, IIRC, when I saw her do it, Laura Frautschi made the adjustment using the pegs. And yes, the soloist finishes the concerto in the new F#C#AE tuning. The piece is on the New World Records album _Trans_ -- iTunes link here: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?

Re: [Finale] what does a copyist do? now scordatura

At 3:53 AM -0500 2/23/08, dhbailey wrote: Ray Horton wrote: I said that in case you were going anywhere with "G-string." But if I read you incorrectly, I apologize. My daughter is a 31 year-old professional musician. You will get similar sentiments from _at least_ 90% of the pro violinists

Re: [Finale] what does a copyist do? now scordatura

Solos are different. Is this done with the fine tuners or the pegs, do you know? Do the strings stay detuned for the remainder of the piece? Just curious. Thanks, RBH Darcy James Argue wrote: There is a thrilling and elegant moment near the end of Lee Hyla's (2001) Violin Concerto, wher

Re: [Finale] what does a copyist do? now scordatura

shirling & neueweise wrote: Tread carefully. For starters, the violinist is my daughter. in other words, you are completely unbiased on the subject 8-) mouthclosedmodeON When I asked a good violinist about detuning the G string, she said "That's why God made violas." there are just too m

Re: [Finale] what does a copyist do? now scordatura

Ray Horton wrote: I said that in case you were going anywhere with "G-string." But if I read you incorrectly, I apologize. My daughter is a 31 year-old professional musician. You will get similar sentiments from _at least_ 90% of the pro violinists you talk to, at least the ones with good

Re: [Finale] what does a copyist do? now scordatura

There is a thrilling and elegant moment near the end of Lee Hyla's (2001) Violin Concerto, where the soloist detunes the lowest two strings to F# and C# -- **in the middle of the cadenza**. The process of gradually detuning the strings is actually written into the music. I saw the premiere

Re: [Finale] what does a copyist do? now scordatura

I said that in case you were going anywhere with "G-string." But if I read you incorrectly, I apologize. My daughter is a 31 year-old professional musician. You will get similar sentiments from _at least_ 90% of the pro violinists you talk to, at least the ones with good instruments. RBH

Re: [Finale] what does a copyist do? now scordatura

Horn players might rebel "bells up" because of difficulty, but that's a shame, because it's a neat effect and sound and the conductor can insist. It is also quite standard now, since Mahler has become routine. (How about the horns standing in the Mahler First? That still does not always happ

Re: [Finale] what does a copyist do? now scordatura

Tread carefully. For starters, the violinist is my daughter. in other words, you are completely unbiased on the subject 8-) mouthclosedmodeON When I asked a good violinist about detuning the G string, she said "That's why God made violas." there are just too many layers of things to even

Re: [Finale] what does a copyist do? now scordatura

t their tuning while performing, anyway). I've yet to find a situation where I can persuade a conductor to try this out, though. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Ray Horton Sent: 22 February 2008 23:48 To: finale@shsu.edu Subject: R

Re: [Finale] what does a copyist do? now scordatura

Tread carefully. For starters, the violinist is my daughter. RBH shirling & neueweise wrote: When I asked a good violinist about detuning the G string, she said "That's why God made violas." there are just too many layers of things to even begin to respond to in this... _

Re: [Finale] what does a copyist do? now scordatura

When I asked a good violinist about detuning the G string, she said "That's why God made violas." there are just too many layers of things to even begin to respond to in this... ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/l

Re: [Finale] what does a copyist do? now scordatura

At 3:27 PM -0500 2/22/08, Ray Horton wrote: --- These exceptions MAY be played, but these are in pieces firmly in the standard rep. An unknown composer bring his/her scordatura passage with "violin playing several notes below its range" into a symphony rehearsal will get nowhere. Yes, I know

RE: [Finale] what does a copyist do? now scordatura

I've discussed with a number of people about the apparent difficulty of getting back in tune afterwards. my understanding is that it has to do with how long the instrument has been "sitting" in the scordatura. the instrument will adjust to whatever you give it (to an extent) and for this re

RE: [Finale] what does a copyist do? now scordatura

hile performing, anyway). I've yet to find a situation where I can persuade a conductor to try this out, though. > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of Ray Horton > Sent: 22 February 2008 23:48 > To: finale@shsu.

Re: [Finale] what does a copyist do? now scordatura

Owain, is it in all the versions of the _Firebird_? Especially, is it in the 1918 suite that is the most often played? The old Kalmus set of parts to the 1918 suite was full of errors. There is a new, Kalmus set, edited by Clark McAlister that is much better. I agree that this could be an

RE: [Finale] what does a copyist do? now scordatura

> > [1} I suspect that violinists do not detune for the > _Firebird_ passage > but play it with artificial harmonics. I will try to > remember to ask at > our concert this evening. No, it's routinely ignored: it's an instruction to tune the E string down to D for the harmonic glissandos in

Re: [Finale] what does a copyist do? now scordatura

Professional symphonic string players (violin, viola, cello), as a rule, ignore scordatura and find other ways to play these parts. They do not detune their instruments, as it can cause serious problems for their instruments. If a violinist plays a piece (Bartok _Contrasts_ , for example) t