The book Notations 21 is about to appear. The homepage is here:
http://www.notations21.net/
there is a review of it here, but there is hardly any reference to
non-american composers in what claims to be an international
representation of trends in recent decades... even though there is a
At 11:52 -0500 3/4/08, John Howell wrote:
It's pretty obvious in hindsight (and crystal
clear from an historical point of view) that the
development of new kinds of notation through the
20th century, for and by the composers who
believed themselves to be cutting edge on the
non-pop side of
On Mar 6, 2008, at 1:47 PM, shirling neueweise wrote:
in the case of pop, i think your argument is a little off the mark,
but am not familiar enough with pop to talk about it with any
authority: perhaps the piece would have to be notated to be
registered for copyright, but in such cases
At 9:45 AM -0600 3/4/08, Patrick Sheehan wrote:
What does a copyist do?
Being a professional copyist, having done work for James Galway and
wind composer Roger Cichy, I've never had to edit anything that they
have given me, as I have just reset editions that have been given to
me.
However,
John Howell wrote, on 3/4/2008 11:52 AM:
It's pretty obvious in hindsight (and crystal
clear from an historical point of view) that the development of new
kinds of notation through the 20th century, for and by the composers who
believed themselves to be cutting edge on the non-pop side of
the copyists job to catch those errors, if there are typos or
tessitura errors and such. Anyone want to revisit this discussion?
- Original Message -
From: dhbailey [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Friday, February 22, 2008 10:36 AM
Subject: Re: [Finale] what does a copyist do
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
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
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
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
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
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
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
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
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
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
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
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 James Argue wrote:
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
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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
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
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_.
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
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/
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]
To: finale@shsu.edu
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 (Symphony #60) in terms of re-tuning
written
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
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 Associates
!
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-tone-flat
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
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 phrase makes my head hurt
particular problems, though I was watching from the
horn section.
Bruce Clausen
- Original Message - From: Ray Horton [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Sunday, February 24, 2008 11:04 PM
Subject: Re: [Finale] what does a copyist do? now scordatura
And you've seen it played
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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
@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
went
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
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
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
OK, you win!
I looked that one up again on Wikipedia:
---
In Haydn's http://en.wikipedia.org/wiki/Joseph_Haydn Symphony No. 60
http://en.wikipedia.org/wiki/Symphony_No._60_%28Haydn%29 in C (/Il
Distratto/), the first and second violins start the finale of this
unusual six-movement symphony
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 my
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
-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, Owain Sutton wrote:
And unless a bridge
-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, Owain Sutton wrote:
I've played a piece
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
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
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 switch it
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
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
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
] 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 five
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
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
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
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
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
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
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,
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
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:
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
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
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
-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 I saw her do it, Laura Frautschi made
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
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
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__
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
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.
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,
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
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
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 hidebound
-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 Horton wrote:
I'm done talking out
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, and
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
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
--
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 Frautschi made the
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
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
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
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 passage
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 with
shirling neueweise wrote, on 2/22/2008 7:14 AM:
i've always felt
that the copyist's most important role is to improve the performers'
relation with the music
Though I'm swamped with stuff to finish, I had to jump in here and
agree. I've worked with composers who at fist insist that the
I've worked with composers who at fist insist that
the music be done exactly as presented...
A combative business!
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This thread reminds me of that movie (wasn't it about Beethoven?) in which the
female copyist rewrites something and the composer rants about it.
---
If copying is all that's really wanted then that's all I do (but it's really
boring for me even if I am getting paid). In my
At 1:14 PM +0100 2/22/08, shirling neueweise wrote:
From a copyist, composers generally [expect] their score to be
copied exactly as they gave it, no more and no less.
i won't say where this came from other than to mention it is from a
composer and was sent to an experienced and diligent
At 9:54 AM -0500 2/22/08, Cecil Rigby wrote:
For example, I copied a piece for a composition student last year
that had violin playing several notes below its range. I knew this
was going to draw criticism from the comp professor and so brought
it to the young lady's attention. She promptly
shirling neueweise wrote:
From a copyist, composers generally [expect] their score to be copied
exactly as they gave it, no more and no less.
i won't say where this came from other than to mention it is from a
composer and was sent to an experienced and diligent copyist i know.
i know
On 22 Feb 2008 at 8:28, Dennis Bathory-Kitsz wrote:
So I convert, edit and design ... but
never merely copy.
The myth of the non-intervening copyist is a myth. I don't understand
where composers got this idea, except insofar as the role of the
score has changed throughout history (what was
At 9:54 AM -0500 2/22/08, Cecil Rigby wrote:
For example, I copied a piece for a composition student last year
that had violin playing several notes below its range. I knew this
was going to draw criticism from the comp professor and so brought
it to the young lady's attention. She promptly
hi john, thanks.
further, in my view -- as a composer and as a copyist -- the
composer is not always the person who knows best about their
scores...
This strikes me as being a weak justification for taking over as
co-composer. You imply that you, who get the score cold and have
spent NO
At 6:46 PM +0100 2/22/08, shirling neueweise wrote:
At 9:54 AM -0500 2/22/08, Cecil Rigby wrote:
For example, I copied a piece for a composition student last year
that had violin playing several notes below its range. I knew this
was going to draw criticism from the comp professor and so
On 22 Feb 2008 at 9:54, Cecil Rigby wrote:
For
example, I copied a piece for a composition student last year that had
violin playing several notes below its range. I knew this was going to
draw criticism from the comp professor and so brought it to the young
lady's attention. She promptly
On 22-Feb-08, at 7:14 AM, shirling neueweise wrote:
From a copyist, composers generally [expect] their score to be
copied exactly as they gave it, no more and no less.
Ha.
I have played parts that were scanned in from the score, then sliced
into long ribbons and pasted with Photoshop
On 22-Feb-08, at 12:46 PM, shirling neueweise wrote:
i did the orchestral parts for a not unknown orchestra in germany,
there was a repeated pattern played 10+ times (can't remember
exactly), the whole orchestra played almost the same rhythm, and
all voices had quite similar but not
On 22 Feb 2008 at 15:31, Christopher Smith wrote:
I have played parts that were scanned in from the score, then sliced
into long ribbons and pasted with Photoshop into a new document, then
printed. It was next to illegible. The guy thought he was saving
copyists fees. He was an idiot.
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)
I imagine experienced violists have seen low B# on more than a few
occasions.
RBH
Christopher Smith wrote:
On 22-Feb-08, at 12:46 PM, shirling neueweise wrote:
i did the orchestral parts for a not unknown orchestra in germany,
there was a repeated pattern played 10+ times (can't
On Fri, Feb 22, 2008 at 3:31 PM, Christopher Smith
[EMAIL PROTECTED] wrote:
I have played parts that were scanned in from the score, then sliced
into long ribbons and pasted with Photoshop into a new document, then
printed. It was next to illegible.
Ton Koopman had to do this for a series
Yes, getting performers to play/sing what I wrote can be a strenuous
political exercise (you can't mean THAT!). A 45 choral piece stretched
a choir (=vocal quartet) director beyond his Mendelssohn to Debbie
Friedman comfort zone--he pointed to an octave skip I wrote and said they
can't sing that.
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