Klarinet Archive - Posting 000418.txt from 1998/10

From: Roger Garrett <rgarrett@-----.edu>
Subj: RE: [kl] 1234/2341
Date: Fri, 9 Oct 1998 21:31:49 -0400

On Fri, 9 Oct 1998, Kevin Fay (LCA) wrote:

> The Tabuteau approach was designed to train the player to remove this
> crutch. In a string of 16th notes, *none* should be accented unless there
> is a musical reason for doing so.
>
> Many pieces call for emphasis of the downbeat. Many fool with the accent,
> however--because we're thinking oboe, take the Scherzo of Beethoven 6 as an
> example--where the emphasis is emphatically not on the bar line.
> Tchaikovsky 4, or Romeo & Juliet. The Grand Partita. These are not
> marches--why play them like one?
>
> Which leads to the real rule--"no false accents!"

Why accent at all? You either head for an arrival point, arrive at an
arrival point, or come away from an arrival point in classical literature.
It's that simple - accents are non-essential - but the arrival point is
indicated by the high point in the air stream combined with (hopefully)
some kind of cadence/tension/release point in the phrase.

Roger Garrett
IWU

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