Klarinet Archive - Posting 000948.txt from 2000/10

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] Minor key - Mendelssohn Octet
Date: Tue, 17 Oct 2000 12:56:05 -0400

Very good Bill!! Excellent point. But are you aware that Mozart
certainly (and I suspect, though I have no examples for Beethoven,
probably because I never looked hard) deliberately wrote clarinet parts
in the WRONG key. It's not an accident either. He did it on purpose.
Mozart may write a clarinet part in written C major and then adds sharps
to every f and c in the line and he does so knowing that the part really
should have been written in D major. But to do so was was, to him, a
compositional error in the writing of clarinet parts.

Examples freely given at 10 cents per example. I think I have five such
examples, so that will be 50 cents which I collect when I drive through
on one of my cross country tips.

William Wright wrote:
>
> <><> [snip] perceiving works in a minor key as being inherently
> sad and poignant simply because they ARE in a minor key
>
> I was (incorrectly) expecting that the movement's tonic and printed
> signature would indicate a minor key, but the music would avoid minor
> intervals. Therefore it would sound "major" even though the printing
> indicated "minor". I'm not sure if such a thing is practical and still
> produce enjoyable music, but I was on the lookout for it.
>
> As a similar example, I wrote a ditty for myself in G major. At the
> end of it, I realized that the only F in my masterpiece was an
> accidental F natural, no F#s at all. It was the unavoidable tonic that
> caused me to use the G major signature.
> This, by the way, is what prompted me to ask a while ago about the
> relationship (if any) between tonic and key signature and first note.
> What if the sharps and flats don't match the signature for a
> composition's obvious tonic? If I understood everyone correctly, while
> such a thing was anathema before Beethoven, it is now a non-issue.
>
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--
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** Dan Leeson **
** leeson0@-----.net **
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