Klarinet Archive - Posting 000919.txt from 2003/02

From: "Elizabeth Berry" <MarchinCharger88@-----.com>
Subj: Re: [kl] Shepherd on the Rock
Date: Thu, 27 Feb 2003 22:09:02 -0500

You live in the UK?
AWESOME!

Another thought-provoking yet random phrase from,
¬*Elizabeth*¬

----- Original Message -----
From: "Tony Pay" <Tony@-----.uk>
Subject: RE: [kl] Shepherd on the Rock

> On Tue, 25 Feb 2003 22:13:25 -0500, karlkrelove@-----.net said:
>
> > 2. Someone, I think maybe Tony, said the eighth-note B at the bottom
> > of the ascending scale five measures from the end was there to "make
> > it work out" metrically, or something to that effect, the point having
> > been that the scale is a unit and shouldn't be broken up by a breath
> > after the eighth. But if Schubert had not meant for there to be a
> > "pause in the action" at that point, I wonder that he didn't keep the
> > sixteenths going and simply add a chromatic "spacer" anywhere in that
> > measure. And if having the B (the third of the V7 that's driving this
> > whole passage) fall on the strong beat of the next measure weren't a
> > consideration, he could have put an F# in the next measure after the
> > F-natural and all would have been well metrically with no break at all
> > in the rhythm.
>
> If he hadn't wanted to break the rhythm, the best solution would have
> been to put a C# in as a third sixteenth. I think you do need the B
> natural on the next barline.
>
> > That Schubert didn't do that but, instead, let the rhythm momentarily
> > pause, leaves me feeling unconvinced that a catch breath there is such
> > a disruptive thing (which I think was the suggestion that started off
> > the whole discussion).
>
> What's more important for me is to feel the two bars from the low B to
> the top B as 'one thing' -- a 'leading note scale', if you will, and
> that's another reason for wanting the middle B on the barline. The low
> B eighth just sounds like a harmonic emphasis on the beginning of this
> rather grand, look-we-have-come-through-type scale, and in fact I always
> play that note quite long, so perhaps I was mistaken in my original
> suggestion, even though putting in the C# doesn't sound too bad.
>
> It's *taking the breath* that almost inevitably breaks it up. I also
> find that it makes the B sound 'too short'.
>
> > These sound like the kind of thing I always imagine theory professors
> > staying up late at night arguing, but I'd be interested in responses
> > from those who've been in the discussion longer than I.
>
> Performers, rather than theory professors, I think:-) But this is the
> sort of 'discussion' I usually have with myself, when I study a piece,
> rather than with anyone else. And for me, it usually doesn't happen in
> words, but is a part of the process of practising.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
> tel/fax 01865 553339
>
> ... Things are more like they are now than they ever were before.
>
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>
>

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