Klarinet Archive - Posting 000301.txt from 2003/07

From: CBA <clarinet10001@-----.com>
Subj: [kl] accidentals
Date: Wed, 9 Jul 2003 16:03:52 -0400

Let me make a SPECIFIC example about an accidental following
through on ALL octaves in 20th Century Music. There are WAY too
many to bring up in Classical and Baroque period music, so no
need. There isn't an argument about this being practice from
Beethoven and before.

Bernstein's Clarinet Sonata...his FIRST published work...most
probably NOT an issue involved in an orchestra having rehearsal
time problem...and having studied with Nadia Boulanger and
Walter Piston, I doubt THEY were incorrect in his composition
instruction and theory.

The quickest example would be measures 6 and 7 of Section M. The
Upper C is marked C# in BOTH measures and the lower octave in
BOTH measures has a natural sign. Bernstein was still in school
when he wrote this, as a senior project, if I remember
correctly. I really think that this would classify as a
situation close enough to academia to remember his theory if he
didn't need to respect accidentals continuing for different
octaves in the same measure if he really didn't.

Other ideas?

Kelly Abraham
Woodwinds - New York City
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
--- Anthony Wakefield <tony-w@-----.uk> wrote:
> The newer/modern convention is, as far as the ever decreasing
> amount of
> rehearsal time musicians` seem to get to prepare, is to put
> every
> accidental, or key sig. sharp or flat which is likely to be
> suspect, <in on
> the part>. This avoids questions to the conductor, and thus
> saves time. To
> make a part clearly unambiguous to the player, it is always
> safer to show
> the accidental, or whatever is needed to enable the minimum
> amount of
> "messing about" in trying to sort out which accidentals apply
> to whichever
> octave.
> Two pennies worth? Make it four and I won`t say a word.
> Tony W.
>
>
>
>
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