Klarinet Archive - Posting 000571.txt from 2004/08

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Internal evidence
Date: Thu, 19 Aug 2004 16:50:17 -0400

There is no vacuum at all if you know what to look for.

When a composer wants a cadenza his places a fermata on a tonic
chord in the second inversions. Translated from the greek,
italian, french, german, or serbo croation, that means PLAY A
CADENZA.

When the fermata is on a dominant 7th chord, that means PLAY AN
EINGANG.

You, as the performer are supposed to know what a cadenza is, wha
you do, how you get out of it, and what not to do. Same thing
with an eingang. That is what a course is performance practice
is supposed to teach you.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Ormondtoby Montoya [mailto:ormondtoby@-----.net]
Sent: Thursday, August 19, 2004 1:23 PM
To: klarinet@-----.org
Subject: RE: [kl] Internal evidence

Dan Leeson wrote:

> Wrong direction. One view was that the fact of
> improvisation was so ingrained in the Italian
> culture that there was no need to document it.

Sorry, I didn't mean to focus on one particular language or
culture.

Composers wouldn't be composers if they just told us to write our
own
music. (You open the score, for which you paid $27.95, and it
says
"Improvise 297 measures in your favorite key, then close with the
tonic.")

However, what catches my attention is the notational semi-vacuum
that
seems to exist concerning the location of expected
improvisations ---
aside from the notation "cadenza" during the few measures of a
cadence.

This doesn't prove anything, but it catches my attention. If a
composer expects it, why hasn't a notation arisen over the
centuries to
notate the location more explicitly?

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