Klarinet Archive - Posting 000383.txt from 2005/02

From: Oliver Seely <oseely@-----.edu>
Subj: Re: [kl] And how did we get here?
Date: Thu, 24 Feb 2005 17:23:23 -0500

Sorry that I haven't gotten back to KLARINET on this matter. I have access
to e-mail only about once each day until this coming Sunday.

Dan posted, in part:

>Then Oliver Seely come on line and made a suggestion that I felt to be so
>uninformed, absurd, senseless, unreasonable, preposterous, and unmusical
>that it shocked me.

Dan, that is really unkind, and in my opinion it is beneath you. I'm
certainly glad that I didn't write that about Dan. (But perhaps it is an
idea whose time has come!) The bottom line is that it doesn't matter to me
what Dan thinks as regards the way I play things in the privacy of my home
and and that of others. It doesn't matter, either, what Mozart, Bach or
any other composer would think. What anyone thinks is of no concern to me
if I feel that it sounds good and if I feel that it "works". If I am
playing for an audience then some other decisions relating to the intended
audience may have to be made, of course.

Dan also wrote:

3) The violinist would be burdened not only with a transposition but with
the addition problem of putting the unplayable notes into a playable
register, this (sic.) impacting the position of the choral voices of the group.

I can hardly believe you wrote this Dan. I had thought that you sequenced
the Krein Opus 12 some months back, but this item 3 suggests that you don't
know anything about music notation software. The violinist wouldn't be
burdened either with transposition or octave changes. That would all be
done by the person doing the transposition. In Finale it is done with two
keystrokes followed by some decisions on octave changes for the unplayable
notes. Did you really do the Krein, or did you just boast that you did?

Oliver

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