Klarinet Archive - Posting 000035.txt from 2006/01

From: "Keith" <bowenk@-----.com>
Subj: RE: [kl] Gran Partitttta (K. 361)
Date: Wed, 04 Jan 2006 16:54:59 -0500

Cheap at the price :-)

Keith

> -----Original Message-----
> From:
> klarinet-return-85770-bowenk=compuserve.com@-----.org
> [mailto:klarinet-return-85770-bowenk=compuserve.com@-----.o
> rg] On Behalf Of dnleeson
> Sent: 04 January 2006 20:36
> To: klarinet@-----.org
> Subject: RE: [kl] Gran Partitttta (K. 361)
>
>
> That's great Keith, but you still owe me a pizza for using my
> material.
>
> Dan Leeson
> DNLeeson@-----.net
>
> >
>
> -----Original Message-----
> From: Keith [mailto:bowenk@-----.com]
> Sent: Wednesday, January 04, 2006 11:56 AM
> To: klarinet@-----.org
> Subject: RE: [kl] Gran Partitttta (K. 361)
>
>
> > -----Original Message-----
> > From: Curtis Bennett
> > Sent: 04 January 2006 19:34
> > To: klarinet@-----.org
> > Subject: Re: [kl] Gran Partitttta (K. 361)
> >
> >
> > Sorry for the stupid question, but WRT to the earlier
> discussions in
> > this thread :
> >
> > What the heck is an eingang?
> > --
> > Curtis Bennett
>
> I dare to answer this to check that I have got Dan's teaching right!
>
> Literally, "going in". In 18th century classical convention,
> when there is a fermata over a chord of the dominant seventh,
> followed (as it usually is) by a passage back in the tonic,
> the player who has the tune in the following tonic passage is
> expected to play a little phrase, just a few notes, to take
> us back to the tonic in a logical and interesting way. For
> example a scale with a trill or two. Naturally, this should
> be in the tonic key.
> It should
> be invented on the spot and not written out or prepared, and
> once you have a good one you do not repeat it, but go on and
> invent another good one.
>
> It is different from a cadenza, which is called for by a
> fermata on the second inversion chord of the tonic. Why? This
> is a very unstable chord as a cadence, and calls for
> something more. The cadenza is longer and should explore the
> thematic and harmonic content of the movement, by the solo
> instrument in a concerto.
>
> Eingange are fun. The way to learn how to do them is just to
> do them and get loads of them "wrong" at first. Do them on
> every possible occasion in rehearsal to get a feel for what
> works, what doesn't, and what is a total disaster, and endure
> the grimaces and falling about laughing of your peers.
> Then you will at least be respectable in performance.
>
> How did I do?
>
> Keith Bowen
>
>
>
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