Klarinet Archive - Posting 000048.txt from 2006/01

From: "Keith" <bowenk@-----.com>
Subj: RE: [kl] Gran Partitttta (K. 361)
Date: Thu, 05 Jan 2006 11:57:09 -0500

Joe,

Slightly moot to say there is a harmonic transition in a cadenza, isn't it?
Doesn't it go from the tonic (second inversion) to the tonic (root position)
in general? And the inversions could not be perceived on a clarinet unless
one were really really good at double stopping! Whereas an eingang is all
about harmonic transition (dominant to tonic). I think this does emphasize
the difference in purpose between the two. They are similar in that the
performer has considerable freedom within the conventions and is on his or
her own!

Keith Bowen

> -----Original Message-----
> From:
> klarinet-return-85784-bowenk=compuserve.com@-----.org
> [mailto:klarinet-return-85784-bowenk=compuserve.com@-----.o
> rg] On Behalf Of Joseph H. Fasel
> Sent: 05 January 2006 16:18
> To: klarinet@-----.org
> Subject: RE: [kl] Gran Partitttta (K. 361)
>
>
> Dan,
>
> To say that it is "nothing like a cadenza in the slightest"
> is a bit over the top, IMHO. Perhaps you mean to say, as
> Douglas Adams might have, that an eingang is almost, but not
> quite, exactly unlike a cadenza. ;-)
>
> Like a cadenza, it a place where an embellishment or
> improvisation is called for at a particular kind of harmonic
> transition. Like a typical Baroque cadenza, it should be
> brief (as is not generally the case for a late Classical
> cadenza). I think you've taught me, though, that an eingang
> shouldn't be overly elaborate or showy, as a cadenza (Baroque or
> later) often is. And of course, the structures of the two
> kinds of embellishments will be quite different because of
> the difference in the kinds of harmonic transitions they mark.
>
> Would you agree with that?
>
> Cheers,
> --Joe
>
> On Wed, 2006-01-04 at 13:35, dnleeson wrote:
> > It is nothing like a cadenza in the slightest. The
> musicians cut off
> > and the party who plays the eingang does it alone. It's short, not
> > fancy, and if it is longer than 10-15 seconds, that's to long. It
> > ends either on the 7th or the 2nd of scale so that it can
> LEAD IN to
> > the tonic note.
> >
> > Repeat after me: IT IS NOT LIKE A CADENZA, IT IS NOT LIKE A
> CADENZA,
> > IT IS NOT LIKE A CADENZA, IT IS NOT LIKE A CADENZA, IT IS
> NOT LIKE A
> > CADENZA, IT IS NOT LIKE A CADENZA, IT IS NOT LIKE A CADENZA.
> >
> > And it can be found in almost all chamber must from the
> last half of
> > the 18th century. You have not been listening carefully.
> And I still
> > get a pizza.
>
>
>
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