Klarinet Archive - Posting 000051.txt from 2006/01

From: "Joseph H. Fasel" <jhf@-----.gov>
Subj: RE: [kl] Gran Partitttta (K. 361)
Date: Thu, 05 Jan 2006 12:16:59 -0500

Keith,

I had thought of a cadenza as occurring at a a dominant-tonic cadence,
but looking it up, I see that it moves from the tonic in second
inversion to the tonic in root position by way of the dominant.

Cheers,
--Joe

On Thu, 2006-01-05 at 09:56, Keith wrote:
> 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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> >
>
>
>
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