Klarinet Archive - Posting 000261.txt from 2006/10

From: Laurence Beckhardt <lbeckhardt@-----.net>
Subj: Re: [kl] Eingange and cadenzas
Date: Wed, 18 Oct 2006 12:20:26 -0400

The opposite of an "Eingang" is an "Ausgang"

Stan Musical composed the famous Gas Ausgang.

Mets in 7.

--- dnleeson <dnleeson@-----.net> wrote:

> Time for a refresher.
>
> An Eingang (or "lead in", plural being "Eingänge")
> is requested
> by the composer with two identifying elements.
> First there is a
> fermata, and second the underlying harmony on that
> fermata a
> dominent 7th chord. The purpose of the Eingang is
> to make the
> transition from the dominant 7th to the tonic. It
> should take no
> more than somewhere around 15 seconds to achieve its
> end. It is
> expected to be simple and uncomplicated. It should
> be improvised.
>
> A Cadenza is requested by the composer with two
> identifying
> elements. First there is a fermata, and second, the
> underlying
> harmony on that fermata is that of a tonic chord in
> the 2nd
> inversion; i.e., the fifth in the bass. This chord
> is very
> unstable, and the Cadenza's purpose is to stablize
> the situation
> by the instaneous and impetuous invention a
> transition to the
> tonic that is based on the melodies heard in the
> movement. In
> Mozart's time a Cadenza could be as long as 3 or 4
> minutes. It
> was expected to be improvised and the audience
> judged it on the
> basis of its inventiveness.
>
> The only similarity between the two distant cousins
> is (1) both
> are called for a fermata and (2) at the conclusion
> of both the
> Eingang and the Cadenza the audience hears a tonic
> chord. But
> how each one is introduced (dominant 7th chord vs.
> tonic chord in
> second inversion), and the lenght of the two, and
> the
> expectations on the part of the audience are vastly
> dissimilar.
>
> Dan Leeson
> DNLeeson@-----.net
>
>
>
>
>
>
>
>
>
>
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