Klarinet Archive - Posting 000263.txt from 2006/10

From: "Keith Bowen" <bowenk@-----.com>
Subj: RE: [kl] Eingange and cadenzas
Date: Wed, 18 Oct 2006 12:53:59 -0400

Actually, wouldn't it be an "Ausfahrt" ? I have heard lots of those in
orchestras....

> -----Original Message-----
> From: klarinet-return-89077-bowenk=3Dcompuserve.com@-----.org
> [mailto:klarinet-return-89077-bowenk=3Dcompuserve.com@-----.org] On
> Behalf Of Laurence Beckhardt
> Sent: Wednesday, October 18, 2006 5:18 PM
> To: klarinet@-----.org
> Subject: Re: [kl] Eingange and cadenzas
>=20
>=20
> The opposite of an "Eingang" is an "Ausgang"
>=20
> Stan Musical composed the famous Gas Ausgang.
>=20
> Mets in 7.
>=20
> --- dnleeson <dnleeson@-----.net> wrote:
>=20
> > Time for a refresher.
> >
> > An Eingang (or "lead in", plural being "Eing=E4nge")
> > 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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>=20
>=20
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