Klarinet Archive - Posting 000616.txt from 2010/09

From: Tom Bassett <bassettt1@-----.com>
Subj: Re: [kl] Mozart concerto
Date: Thu, 23 Sep 2010 17:23:12 -0400


I did notice the trills. Those are my favorite type of trills. I wish I could always play them like that but it doesn't work in every piece.

About the appoggiatura I once heard that composers used them to avoid breaking the rules. For example, in the Messiah arias, there is quite often a little appoggiatura written in and it is meant to be sung as equal rythm as the note after it. Is this true? I'm assuming the rule would be from counterpoint that the first beat cannot be a dissonance and that they only occur (in the first 5 species) by means of a diminution of 3rds or by ligature.

----------------------------------------
> From: dnleeson@-----.net
> To: klarinet@-----.com
> Date: Thu, 23 Sep 2010 14:00:10 -0700
> Subject: Re: [kl] Noblet C
>
> I think you analysis to very cogent. I found his second Eingang was too
> fussy and too lengthy. Now you should play the Youtube performance of the
> same movement by that British kid who was a genius clarinet player as a
> child, though now his is approaching his adult years.
>
> And you are correct in referring to the "appoggiatura" as being on the beat.
> The translation of the word "appoggiare" means "to lean upon," which is
> exactly the point; the emphasis is on the first note of the pair. What the
> appoggiatura does is create a dissonance by the fact that the first note of
> the pair is not in the harmony. But the resolution then resolves the
> dissonance be leaving the first note to go to the second note of the pair,
> which is in the harmony. It can be delicious is not overdone. It is
> delightful musical tension.
>
> Did you notice that in a series of trills, he entered each trill from above,
> with each one having an appoggiatura that began the trill? And his
> improvisations were pleasant.
>
> Dan Leeson.
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