Klarinet Archive - Posting 000181.txt from 2011/05

From: "Vann Turner" <vjoet@-----.net>
Subj: Re: [kl] Seeking CD that demonstrates suggested embellishments
Date: Fri, 27 May 2011 07:53:07 -0400

Hi Ken,

Thanks for starting me on proper analysis. I appreciate your direction.

Now, for the trills. It seems to me that a blanket "in classical you start
from the note above" is only sometimes true. I appears to be variable. In
measure 70, the B trill is a leading tone resolving to C. If you start it on
C, the dramatic motion to its resolution is diminished; so to my ear, the
trill should be started on the B.

Indeed I've read that in general that in the classical period when a trill
is approached from above, the initial note is the higher note; when
approached from below, the initial note is the note itself. Not a hard and
fast interpretation rule, but in general.

On a personal note, we've got a pretty good clarinet trio that meets in
Knoxville TN Sunday afternoons. Want to make it a quartet. Just played 2
Mozart Divetementos (2 and 6) and a Boufill trio for a high school. If you
have any interest in checking us out, drop me an email off-list.

Best wishes!
Vann Joe Turner

----- Original Message -----
From: "K S" <krsmav@-----.com>
To: "The Klarinet Mailing List" <klarinet@-----.com>
Sent: Thursday, May 26, 2011 5:53 PM
Subject: Re: [kl] Seeking CD that demonstrates suggested embellishments

> Vann Joe Turner says:
>
>> Some months back a respected contributor to this list wrote the
>> following:<
>
>>When Mozart writes a line you have to look for repeated material. Look at
>>the third measure of the first clarinet entrance. "F-D, F-D C-B-natural."
>>That repeated F-D is an invitation for you to do it differently on the
>>repetition."<
>
> Vann Joe -
>
> I would definitely would NOT embellish the second F-D phrase.
>
> The Mozart Concerto is built on a pattern of Short + Short + Long -- a
> short phrase, a second short phrase repeating the pattern of the first
> phrase, and a third phrase twice as long, repeating the pattern at
> half speed. Thus, in the first movement, F-D, F-D, C-B.
>
> The second movement begins C-F-A-A-G-C. The pattern is repeated.
> Then it's elaborated at double the length. Then it's done again:
> G-C-A-C, G-C-D-A, C-E-D-C-C.
>
> In the third movement, after the opening bars, it's C-B-A-A, A-G-F,
> F-E-D-C-B-C-C#-D, which is not an exact repetition but uses the same
> mechanism.
>
> The first two iterations set up the expectation that the third will be
> the same, and listeners are surprised to hear something different.
> Composers do this all the time. One of my favorites comes from a
> World War I song:
>
> [And then we'll] [E-F-F#]
> Bury the hatchet, [G-G-F-E-G]
> Bury the hatchet, [E-E-D-C-A]
> Bury the hatchet in the Kaiser's head! [G-G-F-E-G-C-D-E-C-D]
>
> Mozart does this frequently, and part of learning the Clarinet
> Concerto is recognizing where he "buries the hatchet."
>
> Any ornamentation in the second F-D phrase keeps the pattern from
> being set up and spoils the device.
>
> In the recap of the first movement, Mozart adds a small ornament:
> C-D-C-B. There's no prohibition on making this more elaborate -- say
> C-D-C-B-C-E-D-C-B, but I think Mozart's own subtle decoration works
> fine.
>
> Ornamentation isn't done at random. You need a harmonic and
> structural reason to use it, and you must be careful not to mess up
> something else that's going on.
>
> Ken Shaw
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