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Klarinet Archive - Posting 001091.txt from 2000/07

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Two notation questions
Date: Mon, 31 Jul 2000 08:32:01 -0400

Those of us who have sung madrigals have met this carrying of a
dot value across
a barline fairly frequently. It's less effort than writing a tied note -
what other reason would Brahms have for doing it?
(A real question ....).
Roger S.

On Mon, 31 Jul 2000, Tony Pay wrote:

> Date: Mon, 31 Jul 2000 12:30:16 BST
> From: Tony Pay <tony_pay@-----.com>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] Two notation questions
>
>
> >From: Oliver Seely <oliver@-----.edu>
>
> >Yes, thanks Bill. In just writing the first question it occurred to me
> >that the hold-over quarter note in the next measure is what was meant. >It
> >sounds fine that way. Thanks again.
>
> The original notation of the 4-bar 'cello solo at the beginning of Brahms's
> Trio in A minor for clarinet, 'cello and piano goes:
>
> Quarter, quarter, quarter, quarter <barline> Dotted quarter, eighth,
> *dotted* half <barline> Eighth, eighth, quarter, quarter <barline> Half,
> half.
>
> Brahms was interested in earlier music, and you often see this sort of
> notation in older scores. I also happen to think that it's musically better
> in this case -- as apparently did Brahms.
>
> Tony
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com
>
>
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