Advertising and Web Hosting on Woodwind.Org!

Klarinet Archive - Posting 000571.txt from 2004/08

From: "dnleeson" <>
Subj: RE: [kl] Internal evidence
Date: Thu, 19 Aug 2004 16:50:17 -0400

There is no vacuum at all if you know what to look for.

When a composer wants a cadenza his places a fermata on a tonic
chord in the second inversions. Translated from the greek,
italian, french, german, or serbo croation, that means PLAY A

When the fermata is on a dominant 7th chord, that means PLAY AN

You, as the performer are supposed to know what a cadenza is, wha
you do, how you get out of it, and what not to do. Same thing
with an eingang. That is what a course is performance practice
is supposed to teach you.

Dan Leeson

-----Original Message-----
From: Ormondtoby Montoya []
Sent: Thursday, August 19, 2004 1:23 PM
Subject: RE: [kl] Internal evidence

Dan Leeson wrote:

> Wrong direction. One view was that the fact of
> improvisation was so ingrained in the Italian
> culture that there was no need to document it.

Sorry, I didn't mean to focus on one particular language or

Composers wouldn't be composers if they just told us to write our
music. (You open the score, for which you paid $27.95, and it
"Improvise 297 measures in your favorite key, then close with the

However, what catches my attention is the notational semi-vacuum
seems to exist concerning the location of expected
improvisations ---
aside from the notation "cadenza" during the few measures of a

This doesn't prove anything, but it catches my attention. If a
composer expects it, why hasn't a notation arisen over the
centuries to
notate the location more explicitly?

Klarinet is a service of Woodwind.Org, Inc.

Klarinet is a service of Woodwind.Org, Inc.

     Copyright © Woodwind.Org, Inc. All Rights Reserved    Privacy Policy    Contact