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Klarinet Archive - Posting 000574.txt from 2004/08

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Internal evidence
Date: Thu, 19 Aug 2004 17:25:08 -0400

If you are speaking about the Barenreiter edition, that was the
editor of the volume who made up that Eingang. It's nice, but I
would not want to hear it twice. Every Eingange needs to be
different. The only general rule is that the Eingang ends on the
2nd or the 7th of the scale so that it can slip nicely into the
tonic, which is exactly what its function is; i.e., to get you to
the tonice on the first note after the Eingang. And the one who
plays it is the party who has the melody after the Eingang is
over.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Simeon Loring [mailto:sloring1@-----.com]
Sent: Thursday, August 19, 2004 1:56 PM
To: klarinet@-----.org
Subject: Re: [kl] Internal evidence

Speaking of the eingang, there is an interesting one offered by I
forget whom in the Clarinet Concerto slow movement: the Bb
followed by
a low E and back to the tune.
On Aug 19, 2004, at 4:48 PM, dnleeson wrote:

> 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
> CADENZA.
>
> When the fermata is on a dominant 7th chord, that means PLAY AN
> EINGANG.
>
> 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
> DNLeeson@-----.net
>
>
>
>
>
>
>
>
>
> -----Original Message-----
> From: Ormondtoby Montoya [mailto:ormondtoby@-----.net]
> Sent: Thursday, August 19, 2004 1:23 PM
> To: klarinet@-----.org
> 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
> culture.
>
> Composers wouldn't be composers if they just told us to write
our
> own
> music. (You open the score, for which you paid $27.95, and it
> says
> "Improvise 297 measures in your favorite key, then close with
the
> tonic.")
>
> However, what catches my attention is the notational
semi-vacuum
> that
> seems to exist concerning the location of expected
> improvisations ---
> aside from the notation "cadenza" during the few measures of a
> cadence.
>
> 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?
>
>
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