 The Clarinet BBoard
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Author: beejay
Date: 2002-02-07 08:29
I've just gone through the material in the archives about eingang. Could anyone tell me if this is true of all Mozart compositions. I am preparing the Concert for Piano and Orchestra No. 23 where, in my 2nd clarinet part, the word cadenza apears under a fermata at the end of the first movement.This leads back to a restatement of the opening theme. I wonder whether the publisher has made a mistake, and should instead have used the word eingang. Many thanks.
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Author: GBK
Date: 2002-02-07 09:30
beejay...This specific section of the A major Piano Concerto K.488 is correctly called a cadenza.
As you probably read during your search, there are specific "clues" as to when a passage in question is an eingang. The first hint should be that an eingang begins after a dominant seventh chord, and the instrument that is to play the melody after the eingang is the same instrument that is to play the eingang. That is not the case in the piano concerto. In the A major Piano Concerto, the pause is on the tonic chord, not the dominant seventh. Also, after the pause, the orchestra is the one that begins the melody, not the solo instrument.
Secondly, an eingang usually ends a half step before the beginning of the next section of melody (thus the dominant seventh reference). This is not the case in the specific piano concerto you have inquired about.
Lastly, eingang (eventhough usually improvised on the spot) are rather brief, usually about 15 seconds. Cadenzas, on the other hand are much longer in time, and can last several minutes. If my memory serves me correctly, the traditionally played cadenza to the A major Piano Concerto K.488 goes on for a few minutes.
I hope that this sheds a little "light" on the diffference between the two terms - as they are as different as "night" and "day" ...GBK
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Author: Bob
Date: 2002-02-07 13:46
GBK...bravo. However, even thought different, the Cole Porter song isn't bad either...sorry,the devil made me do it.
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Author: GBK
Date: 2002-02-07 17:05
beejay...You're very welcome.
Don't forget, there will a quiz on Monday...GBK
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Author: Alphie
Date: 2002-02-07 19:03
GBK
To be frank, the chord before the cadenza is not a tonic chord. It's a Dominant-4-6, and shuld be. Other than that all you say is correct.
Alphie
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Author: GBK
Date: 2002-02-07 19:13
Alphie...Are you sure?
Isn't the orchestra is playing a tonic 6/4 just before the cadenza (A major - 2nd inversion)?...GBK
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Author: Alphie
Date: 2002-02-07 22:27
GBK
The notes are, bass: E, violins: A and flute:C#. The same notes as in the tonic chord 2nd inversion. In cases like this however, the tonic 2nd inversion is too unstabil to stop at, a fact that makes this chord a dominant 46. The A and C# are in a state of suspension and need do be resolved to first the dominant and then back to the tonic. In this state of tension the red carpet should be rolled out for the soloist to show his virtuosity. According to the style the soloist ends her/his cadenza with a trill in the dominant chord and when the orchestra comes back we are back home to the tonic again.
My terminology in English isn't good enough to explain this any deeper at the moment. Take the problem to a music theoty proffessor or a composer. After that you can explain it to me in perfect English.
Alphie
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Author: Alphie
Date: 2002-02-07 22:50
A perfect example of a dominant 46 chord with resolution is in the American anthem, the word "home"-D46 (of) "the"-D "brave"-T.
Alphie
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Author: GBK
Date: 2002-02-08 03:07
Alphie...I think we are both saying the same thing, with different explanations.
Your analysis of the penultimate orchestral chord is the same as mine. It is a tonic second inversion ( 6/4)
You are then relating it to the succeeding harmonic framework. It then can be called a dominant ( V of V ) in second inversion (6/4) and must seek a subsequent resolution.
Either way to look at it, getting back to the original question, it is not an eingang, but rather a cadenza...GBK
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Author: Alphie
Date: 2002-02-08 22:29
GBK
It is indeed a cadenza. We are only splitting hairs about music theory here.
When you wrote "tonic", meaning the chord before the cadenza in the 1st movement of K.488 reminded me of my quick examination 24 years ago entering my last conservatory not having to study harmony again which I had already studied for five years. The only mistake I made was a mix up of a tonic second inversion and a dominant 46.
There are two reasons why this chord is a dominant 46.
A primo: Expectation. Sujective? yes and can be debated. A tonic chord is a stop, when used at the end of a phrase or a fermata. An inversion of a chord is only to give the bass more freedom and should not be used at an end of a phrase or a fermata that suggests an ending. In this case it's not an ending but a fermata that leaves an opening for something more to come. A tonic closes the door and says "period", but this chord leaves the door open and by it's nature puts the spot on the soloist like saying, "now hold your breath and listen".
A secondo: The chord before is a 2nd dominant, a B9 without a fundamental that unconditionly has to be resolved into a dominant function in the key of A major.
Alphie
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Author: GBK
Date: 2002-02-08 22:37
Alphie...The next music theory textbook... we should write it together
Thanks...GBK
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Author: Alphie
Date: 2002-02-08 23:02
GBK... they never hit the bestseller lists anyway so I think I'll pass. But it's sometimes nice to refresh the old memory about these things even though issues like this by importance don't exactly make the world a better place.
Alphie
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