Author: kdk ★2017
Date: 2013-09-23 03:05
I am sorry that I can't come up with a clear example, but to Ed and David, I am absolutely certain that if you needed to play a trill on E in the key of D minor, you would trill to F-natural absent a sharp sign above the trill sign. And unless there were some reason to involve melodic minor and play an A to B-natural trill (which would generally be indicated), you would, if the key were D minor, trill to a B-flat. I feel certain in a clearly D minor context, you would play trills using the notes from a D minor scale even if the signature said otherwise. The only examples I can think of off the top of my head are in some of the Baermann etudes in the 4th and 5th books, but most here won't have access to those.
I *can*, if it will add anything to the issue, produce lots of examples of music that is in a key not indicated by the key signature. The key, established by appropriate cadences, is harmony-dependent. If the composer doesn't choose to change the key signature when he modulates (which often - generally - is the case if the modulation is temporary), it doesn't negate the modulation. D minor is D minor even if there are 7 sharps in the key signature. The composer just writes a lot of accidentals (like the B-flats in this example).
Once again, I don't know for a certainty that Schwarz *has* modulated to D minor here, and if he hasn't and the prevailing key is still D major, then the trills should be done in a D major context.
I do think that a trill from B-flat to C-sharp, whether spelled as an augmented 2nd or spelled enharmonically as a minor 3rd (B-flat to D-flat), it would more likely have been notated as a tremolo than a trill. An augmented 2nd trill, as has been said, isn't impossible, but would be unconventional.
Karl
Post Edited (2013-09-23 12:35)
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