 The Clarinet BBoard
|
Author: Philip Caron
Date: 2015-11-19 05:54
I have a Leduc edition of the Bozza's Bucolique, copyright 1949.
The 4/4 section before the Scherzo starts on a high C-natural, trilled. The key signature is 4 sharps, and the C is marked with a natural. There is also a natural sign marked in the trill, so obviously the trill is from C-natural to D-natural.
In three of the next four measures, there are further trills on C-natural in lower octaves. Each of these C's is marked with a natural. However, unlike the first trill mentioned, these trills are unmarked.
Normally, I would trill into the key signature. In this case, that would be from the marked C-naturals to the D# indicated by the key signature. Question 1: is that idea correct in general?
In this case, that doesn't satisfy my ears, which want me to trill all these to D-natural. I've checked several recordings, and they all trill to D-natural on all these trills, both my marked one and the unmarked ones.
Still, in one trill the D-natural is marked; in the others it is not. If I assume the markings are correct, then I'd have to conclude the later trills on C-natural are intended to differ from the first, and to trill to D#'s as logic would tend to indicate.
Question 2: how about that? Does anyone have an edition where the trills are marked differently? Maybe mine's in error.
I expect the consensus will be to just trill to D-natural on those, but it would be nice to have a scholarly reason to play the unmarked trills the same as the marked one, and different from usual practice at that.
Question 3: What fingering would one use if one HAS to trill from low C-natural to D#? I'm guessing alternating LH with 1st RH side key, which seems doable, but I'll need to practice it.
|
|
Reply To Message
|
|
Author: kdk
Date: 2015-11-19 06:58
I don't know the piece, but just on its face, an augmented 2nd trill would be unusual and unconventional and, to my mind, would need its own justification. What are the harmonies in each succeeding trill measure? Do they suggest that there's some reason to play a D# in contrast to the first bar?
Karl
|
|
Reply To Message
|
|
Author: Philip Caron
Date: 2015-11-20 04:40
kdk, why didn't I think of that? Maybe because the piano score is an afterthought in my mind, being as how I'll never be performing. Where'd I put that thing . . . .
Ok, F-D-C-Ab. There it is, C and D in the chord. That supports what my ears tell me and the recordings I've heard.
It still leaves open the question of why there's no natural sign in the trills after the first one. Actually, it still leaves open all three of my original questions.
|
|
Reply To Message
|
|
Author: kdk
Date: 2015-11-20 05:12
As to what fingering you'd use for a C to D# tremolando, if you mean C6-D#6, keep C and open and close the A key.
Karl
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
