 The Clarinet BBoard
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Author: kporter24
Date: 2016-08-19 07:47
Hello!
Investigating a possible error. In the Artistic Studies book, page 61 (Rose 32 etudes, no. 16, Adagio Cantabile in Bb). Referencing the turn in measure 20 . . .should the turn have a Bb or B natural? I learned it from previous professors and have taught it with B natural. However, as indicated in the key, should it be Bb? Truthfully I've heard it both ways and I'm unsure how to judge a performance of this étude. Help! TIA!
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Author: GBK
Date: 2016-08-19 10:42
Since there is no natural sign marked in the turn, it's a Bb.
...GBK
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Author: kdk
Date: 2016-08-19 18:42
Do you mean literally to judge - as in adjudicate in a formal audition/competition? Or do you mean only to evaluate a performance for yourself?
The fact that you've heard it both ways might suggest that some editions actually have a natural marked - maybe by an editor who considers the raised lower auxiliary stylistically correct even if it isn't notated. I don't have anything on hand but the 1913 Carl Fischer edition, which doesn't have a natural written.
As printed (in my edition and apparently in yours) it should, as Glenn says, be Bb. But stylistically B-natural sounds fine, to my ear maybe even preferable. It's an ornament, an embellishment. Just as there are more rhythmic ways than one to play the turn, I don't see anything wrong with giving the performer some leeway in interpreting the turn sign from a pitch perspective.
Whether you're only judging for your own reference or judging students in an audition, I would just ignore whatever the player does with this turn, so long as it's lyrical, and pay attention to phrasing, legato, rhythmic accuracy and fluency, and all the other musical features of the etude. Whether you play the turn with a Bb or a B-natural, IMO, just doesn't matter.
Karl
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Author: pewd
Date: 2016-08-20 18:43
It is a Bb, due to the key signature, unless an errata shows up on the official audition web page, www.tmea.org
What folks here or elsewhere think, has no bearing on the audition - you have to follow what is published on tmea.org.
If you are a teacher or band director, there is an email address on that site to submit a possible errata for consideration.
If you will be a judge at regionals, one note won't matter - about 90% of the students will miss notes or rhythms at round 1 of regionals.
- Paul Dods
Dallas, Texas
Post Edited (2016-08-20 18:57)
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Author: brycon
Date: 2016-08-20 22:03
It should be a B natural. The implied harmony is either a ii or V/V; the lower neighbor in the turn therefore sounds better as a B natural (it identifies the harmony much more than a Bb would).
Ultimately, as Paul says, it doesn't matter for all state auditions. Maybe send in an errata request if it really bothers your ears.
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Author: kdk
Date: 2016-08-20 22:43
I'm interested in knowing more about these erata sheets. Does TMEA maintain such information and distribute it to members? Do they provide for allowing alternate readings of questionable passages, or do they substitute a required correction if it can be established as valid and disallow the original?
I ask because I have argued, a little half-heartedly, I'll admit, with some of the leadership of my county organization (BCMEA) and Pennsylvania's PMEA, which also have strict requirements that auditionees play exactly what is printed in the required edition. The problem is, of course, that the required editions aren't the best edited or the best researched, they're usually the least expensive and most available. In particular, the editions of the Weber Concertino and the Mozart Concerto that are specified have well-documented errors. I have questioned having to teach my students to play these errors. As a judge, I have fudged the situation by not asking for the questionable passages at all. But I can't be on the solo judge panel all the time. So, I teach the error, tell the students what the correction should be, and warn them to play the wrong version for the audition in case the judges are scoring strictly. This seems stupid, but we live in an age of inflexible policies in the interest of "fairness."
How in detail does TMEA handle this?
Karl
Karl
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Author: pewd
Date: 2016-08-21 05:14
If the professor or teacher who selected the etudes for whatever instrument agrees that there should be a published errata, they post it. They accept them until September 1. After September 1, no more errata will be posted. If it is not posted, you play it as written.
I don't know if they maintain errata lists from year to year or not. A different person (usually a college professor) selects the music each year.
One note doesn't matter - at round 1 at the 6a level (large schools), you will rarely hear more than 2 students in any given room (about 30 students) play the etudes cleanly.
In any event, to the original poster - play it as written, exactly as written, unless you see a published errata, which freezes after September 1.
- Paul Dods
Dallas, Texas
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Author: echi85
Date: 2016-08-22 20:39
I have contacted the person who chose the etudes this year and confirmed that it is B natural. I have also emailed TMEA with the correction. It's up to them to send out a new errata.
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Author: kdk
Date: 2016-08-22 20:49
echi85 wrote:
> I have contacted the person who chose the etudes this year and
> confirmed that it is B natural. I have also emailed TMEA with
> the correction. It's up to them to send out a new errata.
So, is Bb then not accepted, or are both accepted for the audition?
Karl
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Author: pewd
Date: 2016-08-22 23:34
One note won't matter at the auditions. You get about 30 per student per etude' - so - one note won't change the results.
If its not posted by Sept 1, its a Bb.
- Paul Dods
Dallas, Texas
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Author: echi85
Date: 2016-08-23 05:04
Assuming TMEA actually releases a new errata, only B natural would be accepted. If they do nothing, it's Bb.
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