 The Clarinet BBoard
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Author: orchestr
Date: 2019-09-26 02:13
Attachment: IMG_9397.jpg (203k)
Since the Arlequin by Louis Cahuzac is largely bar-less, does anyone know if the accidentals are only for the note they're attached to? Or do they carry through the line? Or phrase? Example Attached (top of p. 2): I have 5 recordings, and in 4 of them, they play the first eighth-note G as a G#, but they play the final eighth-note G as a G-natural. In the second line, Cahuzac is careful to cancel out the Bb in the middle of the line with a B-natural, and the C# at the end of the line with a C-natural. So which convention should we follow??
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Author: orchestr
Date: 2019-09-29 21:39
Since there wasn't a response to this, I thought I'd try to find the answer myself. The passage in question shows up just 4 lines later, so assuming all of those intervals are the same, that gives us our answer. For future reference to anyone who might search this topic on here, I went through the piece and tried to use logic and look for patterns for other questionable places where courtesy accidentals were not written. A lot of them are pretty obvious, but I listed them, anyway. These are all from the Billaudot edition (I think that's the only edition).
Page 1:
Line 2: 6th note from the end, G-natural
Line 3: Last note, Bb
Line 4: 8th note of a Tempo, A-natural
Line 4: lat note B-natural
Line 6:12th note of poco più vivo, I believe is a Db that also extends to the 15th note. This way, it matches the analogous C# in the middle of the last line of the piece.
Line 7: 2 notes before the fermata, C-natural
Line 7: Last note probably C-natural due to the distance from the previous C#, as well as Cahuzac's frequent use of descending minor thirds
Line 8: Before Lento, all grace notes are D#
Line 8: 3 notes from the end, probably A-natural. There is a breath and railroad tracks separating it from the previous Ab, and the following septuplet also skips (though to a Bb).
Line 9: Last note of septuplet F-natural, to mimic how the septuplet from line 8 ended.
Line 9: Before Lento, grace notes stay C#
Line 9: After breath, grace note is D-natural
Page 2:
Line 1: G eighth note is G#
Line 1: Last note of first septuplet is C#
Line 1: Tied eighth after second septuplet is G-natural
Line 3: Final 32nd note is C-natural
Line 5: 2nd to last note of 2nd septuplet is still Bb.
Line 8: After first dashed barline, the first note is an A-natural
Line 8: Before final dashed barline, the last note is a B-natural
Line 10 (last): 12th note is a Db (see p.1 line 6 above).
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Author: bmcgar ★2017
Date: 2019-09-29 22:21
Listen to Cahuzac's recordings. If he ever had "definitive" notations in his pieces, he never followed them.
My sense is that he'd tell you to do what you think is best musically.
B.
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Author: orchestr
Date: 2022-03-25 06:13
I’m working on this again, and I’ve changed my opinion about two spots.
Like 6 and 12: the 12th note of the poco vivo I believe is d-natural. The final notes of the piece mimic this 3-note motive with a D-natural, and most of the piece revolves around descending chromaticsm.
I still think line 6, 15th note of poco vivo should be Db, simply a typo. It’s C# in the last line, and G to Db is a descending tritone, something else Cahuzac uses a ton in this piece.
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