 The Clarinet BBoard
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Author: Bob Phillips
Date: 2010-11-26 22:37
In the first movement of the Carl Barmann version of the 2nd Weber concerto, the key signature has one flat.
At measure 58:
the second and third beats consist of a double dotted 1/4 note F5 slurred to a 1/16th note D5 with a turn between between them. The turn has a # below it.
Coming off of the F with G - F - E# - F clearly doesn't work!
My question is what sequence notes do you play when executing this grace?
Thanks
Bob Phillips
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Author: cigleris
Date: 2010-11-26 23:18
Hi Bob,
Well firstly it's interesting to note that Weber's own score doesn't have the turn so you could argue that it shouldn't be there.
To answer your question though the turn is usually done on the 16th D so you would play D-E-D-C#-D
Hope that helps
Peter Cigleris
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Author: Bob Phillips
Date: 2010-11-27 17:39
Thank you, Peter, I'll go try it right now.
PS, I can't get away with ignoring it.
Bob Phillips
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Author: kdk ★2017
Date: 2010-11-27 19:27
Or start the turn on E and make it a 4 note turn (4 64th notes) with the E functioning as a kind of passing tone from F to D.
Karl
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Author: mrn
Date: 2010-11-27 22:02
Quote:
PS, I can't get away with ignoring it.
I wonder why not. Are you playing it for a contest or something?
I've always played this passage without a turn. The thing I don't like about the turn is that it tends to weaken or obscure the double-dotted rhythm. Because the turn is "owned" by the D, when you play the turn, the D is no longer heard as a 16th note but has been "stretched" out to accommodate the turn.
Because these snappy dotted rhythms seem to be a unifying idea throughout the 3 movements of the Concerto, I'm hesitant to do anything to cover them up. So I don't add a turn there.
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Author: Bob Phillips
Date: 2010-11-27 22:28
My "need" for the turn is synthetic in a way. I discussed how to do it with my teacher a couple of times; and leaving it out has never been discussed --but will come up at Tuesday's lesson.
I think that the double dotted rhythm is an important consideration, too.
I've been wondering as I work on this thing if Weber went back to the first movement after composing the pollaca and added dots and flags to straight 1/16ths.
And, it was extremely rude of him to sneak in a few straight 1/16ths in amongst the dotted rhythm. (Perhaps, he missed those when he was matching the 1st to the 3rd.)
Bob Phillips
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