 The Clarinet BBoard
|
Author: kdk ★2017
Date: 2020-11-21 07:09
To partially compensate for the lack of performance opportunities since March, my wife (a violist) and I have been ending each of our individual practice sessions by playing a duet or two together. I have, of course, had to adapt duets from other instruments - the repertoire of clarinet-viola duets is limited.
I've transcribed the bassoon part in the Fuchs Op. 6 #1 for viola (by changing the clef and correcting out-of-range passages). The original (for Bb clarinet and bassoon) is available on IMSLP at https://ks4.imslp.net/files/imglnks/usimg/d/db/IMSLP277415-PMLP450542-GFFuchs_6_Duos,_Op.6.pdf. I'm wondering if anyone here has ever played it ?
The road mapping seems unclear. That it's a Rondo suggests some solutions, but the notation for repeats seems unconventional, at least for Fuchs's time and place (1752-1821 - more or less spans Mozart and Beethoven). There are also some odd chromatic cross-relations between the parts. I can just chuck it - there are other duets for us to play. But I'm curious about how this one is supposed to work.
Karl
|
|
Reply To Message
|
|
Author: cigleris
Date: 2020-11-21 13:26
While it might look strange to us the marking seems clear. Play beginning to double bar (with fermata) and carry on. When you come to the sign repeat that first section until double bar and move to the next section. The repeats are for that section only and then continue. At sign repeat the very first section again until double bar and move to the next section. Again at sign play the opening until the double bar were you then finish (hence why the fermata is there.) checking the other duos the rondos are similar and have fine marked. I guess the convention was to keep the music all on one page.
Peter Cigleris
|
|
Reply To Message
|
|
Author: kdk ★2017
Date: 2020-11-21 18:37
I had assumed the signs worked as you've described - the key changes depend on the da capos in the original key to smooth the transitions. I wasn't as confident about the backward repeats. So the one at the end of bar 32 goes back only 8 measures to the sign? And the later one at the half-cadence in A minor also goes back only 8 measures? It certainly makes sense, although putting the forward repeats in wouldn't have added any more page length than the double barlines that are already there.
Thanks for looking at it.
Karl
|
|
Reply To Message
|
|
Author: cigleris
Date: 2020-11-22 01:54
Yeah I would guess that for the repeats.
My pleasure Karl
Peter Cigleris
|
|
Reply To Message
|
|
Author: Luuk ★2017
Date: 2020-11-23 13:30
Just looked over the sheet music, and I saw another thing, new for me: the notation chal(umeau) and clarin(ette), for example on page 6. Is this to be interpreted as chal = 8va basso and clar = loco?
Regards,
Luuk
Philips Symphonic Band
The Netherlands
|
|
Reply To Message
|
|
Author: hookposse
Date: 2023-06-27 10:49
I had presummated that the indicators functioned as you have described them to do—that is, the key shifts rely on the da capos in the original key to mellow the transitions. When it came to the reverse repeats, I lacked confidence. Consequently, the one at the conclusion of bar 32 only returns eight measures to the sign.
https://ks4.imslp.net/files/imglnks/usimg/d/db/IMSLP277415-PMLP450542-GFFuchs_6_Duos,_Op.6.pdf slope game
And the subsequent one in A minor, at the half-cadence, also travels back only 8 measures? Although adding the forward repeats wouldn't have added any more page length than the double barlines that are already there, it makes perfect sense.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
