----- Original Message ----- From: "Mark D. Lew" <[EMAIL PROTECTED]>
> I checked with a colleague who has conducted the piece. He confirmed that > our interpretation of the flute part is correct. (Rereading your note, > Colin, I believe you were describing the same thing I was, but in different > words). Yeah. I'm all for scores that are as per the composer's intentions, but I find it slightly puzzling that the nested tuplets were not put in in later editions. I'm intrigued to see if there are many other anomalies such as this in the score. > As for the bass clarinet part, he tells me that Stravinsky went back and > forth between French and German style for no apparent reason, and then > eventually settled on French. Looking ahead in the score I see plenty more > clef switching. The bass clef switch just makes no sense whatsoever. As someone else suggested, I thought it could have been to simply avoid collision with another staff below, but it's not even that low a note in treble clef. Interesting. Colin. ---------------------------------------------------------------------------- ---- Colin Broom, composer [EMAIL PROTECTED] ---------------------------------------------------------------------------- ---- > Perhaps an inquiry on the clarinet list would turn up some opinions? > > -- > At 11:40 AM 10/13/02, Aaron Sherber wrote: > >Looking at the score, I would actually guess that it *is* to avoid ledger > >lines -- which would collide with the bassoon part just below it. > > I was starting to think that, too, but the rest of the score doesn't follow > the pattern. After [6] there's more usage of the bass clef, with no high > notes in the staff below. Then later at [8] it's back in the treble clef, > even though there are written low G's. > > mdl > > > _______________________________________________ > Finale mailing list > [EMAIL PROTECTED] > http://mail.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
