Bernd et al.,
"...he often was so diligent as to write out the inegalite".
Perhaps Bach intended this only for his French style works such as some
partitas and ouvertures, but what about his other works? Can we infer
that he applied inegalite everywhere?
Best,
Nicol`as
2010/2/22 Bernd Haegemann <[1...@symbol4.de>
It is often mentioned
that inegale play was particularly French, but I'm not too sure
about
that.
It is a least interesting that Spanish writers are among the first
to deal with that topic,
f.e. Tom`as de Santa Maria.
Perhaps, the French put an extra stress on it, but inegale
actually was the old-fashioned heavy vs. light stroke thing.
Stroke of what ? ;-))
There are two concepts with similar features that are normally not
confused, especially
not by the French theorists: quantitas intrinseca ("good" and "bad"
notes /times) and inegalite.
Let's have a look on a C (4/4) bar.
We have 4 crotchets, whereof the 1 is the "best", 3 also good, 2 and
4 (equally?) bad.
(Exceptions appear through dissonances, irregular melodic peaks and
other events.)
The quantitas intrinseca says that 1 and 3 will be longer than 2 and
4, but WITHIN their
measure.
If we subdivide the crotchets to quavers, all the even numbered ones
are "bad".
The inegalite only appears on the level of the semiquavers (=1/4
beat in a dual measure)
, if there are several of them and
if they move more or less stepwise.
best wishes
Bernd
common practise, that I'm aware of, is JJ Quantz (Versuch xi 12). So
Bach is well within he scope IMHO.
Indeed, and he often was so diligent as to write out the inegalite.
best wishes
Bernd
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References
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