In message <[EMAIL PROTECTED]> David Fenton writes: >But I believe the tunings on the typical 3-string Viennese basses of >the time was not the same as our modern conbrabasses.
Do you have evidence that 4- and 5-string instruments were not available? This part requires a virtuoso, and he probably owned an instrument that would not be typical of an orchestral bass section. I shall see whether tuning a 3-string in fifths, with the bottom string on G (needed in measure 56), would work. The top E in 60 would then be close to the end of the fingerboard on the A string. I will check later whether that would be feasible. >I don't know >enough about the actual tunings for those instruments, so can't say, >but I'm struck by the performer's change from 15ba to 8ba in the one >passage. Yes, measure 55 makes your case very strong. >Personally, I think playing it 15ba sounds ridiculous, and completely >ruins the piece, as it now sounds like a joke. Musically, it also >puts the cb part in the wrong range in relation to the voice part. -- Ken Moore [EMAIL PROTECTED] Web site: http://www.mooremusic.org.uk/ I reject emails > 100k automatically: warn me beforehand if you want to send one _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
