I would look askance at any history class dealing with music of this time period that didn't include this fact. Then again, as a former trombone player, it is a red-letter event which we all celebrate!
ajr > Ah, thank you sir. That was a fact which escaped my undergrad Music > History class ... or, more likely, I was gone that day, enjoying the > many allurements of the greater Tucson, AZ environs. > > Dean > > On Jan 19, 2009, at 10:36 PM, <[email protected]> wrote: > >> Beethoven 5 is usually considered the first appearance in a >> symphony of >> trombones, contrabassoon, and piccolo. The contrabassoon mostly >> doubles >> the string bass parts. When my community orchestra played Beethoven 5 >> years ago the contra was just left out, and not missed. Another >> community >> orchestra gave the part to a tuba. >> >> ajr >> >>> Speaking of bassoons, I went to a symphony concert this weekend, >>> wherein was performed Beethoven 5. Included in the instrumentation >>> was a Contra Bassoon, which was used only (as best I could see) in >>> the last movement, doubling the Third Bone part. I don't have a >>> score to the work, so can anyone tell me if that is a standard >>> instrumentation, or an edition of which I've not heard before, or >>> perhaps the conductor just wanted the bass sound reinforced? >>> >>> Thanks in advance, >>> >>> Dean >>> >>> On Jan 19, 2009, at 5:40 PM, Andrew Stiller wrote: >>> >>>> >>>> On Jan 19, 2009, at 2:43 PM, Dennis Bathory-Kitsz wrote: >>>> >>>>> On Mon, January 19, 2009 2:39 pm, Robert Patterson wrote: >>>>>> Can the down-arrowhead be an outline for a dotted-half value? >>>>> >>>>> I don't know. He only identifies the solid version of each symbol, >>>>> which >>>>> is typical throughout the book. Since the book is 1966 (DE) 1972 >>>>> (EN), I'd >>>>> imagine things might have been clarified since. >>>>> >>>>> Dennis >>>>> >>>> >>>> Speaking as a bassoonist, I can assure you that any notation you >>>> use will be unfamiliar, and so *must* be accompanied with a verbal >>>> instruction such as "reed only" or the like. As a composer, I would >>>> use X-shaped noteheads, add the instruction "with reed only", and >>>> place the notes on the middle line of the staff. On any subsequent >>>> recurrences, I would shorten the instruction just to "reed." If I >>>> wanted the buzz to vary in pitch, I would eliminate the staff lines >>>> and place the various (X-shaped) noteheads at higher or lower >>>> levels within the blank space. >>>> >>>> I would use this same notation for the oboe, and for clarinet/sax/ >>>> brass mouthpiece played alone (except of course that the >>>> instruction would be "mouthpiece alone"). >>>> >>>> Andrew Stiller >>>> Kallisti Music Press >>>> http://www.kallistimusic.com/ >>>> >>>> _______________________________________________ >>>> Finale mailing list >>>> [email protected] >>>> http://lists.shsu.edu/mailman/listinfo/finale >>> >>> Canto ergo sum >>> >>> Dean M. Estabrook >>> http://deanestabrook.googlepages.com/home >>> >>> >>> >>> >>> >>> _______________________________________________ >>> Finale mailing list >>> [email protected] >>> http://lists.shsu.edu/mailman/listinfo/finale >>> >> >> >> _______________________________________________ >> Finale mailing list >> [email protected] >> http://lists.shsu.edu/mailman/listinfo/finale > > Canto ergo sum > > Dean M. Estabrook > http://deanestabrook.googlepages.com/home > > > > > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
