Wow, even I mentioned this fact as a major event to my high school
music history class!
Martin
On Jan 20, 2009, at 2:02 PM, <[email protected]> wrote:
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/
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Canto ergo sum
Dean M. Estabrook
http://deanestabrook.googlepages.com/home
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