At 10:53 PM -0500 12/12/10, Dennis Bathory-Kitsz wrote:
On Sun, December 12, 2010 10:18 pm, Aaron Sherber wrote:
But isn't that an advantage of just using the circle notation? It
indicates to the player the desired pitch and the fact that it should be
a harmonic, and leaves the details to the player.
I agree with this, and in general. I leave all of the following up to the
player, except when a specific sound or effect (even a visual one) is desired.
There may be others I don't recall at the moment:
- String harmonics and bowing
- Piano fingering and hands (left/right)
- Wind fingering (around register changes)
- Trombone positions and (esp.) euphonium fingering
- Percussion mallets (other than general description)
- Organ stops (other than general description)
- Harp pedaling
When an amateur group is playing a piece, I will specify as requested by the
conductor, but overall I'm hands off.
I would agree with everything except string bowing. Bowing is
phrasing, and no bowings indicates that you don't care. Wind
fingerings seldom offer alternatives, and when they do players often
have individual preferences.
But one thing you did not mention should also be left to the player,
unless it is for a very specific special effect, and that is string
fingerings. Not only is that very technical, but it is very
individual to the player. My stand partner and I hardly ever use the
same fingerings, but we are careful to use the bowings our conductor
has marked.
John
--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[email protected])
http://www.music.vt.edu/faculty/howell/howell.html
"We never play anything the same way once." Shelly Manne's definition
of jazz musicians.
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