Darcy James Argue wrote:
[snip]
To use a real-life example (albeit one involving a different
instrument), lots of bluegrass fiddle players don't read any kind of
music notation at all, but are nonetheless more capable than most of
writing idiomatically for the violin.
[snip]
Actually they may
I couldn't agree more. It's as preposterous as telling someone they
shouldn't try to speak a given language because they haven't developed
their handwriting skills. My only argument is that he should do it himself
because that is the best way to learn the craft.
BTW, though I don't think of
On 15 Apr 2005, at 5:55 AM, dhbailey wrote:
Darcy James Argue wrote:
To use a real-life example (albeit one involving a different
instrument), lots of bluegrass fiddle players don't read any kind of
music notation at all, but are nonetheless more capable than most of
writing idiomatically for
At 11:18 AM -0400 4/15/05, Darcy James Argue wrote:
Are you saying you make a distinction between composing music and
writing music?
Semantics, nothing more. Some people, at some times, do use them
interchangeably, yes, but probably shouldn't. Writing down, as you
say in your next sentence,
In a message dated 15/04/2005 20:18:25 GMT Daylight Time, [EMAIL PROTECTED]
writes:
Mozart
composed the C Minor Mass, but never quite finished writing it down.
This blurred distinction in terminology between composing and writing
should not be abandoned - from this comes the horn player's
On 15 Apr 2005 at 5:55, dhbailey wrote:
And that I think was the thrust of comments made about the
viola-composer-who-doesn't-read-alto-clef -- making up music that
sounds great on an instrument is fine, but is it really considered
writing for that instrument?
Well, I can't speak for anyone
At 8:02 PM -0700 4/13/05, Ryan Beard wrote:
Hi folks,
I'd be interested in getting some opinions regarding
clef changes. And, if any violists are out there, I'd
love to hear how you feel about reading in treble clef
for extended periods of time.
Well, here's personal opinion from one violist.
RYAN WROTEA few here have said that the composer I work with shouldn't
compose a piece for viola because he's not comfortable writing in the alto
clef. How preposterous!
Ryan-one of the reasons I rarely post here any more is that there are
so
On 14 Apr 2005 at 15:23, Ryan Beard wrote:
In my composer's case, he hasn't had much of an
opportunity to write for viola. Now, his violist
friends who have heard his other compositions want a
viola sonata from him. He wrote in treble clef because
it's faster for him to get his ideas down.
On Apr 14, 2005, at 6:07 AM, John Howell wrote:
If I got a piece of music with treble clef down to open C, it would go
in the trash. I wouldn't bother spending time on it. In fact if this
composer is that unfamiliar with viola, I wonder whether the music
that comes out would be WORTH spending
As a frequent violist I wish to comment on this.
Only use the treble clef if it is necessary to shift into third position or
higher. Unlike the violin, a great deal of the viola orchestral literature
can be played in first position. However, playing above fourth space E in
the treble clef
In my experience, Violists don¹t mind treble clef so much as they mind
having to change clefs often. It¹s a real pain to switch one's thinking for
four measures just to avoid a couple of ledger lines. Your general rule is a
pretty good one. If I¹m seeing four or more ledger lines for four
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