Originally posted by mercia
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Musical questions and answers thread
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Originally posted by MrGongGong View PostAll depends on the context of what was before
And if there is room for that kind of subtlety, i doubt very much if it exists in the higher registers of the violin, for example. It might exist in the mind of the performer, but whether it would be registered in any way by a listener is open to doubt, I think.
The performer's intention is important though....I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.
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Originally posted by kea View PostIndeed, but the composer's sense of humour might have more to do with that than any explicable notational reasoning.
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Richard Barrett
Originally posted by kea View Postthe composer's sense of humour might have more to do with that than any explicable notational reasoning.
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Originally posted by Richard Barrett View PostThat may well be, but does anyone know which piece I was actually talking about? (to clarify, the instances I mentioned were of a B double flat being followed immediately by an A sharp.) I'll put out a clue: this piece may or may not be extremely long.
From your clue perhaps it is in Opus Clavicem Balisticum? I am certainly not going to look through that score!
Pacta sunt servanda !!!
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hedgehog
Originally posted by Richard Barrett View PostThat may well be, but does anyone know which piece I was actually talking about? (to clarify, the instances I mentioned were of a B double flat being followed immediately by an A sharp.) I'll put out a clue: this piece may or may not be extremely long.
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Originally posted by Flay View PostThe Appassionata has a lot of flats and quite a few double-flats so I went through the score on Petrucci but could not see an A sharp so I gave up.
From your clue perhaps it is in Opus Clavicem Balisticum? I am certainly not going to look through that score!
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hedgehog
Originally posted by Serial_Apologist View PostBingo!!!
Buy that man a drink!
ahem. It's a girls' thing SA But I'm sure kea knew the answer, she just didn't want to spoil the fun.
Actually my first thought was Chopin, I recalled vaguely some scary moments in the Ballades, but looking at the scores showed rather tame stuff of C flats being followed by C sharps, albeit at a cracking tempo with lots of other notes besides.
Then RB's clue made it obvious.Last edited by Guest; 14-01-14, 17:01.
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Originally posted by hedgehog View Postahem. It's a girls' thing SA But I'm sure kea knew the answer, she just didn't want to spoil the fun.
Actually my first thought was Chopin, I recalled vaguely some scary moments in the Ballades, but looking at the scores showed rather tame stuff of C flats being followed by C sharps, albeit at a cracking tempo with lots of other notes besides.
Then RB's clue made it obvious.
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Originally posted by mercia View Post... so if the pianist and violinist play their respective B double flats simultaneously and then their A naturals simultaneously, will one of those combinations sound "wrong" to the listener ? and if so, which one ?
not an entirely hypothetical situation[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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