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I have a question about measure 71 in the first movement. The note written for the trill is G#. So do you go according to the key of the movement and trill between a A and a G3, or go by the key of the measure according to the accidentals and assume that the measure is in the key of F# and trill between A# and G#?

Morrell wrote:I have a question about measure 71 in the first movement. The note written for the trill is G#. So do you go according to the key of the movement and trill between a A and a G3, or go by the key of the measure according to the accidentals and assume that the measure is in the key of F# and trill between A# and G#?

Trill G# to A. The best evidence of Hindemith's intention is the resolution to A in the next bar.

The confusion is understandable, considering Hindemith's penchant for playing fast and loose with tonality. Usually the composer will use an accidental paired with the "tr" sign to indicate an otherwise-unusual intention for the note to be trilled to. If Hindemith had desired an G#-A# trill, he surely would have notated "tr #" instead of just "tr".

Taking this a step farther (great OQ!)

What about making the trill rhythmic, as opposed to an unmetered trill?

eg, the first Bobo recording comes off as 16th notes (that's in 2/2, right? Otherwise, 8th notes) measured, very rhythmic.

And, start on which note? I've always started on the A, but, is there anything inherently wrong with starting on the G#? In Baroque and Classical literature, the main note is second sounded, but does that necessarily hold for a Neo-Classicist?

I don't have the part with me, it's buried somewhere if I still have it at all, but these things fascinate me.

eupher61 wrote:...start on which note? I've always started on the A, but, is there anything inherently wrong with starting on the G#? In Baroque and Classical literature, the main note is second sounded, but does that necessarily hold for a Neo-Classicist?

A good rule of thumb (no pun intended?) is to start trills on the note above for pieces composed before 1800 and the written note for pieces composed after 1800. Again, Hindemith was a stickler for detail and I suspect he would have made an indication in the music had he intended for the trill to start on the upper neighbor tone.

Sixteenth notes sound too slow for me in this instance, especially considering the last two will be claimed by the written out ornament.

I just found my copy! It's been years since I've seen it...

Again, my reference is to, well, my memory on the Roger Bobo and Tuba Play recording. I'm not saying I agree with that recording, nor do I disagree with Wade or Todd. Just questioning.

Thanks everybody