The bulk of the musical talk
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I've asked, but my quintet colleague (with access to our quintet's library) is really busy...and I would really prefer to read the BARITONE part on this vs. the TUBA part.
Could someone pdf and email it to me?
We DO have it...I just don't have it in my hand...
Thanks in advance. I do realize that helping out a stranger is truly an act of kindness.
Last edited by bloke on Tue Apr 18, 2017 9:33 pm, edited 1 time in total.
Email sent. Let me know if you don't get it.
Thanks so very much !
It's MUCH easier to edit a FEW passages down than to edit MOST passages up.
This is literally sitting next to me as I came across your post. Sorry I was not home earlier or I could have sent it to you. The tuba part is also missing material. The baritone part is the only way to go with this. Also, it needn't be taken down. It is not that high and can be played softly enough to blend. I octave a bit at the end, but not much, really only the last note, which I shift down an octave with the final resolution. (trumpet 2?) Great, great music. I love me some Bach...
EDIT: Never mind. Your request was nearly a week ago. Whoops!
Didn’t Mary Rasmussen (despite her Danish name an American brass scholar) some decades ago criticize King’s tuba parts for blurring the original bass line by not clearly indicating whether the upper or the lower divisi lines were the original ones?
I think bass line players always have juggled octaves, if their instruments allowed for that. Some music was written for specific instruments with given limits of range. Like bass lines for bass viols that only wend down to low D. When these parts were played by cellos (down to C) or by bassoons (down to Bb) certain cadenzas may have been changed on the fly.
But problems may arise. I have played a brass arrangement of a Bach chorale setting, which opened with the tubas playing 2 consequtive ascending fifths, like C2-G2-D3, which hardly is considered kosher vocal counterpoint. And Bach’s chorales were written for his 8-piece church choir, albeit with organ acompaniment including a 16’- bass stop being implicitly assumed, as that is the explanation why Bach sometimes voices his basses above his tenors, even if the bass line still clearly represents the roots of the chords.
So octave juggling takes a sense of the given style. The better solution to the bass line opening mentioned above would be C3-G2-D3. The problem being the implicit ninth between C2 and D3. On the other hand Bach’s own original octave leaps always should be respected, as they represent sudden shifts in strength and/or intensity and have a symbolic function in that respect.
With five players parts, four original organ keyboard lines in a fugue are going to be passed around somewhat - particularly between brass players who need to have their mouthpieces off their faces, sometimes.
Robert King - during that era (early 1960's) - would write 8ve baritone/tuba parts. (I believe he, himself, was a baritone player, and viewed supplying a baritone part as important... ... ) Sometimes, both parts feature all the need-to-play notes (ex: Canzona per Sonare No. 2), and sometimes only the baritone part features all the notes (much like Ingolf Dahl's "Music for "Brass Instrument"/'s 6th part being an only-most-of-the-time double, but missing a lot of the notes).
...and yes, Wade is right. In Contrapunctus 1, the tuba part is missing at least thirty (forty?) notes - in three different portions...so now I have a part that is easier to read as well as having all the needed pitches. We played it last night (concert opener) - and at a fairly quick clip, with no missing notes. In the past, we've used it as incidental music (preludes to graduations, doctoral hoodings, freshman convocations, etc...) and I've complained about the part, but nothing was done ("baritone" missing from the set of parts). Playing it on our OWN recital though, I simply couldn't let this issue "go" any longer.
Going to publication soon is a version of Contrapunctus 9 (in the original D) with only FOUR parts (thus, "busy") for tuba quartet. I did this adaptation/transcription, I think, when I was only about 20. Forty years later, I guess (??) it can go to print.
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