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Thread: La Fürstenberg

  1. #26

    Default Re: La Fürstenberg

    Quote Originally Posted by vonbiber View Post
    Found a music sheet for it. If you're interested and would like to use it for the mandolin, I can post the link in another message.
    Thanks. I'm an IMSLP subscriber and actually downloaded a facsimile the day you and I were first corresponding here!

  2. #27
    Registered User Hany Hayek's Avatar
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    Default Re: La Fürstenberg

    Quote Originally Posted by Eugene View Post
    Need more clarification, Hany. If you're discussing the Riggieri variations, it varies with variation or even passage. Riggieri rarely specifies (he does in the 6th variation, e.g.), but it's sometimes obvious (e.g., the triplets in the 9th seem to follow standard patterns).
    Thanks Eugene. I should be more specific. But I always am looking for scores showing what the pick does, in order to get closer to what the composer intended.
    One more question, what is the ornament meant by the + sign
    “Music expresses that which cannot be said and on which it is impossible to be silent.”
    ― Victor Hugo

  3. #28
    Is there a "talent" knob? taboot's Avatar
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    Default Re: La Fürstenberg

    Quote Originally Posted by Hany Hayek View Post
    One more question, what is the ornament meant by the + sign
    I was introduced to this piece in a workshop with Carlo Aonzo, and the + mark was one of the first things we talked about. He was pretty clear that mark meant it was up to the player how to ornament the affected note, and played a few possibilities. So: choose an ornamentation style you like and use that, it’s really player’s choice.
    Christian McKee

    Member, The Big North Duo
    Musical Director, The Oregon Mandolin Orchestra

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  5. #29
    Registered User Jairo Ramos Parra's Avatar
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    Default Re: La Fürstenberg

    I think this paragraph from John Goodin's book "Telemann for Mandolin" may be useful:

    "Telemann used the plus sign (+) to indicate a trill in most of his self-published music. Typlically in Telemann's lifetime, a trill would begin on the note above the writen note. Pluck-string instruments, like the mandolin, however, have certain limitations when executing trills. In a brief discussion with the Italian virtuoso Carlo Aonzo he suggested that it might be helpful to think of these signs as "embellishments" and to view them as an apportunity to add something extra to the bare note in some way that seems fitting."


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  7. #30

    Default Re: La Fürstenberg

    Aye, + is often a generic ornament, but—in baroque-era and shortly thereafter scores—can usually be interpreted as a trill (i.e., rapidly alternating between the noted pitch [principal] and its upper auxiliary [usually the scale step above] for as many iterations as you'd like—or can manage—to pack in). Whether or not an ornament begins on the principal or an auxiliary is usually a function of era and specific ornament, but it should end on the principal. Perhaps not the most respected source of scholarship, but the Wikipedia article on ornaments is quite nice and touches on the use of the plus sign as a trill surrogate.

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