Re: Double Sharps in Notation
Originally Posted by
JeffD
I discovered that if I put about $2.50 worth of quarters on the record it slowed it down and dropped the tone about a fifth, so I could learn it one string over.
You were a tech wizard way ahead of your time!
When I was learning scores (to conduct) I was lousy on piano so I would record a part on a Grundig TK6L, one of the first high quality battery-powered tape recorders. I would record at one speed then play back slower so I could play along with the next part. People have it too easy today with digital-slow-down. (Which I use to practice my mandocello parts all the time ).
Back to the double-sharp thing, as a former theory teacher I get frustrated with people saying it doesn't make any difference if you call it Fx (double sharp) or G; I once sat in a workshop where the leader said "Let's play a Bb scale: Bb, C, D, D#...." UGH! This would also make no sense if you were playing a simple I IV V progression: Bb, D#, F ?????
If all you care about is sticking your finger in the right spot, fine, but you do not understand music, or the relationships among notes in a key.
I have the Partitas in an Urtext Verlag edition, supposedly the most carefully edited and true-to-original sources (similar to Baerenreiter). That measure 47 and 48 have the FXpattern in an arpeggio which leads to meas 49 where we jave a G# in the same metric spot. The FX serves as a leading tone that resolves in the G#. If that doesn't register with you, think of singing "DO RE MI FA SOL LA LA DO" (Where's the "TI?"). Or spelling the piece as "Bok Parteeta."
OK, I'm done except to say I envy you because I can't quite play most of these pieces, no matter how you spell them.
jim
Jim
Dr James S Imhoff
Boston University
Oregon Mandolin Orchestra
1912 Gibson K4 Mandocello; Thomann Mandocello; Stiver F5; American? Bowlback; Martin 00016; Dusepo Cittern/liuto cantabile
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