tag:blogger.com,1999:blog-10680113.post228565161691946850..comments2024-03-23T11:40:13.092-05:00Comments on Musical Assumptions: Beware the Whims of a Music Editor!Elaine Finehttp://www.blogger.com/profile/14248422399226824168noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-10680113.post-17017013024348815672022-03-06T09:31:46.640-06:002022-03-06T09:31:46.640-06:00I think it is a C#. The material 2 bars later sho...I think it is a C#. The material 2 bars later show a D major 7 chord (with a C#) and I think there is a relationship there. A D dominant 7 in the 3rd measure of the work just doesn't seem right. I think the harmonic motion when the keyboard has the music is different. My recording for Toccata will have a C#--with apologies to those who differ. True, I grew up with a Kalmus (not International) edition that claims no editor but it had a C#. I now own Lienau but still don't agree. I need a manuscript consult ;)Basil Vendryeshttps://www.blogger.com/profile/00780898260165579926noreply@blogger.comtag:blogger.com,1999:blog-10680113.post-66024468642596076942022-03-06T09:25:59.848-06:002022-03-06T09:25:59.848-06:00Although this post is MANY years old (RIP Bernie),...Although this post is MANY years old (RIP Bernie), I actually also think that this is a C#. If you follow what happens in bar 5, where Juon clearly lays out a D-F#-A-C# chord for 2 measures the chord then makes sense in bar 3. I can't see a D dom7 so early in the piece. I have just recorded it for Toccata and I'm keeping my C#. It's certainly more interesting, and I dare say more 'progressive' than a dom 7. Thanks!Basil Vendryeshttps://www.blogger.com/profile/00780898260165579926noreply@blogger.comtag:blogger.com,1999:blog-10680113.post-5124333078427545892017-09-06T07:40:36.105-05:002017-09-06T07:40:36.105-05:00Nice Blog Post !Nice Blog Post !Used PC Distributorhttp://www.electrocw.com/noreply@blogger.comtag:blogger.com,1999:blog-10680113.post-72879919420247470572013-11-24T17:47:55.454-06:002013-11-24T17:47:55.454-06:00I'm convinced; the C naturals have it.
Bernie...I'm convinced; the C naturals have it.<br /><br />Bernie Bernard Zaslavnoreply@blogger.comtag:blogger.com,1999:blog-10680113.post-59634036327907698002013-11-17T00:10:29.196-06:002013-11-17T00:10:29.196-06:00I would surely say C-natural. The piano plays that...I would surely say C-natural. The piano plays that note in m. 12, and that is what appears in the recap. The melodic sequences at Tempo I are all augmented fourths. Katims heard me play it and conceded the C-sharp was a misprint. Larry Wheelernoreply@blogger.comtag:blogger.com,1999:blog-10680113.post-85849386206958611792013-11-07T13:56:30.916-06:002013-11-07T13:56:30.916-06:00Thanks Bernie!
Playing the C# makes me want a res...Thanks Bernie!<br /><br />Playing the C# makes me want a resolution to D natural (which doesn't happen in the viola part, so there is instant disappointment), and playing the C natural makes me want to get to the B natural on the first beat of the next measure. I'm going with the C natural for the sake of making a more satisfying and longer line more easily.<br /><br />(You and Milton Katims could both pull off a longer line no matter what the notes happened to be.)Elaine Finehttps://www.blogger.com/profile/14248422399226824168noreply@blogger.comtag:blogger.com,1999:blog-10680113.post-55874413321156720422013-11-07T12:30:08.910-06:002013-11-07T12:30:08.910-06:00I find the C# version more interesting harmonicall...I find the C# version more interesting harmonically, so that's my vote. <br />Gotta agree with my old friend, Milton Katims.<br /><br />Bernie ZaslavBernard Zaslavnoreply@blogger.com