Carcassi, Matteo - op.60/16 Video

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josefmazan
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Carcassi, Matteo - op.60/16 Video

Post by josefmazan » Sun Dec 09, 2018 10:07 pm



Hello everybody. Nice study for a transposition excercise. Take care, Josef

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David Norton
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Re: Carcassi ,Matteo - op.60 /16 Video

Post by David Norton » Mon Dec 10, 2018 1:04 am

You carefully follow the rests in the accompaniment, yet ignored the rests of the melodic line. Why is that?

More importantly: try re-writing the full score WITHOUT the rests, indicating that the notes all carry over continually, and you quickly find a visual mess of tie-lines all over the place. So it is quite possible that Carcassi -- or perhaps his editor? -- put these rests in place for visual clarity rather than literal adherence. No way to know 100% of course how Carcassi may really have played this.
David Norton
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First person to complete the Delcamp "Let's Learn Sor's Opus 60" project

powderedtoastman
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Re: Carcassi ,Matteo - op.60 /16 Video

Post by powderedtoastman » Mon Dec 10, 2018 6:31 am

Interesting catch, David. I probably wouldn't have noticed that if you hadn't pointed it out.
I think we can get away with this musically because the melody notes don't clash with the following accompaniment notes, and in fact the written quarter note before the rest overlaps with the first 8th note beat that the accompaniment is played anyway.

The reverse may not be true, if you let the last 8th note of one of the accompanying chords ring over to the next melody note, it could cause a moment of dissonance. Just a guess, as I've only read through this piece once a while back and wasn't paying attention to that point.

I'm not exactly sure what you mean about a mess of tie lines because it looks to me like you would simply write a half note wherever there is a quarter note in the 3rd beat and a quarter rest in the 4th beat. And if you do that it should still be clear where that half note sits with respect to the accompaniment.

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josefmazan
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Re: Carcassi, Matteo - op.60/16 Video

Post by josefmazan » Wed Dec 12, 2018 7:43 pm

Hi David. Yes, you are right. Basically, I started with putting restd in the soprano. But then, I wanted this glissando gsharp b, at the dominant of a minor. So I stopped doing it. And, I quite liked the sound more. It is a question for musicologist, if these things had to be respected literally, as the rule was also to prolong the note .And most important, you should care about the cantilena. Actually, all voices in Carcasses op.60 make much more sense if you try to sing them, they are all vocal. So, that's it. To be honest, I cared more about transpositions of this piece to all the keys around. Thanks for your deep comment:)

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