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Thread: Missa Omnium Sanctorum (completed: Kyrie 1)

  1. #31

    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    Sorry, but i see still a typo in bar 26 and bar 27 of Oboe 1 and soprano:
    the 4th, 5th and 6th notes should be d e f, not c d e.
    Last edited by Notenschreiber; 27-04-2016 at 06:19 PM.

  2. #32
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    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    Quote Originally Posted by Notenschreiber View Post
    Sorry, but i see still a typo in bar 26 and bar 27 of Oboe 1 and soprano:
    the 4th, 5th and 6th notes should be d e f, not c d e.
    Fixed! Thanks
    https://www.dropbox.com/s/nix7fr76z6...score.pdf?dl=0

  3. #33

    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    Would you please upload the Osanna to IMSLP?

  4. #34
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    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    Quote Originally Posted by Notenschreiber View Post
    Would you please upload the Osanna to IMSLP?
    I will do so tonight!

    Seb

  5. #35

    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    Thanks!

    Notenschreiber

  6. #36
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    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    It's been a long time, but I have the Sanctus ready. Once again, scrutiny and proof-reading would be much appreciated (hopefully with fewer issues than last time ).

    I have a question about the range of the baroque violins and viola - could they actually play the unison sections with the bass, even when it goes down to A (in the C2 octave) in the viola (bar 35) and B (C2) in the violins (bar 46)? Surely not, when the G string limits it to g below c' (middle C)...
    Zelenka doesn't write anything to help out here, should I alter the notation to keep it within range, or is there something I'm missing?

    https://www.dropbox.com/s/kq0knwu8cm...nctus.pdf?dl=0
    Last edited by Xanaseb; 16-08-2016 at 02:40 PM.

  7. #37
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    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    Quote Originally Posted by Xanaseb View Post
    It's been a long time, but I have the Sanctus ready. Once again, scrutiny and proof-reading would be much appreciated (hopefully with fewer issues than last time ).

    I have a question about the range of the baroque violins and viola - could they actually play the unison sections with the bass, even when it goes down to A (in the C2 octave) in the viola (bar 35) and B (C2) in the violins (bar 46)? Surely not, when the G string limits it to g below c' (middle C)...
    Zelenka doesn't write anything to help out here, should I alter the notation to keep it within range, or is there something I'm missing?

    https://www.dropbox.com/s/kq0knwu8cm...nctus.pdf?dl=0
    Great, I'll have a look through.

    When upper strings are asked to double the bass, they actually play the notes an octave higher (as in bars 78-81). It's really just short hand, but is also similar to a 'bassetto' (which Vivaldi used a lot), where bass clef appears in the violin lines. The bass clef is an indication to the player that they are now playing the bass line, but the sounding notes are an octave higher than written (including viola). I assume players at the time were used to doing this and could read all clefs, though in Dresden the copyists used to put the notes into the right clefs an octave higher. The first beat of bar 36 confirms this.

    For a score, you could leave as is but for performing parts the violin and viola lines would need to be put into the appropriate clef's transposed up an octave. You might want to do it in the score anyway though to avoid the constant jumping between clefs.

  8. #38
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    Default Re: Missa Omnium Sanctorum (completed: Kyrie 1)

    Quote Originally Posted by Rik1 View Post
    Great, I'll have a look through.

    When upper strings are asked to double the bass, they actually play the notes an octave higher (as in bars 78-81). It's really just short hand, but is also similar to a 'bassetto' (which Vivaldi used a lot), where bass clef appears in the violin lines. The bass clef is an indication to the player that they are now playing the bass line, but the sounding notes are an octave higher than written (including viola). I assume players at the time were used to doing this and could read all clefs, though in Dresden the copyists used to put the notes into the right clefs an octave higher. The first beat of bar 36 confirms this.

    For a score, you could leave as is but for performing parts the violin and viola lines would need to be put into the appropriate clef's transposed up an octave. You might want to do it in the score anyway though to avoid the constant jumping between clefs.
    Ah, that clears it up! Pretty logical

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