At 09:46 12-07-2003, Tilman Skowroneck wrote:
>My objection is specifically about chamber
>music and the fact that many continuo solutions in High Baroque favor a
>relatively small range of melody notes, if one doesn't hop around changing
>inversions all the time. So, the continuo player will, depending on
>experience, either play "that a" [or whichever else note] rather too often,
>or s/he will be able to make a more or less fluent melody-reminiscent line.
>Both will be over-exposed when adding a 4'. So even if my vanity should
>induce me to let my 'melodies' be heard [I think however that I'm more
>belonging to the first category of players in all-too-many cases], as
>public I wouldn't like to listen to that.
I think we agree. I tend to play differently when I am using 4ft than when
using a single 8ft. I find that it is in the slow movements that the
melodic approach is useful for filling out; whereas, in the finales where I
add the 4ft I am usually playing chords in the right hand. Which is not to
say that my top line is usingable, but that I am performing more of a
rhythmic role than a melodic role.
> > I find that the addition of the 4ft serves me well in finales where the
>other players are putting out even more energy.<
>Good, now: I didn't mean orchestra continuo, which is often a matter of
>being heard at all. There I play con tutti apparati, as needed.
Agreed, but I am talking about trio sonatas with oboe and violin. And I am
not making this a rule. It depends on the piece.