Download e-book for iPad: Jazz Guitar 3 - Mastering Chord Melody by Jody Fisher

By Jody Fisher

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NB. In bar  there is no dynamic mark at all in the cello (this is also true of the first edition). Yet it is self-evident from the f > p in bars  and  marked in the autograph (which the first edition simplifies to fp) that a p is preferable to the pp from bar . . In bar , a p should be added to the viola part (according the autograph and first edition). . The slur that starts in the cello part in bar  should continue uninterrupted until bar . The same thing applies self-evidently to the bassoons!

It is worth mentioning that the slurs in the bassoon part in bars and  initially encompassed the half note and the third beat, which suggests that Beethoven sought to have the slurring conform with that of the other instruments in bars  and ; but in the clarinet part, which plays the same thing an octave higher, he places a slur from the third quarter of bar  to the dotted half note of bar  and, moreover, writes the parallel passage in bars  and  in the same way. In fact, there would have been no justification for making the slurring at bars  and  uniform in all the parts, since the bassoons and clarinets do not play their sf until the third quarter, whereas in all the other instruments it occurs at the start of each two-bar unit.

Attached to the consequent phrase is also the return modulation to C major, which has to prepare the way for both the repeat of the exposition and the development. For this reason, the linear progression to IV in G major is avoided and the I in bar  is clearly continued (see the bass), so that the downward elaboration of the upper voice from the octave down to the third is understood un- 16 The connection between the two thirds is indicated in the graph by a dotted line from the b1 to the c2.

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