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MabelJane
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« on: 15:30:33, 16-07-2007 » |
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Or at least someone with a score of his 5th Symphony! I've never listened to Mahler before but I recently heard his 5th Symphony with its exquisite Adagietto. I would really like to know what's going on in the orchestra at the beginning of the Adagietto, at the end of Sample 4 here: http://www.amazon.com/Mahler-Symphony-No-5-Gustav/dp/B000001G9FIt sounds to me like some sort of false relation. Whatever it is it's wonderful! Thanks, MJ |
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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ahinton
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« Reply #1 on: 15:44:00, 16-07-2007 » |
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Or at least someone with a score of his 5th Symphony! I've never listened to Mahler before but I recently heard his 5th Symphony with its exquisite Adagietto. I would really like to know what's going on in the orchestra at the beginning of the Adagietto, at the end of Sample 4 here: http://www.amazon.com/Mahler-Symphony-No-5-Gustav/dp/B000001G9FIt sounds to me like some sort of false relation. Whatever it is it's wonderful! Thanks, MJ At a guess (which is all I can do since I don't have the facility to listen to what you've quoted here), it's exactly that, between a D natural in the main melody and a D flat below it (I hope I'm remembing the correct measure here!). Best, Alistair |
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tonybob
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« Reply #2 on: 16:42:36, 16-07-2007 » |
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sososo s & i.
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ahinton
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« Reply #3 on: 16:48:31, 16-07-2007 » |
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Thanks for posting this (which I could also not do, although I do have the score; it's the fourth beat of measure 6 that I had in mind and, of course, the lower of the two notes I mentioned is actually notated in the score as a C#, not a D flat. Best, Alistair |
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MabelJane
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« Reply #4 on: 17:32:21, 16-07-2007 » |
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Many thanks Alistair and Tonybob. I'll have a look at the score later when I have more time.  |
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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MabelJane
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« Reply #5 on: 21:25:55, 18-07-2007 » |
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Just had a look at and listen to that gorgeous false relation - good to see it, even in simplified form.
Now I want to track down another! I know there's one I've heard in something written long before Mahler's - could I have heard one in Pachabel's Canon? Must listen to it and try to locate it. Can anyone here recommend any more false relations for me?
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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roslynmuse
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« Reply #6 on: 21:31:32, 18-07-2007 » |
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Lots of Tallis and Purcell! For starters try Tallis Salvator mundi and Purcell Trio Sonatas (the chacony, no 6 is a good one!)
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tonybob
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« Reply #7 on: 21:32:53, 18-07-2007 » |
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not being even slightly musically trained past a-level, could you tell me what you're talking about?
:-)
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sososo s & i.
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MabelJane
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« Reply #8 on: 22:00:13, 18-07-2007 » |
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I'll see if I can find that Purcell Trio Sonata. Thanks roslynmuse - it's ages since I noticed any but I must have sung lots when I sang in a Madrigal group 29 years ago!  Tonybob, a false relation is a delicious clash of notes only a semitone apart as one of them is moving onto another note - as above, where the G natural clashes briefly with the G sharp. (From Ave Verum Corpus, by William Byrd.) |
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« Last Edit: 22:47:42, 18-07-2007 by MabelJane »
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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tonybob
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« Reply #9 on: 22:04:19, 18-07-2007 » |
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thanks, MabelJ - you hear it a lot, don't you?
lotti's 'crucifixus' is full of 'em.
incidentally - my eldest girl is called Mabel!
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sososo s & i.
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MabelJane
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« Reply #10 on: 22:11:49, 18-07-2007 » |
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incidentally - my eldest girl is called Mabel!
A real live Mabel! Sorry, I'm not a real one - I adopted the name because I was the G&S Pirates one, as seen here, a long long time ago!  |
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« Last Edit: 23:01:31, 18-07-2007 by MabelJane »
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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Evan Johnson
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« Reply #11 on: 22:15:22, 18-07-2007 » |
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False relations are the calling card of 16th-century English music, particularly (though by no means exclusively!) in the approach to cadences. It's hard to avoid hearing them in Byrd (particularly check out the more extended keyboard pieces, like the Pavan/Galliards in the Lady Nevell's Booke), or the viol consort music of Tye, Purcell, et al. Also lots of Tallis's Catholic vocal pieces, Cornysh (from a couple generations earlier), etc. etc. etc.
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autoharp
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« Reply #12 on: 22:54:53, 18-07-2007 » |
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In colloquial parlance they're known as little bastards.
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Andy D
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« Reply #13 on: 23:08:04, 18-07-2007 » |
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A real live Mabel! Sorry, I'm not a real one - I adopted the name because I was the G&S Pirates one, as seen here, a long long time ago!
Surely you mean as seen here MJ?   |
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« Last Edit: 23:56:25, 18-07-2007 by Andy D »
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MabelJane
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« Reply #14 on: 23:11:33, 18-07-2007 » |
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Isn't my modestly shrunk version visible, Andy?  |
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Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.
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