{"id":2235,"date":"2016-09-28T20:52:54","date_gmt":"2016-09-28T20:52:54","guid":{"rendered":"http:\/\/casfaculty.case.edu\/ross-duffin\/?page_id=2235"},"modified":"2017-02-02T19:54:35","modified_gmt":"2017-02-02T19:54:35","slug":"baroque-articulation-winds-standard-patterns","status":"publish","type":"page","link":"https:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/baroque-articulation-winds-standard-patterns\/","title":{"rendered":"MUHI Baroque Articulation Winds Standard Patterns"},"content":{"rendered":"<p><b>Hotteterre, <i>Principes de la fl\u00fbte traversi\u00e8re\u2026<\/i>, Paris, 1707.\u00a0 Ex., p.22 #2.<br \/>\n <\/b>Note:\u00a0 Basic pattern for passages of moderate speed, showing that t r go across the accent of the beat, and can even go across the measure. This seems to support and may even engender the use of inquality.\u00a0<\/p>\n<p><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/baroque-articulation-winds-standard-patterns\/artic11\/\" rel=\"attachment wp-att-2238\"><img loading=\"lazy\" class=\"size-full wp-image-2238 alignnone\" src=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205207\/Artic11.jpg\" alt=\"artic11\" width=\"600\" height=\"165\" srcset=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205207\/Artic11.jpg 600w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205207\/Artic11-300x83.jpg 300w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205207\/Artic11-500x138.jpg 500w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000\"><b>Quantz, <i>Manuscript exercises with autograph tonguings<\/i><\/b><b><br \/>\n <\/b>This shows the same pattern of articulating across the beat. quantz also adds d as a tonguing which is &#8220;forward moving&#8221; but slightly softer than t. Linguists point out that d is almost the same as t as far as the tongue is concerned, but is voiced whereas the t is unvoiced. I believe the tongue in a d pronunciation touches a little farther behnd the teeth, contributing to the softer effect.<\/span><\/p>\n<p><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/baroque-articulation-winds-standard-patterns\/quantz-ms-std3\/\" rel=\"attachment wp-att-2237\"><img loading=\"lazy\" class=\"size-large wp-image-2237 alignnone\" src=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205204\/Quantz.MS_.std3_-1024x229.jpg\" alt=\"quantz-ms-std3\" width=\"1024\" height=\"229\" srcset=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205204\/Quantz.MS_.std3_-1024x229.jpg 1024w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205204\/Quantz.MS_.std3_-300x67.jpg 300w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205204\/Quantz.MS_.std3_-768x171.jpg 768w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205204\/Quantz.MS_.std3_-500x112.jpg 500w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205204\/Quantz.MS_.std3_.jpg 1129w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><b>Jean-Pierre Freillon-Poncein, <i>La V\u00e9ritable Mani\u00e8re d&#8217;apprendre \u00e0 jouer en perfection du hautbois, de la fl\u00fbte et du flageolet<\/i>, Paris, 1700.\u00a0 Ex. F.<br \/>\n <\/b>Note:\u00a0 This shows the standard pattern for faster passage-work, where the t and r fall withn the accent of the beat, rather than across it.\u00a0 An exception, not in Hotteterre, is seen in second line where a tie causes the fast notes to begin off the beat.\u00a0 Obviously speed is not only obstacle to t t r pattern, nor can we assume that t t r <i>always<\/i> causes inequality, since there is hardly time for it here.<\/p>\n<p style=\"text-align: left\"><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/baroque-articulation-winds-standard-patterns\/artic12\/\" rel=\"attachment wp-att-2236\"><img loading=\"lazy\" class=\"size-full wp-image-2236 alignnone\" src=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205201\/Artic12.jpg\" alt=\"artic12\" width=\"825\" height=\"265\" srcset=\"https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205201\/Artic12.jpg 825w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205201\/Artic12-300x96.jpg 300w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205201\/Artic12-768x247.jpg 768w, https:\/\/artscimedia.case.edu\/wp-content\/uploads\/sites\/135\/2016\/09\/28205201\/Artic12-500x161.jpg 500w\" sizes=\"(max-width: 825px) 100vw, 825px\" \/><\/a><\/p>\n<p style=\"text-align: right\">\u00a0<\/p>\n<p style=\"text-align: right\"><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/\">Back to Multimedia Menu<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p><b>Hotteterre, <i>Principes de la fl\u00fbte traversi\u00e8re\u2026<\/i>, Paris, 1707.\u00a0 Ex., p.22 #2.<br \/>\n <\/b>Note:\u00a0 Basic pattern for passages of moderate speed, showing that t r go across the accent of the beat, and can even go across the measure. This seems to support and may even engender the use of inquality.\u00a0<\/p>\n<p><a href=\"http:\/\/casfaculty.case.edu\/ross-duffin\/baroque-articulation-winds-standard-patterns\/artic11\/\" rel=\"attachment wp-att-2238\"><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><b>Quantz, <i>Manuscript exercises with autograph tonguings<\/i><\/b><b><br \/>\n <\/b>This shows the same pattern of articulating across the beat. quantz also adds d as a tonguing which is &#8220;forward moving&#8221; but slightly softer than t.<\/p>\n<p><a href=\"https:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/baroque-articulation-winds-standard-patterns\/\" class=\"more-link\">Continue reading&#8230; <span class=\"screen-reader-text\">MUHI Baroque Articulation Winds Standard Patterns<\/span><\/a><\/p>\n","protected":false},"author":223,"featured_media":0,"parent":2180,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"spay_email":""},"_links":{"self":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2235"}],"collection":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/users\/223"}],"replies":[{"embeddable":true,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/comments?post=2235"}],"version-history":[{"count":5,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2235\/revisions"}],"predecessor-version":[{"id":2808,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2235\/revisions\/2808"}],"up":[{"embeddable":true,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2180"}],"wp:attachment":[{"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/media?parent=2235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}