{"id":2245,"date":"2016-09-28T20:57:41","date_gmt":"2016-09-28T20:57:41","guid":{"rendered":"http:\/\/casfaculty.case.edu\/ross-duffin\/?page_id=2245"},"modified":"2017-09-07T15:02:16","modified_gmt":"2017-09-07T15:02:16","slug":"muhi-baroque-articulations-winds-dotted-rhythms","status":"publish","type":"page","link":"https:\/\/casfaculty.case.edu\/ross-duffin\/muhi-3441-multimedia\/articulation-examples\/muhi-baroque-articulations-winds-dotted-rhythms\/","title":{"rendered":"MUHI Baroque Articulations Winds Dotted Rhythms"},"content":{"rendered":"

Hotteterre, Principes de la fl\u00fbte traversi\u00e8re\u2026<\/i>, Paris, 1707.\u00a0 Ex. p.23 #2.
\n <\/b>Note:\u00a0 This shows the standard pattern for dotted triplets (corresponding to |\u00a0 V | ), as often found in French Gigues.\u00a0 The main thing is that the articulation occurs from the short note to the faster note, using t r. One difference between Hotteterre and Freillon-Poncein, as shown at the end of theis example, is that Hotteterre changes the pattern for the leap (using t t) whereas F-P. does not.<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

Quantz, Versuch einer Anweisung die Fl\u00f6te traversiere zu spielen<\/i> (Berlin, 1752)<\/b>
\n <\/b>This shows the same pattern of articulating across the beat.<\/span><\/p>\n

 <\/p>\n

\"quantz-dotted\"<\/a><\/p>\n

Jean-Pierre Freillon-Poncein, La V\u00e9ritable Mani\u00e8re d’apprendre \u00e0 jouer en perfection du hautbois, de la fl\u00fbte et du flageolet<\/i> (Paris, 1700). excerpts from Accens and Pinc\u00e9s Exx.
\n <\/b>Note:\u00a0 F-P uses t r for anticipation\/resolutions, even those with ornamented anticipations.\u00a0 He also allows r on notes which are apparently to be trilled, whereas Hotteterre gives a specific injunction against such a practice.\u00a0 (See the Standard Patterns page where Hotteterre breaks the pattern for a trilled note (marked +) as well as for final note.)<\/p>\n

\"artic16\"<\/a><\/p>\n

Back to Multimedia Menu<\/a><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Hotteterre, Principes de la fl\u00fbte traversi\u00e8re\u2026<\/i>, Paris, 1707.\u00a0 Ex. p.23 #2.
\n <\/b>Note:\u00a0 This shows the standard pattern for dotted triplets (corresponding to |\u00a0 V | ), as often found in French Gigues.\u00a0 The main thing is that the articulation occurs from the short note to the faster note, using t r. One difference between Hotteterre and Freillon-Poncein, as shown at the end of theis example, is that Hotteterre changes the pattern for the leap (using t t) whereas F-P. does not.<\/p>\n

 <\/p>\n

<\/a><\/p>\n

Quantz, Versuch einer Anweisung die Fl\u00f6te traversiere zu spielen<\/i> (Berlin,<\/b><\/p>\n

Continue reading… MUHI Baroque Articulations Winds Dotted Rhythms<\/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\/2245"}],"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=2245"}],"version-history":[{"count":10,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2245\/revisions"}],"predecessor-version":[{"id":2921,"href":"https:\/\/casfaculty.case.edu\/ross-duffin\/wp-json\/wp\/v2\/pages\/2245\/revisions\/2921"}],"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=2245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}