Tuesday, February 17, 2015


... on some stuff that's happening off-line.  There may yet be some on-line results but not any time very soon.

However, two thirds of the first movement of Matiegka's Grand Sonata 1 have been nailed down with some notes I definitely want to discuss.  Still trippy to notice that every commercial recording takes the second half of a certain measure playing A natural when that isn't in the score.  There's a solid reason for the alteration in a later part of the modulating transition but we're getting ahead of things.  In sonata forms there can be modulating transitions and, well, uh, non-modulating transitions.  To put this in guitaristic terms there are transitions from theme to theme that change keys and there are what we guitarists could lazily describe as "transposable transitions".  You can see an example of this in the recapitulation of the F major sonata by Diabelli. You don't get theme 1 back. Nope.  You get themes 2 and 3 transposed down into F major from the C major they originally appeared in for the exposition.  Another example of an essentially transposable transition would be ... well, we've already mentioned the Matiegka sonata.  As writing teachers like to say, show don't tell, and we'll be able to show you and tell you some time within the next .... few weeks.

It's not like there aren't writings out there about the evolution of sonata form in solo guitar literature in the early 19th century, obviously ... but this is still going to be fun.

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