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Re: Off topic - SITT 20 Studies in Double Stops

From: Lukas-Fabian Moser
Subject: Re: Off topic - SITT 20 Studies in Double Stops
Date: Tue, 24 Apr 2018 12:47:23 +0200
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The following is one excerpt from the Sitt book, 20 studies in Double Stops.

Why in the first three measures the G, D and A are written as g4~4~4~4  d4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea?

That’s clearly due to the pedagogical purpose; since the etudes are about Double Stops, the author wanted to make more immediately obvious what exact double stop is played at the moment. (Which I feel would make more sense if neither note was on an open string, but I guess that also appears later in the work.)
One might add that string players sometimes tend to not precisely adhere to the written note length in polyphonic double stops: Think of the instances where Bach writes a longer note combined in polyphony with shorter notes which are _not_ legato. Playing non-legato and repeating the long note over and over again would be silly. But not always the alternative of playing the whole thing on a single bow movement is reasonable; so, sometimes the longer note is shortened.
BWV 1008, Menuet I, Bars 11/13
BWV 1009, Sarabande, Bar 9/10
BWV 1011, Prélude, Bar 3 (the E flat is nearly impossible to sustain over the lower C - one can do it by using fingerings of dubious appropriateness in Baroque music)

So, in a pedadogical volume, I'd also recommend writing "homophonic" double stops to make the meaning clear. (Especially in situations where the player might be forced to switch fingers on the "constant" note; on the Cello I could write down examples where this is necessary, and if I were to write Etudes, I would make sure to put this technique in as a very healthy exercise in intonation.)


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