Initially, the bass part of this invention gives the
impression of being a carbon copy of the treble, just a
few beats behind. Actually, although it closely
imitates the rhythmic values of each measure of the
primary theme, at phrase ends the bass line tends to
veer in a direction opposite the path the treble has
taken. Thus, the player can't merely synchronize the
two hands to play the same line out of phase; it's
always necessary to realize that the left hand has its
own distinct melody.
<...(+)
Initially, the bass part of this invention gives the
impression of being a carbon copy of the treble, just a
few beats behind. Actually, although it closely
imitates the rhythmic values of each measure of the
primary theme, at phrase ends the bass line tends to
veer in a direction opposite the path the treble has
taken. Thus, the player can't merely synchronize the
two hands to play the same line out of phase; it's
always necessary to realize that the left hand has its
own distinct melody.
Although originally composed for Harpsichord, I created
this arrangement for Viola Duet.
PARTITION