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Tchaikovsky Symphony 6 - Movement 2 - Karajan

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Uploaded by on Jan 15, 2010

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Music

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  • @okaytom When conducting 5/4, you have several options. For 3+2 patterns, the most common conducting patterns used are: 1. a 3/4 + a 2/4 pattern; and 2. Down-left-left-RIGHT to signify beat 4 importance-swoop up on beat 5. For 2+3 patterns, the most common are: 1. a 2/4 + a 3/4: and 2. Down-left-RIGHT-right-swoop. Watch it again with that in mind and you clearly see him alternating patterns, starting with 3/4 + 2/4 and then employing the down-left-RIGHT-right-swoop. Rather obvious, yes?

  • @ItzhakRoxMySox He's clearly conducting it as I said previously.

  • @okaytom Here is one, for example.

    /watch?v=2SEDU8AyxVU&feature=r­elated

  • @okaytom Slurred groupings doesn't necessarily mean that is the actual metric grouping for that measure. That bowing is merely more effective for the instruments in terms of the crescendo the occurs as well as the line of the melody. You'll see in the score, in the 1st, 3rd, 5th, etc measures, the stress is on one (obviously), and 4, where the clarinets and bassoons play their "sigh" motive. You'll see on any video how conductors differentiate their beat of stress between alternating bars.

  • @ItzhakRoxMySox Yes, the 8th bar and it's subsequent recurrences are the only bars in 3+2.

  • @ItzhakRoxMySox What? The whole first theme is 2+3. c.f the score if you're super interested! (216.129.110.22/files/imglnks/­usimg/4/4f/IMSLP00567-Tchaikov­sky_-_Symphony_No_6_Op_74_-_Se­cond_movement.pdf)

  • @okaytom Well I'm not about to count, but from my listening, the entire first theme and all of its recurrences alternates 3+2 and 2+3 every bar, and this theme and it's repetitions account for a nice chunk of the piece.

  • @ItzhakRoxMySox It's predominantly 2+3. The 3+2 bars don't occur consecutively.

  • @Tryceattack I'd politely disagree, as there are groupings of 3+2 as well as groupings of 2+3.

  • I think of it more as a continual switch between 2/4 and 3/4, and the 5/4 being to simplify it.

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