On Feb 16, 2006, at 3:46 PM, David W. Fenton wrote:
In the case of the missing cornet parts, my guess is that it's pretty clear that your choices are limited to to 2 or 3 different notes within any harmonic context, but the figuration and voicing need to be determined with no real information on what they should have been.
I think that's overly optimistic. A "cornet solo" could, within the style of the composer and his period, be quite elaborate and full of non-harmonic tones of all kinds. The guidance from the orchestral context in such a situation is really very limited, and the variety of credible solutions immense. The tuba part is much less problematic, because this composer always used the tuba very sparingly (his main brass bass was the ophicleide).
There's also the question of whether the parts were left out of the score because of no room, or because the work was originally intended not to include them.
In this case, the composer helpfully says as much (no room) at the head of the score, and refers the reader/conductor to the "accompanying separate parts"--which are now missing.
Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
