I have a choral/orchestral composition (18th Century piece) in the key
of e minor, one sharp in the key signature for the C instruments and
voices. The horn part is written for horn in G (sounds a 4th lower
than written), and therefore there are no sharps or flats in the key
signature for
Write it one note higher than the written horn in G part. (C becomes D; E
becomes F#; G becomes A)
Cheers,
Lawrence
On 9 February 2014 15:24, Martin Banner mbanner...@aol.com wrote:
I have a choral/orchestral composition (18th Century piece) in the key
of e minor, one sharp in the key
Lawrence,
And the key signature for the newly written part for horn in F?
Martin
On Feb 9, 2014, at 10:27 AM, Lawrence Yates wrote:
Write it one note higher than the written horn in G part. (C
becomes D; E
becomes F#; G becomes A)
Cheers,
Lawrence
On 9 February 2014 15:24, Martin
If you are going to add a key signature rather than insert accidentals as
you go along, it will be 2 sharps.
Cheers,
Lawrence
On 9 February 2014 15:30, Martin Banner mbanner...@aol.com wrote:
Lawrence,
And the key signature for the newly written part for horn in F?
Martin
As a horn player, which would you rather see, accidentals as you go
along, or a key signature at the beginning? Thanks for sharing your
expertise.
Martin
On Feb 9, 2014, at 10:34 AM, Lawrence Yates wrote:
If you are going to add a key signature rather than insert
accidentals as
you go
There is a movement towards the use key signatures especially if the music
is more modern. Modern shows and modern music tend to use them so I would
suggest that you do that. Wind bands have been using key signatures for
years. In extreme keys especially a key signature will make for much
Hi Gerald,
I've done this when, for one reason or another, HP frustrates me, or controls
don't work exactly as planned. For example, for violin harmonics, I like to use
a non-vibrato piccolo.
The easiest way to do it is to set up the different sounds you want on
different tracks. You can put
FWIW,
I'm playing Brahms 4 now. The horn parts from Breitkopf Hartel have the
original parts in the keys of C, E, and F, and then a transposed version in
the back of the booklet for horn in F with key signatures.
On Sun, Feb 9, 2014 at 8:31 AM, Lawrence Yates yateslawre...@gmail.comwrote:
David
Thank you for that -- I'll give it a whirl. For now I made the layer 1 -2 idea
work. Each layer with a different channel. Channel 1 is KS pizz. channel 2 is
arco. The program seems to remember when using spot playback. Not sure why
and not sure I can extend it to the further 2
Hi,
I am glad you were able to provide a solution for this problem. Is using the
expressions for pizz., arco, etc. provided by Finale an example of the use of
HP?
Thanks,
Michael Mathew
mmathew_musicp...@yahoo.com
http://www.musicengravers.com/cgi-bin/engravers.pl
http://oregonmts.com/mathew/
You can still write for horn in G and tell the horn players to play on
the Bb division with valves 12 (or just 3) all the way through and use
hand stopping for notes not in the harmonic series.
Michael Lawlor
On 09/02/2014 16:31, Lawrence Yates wrote:
If there is any chance that the music
may
In forty years of horn playing I have never met a horn player who would do
that. (Even though it could work)
Cheers,
Lawrence
On 10 February 2014 00:11, Michael Lawlor mjlaw...@virginmedia.com wrote:
You can still write for horn in G and tell the horn players to play on
the Bb division
I'll do that occasionally during a rehearsal or home practice session just to
keep myself awake. Wouldn't do it in a performance though, since intonation in
unpredictable.
Sent from my iPad
On Feb 9, 2014, at 4:53 PM, Lawrence Yates yateslawre...@gmail.com wrote:
In forty years of horn
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