For those of us who play natural horn, parts transposed for horn in F are a
nuisance I did a concert last week where we had to back-transpose bnrcause
orignal parts were not provided.
Even when I play the modern instrument I would never play from transposed
parts - as John said, there is
The last time I had to mark up a set of orchestral parts from a critical
Bärenreiter edition of a Mozart opera, there were two sets of horn parts. The
horn players told me they preferred to use the parts written as in the
original, without key signatures.
As to David's original question, I
At 11:29 PM -0500 10/29/10, Robert Patterson wrote:
I
don't personally know a single professional horn player who works from
F-transposed parts.
Yes, and that's what the folks on the jazz and commercial side need
to understand. Part of an orchestral horn player's pre-professional
education
On 29 Oct 2010 at 23:29, Robert Patterson wrote:
I can't speak about critical editions of classical pieces, because
I've only seen original notation in those editions. (Frankly, it
surprises me to learn an F-transposed part might be available from,
e.g., Bärenreiter.)
Nobody said that such a
On 30 Oct 2010 at 10:01, Florence + Michael wrote:
The last time I had to mark up a set of orchestral parts from a
critical Bärenreiter edition of a Mozart opera, there were two sets of
horn parts. The horn players told me they preferred to use the parts
written as in the original, without
I agree, nobody said it. It was surprising to think about the possibility
considering who I would have thought the target market for a critical
edition might be. I can state that many performance materials based on
critical editions do not include F-transposed horn parts. (My knowledge is
mainly
I know you were asking about horns, but a flute/recorder friend of
mine mentioned in passing that the Barenreiter edition of Handel's
Water Music has the flute part( (in the G major suite) in the
original French violin clef and it was for a flute tuned to G. She
hated the fact she was having to
Pro horn players prefer the original parts, yes, but that flute part is a
whole different ball o' worms. Slip a transposed part in there, goodness!
Raymond Horton
Composer, Arranger
Bass Trombonist, Louisville Orchestra
Minister of Music, Edwardsville (IN) UMC
VISIT US at rayhortonmusic.com
At 7:21 PM -0400 10/30/10, Kim Patrick Clow wrote:
I know you were asking about horns, but a flute/recorder friend of
mine mentioned in passing that the Barenreiter edition of Handel's
Water Music has the flute part( (in the G major suite) in the
original French violin clef and it was for a
As far as horn transpositions go, the worst are not the Brahms parts in H.
The worst are the Wagner parts that change transposition every few bars -
part of the early experimentation in which Wagner treated valves as
quick-change crooks. In the first 16 bars of the first horn part of the
famous
On 10/29/2010 3:06 PM, Chuck Israels wrote:
Curious - why is the convention not to have key signatures in horn parts, when
all other transposing instruments have them? What is the use of this
convention?
Historically, trumpets, horns and timpani didn't have key signatures.
This is back
It's not so much that they were leaving off a key signature as that the
correct key signature was (usually) C. In the days before valved horns the
horns were most often crooked in the key of the piece. Even when the
correct key signature was not the same as the crook, the playing technique
lent
On 29 Oct 2010 at 12:06, Chuck Israels wrote:
Curious - why is the convention not to have key signatures in horn
parts, when all other transposing instruments have them? What is the
use of this convention?
From the period before valved horns it made perfect sense to write
the part in C for
At 12:06 PM -0700 10/29/10, Chuck Israels wrote:
Curious - why is the convention not to have key signatures in horn
parts, when all other transposing instruments have them? What is
the use of this convention?
The convention applies to both natural trumpet and natural horn
parts, and the
Thanks, John, Robert and David.
That is the explanation I expected, but it's hard for me to swallow the
reasoning that this tradition should hold for modern valved horns and not for
trumpets - more or less modern valved bugles. Doesn't make sense to me, and if
there is a defensible new
On 29 Oct 2010 at 16:53, Chuck Israels wrote:
That is the explanation I expected, but it's hard for me to swallow
the reasoning that this tradition should hold for modern valved horns
and not for trumpets - more or less modern valved bugles.
Er, I think you've misunderstood, because nobody
On Fri Oct 29, at FridayOct 29 8:22 PM, David W. Fenton wrote:
Doesn't
make sense to me, and if there is a defensible new convention that
says treat all transposing instruments equally (with key signatures),
I choose that option.
That's the modern practice. But the old practice lasted
At 8:22 PM -0400 10/29/10, David W. Fenton wrote:
On 29 Oct 2010 at 16:53, Chuck Israels wrote:
That is the explanation I expected, but it's hard for me to swallow
the reasoning that this tradition should hold for modern valved horns
and not for trumpets - more or less modern valved bugles.
Speaking for myself, I pencil in most accidentals from key signatures. I
primarily encounter key signatures in pops arrangements where rehearsal time
is extremely tight. Better safe than sorry. But that doesn't mean we
complain about it either.
I can't speak about critical editions of classical
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