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Posted: Thu Oct 19, 2006 6:39 am
by NickJones
Yes I have played the full stephen roberts transcription with Band / Harp and ladies choir , brilliant undertaking by Stephen Roberts , definitly deserves another recording by a band. I understand this arrangement was commissioned by Doyen recordings to be originally recorded by the desford colliery band , it was first recorded by Black Dyke in 1996 conducted by James Watson
the full suite is available for hire only ( I think) from Warwick music here in the UK.
Posted: Sat Oct 21, 2006 3:41 pm
by Chuck(G)
Bob1062 wrote:Odd that Mars was in Bb, isn't the orchestra version in C?
Yup, but given that BB instruments are in Bb and Eb, maybe it makes sense.
Posted: Sat Oct 21, 2006 5:42 pm
by Allen
Chuck(G) wrote:Bob1062 wrote:Odd that Mars was in Bb, isn't the orchestra version in C?
Yup, but given that BB instruments are in Bb and Eb, maybe it makes sense.
Possibly this was done for reasons of tessitura, but I've noticed that band players tend to whine a lot when they see sharps in the key signature.
There are two kinds of key signatures: those one has practiced, and those one has not. One kind is easy to play in, and the other is not.
Cheers,
Allen
Posted: Sat Oct 21, 2006 9:16 pm
by MartyNeilan
Allen wrote:Possibly this was done for reasons of tessitura, but I've noticed that band players tend to whine a lot when they see sharps in the key signature.
There are two kinds of key signatures: those one has practiced, and those one has not. One kind is easy to play in, and the other is not.
BUT, on the other side of the coin,
I have played several charts in the key of "G#" with
F DOUBLE SHARP in the
KEY SIGNATURE. as well as lots of double sharp accidentals. Makes for really great sightreading - not to mention the poor trumpets who might have three double sharps in their key signature.
I am pretty sure I have done one or two "F flat" keys as well that had a B double flat in the key signature with a slew of double flat accidentals. It is amazing the crap that gets published by people who do not know how to use Finale or Sibelius properly. There is one church arranger who is particularly guilty of this; his name has never been mentioned on the board and I will never mention it myself as I do not know him personally; but such demands on an often volunteer ensemble is quite ridiculous. I have mentioned this to some of the bigger names in church arranging, and they basically say there is no excuse for it. I remember Dr. David Holsinger once telling our arranging class how he sent a letter to a religious music publisher chastising them for the poor quality of their publishing.