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One of my college students is going to be playing Nessun Dorma on a recital, and I'd like her to get an arrangement/transcription in the original key, which I believe is G. Does anyone know of one? Adam Frey's is in F, and I saw one by Mortimer on Hickey's, but I have no way of knowing what key it's in.

- Jamie

Jamie,

The copy I have on 'Finale' is in key of 'G' -- not sure if that's the original key though. I know it goes up to the wonderful 'B' natural we all like, LOL.

But I don't have the piano accomp -- just ths solo part.

I have the orchestra score before me. At the aria there is one sharp for the C instruments. One horn, the basses and cellos, the trombones and trumpets play G and D with no third. The first entrance of the tenor on beat three in bar one are the words "Nessun dorma" on a D. The aria actually ends for the singer on an A after the high B natural. The chord there at the last note of the tenor is a D chord with all the notes in the harp. Since the actual end is a trick cadence (F sharp, A, C natural) it would be hard to say whether the aria is in any key in the way you might say a Mozart aria is in "C", for example. In any aria collection there will be a concert ending on D. Anyhoo, if it starts on D and ends on an A you have the right tonality. Why doesn't somebody compile and publish a bunch of arias for the tuba? Good luck, John

John wrote:The aria actually ends for the singer on an A after the high B natural.

Yep, that's what shows on my part.

CrappyEuph wrote:One of my college students is going to be playing Nessun Dorma on a recital, and I'd like her to get an arrangement/transcription in the original key, which I believe is G. Does anyone know of one? Adam Frey's is in F, and I saw one by Mortimer on Hickey's, but I have no way of knowing what key it's in.

- Jamie

I have the Adam Frey arrangement. When I performed it, I just transposed it to the original key by sight. If I remember correctly, it's just up a major second. I hope this helps!

Ralph

the version I played over the summer was in Ab!

Lots of good stuff here:

http://www.8notes.com/classical/

Played it Tues night (on F***** Horn). It was a rather weak band arrangement in F.

Paul

knuxie wrote:Unless, of course, the audience sees blood coming out of the horn

That pretty much happens whenever I attempt to play euphonium

knuxie wrote:Just curious.....what instrumentalist could ever hope to match the power, effort, and respect of a vocalist on this piece? (Unless, of course, the audience sees blood coming out of the horn, then maybe a little respect.)

Ken F.

That question is pretty much for EVERYONE on EVERYTHING if you think about it. Our ultimate goal, at least I think so, is to imitate the voice. You are right, and I was foolishly wrong, with this piece. When I hear Jacobs's recording of the Strauss Horn Cto. on the 'Portrait of an Artist' album, it moves me. THAT is the closest I've come across of a musician sounding like a voice.

Ralph

Spainola's arrangement on Tuba Euphonium Press is in G. Did someone already mention this, or am I actually being helpful?