Hungarian March question

[tubadude08]

In my copy of Hungarian March, at measures 108 and 109, or 3-4 before figure 21, I have the high E in both measures. When i listen to Gene Pokorny's Excerpt Cd, he plays a different note in the second measure. It also sounds like a different note in the recording I have. I am beginning to think it should be a different note, maybe an F, but im not sure. Any solutions?

[Todd S. Malicoate]

Any solutions?

Yep. Play what's written. The E is correct in both measures, according to the score. It sounds to the ear like it should be E# (or F) since the rest of the notes from the first bar are transposed up a half-step in the second bar. Lots of players miss the E in the second bar, generally over-shooting it. Of course, lots of players miss quite a few notes in that section of this excerpt. If Mr. Pokorny plays a different note in the second measure there, then he missed one. It's not impossible.

You're in unison in those two measures with all three trombones and the bassoons, all in their middle register. Listen across to those guys when you play it with an orchestra. You can see the score at http://www.hberlioz.com/Scores/sdamnation.htm...all you need is the free Scorch plug-in.

EDIT: I just noticed the celli and basses are on that line, as well. Interesting to note that the string basses sound an octave lower, so all the fuss about the chromatic stuff up there really isn't all that necessary. That lick would sound fine in the same octave as the basses. C'est la vie...

[jeopardymaster]

"If Mr. Pokorny plays a different note in the second measure there, then he missed one. It's not impossible."

Though unlikely. Still, it could be another example of a beauty mark. Or maybe the engineer used the wrong 'take.'

[Todd S. Malicoate]

Though unlikely.

I would have thought everyone reading this forum realizes that. It is a very large "if," contingent on the fact that the OP is accurate when he said:

When i listen to Gene Pokorny's Excerpt Cd, he plays a different note in the second measure.

Note the lack of "I think" or "in my opinion" in the above line, those of you on the forum who are so worried about such things. I don't have the CD with me at work, so I can't tell if the claim is true or not to my ears. That's why I addressed the problem how I did. But I will revise it to reflect the unlikeliness of Mr. Pokorny missing a note to:

Lots of players miss the E in the second bar, generally over-shooting it. Of course, lots of players miss quite a few notes in that section of this excerpt. If Mr. Pokorny plays a different note in the second measure there, then he missed one. It's not impossible.

I hope that's more clear.

Todd S. "who occasionally has to use the "anvil over the head" method to get his point across" Malicoate

[BVD Press]

Still, it could be another example of a beauty mark

I love the term beauty mark! My personal favorite is if you miss it on the high side, you missed it on the professional side.

[Todd S. Malicoate]

I love the term beauty mark! My personal favorite is if you miss it on the high side, you missed it on the professional side.

That's a nice one, too...I'll remember that next time I play with the quintet here. Those guys are all avid golfers and miss their fair share of notes on the "amateur" side.

[Todd S. Malicoate]

Ah, Wade...if only that advice were written in the margins of the page. This is the excerpt I consistently hear mangled in the practice rooms of fine universities everywhere as well as on the audition circuit. You just don't have to work that hard. The eighth notes up to the high B later on usually sounds even worse.

There should be a warning label, like the one telling you not to drink the antifreeze...

[Todd S. Malicoate]

Before we get too far into the usual accusation/denial parts of the thread, the two measures in question are really strange. It does sound like it should be an E# in the second bar, and it's very easy to hear it that way.

Sort of an "optical illusion" for the ear. Aural illusion?

Anyway, I hope the OP has received a satisfactory answer to the original question. The E is correct in both measures.

[imperialbari]

My copy of the score hasn't numbered bars, but I guess the measures in question are the ## 3 & 4 of the attached page:

Berlioz.jpg

The chord progression is complex by simple analysis. Berlioz more likely works with moving intervals against a fixed note (B natural). The first of the E's in question is the root of an E6 chord. The second is the root of an Eminor11 chord. Nothing shocking for jazzers. E# would be a b9 in the bottom of a minor chord. That would be more surprising.

Clarinets are in A
Horns in A & D
Trumpets in C
Cornets in A

Klaus Smedegaard Bjerre