I am looking to possibly arrange this piece for brass ensemble. I wonder at the [lack of] key signatures he used in the score--only the English Horn shows a key signature other than C:. This is somewhat odd to what I have previously seen and studied. Am I to take it that everything is at concert pitch on the score? But, what about that lone key signature? Any ideas how he wrote?
Thanks!
Scottw
russiantuba wrote:This is very common by Russian publishers, especially with Clarinet parts.
Take note that most trumpet and horn parts are generally scored without key signatures in many publications across Europe during the Romantic era
If they are scored w/o key signatures, then the parts are written with accidentals to make up for the absence of key signature? If that's the case, I would just transpose as if the "correct" key signature were in place?
It is always easiest, in my opinion, to arrange something from a piano score because it has no transposing parts. Here is a link to the Piano 4-Hands arrangement that Borodin made: http://imslp.nl/imglnks/usimg/e/e4/IMSL ... 8score.pdf" target="_blank" target="_blank.
Robert S. Pratt
B.M., M.M. Tuba Performance
Getzen G60 prototype
thevillagetuba wrote:It is always easiest, in my opinion, to arrange something from a piano score because it has no transposing parts. Here is a link to the Piano 4-Hands arrangement that Borodin made: http://imslp.nl/imglnks/usimg/e/e4/IMSL ... 8score.pdf" target="_blank" target="_blank" target="_blank.
Thanks all who responded to my questions. I completed this piece, shortening it a bit, and played it last night with a 20-piece + percussion ensemble. I ultimately took BOTH the orchestral score and the piano 4-hands arrangement as my source; some needed parts I got from the orchestral, but the 4-hands version was indeed very useful w/o the transposition problems. I had my doubts how this work might translate to brass, but the initial playing went surprisingly well.
2 trumpets, 2 flugels, 4 F horns, 4 trombones, Euph, tuba +tympani
