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Harpsi
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   Posted 3/29/2013 7:32 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
I am working on a piece by Rameau, an Air Gay in G major. The two horns are notated in g clef, no key, but all the notes seem to be shifted one step up, so the first two notes that obviously are a G major third read d''-f''.

What does this mean? Why notate it like that?


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Gareth Green
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   Posted 3/29/2013 7:39 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
Look up "transposing instruments".


 
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Ron.
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   Posted 3/29/2013 7:46 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
Many instruments are written at a pitch different than what they sound. This is called "transposition." There are good historical reasons for this. "Horns" are commonly misnamed "French Horns" transposed up a perfect 5th. In other words, if the piece is in C major, the horn parts will be written in G. If you mean "trumpet" when you write "horn," then many modern trumpets are written in Bb--which would account for your comment about the part being "shifted one step up."

Sounds like you should get a hold of a basic book on orchestration. You could also come over to our forum (in my signature) and start a new topic about transposition and get lots of expert advice and explanations on the subject. Better yet: do both.


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Post Edited (Ron.) : 3/29/2013 9:32:10 AM (GMT-5)

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Jim Williams
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   Posted 3/29/2013 9:23 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
Ron~If the piece is in C concert, the horn part, if it has a keysig, will show a keysig of G (one sharp)

F Horn music sounds a fifth lower then the written pitch (NOT a fourth higher), so a written Middle C for the F horn sounds the F on line 4 of the bass staff.

AND: The same scheme should hold for horn in bass clef.

Jim (plays horn parts on euphonium in his brass 5tet) Williams


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Ron.
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   Posted 3/29/2013 9:31 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
Hi Jim,
Sorry, I am a string player and admit that my thinking was backwards on this one. You are quite right, of course. (I do get it right in my scores, however.)
(I'll correct my entry so as not to confuse the poster.)


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Harpsi
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   Posted 3/29/2013 9:38 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
I am well aware of the concept of transposition etc.

When I get back home, I will attach a screen shot and see if can explain my question more clearly.


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Zuill
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   Posted 3/29/2013 9:46 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
If it's written a step up, and no signature, it might be a Bb horn.

Zuill


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Harpsi
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   Posted 3/29/2013 11:24 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
OK, another go.

I am working on a Rameau opera, from around 1760, so the horns in use are natural horns. Sofar there have been pieces in F, C, D and G-major, all the time notated in g-clef and in the key of C. This means that the horn player picks the appropriate horn for the key in use (I am saying this just to let you know that I know..!).

But in this particular piece, the horns are notated in a way that is a bit different (see attached file, third staff). If I assume that the clef is wrong and read it as if it had a tenor clef one octave up, it will work with the other parts, and the player can use a natural horn in G. But why notate like that? Is there a reason I don't know of?


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Jazvampire
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   Posted 3/29/2013 11:46 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
Looks like these are transposed for F horns... their key is C whereas violins are in G. This is merely a transposed score!


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Harpsi
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   Posted 3/29/2013 12:18 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Have a look at the first horn chord to see that this is not the case.


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David Ward
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   Posted 3/29/2013 12:22 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Actually, there does seem to be something odd here. If these are for horns in F, horn 1 has quite a few concert B flats: no-one else appears to have a B flat. But then, of course, this is for natural horn. The 11th harmonic is between F and F sharp, until modified by the hand. Maybe there was an assumption in France at the time that the note would be modified and played as an F sharp (sounding B natural) if that was what the key required, even without there being a sharp in the score. Then it does make sense.

Perhaps one of the baroque specialists on the forum can advise: Wiggy?


David Ward
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Gareth Green
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   Posted 3/29/2013 12:33 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
David Ward said...
Actually, there does seem to be something odd here. If these are for horns in F, horn 1 has quite a few concert B flats: no-one else appears to have a B flat. But then, of course, this is for natural horn. The 11th harmonic is between F and F sharp, until modified by the hand. Maybe there was an assumption in France at the time that the note would be modified and played as an F sharp (sounding B natural) if that was what the key required, even without there being a sharp in the score. Then it does make sense.
Not really. The 2nd Horn part still has lots of written 'A's, which are not part of the harmonic series. Again, there is a very flat written Bb available, which I suppose could be adjusted by hand, but I've never before seen natural horn writing like that. In later periods, virtuosi players of the hand horn had mastered the art of controlling the intonation to make many more chromatic notes available than were normally considered "standard", but I would be surprised if that were expected in Rameau's time. In any case why bother, when a G horn is available? In terms of natural harmonics, it only makes sense if the parts should be for Horns in G, and the note positions are a 2nd out.
 
My conclusion is that either Rameau or his copyist had spent rather too much time in the tavern ...


 
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Michel R. E.
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   Posted 3/29/2013 12:40 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
assuming those Fs should be sharp, otherwise, all of the notes once transposed for horn in F fit perfectly as far as the overall key is concerned.


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David Ward
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   Posted 3/29/2013 12:48 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Are those violas ('alto's) in the soprano C clef? Not being a baroque specialist, I'd better bow out from this one; but I will be interested to know the answer to the horn conundrum. Perhaps Gareth has it.


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Post Edited (David Ward) : 3/29/2013 12:55:38 PM (GMT-5)

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Harpsi
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   Posted 3/29/2013 12:56 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Yes David, those are violas.

Michel, you are right in what you are saying. But other pieces in the opera makes use of G horn, so why not here...


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Michel R. E.
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   Posted 3/29/2013 12:57 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
no idea, but I just listened to the "Air" in question, and the score most definitely represents what I heard: horns in F, with those Fs being sharp.


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Kelby
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   Posted 3/29/2013 1:01 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Greetings,
Let me first state that I am a horn player and a composer/theory person.

After looking at the excerpt, it seems the copyist might have made up their own notation rules for the horn part.

1) It is probably written for horn in G, without seeing the rest of the score for context, that is probably a safe assumption.
2) The part is written in G, but not in the regular manner. Think of it written in Tenor clef. That would make all the notes fit into the correct harmonics for a natural horn.

For example: the first chord is C and E, which for Horn in G transposes to concert G and B.

3) The problem with choosing Tenor clef though, is the notes would sound an octave too low.

See the attached example. Hopefully you have Finale 2012. Otherwise I can get you a PDF.

You are going to have fun with this project. The 'rules' of copying parts and editing were localized and I have seen horn parts from this period. I think they did whatever made sense at that time.

-K


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Motet
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   Posted 3/29/2013 1:06 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
There is a C clef on the bottom line for the altos.

From the harmonies it's clear that the the horn part is in F with the sharps omitted from the key signature. What's odd is that this would have been played on horns pitched in G and so the part normally would be written a step lower, i.e., in G. The French do have their own way of doing things sometimes, though.

Edit: the above three postings were written as I was writing mine.


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Post Edited (Motet) : 3/29/2013 1:10:24 PM (GMT-5)

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Kelby
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   Posted 3/29/2013 1:07 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Sending up the PDF version of my example.

Saw that you had Finale 2011.

-K


Kelby
 
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winknotes
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   Posted 3/29/2013 2:01 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Michel R. E. said...
no idea, but I just listened to the "Air" in question, and the score most definitely represents what I heard: horns in F, with those Fs being sharp.


Michel's absolutely right. If you listen to it it's clear that this score is horns in F and is missing an F#.

https://www.youtube.com/watch?v=d9pRkOvtnEo


Steve Winkler

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Kelby
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   Posted 3/29/2013 2:17 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Harpsi,
Is this a period manuscript score?

-K


Kelby
 
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Harpsi
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   Posted 3/29/2013 4:24 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
Yes it is. I have two sources at hand, and both have the same notation.

To make things even more strange, this tune is preceded by a choir in G major with the horns in G notated normally. Why would they switch? AFAIK, it wasn't customary in this time to play any other key than the one the horn was built for. F horn plays F major, period. Correct me if I'm wrong.


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Harpsi
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   Posted 3/29/2013 5:04 PM (GMT -6)    Quote This PostAlert An Admin About This Post.
And thanks for the PDF, Kelby, that sums it up!

What if the assumed "tenor clef" like notation told the player to use a G horn but for another octave? Did they have something like "G basso"?


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Per Ottar Gjerstad
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   Posted 3/31/2013 7:55 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
Rameau sometimes used or re-used some of his music from time to time. I have a facsimile print of "Les Paladins" where this music is used, and in my score the music is in F major (and uses horns in F). The same music is also used in the overture to "La Naissance d'Osiris", but now without the horn parts.
Anyway, it is, as I see it, no doubt that the attached example here is for horns in G, but notated a second to high. This corresponds exactly to the horn parts in my score.


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Harpsi
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   Posted 3/31/2013 9:01 AM (GMT -6)    Quote This PostAlert An Admin About This Post.
Yes, it appears in two places in Les Paladins, in the ouverture in F, and in the third act in G. Same music. Did you see the interesting remark on the top of the page in act 3 - "les parties de remplissage comme a l'ouverture"? I wonder what he actually means with that. There are no extra" filling parts" in the F setting in the ouverture...


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