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MakeMusic Forum > Public Forums > Finale - Windows - FORUM HAS MOVED! > transposing from cornet in A to trumpet in B-flat  Forum Quick Jump
 
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Charles Lawrence
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   Posted 11/24/2012 11:46 PM (GMT -5)    Quote This PostAlert An Admin About This Post.

Motet,

I said that with "tongue in cheek".  My apologies to Maestro Wagner.  Somehow I knew you would chime in here with a more technical and historically accurate reason for changiing horn keys so often, even in the same work!



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Post Edited (Charles Lawrence) : 11/24/2012 9:49:45 PM (GMT-6)

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Motet
Isorhythmic



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   Posted 11/26/2012 12:51 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
What I was thinking of was the Lohengrin prelude, where at one spot it changes every four bars! I think players changed fingering every four bars, then play the four-bar section all with that fingering (which required some hand-stopping).

Changing keys within a piece is very common in opera, and not unheard of even in a symphony. But the Lohengrin prelude is indeed bizarre.


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David Ward
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   Posted 11/26/2012 1:27 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
Some years after Lohengrin this is what Wagner had to say about horns in the introduction to Tristan (I've put a rectangle round the relevant section) - see screenshot. In Tannhäuser he has one pair of natural horns and one pair of valve, but by Tristan he'd decided on all valve horns, with the comments here shown.

It was a period of uncertain transition for brass instruments and considerable confusion amongst composers on how best to notate transpositions.

BTW during my own playing career there have been considerable changes and developments in low trombones. I think the B flat/F/D combination, with either dependent or independent valves, has recently become the accepted standard for the bass trombone, but the contrabass is still a little uncertain. See www.rathtrombones.com/instruments/contrabass.htm for where we are now with contrabass trombones. The instruments from this particular maker seem to offer the options preferred in opera orchestras this side of the Atlantic at least. I think even the Vienna Philharmonic uses one of these.


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Post Edited (David Ward) : 1/26/2013 8:08:59 AM (GMT-6)


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Motet
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   Posted 11/26/2012 1:52 PM (GMT -5)    Quote This PostAlert An Admin About This Post.
Thanks for both of those!

I wonder at that "loss of beauty of tone." There certainly would be no physical or technical reason for that--in fact, quite the opposite, since valveless horns had to have some notes stopped, which results in uneven tone quality and muffling of some notes, as a listen to any period instrument recording will confirm. Perhaps either the valve horns of Wagner's day were inferior instruments, or players were not quite used to them.


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Charles Lawrence
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   Posted 11/26/2012 2:11 PM (GMT -5)    Quote This PostAlert An Admin About This Post.

Very interesting, for horn players.

I was thinking, in particular, of Siegfried Idyll, which I had the pleasure of playing principle horn in our community orchestra last month, within which, in a mere 405 measures, the horn switches from horn in E -> F ->  Eb -> F -> E -> F -> E -> F -> E, for a total of 9 horn key changes!

But this discussion has moved away from the original poster's question.


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Post Edited (Charles Lawrence) : 11/26/2012 12:14:00 PM (GMT-6)

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Matt Balmer
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   Posted 1/26/2013 5:52 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
Trumpet players go through this silliness as well.

Iolanthe in particular hops between A and Bb multiple times; and in places where it's not clear why. Even later symphonies and programmatic works (e.g., Mahler, Strauss, etc.), where the key of the trumpet had largely been standardized as either Bb or C as the primary instruments, we still, obstinately, see parts for trumpet in F and E, and occasionally still in D.

Even modern musicals do this - Scrooge! is notable for including such nonsense as a brief 4-bar statement of trumpet in D during the overture and an even shorter 2-bar statement of piccolo trumpet in A during the finale. These scant 6 bars are the only instances which these two instruments are heard in the entire show, which makes one wonder if the arranger was being paid by the instrument.

Initially, my thought for these changes was to avoid placing the high brasses in uncomfortable keys (as we all know, sharp keys are unwieldy, fingering-wise) but given the sometimes arbitrary nature of things, it's hard to understand the thinking behind it. A good example is Sullivan's Ruddigore: The overture is in the key of F - a perfectly fine key for cornet in Bb (one sharp) but inexplicably, the cornets are in A for this number, leading to the much messier key of Ab, which introduces a host of intonation problems (such as Db and high Ab, both horrifyingly bad notes on the horn).
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ACQ
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   Posted 1/26/2013 9:41 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
When I used Print music many years ago, and had this task, with the wizard, I setup Cornet in A ( if not in the wizard, then use Clarinet in A) and Trumpet in Bb.Then enter the notes exactly as is with key signatures into the A line.
Next drag the A line into the Bb line. Fast, Easy, and it works
Don't forget to set the key at concert pitch in the set up, and for all key changes


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Post Edited (ACQ) : 1/26/2013 8:25:52 AM (GMT-6)

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Gareth Green
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   Posted 1/26/2013 10:11 AM (GMT -5)    Quote This PostAlert An Admin About This Post.
Matt Balmer said...
... Scrooge! is notable for including such nonsense as a brief 4-bar statement of trumpet in D during the overture and an even shorter 2-bar statement of piccolo trumpet in A during the finale. These scant 6 bars are the only instances which these two instruments are heard in the entire show, which makes one wonder if the arranger was being paid by the instrument.
Unlikely; however, if the trumpet player had an "understanding", shall we say, with the arranger, then the player would presumably qualify for doubling fees under Union rates ...
 
"Titanic - The Musical" also has four bars for picc. trumpet (in both 1st & 2nd Trumpet parts) which are musically and technically unnecessary - presumably for the same reason ...


 
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