[Finale] Re: TAN: processional music, recommendation wanted
Mark, You're going to laugh, but I played for my own wedding (via cassette I made while playing a wedding gig with trumpet soloist) and rumor has it that I'll probably play for my own funeral. :) Anyway, we eloped at the beach in 2000. The processional was "Trumpet Duet (Two Trumpets and Timpani)" by John Stanley (edited/arranged by S. Drummond Wolff) and the recessional was David N. Johnson's "Trumpet Tune in A Major" (beginning from the middle "fanfares"). Contact me off list if you're interested...I probably have .aiff files somewhere around here if you can't find mp3s online. Good luck! Thurletta Brown-Gavins On Mon, 15 May 2006 13:01:04 -0400, <[EMAIL PROTECTED]> wrote: Message: 6 Date: Sun, 14 May 2006 13:00:28 -0700 From: Mark D Lew <[EMAIL PROTECTED]> Subject: [Finale] TAN: processional music, recommendation wanted To: Finale-List 3 Message-ID: <[EMAIL PROTECTED]> Content-Type: text/plain; charset=US-ASCII; format=flowed I want to tap the collective knowledge of the List for a personal project. As a few of you know, I'm getting married in two weeks. In spite of my usual advocacy of live music, from the days when I too was a professional musician, we're going with recorded music. One thing we haven't found yet is the right piece for processional music. Ericka loves the well-known Pachelbel canon in D. Objectively, I too think it's a great piece, and it suits our needs in almost every respect. The one problem is that I've heard it so many times that for me it carries of a connotation of generic wedding ritual, which is (1) not a really positive feeling for me and (2) something I would never be able to personally connect to and think of as really "ours". So in brief, we're looking something that has the essential qualities of the Pachelbel canon but which is obscure enough that thousands of other couples haven't already discovered it. If you have some favorite piece that you've always felt would be a perfect wedding processional, I'm inviting you to recommend it. It can't, however, be *too* obscure. The chosen piece has to be something we can get on a digital recording, and it needs to be something we can listen to before buying. My standard strategy is to borrow CDs from the public library for auditioning, but for those out there who like to send clips, I promise not to complain if you fill up my email inbox with binaries for this purpose. Other possibly pertinent information: * Aside from basic structural features (tempo, etc), what most appeals about the Pachelbel canon is the sense of quiet joy that wells up in it. As a counter-example, one of the also-ran candidates, Bach's Air on a G String, had the right pace and general mood but was deemed to be too solemn and introspective and not celebratory enough. * I'm basically thinking in terms of the 1650-1750 era, with some sort of standard chamber music instrumentation, but I'm not stuck on that, if some other era or style can accomplish the same goals. * The wedding will be outside, in a lovely garden-like setting. There will be about 70 guests, including lots of young children. Our procession will be non-standard, with bride and groom entering simultaneously from different directions and meeting in the middle. thanks mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] TAN: processional music, recommendation wanted
You might enjoy using parts of the Water Music. Also Mozart wrote a "Church Sonata" that you might like. Perhaps the Earl of Oxford March. Also music by Tylman Susato, or by Farnaby... In a message dated 5/15/06 1:02:15 PM, [EMAIL PROTECTED] writes: << Subject: Re: [Finale] TAN: processional music, recommendation wanted Thanks for all the suggestions so far, and especially to John for identifying pavan and alman as the generic piece type. They're all on my list to try to track down. Keep 'em coming. >> ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Parenthetical bowings
At 5:44 AM -0700 5/15/06, Jamin Hoffman wrote:
To answer John's query "why bother?" - I primarily
write and edit educational string arrangements for Hal
Leonard, which has instructed me to "over-bow," rather
than "under-bow" and assume the kids (or even their
instructors) will know what to do (definitely not
scholarly editions).
OK, that's perfectly understandable, and I thank you for the
explanation. If you are simply using more bowing marks than
experienced players would need, it may be redundant but it isn't what
I would call "over-bowing," which i would reserve for overly "fussy"
bowings that aren't primarily used to make good phrasing. (Of course
that brings up the question of how those students get weaned away
from all the crutches, but it sounds as if Hal Leonard isn't
interested in that.)
I would use bowing in parentheses on a long note, to
indicate to the student "you should change your bow
somewhere in ths note." With my own high school
orchestra, I have found that just using an up- or
down-bow may cause them to take it literally, and all
change bows at exactly that point.
But you know what? It doesn't HURT to all change bows together, as
long as they understand that they're trying to keep the sound
continuous and not articulated. (Takes 15 seconds to explain once.
That's a technique they simply have to learn.) I would take the
opposite approach, placing the bowing marks very carefully where I
wanted the bows to change (proportionally within the measures), not
using parentheses (since the ties/slurs combined with the bowing
marks already convey the necessary information), and pay very close
attention to making the next bowing out of the tied notes correctly
up or down. When we play our summer community musicals, we break
ties and slurs all over the place just to be heard adequately, but we
do try to follow our concertmaster's bowings by eye.
The parentheses at
least suggests that it's different from a regular
bowing mark, which may cause them to ask what it
means.
Maybe. But again, it's a one-time explanation in rehearsal and then
they know how it should be handled. One of my pet peeves is editors
who take signs that have a long-established, perfectly clear meaning,
and try to redefine them with a new and different meaning without
explaining it. Merle Isaac is a major sinner in this regard, using a
break sign ("railroad tracks"--I forget the formal name for it) to
mean something I have NEVER figured out, except that it does not
indicate a break! And of course anyone who feels it's necessary to
put "low 2" over a note is simply catering to the worst Suzuki
teachers in the business!
Since I am not a "native" string player (one of the
ironies of my position), perhaps I should ask - is
there another, clearer way to indicate this?
Sometimes I use text, "stagger bow changes," either in
place of or in addition to the bowing mark.
I would suggest using both for complete clarity, if you actually do
want staggered bowing, while not losing the ability to determine the
bowing of the next note after the held note. I hope you're at least
sometimes able to use your own orchestra for beta testing, to spot
and fix potential problems or confusions.
Gee, I'm sure we're all relieved to know that Hal Leonard hires
trombonists to bow their string parts!! (Not a dig at you, Jamin;
obviously you must be giving them just what they want, and I don't
know what your primary instrument is in any case.)
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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Re: [Finale] Re: Parenthetical bowings
I wouldn't put parentheses on bowing changes over a long note. Just put the bowing change somewhere about where it ought to happen, maybe not exactly in the middle of the measure so it won't look as if it should fall exactly on beat three (or whatever). If all the kids really do change at exactly the same time, the conductor will have to explain things, but I think that parentheses will need more explaining. If something is in parentheses someone is sure to ask why. People may wonder if the thing is optional. Another point to consider is that whatever bowing you put in, there will be somewhere a concertmaster, teacher or conductor who'll want to change it. I've seen enough string parts full of heavy pencil markings changing up-bows to down-bows, or the contrary. If there are parentheses this just makes more clutter to cross out. So my recommendation, from personal experience as conductor and cellist, would be to never put bowings in parentheses. If the editor insists on bowings, just put them in normally. Michael Cook On 15 May 2006, at 14:44, Jamin Hoffman wrote: Dear all - Thanks for the clues as to how to do it - I am now satisfied! To answer John's query "why bother?" - I primarily write and edit educational string arrangements for Hal Leonard, which has instructed me to "over-bow," rather than "under-bow" and assume the kids (or even their instructors) will know what to do (definitely not scholarly editions). I have even been asked NOT to use "sim." in repeated passages, but rather to re-bow them completely. Suffice it to say that I don't always agree with all their editorial decisions, and I would (and do) definitely do it differently for professionals. I would use bowing in parentheses on a long note, to indicate to the student "you should change your bow somewhere in ths note." With my own high school orchestra, I have found that just using an up- or down-bow may cause them to take it literally, and all change bows at exactly that point. The parentheses at least suggests that it's different from a regular bowing mark, which may cause them to ask what it means. It's still a little bit of rehearsal time, but, from then on, they know what it means. Since I am not a "native" string player (one of the ironies of my position), perhaps I should ask - is there another, clearer way to indicate this? Sometimes I use text, "stagger bow changes," either in place of or in addition to the bowing mark. I'm open to suggestions - Thanks - Jamin ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Parenthetical bowings
Dear all - Thanks for the clues as to how to do it - I am now satisfied! To answer John's query "why bother?" - I primarily write and edit educational string arrangements for Hal Leonard, which has instructed me to "over-bow," rather than "under-bow" and assume the kids (or even their instructors) will know what to do (definitely not scholarly editions). I have even been asked NOT to use "sim." in repeated passages, but rather to re-bow them completely. Suffice it to say that I don't always agree with all their editorial decisions, and I would (and do) definitely do it differently for professionals. I would use bowing in parentheses on a long note, to indicate to the student "you should change your bow somewhere in ths note." With my own high school orchestra, I have found that just using an up- or down-bow may cause them to take it literally, and all change bows at exactly that point. The parentheses at least suggests that it's different from a regular bowing mark, which may cause them to ask what it means. It's still a little bit of rehearsal time, but, from then on, they know what it means. Since I am not a "native" string player (one of the ironies of my position), perhaps I should ask - is there another, clearer way to indicate this? Sometimes I use text, "stagger bow changes," either in place of or in addition to the bowing mark. I'm open to suggestions - Thanks - Jamin ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: processional music, recommendation wanted
At a recent wedding I attended the bride entered to the glorious trumpets and drums of the first movement of the Boyce symphony no 5 in D. Another movement from a Boyce symphony saw the newly married couple leave. Maybe the tempi were a little brisk but it certainly made us sit up. All the best, Lawrence "þaes ofereode - þisses swa maeg"http://lawrenceyates.co.ukDulcian Wind Quintet: http://dulcianwind.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
