At 12:06 AM -0500 2/13/07, Christopher Smith wrote:
On Feb 12, 2007, at 10:53 PM, Mark D Lew wrote:
In this particular case I happen to have another problem which I
didn't even bring up: what happens if the singer wants it in a key
that the piano part resists? It turns out that my singer's
10:48 AM
Subject: Re: [Finale] TAN: transposing standards downward
At 12:06 AM -0500 2/13/07, Christopher Smith wrote:
On Feb 12, 2007, at 10:53 PM, Mark D Lew wrote:
In this particular case I happen to have another problem which I
didn't even bring up: what happens if the singer wants
On 13 Feb 2007 at 11:48, John Howell wrote:
How can a piano part resist a key? I can see a pianist without
chops getting upset, but those guys like Chopin and Debussy seemed to
like keys with lots of black keys! I've been told (not a pianist
myself) that C major is the most awkward key for
On Feb 13, 2007, at 8:48 AM, John Howell wrote:
How can a piano part resist a key? I can see a pianist without
chops getting upset, but those guys like Chopin and Debussy seemed
to like keys with lots of black keys! I've been told (not a
pianist myself) that C major is the most awkward
This isn't a specific question so much as my general interest in
others' experience with the same phenomenon.
I work with singers a lot, and from time to time I'm asked to type up
a transposed copy of a song that the singer wants to sing in a
different key, for an audition, recital or
When I found myself in this position I put the unworkable passages up an
octave.
Cheers,
Lawrence
lawrenceyates.co.uk
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That depends. Remember that those piano parts are reductions and the
chords disposition will be different from the original. I would first
listen to that original and then made my decision.
My favorite solution could be transposing the vocal line as
commissioned and placing the chords above the
part was helpful, at least-
Cecil Rigby
rigrax at earthlink.net
- Original Message -
From: Mark D Lew
To: Finale-List 3
Sent: Monday, February 12, 2007 4:05 AM
Subject: [Finale] TAN: transposing standards downward
This isn't a specific question so much as my general
Oops! sorry for not removing most of Mark's post from my reply- I got in a
hurry-
Cecil
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Bad news for you my friend: the only REAL way to solve the problem is
revoice the piano accompaniment so it works in a musical way with the new
key. Just a strict transposition doesn't really work, because, as you
said, you get into the ledger lines, and sonically, it just gets too dark.
Sometimes
Dear Mark,
I am replying before reading the replies of others because this is an
issue near and dear to me.
I agree completely that transposing accompaniments more than a step
or two can change them substantially, and that the very least one can
do to repair the damage is to re-voice the
At 1:05 AM -0800 2/12/07, Mark D Lew wrote:
I work with singers a lot, and from time to time I'm asked to type
up a transposed copy of a song that the singer wants to sing in a
different key, for an audition, recital or whatever. In theory, my
task is to just copy the original exactly as is,
Hi David- I've been following this thread since the start- and for what it's
worthy, my solution would be melody - possibly a bass line, and chords.
However my interest leapt when I saw your comment re Botschaft. Black notes
versus white notes. Piano fingering would be in total chaos!
I worked
Thanks to all for a wonderful discussion. Most of what has been said
aligns with what I've found, too, but it's been helpful to have my
own experiences confirmed by others and expanded upon. I agree with
almost everything said, even in cases where there seem to be
contradictory views --
On Feb 12, 2007, at 3:27 AM, Cecil Rigby wrote:
Since Mark admits to not being a purist the following comments are
not intended for him personally---
but I'll answer anyway
WHY do people insist on singing something outside their range in
auditions?!^#! I'd much rather hear, and
On Feb 12, 2007, at 10:53 PM, Mark D Lew wrote:
Thanks to all for a wonderful discussion.
Yes, I read it with interest, since I do a lot of this kind of thing,
too.
In this particular case I happen to have another problem which I
didn't even bring up: what happens if the singer
Mark wanted to know.
But I'm honestly not sure what you mean by singing something outside
their range. Do you mean a singer whose comfortable vocal range is
X picks a song that lies Y and she attempts to sing it anyway and
therefore sounds like crap because she's really an X? Or do
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