Wednesday, November 7, 2018

Titanic - Tams Whitmark - Maury Yeston

From a production in gal 2018:

Piano-Conductor score

7A Glinka #2 (Clarkes)
m 27 clarinet should have concer C-natural through m.30  (also incorrect in piano-Conductor score)

12 Ladies Maid
Possible errata in harp part throughout

15 Proposal
Reed and horn parts are missing the first measure.

21 Entr’acte
G-natural in reed 2 on downbeat of m. 29 is questionable

23 Dress In Your Pajamas
Horns and trombones enter m. 19, not 20 (incorrect in pow I-Conductor)

Other piano-Conductor chord errors

Wednesday, November 30, 2016

Guys and Dolls Errata - MTI/Loesser

Guys and Dolls

The following are a list of known errors from a recent production of Guys and Dolls (Loesser / licensed by MTI)

Credit for this goes entirely to Miles Plant, graduate assistant and musical director of our production at Arizona State University

Reed 1

#7B m. 11 should be C-natural

#12 instrument marking is not clear - should be Alto Sax

#26 m. 2 and m. 6 beat three should be B-flat

Reed 2

#25 Luck be a Lady m. 170 missing instrument change to Alto Sax / m. 178 printed E-flat has been changed to B-flat by previous performer

#27 Sue Me m. 48a - printed E-natural has been changed to B-natural by a previous performer

#30 Marry the Man M. 37 - printed C-natural should be C-sharp

#3 Follow the Fold m. 23 - printed A-natural should be G-natural

#5  m. 7 - printed E-natural should be D-natural

Reed 3

#7a Bushel m. 24 first not should be a quarter-note, not an eighth-note

#20 Entracte m. 2 should be Eb and Db, not E-natural

#21a Mink m. 161 - last note should be a quarter-note, not an eighth-note

Reed 4

#5 Follow The Fold m. 26 be two should be E not D

#10 Guys an Dolls - Slap tongue in m. 47 and 97 - slap marked in reed 1, but not in unison line in Reed 4

#19 Finale Act I - m. 2 marked C-flat and F-flat - should be C-natural and F-natural

#25 Luck be a Lady - m. 77 beat 1 has 2 notepads - B-flat is correct

#27 Sue Me - m. 36 should be B-flat not B-natural


#9 no key signature

#10 mm. 108-112 discrepancy in rhythm with trumpets

#25 m. 100 extra eighth rest

#28 m. 57 glass written but fall is missing / m. 7 missing accidental


#26 - all D-naturals should be D-flat

#30 m. 68 beat one should be A-natural

#28 m. 31 missing a quarter-rest on first beat

Violins A and C

Overture/Runyonland m. 94 - B-natural

#17 m. 23 - B-naturals

#21A - m. 49 should have E-natural to F-natural

#27 - m. 48a D-natural and E-flat

#17a m. 8 - has an error - unsure where / m. 24 should be F-natural

#25 m. 38 should be A-flat

Violin B

Overture/Runyonland - m. 194 should have B-natural

#6B m. 16 should have B-flat and E-flat

#12 m. 3 - bottom dives should have C-natural for the whole measure

#17A - m. 12 - first beat should have D-natural and B-flat

#21A m. 80 - D-natural and E-natural

Mink playoff - last note in m. 2 and m. 4 should be A-flat

#29A - beats 1 and 2 should be C-sharp and B-flat


#27 second ending m. 48A should be F and C

#20 m. 2 should be D-flat and B-natural


Oldest Establish - m. 22 quarternote

I'll know - m. 3 - 2nd half-note should be short

Lead into "My Time of Day" m. 1 should be F-natural and G-natural

Thursday, July 14, 2016

Company - Alternate Orchestration

The following errata are for the Alternate Orchestration of Sondheim's COMPANY, from a production in September-October 2015. This list is currently incomplete.

Our rental came with a mix of alternate orchestration piano-vocal/piano-conductor scores and piano-vocal/piano-conductors scores not for the alternate orchestration. Needless to say, those that weren't marked for the alternate orchestration were not useful. But those marked for the alternate orchestration were pretty clean and in alignment. The full score of the alternate orchestration was also provided and, though helpful, wasn't really necessary - the reason being that this arrangement overall is pretty clean. Some minor errata are outlined below.

No. 13 Poor Baby

m. 6 Reed 3 has a wrong pitch on bt 3. Should be B-natural
m. 39 Percussion/bells have a C on the 3rd beat, which should be D.
m. 48 trumpet part has A-flat, which is in discrepancy with Sarah's line. MD should make the decision.

No. 19 Being Alive

m. 6 (2nd bar) Piano-vocal score has G-flats, which piano-conductor and trumpet part had F-naturals in melody.

Saturday, August 1, 2015

Fille du Regiment / Daughter of the Regiment

The full score (Ricordi/Kalmus) is laid out in 19th Century fashion with violins and violas first, followed by flutes, oboes, clarinets, trumpets, then horns (in multiple transpositions), then bassoons, trombones, percussion (timpani always in transposition), then finally voices, chorus, and cello/bass. Instrumentation is only indicated at the start of each scene. Tenor vocal lines are written in tenor clef. The printing is very faded, with the text completely illegible at times. All this makes it a rather difficult score to read. Moreover, the score lacks the recitatives leading into numbers 2 and 4, and includes only singular versions of the act two tenor aria No. 11 and the act two finale. Fortunately the Kalmus parts include the recits, as well as all keys and versions of the act two tenor aria and the act two finale.

There are two versions of the act two tenor aria (No. 11). One is in B-flat major and includes chorus interjections as well as extended material. This version is included in the parts and it's the only version included in the full score. It is not included in the Schirmer vocal score. The other version is shorter with tenor only, no chorus, in A Major. This version is found in the parts as well as the Schirmer vocal score, but it is not included in the full score.

There are two versions of the act two finale. The version which is found in the full score and Schirmer score contains a truncated final chorus of "Salut a la France" in B-flat major. However, the version found on the orchestra parts contains an extended version in A-flat major. The parts also contain the B-flat major version, but here too it is extended.

The Schirmer piano vocal score includes only the solo A Major version of the act two tenor aria, and only the truncated B-flat Major version of the act two finale. In the act one love duet, it lacks the tenor's interjections in Marie's verse, which can be found in the full score, if desired.

There is also some incidental music following the act two entr'acte that is included in the parts, but not in the full score or piano-vocal score.

There are so many text discrepancies between the Schirmer vocal score and the full score, that they are not even worth noting. The text in the full score is sometimes more interesting, but often completely illegible.

Coming soon:

FULL SCORE ERRATA (Kalmus/Ricordi):



Wednesday, October 29, 2014

How to Succeed in Business Without Really Trying

The following errata refer to the the orchestra parts for the full orchestration available through MTI (which is not the original, but the first national tour version), and the piano-vocal score that accompanies the rental. The published piano-vocal score is far superior.

Piano-Vocal Score (rental version, dated 2/8/02)

p. 8 "in a three button suit" - "a" should be a G-natural, not an A

p. 13 "young" should be a D-natural, not an E

#5 is full of errata, almost too numerous to list. The most egregious is in the second bar of C, where the A in the top of the right hand should be natural. Similarly everywhere this figure occurs.

#10 Been A Long Day - 4th bar of C, F and K, 3rd beat of each, should be E-natural
#13A Vassar is missing the key signature: it should be in G Major.

#14 Hedy's Walk - the first grace note should be a G-sharp

#15, 8th bar of A, the lower quarter note in the last beat of the left hand should be an F-flat

p. 92, the second system does not exist in the orchestral parts. In the orchestral parts, the entirety of section K is just two bars, repeated ad-lib. (similar discrepancy in the published Piano-vocal score)

In the first bar of L, the melody notes ar incorrect in "ir-re". They should be E-flat and F.

#18 Rosemary - there is a major discrepancy in this number between the rental and published piano-vocal score (which are the same in this respect) vs. the orchestra parts. In the 8th bar of C, the harmony of indicated in the piano-vocal scores is G-major-7 (with F sharps). However, the reed parts and trombone 2 parts have f-naturals, which creates a startling clash.  The original cast recording contains F-naturals. The '95 revival recording has F-sharps. The decision would be left up to the music director, but either the piano-vocal and orchestra parts would need to be rectified to match each other.

On p. 123, Opening-Act 2 should be #22, not #21

In #23 Cinderella, Darling, the section D on p. 132 is actually section H. The section F on p. 133 is actually section I.

#25A - bass cleff is incorrect. Should be F-naturals and C-naturals (correct in orchestra parts)

Orchestra Parts
These are very cursory notes, merely intended to flag some moments that are problematic. The precise solutions are unknown.

General - lots of mute discrepancies between trumpets 1/2 and trumpet 3 books
#2 How To Succeed - mm. 3-10 have incorrect pitches in the Horn part
#3 Dinner Warm - 3rd bar of D has wrong pitches in the brass books on beat two
#4 Coffee Break - Reed books have a wrong pitch, 4th bar before E
#5 Company Way - brass pitches are incorrect 2 before G
#9 Secretary - wrong pitches in xylophone at S (should be A-flats)
#9 Secretary - wrong pitches in bass at S (third quarter should be A-flats)
#10 Been a Long Day - 1 m. before H, beat 3 has wrong pitches in the brass
#10 Been a Long Day - wrong pitches in Reed 2 book, 2nd bar of J - should be written E followed by written F-natural (?)
#11 Been a Long Day - Reed 1 has wrong pitch, 3rd bar of A. Final E-flat should be F.
#13 Grand Old Ivy - Reed 1 and 2 books have a different rhythm the 2nd bar of G than is indicated in the piano-conductor score.
#15 Paris Original - cello part, 2 bars before D, downbeat in upper staff should be B-flat
#18 Rosemary - brass pitches are incorrect in mm. 1-2
#18 Rosemary - brass pitches are incorrect in chord on 3rd beat of the 10th bar of G
#18 Rosemary - trumpet 2 is incorrect 1 before H. last quarter should be written E-natural
#29 Yo-Ho-Ho - wrong pitches in the saxes at I
#29 Yo-Ho-Ho - reeds I, II, III and IV have wrong pitches in the 5th and 6th bars of E
#29 Yo-Ho-Ho - wrong pitches in the trombone 1 book, 2 bars before M
#33 Brotherhood of Man - wrong pitches in the reed books at V
#33 Brotherhood of Man - wrong pitches in bass at B. All B-naturals (every other bar) should be D-naturals

Sunday, July 20, 2014

Tosca - full score / parts discrepancies, including piano-vocal score and McConathy reduction

In General:

There are numerous discrepancies in phrasing in the string parts - especially the violin parts. The bowings in the parts are clear and idiomatic, but at times they veer rather far away from Puccini's intended phrasing.

Act One:

2-3 before rehearsal 16 - all slurs and phrase marks in 1st violin parts are missing

4 before rehearsal 36 - 1st violins have piano in the parts, not forte

Act Three:

3rd bar of rehearsal 7 - there are discrepancies in how the third and fourth beats are notated in the string parts

McConathy Reduction

Act One:

2nd horn has errors at rehearsal 21. Should be covering the written 1st bassoon part

There is a rhythmic discrepancy between the parts and the full score in the 5th bar of rehearsal 5, in the clarinet parts. The parts and the piano-vocal score match. The full score is different.

Act Two:

4th bar of rehearsal 4 has typo on last 16th note - should be E-natural, not F-sharp

10-11 before rehearsal 56, no wind instrument is indicated to sustain the C-natural for two bars, as in the 4th horn part. I had the 2nd violins sustain theirs.

Trombone part has inaccurate rests between rehearsal 61 and 62 (covering 4th horn part)

Act Three:

Rehearsal 9 is missing voices. BCl is covered in Fg, but the horn parts are missing the actual Fg parts.

Piano-Vocal Score

Act One:

The rhythm in the right hand in the bar before rehearsal 72 is incorrect. See full score for correct rhythm.

Act Two:

There should be no high A natural tied into the downbeat of rehearsal 3. The flute begins right on the downbeat.

This list is by no means exhaustive!

Friday, May 9, 2014

Maria de Buenos Aires (Piazzola) - Errata

In General:

The piano-vocal score is cursory, particularly in its lacking of the text and vocal parts. The Duende lines are sparse but mostly occur in the correct places.

There is a full score provided with the rental that is tremendously helpful, but still contains some errors. The errors below refer to the full score.

There are many discrepancies in articulation between the string and flute parts.

No. 1 Alevare
mm. 26-31 Piano left hand should match bass part

No. 3 Balada para un Organito loco
Measure numbers between full score and orchestra parts are incongruous.
m. 162/170 - piano right hand, 3rd beat should be C,D,F
#3A/#4 - song numbers are incongruous from here after

No. 6 Fuga y misterio
m. 64 - piano part first chord is C,Eb, G, A (1st two beats), then as written

No. 9 Miserere Canyengue
Measure numbers between full score and parts are incongruous after m. 45/33, 50/62, etc.

No. 10 Funerale
piano part at mm. 61 and 62, right hand is missing 8th-rest on downbeats.
m. 58-59 - Bandoneon should remain G-natural
m. 69 - piano left hand should mat bass part
m. 81 - piano first chord should be G, Bb, D

No. 11 Tangata del'alba
m. 19 - piano right hand, 2nd beat repeats 1st beat with pitches.
m. 34 - grace notes in violin part belong to m. 35
m. 53 - piano right hand should have E-natural on top, not G
m. 81 - piano left hand, D# should be D-natural on 3rd beat

No. 12 A los arboles y las chimeneas
m. 16 - no strings on vamp 1st time (the violin part is in error but the other parts are correct)
m. 129/13 - Maria sings with string melody on Piazola's recording
m. 17 and following - measure numbers are incongruous between parts and score

No. 13 Aria de los Analistas
m. 49 and following - grace notes in the flute part belong to each next downbeat (this is correct in the flute part but wrong in the score - notation software error)

No. 17 Tangus Dei
m. 172 - 4th beat in bass part should be A-natural, not B-natural.
m. 174 - piano left hand 4th beat should be A-natural not B-natural
m. 177 - right hand chord in piano should be A, C#, D, F
m. 184 - piano right hand is missing an 8th-rest between chords. Last 8th-rest in the bar is in error.
m. 192, 194, 196 - last interval in piano right hand should be E,B - to match Bandoeon

This list is by no means exhaustive.