Kurt Weill - Street Scene (errata)

This list is not exhaustive, and most of the discrepancies I discovered in two back-to-back productions are very minor:

FULL SCORE / PIANO-VOCAL SCORE / PARTS

Note: some dialogue cues differ between the full score and the piano-vocal score. The piano-vocal score indicates the cues more clearly.

p. 62 / 3rd bar before the end is indicated to be repeated, doubling the length of Buchanan's A-flat (not in piano-vocal score)

p. 74 / 1 bar before F - there is an extra low F-sharp on beat four in the piano-vocal score, which does not exist in the full score or orchestra parts

p. 74 /  4th bar of F - last note should be a D-natural in the flute part (unclear in part)

p. 107 / 1 bar before H - piano vocal score has extra bar

p. 114 / 6 bars before C - 2nd note in the viola part should likely be D-natural, not E-natural

p. 153 / end of Maurrant aria - the piano/vocal score includes a final chord that does not exist in the orchestra score or parts

p. 212 / 3rd bar of F - if the "ad. lib." is played, the 2nd violins should have F-sharps, not F-naturals

p. 230 / letter G - the 1st Trombone part has misprints for the first 6 bars. The full score is correct.

p. 300 / 3rd bar of H - there is a discrepancy between the the rhythm of the bassoon solo between the piano-vocal score and the full-score and part. It's likely the full-score and part are incorrect, but this is conjecture.

Titanic - Tams Whitmark - Maury Yeston

From a production in fall 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

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

Horn

#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

Trombone

#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

Cello

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

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

Bass

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

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.

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):

ORCHESTRA PART ERRATA (Kalmus):

PIANO-VOCAL SCORE ERRATA (Schirmer):

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

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!