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
Showing posts with label Piano Vocal Score. Show all posts
Showing posts with label Piano Vocal Score. Show all posts
Wednesday, October 29, 2014
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!
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.
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.
Monday, November 11, 2013
Into the Woods Errata
I was pleased that the Into the Woods piano/conductor score and orchestra parts had minimal errors. Still, there are a few things to be aware of:
IN GENERAL:
The published piano/vocal score is generally reliable, except for discrepancies in song numbers, measure numbers and vamps. It's useful for preparation but not highly efficient for production use.
The Witch's Lament in Act II has been revised in recent performances, and the written key is a minor third lower than what appears in the published piano/vocal score and in previous versions of the piano/conductor score. There is also an additional 12 bars of material, with the Witch repeating "Now you know what's out there in the world..." inserted prior to "No matter what you say..."
The available full orchestration score is useful for reference, but highly impractical for performance, often with only four measures per page.
ERRATA:
#1 Act I Opening, Part I - m. 80, the A-flat in the viola solo should be a G-natural. This is correct in the viola part but incorrect in the piano/vocal score.
#11 Hello, Little Girl - The narrator's first cue line in the piano/conductor score does not appear in the script.
#12 Underscore after Hello, Little Girl - The A-sharp in the left hand of m. 31 should be a G-sharp. This is correct in the cello part but incorrect in the bassoon part and piano/vocal score
#15 and #15a Rapunzel/Our Little World - There is a missing xylophone part in the piano/conductor score in m. 2 on beats 2 and 3. See percussion part for reference.
#28 It Takes Two - The second note in the top of the right hand line in m. 48 should be a B-flat, to match the vocal line. This is correct in the brass parts but wrong in the piano/conductor score.
#58 Moments in the Woods - In the piano/vocal score in m. 15, the left-hand re-struck B-flat is not in the orchestra parts.
#60 Your Fault - In mm. 15-17, the upper notes in the right hand should remain F-sharp and C-sharp throughout, and not alternate to F-natural and C-natural. The orchestra piano part is correct.
#61 Last Midnight - NB: The "chimes for revised version" in m. 155 are in the synth part.
#68 Act II Finale, Part 1 - The piano-conductor score is missing wind cues in m. 30, beginning on the last eighth-note of the second beat.
IN GENERAL:
The published piano/vocal score is generally reliable, except for discrepancies in song numbers, measure numbers and vamps. It's useful for preparation but not highly efficient for production use.
The Witch's Lament in Act II has been revised in recent performances, and the written key is a minor third lower than what appears in the published piano/vocal score and in previous versions of the piano/conductor score. There is also an additional 12 bars of material, with the Witch repeating "Now you know what's out there in the world..." inserted prior to "No matter what you say..."
The available full orchestration score is useful for reference, but highly impractical for performance, often with only four measures per page.
ERRATA:
#1 Act I Opening, Part I - m. 80, the A-flat in the viola solo should be a G-natural. This is correct in the viola part but incorrect in the piano/vocal score.
#11 Hello, Little Girl - The narrator's first cue line in the piano/conductor score does not appear in the script.
#12 Underscore after Hello, Little Girl - The A-sharp in the left hand of m. 31 should be a G-sharp. This is correct in the cello part but incorrect in the bassoon part and piano/vocal score
#15 and #15a Rapunzel/Our Little World - There is a missing xylophone part in the piano/conductor score in m. 2 on beats 2 and 3. See percussion part for reference.
#28 It Takes Two - The second note in the top of the right hand line in m. 48 should be a B-flat, to match the vocal line. This is correct in the brass parts but wrong in the piano/conductor score.
#58 Moments in the Woods - In the piano/vocal score in m. 15, the left-hand re-struck B-flat is not in the orchestra parts.
#60 Your Fault - In mm. 15-17, the upper notes in the right hand should remain F-sharp and C-sharp throughout, and not alternate to F-natural and C-natural. The orchestra piano part is correct.
#61 Last Midnight - NB: The "chimes for revised version" in m. 155 are in the synth part.
#68 Act II Finale, Part 1 - The piano-conductor score is missing wind cues in m. 30, beginning on the last eighth-note of the second beat.
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