Don Giovanni L ci darem la mano piano

3 parts7 pages03:06a year ago370 views
Voice(2), Piano
Vocals + piano accompaniment. This is my first effort at doing a piano reduction. There are other engravings of this piece available, but they leave out parts of the orchestration that are just as easy to put in.

Easter with Beethoven

19 parts20 pages04:392 years ago349 views
Flute, Oboe, Clarinet, Bassoon, French Horn, Harp, Percussion(4), Voice(4), Strings(5)
I'm certainly not the first to re-purpose the theme from the 2nd movement of Beethoven's 7th symphony, and I probably won't be the last, but I hope that this is considered a worthy effort, and that purists will forgive me for putting it in 4/4 time instead of 2/4.

Il Tabarro- Nulla! Silenzio!

22 parts19 pages03:182 years ago554 views
Flute, Oboe, English Horn, Clarinet(2), Bassoon, French Horn(2), Trumpet(2), Trombone(2), Timpani(2), Percussion, Harp, Voice, Strings(5)
If Tosca is a "shabby little shocker", where does that put Il Tabarro on the melodrama scale? I suppose another, lower, rung will have to be added to that ladder.
Puccini is rightly known for his soaring beautiful melodies, but not in this piece. Yes, it's gorgeous; yes, powerful; pretty, no.

Tosca- Te Deum & Act I Finale

44 parts11 pages04:312 years ago1,836 views
Piccolo, Flute(2), Oboe, English Horn, Clarinet(2), Bassoon(3), French Horn(3), Trumpet, Trombone(3), Timpani(2), Percussion(4), Harp, Sound effects, Organ, Voice(8), Violin(2), Viola, Cello, Contrabass, Strings(5)
Scarpia (head of Rome's secret police), having easily aroused Tosca's jealousy of her lover Cavaradossi in an attempt to track down escaped political prisoner Angelotti, muses of his lust for Tosca while around him a crowd enters the church to celebrate Napoleon's (supposed) defeat at Marengo.
Church bells and cannon shots add to the sense of celebration.
His final words (before the conclusion of the Te Deum) "Tosca, you make me forget God!" highlight the mixture of sacred and profane that are present throughout this dramatic scene.
Errata:
The string section & percussion are sounded by non-visible instrument staves, since the as-written notes do not sound properly in the tremolo sections.
Feb 4, 2017- Corrected minor typo in next-to-last measure.
Jan 16, 2017- Added minor tempo variations to increase sense of realism in playback.

Gaudete!

5 parts14 pages02:202 years ago551 views
Voice(4), Piano
This is my arrangement of a medieval Christmas carol.
While obviously inspired by groups such as Anuna and Steeleye Span, hopefully it is original enough that my personal tastes come through.
The accompaniment is optional; a sufficiently skilled ensemble could do the piece a capella.
Later the same day: corrected a minor issue with the font of the lyrics.

Der Fliegende Holländer- Chorus of the Flying Dutchman's crew

34 parts22 pages03:112 years ago603 views
Piccolo(3), Flute, Oboe, Clarinet, Bassoon, French Horn(2), Trumpet, Trombone(2), Tuba, Timpani(2), Synthesizer, Percussion, Voice(6), Strings(10), Sound effects
In Act 3 of The Flying Dutchman, the local Norwegian sailors invite the crew of the Dutchman to go merry-making, not knowing the curse that The Flying Dutchman is under. This score is the response of the (literally) damned crew.
Errata:
I had hoped to have this done by Halloween, but I underestimated the score's complexity!
The opening two bars of the piece are modified from the original score for the convenience of the performers. In the original, the strings start in 6/8 with the other instruments in 2/4 time; all instruments going to 6/8 at the 3rd measure.
The original A and B horns have been changed to F 1&2 and F 3&4. This makes the tessitura a little high in some places, but not excessively so.
There were numerous issues getting an acceptable musical result with this score due to technical limitations.
The visible string section is muted, with another non-visible string section actually producing the audio. The same applies to the timpani.
The wind machine sound uses "breath noise" and the tam-tam uses the "church bell" sounds from the FluidR3 soundfont. For those interested, the Timbres of Heaven sf has "Don's Thunder" and "Gong!!!" which can be substituted.

Don Pasquale- Cheti cheti... Aspetta aspetta

19 parts64 pages07:042 years ago320 views
Piccolo, Flute, Oboe, Clarinet(2), Bassoon(2), French Horn(2), Trumpet, Trombone, Timpani, Percussion, English Horn, Strings(5)
A delightful patter duet from the third act.
Errata:
The vocals are voiced by double-reeds instead of choir ahhs.
C trumpet changed to Bb trumpet.
C horn changed to F horn 3&4, with some octave changes and note swapping between F horn 1&2 and 3&4.

Don Pasquale- Bella si come un angelo

14 parts12 pages02:482 years ago430 views
Flute, Oboe, Clarinet, Bassoon, French Horn(2), Trumpet, Trombone, Voice, Strings(5)
A delightful aria from Act I of Donizetti's classic comedy.
I always thought that this was a relatively dull piece, but apparently that was because I learned it with a piano accompaniment. The orchestration brings out an aspect of the music that I was previously not aware of.
Changes from the original:
Eflat and Bflat horns both changed to F, and the Bflat horn's part dropped an octave.
A few musical interjections from Don Pasquale's character either removed or assigned to the trumpet.

La bohème- Musetta's Waltz

20 parts21 pages03:412 years ago1,307 views
Piccolo, Flute, Oboe, English Horn, Clarinet(2), Bassoon, French Horn(2), Trumpet, Trombone(2), Timpani, Harp, Voice, Strings(5)
I arranged this as a concert aria for soprano soloist. (In the opera, Musetta is the primary singer in the piece, but is accompanied by the other principals.) The important lines from the other voice parts have been inserted into the orchestra.
The selection is from Act II. All similar arrangements that I have heard end at measure 49, which to my ear leaves the piece without a proper conclusion. This is somewhat understandable, since in the opera the piece doesn't so much end as segue into other music. The ending I provided may be somewhat clumsy, but I feel justified by the inclusion of the additional music (about twice as many measures).
If you are interested in the complete unabridged version, please see my transcription of Quando me'n vo'.
October 28 2016- corrected typo at measure 65

La bohème- Quando me'n vo'

43 parts36 pages05:402 years ago982 views
Piccolo(2), Flute, Oboe, English Horn, Clarinet(4), Bassoon, French Horn(2), Trumpet(2), Trombone(2), Timpani, Percussion(5), Harp, Voice(15), Strings(5)
This score begins with the Act II selection otherwise known as "Musetta's Waltz", and goes to the conclusion of Act II.
Oct 20, 2016- Corrected a missing slur in measure 32, on the melisma on "fa" in Musetta's line.

Don Giovanni- Là ci darem la mano

11 parts15 pages03:062 years ago792 views
Flute, Oboe, Bassoon, French Horn, Voice(2), Strings(5)
The opening four bars were written to provide a beginning in a concert venue. In the opera, the duet begins immediately after a recitative, at the double bar-line.
Feb. 4, 2017- Tempo made slightly slower overall, and additional invisible rubati added to provide a more realistic playback. Several minor typos (missing slurs) corrected.

Don Giovanni- Act I Ballroom Scene

22 parts22 pages03:012 years ago417 views
Strings(6), Cello(2), Flute, Oboe, Clarinet, Bassoon, French Horn(2), Voice(7), Contrabass
Three orchestras- one in the pit, two on-stage. Three simultaneous time signatures, and non-aligned bar lines. I figured it would present quite the challenge to engrave!

Don Carlo- Son io, mio Carlo... Per me giunto

23 parts30 pages09:202 years ago1,201 views
This aria is often a subject of parody: Rodrigo (the singer) is shot by an agent of the Inquisition in measure 95, but keeps singing (with increasing power and beauty), not expiring until measure 146!
Dec 20, 2016: Corrected a typo in the lyrics at measure 38.
Errata:
With the number of changes that I made, this piece might rightly be called an arrangement instead of a transcription.
On the other hand, this is the most revised of all Verdi's operas, so it wouldn't be the first time.
The Cimbasso was replaced with Tuba (one could argue that bass or contra-bass trombone would have been more appropriate), Eflat and Bflat horns changed to F (with some octave changes), Eflat, Aflat, and A cornets & trumpets changed to Bflat cornets.
Occasional interjections from the Don Carlo character were left out, plus other edits that are typical when the piece is intended for solo performance, instead of in the context of an opera performance.

Carmen- Habanera

20 parts15 pages03:312 years ago1,338 views
Flute(2), Oboe, Clarinet, Bassoon, French Horn(2), Trumpet, Timpani, Percussion(2), Voice(4), Strings(5)
This effort is dedicated to Carol D. Carol, you are *the* Carmen!
Many thanks to Steven Lougher, whose piece "Love is a Rebellious Bird" https://musescore.com/user/4160071/scores/2404711 was used as a starting point,
saving me a lot of time in developing the present work.

Errata:
Changed all horns to F.
Changed cornet from A to B-flat.
Corrected a number of missing elisions and other minor issues in the French lyrics due to errors in the IMSLP/Petrucci source document.

Die Walküre- Leb' wohl!

42 parts65 pages12:162 years ago1,653 views
Piccolo(2), Flute(2), Oboe(2), English Horn, Clarinet(4), Bassoon(2), French Horn(6), Trumpet(3), Trombone(4), Tuba, Percussion(2), Harp(2), Timpani, Strings(9), Cello
Also known as Wotan's Farewell and Magic Fire Music, this is the finale of Act III and the conclusion of the opera.
Errata:
All horns changed from E to F, all E trumpets changed to D, bass trumpet changed to bass clef, no other changes to instruments (clarinets left in A except for one part for D clarinet).
Other than the bass trumpet, no unusual instruments (such as Wagner tuba) were called for in the source document.
Some notes are outside the range of contemporary instruments. Except for some ludicrously low horn notes (that might be typos in the source document) that have been moved up an octave, all such have been left as is.
Corrected typos & poor engraving practice in the source document, such as using both hairpins & dim./cresc. markings.
Wotans voice is sounded by horn & trombone.
Recordings by George London, Thomas Stewart, James Morris, and Bryn Terfel singing the role of Wotan were studied and revealed a wide range of tempos and performance practice deviations from the written score. A middle-of-the-road approach was taken in this endeavor.
The piece opens with Brünnhilde’s last words, which are voiced in D Trumpet III.
Stage directions are included near Wotan’s staff, or at the top of the score near the very end, and are repeated here (numbers are the measure number in this score):
• Previously- As punishment for disobeying Wotan (the chief of the gods), his daughter the Valkyrie Brünnhilde (yes, that Brünnhilde) is to be stripped of her divinity, and as a mortal woman lie asleep on the ground where she will belong to the first man who comes across her. She pleads for a lesser punishment, and Wotan consents that as she sleeps she will be surrounded with a magic fire (courtesy of Loge) so that only a brave man, a true hero who is not afraid to cross the flames, shall possess her.
• Brünnhilde’s last words: At your command let fire blaze up, let it burn around the rock, let its tongues flicker and its teeth devour any coward who dares to approach the fearsome rock!
• 4- Wotan, overwhelmed with emotion (he truly loves his daughter, but her crime must be punished) raises her from where she lays kneeling, and looks in her eyes with his one eye.
• 73- She lays her head against his breast, he holds her in a long embrace.
• 82- Her head falls back and, understanding, solemnly looks him in the eye.
• 125- He holds her head in both hands.
• 132- He kisses her long on both eyes.
• 134- She falls back asleep, with eyes closed, in his arms. He gently carries her to a low mossy rock, under the branches of a fragrant fir tree.
• 145- He considers, and closes her helmet. His eye dwells on her sleeping, and he covers her with her shield.
• 155- Slowly he turns away; with a painful look he turns around again.
• 161- He solemnly proceeds to center stage, and sets his spear against a large stone.
• 182-- He strikes his spear three times against the stone:
• 183- First
• 184- Second
• 185- Third
• 185-- A flame comes from the stone, swelling brighter.
• 189- The bright flickering fire breaks out of the rock.
• 199- The wild flickering fire surrounds Wotan. He points with his spear, parting the sea of fire.
• 201- The fire flows beyond the rock, into the background.
• 203- The fire continues blazing into the mountainous landscape.
• 208-215- Wotan’s final words: “Who fears the tip of my spear, shall never pass through the fire”.
• 215- He extends the spear, to complete the spell.
• 223- He looks painfully back to Brünnhilde.
• 229- He turns slowly to leave.
• 236- He turns again and looks back.
• 240- He disappears through the fire.
• 244- The curtain falls.
November 3 2016- Corrected missing slur on melisma at measure 214.
March 5 2017- Corrected typo in measure 45; "liebe" replaces "liebte".

Otello- Sì, pel ciel

24 parts19 pages02:512 years ago283 views
Piccolo, Flute, Oboe, Clarinet(2), Bassoon(2), French Horn(4), Trumpet(2), Trombone(2), Timpani, Percussion, Voice(2), Strings(5)
August 16, 2016: Revised copyright text, and made adjustments to tempos.
This is the duet between Otello & Iago that concludes the second act.
Due to some unusual instrumentation (such as "Horn in A basso", A Cornet, & E Trumpet) I left the instruments as is, rather than changing them to contemporary instruments.
The voices of Otello & Iago are paralleled with horns to give them a little more substance.

Rigoletto- Pari siamo

17 parts12 pages03:482 years ago335 views
Piccolo, Flute, Oboe, Clarinet, Bassoon, French Horn(2), Trumpet, Trombone(2), Percussion, Voice, Strings(5)
January 16, 2017- corrected a missing slur on the measure 32 melisma.
August 23, 2016- slight changes to copyright text.
The tempos and deviations (including optional high notes) from the as-written score are informed by a recording of Leonard Warren singing the title role.
The following changes were made from the source document: both horn parts are in F (instead of F and C), and the trumpets are in B-flat instead of C.