Carnival Errata (unofficial)

Discussion in 'The Adjudicators' Comments' started by Alisop, Feb 13, 2007.

  1. Alisop

    Alisop Member

    I know there is another thread discussing Carnival and the errata is being discussed on there. But would people like to share the discrepancies they have found between parts and the score on here (as there won't be an official errata) without the discussion on the merits on the piece etc?

    We have found a number which include the last note of cavalcade in the sop.

    Edit: Although tMP are happy to host an errata thread, we must point out that this is not an official errata and do not take responsibility for the contents of this thread being correct.
     
  2. AlanD

    AlanD Member

    This is a great idea, will get our ones tommorow and post them asap.
     
  3. Alan MacRae

    Alan MacRae Member

    Just started going through the score, but will add any I find. Here's a couple to start:

    Movt 1

    2 bars before G - 2nd baritone, last crotchet should be Bb

    2 bars before H - 2nd baritone, last crotchet should be A (and no tie)
     
  4. MarkGillatt

    MarkGillatt Member

    This could be quite a contentious issue. One mans wrong note is another mans Dischord! Without an official errata I would just stick to the score.
     
  5. Chunky

    Chunky Active Member

    That's a good point Mark. However I feel most poeple understand its not an official errata and will perhaps use common sense and discretion if applying any changes.
     
  6. Alan MacRae

    Alan MacRae Member

    Exactly... just pointing out things that I spotted... anyone is free to look at them and choose whether or not they agree.
     
  7. andyfake

    andyfake Member

    Alison

    What are you playing then? My part (brown, possibly even 50 years brown) has a middle C written in, but there's nothing else in that octave. Suggested to conductor I could play middle C as an "enhancement" - he rolled his eyes and told me to do it quetly!!:-?

    Andy
     
  8. andyfake

    andyfake Member

    However, Mark, if you could get your sop player to bang that F in nice and loud at Bradford, that would be most welcome ! ;)
     
  9. brassneck

    brassneck Active Member

    I would like to see the adjudicators communicating with each other to decide what they feel are wrongly printed notes and publicly declaring what they are. It would make life a lot easier for all!
     
  10. MarkGillatt

    MarkGillatt Member


    Sop players are so far out of tune anyway, I don't think anyone in the hall would be able to tell what notes they are supposed to be playing!:rolleyes: (maybe a few dogs in the George's Hall locality):eek:
     
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  12. GJG

    GJG Well-Known Member

    Like Mark, I also have reservations concerning the validation/authorisation of alleged errata. Having said that, I think it would be helpful if those posting suspected errors would provide a little more information.

    Specifically, it would be most helpful to know whether the error is in the score, part, or both.
     
  13. Euphluke

    Euphluke New Member

    yo
     
    Last edited by a moderator: Feb 16, 2007
  14. Errata News

    There is an errata news section on www.emptychairs.co.uk also unnofficial unless its posted by the publisher, take a look.
     
  15. oddbod

    oddbod Member

    Two years ago at Yorkshire section 2 area - the judges wafted an "Internet-only" errata about after the event when summing up! - How **** is that?

    Even now two years later, it is not a fair contest if we assume all are on the internet and all who are have found any errata - there are a few years to go yet before we may assume that.

    The contest organiser should be contacted by ALL bands and the question should be:

    Do the adjudicators have the 1957 score, or do they have a changed version?

    And.. yes - I am doing just that.
     
  16. JR

    JR Member

    Keith - can we please let this one drop now?
    I'm sorry if you didnt have internet access at the time (they were on 4br) - i note you're making up for it now!
    Iwan Fox thought my summing up was "detailed and very professional"
    So did the winning conductor - but he would wouldnt he.

    JR
     
  17. GJG

    GJG Well-Known Member

    OK, just to show willing, here's a few we found at a sectional yesterday:

    1st Movement, bar before "M", 1st Baritone, group of 4 semis on 3rd beat of bar: 2nd semi should probably be f nat. (compare with 2nd cornet at same point.) - NB can't remember if part is different here ...

    [Observation: compare inconsistent enharmonic spelling here, F nat on 2nd cornet against E# on 1st bari. Why? There are many such instances throughout the score; this is just incompetent writing!]

    1st Movement, 4th bar of "M", 2nd trombone, 2nd note of bar: should it be semiquaver C not D? (score and part) - DISCLAIMER: this one is moot. I have no justification other than to me it just "feels" wrong. Only my musical instinct, and no reason for anyone else to take it on board ...

    2nd Movement, 3rd bar of "C", 2nd Baritone, crotchet on 3rd beat should probably be B flat, not B nat. (Chord is a Gmi7 (band pitch) - 2nd Cor. is B flat at octave, together with 1st horn F nat. at same pitch. Previous note on 2nd trom also B flat. Can't see any reason for 2nd Bari. to have dissonant note at this point.]

    3rd Movement, 5th bar of "H", 1st Horn, last two quavers of bar: discrepancy between score and part. Part has E & D; comparing with 2nd cornet (5th quaver of bar) and 3rd cornet (6th quaver), score (F# & E) is probably correct.


    I agree absolutely with your second one; the reversed stem is a bit of a giveaway - just looks like the crotchet stamp was hammered in the wrong position on the plate. Also, chord is clearly simple Dmaj; no obvious reason for B flat, esp in comparison with 2nd Horn and 2nd Trom. (you don't say, is part also incorrect?)

    I have reservations about your first one. I can see why you might think that it would be more consistent with previous bar, and also with movement of Flug/Rep. (? one of many inconsistent uses of "SOLI" indication - should it be Flug. only?) and Solo Horn at the octave higher. But C# is not actually "wrong" in harmony (Gmi7/flat5, or possibly a modified G diminished 7th, depending how you look at it), and also matches 3rd Cornet D flat (Enharmonics, again!). I can also see why the composer might want more transparent voicing here, and whilst changing 2nd Bari. to B flat would not be "wrong" in the chord, it would introduce a voicing element not implied in the score. I think I'll pass on this one, if that's OK ;)
    (Again, you don't say, is it C# in part also?)


    All comments welcomed!


    G.
     
    Last edited: Feb 22, 2007
  18. GJG

    GJG Well-Known Member

    Sorry, omitted to say, suspected error in both score and part.
     
  19. topman

    topman New Member

    When we started checking this out after christmas we were told to go by the score and if there are any major changes we will be told.
     
  20. GJG

    GJG Well-Known Member

    Quite so, and that would indeed be my advice to anyone who asked. However what I say and what I do ... ;)
     
  21. Deano

    Deano Member

    2nd Movement, 3rd bar of "C", 2nd Baritone, crotchet on 3rd beat should probably be B flat, not B nat. (Chord is a Gmi7 (band pitch) - 2nd Cor. is B flat at octave, together with 1st horn F nat. at same pitch. Previous note on 2nd trom also B flat. Can't see any reason for 2nd Bari. to have dissonant note at this point.]


    Do you mean 4th Bar?
     
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