Discussion in 'The Rehearsal Room' started by IJK, Jan 9, 2007.
Does any one know of an Errata for the fourth section test piece the seasons?
Forgive my not knowing... who composed it?
- I'll give you a clue ... it wasn't Vivaldi!
If you have any specific questions please ask - Harrogate Band proof-read the piece with the composer conducting, before it was first published. I know that several of Prof. Wilby's correctons were not included in the published version (why?) but I may have some of them on my own score.
Incidentally we subsequently recorded The Seasons on our 'Made in Harrogate' CD; I understand that copies are still available via our website...
The Seasons - Errata?
For all those wondering, here's the official response from Winwood Music.
This piece (0238 The Seasons) was published in 2000 for the finals of the National Brass Band Championships.
No errata has ever been issued for this piece (in fact only one query was ever raised and that proved to be groundless) but I have been made aware of some potential anomalies. I will, of course, investigate and if any errata is found necessary it will be issued by the National Championships who have insisted things are done via them.
If you have any particular concerns please let me know about them as soon as possible.
Good luck with the contest.
MD - Winwood Music
If there is going to be an errata, we need it soon! It seems to be dynamics which are causing the most confusions, as there appear to be some anomalies on the score. Great piece though.
Agreed, there are several wrong notes in the score and parts aswell as numerous unclear dynamic markings (dim to dynamics that are already being played). Who has proof read this, why were corrections from a Championship section band's recording (perhaps 2?) not included in the reprint and why, therefore, has no errata sheet been issued on the back of these omissions?
Have you got anything on the bass trombone in bars 105 and 106 at the end of the second movement. In C, it has the ninth (Bb) in an Ab major chord, and looks like a typical typo to me as the 2nd trom is on an Ab.
Doesn't appear correct in 5bars of A flat major.
Cheers, and hope you're all well up in Huddersfield
I have a few queries Eric
1) Bar 5 beat 2, solo horn, 1st bari, Euph, Eb Bass missing dynamic (assumed p as bar 1).
2) Bar 11 beat 4, lower Euph should have G-F quavers as upper euph part.
3) Bar 46 beat 1, 2nd baritone missing dynamic (assumed pp)
4) Bar 53 beat 3, Trombones missing dynamic (assumed pp)
5) Bar 63 2nd, 3rd crnt and flug missing tenuto marking as in trombone - in fact the whole of first 6 bars of E has inconsistent use of tenuto marking and phrase marks, is this intentional?
1) bar 49, upper crnts dynamic missing.
2) bar 50 beat 2, rep, 2nd, 3rd, 2nd bari, B Trom, Euph, Basses dynamic missing.
3) bar 65, 2nd bari dynamic missing (assumed p)
4) bar 95, 2nd crnt dynamic missing (assumed p)
5) bar 96, rep, 3rd crnts, trombones, dynamic missing
6) bar 105 b.2, 106 b.2 Bass Trom has Bb in an A flat major chord. Should this be A flat or C?
1) bar 9, 2nd horn dynamic missing (assumed f)
2) bar 14, baritones have incorrect crescendo (does not appear in bar 64)
3) bar 15 b1, 16 b1 flug, s. hrn, 1st hrn, 2nd hrn missing accents as in s.crnt and troms 1 and 2
4) bar 17 flug, s.horn , 1st hrn, basses, cresc. missing (does appear in bar 67)
5) bar 18 2nd hrn, 1st bari, 2nd bari, crescendo missing
6) bar 28 s.hrn, 1st bar, Eb Bass, crescendo missing (as bar 78)
7) bar 46, band dims to p when they are already p, should this be pp?
8) bar 64 B. Trom, incorrect crescendo marking
9) bar 65 b1, 66 b1 flug, s. hrn, 1st hrn, 2nd hrn missing accents as in s.crnt and troms 1 and 2
10) bar 69 2nd hrn, 1st bari, 2nd bari, crescendo missing
11) bar 96, band dims to p when they are already p, should this be pp?
12) bar 113, sop dynamic missing (assumed ff)
MD Bream Silver
Most of the points where you say 'missing dynamics' are just a continuance of the previous dynamics. That's perfectly common practice for a part which finishes at ff to pick back up later in the same passage at the same dynamic without notification. I also get the feeling that the missing accents in mov 3 points 3 & 9 are done for effect, to ensure the cornet & trombone stand out amongst the accompanyments.
That's how I read it anyway!!
I agree with you to certain extent, however, where there is a potential for ambiguity and if a part has been resting for a certain number of bars, the dynamic intention should be clear.
I'd imagine professor Wilby would require clarification of many of these points from his own composition students - but that's a huge assumption.
Many of these are minor points, and if I'm going to bother Eric for one thing, then I may as well ask all my questions at once.
I have done a fair bit with publications and proof reading in the past so I am very aware of practices. (Although I'm not touting for work )
My main concert is the B. Trom at the end of the second movement. What's your take on that - Bb in an A Flat Major chord?
That's a very odd one! It's almost like an unintentional clash that doesn't sound like it should clash, if you know what I mean! I've also got a query on the Sop part in movement 1, but without me score I couldn't tell you exactly where! Think it should be a D instead of an F. It's on the main tune line and repeats itself later in the movement. Will try to hunt it down....
Erm, there seems to be a bit of a misunderstanding here. I'm not Eric, I have nothing to do with Winwood and to the best of my knowledge, Eric is not a tMP member. My post was a copy of an email I received from Eric after I emailed Winwood music to request an errata. If you want to contact Eric (or anyone else at Winwood) then you should do it via email@example.com
I've not got a problem with that last Bass Trombone note at the end of the second movement.
Your best bet for that one will be to listen to the recording to hear what that chord does.
If it was wrong, it would have been picked up by our adjudicators at the Derby contest.
Just because one particular adjudicator sees no problem with it does not necessarily mean that all the others will see it the same way: hence the need for an official line, and clarification so that all bands can compete on a level playing field.
I hope that nobody minds but I have sent the list that Huw Cole (Bream Silver) put together and posted a few days ago to Winwood music. It seems a shame that Huw as spent the time and trouble putting it together, not to get it to the right people, and let's face it we are all asking each other these questions every band rehearsal. Hopefully there will be a response of some sort and I will post it here If I receive one - you never know, Mr Wilson may come on and post himself!! I did give mention that Huw had put the list together and that he could find it here on 'The Mouthpiece' so you never know.
I did send an email to eric as well a couple of days ago, so hopefully we will have something soon.
I've also emailed eric with this one that we can across last night:
Bar 25, beat 3, Bb Bass should be a quaver g and not a (as in bar 75)
Some may have found it already but I'm pretty certain that this is an error.
Thanks Huw - I will check that one later.
MD Wincanton Silver Band.
One of the adjudicators at Derby is doing Burton as well.
As far as I'm concerned, as long as all of the parts match what is on the conductor's score, it's up to each individual band to provide their own interpretation of the markings.
Apparently on the Regionals CD, the band doesn't follow some the markings, so if bands aim for the same style as that, they in theory should be slated.
Rather than having an official errata from the publisher, the adjuicator(s) could offer up what they are looking for in a perfect performance.
The regionals CD is interesting in that the Ab chord with the Bass trombone has no audible major second in it. And the waltz is very flessible.... nothing wrong with the styles though.
Interpretation of the markings is one thing, errors are another. The publisher should be trying to get it correct and there is no harm in providing feedback. Would be good if corrections did make it into the scores though - too often they don't!
Here's a thought though, 'Allegro pesante' - was Myra a big lass(?)
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