Slag off Napoleon

Discussion in 'The Rehearsal Room' started by Queeg2000, Feb 24, 2018.

  1. Euphonium Lite

    Euphonium Lite Active Member

    To be honest I think this - and the "enharmonic changes" are probably more due to the Music Publishing software than the composer.

    Also - if an accidental is stated in a bar, it carries on for the rest of that bar, unless its cancelled out. The Euph part is actually a single part, although it often (including this case) divides in 2 - the original rule still applies however which is why it appears how it does. Similar situation in Ex Terra.
    Older "traditional" publishing often restated the accidental if it started in one line and fed to the other, but strictly speaking its grammatically incorrect musically I'd suggest. Of course, if you are publishing the Euph part as part 1 and part 2 thats different (you wouldnt expect a Euph to follow a Baritone accidental without stating it). Similar situations have existed on Solo Cornet parts for years.
    I ALWAYS mark every affected note anyway on a contest piece - regardless of how well its written and whether the accidental is restated or not. I'd rather not get caught out on stage
  2. Euphman2

    Euphman2 Active Member

    But that still doesn't explain the fact that some bars DO mark the accidental on both lines.
  3. Euphonium Lite

    Euphonium Lite Active Member

    Such as bar at E and E + 1? Agreed thats just sloppiness - music needs to be consistent
  4. Euphman2

    Euphman2 Active Member

    Thank you for understanding what I posted. I thought I had written in some obscure language!!!!
    Euphonium Lite likes this.
  5. sop@55

    sop@55 Member

    Back to Napoleon ......It's written in the Open Key so one should expect the type of "musical grammar" explained by Herr Sparke! Good piece Mr Harper. Still prefer Under The Boardwalk!!!!
  6. Queeg2000

    Queeg2000 Member

    Fat Bottomed Girls is my favourite. I still think Napoleon is written deliberately so that it is difficult to read so that it would be used as a test piece.
  7. Mello

    Mello Active Member

    I must confess to being somewhat ignorant to these complexities..Personally I found it easy to read ..attainable by most bands in that section...had a story to portray... allowed every section to shine...featured section leaders .from percussion to sop ..easy to listen for the audience...and required some very quiet playing ( often lacking in many present average bands ). May sun daft to many I think it is an excellent work ...for lower section bands... without being compromising.
    I suppose if Philip had extended it with a battle scene with lashings of furious loud semi quavers ......the reaction would be ??
    He didnt and I am so glad he left it as he did....A super little piece.
    Euphonium Lite and ari01 like this.
  8. Euphonium Lite

    Euphonium Lite Active Member

    Must admit Mello that I liked it from the start and still do. Its very listenable to, and its given me plenty of ear worms - whether it is enough to sort bands out thoroughly in a contest I did wonder, but there seems to have been little in the way of controversy from the 2 areas so far. So I'm happy to be proven wrong in that regard

    I'd actually consider it a slightly harder piece than Ex Terra, certainly to play "properly". As you say it tests both ends of the dynamic range, dexterity in lip and fingers for many, lots of chord work which means listening to tuning and balance, and a lot of work for percussion. If the worst you can say about a piece is its a bit repetitive at times and some of the printed musical grammar is incorrect/not ideal it means that there is a lot worse out there. I'm impressed with the selections by the music panel this year - I even like Odyssey. Whether this and the other choices this year stand the test of time, we'll see but thats not why they're selected.
    Mello likes this.

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