Kaleidescope Scoring

Steve

Active Member
Having played through a few bits of Kaleidescope i wanted some other peoples opinion on the scoring of the cornet parts! Anyone else noticed you can do the whole thing with 6 Bb cornets and that the front row do an awful lot of doubling with the back row!!! At points the 3rd is above the rep and both are doubled on 2nd and 3rd man. We cant decide wether or not to re-write it all, gonna see whos in the box first and wanted to know what everyone else thought about the scoring. Good piece though :D
 

Anglo Music Press

Well-Known Member
Steve21 said:
Having played through a few bits of Kaleidescope i wanted some other peoples opinion on the scoring of the cornet parts! Anyone else noticed you can do the whole thing with 6 Bb cornets and that the front row do an awful lot of doubling with the back row!!! At points the 3rd is above the rep and both are doubled on 2nd and 3rd man. We cant decide wether or not to re-write it all, gonna see whos in the box first and wanted to know what everyone else thought about the scoring. Good piece though :D
My choice would be play it as written and see how it sounds!! Cos that's obviously how the composer wants it to sound!! Novel idea, I know - but it might catch on!
 

Brian Bowen

Active Member
Anglo Music Press said:
My choice would be play it as written and see how it sounds!! Cos that's obviously how the composer wants it to sound!! Novel idea, I know - but it might catch on!
That's right, Phil, you tell 'em! :roll:
 

HBB

Active Member
Anglo Music Press said:
Steve21 said:
Having played through a few bits of Kaleidescope i wanted some other peoples opinion on the scoring of the cornet parts! Anyone else noticed you can do the whole thing with 6 Bb cornets and that the front row do an awful lot of doubling with the back row!!! At points the 3rd is above the rep and both are doubled on 2nd and 3rd man. We cant decide wether or not to re-write it all, gonna see whos in the box first and wanted to know what everyone else thought about the scoring. Good piece though :D
My choice would be play it as written and see how it sounds!! Cos that's obviously how the composer wants it to sound!! Novel idea, I know - but it might catch on!
Wow! That's really radical Phillip, you might have a riot on yer hands there! :D
 

bassinthebathroom

Active Member
Anglo Music Press said:
Steve21 said:
Having played through a few bits of Kaleidescope i wanted some other peoples opinion on the scoring of the cornet parts! Anyone else noticed you can do the whole thing with 6 Bb cornets and that the front row do an awful lot of doubling with the back row!!! At points the 3rd is above the rep and both are doubled on 2nd and 3rd man. We cant decide wether or not to re-write it all, gonna see whos in the box first and wanted to know what everyone else thought about the scoring. Good piece though :D
My choice would be play it as written and see how it sounds!! Cos that's obviously how the composer wants it to sound!! Novel idea, I know - but it might catch on!
That could really put a new slant on the way band conductors work! I mean, fancy a composer actually wanting what he's written! :D
 

Baldeagle

Member
Can't see any problem with the music, we are enjoying playing it. It's good stuff. No need to change anything at all.
 

Steve

Active Member
Shot down in flames or what!!!! :oops: As we havent started 'working' on it properly yet we will have to see how the back row fare. Fortunately we have a complete cornet section but I know a lot of 2nd section bands that dont, this piece could be just what they need to get a crack at a finals piece.
 

Anglo Music Press

Well-Known Member
Dear Steve,

You've seen the light !! When writing pieces at this level, I will take into account that some sections may not be complete !

Despite what you may think, some composers do have a LITTLE intelligence!! :D
 

Baldeagle

Member
The NABBA Workshop last Sunday at Newstead Welfare was worth going to. Duncan Beckly put Newstead Band through its paces to show us the pit falls of the music. A great morning was had. Loads of thanks to Duncan and his Band. Pity that only 2 Bands from the 2nd section bothered to turn up! Suppose the rest already know the music :roll:
 

GJG

Well-Known Member
GrahamCatherall said:
It could be interesting to see how many bands put the back row theme onto the front row.
Wouldn't that, technically speaking, be a disqualification offence?

I'm sure there's some contest regulation somewhere concerning unauthorised re-arrangement of scores. Mind you, there's a lot of it goes on, even at top level ("Whitsun Wakes" cornets & cushions, practice mutes etc., etc.) and no-one ever seems to get officially penalised for it.

G.
 
Being a back row player I have already worked on the piece and really enjoy it, it is very playable. Would just like to add that if my part was taken away and put on the front row I would be very cross. Why asume that back row can't play thier part before you even give them a go. Some back row players cope very well. Rant over
 
GJG said:
GrahamCatherall said:
It could be interesting to see how many bands put the back row theme onto the front row.
Wouldn't that, technically speaking, be a disqualification offence?

I'm sure there's some contest regulation somewhere concerning unauthorised re-arrangement of scores. Mind you, there's a lot of it goes on, even at top level ("Whitsun Wakes" cornets & cushions, practice mutes etc., etc.) and no-one ever seems to get officially penalised for it.

G.
In the front of the score to Coventry Variations (1st Section Area), Bramwell Tovey states:

"Note for brass band competitions;
Adjudicators should penalise bands who alter the scoring of this work - particularly bass sections who add 8va Bassa."

I'd like to hear suggestions as to how my band is going to play it without a Soprano Cornet?

Graham Catherall
Conductor, Pride Valley Brass
 

Accidental

Supporting Member
GrahamCatherall said:
In the front of the score to Coventry Variations (1st Section Area), Bramwell Tovey states:

"Note for brass band competitions;
Adjudicators should penalise bands who alter the scoring of this work - particularly bass sections who add 8va Bassa."

I'd like to hear suggestions as to how my band is going to play it without a Soprano Cornet?
I wish every test piece had that written on it!

With particular reference to Kaleidescope (sp?!!) I'd say if it ain't broke, don't fix it. It really, really bugs me when conductors move parts around or do things like add mutes in quiet passages - its clearly not what the composer intended, and in the contest arena it can give a potentially unfair advantage.

As far as missing players goes, I guess its just tough - we haven't got a sop for Tristan yet, and there's no way we're going to get away with the MD whistling the big solo on the day!!
 
How can we stop the lower section bands from readapting the parts when it is so blatantly obvious that a majority of the superstar bands do it. A prime example was masquerade in the finals, where bucket mutes where used and the bottom D of the Euphonium solo was on numerous occasions put in by the 2nd euph.

If the lower sections are to take note, an example must be made of one of the big guns. (not unlike Rio Ferdinand in the football sense.
 
twm_trombone said:
How can we stop the lower section bands from readapting the parts when it is so blatantly obvious that a majority of the superstar bands do it.
Very true, and some of these bands are conducted by people who adjudicate in other sections. It would be a little hypocritical for these judges to penalise any band for doing what they do.


Edit: Duplicate post deleted! Dyl.
 

Di B

Member
If I remember correctly (I am sure I will be shot down in flames if I am wrong! ;-)) but I think the contest regulations about 'cues' are slightly different if you don't have a player on a part?

Example of a huge sop solo.... a solo cornet could memorise the part or transpose the eb part as they go along (as no writing in of parts is allowed!!) and surely any adjudicator with two ears and a brain (I know I am asking a lot here :twisted: ) will be able to hear no other sop parts being played except for the solo... which sounds like a cornet... and work out you may not have a sop player?! For this, I don't think you should be penalised heavily at all! Better this than say 16 bars of chords!

If you have a sop player who takes a fag break while your principal cornet plays the solo though, then I would have a problem!

In fact - question for any adjudicators out there.... which would you prefer... a Bb cornet player playing a sop solo or bars of nothing but chords due to lack of sop? Which would you most likely knock points off for?


PS. Some adjudicators cannot tell the difference!!! Our principal cornet player was described as 'wonderful sop' playing Promenade many years ago.... just glad there wasn't a 'best sop player' prize!!! :oops:
 
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