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horndude77 wrote:Does anyone know the source of the scan of this piece that was on IMSLP? I have the PDF and I'm wanting to submit a version of it to Mutopia so I need the publication information. Thanks.

I've just been to Mutopia and you've done a great job with "Auf dem Strom!"

Singers and horn players everywhere will thank you. It is not a universally known piece, and apart from IMSLP there were not many places that one could obtain a score, let alone a free one.

Can you do the same with "Der Hirt auf dem Felsen" (D.965)? I'll throw in my rewrite of the clarinet part for alto flute.

Aldona

I've just been to Mutopia and you've done a great job with "Auf dem Strom!" Cool

Singers and horn players everywhere will thank you. It is not a universally known piece, and apart from IMSLP there were not many places that one could obtain a score, let alone a free one.

Thanks! I had to fight lilypond a bit to make the piano part presentable (piano centered dynamics are broken in lilypond so I just didn't do them.) I'm not much of a vocal person so I hope that part looks ok. Do most singers just read off the score? In any case let me know if you see any errors or improvements to make.

The Mutopia edition should make it easier for someone to transpose the piece and save a bit of work. (I've heard it's quite common for the singer to take it down a few steps.)

The horn part is somewhat brutal in the piece as far as endurance is concerned. There just isn't much rest. It's all very nice to listen to though and Schubert sure knew how to write for the horn.

Can you do the same with "Der Hirt auf dem Felsen" (D.965)? I'll throw in my rewrite of the clarinet part for alto flute. Wink

Perhaps. These small short pieces don't take much time really. Send me the score and part first. horndude77 -at- gmail -dot- com.

Do you happen to have PD edition of Nachtgesang im Walde, D. 913 by chance? It's written for TTBB and four horns. (more info http://www.public.asu.edu/~jqerics/schubert_lewy.htm)

Do most singers just read off the score?

My friends who try to sing while I'm accompanying just read off the score, but then we're just amateurs. I don't know what real proper singers do.

The Mutopia edition should make it easier for someone to transpose the piece and save a bit of work. (I've heard it's quite common for the singer to take it down a few steps.)

hehehe...

...apparently Schubert's friends used to complain that a lot of his songs were written for "damnably high tenor".

I also read somewhere that it was a real fight for publishers to try to get him to transpose songs to a performable key when they were published. (both for the pianist and the singer.)

I recall seeing the urtext of one song, can't remember which one - but the original key was G sharp minor and it was eventually published in G minor otherwise it would have been completely unplayable.

Do you happen to have PD edition of Nachtgesang im Walde, D. 913 by chance? It's written for TTBB and four horns.

Not yet - but after I'm done with the lieder, my next task is to acquire and scan all of the partsongs and other small vocal and choral works. Give me a couple of months and hopefully when IMSLP is up, they will make their way there.

At work at the moment - when I'm home I'll look up "Der Hirt auf dem Felsen."

Aldona

My friends who try to sing while I'm accompanying just read off the score, but then we're just amateurs. I don't know what real proper singers do.

Typically they learn of that, but never read off anything for a performance. Pretty much the only thing that a singer is allowed to read off is sacred music.

ArcticWind7 wrote:

My friends who try to sing while I'm accompanying just read off the score, but then we're just amateurs. I don't know what real proper singers do.

Typically they learn of that, but never read off anything for a performance. Pretty much the only thing that a singer is allowed to read off is sacred music.

Most Lieder is performed from memory. As well as sacred music, early music is also often performed with all musicians, including singers, reading. We usually read off the score, although if it's orchestral accomp., we would have a piano reduction rather than a full score, which would be way too many page turns.

I agree. Singers would use a vocal score when rehearsing or performing an operatic or sacred work, this not only saves page turns, but the score would be lighter and thinner than a full score.

Referring to transposing a song though. It would be easy for a singer to transpose a step or two for convenience, but for the piano player, would it mean that the entire piano part has to be rewritten or transposed for the new key, or can good piano players do that at once?

Yes, very good Pianists can, but I wouldn't rely on that. It isn't that common.

So that would mean if the song is transposed, most of the time the piano part would have to be rewritten? A tedious task indeed.

Yes, a majority of the time, yes. I know of two people who could do it (lecturers), but most of the accompanists I know wouldn't be able to.

Vivaldi wrote:Referring to transposing a song though. It would be easy for a singer to transpose a step or two for convenience, but for the piano player, would it mean that the entire piano part has to be rewritten or transposed for the new key, or can good piano players do that at once?

For singers like me who don't have perfect pitch, it isn't a case of transposing - I would listen to the intro if there is one, or be given the tonic & figure out everything relative to that. I would not even notice a transposition of a step or two unless I was singing near the edge of my range.

Piano players who have a lot of experience accompanying can usually transpose at sight, although they might make errors or simplify bits on the first read through. Being able to transpose at sight is actually part of the exam requirements for church organists, by a tone or semi-tone on the early exams, and later by up to a third. They also need to be able to read from open score and realize a figured bass part. Accompanying, either organ or piano, is a very different set of skills from solo playing and a lot of excellent pianists can't do things like transpose at sight & would need a score in the correct key

The organists I know also can rearrange a 32 staff score for orchestra that they have never seen before on the spot. It is quite impressive what good organists can do.

That is very impressive. This is also very useful for transcribing the full orchestral score of sacred and/or secular vocal works to a vocal or piano score.

By the way, aldona, "Kritische Durchgesehene Gesammtausgabe" can be translated as "Critically revised complete edition".

Yagan Kiely wrote:The organists I know also can rearrange a 32 staff score for orchestra that they have never seen before on the spot. It is quite impressive what good organists can do.

There is actually a trick to doing that , which incidentally I'm learning at the moment. The reason organists can do it so easily is because they have to be trained in it anyway. For normal, or even slightly complex tonal music, you can get a very good reduction by treating it like a figured bass (you are basically reducing to a figured bass). Of course, you'll have to actually practice figured basses, which I can assure you is pretty hellish if you want to follow all the rules of voice leading at the same time, and have a good soprano line in the process.

Of course, you'll have to actually practice figured basses, which I can assure you is pretty hellish if you want to follow all the rules of voice leading at the same time, and have a good soprano line in the process.

Agreed. I had to do it for my course, I did okay. (I am not a pianist - at all)

I know my way slightly around the keyboard, I can improvise chordal melodies and play grade 6 pieces (with a lot of practice). Can't sight read well however.