Arrangements You Have Made

[SeanMartin]

Thanks! I'll check it out.

[Lyle Neff]

I forgot: there's these orchestrations that I did in Finale, primarily for MIDI output (the scores are functionally more like Finale "play" files):

Cesar Cui

• Overture to Prisoner of the Caucasus (based on instrumental indications in the original piano-vocal score)
  
  Introduction to William Ratcliff (based on instrumental indications in piano-vocal score)
  
  Little Red Riding-Hood, Act 1, first scene (orchestration conjectured from piano-vocal score)
  
  The Saracen, Introduction to the opera and Act IV, Gloria Patri and Wedding Recessional (orchestration conjectured from piano-vocal score; instrumentation of 2nd item is more sketched)

(The links for these MP3s are from my storage site at http://www.mediafire.com/mllefifi.)

[kongming819]

.......... ummmmmm getting back on topic....

Moszkowski's Spanish Dance No. 2 for violin and piano (per a friend's request)
Stravinsky's Rite of Spring for 2 pianos (just because I felt like it... and I'm not sure that it's playable...)
MacKenzie's Feux d'artifice for orchestra (MacKenzie is a friend, not a published composer, so don't worry about finding information on him)

I plan on.....
orchestrating:
Benjamin Lee's Fantasia
Ravel's Ondine from Gaspard de la nuit (probably futile and impossible, but hey, Ravel orchestrated Une barque sur l'ocean... that's pretty awesome. Maybe... just MAYBE I can do something similar)

..... not sure what else yet....... maybe I'll decide to arrange Scriabin's Poem of Ecstasy for 2 pianos and maybe even Orff's Carmina Burana...

[allegroamabile]

maybe I'll decide to arrange Scriabin's Poem of Ecstasy for 2 pianos

A little too late for that...

http://imslp.info/files/imglnks/usimg/9 ... fConus.pdf

[kongming819]

maybe I'll decide to arrange Scriabin's Poem of Ecstasy for 2 pianos

A little too late for that...

http://imslp.info/files/imglnks/usimg/9 ... fConus.pdf

CRUD. oh well.

[allegroamabile]

The Orff has probably been done too.

[SeanMartin]

So they've been done. So what? BORIS GUDUNOV has two very different sets of orchestrations, remember. Just because someone's done something doesnt mean you cant.

[kongming819]

So they've been done. So what? BORIS GUDUNOV has two very different sets of orchestrations, remember. Just because someone's done something doesnt mean you cant.

WOOT!!!!!! That's the optimism we need

[allegroamabile]

True, but this is concerning the piano, not an orchestra. That is something totally different. You are arranging the same piece for piano that has already been arranged for the instrument before. It would just be too similar. Sure the notes might be a little different but that is it. Try something that has not been arranged for the instrumentation you are looking for.

This is not optimism, this is a reality check.

just joking.....

I'm thinking about arranging Dvorak's 8th Symphony for wind band, is there anybody here to back me up and persuade me to accomplish this feat?

[Melodia]

True, but this is concerning the piano, not an orchestra. That is something totally different. You are arranging the same piece for piano that has already been arranged for the instrument before.

Franz Liszt would like to have a word with you.

[allegroamabile]

Just to clarify, I mean that if the arrangement has been already done and published for piano, it wouldn't be much fun to do another piano reduction.

Wow..... my wording is off today.

[kongming819]

Just to clarify, I mean that if the arrangement has been already done and published for piano, it wouldn't be much fun to do another piano reduction.

Wow..... my wording is off today.

Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.

[SeanMartin]

Just to clarify, I mean that if the arrangement has been already done and published for piano, it wouldn't be much fun to do another piano reduction.

Wow..... my wording is off today.

Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.

Amen. As I noted elsewhere, I used to study the accordion -- and I know what you're thinking: years of nothing but the Beer Barrel Polka, right?

Nope. My teacher made sure I knew about music as much as the instrument I was playing it on. After about three years, she introduced me to my first orchestral score (Bear in mind we're talking a music teacher in the Texas Panhandle, folks. Not New York or Los Angeles or Boston, but the belt buckle of the American Southwest.): the third movement of Scheherezade. She very patiently walked me through it, while playing a recording, one of those old-fashioned things they used to call "records". She pointed out the instruments as they sounded, and after a while I got the hang of what I was seeing/listening to. Then, when the movement was over, she turned it off, handed me the score, and said, "Turn this into an accordion solo. You have two weeks."

It was terrible, of course. But what a blast. Since then, I've found a few such reductions (yes, for the accordion), but none are as straight-up fabulous as the work this little thirteen year old accordionist created.

All.

By.

Himself.

[kongming819]

Just to clarify, I mean that if the arrangement has been already done and published for piano, it wouldn't be much fun to do another piano reduction.

Wow..... my wording is off today.

Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.

Amen. As I noted elsewhere, I used to study the accordion -- and I know what you're thinking: years of nothing but the Beer Barrel Polka, right?

Nope. My teacher made sure I knew about music as much as the instrument I was playing it on. After about three years, she introduced me to my first orchestral score (Bear in mind we're talking a music teacher in the Texas Panhandle, folks. Not New York or Los Angeles or Boston, but the belt buckle of the American Southwest.): the third movement of Scheherezade. She very patiently walked me through it, while playing a recording, one of those old-fashioned things they used to call "records". She pointed out the instruments as they sounded, and after a while I got the hang of what I was seeing/listening to. Then, when the movement was over, she turned it off, handed me the score, and said, "Turn this into an accordion solo. You have two weeks."

It was terrible, of course. But what a blast. Since then, I've found a few such reductions (yes, for the accordion), but none are as straight-up fabulous as the work this little thirteen year old accordionist created.

All.

By.

Himself.

Thank you very much for substantiating the argument with a concrete example. It makes me feel much better.

True, but this is concerning the piano, not an orchestra. That is something totally different. You are arranging the same piece for piano that has already been arranged for the instrument before.

Franz Liszt would like to have a word with you.

Funniest thing I've seen all day. It makes me laugh every time I see this haha

[ZacPB189]

Just to clarify, I mean that if the arrangement has been already done and published for piano, it wouldn't be much fun to do another piano reduction.

Wow..... my wording is off today.

Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.

Amen. As I noted elsewhere, I used to study the accordion -- and I know what you're thinking: years of nothing but the Beer Barrel Polka, right?

Nope. My teacher made sure I knew about music as much as the instrument I was playing it on. After about three years, she introduced me to my first orchestral score (Bear in mind we're talking a music teacher in the Texas Panhandle, folks. Not New York or Los Angeles or Boston, but the belt buckle of the American Southwest.): the third movement of Scheherezade. She very patiently walked me through it, while playing a recording, one of those old-fashioned things they used to call "records". She pointed out the instruments as they sounded, and after a while I got the hang of what I was seeing/listening to. Then, when the movement was over, she turned it off, handed me the score, and said, "Turn this into an accordion solo. You have two weeks."

It was terrible, of course. But what a blast. Since then, I've found a few such reductions (yes, for the accordion), but none are as straight-up fabulous as the work this little thirteen year old accordionist created.

All.

By.

Himself.

Someone arranged the Scherzo from Bruckner 7 for Accordion. You can find it at abruckner.com