Is this possible on the piano? updated (once)

[Guido]

I don't get it.

[Guido]

And I hope you mean 'killer' in the senses of 'splendid' rather than or 'unpropitious' (or even 'iniquitous'). 0:)

[Guido]

OK - Here's two versions of the end of the Second section. Thing is I'm not sure if the more rythmically complex one will actually sound any better... I don't have a real piano at home at the moment to try it on (even I can approximate this on my rubbish keyboard!).

The previous question about the one handed arpeggio/tremolo, still stands.

[Guido]

Maybe this wasn't such a good idea...

[Maciek]

What? Making the transcription? Discussing it over here?

[Guido]

Making a transription. I'm a little more positive about it now, but some of it just does seem impossible to resolve satisfactorily for the current forces. That said, I'm glad that I haven't tried some of the other movements. I think I'm almost there - there's still a question mark over that 3 staved section of Spring Rounds, and the fifths in the last section are also not quite resolved (likewise the upward arpeggiated flourish in the same section), but most of the other suggestions I have incorporated, or else have changed the original. I would like feedback on the current question to give the project a bit of closure!

[Maciek]

I think I'm almost there - there's still a question mark over that 3 staved section of Spring Rounds

Since I'm the only person in this discussion with no music education whatsoever, I find the solution extremely simple: the red notes have to go. The top stave has to be moved an octave lower (remove the ottava mark), preferably noted on the middle stave (the top one needs to go). The chords in the middle stave could also use a diet - perhaps you could reduce them by one one sound? Essentially - take the Leetchkiss arrangement and simplify it a bit...

and the fifths in the last section are also not quite resolved (likewise the upward arpeggiated flourish in the same section)

I'm a bit dull in the head (as you already know). Could you specify which fifths those are (bar number(s))? And what is the problem with the flourish? I probably missed something in the earlier discussion but you can't expect a dim person like myself to go through all those long posts and actually read them...

[Maciek]

Just in case you didn't get my gist:

Don't give up! I think you did a great job!

[Guido]

Since I'm the only person in this discussion with no music education whatsoever, I find the solution extremely simple: the red notes have to go. The top stave has to be moved an octave lower (remove the ottava mark), preferably noted on the middle stave (the top one needs to go). The chords in the middle stave could also use a diet - perhaps you could reduce them by one one sound? Essentially - take the Leetchkiss arrangement and simplify it a bit...

I can see why moving it onto two staves might be easier to read, but why make the right hand go down an octave? The left hand will will need to do all the work. The red notes are already out of there. But Larry says above that its just too much for one pianist to handle that many chords. I can't really see how else to resolve it. Those midde chords need to form pungent dissonances with everything else, so I don't really know which notes I'd remove (possibly some of the fifths...) I've been playing about with the tenths a bit more, and I just don't think it will work...

I'm a bit dull in the head (as you already know). Could you specify which fifths those are (bar number(s))? And what is the problem with the flourish? I probably missed something in the earlier discussion but you can't expect a dim person like myself to go through all those long posts and actually read them...

The fifths are the bit in the score where I lazily marked 'col 5a ad lib' near the end (345). The flourish is from the double piano score, but actually isn't the same as any part found in the orchestral score. The last file I posted as an attatchment gives a suggested alternative following the woodwind parts, but its only for left hand, with tromolo cresc. in the left hand - I think it's possibly possible, but I don't know.

Next project: arranging the Bach Toccata and Fugue BMV 565 for solo cello. There's been a few violin arrangement's about, but the only one that I like isnt available for sale. So I'm making my own. I won't need help with that!

[Guido]

Larry's Ivesian idea is of course the other solution. I like it very much, so I suppose I could include parts for both virtuoso solo piano solution and Ivesian solution.

[Maciek]

I can see why moving it onto two staves might be easier to read, but why make the right hand go down an octave?

Well, I told you I was a little bit dim (more than a little, probably). I don't know why I said bring it down an octave. No rational reason. Heck, no irrational reason either. No reason at all in fact... Leave it the way it is.

[Guido]

Sibelius notation question - how do you make the cello stave smaller than the piano staves, like most duo sonatas are written?

Also the question about the flourish still stands (reply #94)

[Maciek]

(response #102)

How do I find that?

[Guido]

Here's some possibilities instead of the 9-tuplets in the last section. (attatched) Playable?

It's this one. It always says reply # under the title of each post. And I was lying before - I meant reply #94.

[Maciek]

It always says reply # under the title of each post.

(slaps forehead!!!!!!)

[Maciek]

Sibelius notation question - how do you make the cello stave smaller than the piano staves, like most duo sonatas are written?

Go to
Size -> Staves -> Cello
and from the pull-down menu select "smaller than the piano stave (duo sonata standard)".











OK, just kidding. Sorry for the lameness of this one...

[Guido]

you had me there (you bastard!)

I just worked out how to do it. yay! yay!

[Maciek]

Heh, heh, so you could say I helped...

Anyway, go to the Broadcast Corner soon - no. 271 is waiting for you!

(And if you like, I can get up a much, much better copy of Stachowski's Adagio ricordamente)