Orchestral reduction

[Chris Clemens]

Hi Larry, Remember me? It's been a long time since I have had a paying transcription job, which is why the long silence. One of the excerpts I have to transcribe (from Haydn's Concerto for Trumpet) has a line for trumpet in E flat and beneath it, two staffs called "Orchestral Reduction." The entire notation certainly makes it look like it's meant to be played on the piano. My question is, how do I indicate at the left margin what the print shows, that "orchestral reduction" bit? Should I include a brief abbreviation, like "or" in the listing of the instruments at the top of the music? and then put that at the margin in each parallel, beneath the "tr" for the trumpet? Also, from looking at the sample scores in the Music Braille Code, I can't figure whether it is necessary to include the "E flat" in the abbreviation, since there is only one trumpet involved. I assume that I define the instrument as "Trumpet in E flat" at the top of the score but maybe do not need to include "E flat" in the marginal indication for that staff. Finally, I believe it is necessary for me to use the right- and left-hand signs to begin the staffs for the "orchestral reduction," since it is obviously intended to be played on the piano.

It's great to be working on something with a few challenges again.

Gil

[Chris Clemens]

Hi Gil. It's good to hear from you again.

You can set this excerpt as a slight variant of the format for an accompanied solo. You can include any dynamics and other details in the "solo outline" line. You don't need to use the orchestral format, so no marginal abbreviations are necessary. If the information that it is for trumpet in E-flat and orchestral reduction is not included in the introductory text, you can put that in a TN above the excerpt. I think the term "orchestral reduction" clearly implies that it is for piano.

Glad you're back on the job.
Larry

[Chris Clemens]

Thanks for your thoughts, Larry. My feeling was that, because this is part of a university course outline, including as much information as possible from the print version might be a good idea. Now I'm wondering if in a little sonata for viola and cembalo, where the two clefs are different (C for the viola and F for the cembalo) it might be a good thing to include the clef signs in the transcription ... for the same reason, that for students, maybe maximum info is a good thing. That said, if they were shown, I wouldn't know where to place the clef signs on each parallel of the transcription. Neither BANA nor DeGarmo cover that situation.

[Chris Clemens]

The clef signs, if you decide to include them, would be the first signs of music in each part, as part of the first measures, very much like hand signs. It is not necessary to restate the clefs in successive parallels. If there were hand signs, the clefs would follow the hand signs.
Larry

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