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Topic: Proof-reading Thread

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  1. #21

    Re: Proof-reading Thread

    Quote Originally Posted by Garritan
    This thread is to point out any concerns found in the scores. Identifying obvious and clear errors in the scores or text are helpful.
    Identifying obvious and clear errors in the scores or text IS helpful.
    (Identifying.....is [singular])
    Jim Williams
    Professor of Capitalism
    N9EJR
    Indianapolis Brass Choir
    All Your Bass Sus&Short Are Belong to Us.

  2. #22
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    Re: Proof-reading Thread

    Quote Originally Posted by snorlax
    Identifying obvious and clear errors in the scores or text IS helpful.
    (Identifying.....is [singular])
    Following your signature "All Your Bass Sus&Short ARE Belong to Us." Your correction are duly noted.

  3. #23

    Re: Proof-reading Thread

    Quote Originally Posted by Garritan
    Following your signature "All Your Bass Sus&Short ARE Belong to Us." Your correction are duly noted.
    Gary...
    You are about to join a secret society open only to the hippest 2% of society...please go here and click on HISTORY and VIDEO 1 (list on the left).

    Also go here for history and details.

    Snorlax.
    Jim Williams
    Professor of Capitalism
    N9EJR
    Indianapolis Brass Choir
    All Your Bass Sus&Short Are Belong to Us.

  4. #24

    Re: Proof-reading Thread

    I noticed there is a notation (pitch) error in the Violin melody in No. 12 / Lesson Four. The grace notes near the end of the excerpt should be B-A, not A-G. The audio file is correct.

    Just found the course -- very cool. Ah, takes me back to my undergrad days. heh

  5. #25

    Re: Proof-reading Thread

    Also, it looks like there are some errors in the violin melody from example No 23 in Lesson 5. The audio and notation do not match; I think the audio example is correct.

    First, the grace notes are missing from the Vln I & II melody in m.3 and should be Eb-Db.

    Also, the pitches in the melody in the second measure (beats one and two) appear to be incorrect. I believe they should read C-C-Ab / F-Db-C. Looks to be back on track on the fourth beat.

  6. #26

    Re: Proof-reading Thread

    Also, example No 31 in Lesson 5 is indicated to be an example where Violas are doubled by the Basses, but the example given (and played) is one with Violins doubled at the octave with the Viola.

  7. #27

    Re: Proof-reading Thread

    Excerpt No. 40 in Lesson Six appears to be lost -- it's giving a 'file not found' error message.

    Also, there appear to be errors with No. 41 in Lesson Six. This time I think the audio file is incorrect. The discrepancies between the recorded version and the notation (all in the oboe melody) in this example are:

    m. 1 the pitches of beat 3 are reversed; the recording plays D-C#

    m. 4 beat 3, the C# is not present in the audio

    m. 9 beat 1, the G does not sound on the beat, but as a pick up to beat 2 (probably a 'cut and paste' error where the rhythm of the first note wasn't changed)

    m. 11 beat 1, again same problem with the G not sounding on the beat, but as a pick-up to beat 2.

  8. #28

    Re: Proof-reading Thread

    This is not a major error, and certainly away from the melodic line, but in No. 44 Lesson Six, the last note of m. 6 in the Cello is notated an A, but the audio file sounds a G.

    The G sounds right (passing note) but not being familiar with this score, I'm not sure which is correct.

  9. #29

    Re: Proof-reading Thread

    Comments on remainder of Lesson Six... this isn't so much of a proof reading issue, as an editorial one, but I thought I'd include this comment here:

    There are some examples in this lesson labeled as 'melody' which I believe pretty clearly are not 'melody' in the sense that this word means 'the main tune' going on. In particular:

    No. 47 is not so much a melody for bass clarinet (I realize this particular excerpt isn't labeled 'melody' but simply 'bass clarinet') as it is accompaniment to the voice

    No. 48 is definitely not a 'melody' for bass clarinet but accompaniment to the main tune in the Celeste

    No. 49 is more of a counterpoint to the main voice part, same comment for No. 50

    Also note, No. 51 is missing clefs, time signature, key, etc from the beginning of the excerpt. Difficult to know what's going on until you're playing it and find the bassoon line.

    cf. No. 40 is giving the same 'file not found' error when cited a second time

    cf. No. 10 is as much a 'regular' bassoon solo as a contra solo

    Also, in my opinion, it is a bit awkward to have cf.'s and excerpts non-linearly inserted into the lesson.. e.g. Nos. 8 and 43 inserted between Nos. 46 and 47.

    Also, in general, I would prefer that the excerpts that have vocal parts to have some kind of instrument playing along with those notes in the audio... without hearing those notes I think we are ignoring the power of those examples, to hear how to blend the instruments with the 'voice'. Omitting those notes really alters the texture, balance, and blend... and hence the 'lesson' the excerpt helps to provide.

  10. #30
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    Re: Proof-reading Thread

    Quote Originally Posted by bcjohnson3
    Comments on remainder of Lesson Six... this isn't so much of a proof reading issue, as an editorial one, but I thought I'd include this comment here:

    There are some examples in this lesson labeled as 'melody' which I believe pretty clearly are not 'melody' in the sense that this word means 'the main tune' going on. In particular:

    No. 47 is not so much a melody for bass clarinet (I realize this particular excerpt isn't labeled 'melody' but simply 'bass clarinet') as it is accompaniment to the voice

    No. 48 is definitely not a 'melody' for bass clarinet but accompaniment to the main tune in the Celeste

    No. 49 is more of a counterpoint to the main voice part, same comment for No. 50

    Also note, No. 51 is missing clefs, time signature, key, etc from the beginning of the excerpt. Difficult to know what's going on until you're playing it and find the bassoon line.

    cf. No. 40 is giving the same 'file not found' error when cited a second time

    cf. No. 10 is as much a 'regular' bassoon solo as a contra solo

    Also, in my opinion, it is a bit awkward to have cf.'s and excerpts non-linearly inserted into the lesson.. e.g. Nos. 8 and 43 inserted between Nos. 46 and 47.

    Also, in general, I would prefer that the excerpts that have vocal parts to have some kind of instrument playing along with those notes in the audio... without hearing those notes I think we are ignoring the power of those examples, to hear how to blend the instruments with the 'voice'. Omitting those notes really alters the texture, balance, and blend... and hence the 'lesson' the excerpt helps to provide.
    Please read a few posts in. The Notation is directly inputed exactly as the back examples from the actual text. There are a thousand errors in the back store bought version as well as a thousand "iffy" note issues comparing to live versions, and with these at first I used the live recordings I could find as the proper when uncertain, but with so many complaints that it did not match the text I changed it to the text version even though the text could be wrong.

    With the "whatever instrument" in melody does not seem like a melody, well RK thought it did as he is the one that suggested that particular score and it is what is in back in reference to the topics.
    It is a very iffy thing and again as I stated early on that with all the missing markings and possible "wrong" copyist notes it becomes a guess game if you cannot find a live version to try to put it to "sound". The back of the text version is just abound in mistakes and the only option if you cannot find one of these rare recordings is to guess.

    The text has been around forever and no one seemed to mind all these mistakes or bothered to fix them until it is free and in a digital format. How it stayed in the academic world for so long in this condition is beyond me.
    Robert Davis

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