Re: Arrangements You Have Made
Posted: Sat Aug 08, 2009 2:16 pm
Thanks! I'll check it out.
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A little too late for that...kongming819 wrote:maybe I'll decide to arrange Scriabin's Poem of Ecstasy for 2 pianos
CRUD. oh well.allegroamabile wrote:A little too late for that...kongming819 wrote:maybe I'll decide to arrange Scriabin's Poem of Ecstasy for 2 pianos
http://imslp.info/files/imglnks/usimg/9 ... fConus.pdf
WOOT!!!!!! That's the optimism we needSeanMartin wrote: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.
Franz Liszt would like to have a word with you.allegroamabile wrote: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.
Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.allegroamabile wrote: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.
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?kongming819 wrote:Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.allegroamabile wrote: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.
Thank you very much for substantiating the argument with a concrete example. It makes me feel much better.SeanMartin wrote: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?kongming819 wrote:Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.allegroamabile wrote: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.
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.
Funniest thing I've seen all day. It makes me laugh every time I see this hahaMelodia wrote:Franz Liszt would like to have a word with you.allegroamabile wrote: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.
Someone arranged the Scherzo from Bruckner 7 for Accordion. You can find it at abruckner.comSeanMartin wrote: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?kongming819 wrote:Not necessarily. People may have fresh ideas on how to transcribe a certain effect and one can substantially improve or rewrite an existing reduction.allegroamabile wrote: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.
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.