Symphonic, Piano, and Vocal Works for Performance on Carillon
Arranging Symphonic, Piano, and Vocal Works for Performance on Carillon
By Frances Newell
possible by The Guild of Carillonneurs in North America, Barnes Scholarship
Made possible by The Guild of Carillonneurs in North America, Barnes Scholarship
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Arranging Symphonic, Vocal, and Piano Works for performance on Carillon
by Frances Newell
Beethoven, Pastoral Symphony No. 6, final movement. Introduction and Section 1
OK, not the WHOLE final movement, which lasts 12 minutes. I abridged it. Holding the original orchestral score, I listened to the recording from the movie "Fantasia" and marked their cuts. Then I changed them a little to keep the important transitional passages, and finished with a 5-minute piece. Slowed down for carillon, it will be 6 minutes. I find that as a general rule, I have to slow tempi down from the originals, in order to let the bells fully ring. I noticed that in the original key of F-Major, the lines would be ruined if I cut them off at the low C, but transposed up to C-major fit almost all of it into the 4-octave range! just use a few optional notes down to the lowest G on the bass clef.
I entered almost ALL of the notes from the original score, but condensed them. I know this condensed version looks ridiculous, but it's how I can see where everything is. I put all the woodwinds in Staff 1, All the brass in staff 2, violins and violas in staff 3, and cello and double-bass in staff 4. Why did I enter so many notes when I will only use 1/10th of them?
I want to have all my choices in front of me!
I said, "Keep as close to the original bass line as possible, but Beethoven has FOUR different bass lines! Bass lines are in double-bass, cello, bassoon, and even the French horn, which, in the original key of F, goes down to its lowest note, the 2nd space C in the bass clef!
In each section, I chose the bass notes that would:
1. Be playable on carillon
2. Not overpower the main theme, except in climax, where it IS the main theme!
3. Make a lyrical, musical line or support the lines above it.
Beethoven AUDIO CLIP 1 Hear MP3
mm 1-6: Phrasing and articulations make it lyrical. Staccati in winds means get off baton very quickly, touch it lightly. mm 7-8, staccati stop as horn comes in, bells get lower. Phrasing is still essential.
mm 9-23: Double bass. A carillonneur cannot precisely STOP bell sound like a string player can. However, I left the rests within the measure as Beethoven wrote them and put staccati over the bass notes. I am speaking to the player's MUSICAL INSTINCTS. If a carillonneur sees rests and staccati, he will see that those bass notes are to touched lightly and be in the background. mm 17-23,Pizzicati in viola, cello, and double bass indicate even LIGHTER pedal stroking.
mm 17-23 Violin rapid 16th notes give light harmonies. Put them in carillon as 8th note triplets. These carry the harmonies, so smooth transitions essential. All in right hand, so avoid 4ths. SCROLL DOWN TO SEE 3 SLIDES.