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, Final Movement, Section 3
Beethoven AUDIO CLIP 3 Hear MP3
mm 48 - 54, transition cascades from highest winds, down through winds, brass and strings, with strong accent on pick-up 8th beats. I put marcati there and phrase marks that begin on pick-up beat. This is an example of the importance of LISTENING to recorded performances and really HEARING the nuances of the music. We want the carillon to express as much phrasing and nuance as possible The marcato indication does not mean BANG, but give that note more emphasis. Again, this speaks to player's musical INSTINCTS.
mm 56 -62, main theme returns in 1st violin, with strong 16th note rhythms in 2nd violin. Left hand cannot play such fast 16th notes by itself, so shorten them to 8th note triplets with essential harmony notes. Put staccati on pizzicati in bass.
mm 63 - 72, bass theme returns and travels from double bass to violin and back down. This section is building to a harmonic climax. Harmonic changes best in higher bells with smoothly ascending bass line. M 73 is example of how to resolve ascending bass line after a dissonance. Resolved to E-natural 3rd of chord instead of C tonic, because keeping the ascending line sounds more musical than dropping down to the C. Not much of a drop, but it sounded like a clunk! Also, this bass line is taken from the BASSOON part, because it drives the harmonic progression.
mm 73-80, descending melody in original goes from highest flute to lowest double bass notes. Cannot play such fast florid 16th notes in lower bells. Put them in higher octaves. Put French Horn's dominant ostenuto in bass bells. This drives the piece forward to a climax. MAKE DECISIONS ABOUT WHAT WILL BE MOST EFFECTIVE AND WHERE. SCROLL DOWN TO SEE 4 SLIDES.