| re: Wonder who is putting up the money? - Underscoring? | |
| Last Edit: Chromolume 11:00 pm EDT 07/20/22 | |
| Posted by: Chromolume 10:44 pm EDT 07/20/22 | |
| In reply to: re: Wonder who is putting up the money? - Underscoring? - Chazwaza 01:22 pm EDT 07/20/22 | |
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| There's a new printing of all the orchestra parts, in a rather small font, crammed onto the pages, very tiny margins, no feel of "breathing room" on the pages. Some sections of the synth book are so badly notated (with ledger lines, etc) that the notes are unreadable. The new P/C score is really an inferior piano reduction with occasional orchestra cues, not as clearly mapped out as the previous version which looked much more like a traditional P/C. Everything's rather crammed into the staves. IMO much harder sightreading than either the printed reduction or the older P/C score. Or even the manuscript P/C score. Also, for some numbers, ALL characters are given their own separate staves, even when it's all sung in unison. The whole last section of the opening, for instance. Individual staves for Cinderella, BW, Little Red, Stepmother, Stepsisters (together), Jack's Mother, Jack, Baker, and Cinderella's Father - even though they're all singing the exact same thing. Could have been reduced to one staff for "All." A huge waste of paper, an eyesore, making for bad page turns, and just completely unnecessary. Emily Grishman would vomit. And Elaine Gould would absolutely put the copyists "behind bars." Also, of course, that score includes most of the "alternate" sections used in the 2002 revival. Which I just wish weren't there at all anyway. The other weird thing goes back to the previous MTI scores. When the show was first released, one got manuscript parts (that seemed straight from Broadway), that corresponded to the song numbering in the published score. Numbers went #1 (first part of the Prologue) to #27 (Bows), with sub-lettering used for sections within bigger numbers. Which is fairly standard for shows in general. When the parts we first printed (sometime in the late 90's I think) the numbering was completely changed so that there were no more letters, just numbers. So for instance, the Prologue in its sections originally used to be #1, #1A, #1B, etc, all the way up to #1H. (Which makes good sense, so that everything "#1" is part of the Prologue.) Cinderella At The Grave was #2, Bows were #27. In the printed rental versions, the Prologue is #'s 1 through 9 (even though it needs to "feel" like one long sequence of course), Cinderella At The Grave (still so close to the start of the show) is already #10 (where has all the time gone, lol), and the Bows music is #72. Seventy-two!!!! To me that feels much more exhausting and somehow less friendly. I can't think of another Broadway show with 72 literal "numbers" in it. They're just not ever notated that way, and for good reason I think. Both times I've MD'd the show with the newer parts, I've gone through the trouble of restoring the original Broadway numbering. For all the trouble it took to do that, it felt good. :-) (I also played/conducted from a copy of the older version of the score. Which I've found to have a lot of mistakes - but it's still eminently more friendly to read.) |
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| Previous: | re: Wonder who is putting up the money? - Underscoring? - Chazwaza 01:22 pm EDT 07/20/22 |
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