acc
Member
Here's a question for the composers among you (Frederik, perhaps?), concerning César Franck's Prière.
Starting on page 26, bar 14 (Durand 1956 edition), the upper voice does this:
|c#-A#-G#A#|B#-c#-d#-|e#---c#-|A#-----|F#-d#-B#-|G#-----|
(I use capital letters for the 4th octave and small ones for the 5th).
But by comparison with a similar passage on page 18, he really should have written it as follows:
|c#-A#-B#c#|d#-e#-f#-|g#-e#-c#-|A#-----|f#-d#-B#-|G#-----|
Of course, the reason he didn't is that the manuals of his organ at Ste-Clotilde only went up to f.
So here is my question: if I were to play this alternate upper voice (on a 61-key manual), how would you modify the other voices in those bars to make the whole thing consistent again (while still being playable with two hands and two feet!)?
Starting on page 26, bar 14 (Durand 1956 edition), the upper voice does this:
|c#-A#-G#A#|B#-c#-d#-|e#---c#-|A#-----|F#-d#-B#-|G#-----|
(I use capital letters for the 4th octave and small ones for the 5th).
But by comparison with a similar passage on page 18, he really should have written it as follows:
|c#-A#-B#c#|d#-e#-f#-|g#-e#-c#-|A#-----|f#-d#-B#-|G#-----|
Of course, the reason he didn't is that the manuals of his organ at Ste-Clotilde only went up to f.
So here is my question: if I were to play this alternate upper voice (on a 61-key manual), how would you modify the other voices in those bars to make the whole thing consistent again (while still being playable with two hands and two feet!)?
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