Talk:After the Cakewalk

Use this section to discuss such information as range/tessitura demands, specific instrumental needs (e.g., advanced trumpet players needed, horn section must be strong, etc.) and other information pertaining to the rehearsal and performance of this work. Be sure to sign your name at the end of the post. NOTE: USE THE + BUTTON OR "ADD TOPIC" (DEPENDING ON YOUR VIEW PREFERENCES) TO ADD DISCUSSION. DO NOT USE THE EDIT TAB TO ADD TEXT ON THIS PAGE.

Instrumentation and Performance Notes

From score:

For conductors who desire to perform this work as its original 1901 edition, the correct instrumentation is as follows:

Piccolo in D-flat (no specific indication for parts for flute)
Oboes
Bassoons
E-flat Clarinet
3 B-flat Clarinets (printed as two parts: "Solo or 1st B-flat Clarinet" and "2nd and 3rd B-flat Clarinets")
B-flat Soprano Saxophone
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
3 B-flat Cornets (printed as two parts: "Solo B-flat (Conductor)" and "2nd and 3rd B-flat Cornets")
4 E-flat Horns (appearing in this edition as 4 Horns in F)
3 Trombones (the third also as "Bass Trombone")
2 Tenors (which are Trombones 1 and 2 notated in treble clef)
Baritone (presented as Euphonium/Baritone in this edition)
Basses in either E-flat or B-flat (presented by Tuba in this edition)
Percussion (three players – cymbals, snare drum and bass drum; the glockenspiel was added by Perna)

In this current publication, a full score was prepared in order to clarify what Smith had written, since scores were not published during that period – "Solo B-flat (Conductor)" was considered sufficient in those days. From there, all matters regarding orchestration were carefully considered with regard towards alignment of measures, balance, markings, dynamics, repeat signs, and everything else that is editorial in nature. Some modifications were made in order to best serve whichever size of forces a conductor may decide to use.

The final strain (ms. 82 to 93) takes the 1st B-flat Clarinets into their highest register, exactly where Smith scored it. If this range poses too great a challenge for your players, it may certainly be played an octave lower. The E-flat Clarinet part (highly desirable) is higher still, but the Flute parts (added by Perna) can carry the day if a competent E-flat Clarinet player is not to be found.

Certain additions to Smith's instrumentation were included for greater balance and depth of color; for example, for example, in order to complete the harmony in the cornet parts, two "trumpet" parts have been added. As stated previously, please keep in mind that, given the idiom and period this work hails from, certain parts to this "Characteristic March Two-Step" can be omitted since their tone-strands are sufficiently covered.

~Entered by Gabe Scott