June 7, 201015 yr Hello YCP, While this small piece of fluff is not essential to the question I'm about to pose, it might help a tad. I recently got a commission to write a piece for an orchestra of double reeds - the numbers are about so: 12+ oboes (not entirely sure how many) 2-3 English Horns 1 Heckelphon 12 Bassoons 2 Contras As I'm sure you're all aware, finding a way to get the harmonies to work is hell. But that's all besides the point The piece has some rough spots in it and I have started putting in the H & N markings for Hauptstimme and Nebenstimme, just like the ones Schonberg and Berg used in their music because the piece is somewhat chaotic. Am I the only schmuck who thinks these are useful for conductors or are they useless? Thanks a million, Yasamune
June 8, 201015 yr If you -do- consider something to be the main voice, there's nothing wrong with making it clear by designating it like that. I, for one, would appreciate it if I had to conduct it.
June 8, 201015 yr The only issue is: is this a conductor who would be familiar with the repertoire of the '2nd Viennese school'? If not, then perhaps an explanatory note in the preface would help. The idea in general is probably a good one, as long as it clarifies, rather than confuses / adds clutter.
June 14, 201015 yr If the main voice is not obvious use a form of marking to distinguish it. I usually use "bring out" or "melody". Grainger's Blue-Eyed-English version is "to the fore". I don't really like H & N because they're specific German terms and of limited use today, but that's my opinion. As a conductor, I should be able to see what's important without them but you can add something extra if you're not sure. When in doubt, don't leave it out!
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