Orchestral Transpositions and Key Signatures in Tchaikovsky's Francesca da Rimini
When reviewing an orchestral score, such as Tchaikovsky's Francesca da Rimini, the presence or absence of a key signature and the transposition of certain instruments can significantly impact our understanding of the piece. This article delves into the intricacies of Francesca da Rimini and the significance of transposing and non-transposing instruments in the orchestral setting.
Key Signatures and Transposing Instruments
In orchestral music, the notation of each instrument is crucial for the correct interpretation of the piece. For example, historically, horns and trumpets are often written without key signatures. This allows for the transposition of the instruments in real time, without the need for complex key changes within the score (although traditional horns are still often written without key signatures by modern editions for clarity).
Francesca da Rimini, being in E minor, does contain a significant amount of chromaticism. In fact, some critics have described certain sections as virtually "atonal." However, Tchaikovsky's orchestration for this piece does not follow the tradition of key signatures for horns, trumpets, and timpani. This is often the case in works of the 19th century, where frequent key changes were a common compositional technique. The Kalmus edition of Francesca da Rimini, which does not include key signatures due to the frequent modulations, exemplifies this approach.
Understanding Transposing Instruments
The transposition of instruments in the orchestra is a critical aspect of music notation. In Tchaikovsky's score for Francesca da Rimini, several instruments are written in transposed notation. This means that the notes on the page do not accurately represent the sounds produced by the instruments. Instead, they reflect the note that would be required to be played to sound the proper pitch. The use of transposed notation allows for easier reading of the music and clearer communication between composers and performers.
Details on Transposing Instruments
Breathing Flute (Flauto III and Piccolo): While the piccolo is a transposing instrument, it does not require the use of a key signature as it sounds one octave higher than written. The notation for this instrument is straightforward, making it easy for performers to interpret.
English Horn (Corno Inglese): Although not indicated by a key signature, the English horn requires a transposition of a perfect fifth lower. The first note written as F sounds as B, a fifth lower than the actual pitch.
Clarinet in A: Another transposing instrument, the clarinet in A sounds a major third lower than written. The first note F, for instance, sounds as D.
Horns in F: The horns in F, a common transposition, produce notes that are a perfect fifth lower than written. If the first written note is E, it sounds as B, A, and D as C, B, and G, respectively.
Valved Cornets (Pistone in A): Valved cornets, also used in the piece, are transposed instruments. In this context, the first note written as Ab sounds as F.
Valved Trumpets (Trombe in E): These instruments are notated a major third higher than the actual pitch. The first notes written as G and Bb sound as B and D, a major third higher.
Non-Transposing Instruments and Key Signatures
Several instruments in the orchestra, such as the bassoon and contrabassoon, are not transposing instruments. In Francesca da Rimini, the contrabass is scored on the cello staff and sounds an octave lower than the cello. This traditional scoring, which had already become somewhat old-fashioned even in Beethoven's era, highlights the evolution of orchestral notation over the years.
Accidentals and Key Signatures
It's important to note that sharps and flats are only referred to as "accidentals" when they occur within a musical passage. In a key signature, these are simply a part of the key and are not called accidentals. This distinction is crucial for understanding the notational practices of different eras in music.
Mark Andrews astutely pointed out in a response that by tradition, trumpets, horns, and timpani did not use key signatures in 19th-century orchestral scores. This was also true in earlier periods but has since changed with modern scores, concert band pit orchestras, and jazz ensembles, which do include key signatures.
For a truly accurate reading and performance of Francesca da Rimini, it is essential to understand the notational conventions and the specific transpositions of each instrument. This knowledge not only facilitates the interpretation of the score but also deepens the appreciation of Tchaikovsky's orchestration style.