Leaderboard

I've been arranging The Nutcracker Suite for Piano Duet over the past several days and I've reached a dilemma in my arrangement. To 8va or not to 8va for Dance of the Sugar Plum Fairy? I mean, with 8va, it does sound more like the celesta since it is an octave transposing instrument(the Celesta is), but it makes the already existing dynamic difference even more pronounced(which I made it piano dynamic in Piano Primo instead of the notated mf because I know the Celesta is quiet) and it's way up high towards the limit of the piano's range. Plus, I'm not sure I'll be able to get every note the Celesta plays in this movement if I use the 8va. And it's cumbersome to have to notate 8va in 2 staves for over 12 bars. I know I use the very low bass in this piece, like E1, but that's because I have to when the cellos and double basses are in octaves as they are a lot of the time(plus, octaves sound good and give that more orchestral sound to the piano). With this 8va, I don't have to do it, it's a question of whether I should or not. I'm leaning towards the no 8va option, but I want some input from others before I go any further with this. The PDF shows the no 8va option. The movement I'm asking about starts at Page 28 of the PDF.

Here are some that i played recently for a recital if anyone's interested

yeah. Usually on harpsichord and i try it out on clavichord. I haven't written any non-keyboard pieces in a while but i used to. I actually clicked this thread thinking it was asking about, does this music you perform influence the music you play, to which my answer would be i try to deliberately pick what i play based on how i want to write

Hey there! I agree with @PeterthePapercomPoser on all accounts - the piece is indeed pleasant to listen to! I would just maybe add that it would be interesting more contrast throughout. Maybe a section in which just two of the instruments play (it could last just for a couple bars, it would already help the piece breathe a bit). Just a detail - that is completely up to you to decide on - maybe some slurs could be notated differently for a better effect. For exemple the line that is played by the bassoon on measure 36, then by the clarinet. Do you want the bassoon to play it articulatin every single note, and the clarinet to play legato throughout? Also, maybe you could accentuate the playfulness of the idea by not adding a slur through the whole measure, but just before the stacatto notes, for exemple. Just something to think about. Good work!

Great! A classically pleasant piece with its fair share of harmonic and especially rhythmic variety. I know you set the meter at 6/8 in the beginning and it's definitely in 6/8 throughout most of it, but I do feel like it ends in 3/4 and at least the last 8 bars sound to me like they're more in 3/4 than 6/8. That's just part of it's rhythmic interest and charm I think though. I like this combination of instruments too, but what happened to the French Horn?! LoL Thanks for sharing!