Flute errata

#4b, p 10, line 9, bar 2, last eighth, BABB would match with 4A (courtesy Barbara Hopkins)
#8, p19, line 1, bar 2, beat 2, add G# grace: line 2, bar 2, beat three, add C# grace (courtesy Barbara Hopkins)
#10, p 23, line 12, fifth last note is E natural.
#11, p 24, line 12, bar 2, beat 4 – F natural is probably intended.
#12, p 26, last note is A natural.
#14, p 30, line 8, bar 3, beat 2 – the F is natural.
#15-p.33, line 11, 3rd measure: the 7th note is C natural (Barbara Hopkins)
#16, p 34, line 9, last beat – D natural seems more logical than B natural.
#17, p 36, line 9, bar 2, last note is D natural.
#17- p. 37, line 6, last bar: the 6th note is Bb (Barbara Hopkins)
#18, p 39, line 10, bar 6 – the second C is flat as in opening.
#19, p 40, line 5, bar 1, beat 5 – C natural. Line 8, bar 1, beat 6 – Bb.
#19- p.41, line 6, bar 1, beat 4: 4th note is Bb – bar 2, beat 5: 4th note is Ab (Barbara Hopkins)
#21, p 44, line 5, bar 2 – third note is B natural.
#22- p. 47, 1st line: 1st 2 notes should be slurred (Barbara Hopkins)

Ist Movt, bar 33, first note is Db as in bar after P (courtesy Mary Wilkosz)

2nd movt, bar 45, 2nd beat, 4th note is C not D

1st movt, measure 92, first beat, fourth sixteenth is F not G

1st movt, bar 42, last note is A in flute part, F in score. The A has been changed to F in a later printing.

Trevor Wye says: Unless folks have a Breitkop’s Bach b Minor Sonata, these are common errors:
1st movt: bar 58: 1st beat: reverse the rhythm as in previous bar.
Measure 115: 4th beat is E natural.
2nd movt: measures 5, 6, 7, 11 and 13: the 32nd notes should be ‘barred together’ possibly to indicate a larger phrased forward movement rather than subdivided sections.
Measure 6: At this period, accidentals were required for a reccurance of a note – in this case G – except where is consecutively repeated. There should be a sharp should be in front of notes 2, 4 and 9, but not 13 where its absence indicates a G natural. Bar13 should have a sharp on notes 1 and 8. Note 10 is G natural.

In the flute part, four after rehearsal 19, C on down beat should be C#. (courtesy Mary Wilkosz)

#5, bar 3, beat 3 – the trill is to Eb. Bar 10, beat 2 – the grace note (and note trilled to) is Bb. Bar 21, beat 3 – the grace note (and note trilled to) is F.
#6, lines 11 and 12 – the key is G Major.
#13, line 7, bar 2, beat 2 – the last note is Fx. ditto two bars later.
#18, line 5, bar 2, beat 2 – 5th note is Fx.
#20, line 7, bar 4 – some other editions have E#. line 7, bar 5 – third note is D#.

#5, bar 3, beat 3 – the trill is to Eb. Line 3, bar 1 – last turn is E natural (next trill is to Eb).
#13, line 7, bar 2, beat 2 – the last note is Fx. ditto two bars later. line 9, bar 2, beat 2, 1st note is G#
#15, line 4, bar 3 – the first trill is to A natural.
#19, line 7, bar 6 – the trills are to D#.
#20, line 7, bar 4 – some other editions have E natural.

#5, bar 3, beat 3 – the trill is to Eb.
#19, line 7, bar 6 – the trills are to D#.
#20, line 8, bar 2 – some editions have E natural.
#21, line 4, first beat – the lower G is also #.

Page 2, system 5, bar 2 – C natural makes a better progression than C#.
Page 2, last system – F natural continues throughout this sequence as it heads up to high Bb on page 3.
Page 3, system 1. The last note is A natural (courtesy Mary Wilkosz)
system 2. The third and fourteenth notes are B natural (courtesy Avi Greenberg.)
Page 3, system 3. The second note is F natural (carrying through from previous line). He quotes this in his 12th Arabesque (page 19, system 1) and writes in F natural.
Page 3, system 10, bar 2, beat 2 – F natural. Last line – the 3/4 measure is really 9/8, meaning the notes are the same speed as in the previous bar.

#1. Line 10, beat 2, last note – D3 preserves the interval sequence (courtesy Emily Higgins). This etude obviously ends on E natural but there is no correction of Eb in middle of the third last system. I would propose making the next E a natural, with the same for all following.
#2. Fourth last system, second bar, second beat – B natural maintains sequence. Second last system, second bar, second beat – E natural maintains the sequence. Last system, second bar, first note – Ab would establish the sequence that follows. Penultimate bar, third beat – E natural.
#4. Line 8, bar one – Fs are #
#5. Line 5, bar 3, 2nd last note – F natural continues the major third sequence (discovery of Jessi Rozinski) – Line 11, first bar, second beat, first two notes – C-G# maintains the sequence (courtesy of Joy Zalkind)
#8. Page 10, line 9, last bar – F# seems a better choice than F natural (courtesy of Sarah Caissie); line 10 , first note – G instead of A would maintain the note pattern (suggested by Lauren Gallo)
Page 11, line 5, bar 2, second eighth – Db maintains the sequence (Sarah Caissie) – line 6, bar 1 beat 2 and bar 2 beat 1, the first note is Ab (thanks to Jessi Rosinski). Third last system – 7 1/2 eighths is hard to figure. Maybe 5 1/2 with the group of 64th notes a sextuplet.
#9. Page 13, third system – a Db added to the “10” would maintain the sequence. Third last system, second bar – add two beat slur.
#10. Page 14, second last system. I would suggest all half-step trills.
#13. Line 3, second measure – add E natural to end of bar (courtesy of Joy Zalkind)
#14. Page 22, line 5, bar 2 seems better if the same as line 3, bar 2 (another JZ). Page 24, last line, bar 1, beat 2, last note – C# seems better than F.

 Bar 65. C trill should be a half step to Db, not D. Bar 72, last 16th note should be F natural, not F#.

The following from Paul Gray quotes Samuel Baron: “In the third movement of the Eldin Burton Sonatina he felt that the 2nd beat of the 8th measure after 30 should continue to a low B sixteenth note for a greater sense of finality to the run. He also had me change the first A two measures before 28 to an A# and the second A to an A natural. “

The downbeat of bar 120 – high Ab should be high F, as in the piano score. (Courtesy Holly Oswald Clemans)

in bar 145 the note following the trill is Fx, the same as two bars earlier.

second last bar. It is generally agreed now that the accent mark here should be a diminuendo.

page 7, second line, last group of thirtysecond notes – the first is G natural. On the same page, line 4, third bar – the second last note is Ab

7 bars after 10 the slur is a whole bar (and a whole bar the following).

In bar 7 there is a breath mark (,) after the second beat in the original (Enoch) publication. In bar 38 “vedez” should be “cedez”.

Third Piece “Toan-Yan”:
Second page, 4th line, second and third measure. First note of the 16th note triplet in both measures (the + of beat 1) should be an Ab3. (Same pattern as the 4th line first measure)
Second page, 5th line, second measure (beat 1 dotted quarter): Gb (Gb3) trill should go to Ab. The flat is not indicated on this first trill, but is indicated on the next two trills (Gb2 and Gb1)
Second page, 7th line, second measure (beat 1): E2 trill should go to F#. The sharp is not indicated. Immediately proceeding beat 1 of the same measure, the first “grace” note should also be an F#. This is based on reviewing other identical patterns throughout the piece.
Third page, 6th line, third measure (beat 1 third note and beat 2 first note): B2 (B3 if you have a b-foot) should be Bb.

(Since the 1st and 2nd parts are written in the same part, the errors sometimes affect both or just flute 1)
Mvt 1 – 17 after G, D# through measure – 12 after O, 3rd and 4th quarter notes Eb and D.
Mvt 2 – 8 after Q, last eighth note F
Mvt 3 – H, last quarter note tied into next measure F – 17 to 20 after H, all articulated (except ties)

Page 1, system 4 – first grace note is 1/4 step above F natural.
Page 2, system 5 – C3 and G2 multiphonic using C1 fingering.
Page 2, system 8, bar 2, beat 4 – second last note is B natural
Page 3, system 10 , measure 2 – Bb downbeat, gliss down to 1/4 step above A natural, as in page 1, system 5.

bar 4, add a mordent to beat three D

bar 151, harmony same as 149 – trill to b natural?

bar 22, the two Fs are tied together.

five bars after D, the last note is G natural (courtesy Avi Greenberg).

based on study of the original score and suggestions by William Kincaid.
second measure after D, third beat, first note is B#
three before H, the first note is Bb, not B natural
three before J, the third last note is E#, not F#
eleven after K, the second note is A natural in the manuscript, not A#.
There are other instances of note discrepancies in the manuscript, but they seem to me to be less preferable than the printed version.
An article by Donna K. Anderson in the Newsletter of the National Flute Association (Vol 8, No 1) detailed all instances of variations between the manuscript, the published score, and the published flute and piano reduction.

The first edition had two incorrect notes in the 2nd movt (p 4, line 4, bar 1 beat 2) where the last two notes are printed E F# instead of G# E. This was corrected in the next edition.

Ist Movt #2 + 1 – second note is C#, not D#. #6+6 – last three sixteenths are slurred. #10+5 – “poco rit”, next bar “Tempo”. #11+8 – second note the F is #.
2nd Movt starts with 13 bar block rest, not 15. Measure 19, second beat, the E is flat in the orchestral score.
3rd Movt #5+3 – the notes are all slurred.

There are two publications of this work, both “Editions Maurice Senart 1932” published by Salabert. However, with no indication whatsoever, the one is a corrected version of the other. A quick look at bar 7 will tell you which version you have. The corrected version is here marked T(emp)o Vif while the original has no such marking. JW
NEW – Jill Maurer Davis has a corrected copy from the time of her studies with René Le Roy to whom this piece is dedicated. Additional corrections in red below are from this source.
Major corrections:
M4: slur through tied E2
M5: slur through E2
M6: beat 3 is printed A# (from beat 2) in both editions. I have never heard anyone play A# . A natural sounds more correct to me. Geoffrey Gilbert claimed that A natural was correct. A natural is correct.
M7: Tempo Vif Marking is”plus rapide et lointain”
M8: Lent
M10: lines not dots
M12: accelerando
M14-16: There are discrepancies throughout the dance as to whether the downbeats have a line or a dot. Dots on downbeats.
M17- lines on beat 1 & 2.
M19- dot on downbeat
M27 & M29- dot on last F of slurred passage
M28: beat 2 F3 is natural (same as M29)
M35: Plus Lent
M36- lines on all notes on beat 3
M38: accel. to
M40: Vif
M46- rubato played on beat 3, first note slow, then fast & faster
leading to M47- Tempo vif
M48: Gilbert said E1 on beat 2 is Eb. E flat on beat 2 is correct.
M49: f
M53: en rallentissant
M54: Un peu plus lent – mf
M56: mp
M58- a tempo (vif)
M58: beat 1 p, beat 3 pp
M59: beat 2 p
M60: pp, beat 3 rit.
M62: p
M64: pp
M66: C2 is indicated as a harmonic (ie finger C1).

none recorded.

Ist movement, 6 bars after 2 and two before 21 – the tied Gb is slurred to the following F
2nd movement, 2 bars after 35, thrid beat – the A is Ab
3rd movement, 2 bars before 40 – perhaps not a misprint but a final note of F rather than E is more logical (and easier!) and was recommended by William Kincaid. 1 bar before49 – the downbeat A is slurred to the following F. – at 51 a barline is missing. 1 bar before 68 the last note is B# in the score – this matches the similar passage at 48. In the cadenza after 70 the hold is missing from the quarternote C3 harmonic. At the end of the cadenza the rising octaves are written as 32nds but the last group of four up to the Db4 are 16ths. In that group the F-Ab are slurred (thanks to Lish Lindsey)

Page 2, system 3, bar 2, beat 3 – Gb as in previous measure.
Page 3, system 9, last bar is still in 2/4.

The general rule that accidentals only apply to the octave in which they are written is not true in these études.
#7, bar 7, last note is A natural (Minta White)
#11, page 38, last line, second bar, the last two notes – C# D# seem more logical.
#12, page 44, 2nd last line, 3rd bar – last two notes (D#/C#)- E/D# maintains sequence (Molly McLaughlin)
#13, page 45, line 4, measure 2 – a dotted quarter needs to be added to the length of the Cnatural (Rebecca White). P 47, line 3, bar 3, fourth note – F natural seems preferable to Fb
#15, page 56, line 4, bar 5 – A natural (Giuliana Sarullo)
#16, page 61, line 4, bar 2 – G# – also the following bar.
Line 7, bar 1 – the last two notes are E D#. bar 2 – the Ds are #
#16, page 63, 5th line, third quarter is G#; page 64, line 7, bar 2, last two notes – B natural G# – two bars later the same.

#3, line 2, bar one, beat three – Bb courtesy Molly McLaughlin) – line 4, bar 3, beat 4 – C natural continues major/minor sequence – line 5, bar 3, beat 4 – E natural continues sequence (Megan Sweeney) Line 2, bar 1, 2nd note of beat 4 should be E natural. 
#6, last bar, two 8th rests instead of 1, making it a 4/4 bar instead of a 7/8 bar (my opinion).
#7, line 7, bar 3, last note – A natural seems to continue the halfstep sequence and lead to G# on the next down beat (Sandy Hughes).
#11, line 6, bar 3, seventh sixteenth is E natural.
#12, line 5, bar 2, beat 2, second note is C natural. Line 6, bar 1, last note G natural (courtesy Martha Gasque)
#13, line 2, note 2 is A natural (George Morey/Lorie Scott)
#14, bar 1, eleventh note is D natural – line 4, bar 3, ninth and twelth notes are G natural. – line 6, bar 2, eighth note D natural, bar 3, fourteenth note A natural (George Morey/Lorie Scott) – last bar, final arpeggio is E minor (Ashley Crawford)
#17, bar 5, beat 2, the D is natural (Johanna Borenstein) – bar 6 beat two might be A natural (George Morey/Lorie Scott) [Christopher Steward wonders “if maybe it should be a sharp – that would make all of the first 6 arpeggios major, with only the last two minor.“] Line 6, bar 2, 1st note should be an 8th, not a quarter. 
No. 18  Line 5, bar 2, in the 6th arpeggio 2nd note should be a D, not E flat (my opinion);  Last line, 1st “chord” should have an E natural, not E flat, and 2nd “chord” should have an F natural, not F sharp.
#20, line 6, measure 1 note 10 is C natural (Christopher Steward).
#22, bar 5, beat 4 – Bb (Kristen Komisky) Line 3, bar 3, beat 3, 2nd note should be a G natural.   Line 4, bar 1, beat 3, 2nd note should be an A natural. Line 5, bar 2, beat 4, 1st note should be an E natural. Line 6, bar 1, beat 4,2nd note should be an A natural. Line 8, bar 1, beat 4, 2nd note should be a G natural. 
#23, line 5, bar 1, note 4 is D natural (George Morey/Lorie Scott).
#28 last note is Bb (George Morey/Lorie Scott)
#25. Line 2, the ninth 8th note start should have a G natural courtesy reminder.  Line 4, the 3rd note of the 5th beat should have an F natural courtesy reminder.  Line 6, bar 2, the 2nd note of the 5th beat should be E flat (octave accidentals do not carry over). 
No. 26 Line 7, bar 2, beat 4, the 3rd 16th should be a G natural (my opinion).  Line 7, bar 3, beat 2, the 16th should be an E sharp (my opinion). In the next beat it’s an E natural (my opinion). 
#27, line 5, bar 3 – match articulation to previous bar (courtesy Chris Marshall).
#28, bar 2, beat 3 is Bb (Megan Sweeney); last note is Bb.
#29, line 3, 1st bar, fourth note – E natural preserves the sequence of perfect fourths and seems to correspond to printed E natural in the following bar.
#30 Variation 13, bar 1, note 8 – G natural matches sequence in bar 2.Var.8, in the 1st 3 bars the 32nds in beats 1 and 2 need triplet designations. Same thing for the 2nd beat of bar 4. The 3rd beat of bar 4 should be 16th triplets, not 32nds. Var. 13, Line 2, bar 2, 2nd note is B flat, not C (my opinion).

#2 – page 6, line 5, bar 2, second last note is G#; line 8, bar 3, eighth note is C#; line 9, bar 2, last note is G#.
#3 – page 8, line 3, bar 1, eighth note is D#. – page 9, line 1, bar 2, fourth eighth is Bb, line 10, bar 2, beat 3 is D natural
#7 – page 16, line 10, bar 1, first note is D – page 17, line 9, bar 1, ninth note is A (both courtesy Jeremy Brimhall) – line 12, bar 3, twelfth note is E#.
#8 – page 18, last line, bar 3, beat 4, first note is F#, last note is A natural. – page 19, line 1, beat 3, trill to A natural. – line 7, bar 2, beat 2, afterturn is A natural

Some errors occur in this edition because certain notes have been omitted by the editor for breathing purposes. (corrections courtesy Avi Greenberg)
#1 – page 1, line 5, bar 1, the omitted note is G#, hence the remaining Gs in this bar are G#.- line 9 ditto- page 3, line 1, bar 3, second last note is G#.
#2 – page 4, line 5, bar 2 second last note is G#; line 8, bar 3, eighth note is C#; line 9, bar 2, last note is G# – page 5, line 1, bar 4, third note is E natural; line 2, bar 3, both Es are natural.
#3 – page 7, line 1, bar 2, Bb – bar 3, beat 2, Bb – line 2, bar 1, G natural.
#5 – page 10, line 11, bar 3, beat 2, D#, beat 3, G# and A# – bar 4, beat 3, D# and A# – line 12, bars 1 and 2 and 3, accidentals carry through octaves – page 11, line 1, ditto.
#7 – page 15, line 12, bar 1, third note is C#
#8 – page 16, line 7, first grace note is F# – page 17, line 7, bar 1, beat 3, Bb – bar 2, beat 2, grace is A natural – line 10, last bar, last grace is D.

page 10, line 5, bar 3, sixth note is D# (ninth D natural)

3rd movt, bar 4 – the Es are b (courtesy Lish Lindsey); 94 solo part — “no slurs; this is in agreement with the score; I checked with the composer which way he prefers and he said that the score is correct” Todd Gorman

1st movt, 7 before 1 – the rhythm on the first beat is eighth and two sixteenths

p 4 bar 3 and 5 trill to C#; and in bar 8 the C is #. In bar 13 the G is #. In the violin part, bar 95 trill to A# and 96 trill C# to D#. In bar 218, first note B.

1st movt, ten bars after I – first note is G natural. 15 bars after N, G is #. 19 bars after N, beat 4 is E natural (courtesy Avi Greenberg).
2nd movt, nine bars after A – the first note is an eighth, the second a sixteenth.
3rd movt, two bars after N – the second note is A not C#.

Page 12.Exercise 7 Suppleness of Low Register exercises, in group D, the D’s should all be natural not sharp (to follow on from group C). (courtesy Paul Kimmel).
In exercise 6 group B, the 5th measure should be g-e-d-e, not g-e-d-g (courtesy George Woodrow).

vol 1 revised edition (please contact me for exchange of original edition),

page 10, #12, first system, last bar, second flute’s C is # – third system, last bar, second flute – C#
P 47, #4 – the first ending after G is two bars long.

Vol 2 (Please note that this volume has now been revised and corrected)

The following refer to the original publication (1992)
Manon: p 17, line 8 last two bars: piccolo’s eighth note Cs should be Bbs – half note C is correct.
Fidelio: p 24, line 2, after bar 4 a bar is missing, same as line 1, bar 2 but with second note E.
Aida: p 26, line 5, a bar is missing after bar 3.

Lohengrin:

p 35 last line, last note of third flute is D natural
p 36, Scene 2, bar 5, second flute is Bb, third flute Db is tied. Third flute’s Eb at end of system is tied to next line Eb.
P 39, line 5, bar 5, thrid and fourth beats are a tone higher (D and C)
Scene 5, bar 3, the C has a turn.
p 40, line 6, bar 1, the first flute’s fourth beat is E, not D.
p 41, line 3, bar 2, the first flute’s last note is D

Salome:

notes, third last line read “quintuplets” for “triplets”
p 42, line 1, bar 6 – fourth note is G#, sixth note is G natural. Line 3, bar 1, G#s.
p 44, line 5, last bar, third beat replace F with D
p 47, line 9, bar 1, beat 3 replace F with E.
p 49, system 1, bar 2, last note of second flute is B natural

Mikado

page 64 #7 – I have now accepted the editorial decision in recent publication of the full score (Dover) and suggest that the third and eleventh notes be played as A, not G.
Vol 6, page 34, last line, fourth eighth. The first thirtysecond note is not C3 but E3.
Vol 7, Page 44, second bar. The downbeat is D#1 as written but the D in the third eighth note is natural.
Page 54 #15, second line, second bar, fifth eighth in 1st flute is E#.
Vol 9 – Tosca – p 5 #25 tempo is Andantino sostenuto (quarter = 56)

1st movt, bar 39, last sixteenth is D: bar 40 last sixteenth of beat 2 is D: bar 42, 3rd sixteenth of beat 3 is G#: bar 43, 3rd sixteenth of beat 1 is G#. (courtesy Marnie Kraft)

bar 9, beat 4, originally Eb is changed by L. Moyse to E natural. This leads nicely to A7 harmony in following bar . The Moyse edition needs a tie on the B in bar 96.

the following from Paul Gray quotes Samuel Baron: “In the solo part of the Poulenc Sonata, nine measures before the end of the piece, Sam talked about “the odd F natural near the end.” He felt that F# was more logical and sounded much better. He also thought that very few players would be brave enough to actually play the F#.”

The first U. S. Edition (Leeds) has some differences to the Russian edition and later U.S. editions – most, if not all, are misprints. 1st movt, 4 bars before 7 the final three notes should be written as a triplet instead of three sixteenths plus sixteenth rest; one before 9 the trill should carry through the final quarternote; five and six after 10 the second note of the first triplet is A in later editions rather than F. F was in the Russian flute edition but was changed to A in the violin version. In the 4th movt, eight bars after 34 the third and seventh eighthnotes are printed as G rather than F#; two before 36 the second grace note is G# in the Russian edition, not G natural; three before 38 the fourth note is printed D rather than E; four before 42 the F in the triplet grace notes is natural (as in the following bar). It should probably be observed here that most, if not all, editions of the Flute Sonata incorporate some of the changes Prokofiev made when he rewrote it for violin.

3rd Mvt – bar 191, 2nd note G; bar 229, 2nd/3rd/4th notes GAG.

Presto – bar 24 Eb, bar 71 trill to F# (courtesy Carolyn Topliff)

1st movt – seven measures after K. Bb is correct in first half of bar but B natural in second half.
3rd movt – 8 after D, third beat is B natural (Avi Greenberg) – 5 after I, third beat is B natural (Megan Sweeney). Four before end Bb trill to C natural.

4th movt – page 7, line 2, measure1 is staccato; measure 2 – both Bs are natural.
Piano part – 4th movt – page 24, last system, first bar is Ab. page 25, second system, second bar the As are Abs.

Page 32 (piano), 10 after A – G#.
Page 6 (flute), system 5, measure 3, beat 3 F#
Page 7 (flute), system 8, measure 2, beat 1 – first note is G#

Julius Baker told me that Stravinsky said the final note in this bar, printed A#, should be G#, a half step below its predecessor as in the other beats in this and the following bar. This was later confirmed to me by Stravinsky’s assistant, Robert Craft, during rehearsal of the Octet. JW

P6, measure 260, last 16th is F#3, not D3 (courtesy Jennifer Travios)

in the fourth pattern of B natural the Fs are double sharp. (Thanks to Gary Schocker for this reminder.)

Movt 3, bar 16, beat 4 is D not F. Tempo Primo is missing 2 bars before L. (courtesy Avi Greenberg)

#1 – bar 10, beat 2, third sixteenth is G#
#5 – 2nd movt, bar 53 – 1st note A, 4th note F to conform to all other occurences (B. Kuijken)
#6 – Spirituoso, bar 34, 4th note G as corrected by Telemann (B. Kuijken)
#8 – (These corrections provided by Richard Dalton.) Largo, bar 1, beat 2, last sixteenth should be F#; bar 12, beat 3, last 16th should be A (as printed in bar 16); Allegro, bar 13, syncopated quarter should be G (B. Kuijken)
#12- Presto, upbeat to bar 57 is D not Bb

#8 bar 1, note 7 is F#, not E (courtesy Amy O’Neill)

The following from Paul Gray quotes Samuel Baron: The passage in the solo part has a Bb-A-G# in measure 26 of the first movement and C-B-A# in measure 28. Although these notes occur in his own editing of the solo part in the Franco Colombo edition, he believed that in both places the sharps should be naturals.

This volume in general has a large number of errors. In particular Copelia and Firebird. An accurate version of the Copelia cadenza can be found in the Taffnanel Gaubert Method and the Firebird part is contained in Baxtresser’s excerpt book. Below are corrections to the Wummer Firebird provided by Avi Greenberg.
In the first and second bars, do not play the first 16th note.
The same goes for bars 5 and 6. In the second half of bar 6, only play the B natural that leads into the triplet sixteenth run, not the F#.
After landing on the F# at the beginning of bar 7, the next thing you will play is the triplet 16th run down from the high A. After finishing the triplet sixteenth run in bar 10, proceed to the triplet sixteenth run starting on a D natural in bar 13.
In bars 14, 16, and 18, the eighth notes should all be sixteenth notes followed by sixteenth rests. The next correction deals with the articulation of the triplet sixteenth run in bar 21.
This articulation should be two slurred, one tongued throughout the run down.
In bars 22 and 23, again, leave out the first sixteenth note.
The same goes for bars 26 and 27, as well as 30 and 31. In bar 32, play the trill as eight 32nd notes.
The A eighth note that follows the chromatic note (downbeat of beat 4) should not be played.
The A downbeat of bar 33 should not be played.
Neither should the notes that are written on beats 4 and 5 of this bar. The A on beat 4 of bar 35 should be a sixteenth note, not an eighth. In addition, the articulation of the triplet sixteenth note run following this A should be two slurred, one tongued. Do not play the piccolo part in bar 39. Instead, play the line marked “solo,” starting on the high A.
The run that ends bar 41 should have the articulation two slurred, two tongued up to the high F#. The F# trill continues through bar 42 and ends on the downbeat of bar 43 with a tongued F#.