Pannic
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Edelweiss confusionI seem to get conflicting accounts of range on that song. I've got a Broadway book that has it starting on an E, with the highest note being Middle C. No problem. Then I got the "Singer's Musical Theatre Anthology (Baritone/Bass)," and it has Edelweiss, but it's about half and octave lower, starting on the A below low C and the highest note being the G right above low C, or the Bb above (obviously written an octave higher in Treble cleff, like it is with all male vocal parts). So, out of curiosity, I'd like to know exactly which one is the one that's the actual vocal part from the actual score.
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Melindaisy
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I'm pretty sure that the keys in the "Singers Musical Thaetre Anthology" books are the original keys...
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adamjthompson
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Re: Edelweiss confusion | Pannic wrote: | | I seem to get conflicting accounts of range on that song. I've got a Broadway book that has it starting on an E, with the highest note being Middle C. No problem. Then I got the "Singer's Musical Theatre Anthology (Baritone/Bass)," and it has Edelweiss, but it's about half and octave lower, starting on the A below low C and the highest note being the G right above low C, or the Bb above (obviously written an octave higher in Treble cleff, like it is with all male vocal parts). So, out of curiosity, I'd like to know exactly which one is the one that's the actual vocal part from the actual score. |
The original key, for the movie version at least, is b flat.
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Yip1982
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A lyric baritone really makes sense in that song, somewhere between G and B flat. The film version plays the song twice. The first rendition in the drawing room is in A flat, but the Salzburg Festival reprise transposes it up to B flat. I've never cared about the low key that Bikel used in his rendition. Bryn Terfel's rendition of the song is pitched in A.
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