Prelude Horn Lines 2 and 3

Just finished transposing horn lines 2 and 3. There were a few confusing bumps with some over-lapping harmony lines, but I think they've been straightened out. It will be interesting to see how this works with french horns as piano lines often jump around and skip several notes, which is harder for horns to play. I've already found a few mistakes here and there, and hope this won't be a new trend with the Prelude. The transposing work is tedious, and I still have horn voices 4 and 5 to complete yet. I'm a little concerned about trying to create a five voice horn piece in MuseScore; I'm not sure they have that function.

Horn Line 1 of Prelude Begun

I've begun the process of transposing my Horn 1 line in the Prelude. I have to call it "Horn 1" as this is a five part piece, and therefore doesn't fit soprano, alto, tenor, bass type part writing. I've so far found it a little challenging to distinguish between the voices, and often don't know which voice to give distinct separate melodies lines to as they appear randomly in the music. Some of it even goes so far as to create a single three-note chord in the treble staff with notes so close together, they have to write out a separate beam for the soprano next to it! Very funny looking, and probably the only time I have ever seen this in music.

Unbroken Connections

1) POWs are bound by many rules and regulations, as are music arrangers and composers.

2) All the voices in a piece of music must work together to achieve the end goal, as do people through a time of war.

3) Lots of stealing happens in music writing, and a lot of ideas aren't original. POWs often have to steal to survive.

4) Great composers often aren't appreciated until they've passed away, as many Japanese soldiers aren't considered "honorable" until they have died or made some other great sacrifice for their country.

5) Music is very complicated and complex and sometimes doesn't make sense to other people, like Louie's bogus drawing he made for the Japanese.