Meditation, Version 2

Thanks to everyone who checked out my arrangement of the “Meditation” from Thaïs, by Jules Massenet.  Shortly after I posted the files, Ricardo Matosinhos, a frequent reader and supporter of my blog, made an excellent suggestion:

A nice addition to the horn repertoire. I would like give a suggestion of transposing the piece 1/2 tone higher. This would become easier to play (specially on B flat horn fingerings). There wouldn’t be the problematic A’s and D’s for tuning. The highest note would be the heroic Bb instead of the A nightmare :)
On most horns the A4 is to high, so that means usually or a missed A or a little bit high. The lowest note would be Eb, also quite easier than D.
Of course, transposing it 1/2 tone higher would change the note color. Instead of the bright D major, we would get a dark Eb major.
So, there’s not a perfect solution for a transcription from different instruments…
Give it a try and see if it works.

I agree with his suggestion, though my main reason for choosing the lower key was where I planned to perform the piece on a recital – at the end!  I was able to deal with most of the intonation issues through alternate fingerings (T3 for A’s and D’s) and the high A at the end felt pretty good fingered open on my horn.  However, I do think Ricardo’s idea is valid, and the transcription would definitely work up a half-step.  In light of this insightful comment, here is Version 2 of the horn and piano parts.  Try them both, and use the one you like best!

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Repertoire, Solos


Thats a nice surprise 🙂
Tried both and liked the 2 version. Works white well on the fingerings (if for example the beginning is made on Bb horn). It’s a nice addition to the slow repertoire like, the R. Strauss Andante, or the F.Strauss Les Adieux, Nocuturno and keeps the same flat keys dark sound.
For a recital would be nice because, despite there’s a high Bb on the last page, the rest of the piece is pretty much on the medium and medium-low register. They (strings) try to steal us Beethoven’s Sontata and Schumann’s Adagio & Allegro, and we steal them Meditation. 🙂


That’s true Sandra, and the high B-flat can sometimes be problematic on Geyer-wrap horns: for more info, see

Ricardo is right that the high A fingered T12 can be pretty slippery, and often sharp, but can also be too flat when fingered with T, although it’s a much more stable harmonic up there. However, I’m very satisfied with the high A on thumb on my current horn.


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